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^AEm rfiOM THE BOOM.
CYCLOPEDIA OF
Music and Musicians
Volume III
NAAMAN— ZWILLINGSBRUDER
CYCLOPEDIA OF
MUSIC AND MUSICIANS^
EDITED BY
JOHN DENISON CHAMPLIN, JR.
CRITICAL EDITOR
WILLIAM FOSTER APTHORP
IVITH MORE THAN ONE THOUSAND ILLUSTRATIONS
VOLUME
NEW YORK
CHARLES SCRIBNER'S SONS
M DCCC XC
THE NEW YORK
PUBLIC LIBRARY
A«TM, LENOX AND
TIU)EN FOUNDATIONS
" 1816 L
Copyright, i8go, by
Charles Scrib tier's Sons.
^^ <^ ^ / f (^ K.
- 7^-^, 3 — C
LIST OF ILLUSTRATIONS
FULL-PAGE PORTRAITS
I. JEAN PHILIPPE RAMEAU
From the engraving by Benoist,
To Face -'
Page
?2
GIOACCHINO ANTONIO ROSSINI
From the lithograph by August Lemoiiie,
80
3-
ANTON GREGOR RUBINSTEIN
From a photograph, Briissets,
128
4- CAMILLE SAINT-SAENS
From a photograph, Paris, '/
5- ALESSANDRO SCARLATTI
From a tithograph, after the painting by Solimena,
J 76
J5> ,) >
6. FRANZ SCHUBERT '^"J-"
Page
From the engraving by Passini, after the painting by Rieder, . , 272
7- ROBERT SCHUMANN
From the lithograph by Giistav Feckert, ^20
8. LOUIS SPOHR
From the lithograph by C. Koch, . . ^(55
9- GASPARO SPONTINI
From the efigraviiig by Friedrich iVilhelm Bollinger, . . . . 416
10. GIUSEPPE VERDI
From a photograph, Milan, ^64
II- RICHARD WAGNER
From a photograph, Munich, .... x. ... . ^12
I?:..;..... KARL MARIA VON WEBER
From the ehgra6ivgbp\,iVoolnoth, after the painting by Carl P^ogel, . 560
PORTRAITS OF MUSICIANS.
DRAWN BY VALl^BIEN GKIBAViDOFP.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14
15.
IG.
17.
18.
19.
20.
21.
1-1
23.
24.
25.
26.
27.
28.
29.
30.
31.
PAGE
Nanini, Giovanni Maria 5
Niipravnik, Eduard 6
Nardini, Pietro 6
Nares, James 7
Naumann, Emil 8
Naumann, Johann Gottlieb 9
Naylor, John 10
Nessler, Victor Ernst 12
Neuendorff, Adolpli 13
Neukomm, Sigismund von 14
Neusiedler, Melchior 15
Nicode, Jean Louis IG
Nicolai, Otto IG
Notker, Balbulus, facsimile 25
Novello, Vincent 2G
Oakeley, Herbert Stanley 30
Oakey, George 31
Obertbiir, Karl 33
Offenbach, Jacques 37
Osborne, George Alexander 52
Otto, Julius 56
Ouseley, Frederick Arthur Gore . . 57
Paer, Ferdinando 62
Paganini, Niceoli") 64
Paine, John Knowles 66
Paisiello, Giovanni 68
Paix, Jakob 70
Paladilhe, tlmWe 70
Palestrina, Giovanni Pierluigi da. 71
Palestrina, Giovanni Pierluigi da,
facsimile 72
Paminger, Leonbardt 76
32. Parker, Henry 83
33. Parker, Horatio William 83
34. Parker, James Cutler Dunn 84
35. Parker, Louis Najjoleon 84
36. Parry, Joseph 86
37. Pattison, John Nelson 96
38. Pauer, Ernst 96
39. Peace, Albert Lister 100
40. Pearce, Stephen Austen 100
41. Pease, Alfred Humphreys 101
42. Penfiekl, Smith Newell 103
43. Pejjusch, Johann Christoph 104
44. Perabo, Ernst 105
45. Pergolesi, Giovanni Battista 106
46. Pessard, iSmile Louis Fortune... 113
47. Petrella, Errico 115
48. Philidor, Francois Andre Danican-. 118
49. Philp, Elizabeth 121
50. Piatti, Alfredo 122
51. Picciuni, Nicola 123
52. Pierson, Henry Hugo 127
53. Piusuti, Giro 129
54. Plautade, Charles Henri 134
55. Pleyel, Ignaz Josef 135
56. Ponchielli, Amilcare 140
57. Popper, David 141
58. Porpora, Niccolo Antonio 142
59. Porta, Giovanni 145
60. Potter, Cipriani 147
61. Prati, Alessio 149
62. Priltorius, Michael 150
63. Pratt, Silas Gamaliel 150
64. Proch, Heiurich 155
65. Prout, Ebenezer 159
66. Prudent, Emile 159
FOETEAITS OF MUSICIANS
PAGE
67. Pugnaui, Gaetano 1G3
68. Purcell, Heuiy IGi
69. Quantz, Johanu Joachim 170
70. Raff, Joachim 17-4
71. Rameau, Jean Philippe 178
72. RanJegger, Alberto 181
73. Rajjj^oldi, Eduaixl 183
71. Rauzziui, Veiianzio 185
75. Reber, Napoleou Hemi 188
76. Rebliug, Gustav 188
77. Reeve, "William ISO
78. Reichardt, Johauu Friedricli .... 192
79. Reiuecke, Karl 191
80. Reinkeu, Johauu Adam 197
81. Reiuthaler, Karl 197
82. Reissiger, Karl Gottlieb 198
83. Remenyi, Eduard 200
84. Re3-er, Louis fitienne Ernest. . . . 208
85. Rheiuberger, Joseph 209
86. Ricci, Federigo 214
87. Ricci, Luigi 211
88. Richards, Briuley 216
89. Richardsou, Joseph 217
90. Richter, Ernst Friedricli Eduard. 217
91. Riedel, Karl 218
92. Ries, Ferdinand 221
93. Ries, Franz 222
94. Rietz, Julius 223
95. Rimski - Korsakoff, Nicolai An-
dreyevitch 226
96. Ritter, Frederic Louis 232
97. Roberts, John Varley 236
98. Rochlitz, Johanu Friedricli 238
99. Rode, Pierre 238
100. RoUa, Alessaudro 246
101. Romberg, Audreas 247
102. Romberg, Beruhard 248
103. Root, George Frederick 251
104. Rore, Cipriauo de 251
105. Rossi, Lauro 257
106. Rossini, Gioacchiuo Antonio, in
1820 259
107. Rossini, Gioacchino Antonio, in
1865 260
108. Rouget de Lisle, Claude Joseph. . 265
PAGE
109. Rubinstein, Anton Gregor 268
110. Rubinstein, Nicolai 271
111. Rudorff, Ernst 271
112. Rungeuhagen, Carl Fricdrich 275
113. Russell, Henry 276
114. Sacchini, Antonio Maria Gasparo. 280
115. Sainton, Prosjier 285
116. Sainton-Dolby, Charlotte Helen. 286
117. Saiut-Saeiis, Camille 286
118. Sala, Niccolo 289
119. Salamau, Charles Kensington . . . 289
120. Salieri, Antonio 291
121. Salomon, Johaun Peter 294
122. Salvayre, Gervais Bernard 295
123. Sarasate, Pablo de 300
124. Sauret, Emile 305
125. Scarlatti, Alessandro 307
126. Scarlatti, Domenico 310
127. Scharwcnka, Philipp 313
128. Scharwenka, Xaver 314
129. Scheldt, Samuel 315
130. Schein, Johann Herrmann 315
131. Sehicht, Johann Gottfried 317
132. SchlOsscr, Adolf 321
133. Schmidt, Gustav 322
134. Schneider, Friedricli 326
135. Schoeuefeld, Henry 328
136. Scholtz, HeiTmanu 328
137. Scholz, Bernhard 329
138. Schroder, Karl 331
139. Schubert, Franz 333
140. Schulhofif, Julius 342
141. Schulz, Johaun Abraham Peter.. 343
142. Schumann, Clara 344
143. Schumann, Robert 345
144. Schuster, Joseph 350
145. Schiitz, Heinrich 351
146. Schweitzei', Antou 354
147. Senfl, Ludwig 363
148. Serpette, Gaston 365
149. Servais, Adrien Franyois 366
150. Sherwood, Edgar Harmon 370
151. Sherwood, William Hall 370
152. Shield, WiUiam 371
153. Silas, Eduard -. 378
154. Simouelli, Matteo 380
PORTRAITS OF MUSICIAN'S
PAGE
155. Singer, Edmund 383
156. Sivori, Ernesto CamiUo 386
157. Smart, George 389
158. Smart, Henry 389
159. Smith, AUce Mary 390
160. Smitb, John Stafford 391
161. Smith, Sydney 392
162. Smith, Wilson George 392
163. Solomon, Edward 397
164. Sijenser, Willard 409
165. Spindler, Fritz 410
166. SiJoln-, Louis 411
167. Spontini, Gasparo 414
168. Staden, Johann 420
169. Stainer, John 422
170. Stanford, Charles Villiers 423
171. Stanley, John 424
172. Steibelt, Daniel 429
173. Stephens, Charles Edward 430
174. Sternberg, Constantin Ivano-
vitch 431
175. Stevenson, John Andrew 432
176. Stobaus, Johann 434
177. StOr, Karl 434
178. Strauss, Eduard 438
179. Strauss, Johann, the elder 438
180. Strauss, Johann, the younger . . . 439
181. Strauss, Joseph 440
182. Sullivan, Arthur Seymour 445
183. Suppe, Franz von 447
184. Svendsen, Johan 448
185. Sweelinck, Jan Pieter 449
186. Sj-eroff, Alexander Nikolaye-
vitch 450
187. Sympson, Christopher 452
188. Tartini, Giuseppe 461
189. Taubert, Wilhelm 462
190. Tausig, Karl 464
191. Telemann, Georg Philipp 466
192. Thalberg, Sigismund 473
193. Thomas, Ambroise 479
194. Tosti, Francesco Paolo 490
195. Tozzi, Antonio 490
196. Traetta, Tommaso 491
197. Tschaikowsky, Peter 504
PAGE
198. Tuma, Franz 506
199. Turpin, Edmund Hart 508
200. Van der Stucken, Frank Valentin . 520
201. Verdi, Giuseppe, in 1859 527
202. Verdi, Giusei^pe, in 1880 527
203. Vierling, Georg 537
204. Vieuxtemps, Henri 538
205. Vinci, Leonardo 540
206. Viotti, Giovanni Battista 541
207. Vivaldi, Antonio 544
208. Vogler, Georg Joseph 546
209. Vogrich, Max 546
210. Volkmann, Eobert 548
211. Wagner, Kicbard, in 1853 542
212. Wagner, Richard, in 1880 542
213. Wallace, Vincent 560
214. Walliser, Chi-istoph Thomas .... 561
215. WallnOfer, Adolf 561
216. Webbe, Samuel 567
217. Weber, Carl Maria von, in 1809. . 568
218. Weber, Carl Maria von, in 1825 . 569
219. Weber, Gottfried 573
220. Weigl, Joseph 575
221. Wels, Charles 580
222. Wesley, Samuel Sebastian 583
22.3. Westbrooke, William Joseph 584
224. Westrop, Henry John 585
225. Widmann, Erasmus 588
226. Wieniawski, Henri 589
227. Wieniawski, Joseph 590
228. Wilhelm, Karl 591
229. Wilhelmj, August 591
230. Willaei-t, Adrian 591
231. Willmers, Heinrich Eudolf 593
232. Wilson, John 594
233. Winter, Peter von 596
234. WOlfl, Joseph 600
235. Wollenhaupt, Hermann Adolph.. 601
236. Wiierst, Richard 603
237. Wiillner, Franz 603
238. Zelter, Karl Friedrich 610
239. Zoeller, Carli 616
240. Zollner, Karl Friedrich 617
241. Zumsteeg, Johann Eudolf 618
PORTRAITS OF SINGERS, AUTOGRAPHS, FACSIMILES,
ETC.
1.
Autograph of Pictro Nardini,
27
1790
6
•:^s
2.
Autograph of Johann GottHeb Nau-
29
mann, 1761
9
30
3.
Autograph of Otto Nicolai, 1841 . .
17
31
4.
Portrait of Giulia Grisi
24
5.
Portrait of Angehca Catalani
28
32
G.
Portrait of Eugenia Papj)eiiheim . .
31
33
7.
Autograph of Jacques Offeuhach,
1858
38
34
8.
Portrait of Pauline I\Iilder-Haui)t-
35
maun
42
9.
Autograph of George Onslow,
30
1830
44
45
37
10.
Portrait of Giuseppa Grassini
11.
Heleue Hastreiter, as Orpheus ....
50
38.
12.
Manuel Garcia, as Otello
54
39.
IS
54
55
'10
U
Portrait of Tamagno
15.
Autograph of FerJinando Paor,
41.
1803
63
65
16.
Paganini, in 1831
42
17.
Autograph of Paganini
66
18.
Autograph of Paisiello, 1811
70
43
19.
Autogi-aph of Palestrina, 1589
74
20.
Portrait of Dcsirce Artut
80
44
21.
Winckelmanu, as Parsifal
87
45
22.
Portrait of Emma Nevada
110
40
23.
Autograph of Louis de Persuis,
47
1817
112
48
24.
Autograph of Jacopo Antonio
Perti
113
139
49
25.
Portrait of Marie Gabrielle Krauss.
50.
26.
Autograph of Michael Priitorius,
51
1616
150
PAGE
Portrait of Pauline Viardot-Garcia . 157
Koger, as John of Leydeu 157
Birthplace of Henrj' Purcell 105
Autograjih of Henry Purcell 108
Portrait of Giovanni Battista Ru-
bini 108
Portrait of Antonio Tamburini. .. . 168
Autograjih of Johann Joachim
Quautz, 1733 171
Autograph of Joachim Raff, 1875 . 170
Autograph of Jean Philippe Ra-
meau, 1749 181
Autograph of Anton Reicha, 1800 . 192
Autograph of Johann Friedrich
Reichardt, 1812 193
Autograph of Karl Reineclcc, 1883 . 195
Portrait of Mme Gueymard 190
Portrait of Euphi'osync ParejDa-
Rosa 197
Portrait of Antoinette Ceeile Saint-
Huberty 201
Autogi-aph of George Reutter,
1761 207
Autograph of Jose]3h Rhcinberger,
1872 210
Carl Hill, as Alberich 211
Portrait of Fanny Moran-Olden . . 212
Portrait of Faustina Bordoni 213
Tichatschek, as Rienzi 220
Autograph of Ferdinand Ries,
1816 221
Autograph of Julius Rietz, 1855 . . 224
Portrait of Padilla-y-Ramos 225
Portrait of Julie Aimee Dorus-
Gras 235
xU
PORTRAITS OF SINGERS, AUTOGRAPHS, ETC.
52.
Autograph of Pierre Rode, 1827 . .
PAGE
239
81
53.
Portrait of Francesca Cuzzoni ....
239
54.
Portrait of Josephine De Eeszke . .
243
82
55.
Autograph of Andreas Romberg,
1816
247
S3
5G.
Autograph of Bernhard Romberg,
1828
248
84
57.
Autograph of Cipriano de Rore,
1558
252
85
58.
Autograph of Gioacchino Rossini,
86
1853
262
87
59.
Autograph of Claude Joseph Rou-
88
get de Lisle
265
89
GO.
Autograph of Anton Rubinstein,
1872
270
27G
90
Gl.
Autograph of Henry Russell
62.
Autograph of Antonio Maria Gas-
91
paro Sacchini, 1784
282
G3.
Autograph of Camille Saint-Sacns.
288
92
Gl.
Autograph of Antonio Salieri,
1816
293
93
G5.
Autograph of Antonio Scandelli,
94
1574
307
GG.
Autograph of Alessandro Scarlatti,
95
1706
309
G7.
Autograph of Samuel Scheldt,
96
1624
315
G8.
Autograph of Johann Schenk,
97.
1830
316
G9.
Autograph of Johann Gottfried
98.
Schicht, 1807
317
70.
Autograph of Friedrich Schneider,
99
1830
32G
71.
Facsimile of Schubert's MS. : Dor
100
Erlkonig
335
72.
Schubert's Tomb
336
101.
73.
Autographs of Franz Schubert . . .
340
102.
74.
Autograph of Julius Schulhoff. . . .
342
103
75.
Autograph of Johaun Abraham
104
Peter Schulz, 1797
343
105
7G.
Autograph of Clara Schumann ....
344
106
77.
Birthplace of Robert Schumann . .
345
78.
Grave of Robert Schumann
346
107.
79.
Facsimile of Schumann's MS.: Al-
108
bum f iir die Jugend
347
80.
Autograph of Robert Schumann,
109
1841
349
Autograph of Joseph Schuster,
1780 350
Autograph of Heinrich Schiitz,
1624 352
Autograph of Simon Sechter,
1837 357
Portrait of Josephine Mainvielle-
Fodor 361
Sofia Scalchi, as Ai-sace 362
Autograph of Ludwig Senfl, 1537 . 363
Georg Unger, as Siegfried 374
Lilli Lehmann, as Brunnhilde . . . 375
Portrait of Gustave Hippolite
Roger 384
Delphine Ugalde, as Queen Eliza-
beth 401
Portrait of Maria Catarina Cara-
dori- Allan 402
Facsimile of Spohr's MS. : Dojj-
j)el-Quartet in G minor 412
Autographs of Louis Sjjohr, 1845 . 414
Autograph of Gasjiaro Spoutini,
1816
Autograph of Agostino Steflfani,
1709
Autograjjli of Johann Strauss?, the
elder, 1834 439
Autograph of Joliann Strauss, the
younger 440
Autograph of Nikolaus Adam
Strungk, 1697 442
Autograph of Ai-thur Seymour
Sullivan 445
Autogi-aph of Alexander Syeroff,
1862 450
Autograph of Giovanni Tadolini . 453
Autograph of Thomas Tallys .... 456
Portrait of Sabina Heinefetter. . . 457
Anton Schott, as Tannhiiuser. . . . 458
Portrait of Johanna Wagner 459
Autograph of Giuseppe Tartini,
1731 462
Autograph of Karl Tausig, 1866 . . 464
Autograph of Georg Philipp Tele-
mann, 1729 467
Autograph of Sigismund Thal-
berg, 1838 474
416
428
PORTRAITS OF SINGERS, AUTOGRAPHS, ETC.
110. Autograph of Ambroise Thomas.
111. Portrait of Maria Piccolomini . . .
112. Indienne in Le triomphe de
I'amour
113. Portrait of Ludwig Schnorr von
Carolsfeld
114. Portrait of Marie Sasse
115. Portrait of Francois Villaret
116. Portrait of Ronzi de Begnis
117. Portrait of Giglio Nordica
118. Statue of Verdi, at Milan
119. Autograph of Verdi
120. Portrait of Judic
121. Portrait of Furscb-Madi
122. Autograph of Henri Vieuxtemps.
123. Autograph of Giovanni Battista
Viotti
124. Autograph of Georg Joseph Vog-
ler
PAGE
480
125
493
126
127
496
128
129
498
130
502
131
502
132
507
525
133
528
134
529
135.
532
136.
533
137.
538
138.
139.
542
140.
546
141.
PAGE
Autogi-aph of Robert Volkmann . 549
Facsimile of Wagner's MS 553
Wagner's Birthplace 554
Autograph of Richard Wagner. . . 557
Niemann, as Siegmund 558
Betz, as Wotan 559
Birthplace of von Weber 570
Autographs of Cai-1 Maria von
Weber 572
Autograph of Joseph Weigl 576
Autograph of Adrian Willaert . . . 592
Autograph of Peter von Winter. . 596
Vanzini as Zaire 605
Portrait of Sylva 006
Autograph of Gioseffo Zarlino . . . 606
Portrait of Etelka Gerster 608
Autograph of Karl Friedrich Zel-
ter 610
Autograph of Niccola Zingarelli. . 615
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Viotti. Paris, 1810.
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TABLE OF ABBREVIATIONS.
A., Alto.
M., Monsieur.
B., Bass, Basso, etc.
Mile, Mademoiselle.
Bar., Baritone.
IMnie, Madame.
B. M. v., Beata Maria
Virgo.
JIS., MSS., Manuscript, Manuscripts
Biog., Bioj^rapby, Bio
gratia, etc.
M. S., Mezzo-soprano.
Catb., Cathedral.
Mus. Bac, Bachelor of Music.
Ch., Chun'h.
Mus. Doc, Doctor of Music.
Col., Collection.
n. d., no date.
do., ditto.
op., opus, opera.
etc., et cetera.
R A. M., Royal Academy of jMusic.
ct seq., et sequeiitia.
S., Soprano.
Fr., Freucli.
S., Sta., San, Santa.
Ger., German.
S. M., Santa Maria.
ib., ibidem.
Sp., Spanish.
id., idem.
St., Saint.
It., Italian.
T., Tenor.
L. of Honour, Legion
of Honour.
Voc, Voces.
Lib., Liber.
Vol., Volume.
*^* Words in italics indicate the
alphabetii
:al place of articles on the suhjccis specifiec
CYCLOPEDIA
OF
Music and Musicians
NAAMAN, oratorio in two parts, text
by W. Bartholomew, music by Sir
Michael Costa, first performed at the
Birmiugbam (England) Festival, Sept. 7,
18C4. Characters represented : Naaman
(T.), Mr. Sims Reeves ; Elisha (Bar.), Mr.
Santley ; Gehazi (B.), Mr. Cummings ; Adah
(S.), Mile Adelina Patti ; The Shunamite
Widow (A.), Mme Rudersdorff. It was
again sung at the same place, Sept. 1, 1870,
and was given by the Handel and Haydu
Society, Boston, March 27, 18G9. Pub-
lished by Addison & Co. (London, 18G-4).
— Athenfcum (18G4), ii. 345, 378 ; (1870), ii.
346 ; (1878), i. 19G.
NABUCCO, Italian oj^era in four acts,
text by Solera, music by Verdi, first repre-
sented at La Seala, Milan, March 9, 1842,
with the following cast :
Nabucco (Bar.) Signor Ronconi.
Zaccaria (B.) Signor Derivis.
Ismaele (T.) Signor Miraglia.
Abigailo (S.) Mme Strepponi.
Fenena (A.) Mme Bollinzagi.
The original title, Nabucodonosor, was
shortened to Nabucco. It was the first
opera that established Verdi's reputation in
France. The subject treats of Nebuchad-
nezzar's madness, of which a captive, Abi-
gaile, who pretends to be of noble birth,
takes advantage for self-aggrandizement;
her downfall, and the expiation of the king.
This opera was first given in Vienna in
1843 ; in Berlin in 1844 ; and in Loudon
as Nino, March 4, 1846. It was first repre-
sented in New York, April 4, 1848. Pub-
lished by Diabelli (Vienna, 1844). Same
subject, Nebukadnezar, German opera, text
by Menautes, music by Reinhardt Keiser,
Hamburg, 1704 ; Nabuchodonosor, Italian
opera seria, or oratorio, text by Rocco
Maria Rossi, music by Attilio Ariosti, Vi-
enna, 1706 ; Nabuco, Portuguese ballet in
one act, by Pinto, Lisbon, about 1850 ; and
an operetta in one act, by J. J. Debillemont,
Paris, 1871. — Clement et Larousse, 471 ;
Grove, iv. 246 ; Allgem. mus. Zeitg., xlvi.
265 ; Athenanim (1846), 250.
NACCIARONE, GUGLIELMO, born in
Naples, Feb. 18, 1837, still li\ing, 1890.
Pianist, son of the following, pupil of Mi-
chele Marrano, and in composition of his
father ; he appeared successfully in public
at the age of ten, and two years after played
in Paris, ajjplauded by Thalberg. Return-
ing to Naples in 1851, he was heard in
Florence, and in 1858 made a concert tour
through Germany. Works : Pier de' Me-
dici, opera ; Cantata ; 2 symphonies for or-
chestra ; Miserere ; Pianoforte pieces ; Ro-
mances, etc. — Futis, Supplement, ii. 259.
NACCIARONE
NACCIARONE, NICOLA, born in Na-
ples, April 2, 1802, died there, December,
1876. Pianist, pupil at the Couservatorio
of Eaffaelle Cioifi and of Giuseppe Elia ; and
in singing of Liiigi Mosca, in harmony and
counterpoint of Fenaroli and Zingarelli,
and private puf)il on the pianoforte of John
Field. Works : Requiem, 1859 ; Sanctus
for eight voices, and other church music ;
4 sj-mphonies for orchestra ; Funeral sym-
phony ; Quartets for pianoforte and strings ;
Pianoforte music, and songs. Sofonisba,
opera (unpublished). — Fctis, Supplement,
ii. 259.
NACHKLANTGE AN OSSIAN (Echoes
from Ossian), concert overture for orches-
tra, in A minor, by Niels W. Gade, first
performed in Copenhagen in 1841. Gade
received in 1841 for this work a prize from
the Musical Union of Copenhagen. It was
given in Leijjsic, Jan. 27, 1842, and by the
Philharmonic Society, New York, in the
season of 1852-53. Published by Breitkopf
& Hiirtel (Leipsic, 1841). Arranged for
pianoforte for four hands. — Allgem. mus.
Zeitg., xliii. 975 ; Neuc Zeits., xvi. 41 ; Sig-
nale (1882), 8G5.
NACHT DIE (The Night), cantata for
soli, chorus, and orchestra, text by M.
Hartmann, music by Ferdinand Hiller.
Published by Leuckart (Breslau, 18G3).
—Allgem. mus. Zeitg. (18G3), 267.
NACHTLAGEK IN GRANADA, DAS
(A Night in Granada), romantic opera in
two acts, test from Johann Friedrich Iviud's
drama, music by Konradin Kreutzer, first
represented in Vienna in 1834. The Prince
of Spain, hunting incognito, cornea to a
mountain near a Moorish castle, where
he finds a young girl, Gabrielle, bewailing
the loss of a dove, which has been cai-ried
away by an eagle. She tells him also that
her guai-dian intends to mai-ry her to Vasco,
but that she wiU not forsake her lover, Go-
mez. The huntsman promises the protec-
tion of the Prince, and at this moment the
other huntsmen, including Vasco, arrive.
In the meanwhile Gomez, who has been to
court to ask aid from the Prince in securing
Gabrielle's hand, follows him to the Moor-
ish castle and ai'rives in time to defend
him from the huntsmen, who have conspired
to kill him. Afterwards he is rewarded with
the hand of Gabrielle. The opera was given
in Paris in 1843 ; and ui New York in 1864.
Published by Diabelli (Vienna).
NACHTLIED (Night Song), song by
Hebbel, set for solo, chorus, and orchestra,
by Robert Schumann, op. 108, first given ui
Diisseldorf, March 13, 1851. It was com-
posed in 1849, dedicated to Hebbel, and was
published by Simrock (pianoforte score,
Bonn, 1852 ; full score, 1853). Breitkopf &
Hiirtel, Schumann Werke, Serie ix.. No. 7.
NACHTSTUCIvE (Night Pieces), four
pieces for pianoforte, by Schumann, op. 23,
composed in Vienna in 1839, and dedicated
to F. A. Becker, of Freiburg. The name is
taken from a series of tales by Hoflinann.
I. Mehr langsam, oft zuruckhaltend (in C) ;
H. Markirt und lebhaft (in F) ; HI. Slit
grosser Lebhaflikeit (in D-flat) ; IV. Eiu-
fach (in F). Published by P. Mechetti
(Vienna, 1840) ; also by Spina (Vienna).
Breitkopf & Hiirtel, Schumann Werke,
Serie vii.. No. 23. — Grove.
NADAUD, GUSTA\^, born at Roubaix
(Nord), France, Feb. 20, 1820, still Uving,
1890. Vocal composer, at first intended for
a mercantile cai'cer, but was so encouraged
by the success of some chansons, of which
he had written both words and music, that
he devoted himself to this species of com-
position. He has published fifteen volumes,
each containing twenty chansons, and a vol-
ume of Chansons legeres. He has written
also three parlor operettas : Le docteur
Vieuxtemps ; La voUere ; Porte et fenetre.
Legion of Honour, 1861. — Fetis, Suj^jjlc-
ment, ii. 260.
NADERJLiN (Nadermann), FRANgOIS
JOSEPH, born in Paris, 1773, died there,
Aijril 2, 1835. Virtuoso on the harp, pupil of
Krumpholz, and in composition of Des-
vignes ; in 181G royal chamber harpist, and
in 1825 professor at the Conservatoii-e. He
NAGELI
bad made a concert tour in Germany in
1798, and liad played with success in Mu-
nich and Vienna. After his father's death
he became associated with his brother Henri
in the management of the harj) factory which
they inherited. Works : 2 concertos for
tlie harp, op. 13, 40 ; 2 quartets for 2 harps,
vioUn and violoncello, op. 42 ; Quartets for
harp, pianoforte, violin and violoncello, op.
43, 54 ; Trios for harp and various instru-
ments ; Trio for harps, op. .57 ; Duos for
harj) and violin or flute ; Do. for harp and
pianoforte ; Sonatas, au-3 varies, fantaisies,
etc., for harp. — Fctis.
NAGELI, HANS GEOKG, born at Wet-
zicon, Canton Zurich, Switzerland, May 10,
1773, died at Zurich, Dec. 26, 1836. Didac-
tic and critical writer ; deserves much cred-
it for good and clear editions of classical
works — Handel's, Bach's and Frescobaldi's,
and the Repertoire des claveciuistes (1803),
containing works of Beethoven, Clementi,
Dussek, and Steibelt. In 1824 he travelled
in Germany, and gave lectures on music ;
was a believer in the Pestalozzian method
and used it more than twenty j'ears in a
school ho had established. He was founder
and president of a society for the cultiva-
tion of music. He is best known for his
audacity in inserting four bars into one of
Beethoven's sonatas. Works : Choruses for
church and school ; Toccatas for pianoforte ;
Many collections of songs, including Freut
Euch des Lebens. He jJubhshed also Go-
sangbildungslehre nach Pestalozzisehen
Gruudsiltzen (ib., 1810), Vorlesungen fiber
Musik mit Beriicksichtigung der Dilettanten
(Stuttgai-t and Tubingen, 1826), and sev-
eral other books and pamphlets. — AUgem.
d. Biog., xxiii. 221 ; Bierer, Hans Nageli,
Erinnerungen, etc. (Zurich, 1844) ; Biog.
von H. G. Nilgeli (ib., 1837) ; Heindl,
Biog. der beriihmtesten Piidagogen, etc. ? ;
Keller, H. G. Nageli, eiue Festrede, etc.
(Zurich, 1848) ; Schwager, Der deutscho
Miinnergesang, etc. (Kaiserslautern, 1879).
NAGILLER, MATTHAUS, born at Mini-
ster (Tyrol), Oct. 24, 1815 (Oct. 14, 1817 ?),
died at Innspruck, July 8, 1874. Instru-
mental and vocal composer, first instructed
at Schwaz by the choir-master Pichler, then
at Innspruck, pupil of Martin Goller in har-
mony, and at the Vienna Conservatorium, of
Preyer in comjjosition ; won the first prize
in i840, and went to Paris in 1842. He
soon gained reputation as a teacher, founded
and conducted the Mozart- Verein, and in
1846 made a concert tour in Germany,
bringing out successfully his first sym-
phony, previously produced in Paris, and
other compositions, at Cologne, Munich,
and Berlin. In 1848 he left Paris to return
to his native land, where he settled in 1850,
after travelling in Germany. In 1854 he
removed to Munich, bi-ought out some of
his more ambitious compositions, and re-
peatedly made concert tours to different
cities until 1805, when he was called to
Botzen as Kapellmeister and music direc-
tor ; in 1866 he went in the same capacity
to Innspruck, where he assumed also the
direction of the Consei'vatorium and was
very active in promoting a higher standai'd
of music. Works : Herzog Friedrich von
Tirol, opera, given at Botzen, 1861, Inns-
pruck, 1802 ; Music to Widmann's Nausi-
kaa ; Symj)houy in C minor ; Solemn mass ;
Other masses ; Offertories ; Tantum ergo ;
etc. ; Overtures ; Choruses and songs.
— Allgem. d. Biog., xsiii. 227 ; AUgem.
Zeitg., July 15, 1874, Beilagc, 190 ; Egger,
Tiroler, and Vorarlberger (1882), 483 ;
Heindl, Galleni beriihmter Piidagogen, etc.
(Munich, 1859), ii. 50 ; Wurzbach.
NALiDS, THE. See Die Najaden,
NAIM, overture to an opera in five acts, of
the same name, by Napoleon Henri Keber.
The overture has been frequently performed,
but the opera has never been given.
NAIS, opera-ballet in three acts, text by
Cahusac, music by Rameau, first repre-
sented at the Academie Royale de Musiquo,
Paris, April 22, 1749. It was revived Aug.
7, 1764.
NAJADEN, DIE (The Naiads), overture
for orchestra in D, by William Sterndalo
NALA
Bennett, op. 15, first performed at the Ge-
waudhaus, Leipsic, March 7, 1837, under
Mendelssohn's dii-ection. It was given bj'
the Philharmonic Society of London in 1837 ;
of New York in the season of 1844-45. Pub-
lished by Kistner (Leipsic, 1841). — Schu-
mann, Gesammelte Schriften, ii. 98.
NALA UND DAIVIAYANTI, cantata, text
by Frau Dr. Soiihie Hasenclever, music by
Ferdinand HOler, op. 150, written for and
first performed at the Birmingham (Eng-
land) Festival, Sept. 1, 1870, under Hitler's
direction. The solo singers were : Miss
Edith Wynne, Mr. Cummings, and Mr.
Santley. The subject is from the Maha-
bharata, and treats of the love of Nala for
the maiden Damayanti. It was given in
London, May 15, 1871. Pubhshed by No-
vello (Loudon, 1870).— Athenreum (1870), ii.
314.
NALDINI, S.ANTE, born in Rome, Feb.
5, 1588, died there, Oct. 10, 1GG6. Church
composer, was tenor in the papal chapel in
1G17, and later abbate. Ho was one of
those commissioned by Pope Urban "Viil. to
publish the hynuis of the church with Gre-
gorian melodies, and music by Palestrina.
"Works : Miserere ; Motets ; Hymni Sacri in
Breviario Romano. S. D. N. Urbani YIH.
auctoritate recogniti, et cantu musico pro
prsecijiuis anni festivitatibus esjiressi (^bat-
wei"p, 1644). — Mendel ; Fctis ; Schilling ;
Gerber.
NAMENSFEIER (Name Festival), over-
ture for orchestra, iu C, bj* Beethoven, op.
115, first performed in Vienna, Oct. 4,
1814, the name-day of Franz I., Emperor
of Austria. Beethoven, hoping to have this
work heard by the crowned heads of Eu-
rope, who were holding a Congress in Vienna
in the autumn of 1814, wrote on the title-
page " Zum Namenstag unseres Kaisers."
It was played in the Great Redoutensaal,
Vienna, Dec. 25, 1815, without the title
" Namensfeier," and in 1818 it was given
under the strange title of " A la Chasse."
In 1825 Beethoven called it simply " Grosse
Ouverture in C dur," and dedicated it to
Prince Anton Heinrich Radziwill. The
original MS. is in the Konigliche Bil)liothek,
Vienna. This overture was more frequently
worked over than any other of Beethoven's
instrumental compositions. The first sketch
was made in 1809, and others arc combined
with sketches for the seventh, eighth, and
ninth symphonies. It is especially interest-
ing on account of its connection mth the
ninth symphony, for its principal theme re-
sembles that ■nTitten to Schiller's " Ode to
Joy," which at one time Beethoven thought
of setting as a chorus preceded by an over-
ture. It was first jHiblished by S. A. Steiner
& Co. (Vienna), shortly after Beethoven's
death ; by Haslinger (Vienna, 1830) ; by
Schlesinger under the title of " A la Chasse"
(Paris) ; and by Breitkopf & Hiirtel, Beetho-
ven Werke, Serie iii., No. 23. — Thayer, Ver-
zeichniss, 125 ; Lenz, Beethoven, ii.. Part ii.
124 ; Marx, Beethoven, ii. 225 ; Nottebohm,
Beothoveniaua, 35 ; Schiudler, ii. 153 ; Mas.
Wochenblatt (187G), 1.
NiiMOLT^A, ballet in two acts and three
tableaux, text by Charles Nuittier, music
by £douai-d Lalo, first represented at the
Opera, Paris, March G, 1882, wth Mile
Sangalli as Namouna. Namouna, the danc-
ing slave of Adriani, passes into the posses-
sion of Ottavio in payment of a gambling
debt. Her old master, who loves her, fol-
lows her with his suit, but she falls in love
with Ottavio, and pursues him until he is
won through her airy grace and charm.
Introduction and serenade from Namouna,
first performed in America by the Symphony
Society, Nov. 25, 1887.— Le Menestrel
(1881-82), 115.
NANCE, song for chorus and orchestra,
text on Schiller's words, " Auch das Schdne
muss sterben," music by Brahms, op. 82,
first given in Basel, Nov. 11, 1881 ; in Vi-
enna, Feb. 10, 1882. Niinia was a classical
term for a funeral dirge. Published by
Peters (Leipsic, 1881).
NANIE, song for chorus and orchestra,
text from SchQlcr, music by Hermann
Goetz, op. 10, first given in 1875. Pub-
NANINI
lished by Kistner (Leipsic, 1876). — Mua.
Wochenblatt (187G), 722.
NANESfl, GIOVANNI BERNAKDINO
(Ambros gives both Bernardo and Bernar-
dio), born at Vallerano about the middle of
the IGth century, died in Kome about 1C20.
He studied counterpoint under his elder
brother, Giovanni Maria. Went afterwards
to Rome, where he was made maestro di cajj-
pella at S. Luigi de' Francesi, and later at
S. Lorenzo in Damaso. About 1575 he
began to assist his bi'other in his newly
founded music school. No more is known
of his life. Although not so imposing a
genius as his brother, be was still one of
the greatest men of the " great " Roman
contrapuntal school. His compositions
have a little more of modern flavour than
those of his great contemporaries, and he
was one of the first of the school to add an
organ part to his vocal counterj)oint. Many
of his most important works, among them
his Salve Regina, 12 voc, are still in IMS.
Published works : Madrigali a 5 voci. Lib.
L (Venice, 1579, 1588, 1598) ; Idem, Lib. H.
(ib., 1599) ; Mottecta 1, 2, 3, 4, 5 voc. una
cum gravi voce ad orgaui sonum accomo-
data, Lib. I. (Rome, 1G08) ; Idem, Lib. H.
(ib., IGll) ; Idem, Lib. HI. (ib., 1G12) ;
Idem, Lib. IV. (ib., 1618) ; Salmi a 4 voci
con r organo (ib., 1620) ; Venite, exultemus
Domino, a 3 voci col' organo (Assisi, 1620) ;
Psalms, motets, and madrigals, some in
MS., and many published in various collec-
tions by Phalesius and others ; MS. Psalms
and Motets 8 voc, and Salve Regina, 12 voc,
in Santini collection, now in the episcopal
Palace at Miinster ; 3 psalms, 4 voc, in
Proske's Musica Divina. — Ambros, iv. 70 ;
Riemann ; Fttis ; Grove.
NANINI, GIOVANNI MARIA, born at
Vallerano, about 1540, died in Rome, March
11, 1607. Elder brother of the above;
studied counterpoint at Goudimel's school
in Rome ; the legend that he was a fellow
pupil of Palestrina is undoubtedly false, as
Palestrina must have left the school before
Naniui entered it. He returned to Vallera-
no as maestro di cappella, but in 1571 went
back to Rome to succeed Palestrina aa
maestro di cappella
at Santa Maria Mag-
giore ; in 1575 ho
resigned this post to
Ij^polito Tartaglini,
and established the
first public music
school in Rome. At
this famous school,
in which he was as-
sisted by his brother
Giovanni Bernardi-
no, and by Palestrina himself, almost all the
best composers of the decline of the great
Roman period got their musical education.
On Oct. 27, 1577, he was elected member
of the Pontifical choir, for which he wrote
many of his best works. He was buried
in S. Luigi de' Francesi. Nanini was one
of the greatest composers of the great Ro-
man school ; indeed ho was little inferior
to Palestrina. His works are esijecially
noted for their perfection of form and style.
His six-voice " Hodie nobis cmlorum rex " is
still sung annually in the Sixtino Chai^el on
Christmas morning. Works : Motetti a 3
voci (Venice, Gardano, 1578) ; do. a 5 voci
(ib., 1578) ; Madrigali a 5 voci, lib. L (ib.,
1578) ; do., hb. H. (ib., 1580 ; other eds.,
1582, 1587, 1605) ; do., lib. HI. (ib., 1584) ;
do., lib. rV. (ib., 1586) ; Canzonetti a 2
voci (ib., 1587) ; Psalmo 7 voc. in Fabio
Costantiui's Salmi a 8 di diversi, etc. (Na-
ples, 1615) ; Motets in Phalesius's Har-
monia celeste, Melodia olimpica, Musica
divina, Symj)honia angelica, etc Cento
ciuquanta sette coutrapjiunti e canoni a 2-
11 voci, sopra del canto formo iutitolato La
Base di Costanzo Festa, MS. ; 1 Madrigal,
8 voc, MS., in the Munich Library ; Three
motets, 3 voc, one do., 4 voc. ; one Miserere,
4 voc, in Proske's Musica divina ; other
single works in collections by Rochlitz,
Tucher, Liick, and Prince von der Mosz-
kwa. Regole di Giov. Maria e di Bernar-
dino Naniui, per far il contrajipunto a men-
NANTEKNI
te sojira il canto formo (written conjointly
by both brothers) in MS., transcribed by
Orazio Griffi, is in the Palazzo Corsiui aUa
Luugara. — Aiubros, iv. 67 ; Fotis ; Eie-
niann ; Grove.
NANTEKNI, ORAZIO, born in ]\Iilan
about the middle of the 16th century, died
(?). He was maestro di cappella of S. Celso
about 1590, and is jiraised by wi-iters of
his time. Besides the collection II primo
libro di Motetti a cinque voci (ililau, 160G),
his compositions may be found in most of the
collections published about the beginning
of the 17th century. His son Michel An-
gelo, who succeeded him at S. Celso, pub-
lished madrigals and canzonets. — Futis.
NAPRAVNI'K, EDUARD, born at Bejsfc,
near Kouiggriitz,
Bohemia, Aug. 24,
1839, still living,
1890. Dramatic
composer, first in-
structed on the pi-
anoforte by Josef
Puhonn^, then at
Pardubitz (1850) on
the jjianofortc and
organ by August
Svoboda, his uncle ;
finally, in Prague, pupil at the organ school
of Blaiiek, and Kaj-1 Pitsch, and at Maydl's
pianoforte school, where in 1850 he became
instructor, studying at the same time instru-
mentation under Fricdrich Kittl. In 1861
he went to St. Petersburg as Kapellmeister
to Prince YussupolT, whose orchestra he re-
organized. In 1862 he was appointed or-
ganist at the imperial ojaei'a, soon after
chorus-master and assistant Kapellmeister,
and in 1869 first court Kapellmeister.
From Balakirev's resignation in 1872, until
1882, he also conducted the symphony con-
certs of the music society. Works — Ojieras :
The Tempest ; Nizegorodni, given at St.
Petersburg, 1869 ; Harold, ib., 1886. The
Demon, sj-mphonic poem ; Vlasta, overture
for orchestra, Prague, 1861 ; Ccske perle
(Bohemian pearls), fantasia for pianoforte
and orchestra ; Lou6eni (The Farewell), do. ;
Trios, quartets, pianoforte music ; Bohemian
and Russian songs. — Fotis, Supplement, ii.
262 ; Mendel, Ergiinz., 231 ; Riemanu.
NAIiCISSE, idylle antique, for chorus,
soli, and orchestra, text by Collin, music by
Massenet, first performed in Paris in 1878.
It was first given in New York at Chicker-
ing Hall, Feb. 2, 188G, with additional in-
strumentation by Franz Van dcr Stiickcn.
The solos were sung by Mme Christine
Dossert and Mr. W. H. Lawton. Pubhshed
by G. Hartmann (Paris).
"nARDINI, PIETRO, born at Fibiana,
Tuscany, in 1722,
died in Florence,
May 7, 1793. Vi-
olinist, pupil of
Tartini, in Padua ;
was, in 1753-67,
solo violinist at the
court in Stuttgart.
In the latter year
he returned to
Italy, and was a short time at Leghorn, then
in Padua with Tartini, nntil his old master's
death, in 1779, when he was appointed di-
rector of the court music in Florence. Ho
seems to have been a true musician, and
both Leopold jMozart and Schubart speak
enthusiastically of his inlaying. Works : 6
violin concertos ; 6 sonatas for violin and
bass ; 6 flute trios ; 6 violin solos ; 6 string
0^i^
<^
quartets ; 6 violin duets ; Sonatas in Alard's
Klassische Meistcr and David's Hohe Schulo
dcs Violinspiels. — Leoni, Elogio di Pietro
Nardini, etc. (Florence, 1793) ; Futis ; Ger-
ber ; Mendel ; Schilling ; Hart, The Violin,
224 ; Wasielewski, Die Violinc, 93 ; Du-
bourg. The Violin, 76.
NARES, JAMES, born at Stanwcll, IMid-
dlesex, England, in 1715, died in Loudon,
NAIiGEOT
Feb. 10, 1783. He was chorister in tbo
Chapel Eoyal, under Bernard Gates, and
afterwards j)upil of
Dr. P e p u s c h. He
acted in the place of
Pigott as organist of
St. George's Chajjel,
Windsor ; in 1734 suc-
ceeded Salisbury at
York Minster; in 1756
was organist and com-
poser in the Chapel
Eoyal, and in 1757-80 Master of the Chil-
dren there. Mus. Doc, Cambridge, 175G.
Works : Eight Sets of Harpsichord Les-
sons (17-48) ; 5 Harpsichord Lessons (1758) ;
Collection of Catches, Canons, and Glees ;
The Eoyal Pastoral, ode ; II Principio,
or, A regular Introduction to playing on
the Hai-psichord or Organ ; Treatise on
Singing ; 3 Easy Harpsichord Lessons ; Six
Organ Fugues ; Second Treatise on Sing-
ing, with a Set of English Duets ; 20 An-
thems, 1778 ; A Morning and Evening Ser-
vice and Six Anthems, 1788 ; To all lovers
of harmony, and other glees ; Service in F ;
Anthems, canons, and rounds in various col-
lections.— Grove ; Mendel ; Eiemann ; Fe-
tis ; Gerber ; Barrett, English Church
Composers, 134 ; Harmonicon (1829), 235.
NAEGEOT, PIEEEE JULIEN, born in
Paris, Jan. 7, 1799, died (?). Dramatic
composer, pupil at the Conservatoire of
Kreutzer on the violin, and of Barbereau,
Eeicha, and Lesueur in composition. He
was a member of the orchestras successive-
ly at the Opura Comique, the Theatre Ita-
lien, and the OiDcra, then became chef d'or-
chestre at the Theatre des Variotes. W^orks
—Operettas : Los Contrabandistas, 1861 ;
La volonte de mon oncle, 1862 ; Les ex-
jjloits de Sylvestre, 1805 ; Dans le pcti-iu,
18GG ; Jeanne, Jeannette et Jeauneton, 1870 ;
Trois troubadours ; I Pifierari ; Le docteur
Frontin ; Les ouvriferes de qualite. — Fetis ;
do., Supplement, ii. 263.
NASCO, GIOVANNI, Italian composer of
the 16th ceutuiy. He was maestro di cai^-
pella at Fano. W^orks : Primo libro di
Madrigali, etc. (Venice, 1555) ; Motetti a
cinque voci (ib., 1558) ; Madrigali, do. (ib.,
1559) ; Canzoni e Madrigali a sei voci, etc.
(ib., 1562) ; Lamentationes Jeremise cum
Passionis, etc. (ib., 1565). — Fetis ; Mendel.
NASOLINI, SEBASTIANO, born at Pia-
cenza, Italy, in 1768, died in Venice in 1799
(1810 ?). Dramatic composer. Works :
Nitteti, Trieste, 1788 ; L' isola incantata,
Parma, 1789 ; L' Adriano in Siria, Milan,
1790 ; L' Andromacca, London, 1790 ; Teseo,
Vienna, 1790 ; La morte di Cleoi^atra, Vi-
cenza, 1791 ; Ercole al Termodoute, Trieste,
1791 ; Semiramide, Eome, 1792 ; Eugenia,
Viceuza, about 1793 ; L' incantesimo senza
magia, about 1794 ; II trionfo di Clelia,
about 1799 ; Merope, about 1805 ; and sev-
eral others, given in different cities of Italy.
— Fetis ; Mendel.
NATHAN, ISAAC, born in Canterbury,
England, in 1792, died in Sydney, Australia,
Jan. 15, 1864. Intended for the priesthood,
he went to Cambridge in 1805 to study
Hebrew, but became the pupil of Domeuico
Corri in singing and composition. He was
then a singing master in London, and ap-
peared in Guy Mannering, at Covent Gar-
den, but without success. He emigrated
afterwards to Sydney. Works : The Al-
caid, opei-a, 1824 ; Tlie Illustrious Stran-
ger, operetta, 1827 ; Music for Sweethearts
and Wives ; Hebrew Melodies for Byron's
poetry ; Songs. He was author also of An
Essa}' on the History and Theory of Music,
and on the qualities, capabilities, and man-
agement of the Human Voice (London,
1823) ; also of the Life of Madame Malibran
de Beriot (ib., 1830).— Grove ; Fetis ; Men-
del ; Eiemann.
NATIONS, LES, suite, six morceaux
caracteristiques, for grand orchestra, by Mo-
ritz Moskowski, op. 23. I. Eussisch (Alle-
gretto) ; II. Italienisch (Presto) ; HI.
Deutsch (Andante sostenuto) ; IV. Spanisch
(Molto vivace) ; V. Polnisch (Allegro con
fuoco) ; VI. Ungarisch (Molto Allegro).
Published by Heinauer (Breslau, 1885) ; by
ISTATIVITfi
Durdilly (Pai-is). AiTangeJ for the piano-
forte for four Lands. — Neue Zeits. (1885),
366.
NATIVITY, LA, oratorio, text by Cliaba-
non de Maugris, music by Gossee, first per-
formed in France in 1780. It contains a
fine double chorus sung by angels and
sliepberds, ■which excited the greatest enthu-
siasm. Another effect was jjroduced by a
second orchestra behind the scenes. Per-
golesi also wrote an oratorio of the same
title. — ^Hcdouin, Gossee, sa vie et ses ou-
vrages.
NATIVITY, THE, cantata in three pai-ts,
for chonis, soli, and orchestra, text from
MU ton's ode " On the Morning of Christ's
Nativity," music by John Knowles Paine,
op. 38, first performed, 1883. — Upton,
Standard Cantatas, 28G.
NATUR UND LTEBE (Natui-e and Love),
cantata, text by Kind, music by Carl Maria
von Weber, for two sojjrauos, two tenors,
two basses, and pianoforte, wiitten for the
name-day of King Friedrich August of
Saxony, first performed in PiUnitz, Aug. 3,
1818. It was sung by Mile Julchen Zuchcr,
first soprano ; Mme Mieksch, second so-
prano ; Herr Bergmann, first tenor ; Herr
Wilhelmi, second tenor ; Herr Slieksch,
first bass ; and Herr Helwig, second bass.
The autograph is in the possession of Max
von Weber, and a copy is in the private
library of the King of Saxony. Published
by Schlesinger (Berlin). Published with a
second text, " Freundschaft und Liebe," by
Hei-klots ; in English as " The Offering of
Devotion " (Cramer & Co., London). — Jilhns,
Weber Verzeichniss, 257 ; Weber, Weber,
ii. 172 ; Berliner mus. Zeitg., i. 109.
NAUBEET, FRIEDRICH AUGUST, born
at Schkeuditz, Prussian Saxony, March 23,
1839, stiU living, 1890. Vocal composer,
pupil of Stern's Conservatorium in Berlin,
organist and vocal instructor at the Gymna-
sium of Neu-Brandenburg. He enjoys con-
siderable reputation as a song writer.
NAUE, JOHANN FRIEDRICH, born at
Halle, Nov. 17, 1787, died there. May 19,
1858. Church composer, pupil of Tiii-k,
whom he succeeded in 1813 as music di-
rector at the university, where he exerted
himself for the elevation of vocal church
music. He sacrificed his entire fortune in
collecting a precious musical library, after-
wards bought in part for the royal library
in Berlin, and in bringing about, in 1829,
the great music festival at Halle, which was
conducted by Sjiontini. Works : Versuch
eiuer musikalischen Agenda, etc. (Hallo,
1818) ; Allgemeines evangelisches Choral-
buch (ib., 1829) ; Cantato zur Gediicht-
nissfeiereiUcr Verstorbener ; Motets, hymns,
responses ; INIarcho triomi)hale, for chorus
and wind instruments ; Pianoforte music,
etc. — Mendel ; Eiemauu.
NAUMANN, E:\nL, born in Beriin, Sept.
8, 1827, died in Dres-
den, June 23, 1888.
Dramatic coin230ser
and distinguished
■«Titer on music,
gi-andson of Johaun
Gottlieb Navmiann,
first instructed at
Bonn by Johanna
Matthieu and by
Franz Anton Ries,
then at Frankfort pupil of Schnyder von
Wartenseo, and at the Conservatorium in
Leipsic of Mendelssohn, finally at Frankfort
of Moser. In 185G bo was called to Berlin
as music director at the Hofkircho, and in
1869 appointed royal professor, isrojjosed
by the Academy of Ai-ts. In 1873 he set-
tled at Dresden, where soon after he founded
a singing society. Works : Judith, ojaera ;
Die Miihleuhexe, Singspiel ; Loreley, opera,
Berlin, 1888 ; Christus der Friedensbote,
oratorio, Dresden, 1848 ; Die Zerstorung
Jcrusalems, cantata ; Dank- und Jiibelcan-
tate, BerUn, 18GG ; Solemn mass ; Psalms,
and other chui-ch music ; Symphonies ; Pi-
anoforte music and songs. Among his writ-
ings, "Die Tonkunst in der Culturge-
schichte " (Beriin, 18G9-70) takes the high-
est rank. — Mendel ; Riemann.
NAUMAN]^
NAUIVIANN, ERNST (CARL), born at
Freiberg, Saxony, Aug. 15, 1832, still liv-
ing, 1890. Instrumental composer, grand-
son of Joliann Gottlieb Naumanu, pu^nl of
Hauptmaun, Richter, Wenzel and Langer,
at Leipsic, and of Johann Schneider at Dres-
den ; became music director at the univer-
sity and city organist at Jena in ISGO, and
professor in 1877. Works : 2 quintets for
strings, op. G, 13 ; Quartet for do., op. 9 ;
Trio for pianoforte and strings, op. 7 ;
Serenade for string quintet, flute, oboe,
bassoon, and born ; Sonata for viola, op. 1 ;
etc. — Mendel ; Riemann.
NAUIIANN, JOHANN GOTTLIEB, born
at Blase witz, near Dresden, Ajnil 17, 1741,
died in Dresden, Oct. 23, 1801. Dramatic
composer, jjupil in Dresden at tlio Ki-euz-
scbule, -wlience a Swedish musician, named
Weestrom, took Lim about 1757 to Italy.
After a short time in Hamburg and Padua,
bad treatment compelled him to leave the
Swede, and he became a pupil of Tartini.
After three years in Padua he visited Najjles,
Rome, Bologna, where he studied under
Padre Martini, and Venice. Returning to
Dresden in 17G3, he became court composer
of sacred music. He
again travelled in Italy,
producing operas, and yi - v- -
on his return, having /^^
declined an invitation to Berlin from Fred-
erick the Great, was appointed in 177G, by
the Elector, Kajoellmeistcr, and in 1786
Oberkapellmeister. Hummel was his pupil.
Although very popular in his time and a
good musician, he seems to have had no
genius, and is now almost forgotten.
Works — Operas : AchOlo in Seiro, Palermo,
17C7 ; Alessandro nello Indie, Venice, 17C8 ;
La clemeuza di Tito, Dresden, 17G9 ; Lo
uozze disturbate, Solimanno, Venice, 1772 ;
Armida, Padua, 1772 ; L' isola disabita, Ve-
nice, 1773 ; Ifiermestra, ib. ; R villauo gelo-
so, Dresden ; L' ipocondriaco, ib. ; Elisa,
ib.; Osiride ; Tutto per amore ; Amphion,
Stockholm, 177G ; Cora, Gustave Wasa, ib.,
1780 ; Le reggie d' Imeneo, Dresden ; Or-
ll\ '=rUr&>-i'^-fAy
pheus, Danish opera, Copenhagen, 1785;
La sorte di Medea, ballet, Berlin, 1788 ;
La dama soldato, Dres-
den, 1791 ; Amor giusti-
ficato, ib., 1792 ; Prote-
silao, Berlin, 1793 ; An-
dromeda ; Aci e Galatea,
Dresden, 1801. Orato-
rios : La Passione di
Giesu Cristo ; Isacco
figura del Redentore ;
Zeit und Ewigkeit ; San-
ta Elena ; Joseph reconnu par ses frfjres ;
Unsere Brilder ; II figlio prodigo ; La Pas-
sione di Giesu Cristo, with new music ; Da-
vidde in Terebinto ; Betulia liberata ; La
morte d' Abele. Pater uoster, words by
Klopstock ; 20 masses ; Te Deums ; Psalms ;
Motets ; Hymns ; Litanies ; Cantatas ;
Elegy, Le tombeau de Klopstock ; 18 sym-
phonies ; Pianoforte concerto ; Pianoforte
sonatas ; Violin duets ; Trios for isianoforto
and violins ; Quartets for piano and violins ;
German, Italian and French songs. — .iUlgem.
d. Biog., xxiii. 30G ; Bitter, Gesch. des
Oratoriums, 47G ; Fetis ; Gerber ; Mendel ;
Riemann ; Schilling ; Meissner, Bruch-
stilcke aus Naumann's Lebensgeschichte
(Prague, 1803-4) ; Rochlitz, Fiir Frcundo
der Toukuust, iii. 3 ; Schubert, Lebens-
geschichte Naumann's (Dresden, 1844).
NAVOIGILLE, GUILLAUME JLXIEN,
called Navoigillo the elder, born at Givet
(Ai'dennes), about 1745, died in Paris, No-
vember, 1811. Violinist, studied music in
Paris, where a noble Venetian took him un-
der his patronage, and finally adojsted him.
For several years he held positions as vio-
linist or chef d'orchestre at various theatres,
and in 180G entered the orchestra of the
King of Holland, after whose abdication ho
returned to Paris. Works : G symphonies
for orchestra ; 6 trios for violins and violon-
cello, oj). 1 ; do., op. 10 ; G duos for violins.
NAVOIGILLE
op. 2 ; 6 sonatas for 2 violins and bass ; 6
solos for violin, op. 4 ; Square dances and
waltzes ; Eomances. — Fotis.
NAVOIGILLE, HUBERT JULIEN,
called Navoigille the younger, born at Givet
in 1749, died (?). Violinist, brother of the
preceding, whose associate he usually was
iu theatre orchestras, and with whom he
went to the Hague. Works : G symphonies
for orchestra ; 12 quartets for strings, op.
1, 3 ; Quintet for do. ; Sonatas for violin.
— F6tis.
NAWRA.TIL, KABL, born in Vienna,
Oct. 7, 183G, stiU living, 1890. Instrumen-
tal and vocal composer, pupil of Nottebohm
in counterpoint ; studied law and entered
the government service, then practised as a
lawyer, and finally became a railway official.
Works : Psalm XXX., for soprano solo,
chorus, and orchestra ; Mass ; Overture ;
Quintet for pianoforte and strings, iu D ma-
jor ; Other chamber music, isiauoforte pieces,
and songs.
NAYLOR, JOHN, born at Stanningley,
near Leeds, England,
June 8, 1838, still hv-
ing, 1890. Organist,
pupil of Robert Senior
Burton, became organ-
ist at Scarborough in
18.50, and at York Min-
ster iu 1883. Mus.
Bac, Oxford, 1863;
Mus. Doc, ib., 1872. Works : Jeremiah,
oratorio, York, 1883 ; Church services ; An-
thems ; Part-songs, and songs.
NEATE, CHARLES, born in Loudon,
March 28, 1784, died in Brighton, March
30, 1877. Pianist, pupil of William Sharp
and John Field ; studied also composition
under Woelfl and counterpoint under Win-
ter in Munich. He first appeared iu pub-
lic as a pianist in Loudon in 1800 ; was
one of the original members of the Phil-
harmonic Society, and for many years its
director. He visited Vienna in 1815, and
for some months enjoyed the friendship of
Beethoven. Works : Trio for jjianoforte
and strings ; Sonatas, rondos, fantasias and
variations, for isianoforte. — Grove ; Fetis ;
do., Supplement, ii. 2G5 ; Mendel, Ergiiuz.,
298.
NEEB, HEINRICH, born at Lich, Hesse,
in 1807, died at Frankfort, Jan. 18, 1878.
Dramatic composer, jjupil of Peter Miiller
at Friedberg, and of Aloys Schmitt at
Frankfort, where ho settled in 1831 to
teach music. He conducted there the sing-
ing societies Germania, Neeb's Quartett,
Teutonia, and Neeb's Miiunerchor. Works
— Ofjeras : Domenico Baldi ; Der Cid ; Die
schwarzcn Jiigcr ; Rudolf von Habsburg.
Das deutsche Lied und sein Sanger, canta-
ta ; String quartets ; Pianoforte pieces ; Bal-
laden and songs. — Riemann.
NEEFE, CHRISTIAN GOTTLOB, born
at Chemnitz, Saxony, Feb. 5, 1748, died at
Dessau, Jan. 2G, 1798. Dramatic compo.ser,
son of a poor tailor, obtained through his
fine soprano voice a position as choir-boy in
his native place. Later he studied law at the
University of Leipsie, and music under J.
A. HOler. The success of some of his com-
positions induced him to give up law for
music, and iu 187G-79 he was oijeratic con-
ductor of Seller's travelling theatre company,
and then of the Grossmann-Hellmuth com-
pany at Bonn. Here he became court or-
ganist, and in 1782 succeeded vau der Eeden
as court music director and as the instruc-
tor of Beethoven. The theatre was given
up in 1784, and his salary was cut down,
but in 1788 a new court theatre was estab-
lished and gave him cmijloyment. In 1794
the war stopped this theatre also, and not
untU 179G did he obtain an engagement as
conductor at Dessau. Works — Operettas :
Die Apotheke, Amor's Guckkasten, and airs
for Hiller's Dorfbarbier, Leipsie, 1772 ; Die
Einspriiche, ib., 1773 ; Heinrich und Lj'da,
ib., 1777 ; Zamiro und Azor, 1778 ; Adel-
heid von Vcltheim, Bonn, 1781 ; Die ncuen
Gutsherren, 1781 ; Der dumme Gartner,
oder die beiden Antone ; IMusic to the mo-
nodrama, Sophonisbe ; Pater noster ; Ode
by Klopstock for four voices and orchestra ;
NEllMT
2 symphonies ; Concerto for pianoforte, vio-
lin, and orchestra ; 2-1: sonatas for piano-
forte, with and without viohn ; Other pi-
anoforte music and songs ; Arrangements
and translations of operas. — Allgem. d.
Biog., xxiii. 359 ; Mendel ; Riemaun ; Schil-
ling ; Gerber ; Fetis ; Allgem. mus. Zeitg.,
i. 241, 257, 273, 360 ; Thayer, Ludwig von
Beethoven's Leben, i. 81, 117.
NEHMT MEINEN DANK, aria for so-
lirano with orchestra in G, by Mozart, com-
posed for Mme Lange, in Vienna, April 10,
1782. Breitkopf & Hlirtel, Mozart Werke,
Serie vi.. No. 23. — KOchel, Verzeichniss,
No. 383 ; Andre, No. 81 ; Jahu, Mozart, iii.
274.
NEIGE, LA, ou le nouvel Eginhard,
opera-comiqiio in four acts, text by Scribe
and Germain Delavigne, music by Auber,
first represented at the Theatre Feydeau,
Paris, Oct. 8, 1823. It was given in Lon-
don as " The Frozen Lake," at Covent Gar-
den Theatre, Nov. 2G, 1824 PubUshed by
Schott (Mainz, 1825) ; and by Simrock
(Bonn, 1825).— Berliner mus. Zeitg., ii. 330,
338 ; iii. 149.
NEITHAEDT, AUGUST HEINRICH,
born at Schleiz, Aug. 10, 1793, died in Ber-
lin, April 18, 18G1. Pupil of Brunow and
Ebhardt ; then served aa a volunteer in the
wars of 1813-15 ; was bandmaster of the
Garde-Schiitzen Battalion in 181G-22, and
of the Kaiser Franz Grenadiers in 1822-40.
He received the title of royal music du-ec-
tor in 1839, and in 1843 was entrusted with
tlie formation of a regular choir for the
Berlin Cathedral, of which he was appointed
director in 1845. He visited St. Peters-
burg and Rome for study, raised his choir
to a high state of efficiency, and gave con-
certs with it in London in 1850. Works :
Julietta, die schOne Dalmatierin, opera,
KOnigsberg, 1834 ; Horn duets, trios, and
quartets ; Marches and other military mu-
sic ; Sonatas, variations, waltzes, and other
pieces for pianoforte ; Quintets for flute,
violin, and bass : Quartets for men's voices ; ,
Many songs, including Ich bin eiu Preusse. |
He edited Musica Sacra (Berlin, 8 vols.)
and Chorale zum Kirchengebrauch (ib.).
— Mendel ; Schilling, Supplement, 322 ;
Riemann ; Futis.
NEL COR Pit! NON MI SENTO, six
variations for the pianoforte, in G, by Beet-
hoven, on a theme from Paisiello's La 3Ioli-
nara, composed in 1795, and published by
Diabelli (Vienna, 1795, and by Traeg (Vi-
enna, 1795). Breitkopf & Hiirtel, Beetho-
ven Werke, Serie 17, No. 7. The theme is
known in English as " Hope told a flatter-
ing tale." — Thayer, Verzeichniss, 17 ; Nohl,
Beethoven, iii. 58, 123.
NENNA (NENNO), POMPONIO, born at
Bari, Najjles, about 15G0. He was of noble
birth ; in 1G13 he was crowned with laurel
in Naples. Although many editions of his
madrigals were published, they are singu-
larly rare. Works : Madrigals in collections
published in 1585 and 1594 ; Madrigali a
cinque voci, 8 books (Venice, 1G09-24) ;
Madrigali a quattro voci (ib., 1631). — Fetis ;
Mendel ; Riemaun.
NERO, German opera, text by Feustking,
music by Handel, first re2)rosented in Ham-
burg, Feb. 25, 1705. Its full title was " Die
durch Blut uud Mord erlangte Liebe, odor
Nero." Johann Mathesou sang the part of
Nero, this being the last ©ijera in which
he a^jpeared. The work contained at least
seventy-five airs, but the entire score is lost.
— Rockstro, Handel, 40.
NERO, German opera in four acts, text
by Jules Barbier, music by Rubinstein, first
represented at the Stadttheater, Hamburg,
Nov. 1, 1879. Original cast :
Nero (T.) Herr Winekelmann.
Viudex (Bar.) Herr Kriickel.
Saccus (B.) Herr Landau.
Crysa (S.) Mme Sucher.
Epicharis (C.) Mile Borree.
Poppoea (S. ) Mme Prochaska.
First represented in St. Petersburg, Feb.
10, 1884 ; in New York, in English, by the
American Opera Company, March 14, 1887.
Published by Scuff (Leipsic, 1878). Other
KERUDA
operas of the same title, in Italian : text by
Maria Piccioli, music by Carlo Pallavicino,
Venice, 1G79 ; music by Carlo Porsile, Na-
ples, 1686 ; Nerone fatto Cesare, text by
Matteo Noris, music by Perti, Venice, 1G93 ;
Nerone, music by Antonio Gianettini, Mo-
dena, about 1710 ; text by Piovene, music
by Giovanni Maria Orlandini, Venice, 1721 ;
music by Vignati, about 1725 ; music by
Egidio Komoaldo Duni, Eomc, 1735 ; La
morte di Nerone, by Angelo Tarchi, Venice,
1792 ; and in German by Reissiger, Municb,
1822. — Clement et Larousse, 929 ; La Mai-a,
Mus. Studienkopf, iii. 217 ; Mus. Woclien-
blatt (1879), 544; Signale (1879), 929;
(1884), 273; Krebbiel, Review (1886-87),
152.
NERUDA, JOHANN GEORG, bom at
Rossicz, Bohemia, in 1706, died in Dresden
in 1780. He played in the orchestra of a
theatre, travelled, and from 1750 until his
death was a member of the Elector's chapel
in Dresden. His two sons, Ludwig and
Anton, were also attached to the Dresden
chapel. Works: 18 symphonies; 4 violin con-
certos ; 30 trios ; 6 solos for \'iolin. — Wurz-
bach ; Mendel ; Schilling ; Gerber ; Fctis.
NESSLER, \1CT0R ERNST, bom at
Baldenheim, near
Schlettstadt, Alsace,
Jan. 28, 1841, still hv-
ing, 1890. Dramatic
composer, pupil of
Thcophil Stem at
Strasburg, where he
studied theology, then
finished his musical
education at Leipsic,
where he conducted
several singing societies, and in 1870 be-
came chorus master at the Stadttheater ; in
1879 music director at the Carolatheater.
He has lived at Strasburg for several years.
Works — Operas : Dornroschens Brautfahi't,
Leipsic, 1867; Irmingard, ib., 1876; Der
Rattenfiinger von Hameln, ib., 1879 ; Der
wide Jiiger, ib., 1881 ; Der Trompeler von
Siikkingen, ib., 1884. Operettas : Fleurette,
Strasbui'g, 1864 ; Die Hochzeitsreise, Leip-
sic, 1867 ; Nachtwiichter und Student, ib.,
1868; Am Alexandertag, ib., 1869. Der
Blumen Rache, for chorus, soli, and orches-
tra ; Siingers FriihUngsgruss, double chorus
for male voices ; Voa der Wiege bis zum
Grabe, cycle for chorus, soU, and i^iano-
forte ; Quartets for male voices ; Songs.
— 3Ius. Wocheublatt, xv. 559 ; Riemann.
NESWADBA, JOS (properly Hamacek),
born at Vj'skef, Bohemia, Jan. 19, 1824,
died at Darmstadt, June 20, 1876. He
was Kapellmeister, successively, at the the-
atres of Karlsbad (1848), Olmiitz, Bri'mn,
Gratz, at the National Theatre in Prague
(1857-58), at the Italian Opera in Berlin
(1859-60), at the Stadttheater in Hamburg
(1861-63), and in 1864 became Hof-KapeU-
meister at Darmstadt. Works : Music to
several ballets, performed at Darmstadt ;
Overtures, and other pieces for orchestra ;
Bohemian songs, and choruses. — Mendel ;
Slovnik naMhnf (Prague, 1859), v. 790;
Wurzbach.
NETZER, JOSEF, bom at Zams, Tyrol,
March 18, 1808, died at Gratz, May 28, 1864.
Dramatic composer, self-taught on the piano-
forte and organ, afterwards at Innsbruck pu-
pil of Martin GoUer on the pianoforte, and
of Kathi'ein on the violin. He then went to
Vienna, where he became one of the favour-
ite pianoforte teachers, and studied comjio-
sition under Gilnsbacher, and counterpoint
under Sechter. In 1839 he visited Italy,
and in 1842 made a tour through Germany
to produce his opera Mara, which had been
brought out with great success in Vienna,
in 1841. At Leipsic he assisted Lortzing
as Kapellmeister at the Stadttheater and
conductor of the Euteii^e Concerts in 1844-
45, then was for one year Kapellmeister of
the Theater an der Wien in Vienna, where
he resided three years. After a visit at
Meldenau, near Leipsic, in 1848, he went,
in 1849, as Kapellmeister to Mainz, and,
having again lived at Leipsic, accepted, in
1853, an engagement as Kapellmeister of
the theatre at Gratz. Works — Operas : Die
12
^EUBAUEli
Belagerung von Gothenburg ; Mara, given in
Vienna, 1841 ; Die Eroberung von Granada,
ib., 1844 ; Die seltene Hocbzeit, ib., 1846 ;
Die Konigin von Castilien. Overtures, sym-
phonies, string quartets. More than 100
songs. — Heiudl, Gallerie, etc., ii. 54 ; Kess-
ler, Jos. Nctzer, etc. (Gratz, 18G4) ; "Wurzbacb.
NEUBAUEE, FEANZ CHEISTIAN, born
at Horzin, Bohemia, in 17G0, died at Biicke-
burg, Oct. 11, 1795. Violinist, pupil of a
village school teacher, went early to Prague
and Vienna, where he made the acquaint-
ance of Mozart, Haydn, and Wranitzky ;
then led a wandering, dissipated life, giving
concerts in many German cities, and com-
posing. In 1780 he became Kapellmeister
to Prince Weilburg, but, as the French
Eevolution soon caused the disbanding of
the orchestra, he went to Minden, and later
to Biickebui'g, where he was at first court
composer, and afterwards successor of J. C.
F. Bach as Kapellmeister. His early death
was partly due to intemperance. Works :
Ferdinand und Yoriko, operetta, given in
Vienna about 1786 ; Cantatas ; 12 sym-
phonies ; 10 string quartets ; String duets
and trios ; Violin sonatas ; Violoncello,
flute, and pianoforte concertos ; Flute duets
and trios ; Sonata for pianoforte, violin,
and bass ; Valuations for pianoforte and
violin ; Songs. — Dlabacz ; Fetis ; Gerber ;
Mendel ; Eiehl, Mus. CharakterkOpfe, i.
253 ; Schilling ; Schlichtegi-oU, Nekrolog
auf des Jahr, 1795 (Gotha), 395 ; Wurzbach.
NEUENDOEFF, ADOLPH, born in
Hamburg, Germany, June 13, 1843, still
living, 1890. When twelve years old he
was a fair pianist ; in 1855, his father hav-
ing removed to New York, he received in-
straction there on the violin from Joseph
Weinlich. When sixteen he became sec-
ond violinist, and in 1859 first violinist, of
the old Stadt Theatre, New York, and made
his debut as a pianist. In 1860-61 he was
in South America, and on his return to
New York studied theory and composition
imder Carl Anschtltz, whom he succeeded
in 1864, after a short residence in Milwau-
kee, as conductor of the German opera. In
1867 he was conductor of the New Stadt
Theatre, and is said to , > -~; '■--
have produced, in three
successive seasons,
forty comic operas ;
in 1870-71 he brought
from Europe another
comjjany, with which
he gave more than
thirty German operas
in seven months, Lo-
hengTin being then sung for the first time
in America. In 1872 he went to Europe,
and brought back with him Theodor Wach-
tel, and gave, in partnership with Carl
Eosa, a season of Italian opera at the new
Academy of Music in New York, with Pa-
repa, Adelaide Phillipps, Wachtel, and Sant-
ley as singers. He also established the
Germania Theatre in New York, and served
as conductor of a choral society, and organ-
ist of one of the city churches. In 1875 he
brought Wachtel to America again, and
with Mme Papi^enheim gave German opera
in the Academy of Music. In 1876 he con-
ducted the Beethoven Centennial Concerts
in New York, and attended the first Wagner
Festival at Baireuth as correspondent of
the " New-Yorker Staats Zeitung ; " and in
the winter of 1877 produced, at the Acad-
emy of Music, Der fliegende holliinder,
Tannhiiuser, and Die Walkiire. In 1878 he
succeeded Theodore Thomas as conductor
of the New York Philharmonic Society.
Financially ruined in 1883 by the failure of
the Germania Theatre, he has since con-
ducted operas and concerts all over the
United States, and in 1887-88 was con-
ductor of the concerts given by Josef Hoff-
mann on his first tour in America. Works :
The Eat Charmer of Hamelin, comic ojiera
in four acts, 1880 ; Don Quixote, comic
opera in four acts, 1882 ; Prince Woodruff,
romantic comic opera in three acts, 1887 ;
Symphony No. 1, 1878 ; Symphony No. 2,
1880 ; Several smaller orchestral works ;
Songs, male quartets, etc.
NELTKOMM
NEUKOMjVI, SIGIS:MUND, Eltter VON,
bom at Salzburg, July 10, 1778, died iu
Paris, April 3, 1858.
Pupil of the organist
W e i s s a u e r , whose
place he often filled ;
then studied compo-
sition under llichael
Haydn, and at the
age of fifteen became
university organist.
He leai'ned sevei-al
other instruments,
and played the flute
in concerts. When
eighteen years old he
was made Correpetitor of the opera, but
after finishing his university studies left
Salzburg in 1798 for Vienna. He became
the pupil of Joseph Haydn, who treated him
like a son. In 1807 he went to Stockholm,
where he was elected member of the Acad-
emy ; then to St. Petersburg, and became
there conductor of the German opera. At
the time of Haydn's death he returned to
Vienna, and in 1809 went to Paris, where
he was intimate with Grutry, Cherubini,
and other celebrities. He succeeded Dus-
sek as pianist to Talleyrand, whom lie ac-
companied to the Congress of Vicuna,
where he was commissioned to compose a
l{equiem in memory of Louis XVI., and
where Louis XVIH. conferred iipon him
the Legion of Honour- and a title of nobil-
ity. 'With Talleyrand he retm-ued to Paris,
but in 1816 he went in the suite of the
Due de Luxembourg to Brazil and was
a^ipointed coui't du-ector by the Emperor
Dom Pedro, with whom he went to Lisbon
when the revolution of 1821 comjieUed him
to leave Rio Janeiro. Then he returned
to Talleyrand, but in 1826 travelled ia
Italy, in 1827 in Holland and Belgium, and
in 1829 in England and Scotland. He ac-
companied Talleyrand on his embassy to
England iu 1830 ; in 1832 visited Germa-
ny, in 1833-31 Italy, and in 1834-35 Sou-
thern France and Algiers. Illness alone
prevented him from embarking for North
America iu 1836, and the last years of his
Ufe were spent between London and Paris,
with brief visits to other cities. For some
time he was blind, but a successful opera-
tion restored his sight. In spite of the dis-
tractions of travelling he composed indus-
triously, but, fluent and interesting as his
works are, they are now almost forgotten.
He cultivated the more serious kind of mu-
sic, and attempted to revive the style of
Palestrina. His refinement and elevated
character won him many friends. Works :
Alexander am Indus, ojiera ; nine other
German operas. Oratorios : Das Gesetz
des alten Bundes (in English, Mount Sinai) ;
David ; Grableguug, Auferstehung und
Himmclfahi-tChristi; Pfiugsten. Cantatas:
Der Ostermorgen ; Circe ; Music to Schil-
ler's Braut von Messina ; 15 masses ; 5 Te
Deums ; 5 chui'ch cantatas ; Morning and
evening service ; Many psalms ; 3 Italian
dramatic scenes ; About two hundred
songs ; Duets, terzets, and choruses ; Sj'm-
phony ; 5 overtures ; 7 orchestral fantasias ;
57 organ pieces ; Concerto, sonatas, and
other music for pianoforte ; Chamber and
mUitary music, altogether more than 1,000
comjwsitions. — Wurzbach ; Mendel ; Schil-
ling ; Eiemann ; Fetis ; Rochlitz, Fiir
Freunde der Tonkunst, iii. 226 ; Schebest,
Aus dem Leben einer Kilnstlerin (Stutt-
gart, 1857) ; niustr. Zeitg. (1858), i. 394.
NEUPERT, (CARL FREDERIK) ED-
MUND, born at Christiania, Norway, April
1, 1842, died in New York, June 22, 1888.
Pianist, pupil of his father until 1856, then
iu Berlin of KuUak and Kiel. In 1868 he
became teacher of pianoforte at the Copen-
hagan Conservatoi-y, and in 1880 professor
at the Imperial Conservatory, Moscow, but
left the latter on the death of Nicolas Ru-
binstein (1881) and after a visit to Norway
removed in 1882 to New York, where he de-
voted himself to teaching and concert play-
ing. Works : Andante fantastique ; Before
the Battle; Funeral Marcli; 6 Norwegian Im-
provisations ; Danse orientale ; 4 Romances ;
NEUSIEDLER
4 Valses ; 3 Barcarolles ; 3 Ballades ; 3 Polo-
naises ; 124 Concert etudes. He published
also : Piano School (1880), and more than
700 technical studies and exercises.
NEUSIEDLER (Newsidler), M E L -
CmOR, born at
Augsburg in the
first half of the
ICth century,
died in Nurem-
berg in 1590.
Lutenist, lived in
Italy in 156G, and
afterwards in
Nuremberg. He
did much to im-
l>rove the lute, and published two books of
lute music (Venice, 15GC), which were re-
printed by P. Phaliise (Louvain, 1571) and
by Tobin (Strasburg). He published also
Deutsch Lautenbuch, darinnen kunstreiche
Motetteu, etc. (1574, 2d ed., 1596 ; in Ital-
ian, n primo libro in tabulatura di liuto,
1576) ; and Sechs Motetteu von Josquin in
Lautentabulatur heraus (1587).
NEVER WILL MY HEART REFUSE
THEE. See Ich will dir mein Herze schen-
ken.
NEVIN, ETHELBERT WOODBRIDGE,
born, of American jjarentage, in Pittsburgh,
Pennsylvania, Nov. 25, 1862, still living,
1890. Pianist, pupil in Pittsburgh of von
der Heide, and of William Guenther ; and
in 1877-78 studied singing in Dresden un-
der von Boehme. In 1880-81 he studied
counterpoint under S. Austen Pearce, of
New York, and then in Boston, for two
years, the pianoforte under B. J. Lang, and
harmony under Stephen A. Emery. In 1884
he went to Europe and studied, in Berlin,
the pianoforte and theory under Karl Klind-
worth, von Biilow, and Carl Bial. Works :
Suite for pianoforte, op. 2 ; Waltzes, and
other pianoforte music ; Songs.
NIBELUNGEN. See Ring des Nibe-
lungen.
NIBELUNGEN, eleven Charakterstucke
for orchestra by Eduard Lassen, op. 47,
written for Hebbel's drama of Die Nibe-
lungen (1862), first performed in 1875.
Published in Munich.
NICCOLINI (Nicolini), GIUSEPPE, born
in Piacenza in 1771 (April, 1763 ?), died
there, Dec. 18, 1842. Dramatic composer,
son and pupil of Omobono Niccolini, ma-
estro di cappella at Piacenza ; he studied
singing under Macedone, and at the Con-
servatorio di San Onofrio in Naples was the
pupil of Insanguine, called Mouopoli. His
first opera was performed in 1793, and he
wrote more than fifty others, which were
rei^resented with great success in the prin-
cipal cities of Italy. After becoming ma-
estro di cappella of the cathedral at Pia-
cenza in 1819, he composed chiefly church
music. Works— Operas : La famiglia stra-
vagante, Parma, 1792 ; II principe Spazza-
camino, I molinari, Genoa, 1794 ; Le nozze
campestri, Milan, 1794 ; L' Artaserse, Ven-
ice, 1795 ; La donna innamorata, ib., 1796 ;
Alzira, Genoa, 1797 ; La clemenza di Tito,
Leghorn, 1798 ; I due fi-atelli ridicoli,
Rome, 1798; II Bruto, Genoa, 1799; Gli
Scitti, II trioufo del bel sesso, Milan, 1799 ;
L'iudativo, Genoa, 1800 ; I baccanali di
Roma, Milan, 1801 ; I Manlj, ib., 1802 ; La
selvaggia, Rome, 1803 ; Fedra, ossia il ri-
torno di Teseo, ib., 1804 ; II geloso siuce-
rato, Geribea e Telamone, Gl' incostauti
uemici delle donne, Le nozze inaspettate,
Najsles, 1805 ; Abenhamet e Zoraide, Mil-
an, 1806 ; Trajano in Dacia, Rome, 1807 ;
Le due gemelle, ib., 1808 ; Coriolauo, Milan,
1809 ; Dario Istaspe, Turin, 1810 ; Angeli-
ca e Medoro, ib., 1811 ; Abradame e Dir-
cea, Milan, 1811 ; Quinto Fabio, Le nozze
dei Morlacchi, Vienna, 1811 ; La feudataria,
Piacenza, 1812 ; La casa del astrologo ; Mi-
tridate ; L' ira d' Achille ; Balduino ; Carlo
Magno ; II conte di Lennos ; Annibale in
Bitinia ; Cesare nelle Gallic ; Adolfo ; La
presa di Granata ; L' eroe di Lancastro ;
Aspasia ed Agide ; II Teuzzone ; Ilda d'
Avenelle, Bergamo, 1828 ; La conquista di
Malacca ; Witikind ; II trionfo di Cesare.
Five oratorios ; 30 masses ; 2 requiems ; 100
NICCOLINI
psalms ; Cantatas ; Pianoforte sonatas ; Quar-
tets for different instruments ; Canzonets,
and other compositions. — Fetis ; Mendel ;
Schilling.
NICCOLINI, LOUIS, born at Pistoja in
17G9, died at Leghorn in 1829. PupU of
llutiui at Florence, then of Sala, Tritto, and
Paisiello at the Conservatorio della Pieta
dei Turchini in Naples. In 1789 he was
appointed maestro di cappella of the cathe-
dral at Leghorn. Works : Several baUets
for the Teatro San Carlo, Naples ; Masses,
Utanies, and many other sacred composi-
tions.— Fetis.
NICCOLO DE' LAPI, ossia 1' assedio di
Firenze, Italian opera seria in four acts,
text bj' Pinto, music by Pacini, first ref)re-
sented in Florence, Oct. 29, 1873. It was
sung by Mme Ronzi-Checchi, Augusti, and
Nierly. Same text, music by Francesco
Schira, London, March 7, 1SG3 ; by Gio-
vanni Rossi, Ancona, 1804, Parma, 18GG ;
by Gammieri, St. Petersburg, Dec. 6, 1877 ;
and by Terziaui, Rome, Februaiy, 1883.
NICHEL:\L\NN, CHRISTOPH, bom at
Treuenbrietzen, Brandenburg, Aug. 13, 1717,
died in Berlin, July 20, 17G2. Instrumental
and vocal composer, and writer on music ;
pupil of Bach, and his oldest sou, at the
Thomasschule in Leijisic, and of Quautz in
Berlin, having in the meanwhile lived in
Hamburg. In 1741-5G he was pianist to
Frederick the Great. He is now chiefly
known by his book Die Melodie nach ihrem
Wesen, etc. (Dautzic, 1755), which he de-
fended successfully against the attacks of
a pseudonymous Diinkelfeind. Works : H
Boguo di Scipione, serenade, Berlin, 17i6 ;
Galatea, pastorale (with Frederick the Great,
Grauu, and Quantz), ib. ; Pianoforte music,
and songs for the collections of Mai-pm-g
(175G), Voss (1758), Lange (1758), and Bu-n-
stiel (17G0).— Fetis ; Gerber ; Mendel ;
Schilling.
NIC0D£, jean LOUIS, born at Jerczik,
near Posen, Aug. 12, 1853, still living, 1890.
Pianist, first instructed in Berlin by his ,
father, then pupil of Hartkiis, and at Kul- 1
lak's Academic of KuUak on the pianoforte,
and of Wiierst in theory ; finally, of Iviel in
counterpoint and com-
position. Having for
several years taught in
Berlin, where he re-
peatedly played in pub-
lic, he made a concert
tour with Madame Ai--
tut through Galicia and
Roumania in 1878, and
became in 1879 in-
structor at the Conser-
vatorium in Dresden. Works : Maria Stu-
ai't, symphonic poem ; Symphonic variations
on an original theme ; Chamber music ; So-
natas for pianoforte, etc. — Riemann.
NICOLA, IvARL, born at Mannheim in
1797, died at Hanover, June, 1875. Vio-
linist, pupil of Wendling and in composi-
tion of Gottfried Weber ; member of the
court orchestra at Mannheim, Stuttgart
(1821-23), and finally at Hanover. Works :
Overture to the drama Anna Boleyn ; Ada-
gio and rondo for violin and orchestra ; 2
quartets for strings ; Sonatas for violin and
pianoforte ; About 7 collections of German
songs. — Fetis ; Schilling.
NICOLAI, (CARL) OTTO (EHREN-
FRIED), born at
Kiinigsberg, June 9,
1810, died in Berhn,
May 11, 1849. Dra-
matic composer, pu-
pil on the pianoforte
of his father, a sing-
ing teacher ; was so
unhappy a t home
that he ran away at
the age of sixteen. He was befriended by
the Justizrath Adler, of Stargard, who
helped him in his studies, and in 1827 sent
him to Berlin, where he studied under Zelter
and Klein. In 1833 the Chevalier Buusen
sent him to Rome, as organist to the chapel
of the Prussian embassy, where he studied,
under Baini, the great Italian masters, es-
pecially the older ones. Late in 1837 be
NICOLAI
went to Vienna, where he was made Ka-
pellmeister and singing master at the court
opera. In October, 1838, he returned to
Rome, and began his career as a dramatic
composer, producing several operas in
various Italian cities with much suc-
cess. In 1841 he retui-ned once more
to Vienna, to become first Kapellmeister
of the opera, which post he held to gen-
eral admiration until Easter, 1847, hav-
ing produced two operas during hia stay.
lu 1842 he founded the Philharmonic Con-
certs there. The composition of a mass
(1843) dedicated to Friedrich WUhelm IV.,
and of a Festival Overture for chorus and
orchestra on Ein' feste Burg for the Jubilee
of the KOnigsberg University in 1844, got
him a call to Berlin as director of the then
newly organized Domchor, and Kapellmeis-
ter of the opera. Here he finished his Die
lustigeu Weiber von Windsor, decidedly his
best work, which he had begun at Vienna.
It was brought out at Berlin with resound-
ing success, only two mouths before he
died of apoplexy. Excepting this last work,
and his Festival Overture, nothing of his
ever had a very lasting success. He had
a natural gift of bright, graceful melody,
and wrote in excellent style, albeit he nev-
er aimed very high, and was content to
please the taste of the day. Yet much
might have been expected of him, had he
lived longer. He was honorary member of
the Societa CeciHa at Rome, and of the Fi-
larmonici at Bologna. In 1851 the Berlin
Tonkiinstler-Vereiu set up a monument over
his grave in the church-yard of the Doro-
theenstadt. Works — Ojieras : Rosmonda
d' Inghilterra, given in Turin, 1838, in
Trieste, as Eurico H., April 2G, 1839 ; II
Templario, three acts, text by G. M. Marino,
after Scott's "Ivauhoe," Turin, Feb. 11,
1840 ; Odoardo e Gildippe, Turin, 1841 ; II
proscritto, three acts, Milan, March 13,
1842, in German as Die Heimkehr des Ver-
bannteu, Vienna, Feb. 3, 1844 ; Die bisti-
gen Weiber von Windsor, Berlin, March 9,
1849. Mass, dedicated to Friedrich Wil-
helm IV., 1843 ; i^'es^Ouverture, KOnigsberg,
1844 ; Symphony ; Requiem ; Te Deum ; G
Lieder, op. G ; Lieder uud Gesilnge, op. IG ;
Concerto for pianoforte and orchestra, and
JP
other pianoforte music ; Songs and cho-
ruses.— Mendel, Otto Nicolai, Eiue Bio-
graphic (Berhn, 18G8).
NICOLAI, JOHANN GOTTLIEB, born
at Gross-Neuudorf, Saxe-Meiningen, Oct.
15, 1744, died at Zwoll in 1801. Organist
and concert director from 1780 at Zwoll.
Works : Die Wilddiebe, operetta, 1774 ;
Der Geburtstag, do., 1779 ; Jolantha, do.,
1785 ; Symphonic concertaute for violin and
violoncello, op. 7 ; 2 quartets for strings ;
Sonatas for pianoforte ; Soli for flute, etc.
NICOLAI, WILLEM FREDERIK GE-
RARD, boru in Leyden, Holland, Nov. 20,
1829, still living, 1890. Organist and pian-
ist, pupil at the Conservatorium, Leipsic, of
Moscheles, Rietz, Hauptmann, and Richter,
and at Dresden of Johanu Schneider on the
organ. In 1852 he was appointed instruc-
tor at the royal school of music at The
Hague and, after Liibeek's death, became
its director. As conductor of several musi-
cal societies and as editor of the " Cecilia"
(since 1870), he has had much influence
among his countrymen. Works: Bouifa-
cius, oratorio ; Das Lied von der Glocke,
for chorus, soli, and orchestra ; Hansken
van Gelder, for male chorus and do. ; Ter
herinnering, for do. ; Vondel-hymne, for do. ;
Door het woud, for do. ; Thorbeckecantate,
for do. ; De zweedsche nachtegaal, for chil-
dren's voices, mixed chorus, and orchestra ;
Other cantatas ; Duets and songs ; Piano-
forte music. — Mendel ; Riemann ; Viotta.
NICOLO. See Uoxmrd.
NICOU-CHORON, STEPHANE LOUIS,
born in Paris, April 20, 1809, died there,
Sei^t. G, 188G. Church composer, educated
17
XIDECKI
at Choron's Institution Eoyale de Musique,
where Le became professor and, in 1832,
insf)ector of studies. Ou the death of
Chorou, whose son-iu-law he had become,
he assumed the direction of the school,
which, however, abandoned by the govern-
ment, could not support itself. Works :
Oratorios for Cluistmas, Easter, and Pen-
tecost : Several cantatas ; Several solemn
masses with orchestra ; Short masses with
organ ; Many motets and canticles ; Marche
religieusc, for orchestra ; Sacred songs, etc.
— Fotis, Supjjh'meut, ii. 272.
NIDECKI, TOMASZ, born at Waisaw
about 1800, died there in 1852. Dramatic
composer, pui^il of Eisner at the Conserva-
torium in Warsaw ; went to Vienna with a
government stipend, and in 1837 settled at
Poseu, whence he was called, in 1841, to
succeed Kurj)iliski as conductor of the op-
era in Warsaw. Works : Der Wasserfall in
Feenheim, melodrama, Vienna, 1825 ; Przy-
sifga (The oath), lyrical drama ; Masses and
other church music ; Overtures. — Fetis ;
Sowinski.
NIEDEKMEYEE, LOUIS, born at Nyon,
near Geneva, Switzerland, April 27, 1802,
died in Paris, ]March 14, 18G1. Dramatic
composer, puj)il of his father, and in Vi-
enna of Moscheles on the pianoforte, and
of FOrster in composition. In 1819 ho
went to Italy, studied vocal composition
under Fioravanti in Rome, and under Zin-
garclli in Naples, where he became intimate
with Rossini, and brought out his first opera.
He settled in 1821 in Geneva, thence went
to Paris in 1823, but his success falling short
of his desires, he became music-master for
eighteen months of a school in Brussels,
and afterwards returned to Paris. After
failing as a dramatic composer he devoted
himself to raising the school of sacred
music founded by Choron, and with d'Or-
tigue founded the periodical "La Maitrise,"
devoted to sacred music. Works — Operas :
II reo per amore, Naples ; La casa nel bos-
co, Paris, 1828 ; Stradella, ib., 1837 ; Ma-
ria Stuart, ib., 1844 ; La Fronde, ib., 1853.
I Masses, motets, anthems, hymns ; Organ
preludes ; Lo lac, and other melodies, to
words by Lamartine, Victor Hugo, and Des-
champs ; Italian songs ; Pianoforte music ;
Methode d'accompagnement du plain-chant,
with d'Ortigue (Paris, 1855, 2nd ed., 1876) ;
Accompagnement pour orgue des offices
' de l'£gUse (ib., 1861).— Fi'tis ; do.. Supple-
ment, ii. 273 ; Mendel ; Riemann.
I NIEMANN, RUDOLF (FRIEDRICH),
born at Wesselburen, Holstein, Dec. 4, 1838,
still living, 1890. Pianist, first instructed
by his father, an organist, then pupil at the
Conservatorium, Leipsic, of Moscheles,
Plaidy, and Rictz, at the Conservatoire in
Paris, of Marmontel and H;dcvy, and finally
iu Berlin, of Billow and liieL He made
himself iii-st known as a pianist, in 1873-77,
when he accompanied Wilhelmj on his con-
cert tours through Germany, Russia, and
England. For several yeai's he lived at Ham-
burg, and, iu 1883 settled at Wiesbaden,
whence he accompanied Wdhelmj on his
travels, teaching also at the hitter's violin
school, at Biebrich. He has composed chief-
ly genre jjieces for pianoforte, and songs,
besides a sonata for violin. — Riemann.
NIE SOLLST DU jNHCH BEFRAGEN.
See Lohenfjrin.
NIEUWENHUIJSEN, FRED ERIK,
born at Zutpheu, Holland, in 1758, died at
Utrecht, Jan. 29, 1841. Organist, pujjil of
Bleumer, and in 1772-78 of Groeuemaun,
whereupon he became organist of the cathe-
dral at Utrecht. He made also a great repu-
tation as carillonneur. Works : Do zeoslag
by Doggersbank, symphonic jDiece for 2 or-
chestras, Utrecht, 1781 ; La pais d'Alkmaar,
cantata, 1802 ; De toonkunst, do., 1818 ;
Other cantatas ; Dramatic song for the in-
auguration of the theatre at Utrecht, 1796 ;
etc. — Viotta.
NIEUWENHUIJSEN, WILLEM JAN
FREDERIK, born at Utrecht, Jan. 4, 1818,
died there, May 19, 1869. Organist and
writer on music, sou of the preceding,
whom he succeeded in his position at the
cathedral. Works: Overtui'e to Victor
NIIIOUL
Hugo's Hornani ; Leicester, cantata ; Chor-
uses for male voices ; Instrumental music.
— Viotta.
NIHOUL, IVnCHEL, born at Tongres,
Belgium, in 1790, dietl there, November,
18G5. Dramatic composer, pupil of Daus-
soigne-Mehul. In 1834 he accepted a gov-
ernment position, and in 18G0 was post-
master in his native city. Works : Une
soiree a la mode, opera-comique, Liege,
1836 ; Le compromis des nobles, grand op-
era ; Church music, and symphonic compo-
sitions. His son Romain (born at Tongres
in 1821, died there, July 30, 1881), pupil at
the Conservatoire at Liege, was conductor
and director of mtisical societies in Ton-
gres, maitre de chapelle at the cathedral,
and professor in various schools. "Works ;
Le bandit, ojX'ra-comique, Tongres, 18.'')7;
Masses, canticles, choruses, etc. — Fetis, Sup-
plement, ii. 275.
NIMM mCH DIR ZU EIGEN HIN,
tenor aria in C major, with accompaniment
of two flutes, two horns, two oboi da caccia,
strings complete, and continuo, in Johann
Sebastian Bach's cantata, Sie werden aus
Saba Alio kommen.
NINA, ou la folle par amour, comedie in
one act, text by Marsollier, music by Dalay-
rac, first re2)resented at the Italiens, Paris,
May 15, 178G, with Mme Dugazon as Nina.
Nina, believing that her lover, Germeuil,
has been killed in a duel, becomes insane,
but recovers her reason on his safe return.
Given in Leii^sic with Mme Aue as Nina,
in AprU, 1808. It was arranged as a ballet
in three acts by Milon and Persuis, and rep-
resented at the Academie Royale de Mu-
sique, Paris, Nov. 23, 1813, with Mile
Bigottini as Nina and M. Milon as Ger-
meuil. Published by Scblesinger (Berlin
18G0-G7).— Clement et Larousse, 477 ; La-
jarte, ii. 81 ; Clement, Mus. celebres, 194 ;
Jullien, Airs varies, 259 ; Hogarth, ii. 331.
NINA, ossia la pazza per amore, Italian
opera in three acts, text by Lorenzi after
Marsollier, music by Paisiello, first repre-
sented in Naples in May, 1787, with Mme
Celestina Coltellini as Nina and Signor Laz-
zarini as her lover, Lindor. Reduced to
one act by Paiir, and represented at the
King's Theatre, London, May 2G, 1825,
with Pasta as Nina, one of her best achieve-
ments, and Signor Curioni as Lindor. Pub-
lished by Eicordi (Milan), and by Witzen-
dorf (Vienna). Same title, Italian opera
semi-seria, text by Ferretti, music by Cop-
pola, first represented in Rome, May 6,
1854. The part of Nina was written for
Adelina Sjjech, who won much success, and
it was sung with effect also by Mme Alboni.
It was given at the Opera Comique, Paris,
in December, 1839, under the title of Eva,
with words bj' MM. de Leuven and Bruns-
wick, and with Mme Eugenie Garcia as
Nina. An intermede in two acts, Nina et
! Lindor, ou les caprices du coeur, text by
Eichelet, music by Dimi, was given at the
Foire Saint-Laurent, Paris, Sept. 9, 1758.
— Clement et Larousse, 478 ; Queens of
Song, ii. 18 ; Allgem. mus. Zeitg., xxvi. 2G1.
NINI, ALESSANDRO, born at Fnno,
Eomagna, Nov. 1, 1805, died at Bergamo,
Dec. 27, 1880. Dramatic and church com-
poser, pupil of Ripiui, and at Bologna (1827)
of Palmerini. In 1831 he went to St. Peters-
burg, where he established, and until 1837
directed, a school of singing. Some j'ears
after his return to Italy he was made maestro
di cappella at the cathedral of Bergamo.
Works — Operas : Ida della Torre, Venice,
1837 ; La Marescialla d" Ancre, Padua, 1839 ;
Cristina di Svezia, Genoa, 1840 ; Marghe-
rita di York, Venice, 1841 ; Odalisa, Milan,
1842 ; Virginia, Genoa, 1843. Church mu-
sic.— Fetis ; do.. Supplement, ii. 27G.
NIOBE, REGINA DI TEBE (Niobe,
Queen of Thebes), Italian opera, text by
Luigi Orlandi, music by Stefi'ani, first rep-
resented in Munich, January, 1G88. This
was Steffani's last work for the court of
Munich. Same subject, ojiera by Pacini,
Naples, Nov. 19, 182G, written for Pasta,
who won a great triumph in it. Published
by Ricordi (Milan). — Eudhart, Munchener
Oper (1G54-1787), 8L
19
Kill VAN A
NIRVANA, symplionisclies Stimmungs-
bild, for orchestra, by Hans von Biilow, op.
20, performed in Weimar, May 25, 1884.
Published by Heine (Leipsic, 18G0-67);
and by Aibl (Munich, 1884) ; arranged by
Richard Kleinmichel for pianoforte for four
hands.
NISLE, JEAN FET^DfiRIC, born at
Neuwied in 1782, died (?). Virtuoso on
the horn and pianist, pupil of Koch at Ru-
dolstadt, whence he went to Rostock, and
in 1806 joined in Vienna his elder brother
David, with whom he had travelled before
studying at Rudolstadt. The two went into
Hungary, and thence to Trieste, and thi'ough
Italy as far as Sicily. Jean Froduric settled
at Catania, where he founded a musical so-
ciety, and lived for about twenty years. In
1834 he retui-ned to Germany, went to Paris
in 1836, and then to Loudon, where he still
was in 1837. For many years previously
ho had abandoned his former instrument for
the pianoforte. Works : Overture for full
orchestra ; Quintets for vioUns ; Quintet for
flute, horn, and strings ; Do. for flute and
strings ; Quartets for strings ; Trios for do. ;
Do. for 2 horns and violoncello ; Do. for
pianoforte, violin, and horn ; Duos for vio-
lins ; Do. for horns ; Do. for pianoforte and
horn ; 6 solos for violin ; Divertissements
and fantaisies for pianoforte ; German and
Itahan songs. — Fctis ; Schilling.
NITTETI, Italian oper.a in three acts,
text by Metastasio, music by Sarti, first
represented in Parma in 17G5. Scene in
Egypt. Characters represented : Amasi,
King of Egypt ; Sammete, his son ; Beroe,
a shepherdess, loved by Sammete ; Nitte-
ti, Egyptian princess, daughter of the de-
throned king Aprio ; Amenofi, sovereign of
Cirene, friend of Sammete and lover of
Nitteti ; and Bubaste, captain of the king's
guards. Amasi, captain of the Egyptian
army and friend of Ajjrio, King of Egypt,
is sent by him to subdue rebellious prov-
inces. He fulfils his mission, and on his
return is proclaimed king of Egj'pt by the
people. Aprio yields the throne without
demui', and begs Amasi to aid in finding
his daughter Nitteti, lost in the tumult,
whom he wishes given in marriage to Sam-
mete, the son of Amasi, so that she may be
restored to the throne. Aprio then dies in
the arms of Amasi. Published by Ricordi
(Milan). Same test, Italian operas, music
by Jommelli, Stuttgai-t, 17.53 ; Nicolo Con-
forti, INIadrid, 175G ; Holzbaucr, Turin,
1757 ; Johann Adolpli Hassc, Dresden,
1758 ; by Angelo Petrucci, Mantua, 1766 ;
Ignaz Fiorillo, Cassel, 1770 ; Sacchini, Lon-
don, 1774 ; Dominico Fischetti, Naples,
Nov. 4, 1775 ; Carlo Monza, Venice, 1777 ;
Josef Mysliweczek, ib., 1780 ; Paisiello, St.
Petersburg, 1781 ; Luigi Gatti, Lucca, 1786 ;
Sebastiano Nasolini, Trieste, 1788 ; Parenti,
Naples, 1789 ; Bertoni, ib., 1789 ; Bianchi,
Milan, 1789 ; Federici, London, 1797 ; Be-
nincori, Vienna, 1800 ; Stefano Pavesi, Tu-
rin, 1812 ; and Poissl, Darmstadt, 1817.
NIVERS, GUILLAmiE GABRIEL, born
in a village near Melun in 1617, died in
Paris after 1700. Church composer and
writer on music, pupil of Chambonuieres
on the pianoforte, became in 1G40 organist
of Saint-Sulpice, in 1642 tenor in the royal
chapel, and in 1G67 organist of the same.
Afterwards he was also maitrc do mnsiquo
to the queen. Works : Chants d'eglisc a
I'usage de la paroisse de Saint-Sulpice (Pa-
ris, 1G5G) ; Graduale romanum juxta mis-
sale Pii Quinti, etc. (ib., 1G58) ; Antiphona-
rium romanum, etc. (1G58) ; Passiones cum
benedictione, etc. (ib., 1670) ; Lejons de
tenc'bres, etc. ; Chants et motets, etc. (ib.,
1G92) ; Livi-e dorgue (3, 1GG5, 1671, 1675).
— Fc'tis ; Mendel ; Riemann.
NIXE, DIE, cantata for alto solo, female
chorus, and orchestra, text by Lermontoff,
music by Anton Rubinstein, op. 63, first
given at the Gewandhaus, Leipsic, Fcbru-
ai-y, 1864. Published by Scnft' (Leipsic).
— Hanslick, Concertwesen in Wien, ii. 340.
NOBLES SEIGNEURS, SALUT ! See
Uugitenots.
NOCES DE JE.\NNETTE, LES (Jcan-
nette's Wedding), optra-comiquc in one
20
jsrocEs
act, test by Carre and Barbier, music by
Victor Masso, first represented at the Oj)era
Comique, Paris, Feb. 4, 1853. Tlie subject,
Jeauuette, is a young working-woman, who
through love and tact elevates the charac-
ter of her betrothed, Jean, a coarse and ill-
tempered peasant. The chief parts were
sung originally by Mme Miolan and M.
Coudcrc. This, one of Masse's best works,
was first given in New York iu ISGl, with
Clara Louise Kellogg and M. Dubreuil ; in
Loudon iu 1875 ; in Vienna in 1884 ; and
by the American Opera Company, New
York, March 24, 188G. Published by
Schlesinger (Berlin, 1854). — Clement et
Larousse, 481 ; Krehbiel, Eeview (1885-86),
183.
NOCES D'OLIVETTE, LES, opera-co-
miquo in three acts, text by Chivot and Du-
ra, music by Edmond Audran, first repre-
sented at the Boutfes-Parisieus, Paris, Nov.
13, 1879. Olivette, daughter of the seue-
chal de Perpignan, loves Valentin, a young
officer in the body guard of the comtesse
de Pioussillou, and nejjhew of capitaine
Merimac, whom Olivette's father wishes
her to marry. Valentin disguises himself
as his uncle and marries Olivette. Matters
become complicated, for Valentin dares
not appear as himself before the comtesse,
who is iu love with him, and Olivette is in-
volved with two Murimacs. The thread is
disentangled through the aid of the due
des Ifs, who draws the elder Merimac into
a conspu'acy which forces him to leave the
country, and wins the comtesse's consent
to the union of Valentin and Olivette.
The original cast included JJlle Clary as
Olivette ; IMllo Bennati as la comtesse de
Koussillon ; MM. Jolly, Marcelin, Gerpre,
Desmonts, Pescheus, and Bertelot. The
opera was first given in New York, Jan. 7,
1881.— Kevue et Gaz. mus. de Paris (1879),
372.
NOCES DE TthtE ET DE THETIS.
See Nozze di Tetide e di Peleo.
NOCES DE PROMETHfiE, LES (The
Wedding of Prometheus), cantata for cho-
rus, soli, and orchestra, by Saint-Saens, op.
19, first performed at the Cirque des
Champs Elysees, Paris, Sept. 1, 1867. Pub-
lished by Maho (Paris, 1868).
NODUS SOLOMONIS (Solomon's Knot),
a celebrated canon composed by Pietro
Francesco Valentini in Komc in 1631. It
is written on the chord of G for ninety-
six voices iu twenty-four choirs. lurcher
describes it in his Musurgia Universalis
(Rome, 1650), and says if the proper dis-
tribution of the four-part chorus is made,
this canon may be sung by twelve million
two hundred thousand voices. — Grove, ii.
461 ; Burney, iii. 522 ; Hawkins, iii. 376.
NOEL. See Oratorio de Noel.
NOHR, CHRISTIAN FEIEDRICH, born
at Laugeusalza, Thuringia, Oct. 7, 1800,
died at Meiningen, Oct. 5, 1875. Virtuoso
on the violin, jjupU of Spohr, and in com-
position of Umbreit and Hauptmann ; after
several successful concert tours he became
Conzertmeister in the ducal orchestra at
Meiningen. Works — Operas : Der Alpen-
hirt, Gotha, 1831 ; Liebeszauber, Meinin-
gen, 1831; Die wunderbaren Lichter, ib.,
1833 ; Der vierjilhrige Posten, ib., 1851.
Oratorios : Martin Luther, Eisenach, 1850 ;
Fraueulob ; Helvetia. Symphony for full
orchestra ; Pot-pourri for wind instruments ;
Quintet for strings ; 2 quartets for do. ;
Quartets for male voices ; German songs.
— Fetis ; Mendel
NOLA, GIOVANNI DOJHNIC DE, Ital-
ian comjjoser of the 10th century. His name
is probably only that of his birthplace. He
was maestro di cajjpella of S. Annunciata at
Naples in 1575. Works : D. Joannis Dom-
ini juvenis, etc., cantiones, vulgo Motecta
appellattc, etc. (Venice, 1575) ; Canzone vil-
lanesche a 3 voci (ib., 1545) ; Villanella alia
Napolitana a 3 e 4 voci (ib., 1570) ; Madri-
gals in various collections of the time. — Fe-
tis ; Mendel.
NON CASA, NON SPIAGGIA. See
Pnritani.
NON, CE N'EST POINT UN SACRI-
FICE. See Alcesle, Gluck.
NON
NON, DE MA JUSTE COLEEE. See
Deii.r families.
NON MI DIE, BELL' IDOL mO. See
Don Giovanni.
NONNENGESANG (Song of the Nuns),
for soprano solo and female chorus, with ac-
companiment of two horns and harp, text
from Uhland's " Brautlied," music l)y Jen-
sen, op. 10, No. 1. It is dedicated to J. V.
E. Hartniann and Niels W. Gade. Pub-
lished by Sclmberth (Hamburg, 18fiO-G7).
NONNE SANGLANTE, LA (The Bloody
Nun), French opera in five acts, text by
Scribe and Dolavigne, music by Gounod,
first represented at the Academic Royalo do
Musique, Paris, Oct. 18, 1854. Subject from
Lewis's romance " The Monk " (179.")) ;
scene in Bohemia in the eleventh century.
Agnes, daughter of Comte de Moldaw, prom-
ised by her father to Theobald, son of the
Baron de Luddorf, loves Rodolphe, brother
of Theobald. In order to meet him she
promises to assume the disguise of the
Nonnc sanglante, a phantom that haunts
the estate. Rodolphe, seeking her at mid-
!iight, falls in with the real phantom, and,
supposing her to be Agnes, pledges her his
love. Theobald dies, and Rodolphe wish-
ing to niaiTV Agnt'S, the Nonne sanglante
agrees to release him from his vows to her
if he will slay her seducer and murderer.
To Rodolphe's horror, she points out his
own father as the iiroposcd victim. For-
tunately, the baron is removed by the poig-
nards of the Jloldaws, and the appeased
nun bears him to heaven in a grand tableau.
This opera was given only eleven times.
— Clement et Larousse, 481.
NONNES QUI REPOSEZ. See Robert
le Diable.
NON NOBIS, DOmNE, a celebrated
canon in the Mixolydian mode, frequently
sung in England at the close of public din-
ners. Its authorship has been assigned by
English historians to William Byrd, but the
canon does not appear in any of his pub-
lished works. According to Bumey, the
first copy bearing Byrd's name is contained
in Hilton's "Catch that Catch can," but
the author's name is not mentioned in the
edition of 1652. Its composition has been
ascribed also to Palestrina, who used the
opening theme for his Madrigal, " ^yhen
iiowery meadows deck the year," possibly
on the evidence of a copy of this canon, en-
graved on a plate of gold, and said to be in
the Vatican; but Dr. Blow, in his "Am-
2)hion Anglicus " (1700), speaks of this as
"Byrd's Anthem in golden notes," "Pre-
served intirc in the Vatican." The canon
has been set to German words and ascribed
to Mozart. Bach used the theme for the
subject of an " Allabreve per Organo pleno
in D ; " Handel, in the TTallehijah chorus in
the 3li!.<<siah, and in " I will Sing unto the
Lord," in I.-^i-ael in Egypt ; Mendelssohn, in
the last chorus in Faidus ; and Carlo Ricci-
otti founded upon it a concei'to, published
in Amsterdam in the eighteenth centurj-.
The canon is capable of many solutions, an
interesting one of which is in an anonymous
MS. in Buckingham Palace. Mendelssohn
also set this. Psalm cxv., op. 31, Simroek
(Bonn, 183(5). — Grove, ii. 4G4 ; Burney, iii.
92 ; Pohl, Mozart uud Haydn in London, i.
19, 25.
NON PliT ANDRAI. See Nozze di Fi-
garo.
NON PLUS ULTRA. See Pbta ultra.
NON SO DONDE \TENE, aria for bass
with orchestra in F, text from Metastasio's
Olimpiade, music by Mozart, composed for
Herr Fischer in Vienna, March 18, 1787.
Breitkopf & Hiirtel, Mozart Werke, Serie vi.,
No. 35. — KiJchel, Verzeichniss, No. 512 ;
Andre, No. 85.
NON SO DONDE VIENE, aria for so-
prano with orchestra, in E-flat, text from
Jletastasio's OUmpiade, music by Mozart,
composed in Manheim, Feb. 24, 1778, for
Aloysia Weber, and sung by her in Vienna,
March 11, 1783. Breitkopf & Hiirtel, Mo-
zart Werke, Serie vi., No. 17.^ — Kochel,
Verzeichniss, No. 294 ; Jahn, Mozart, ii.
170 ; Mozart's Letters (Lady Wallace), i.
175.
22
NON
NON SO Pitr COSA SON. See Nuzze
di Figaro.
NON TEMEK, AMATO BENE, rondo
for soprano with orcliestra and pianoforte
obligate, in E-flat, text from Idomeneo, mu-
sic by Mozart, composed for Mme Storace
and himself, Dec. 2G, 178(3. Breitkopf &
Hiirtel, Mozart Werke, Serie vi., No. 34. —
KOchel, Verzeichuiss, No. 505 ; Andre, No.
84 ; Jahu, Mozart, iii. 282.
NO, NO, CHE NON SEI CAPACE, aria
for soprano with orchestra, in C, text from
Aufossi's opera, H curlvso indiscrete, music
by Mozart, composed iu Vienna in June,
1783. Breitkopf & Hiirtel, Mozart Werke,
Serie vi.. No. 20. — KOchel, Verzeichuiss, No.
419 ; Jahn, Mozart, i. 426 ; iii. 276.
NOIIDISCHE SOMMEKNACHT (North-
ern Summer Night), cantata for mixed
chorus, soli, and orchestra, text by Lingg,
music by Friedrich Gernsheim, op. 21.
Published by Schott (Mainz, 1872).— Mus.
Wochenblatt (1872), 227.
NOIIDISCHE SUITEN, five Northern
Suites, for orchestra, by Asger Hamerik,
first performed at the Peabody Concerts,
Baltimore, Maryland, under the comjjoser's
direction. No. 1, op. 22, iu C : I. Im
Walde (Adagio, Allegro molto) ; H. Volks-
lied (Andante sosteuuto) ; HI. Springtauz
(Allegro vivace) ; IV. Meuuet (Andante) ;
V. Brautmarsch (Allegro maestoso, Allegro
vivace). Published by Breitkopf & Hiirtel
(Leipsic, 1871-72). No. 2, op. 23, iu G
minor : I. Heldeulied (Andante sostenuto) ;
II. Sage (AUegro molto) ; IH. Drapa (Mode-
rate) ; IV. Springtauz (Moderate, Allegro
molto vivace). Published by Andre (Offen-
bach am Main, 1872-73). No. 3, op. 24,
in A minor : I. Des Bardeu Lied (Andante
con mote) ; H. Hallingtauz (Allegro vivace) ;
in. Sage (Andante) ; TV. Springtauz (Alle-
gro). Published by Andre (Offenbach am
Main, 1873-74). No. 4, op. 25, in D, dedi-
cated to Theodore Thomas : I. Auf dem
Meere (Andante tranquillo, Allegro molto
vivace) ; II. Im Volksteu (Andante sostenu-
to) ; in. Meermaidstanz (Allegro molto vi-
vace) ; rV. LiebesHed (Andante) ; V. Zur
Kiisto (Allegro maestoso). Published by
Breitkopf & Hiirtel (Leipsic, 1875-76). No.
5, op. 26, in A, dedicated to Niels W. Gade :
I. Auf dem Meere (Allegro) ; II. Serenade
(i\jidante con mote) ; IH. Scherzo (Allegro) ;
IV. Im Volksten (Andautiuo con mote) ; V.
Lob des Meeres (Allegro). Published by
Andre (Offenbach am Main, 1877-78).—
Mus. Wochenblatt (1880), 505.
NOlvMA, Itahau opera in two acts, text
by Eomani, music by Bellini, first repre-
sented iu Milan, Dec. 26, 1831. The libretto
is taken from a tragedy of the same title, by
Soumet and Belmontet. The first act is
laid iu Cambria, in the sacred forest of the
Druids, the second in their temple of Ir-
minsul. The Gauls, having subjugated the
Romans iu Whales, have placed Pollione, a
proconsul of Home, in government. He
loves Norma, the daughter of the High
Priest, Orovese, and is secretlj' married to
her. Afterwards he gives his affection to
Adalgisa, a young priestess, who conseuta
to fly with him to Home ; but, conscience
smitten, she reveals the plan to Norma, who
resolves upon revenge, and determines to
murder her two children by Pollione. In-
stead of this, she impeaches herself in the
assembly of the Druids, who condemn her to
be burned. Her faithless husband is sen-
tenced also, his love for Norma returns,
and he shai-es Ler fate on the funeral pyre.
Among the best numbers are : Norma's
prayer to the moon, " Casta Diva ; " her
cavatina, "Ah! bello a me ritorua ; " the
duet between Adalgisa and Polhone, "Va
crudele ;" "Sola, furtiva, al tempio," sung
by Norma and Adalgisa ; the grand duet
between Norma and Adalgisa " Deh ! con
te li prendi," " Mira, O Norma ; " Norma's
war hymn, "Guerra, guerra ;" and her final
duet with Pollione, " Qual cor ti-adisti."
Original cast :
Norma (S.) Mme Pasta.
Adalgisa (A.) Mme Grisi.
PoUione (T.) Signer Donzelli.
Oroveso (B.) Signor Negrini.
NORMAN
The role of Norma, one of the most perfect
on the operatic stage, has been worthily filled
by some of the greatest of prime donne,
Giuiia Grist.
among them Pasta, Grisi, and IMalibran.
Grisi, who sang the part of Adalgisa to
Pasta's Norma in the first representation in
Milan, expressed to Bollini a desire to sing
Norma. "Wait twenty yeai-s," replied he,
"and we shall see." "I will play Norma
in sjsite of you, and in less than twenty
years," she retorted. She kept her word,
for in 183-1 she apjieared as Norma in Lou-
don, and made it her greatest character, in
which she has never been surpassed. Mile
Tietjens was also successful in this part.
The character of Pollioue was a favorite one
with Rubiiii, and that of Oroveso with La-
blache. This was the composer's favorite of
aU his operas, and Wagner called Norma "the
most melodious " of Bellini's works. It was
first given in Loudon, at the King's Theatre,
in Italian, June 20, 1833, with this cast :
Norma Mme Pasta.
Adalgisa Mme de M6ric.
Pollione Signer Douzelli.
Oroveso Siguor V. Galli.
It was first represented in Paris at the Ita-
liens, in 1833 ; in Vienna in 1833 ; in Ber-
lin in 1834 ; in Leipsic in 1835 ; at Drury
Lane, London, in English, June 2-1, 1837 ;
and in New York, Sept. 20, 1843, with
Signora Corsini as Norma, and Signor Pe-
rozzi as Pollione. It was given in New York,
Sept. 11, 1854, with Grisi, Mario, and
Susini in the cast. Published by Ricordi
(IMilan), and by Diabelli (Vienna). — Clement
at Larousse, 482 ; Allgem. mus. Zeitg.,
xxsiv. 199 ; xxxv. 529, 752 ; xxxvi. 315 ;
Grove, i. 213; Athenfcum (1833), 420;
(1837), 485 ; Upton, Standard Operas, 48.
NORMAN BARON, cantata, text from
Longfellow, music by Thomas Anderton,
%vritten for and dedicated to the Middles-
borough Musical Union of England in 1884.
NORMANN, LUDWIG, born in Stock-
holm, Sweden, Aug. 28, 1831, died there,
March 28, 1885. Pupil of Lindblad, and
afterwards at the Conservatorium at Leip-
sic. In 1857 he became professor of com-
position at the Royal Academy of Stockholm,
and in 18G1 Kapellmiistaro at the opera
there. In 18G4 he married the violin vir-
tuoso Wilhelmine Neruda. Works : Quartet
for pianoforte and strings ; Trio for do. ;
Sonata for violin ; Pianoforte music for two
and four hands. — Riemann.
NOltMANNENZUG, cantata for baritone
solo and male chorus, with orchestra, text
from " Ekkehard," by J. V. Scheffel, music
by Jlax Bruch, op. 32. Published by Breit-
kopf & Hiirtel (Leipsic, 1873).
NORWEGISCHE RHAPSODIEN (Nor-
wegian Rhapsodies), for orchestra, by Johan
Severin Sveusden, op. 17, op. 19, op. 21, op.
22. No. 1, op. 17, in B minor, dedicated
to M Lindeman (j\jidautino. Allegro, An-
dante, Allegro). No. 2, op. 19, in A (Alle-
gro, Andantino, Lento) ; No. 8, op. 21, in
C, dedicated to Edvard Grieg (Allegro mol-
to, AUegi'O moderato. Andante, Allegi-o,
Stretto) ; No. 4, op. 22, in D minor, dedi-
cated to Karl Hals (Andante, Allegro mo-
derato, Allegretto quasi moderato. Andante,
Allegi-o, Presto). Published by Warmuth
(Christiania, 1877-81). Arranged for piano-
foi'te, four hands. — Neue Zeitschr. (1881), 3.
NOTIIUNG
NOTHUNG ! N 0 T H U N G ! NEID-
LICHES SCHWEET. See Siegfried.
NOTKER (Notkerus), BALBULUS,
called St. Notker, born in 840, died at St.
S" . hlorXzBys'
Gall, Switzerland, April 6, 912. Ho was a
ruoiik of the Monastery of St. Gall, and
probably received Lis name (Balbulus, the
Stammerer) from a physical infirmity. He
was one of the earliest and most noted com-
posers of Sequences, Ms celebrated Media
vita in morte sunms, a chant which owed
much of its popularity to its subsequent
adoption by Christian wamors as their bat-
tle-song, being still in iise. Others also by
him (he wrote thirty-five) are used at Pen-
tecost, Easter, and Christmas. A codex
preserved at St. Gall contains forty-four of
his chants, which influenced both French
and Italian song. The portrait is a fac-
simile of a drawing in this MS. He must
not be confounded with Notker the younger,
known as Notker Labeo or Teutonicus, also
a monk of St. Gall, who died in 1022, re-
nowned as the writer of the first German
MS. on the theory of music. — Naumann
(Ouseley), i. 187, 202 ; Reissmann, 31 ;
Schubiger, Die Siingerschule von St. Gallen
(1858).
NOTTE E GIORNO FATICAR. See
Don Giovanni.
NOTTEBOHM, MARTIN GUSTAV.
born at Liidenscheid, Westphalia, Nov. 12,
1817, died at Gratz, Nov. 1, 1882. While
serving in Berlin, in 1838-39, as a volunteer
soldier, he studied pianoforte and composi-
tion under Berger and Dehn. In 1840 he
went to Leipsic, where he was the friend of
Schumann and Mendelssohn, a testimonial
from the latter as to his musical ability se-
curing his discharge from the army. Set-
tled in Vienna in 1846, he took a course of
counterpoint under Sechter, and became
active as a teacher and writer. He was one
of the most thorough investigators of Beet-
hoven's sketch-books. Works : Quartet for
pianoforte and strings ; Trios for do. ; Va-
riations on a theme by Bach for pianoforte
(4 hands) ; Other music for pianoforte. Lit-
erary works : Ein Skizzenbuch von Beetho-
ven (Leipsic, 18C5) ; Thematisches Verzeich-
niss der im Druck erschieneuen Werke
von Beethoven (ib., 18G8) ; Beethoveniana
(1872) ; Beethoven's Studien, containing
Beethoven's lessons from Haydn, Albrechts-
berger, and Salieri (1873) ; Thematisches
Verzeichniss der im Druck erschieneuen
Werke von Franz Schubert (Vienna, 1874) ;
Mozartiana (Leipsic, 1880) ; Ein Skizzen-
buch von Beethoven aus dem Jahre 1803
(ib., 1881).— Mendel, Erganz., 314 ; Ric-
mann.
NOUVEAU SEIGNEUR DU VILLAGE,
LE (The new Lord of the Village), opera-
comique in one act, text by Creuze de Les-
sor and Faviores, music by Boicldieu, first
represented at the Opera Comique, Paris,
June 29, 1813. This work, which is dedi-
cated to Martin, was very popular and kept
the stage for thirty years. It was given in
Vienna, June 24, 1814, as "Dor neue Guts-
lierr," translation by J. F. Castelli. It was
revived in Paris in 1867. Published by
Simrock (Bonn, 1814). — Allgem. mus. Zeitg.
NOUVELLES
xvi. 669 ; Pougin, Boieklieu, 146 ; Rufu-
veille, Boieldieu, sa vie et ses oeuvres (Koii-
en, 1851) ; Hoguet, Boieldieu, sa vie et ses
oeuvres (Paris, 1864).
NOIA'ELLES SOIEfiES DE \TENNE,
valses caprices for the pianoforte after
Strauss, by Cai-1 Tausig. They may be re-
garded as pendants to Liszt's Soirees de Vi-
euue, after Schubert. Cahiers I., 11., and
in., dedicated to Franz Liszt and published
by Schuberth (Leipsic and New York). Ca-
Lier IV., dedicated to Franz Liszt, and V.,
to the friends of the dead composer, pub-
lished posthumously by Erler (Berlin) and
by Hermann (Leipsic).
NOVELLETTEN f iir das Pianoforte, by
Schumann, op. 21, composed in 1838, and
dedicated to Adolph Heuselt. They have
no titles to explain them, but Schumann
calls them "long and connected romantic
stories." PubUshed by Breitkopf & Hiirtel
(Leipsic, 1839) ; ib., Schumann Werke,
Serie vii.. No. 21. Schumann wrote another
Novellette in the same year-, which is in-
cluded in his Bunte Bliitter, op. 99, No. 9.
Same title, Orchesterstxlcke by Niels W.
Gade, op. 53, first performed in Leipsit;,
Oct. 12, 1876.— Grove, ii. 480; iii. 409;
Maitland, Schumaim, 59.
NOVELLO, VINCENT, born in London,
Sept. 6, 1781, died at
Nice, Aug. 9, 18G1.
Sou of an Italian
father and an Eng-
hsh mother, he be-
gan his musical ca-
reer as a choir-boy
and deputy organist ;
was organist of the
Portuguese Chapel
in London in 1797-
1822 ; acted as jnan-
ist of the Italian Opei-a in 1812 ; was an
original member of the Philharmonic So-
ciety, and sometimes conducted its concerts.
In 1840-43 he was organist of the Eoman
Catholic Chapel in Moorfields ; was one of
the founders and conductors of the Classi-
cal Harmonists and Choral Harmonists So-
cieties ; in 1849 he settled permanently in
Nice. He composed good though not very
original music, but was best known as an
editor and arranger. He founded in London
in 1811 the music publishing house of No-
vello. Ewer & Co. Works : Kosalba, canta-
ta ; Old May Morning, a glee ; The Lifant's
Prayer, recitative and air ; Masses, motets,
and sacred music to Latin words. He ed-
ited also many collections of sacred music.
— Grove ; Kiemann ; Mendel ; Futis.
NOWM^OWSia, J(')ZEF, born at
Muiszek, near Ratlomsk, Poland, in 1805,
died at Warsaw in 1865. Pianist, Ih'st in-
structed in a monastery at Wonchak, then
pupil at the Conservatorium iu Warsaw of
Wiirfel in harmony, and of Eisner in comjJO-
sition. In 1833 he made his first concert
tour, visiting Germany, Italy, and stopping
for some time in Paris. He was then cousid-
ei-ed one of the best composers of Poland,
and after his return became jjrofessor at
the Alexander Institute, Warsaw. In 1838
and 1841 he again visited Paris. W'orks :
2 symphonies for orchestra ; 4 overtures
for do. ; 2 masses and other church music ;
About 20 polonaises for pianoforte and
orchestra ; 2 quintets for j)ianoforte and
strings ; Quartet for strings ; Polonaises,
fantaisies, nocturnes, airs varies, rondeaux,
etc., for pianoforte ; 12 grandcs etudes for
do. ; Method for do. ; Many songs. — Fetis ;
Mendel.
NOW' HEAVEN IN FULLEST GLORY.
See Nun scheint in vollem Glanzo.
NOW THE EVENING WATCH IS SET.
See Oberon.
NOW VANISH BEFORE THE HOLY
BE.-VMS. See Nun schwanden vor dem
heUigen Strahle.
NOZZE D' AEIANA E DI BACCO, LE.
See Ariadne.
NOZZE DI DORINA, LE (Dorina's Wed-
ding), Italian opera, music by Sarti, first
represented in Venice in 1782. It was
given in Paris, Sept. 14, 1789. The score,
which is in Lhe library of the Paris Con-
NOZZE
servatoire, 1ms been published in Paris ;
also by Ricordi (Milan). An opera of this
title was written by Cocehi, London, 17G2.
NOZZE DI ENEA CON LAVINIA, LE
(The Wedding of iEneas and Lavinia), Ital-
ian opera by Monteverde, first represented
in Venice in 1641. Subject, the marriage
of ^neas with Lavinia, daughter of Latiiuis,
King of Latiuni, to win whom J^neas fought
against her betrothed lover Turuus and
killed him. Other operas on the same
story, in Italian : Enea e Lavinia, by Sac-
chini, London, 1779 ; by Guglielmi, Naples,
1785. Enea in Italia, by Pallavicino, Ven-
ice, 1675 ; by Di'aghi, Vienna, 1678 ; and
Perez, Lisbon, 1759. Enea nel Lazio, by
Jommelli, Stuttgart, 1755 ; by Gardi, Mod-
ena, 1786 ; and Eighini, Berlin, 1793. Tur-
no Aricino, by M. A. Bononciui, about 1710 ;
by Alessaudro Scarlatti, Rome, 1720 ; and
Vinci, Naples, 1724 In French, Enee et
Lavinie, text by Fontenelle, music by Co-
lasse, Paris, 1690.
NOZZE DI FIGARO, LE (The Marriage
of Figaro), Italian opera buffa in four acts,
text by Lorenzo da Ponte, music by Mo-
zart, first represented at the Burgtheater,
Vienna, May 1, 1786. The libretto is taken
from Beaumarchais' comedy, " Le mariago
de Figaro," first jjlayed in Paris, April 27,
1784. The music was composed in April,
1786, and was finished on the 28th of that
month. Mozart wrote the finale to the sec-
ond act in two nights and a day without in-
termission. The scene is in Sixain. Count
Almaviva, wlio has won his wife through the
aid of Figaro, the barber of Seville, falls in
love with her maid, Susanna, who is be-
trothed to Figaro. They make him jealous
of the attentions paid to the Countess by
the page, Cherubiuo, and Figaro becomes
jealous of the Count's affection for Susanna.
After conspiracies, disguises, meetings at
cross-purposes, and playful surprises, the
characters reveal themselves, the Count and
Countess are reconciled, and Figaro and
Susanna are married. Among the princi-
pal numbers are : " Se vuol ballare, Siguor
contino," sung by Figaro to a guitar-like
accomijaniment ; Bartolo's song, " La ven-
detta ; " Cherubino's aria, " Non so piti cosa
son ; " the trio, " Cosa sento ! tosto andate,"
sung by the Count, Basilio, and Susanna ;
the chorus, "Giovanni lieti," and Figaro's
celebrated aria, "Non i^iti andrai," which
closes the first act ; the aria, "Porgi amor,"
sung by the Countess ; Cherubino's ro-
manza, " Voi, che sapete ; " " Venite, ingi-
nocchiatevi," sung by Susanna ; the elab-
orate finale to the second act, begun by the
Count, " Esci omai, garzon mal nato ; "
" Crudel ! percho finora," duet between the
Coimt and Countess ; the sextet, " Riconosci
in questo amplesso ; " the Countess's aria,
''Dove sono," and the "Zephyr Duet,"
" Canzouetta sul' aria : Che soave zeffiretto,"
sung by the Countess and Susanna ; Basilio'a
aria, " In quegli anni ; "Figaro's song, " Ecco
la marcia;" and Susanna's song, "Deb,
vieni, non tardar." Original cast :
Figaro (B.) Signor Benueci.
Count (B.) Signor Mandiiii.
Countess (S.) Signora Laschi.
Susanna (S.) Signora Storace.
Cherubino (S.) Signora Bussani.
Marcellina (S.) Signora Mandini.
Basilio
Don Curzio
Bartolo
Antonio .
Barberina (S.). . . .Signora Nanina Gottlieb.
Mozart conducted. After nine representa-
tions in Vienna, this oj)era was laid aside
through the influence of Mozart's rivals.
In the following year it was received in
Prague with great enthusiasm, and, owing to
its wealth of melody, charm and grace of
style, perfection of concerted music, and re-
flection of Mozart's genial nature, it has
kept the stage uninterruptedly. It was first
given in Paris at the Academic Royale de
Musique, translation by Notaris, March 20,
1793, without success ; and at the Theatre
Italien in 1838, with Lablache as Figaro,
Tamburiui as the count, Mme Persiani as the
(T.) Mr. Michael KeUy.
](B.).
. Siprnor Bussani.
KOZZE
countess ; Mine Giulia Grisi as Susanna;
and Mine Albeitazzi as Clieiubiuo. It was
represented at the Theatre Ljrique, adapt-
ed by Barbier and Cai-re, May 8, 1858, when
Mine Carvalho achieved great success as
Cherubino. Figaro was first represent-
ed in Beilin, May 22, 1803 ; in Leipsic in
1808 ; in Munich in 1813 ; in Dresden in
1816 ; and in Strasburg in 1823, adapted
55 I
Angelica Catalan!,
for the stage by Castil-Blaze. Tlie opera
was first given in London, King's Theatre,
June 18, 1812, with Mine Catalani as Susan-
na, a cliaracter in which she excelled, though
she did not like Mozart's music. It was
again given, Feb. 1, 1817, with Naldi as Fi-
garo, Ambrogetti as the count, Fodor as the
countess, Caiuporese as Susanna, and Pasta
as Cherubino. It was first given in New
York in English, May 3, 1823, with Bishop's
arrangement (Loudon, 1819), and it was
first sung in ItaUan, Nov. 2.3, 18.58, with
Carl Formes as Figaro, Piccolomini as Su-
sanna, and Mme von Berkel as Cherubino.
Miss Paton made her first a23pearance on
the oj»eratic stage as Susanna at the Hay-
mai-ket, London, Aug. 3, 1822, and Mine
Caradori-Allan made hers at the King's
Theatre, Jan. 12, 1822, as Cherubino, one of
Mozart's most charming characters, which
has been played with gi'eat success also by
Mme Pasta, Mme Vestris, Pauline Lucca,
and Christine Nilsson. Full score pubhshed
by Simrock (Bonn, 1821) ; by J. Frey
(Paris, 1823) ; and by Breitkopf & Hartel,
Mozart Werke, Serie v., No. 17. — KOchel,
No. 492 ; Jahn, Mozart, iv. 191-275 ; Nohl,
Mozart (Lady Wallace), ii. 133 ; Oulibi-
cheff, Mozart, iii. 28 ; do., Mozart Operu,
309 ; Holmes, Mozart, 279 ; Nisseu, Mozart,
ii. 80 ; Gehring, Mozai-t, 108 ; Kelly, Rem-
iniscences (London, 182G), 188 ; Pohl, Mo-
zart and Haydn in London, i. 147 ; Berliner
mus. Zeitg."(1793), 77, 138 ; Allgem. mus.
Zeitg., iii. 594 ; v. 572 ; sxiv. 270 ; xlii. 589 ;
Revue des deux Mondes, xvii. 841 ; Revue
et Gaz. mus. de Pirns (1858), IGl, 294 ;
Neue Zeitschr., xli. 113 ; Grove, ii. 390 ;
Clement et Larousse, 485 ; Hogarth, ii.
238-246 ; Upton, Standard Operas, 169.
NOZZE DI TETI E DI PELEO, LE
(The "Wedding of Thetis and Peleus), Ital-
ian opera in three acts, text by Orazio Per-
siani, music by Francesco Cavalli, first
represented at the Teatro San Cassiano,
Venice, in 1639. It was given at Versailles,
Jan. 26, 1654, after which a ballet of the
same title, of ten entrees, by Benserade was
danced by Louis XTV. and the ladies of
his court. — Schletterer, Studien zur Ge-
schichte der franzOsischen Musik, ii. 189 ;
Ambros, Geschichte der Musik, iv. 372.
NIJCEUS, ALARD, born at Lille about
the end of the 15th century. Church com-
poser, and maitre de chapelle to Ai-chduke
Jlathias of Austiia. His name seems to be
simply a translation of the French Noyer or
Du Noyer. Works : Quatuor Missaj quin-
que, sex et octo vocum (Antwerp, 1539).
— Fetis; Mendel.
NUCIUS, FRIEDRICH JOHANTSf, born
at GorUtz, Silesia, in 1556, died (?). Church
composer, pupil of Johann Winkler at ^litt-
weida, Saxony. He was at first a monk at
Rauden, Silesia, then abbot at Hiinmelwitz.
Works : Modulationes sacrse modis musicis
(Prague, 1591) ; Cantionum sacrarum (Lieg-
nitz, 1609) ; Hymns. — Futis ; HoiTinann,
Lexikon schlesischcr Tonkiinstler ; Mendel.
JMIIIT
NUIT A LISBONNE, ITNE (A Night in
Lisbon), barcarolle, for orchestra, by Saint-
Saeus, op. G3, dedicated to Ha, Majestu Dom
Luiz, Koi de Portugal. Published by Du-
rand, Schoeoewerk & Cie (Paris). Tran-
scription for the pianoforte for foiu- hands,
by the composer.
NUIT DE CLEOPATEE, UNE (A Night
of Cleopatra), opera-comique, text by Jules
Barbier, music by Victor Masse, first given
at the Opera Comique, Paris, April 25, 1885.
The libretto is founded on a romance by
Gautier. A great success ; called by the
critics the composer's masterj^iece.
NUIT DE WALPUEGIS, LA (Walpurgis
Night), symphonic poem for orchestra, by
Charles Mario Widor, first performed at the
Chatelet, Paris, Feb. 8, 1880. It is a de-
scriptive poem in tkree divisions : Overture,
Andante, and Devil's Dance. — Musical Re-
view (New York, 1880), i. 296.
NLIT DTV'RESSE. See Africaine.
NUITS BLANCHES (Restless Nights),
eighteen morceaux lyriques for the piano-
forte, by Stei^hen Heller, op. 82. I. Vivace
(in C) ; II. Impetuoso (in A minor) ; HI.
Lento con tenerezza (in G) ; TV. Molto
animato (in E minor) ; V. Andante quasi
allegretto (in D) ; VI. Allegro deciso (in
B minor) ; VH. Pin lento (in A) ; VHI. Al-
legro ai^passionato (in F-sharp minor) ; IX.
Allegretto con grazia (in E) ; X. Allegro
caratteristico (in C-sharp minor) ; XI. An-
dante con moto (in G-flat) ; XH. Molto
agitato (in B-flat minor) ; XHI. Allegretto
gi-azioso (in D-flat) ; XIV. Piii moderate e
jjlintivo (in F minor) ; XV. Andante pla-
cido (in F) ; XVI. Allegi-o risoluto (in D
minor) ; XVII. Allegretto pastorale (in B-
flat) ; XVni. Allegro non troppo (in G
minor). Published by Litolff (Brunswick,
1877). — Barbedette (Brown - Borthwick),
Heller, 70.
NUITS D'ET:fi, LES (Summer Nights),
six songs for one voice with pianoforte
accompaniment, from Theophile Gautier,
music by Berlioz, op. 7. They were com-
posed in 1834, dedicated to Mllo Louise
Bortin, and published by Richault (Paris,
1811). I. Villanelle, for mezzo-soprano, or
tenor ; II. Le spectre de la rose, for con-
tralto; in. Sur les lagunes, for baritone,
contralto, or mezzo-soprano ; IV. Absence,
for mezzo-soprano or tenor ; V. Au cimc-
tiere, for tenor ; VI. L'ile inconnue, for
mezzo-soprano or tenor. No. IV. was or-
chestrated in 1813 ; the others, about 185G.
They were translated into German by P.
Cornelius, and rededicated respectively to
Jllle Wolff, Mle Falconi, M. Milde, Mile
Nottcs, M. Caspari, and Mile Milde. Pub-
lished by Rieter-Biedermaim (Leipsic and
Winterthur, 1856) and by Hofmeister (Leip-
sic). Liszt also wrote Nuits d eto a Pausi-
lippe, trois amusements sur des motifs de
I'Album de Donizetti (Ricordi, Milan, 1839 ;
and Schott, Mainz, 1839).— Neue Zeitschr.,
xlvii. 77.
NUN BEUT DIE FLUR, soprano aria of
Gabriel, in B-flat major-, in Haydn's Die
Scho'pfung, Part I., No. 8.
NUN DANKET ALLE GOTT, choral by
Johanu Criiger. It is one of Criiger's best
known works. Published in the "Praxis
pietatis melica," for four voices and two in-
struments (Leipsic, 1619 ; 30th ed., Berlin,
1703). It was used by Mendelssohn in No.
8 of his Lobfjesang, o-p. 52 (1810).
NUN LIEBES WEIBCHEN, ZIEHST
MT MIR, duet for soprano and bass with
orchestra, in F, composed by Mozart about
1790. Breitkopf & Hartel, Mozart Werke,
Serie vi.. No. 47. — Kochel, Verzeichniss,
No. 625.
NUN LIEGET ALLES UNTER DIR,
choral in D major, for four-part chorus,
with accompaniment of two flutes, two
oboes, strings complete, and continue, in
Johann Sebastian Bach's cantata (Orato-
rium) Lohel Gott in seinen Reichen. The
melody is Ermunt're dich, mein schwacher
Geist, written by Johann Schopp (1641).
NUN OF NIDAEOS, THE, song for
tenor solo, male chorus, and orchestra, with
pianoforte obligato accompaniment, and
reed organ ad libitum, music by Dudley
NUN
Buck, op. 83, written in 1878, and dedi-
cated to W. B. Leonard. Published by G.
Schirmer (New York, 1879).
NUN SCHEINT IN VOLLEM GLANZE,
bass aria of Eapbael, in D major, in Hay-
dn's Die SchOpfung, Part 11., No. 22.
NUN SCHWANDEN VOK DEM HEILI-
GEN, tenor aria of Uriel, and chorus, in A
major, in Haydn's Die Schi'ypfung, Part L,
No. 2.
NUN SEI GEDANKT, ]VIEIN LffiBER
SCHU'AN. See Lohengrin.
NUOVE MUSICHE, LE, a collection of
madrigals and canzone for one voice, by
Giulio Caccini. The first edition was pub-
lished by Marescotti (Florence, lGOl-2) ;
the second hy Alessaudro Itaverii (Venice,
1607) ; the third (ib., 1615).— Fetis, ii. 141 ;
Ambros, iv. 173.
NUBAL4.HAL, oder das Rosenfest von
Caschmir, German opera in two acts, text
by Herklots, from Moore's " Lalla Eookli,"
music by Spontini, first represented in Ber-
lin, ^lay 27, 1822, in honour of the betrotli-
al of tlie Princess Alexandrina of Prussia
to the Grand Duko of Meckleuburg-Schwer-
in. Original cast :
Nurmahal Mme Seidler.
Zelia Mme Scliulz.
Namouna Mme Jlilder.
Sultan Dschohangir HeiT Bader.
]5ahar Herr Devrient.
Atar Hcrr Blume.
Genie lilllo Euuike.
The work was dedicated to the Emperor
and published by Schlesinger (Berhn, 1828).
Spontini had previously written music for
an arrangement of "Lalla Eookh," repre-
sented at the Royal Palace, Jan. 27, 1821, to
entertain the Grand Duke Nicholas of Rus-
sia, during his visit to the German court.
Weber wrote music to Nurmahal's song,
" From Chindara's warbling fount I come,"
from "LaUa Rookh," for soprano with pi-
anoforte accompaniment ; his last compo-
sition, it was left incomplete, and finished
by :Moschelcs.— Grove, iii. 673, 675 ; All-
gem, mus. Zeitg., xxiv. 402 ; Berliner mus.
Zeitg., V. 471, 477 ; Ciicilia, vii. 135 ; Jahn,
Weber Verzeichniss, 409.
0
AKELEY, Sir HERBERT STANLEY,
born at Ealing, IMiddlesex, England,
July 22, 1830, still living, 1890. He
was educated at
^^ "^^^\ Kugby and Ox-
I ^ ford (B.A., 1853;
1'/^ '^ Vr M.A., 185G) ; pu-
pil of Dr. Stephen
El vey in harmony,
in Leipsic of Mo-
schelesand Plaidy
on the jjianoforte,
in Bonn of Brci-
densteiu, and in
Dresden of Dr. Johann Schneider, on the
organ. After residing in London as a mu-
sical critic he became professor of music
in Edinburgh University in 1865 ; received
the degi'ce of Mus. Doc, Cambridge, 1871 ;
Oxford, 1879 ; knighted in 1876 in recog-
nition of his musical services, and in 1881
made composer to Her Majesty in Scot-
land ; LL.D., Aberdeen, 1881 ; D.C.L., To-
ronto, 1886 ; Mus. Doc, Dublin, 1887 ; hon-
orary member of Aecademia Filarmonica,
Bologna, 1888. Works : Edinburgh Festal
March, for orchestra, Liveiijool Musical
Festival, op. 22, 1874 ; Funeral March, for
do., oji. 23 ; Minuet in old style, do., Ches-
ter Festival, 1885 ; Anthems ; 4 quartets,
op. 7 ; 3 do., op. 16 ; 6 part-songs for men's
voices, op. 17 ; 4 choral songs for do. ; Stu-
dent's song. Alma Mater, for do. ; National
Scottish ]Melodies, arranged for do., op. 18 ;
3 duets, op. 8 ; English, French, and Ger-
man songs ; Pianoforte music — Grove ;
Men of the Time (1884), 840.
OAIvEY, GEORGE, born in London,
Oct. 14, 1841, still living, 1890. Vocal com-
poser, pupil of Hullah and MacfaiTen ; won
first prizes in Society of Arts Examinations
in 1869 and 1873. He became examiner in
harmony and composition to Tonic Sol-fa
OBERIIOFFER
College ill 1877, lecturer on harmony in
1877, and on counterpoint in 1878 ; pro-
fessor of liarmony and
couuter23oint in City
of London College
in 1883. Mas. Bac,
Cambridge, 18 77.
Works : Blessed be
the Lord God, and
other anthems;
Hymns and chants ;
Stars of the Summer
Night, and other part-
songs ; Songs and glees. He has published,
also: Exercises in Harmony (London, 1877);
Text-Book of Counterpoint (ib., 1878) ; Do.
of Harmony (ib., 1884).
O ! A TE B.VDA, See Lucrczia Borgia.
OBBLIGATO, AH! SI OBBLIGATO.
See Elim-e d' Amore.
O BEAU PAYS DE LA TOURAINE.
See Huguenots.
OBERHOFEER, HEINRICH, born at
Pfalzel, near Treves, Rhenish Prussia, Dec.
9, 1824, still Hving, 1890. Church compos-
er, first instructed by his fatliei', an organ-
ist, then pupil of W. Hermann at Treves ;
became instructor of music at the teach-
ers' seminary at Luxemburg in 185G, and
professor in 18G1. He has done much for
the elevation of church music, and in 18G2
founded the periodical "Ciicilia," with that
object in view. In the same year he was
elected a member of the Aecademia di Santa
Cecilia in Rome. Works : Sacred four-part
songs ; Choruses for male voices ; Songs ;
Organ music. — Mendel.
OBERON, or the Elf - King's Oath, ro-
mantic English opera in three acts, text
by James R. Planche, music by Carl Maria
von Weber, first represented at Covent
Garden, London, April 12, 182G. It was
written in 1825-2G, and is the composer's
last dramatic work. The libretto is taken
from Villeneuve's romance, " Huon de
Bordeaux," and from Sotheby's translation
of Wieland's poem, " Oberon." Oberon,
having quarrelled with Titauia, vows that
he will not be reconciled to her until ho
shall find two lovers who will kGej) their
troth inviolate. Puck, wishing to reunite
them, sets to work. He discovers in
France the chevaUer Huon de Bordeaux,
who has killed the son of Charlemagne in a
combat, and is ordered to Bagdad. Puck
brings him with his squire, Sherasmin,
asleep to Oberon, who shows him a vision
of Rezia, daughter of the Caliph. Sir
Huon falls in love with her, and on waking
Oberon promises that he may possess her,
and gives him a magic horn that will sum-
mon him at Huou's need. He gives to
Sherasmin a golden cup that tests charac-
ter by filling with wine, or flame, to the one
who holds it to his lips. Huon is trans-
ported to Bagdad, where he learns that
Rezia is to be married on the morrow.
Rezia, who also has seen Sir Huon in a
vision, declares to her attendant, Fatima,
that she will die by her own hand if Sir
Huon does not come to her rescue. He
ajipears, and, with the aid of the magic
horn, can-ies her away, and they embark
with Fatima and Sherasmin. A storm is
raised by Oberon, and they are shipwrecked
on a desert island. Rezia is captured by
pirates, and sold to the Emir of Tunis, who
becomes enamoured of her. Fatima and
Sherasmin are made slaves. Sir Huon,
conveyed to Tunis by Oberon, enters the
harem to find Rezia. He undergoes trials
from the emir's wife, and, resisting her,
she accuses him to her husband, who or-
ders Sir Huon and Rezia to be burned on
the same jjile. Sherasmin blows upon the
fairy horn, and Oberon appears with Ti-
tania, saves the lovers, and bears them to
the court of Charlemagne, where Huon is
pardoned. The chief numbers are : The
opening chorus, "Light as fairy feet can
fall," sung by fairies and genii ; Oberon's
solo, "Fatal oath;" Rezia's song, "Oh!
why art thou sleeping ? " leading to the en-
semble, " Honour and joy to the true and
the brave ; " " Oh ! 'tis a glorious sight,"
sung by Huon ; and the finale to Act I.,
31
OBERON
"Yes, my lord," begun by Eezia, extend-
ing into a duet with Fatima, and closing
with the chorus, " Now the evening watch
is set ; " the chorus, " Glory to the Caliph ; "
Fatima's ai-ietta, " A lovely Ai-ab maid ; "
the quartet, " Over the dark blue waters ; "
Huon's prayer, " Euler of this awful
hour;" Eezia's grand aria, "Ocean, thou
mighty monster," which is often sung at
Eugenia Pappenheim.
concerts ; tlic mermaids' song, " Oh ! 'tis
pleasant ; " Fatima's song, " Oh ! Araby,
dear Araby ; " the duet, " On the banks of
the sweet Garonne," between Fatima and
Shei'asmin ; Kczia's cavatina, " Mourn thou,
poor heart ; " Sir Huon's rondo, " I revel
in hope ;" and his aria, "Yes! even love to
fame must yield," which was composed
especially for Braham, at his request. The
opera is a combination of chivalry, Orient-
alism, and delicate fancy, blended with art
and grace. The melody, colour, and rich-
ness of the orchestration were greatly ad-
mired by BorUoz. Original cast :
Oberon (T.) Mr. Bland.
Huon (T.) iVIi-. Braham.
Sherasmin (Bar.) ilr. Fawcett.
Rezia (S.) Miss Paton.
Fatima (M.-S.) Mme Vestris.
Puck (C.) Miss Cawse.
Mermaid (S.) Miss Gownell.
The opera was translated into German by
Theodor Hell, and given in Leipsic in De-
cember, 1826 ; in Vienna, March 20, 1827 ;
and in Berlin, July 2, 1828. It was first
represented in Paris in German, in 1830,
without success, and again at the Theatre
Lyrique, translation by Nuitter, Beaumont,
and Chazot, with success, Feb. 27, 1857.
It was first sung in New York, Oct. 9, 1829.
It was first given in Italian at Her Majes-
ty's, London, July 3, 18G0, with recitatives
by Su* Julius Benedict, and this version was
given in Philadelphia, March 9, 1870. Obe-
ron was revived in London, December 7,
1878. The last German edition by Franz
Grandaur, with recitatives by Franz Wiill-
ner, was given in Leipsic, Sept 30, 1883.
The original autograph, in the Royal Li-
braiy in St. Petersburg, was presented in
1855 by Max von Weber to Alexander H.
Kezia is a favourite role of Mme Pappen-
heim. Pubhshed by Welsh & Hawes (Lon-
don, 182C) ; by Schlesinger (Berlin, 1827) ;
by Sinirock (Bonn and Berlin) ; by Litolff
(Brunswick) ; by Lose (Copenhagen) ; by
Hirsch (Stockholm) ; by Brandus & Du-
four, by Choudens, and by Richault (Paris) ;
and by Novello & Co. and Cramer & Co.
(London). — Jiihus, Verzeichniss, 383 ; Web-
er, Weber, ii., 58G, G67, 680; Palgrave,
Weber, ii., 377, 455 ; Benedict, Weber, 120 ;
Harmonicou (1826), 107, HI ; Edward's
Hist. Opera, ii. 299 ; Hanslick, Moderne
Oper, 75 ; Berlioz, A travers chants, 234 ;
Berliner mus. Zeitg., iv. 19 ; v. 456, 463,
473, 481 ; AUgem. mus. Zeitg., xxviii. 43G,
530 ; xxix. 109, 245, 265 ; Cacilia, vii. 174 ;
Clement et Larousse, 488 ; Revue et Gaz.
mus. de Paris (1857). 66, 77 ; Echo, i. 209 ;
Grove, iv. 420 ; Quarterly Mus. Review
OBEIlTIltJR
(London), viii. ; Signale (1883), 865 ; (1886)
1153 ; Atbenaium (1878), ii. 771 ; Upton,
Standard Operas, 333.
OBERTHUK, KARL, born in Munich,
March -1, 1819, still liv-
ing, 1890. Virtuoso on
the harp, i)upil of Elise
Brauchle and G. V.
IiOder ; was attached to
the theatre of Zi'u-ich iu
1837-39, then engaged
in Wiesbaden, lived iu
Mannheim iu 1812-41:,
aud went to Euglaud iu
1811:, where he held a brief engagement at
the Italian Opera iu London, aud then de-
voted himself to teaching, composition, aud
playing in concerts iu Euglaud aud abroad.
Works: Floris von Namur, opera, Wies-
baden, about 1810 ; Der Berggeist des Har-
zes, do., about 1850 ; The Pilgrim Queen,
cantata for treble voices ; The Eed Cross
Knight, do. for female voices ; Lady Jane
Grey, cantata; Overtures to Macbeth and
to Eiibezahl ; St. Philip de Neri, mass with
harp ; Concertino for harp aud orchestra ;
Loreley, a legend, for do. ; Quartet for 4
harps ; Noctiu'ue for 3 harps ; Trios for harp,
violiu, and violoncello ; Many solo pieces for
harp ; Pianoforte music, and sougs. — Futis,
Supplement, ii. 282 ; Mendel.
OBIOLS, MARIANO, born at Barcelona,
Nov. 26, 1809, died there, Dec. 10, 1888.
Violinist, pupil of one Juan Vilauova, and
in harmony of Arbos and Saldoni, aud iu
composition of Ramon Vilauova ; went to
Italy iu 1831, aud studied under Mercadaute,
with whom he travelled through Italy,
France, and Germany. In 1837 he returned
to Spain and soon after was made director
of the newly created musical Lyceum at
Barcelona, where he organized and con-
ducted regular concerts, and finally became
director general of music, and orchestra con-
ductor of the grand theatre of the Lyceum.
Works : Odio ed amore, opera, given at
Milan, Scala, 1837 ; Editta di Belcoui't, do.,
Barcelona, 1874 ; II regio Imeneo, cantata ;
Many dramatic scenes for the Lyceum Thea-
tre, Barcelona ; Mass ; Psalms ; 3 Salve
Regina ; Motets ; 3 concert overtures ; Sere-
nade ; Concerto for English horn ; Album
religieux ; 2 vocal albums, etc. — Futis, Sup-
plement, ii. 282 ; Mendel, Ergilnz., 316.
OBRECHT. See Hobrecht.
OCA DEL CMRO, L' (The Goose of
Cairo), Italian oj^era buffa in two acts, text
by Varesco, music by Mozart, written in
Salzburg in July, 1783. Only the first act
was finished, for Mozart was dissatisfied with
the libretto. The autograph and sketches
are in the possession of Jules Andre, Frank-
fort. The scene is iu Ripasecca. Charac-
ters represented : Don Pijjpo, Marquis of
Ripasecca (B.) ; Donna Pautea, his wife (S.) ;
Celidora, their daughter (S.) ; Bioudello, a
wealthy citizen of Ripasecca (T.) ; Calan-
drino, nephew of Donua Pautea (T.) ; Lavina,
companion of Celidora (S.) ; Chichibos, stew-
ard iu Don Pippo's house (B.) ; and Aunetta,
Donna Pantea's maid (S.). The opera was
first published by Andre. The sketches
were fiuished by Charles Coustautiu, who
added numbers from Mozart's Lo sposo
deluso and Zaide, translated into French by
Victor Wilder, aud first represented at the
Theatre des Fantaisies Parisiennes, Paris,
June 6, 1867 ; in Vienna, in 1868 ; aud at
Drury Lane, London, in Italian, May 12,
1870. Pubhshed by Andre (Ofteubach,
1855) ; by Breitkopf & Hilrtel, Mozart
W'erke, Serie v.. No. 37 (Supplement). —
KiJchel, Verzeichniss, No. 422 ; Andre, Ver-
zeichniss, No. 47 ; Jahn, Mozart, iv. 163 ;
Clement et Larousse, 489 ; Athenaum (1870),
i. 685 ; Hanshck, Moderne Oper, 49 ; Neue
Zeitschr., liii. 80.
OCCASIONAL ORATORIO, iu three
parts, by Handel, first performed at Covent
Garden, Loudon, Feb. 14, 19, and 26, 1746.
It is supposed that this work was written to
be performed at three free concerts which
Handel gave to pay his debt to his former
subscribers, who had lost eight concerts in
the season of 1744-45. Another theory is
that it was composed to celebrate the first
33
OCCIDENT
victories over Charles Stuart in Scotland.
The onlj- date on the autograph score, in
Buckingham Palace, heads the overture, one
of Handel's best, Anno 17i5 (or 1746).
The conducting score is inscribed with the
names of the soprano Gambarini and the
tenor Beard. The first two parts are orig-
inal compositions, the words of which are
from Milton's "Psalms." The soprano air,
" Oh, liberty, thou choicest treasure," in B-
flat, was subsequently transposed to A for
Judas Maccabseus, where it appears as
" Come, ever-smiling liberty." Part II.
closes with a fine Hallelujah chorus. Part
HI. opens with a siufonia put together from
two movements of the first and sixth of the
twelve Concerti grossi. It contains several
numbers from Israel in Egypt, including the
choruses, " I will sing unto the Lord " and
" He gave them hailstones for rain," and
the tenor aria, " The enemy said, I will pur-
sue ; " and many new jiieces which refer to
the mihtary events of the time. The words
of these were probably written by Dr.
Thomas Morell. The strophe, " War shall
cease," in the air, " Prophetic visions," is
identical with Dr. Arne's "Rule. Britannia,"
from which Handel took his subject. The
oratorio closes with " God save the King,"
from the Coronation Anthem. It was per-
formed only three times. First published
by Walsh (London) ; edition by Chrysander
for the HiindelgeseUschaft, Breitkopf &
Hartel (Leipsic, 1885). — Schcelcher, Handel,
295 ; Kockstro, Handel, 283.
OCCIDENT ET ORIENT (West and
East), march for military band and orches-
tra, in C, by Saint-Saons, op. 25, first per-
formed at the distribution of prizes at the
Exposition Universelle, Paris, 1878. Dedi-
cated to M. Th. Biais, and published by
Durand, Schoenewerk & Cie (Paris, 1879).
Ai-ranged for the isianoforte for four hands
by the composer.
OCEAN SYMPHONY, in C, for orches-
tra, by Anton Rubinstein, op. 42, first per-
formed in Kijnigsberg in 1857. It was
given in Leipsic, at the Gewandhaus, Feb.
9, 1860 ; by the Musical Art Union, Lon-
don, May 31, 1861 ; in Vienna in 1863, and
by the New York Philharmonic in 1871.
This, Rubinstein's second symphony and
greatest orchestral work, is full of rich
melody and solemn grandeur. It is dedi-
cated to Franz Liszt. I. Allegro maestoso ;
n. Adagio non tanto ; HI. Scherzo ; IV.
Finale : Allegro con fuoco. Subsequently
Rubinstein composed two new movements,
an Adagio and Scherzo ; and the entire
symphony was given at the Crystal Pal-
ace, London, April 12, 1877 ; by the New
Philharmonic, April 28, 1877 ; by the Phil-
harmonic, Juno 11, 1879 ; at the Chate-
let, Paris, Feb. 4, 1877 ; and in Berlin in
1884 A new movement, "The Storm,"
Lento assai, con moto moderato, was given
at the Crystal Palace, London, May 13,
1882. PubHshed by Senff (Leipsic, 1857 ;
new ed., 1876). — Concertwesen in Wien, ii.
291 ; Athena3um (1877), i. 554 ; (1879), i.
Upton, Standard Symphonies, 220 ; Signale
(1858), 193 ; (1876), 353 ; La Mara, Mus.
Studienkopf, iii. 204 ; Neue Zeitschr., liii.
11, 18.
OCEAN, THOU INHGHTY MONSTER.
See Oheron.
O CIELI AZZURRL See Aida.
OCKENHEIM See Okeghem.
OCON Y EIV.LS, EDUARDO, born at
Malaga, Jan. 12, 1834, still living, 1890.
Organist and pianist, studied music at the
cathedral of his native city, where he was a
choir-boy, and in 1853 was made assistant
organist. In 1858 he went to Paris, where
Gounod is said to have advised him, and
remained in France several years. Works :
Masses, motets, psalms, litanies, hymns,
etc. ; Spanish, Italian, and French melo-
dies ; Pianoforte music. He published also
a collection entitled : Cantes espanoles, co-
leccion de aires nacionales y populares, etc.
(Malaga, 1874).— Fetis, Supplement, ii. 283 ;
Mendel, Ergilnz., 318.
O DASS ICH DOCH. See Zauher-
flole.
ODE A SAINTE-CfiCILE (Ode to St,
34
O DEATH
Cecilia), for solo, chorus, aud orchestra, by
Saiut-SaOns.
O DEATH, WHERE IS THY STING,
duet for alto aud tenor, iu E-dat major,
with accoiupauimeut of coutinuo, iu Hau-
del's 3Ie)<siah, Part III, No. 48 ; it leads
immediately to the chorus, " But thanks be
to God."
ODE FOR SAINT CECILIA'S DAY,
music to Dryden's, for solo, chorus, and or-
chestra, by Handel, first performed at Lin-
coln's luu Fields, London, on Saint Cecilia's
Day, Nov. 22, 1739. The programme in-
cluded Alexander's Feast, two new con-
certos for several instruments and one for
the organ. The autograph, in Buckingham
Palace, is the first one dated with astrologi-
cal signs, a custom which Handel contin-
ued the rest of his life. The work was
written between Sept. 15 and Se^Dt. 2-1,
1739. It is the shortest of Handel's vocal
compositions, but contains several fine cho-
ruses. It was given six times during the
season. Mozart wrote additional accom-
paniments in 1789. It was first jjerformed
by the Handel and Haydn Society, Boston,
Nov. 28, 18G3. Published by Walsh (Lon-
don, 1739) ; and by Simrock (Berlin, 18G0-
67). Chrysander's edition for the Hilndel-
gesellschaft, Breitkopf & Hiirtel (Leijisic,
18G5). This ode had previously been set
to music by Giovanni Baptista Draghi in
1687. Same title, ode by Christopher Fish-
burn, music by Purcell, 1683 ; ode by
Thomas d'Urfey, music by Dr. Blow, 1691 ;
ode by Joseph Addison, music by Pui'cell,
1699 ; ode by Pope (1708), music by Will-
iam Walond, 1757 ; ode by Christopher
Smart, music by William Russell, 1800 ;
aud a cantata, test by Chorley, music by
Julius Benedict, first performed at the Nor-
Avich (England) Festival, in 1866, Sacred
Harmonic Society, London, 1867. — Chry-
sauder, Handel, ii. 430 ; Rockstro, Handel,
211 ; Hawkins, v. 328 ; Upton, Standard
Cantatas, 57, 177; Harmonicou (1831), 289.
O DIEU PUISSANT, DIEU TUTfi-
LAIRE. See Muetle de Portici.
ODIN'S MEERESRITT (Odin's Ride
over the Sea), cantata for baritone solo,
male chorus, and orchestra, on a poem of
the same title, music by Friedrich Gerns-
heim, op. 48, first given iu New York by
the Arion Society, Dec. 14, 1884. It is
dedicated to the Grossherzog Ludwig von
Hessen und bei Rhein. Published by Ries
& Erler (BcrHu).
ODI TU. See Ballo in Maschera.
O DOLCEZZE PERDUTE. See Ballo in
Maschera.
0, DU MEIN HOLDER ABEND-
STERN. See Tannhduaer.
ODYSSEUS, cantata in two parts, for
soli, chorus, and orchestra, text by William
Paul Graff, from the Odyssey, music by
Max Bruch, op. 41, first performed in
Bremen in June, 1872. Characters repre-
sented : Odysseus (Bar.) ; Penelope (C.) ;
Alcinoos, King of the Pheaces (B.) ; Arete,
his consort (C.) ; Nausicaa, their daughter
(S.) ; Pallas Athene (S.) ; Leucothea (S.) ;
the Helmsman (B.) ; Hermes (T.) ; Spirit of
Tiresias (B.) ; Spirit of Anticlea, mother of
Odysseus (C.) ; Chorus of Companions of
Odysseus, Spirits of the Departed, Sirens,
Tritons, Sea-Nymphs, Pheaces, Rhapsodes,
Boatmen and Peojjle of Ithaca. Published
by Simrock (Berlin, 1871). — Mus. Wochen-
blatt (1873), 703, 726; Upton, Standard
Cantatas, 95.
CEDIPE A COLONE, tragedie-opera, in
three acts, text by Guillard, after Ducis's
tragedy, music by Sacchiui, first repre-
sented at the Academic Royale de Musique,
Paris, Feb. 1, 1787. This is Sacchini's mas-
terpiece. The choruses are the most strik-
ing features of the work, and the recitatives
are vigorous and sustained. It is dedi-
cated to Marie Antoinette. DisapiDoiutment
caused by the Queen's failure to keep her
promise to have this opera performed at
Fontaiuebleau was the occasion of the com-
poser's death. Q5dipe was given continu-
ally at the Academic from 1787 till 1830,
receiving five hundred and eighty-three rep-
resentations. It was revived in July, 1843,
OEDIPUS
and given six times, and once again in May,
1844 Original cast, Paris, 1787 :
Antigone (S.) Mme Chcron.
Poliuice (T.) M. Laine.
CEdipe (T.) M. Cheron.
Tliesee (B.) M. Chardiny.
In later yeai's Mme Dabadie and Mme
Donis-Gras appeared as Antigone ; M.
Adolphe Noun-it and M. Massol, as Polinice ;
and M. Dabadie and Levasseur, as Thesee.
Pianoforte arrangement published by
Troupenas (Paris) ; in German, translation
by Herklots, edition by Carl Klage (Berlin,
1818). Same title Italian opera, text by
Lalli, music by Pietro Torri, was given in
Munich in 1729. — Clumeut et Larousse,
491 ; Grove, iii. 208 ; Fetis, vii. 3G2 ; La-
jarte, i. 354 ; Berliner mus. Zeitg., ii. 45 ;
Hogarth, ii. 148.
OEDIPUS IN KOLONOS, music to Soph-
ocles's tragedj-, by Mendelssohn, op. 93, first
performed at Potsdam, Nov. 1, 1845. Frl.
Sticb sang the part of Antigone, and Frau
Liihmanu, Herr Hcndrichs, Herr Stawiusky,
HeiT Bethge, and Herr Franz the other
parts. It was written at the command of
the King of Prussia, who ordered Mendels-
sohn to compose music to Antigone and to
CEdipus Tyrannus. On March 12, 1845,
Mendelssohn announced that the music to
CEdipus at Kolonus was ready for perform-
ance and the sketch of QSilipus Tyran-
nus finished ; but the latter was never
given, and the MS. has been lost. QSdipus
at Kolonus was given in Berlin, Nov. 10,
184G, and first in London at the Crystal
Palace, June 13, 1876. It contains an in-
troduction and nine numbers. Published
in 1851. Breitkopf & Hiirtel, Mendelssohn
Werke, Serie xv., No. IIG. Music to So-
phocles's tragedy by Eduai'd Lassen, Wei-
mai", Feb. 7, 1874 ; and a dramatic cantata
for chorus, soli, and orchestra, by Theodore
Gouvy, op. 75, Berlin, 1887. — Grove ; Musi-
cal World (1854) ; Allgem. mus. Zeitg.,
xlviii. 178 ; Mendelssohn's Letters from
1833 to 1847, 346 ; Athenaeum (1876), i.
CEDIPUS TYRANNUS, incidental mu-
sic to the tragedy of Sophocles, by John
K. Paine, first performed under the compo-
ser's direction, at the first representation of
that play in Greek, at Sanders Theatre,
Harvard University, Cambridge, Mass., May
17, 1881. This is the most scholarly work
written by an American composer. The
prelude has beeu frequently played at con-
certs. The music consists of an orchestral
introduction, choruses, six odes, and a
postlude. Music to this play has been
written also hy Charles Villiers Stanford,
for a performance at Cambridge, England,
Nov. 22-26, 1887.— Upton, Standard Can-
tatas, 281.
O ELSA ! NUE EEST JAHR AN DEINER
SEITE. See Lohengrin.
OELSCHLEGEL, JOHANN LOHE-
LTUS, born at Loschau, near Dux, Bohemia,
Dec. 31, 1724, died at Prague, Feb. 22,
1788. Organist and church composer ; en-
tered the order of Premonstrants at Prague
in 1747, and was ordained a priest in 1755.
He then studied harmony and composition
under Sehling and Habcrmann, and for many
years had charge of the music in his mon-
astery, which he enriched with one of the
best organs in Boh(!mia, after devoting
years of study to the principles of organ
building. Works : Iniiocentia et pietas bo-
nam causam, etc., oratorio, Strahow, 1760 ;
5 other oratorios, ib., 1756, 1758, 1759 ;
Operetta natalitia, a mystery, ib., 1761 ;
do., 1762 ; Pastoral mass ; Slissa brevis ;
Requiem ; 11 Rorato coeli ; 49 motets ; 18
Stationes Theophorica; ; 16 offertories ; 12
hymns of St. Norbert, for 2 voices and or-
gan ; Hymn, do., for 4 voices, 4 violins, 2
trumpets, and organ ; 3 Te Deum ; 2 Salve
Regina ; Responses for 4 voices and small
orchestra ; Cantata for the jubilee of an ab-
bot.— Dlabacz ; Fetis ; Meusel, Lexikon, x.
186 ; Wurzbach.
OESTEN, THEODOR, bom in Berlin,
Dec. 31, 1813, died there, March 16, 1870.
Pianist ; learned to jjlay on string and wind
instruments from the town-musician Po-
se
O EWIGES
litzki at Fiirstenwakle and the pianoforte
from a scboolmastei-, and made many j'outh-
fiil attem23ts at composition. On returning
to Berlin lie studied composition under
Bohmer, the pianoforte and singing under
Dresclike, and clarinet under Taune ; then
entered the Academy of Arts, where lie was
the pupil of Rungenhagen, G. A. Schneider,
and A. W. Bach, and settled in Berlin as a
teacher. His music is sentimental, brill-
iant, eas}-, and exceedingly popular. He
had many imitators, including his sou JLix.
Works : Symphonies, masses, quartets,
motets, fugues, and about 400 pianoforte
pieces. — Mendel ; Fetis ; do., Supplement,
ii. 284.
O EWIGES FEUER, O URSPEUNG
DER LIEBE, Cantata Festo Pentecostes,
for soli and chorus, with accompaniment of
three trumpets, drums, two oboes (two
flutes), strings complete, and continuo, by
Johann Sebastian Bach (Bachgesellschaft,
No. 34) ; published, with additional accom-
j)auiments bj' Robert Franz, in full and pi-
anoforte score (Breslau, Leuckart). — Sjiitta,
ii. 5.57.
OFFENBACH, JACQUES, born in Co-
logne, June 21,
1819, died in
Paris, Oct. 5,
1880. The son
of a Jewish can-
tor, he went early
to Paris, and stud-
ied the violon-
cello a year at the
Conservatoire un-
der Vaslin ; then played in the orchestra
of the Opera Comique, and wrote music to
parodies on La Fontaine's jsoems. After
appearing as violoncellist in concerts with
little success, he was appointed chef d'or-
chestre at the Theatre Fran5ais, where his
composition of the Chanson de Fortunio in
Alfred de Musset's "Chandelier " was well
received. He used every means of keeping
his name before the public, and at last, in
1855, had a theatre of his own, the Boufifes
Parisiens, which was situated at first in the
Salle Lacazes of the Champs Elysees, and
soon removed to the Theatre Comte in the
Passage Choiseul, where many of his most
popular productions were brought out. In
18GG he gave up this theatre, and had his
works performed at different houses ; in
1872 he took the Theatre de la Gaite, but
resigned it to Vizentini in 1870, and then
made an unsuccessful American tour, which
he described in his "Notes d'un musicien
en voyage " (Paris, 1877). On his return
home he devoted himself to composition,
and suffered much from the gout. His nu-
merous works have enjoyed an immense
jjopularity. He was the founder of that
species of operetta known as opera-bouffe,
and, although he has had many imitators,
none of them have equalled him in comic
verve or fertility of melodic invention. In-
deed, he has been the only writer of opera-
bouffe to whom the term " man of genius "
can properly be applied. Works — Operet-
tas : Les alcoves, Paris, 1847 ; Mai'ietta, Co-
logne, 1849 ; Pepito, Paris, 1853 ; Oyayaye,
Entrez, messieurs, mesdames, Une nuit
blanche, Les deux aveugles, Le reve d'une
nuit d etc, Le violoneux, INIadamc Papillon,
Perinette, i^a-Ta-Clau, 1855 ; Un jjostillon
en gage, Troiub-al-Cazar, La rose de Saint-
Flour, Les dragces du bapteme, Le soixante-
six, Le financier et le savetier. La bonne
d'enfants, 1856 ; Les trois baisers du diable,
Croquefer ou le dernier des j)aladins, Dra-
gonette. Vent du soir ou I'horrible festin,
Une demoiselle en loterie, Le mariage aux
lanternes, Les deux pecheurs, Les petits
prodiges (with Jonas), 1857 ; Mesdames de
la Halle, La chatte metamorphosee en
femme, Orphee aux enfers, 1858 ; Un mari
a la porte, Les vivandieres de la graude
armee, Geneuieve de Brabant, 1859 ; Le
Carnaval des revues, Daphnis et Chloe,
Barkouf, Le papillon, ballet, 18G0 ; La
Chanson de Fortunio, Le pont des soupirs.
Monsieur Choufleury restera chez lui (with
M. de Saint-Remy — Due de Morny), Apo-
thicaire et perruquier, Le roman comique,
37
OFT ON
1861 ; Monsieur et madame Denis, Le
voyage de MM Duuanan pcre et fils, 1862 ;
Les Bauards, 1863 ; Liscben et Fritzcben,
L'amour cbauteur, II signor Fagotto, Les
Georgiennes, La fee du Rbin, Le fifre en-
cbante, Jeanne qui pleure et Jean qui rit,
La belle HeK'ne, 1864 ; Coscoletto, Les Bei--
ge)-s, 1865 ; Harbe-lilene, La vie parisienne.
' B-flat major, witb accompaniment of strings
complete, in Handel's L' Allegro, il Pensie-
roso, ed il Moderate, Part I., No. 20.
OGGI AERIVA UN REGGI]\IENTO.
See Barber of Seville.
OGINSKI, Prince ISHCHAL KLEOFAS,
born at Guzow, near Warsaw, SejDt. 25,
1765, died in Florence, Oct. 31, 1833. Pu-
1866 ; La grande ducbesse de Gcrolstein, La pil of Kozlowski ; was grand treasurer of
permission de dix beures. La leyou de cbant, I Litbuania and senator of tbe Russian Em-
Robinson Crusoi-, 1867 ; L'ile de Tuliisatan,
Le cbateau a Toto, La Perichole, 1868 ; La
princesse de Trebizonde, Fert-Vert, La rfiua,
Les bi'igands, La i-omance de la rose, 1869 ;
Boule de neige, 1871 ; Le roi Garotte, Fleu-
rette, Fantmtio, Le corsaire noir, 1872 ; Les
braconniers, Pomme d'api. La jolie parfu-
meuse, 1873 ; Bagatelle, Madame I'Ai'cbi-
duc, 1874 ; Wittington et son cbat, Les
bannetous. La boulangure a des ecus, Le
voyage dans la lune, La Creole, 1875 ; Pi-
pire. During bis sojourn in Paris, in 1823,
tbe great violinist Baillot played witb bim
in quartets. Works : 14 polonaises ; Songs
witb Frencb and Italian words. — Fetis ; So-
wifiski ; Mendel ; Scbilling.
0 GRAND SAINT-DOMFSriQUE. See
Africaine.
OH! ARABY, DEAR ARABY. See
Oberon.
0 HAUPT TOLL BLUT UND WUN-
DEN, cboral in F major, for Core I. and
^^^t-w^.
errette et Jacquot, La boite au lait, 1876 ; H., with accompaniment of two flutes, two
Le docteur Ox, La Foire Saint-Laurent, oboes, strings complete, organ, and con-
1877 ; Maitre Peronilla, 1878 ; La Maro- tiuuo, in Jobann Sebastian Bacb's Passion
caine, Madame Favart, 187'J ; Belle Lu- ' uacb Mattbilus, Part U., No. 63. Tbe mel-
ody is by Hans Leo Hass-
ler, and was first pub-
lished in 1601, as a sec-
ular song, Mein G'miitb
ist mir verwirret.
OH! COME DA
QUEL Dl. See Semi-
ramide.
OH, GIOJA CHE SI SENTE. See Lucia.
OH ! HAD I JUBALS LYRE, soprano
aria of Acbsab, in A major, witb accompani-
ment of violins in unison and bass, in Han-
del's Joshua, Act m.. Scene 3. Published
also separately, with the accompaniment
filled out by Otto Dresel (Leipsic, Breit-
kopf & Hartel).
O HIMJIEL ! LASS" DICH JETZT ER-
See Tannhiiuser.
rette, 1880 ; Mademoiselle Moucboron, 1881 ;
Les conies d'Hoifmann, comic opera, 1881.
— Fetis ; do., Supplement, il 284 ; La-
rousse ; Mendel ; Riemann ; Wurzbach ;
Ambros, Bunte Blatter, Serie H., Die mu-
sLkalische Wasserpest ; Atlantic Monthly,
xxix. 508 ; International Review, x. 286.
OF GIRLHOOD'S HAPPY DAYS. See
Rose of Castile.
O FORTUNE, A TON CAPRICE. See ' FLEHEN
lioberl le Diable.
6 FRANCE, O MA PATRIE ! See Dm
d'Olonne.
OFT ON A PLAT OF RISING
GROUND, soprano aria of 11 Pensieroso, in
OH, JOYOUS, HAPPY DAY. See Rose
of Castile.
OH, LOVELY PEACE, soprano aria of
An Israelitish Woman, in G major, with
accompaniment of two flutes, strings com-
OH, SLEEP
plete, ami continue, in Handel's Judas
MaccabiBUS, Act III.
OH ! QU'IL EST BEAU. See Postilion
de Lonjumeau.
OH, SLEEP, WHY DOST THOU
LEAVE ME ?, soprano aria of Semele, in E
major, with accompaniment of continuo, in
Handel's Semele, Act H., sc. 2. Published
also separately, with the accompaniment
filled out by Otto Dresel (Leipsic, Breit-
ko2:)f & Hiirtel).
OH ! 'TIS A GLOEIOUS SIGHT. See
Obei'oyi.
OH ! 'TIS PLEASANT. See Oberon.
OH! WHY ART THOU SLEEPING?
See Oberon.
OH, WOULD THAT I. See Puritan's
Daughter.
O ISIS UND OSmiS. See ZauberJlOte.
OIvEGHEM, JOANNES (Okenghem,
Okekam, Oekenheim, etc.), born at Ter-
moude {?), East Flanders, about 1-115-20,
died at Tours (?) in 1513. He is supposed
to have got his musical education at the
Maitrise of the Antwerp Cathedral, where,
in 1443, he was a singer. Tlie story that
he was a pupil of Binchois is probably un-
true. In 1444 he gave up his position at
Antwerp. In 14G1 he was the head of the
chapel of Charles VII. of France. Louis XI.
made liim treasurer of Saint-Martin at Tours.
He was also in the service of Charles VIII.
In 1484 he made a trip to Flanders, accom-
panied by several pupils, and was honoured
with a splendid banquet at Bruges. He
retired from service shortly before the ac-
cession of Louis Xn., 1498, and probably
spent the rest of his days in Tours. Oke-
ghem was the founder and head of the
second, or great, Netherlandish school ; he
was long considered the inventor of canonic
and contrapuntal art, and was called the
Father of Music. He, however, was not
the inventor, but one of the great early de-
velopers of counterpoint and canon. He
gave life and vigor to the older, more stiff
and awkward counterpoint of Dufay, Bin-
chois, and other masters of the first Nether-
landish school ; he counted among his pu-
jsils many of the greatest names of the next
generation, Josquin Despres, de la Rue, and
others, and his was the most potent and
widely exerted musical influence of the
period. His reputation during his life
was universal, and at his death composers
like Josquin, Lujji, and others honoured
his memory with commemorative works.
Works : Missa cujusve toni, in Liber XV.
missarum (Petrejus, Louvain, 1538) ; Six
motets, 3-4 voc, and a seqvience. Miles
miraj probitatis, in Canti C (Petrucci, Ven-
ice, 1503) ; An enigmatic canon in S. Hey-
den's Ars canendi, Glarean's Dodekachor-
don, etc. (solutions in Burney, Hawkins,
Forkel, Fetis, Kiesewetter's Verdienste der
Niederlilnder, Riemann's Notenschrift, etc.);
Fragments of Missa prolationum, in Hey-
den's Ars canendi and Bellermann's Kontra-
punkt ; do. of Missa cujusve toni (ad om-
nem tonum) in Glarean's Dodekachordon ;
Mass, De plus en plus, MS. in Pontifical
Chapel, Rome ; 2 do., Pour quelque peine,
and Ecce ancilla Domini, MS. in Brussels
Library ; Motets in MS. in Rome, Florence,
and Dijon ; 6 masses, an Ave, and some
motets in Van der Straeten ; Kj'rie and
Christe, 4 voc, from Missa cujusve toni, in
Rochlitz. — Ambros, iii. 170 ; Fetis ; Grovo ;
Riemann.
O'KELLY, JOSEPH, born, of Irish par-
entage (?), at Boulogne-sur-Mer, France, in
1829, died in Paris, January, 1885. Pian-
ist, pupil of Osborne and Kalkbrenner, and
in composition of Dourlen and Halevy, in
Paris. Works : Le lutin de Galwaj', opera,
Boulogne, 1878 ; La zingarella, do., Paris,
1879 ; Paraguassii, poeme lyrique, 1855 ;
Ruse contre ruse, ojDeretta ; Cantata, Ami-
ens, 1867 ; Cantata for the Centenary of
O'Connell, Dublin, 1878 ; Justice et charite,
sacred cantata, Versailles, 1878 ; Songs and
pianoforte music. — Fetis, Supplement, ii.
28G.
OLD HUNDREDTH TUNE, THE, a
hymn-tune popular in England and Amer-
ica, the authorship of which is unknown.
39
OLD
It was the melody adapted to Beza's version
of Psalm CXXXr\\, iucluded by bim in
the Psalms which he added to the Genevan
Psalter in 1551. The earliest copy of the
Psalter with the tunes is dated 1554
Louis Bourgeois, the musical editor of that
book, arranged the tune in its present form.
It is probably an adaptation of a poj)ular
tune of the 15th century. It resembles the
tune sung in France at that period to the
words, " II 11 y a icy celluy qui n'ai sa belle ;"
and in Holland to, "Ik had een boelken
uitercoren, die ik met Hai'ten minne." It
is found with different endings in the
earhest Flemish Psalter, " Souter Liedekeus
ghemalct ter eeren Gods " (Antwerjj, 1540) ;
in Utenhoves Dutch Psalter, "Hondert
Psalmeu Davids," printed by John Daj-e
(London, 1561) ; in a French translation of
the Psalms with music by Marot and Beza
(Lyons, 1563) ; in Claude Goudimel's fa-
mous collection of tunes (Paris, 1565) ; in
Este's Psalter (1592) ; and the same melody
is in several English and German tune-
books, with variations regarding the value
of the notes. The Genevan tune was first
sung in England to Kethe's version of Psalm
C, "All people that on earth do dwell,"
and it was first called the " Hundredth "
tune. The word " Old " was added when
Brady and Tate's new version of the Psalter
appeared in 1696. In America it is com-
monly called " Old Hundred." The name
" Savoy " has been given to it, from its use
by the French congi-egation established in
the Savoy, London, in the reign of Charles
n. A monograph on this tune, with an ap-
pendix of 28 specimens of the melody as
sung from 1563 to 18i7, was jiublished by
the Eev. W. H. Haveigal in 1854.— Grove,
ii. 495 ; Bovet, Histoire du Psautier des
eglises reformees (Neufchatel and Paris,
1872) ; Douen, Clement Marot et le Psautier
Huguenot (2 vols., Paris, 1878-79).
OLD, JOHN, born at Totness, South
Devon, England, in 1829, still bring, 1890.
Pupil of John and Edward Loder, and at
the Royal Academy of Music of Bennett ;
afterwards studied under Thalberg and
Molique. Conductor of Torquay Choral
Society, 1852-55. Works: The Seventh
Seal, sacred drama, 1853 ; Heme the Hunter,
opera, 1879 ; The Battle, dramatic solo and
chorus, 185'4 ; Tenth of March, Overture
for orchestra (on marriage of Prince of
Wales) ; Anthems, songs, and part-songs ;
Pianoforte music.
O'LEARY, ARTHUR, born near Kil-
larne^-, Ireland, March 15, 1834, still living,
1890. Pianist, pupU at the Conservatoiium,
Leipsie, of Moscheles, Hauptmann, Richter,
Rietz, and Plaidy, and at the Royal Acad-
emy, London, of Bennett and Potter. Pro-
fessor at the latter, 1856. Works : Overture
and incidental music to Longfellow's " Span-
ish Student " (with Potter) ; Symphony in
C ; Concerto in E minor, for pianoforte and
orchestra ; Pianoforte music and songs.
His wife, Rosetta (Vinning) O'Leary, was
King's scholar at the Royal Academy in
1852, conjointly with J. F. Barnett. She
has published songs.
OLIMPIADE, L', opera seria in three
acts, text by Metastasio, music bj' Cimarosa,
first represented iu Naples in 1784. The
libretto, IMetastasio's masterpiece, was writ-
ten in 1733. Characters represented : Clis-
tene. King of Scione ; Ai-istea, his daugh-
ter ; Megacle, her lover ; Alcandro, Clis-
tene's confidant ; Licida, supposed son of
the King of Crete ; Amiuta, preceptor of
Licida ; and Argene, a Cretan in love with
Licida. The scene is at Olympia. Clisteue,
warned by the oracle of Deljjhi that he will
be killed by his son, abandons him, but real's
the twin-sister, Aristea, who becomes a
beautiful woman. She is loved by Megacle,
whose suit is refused by Clistene. Megacle
goes to Crete, where he is rescued from
brigands by Licida, with whom he forms a
strong friendship. Licida is mourning the
loss of his mistress, Ai-gene, who has been
banished to Elide as a shepherdess under
the name of Lycori. Licida goes to Elide
with Megacle to take part in the Olj'iupian
games, over which Clistene, who has prom-
40
OLIMPIADE
ised the hand of his daughter to the victor,
presides. Licida falls in love with Aristea,
and, unpractised in athletic sports, begs Me-
gacle to win her for him under his name.
Megacle, not knowing who is to be the re-
ward, promises, and on entering the lists
discovers that it is Ai'istea. At this point
Clistene recognizes Licida as his sou Phi-
linte, and Megacle and Aristea are united.
Megacle is one of Metastasio's most beau-
tiful characters. Cimarosa's rondo, "Nel
lasciarti, o jsrence amato," was published
by M. Gevaert in " Les gloires de I'ltalie."
—Hogarth, i. 340.
OLIMPIADE, L', opera seria in three acts,
text by Sletastasio, music by Leo, first rej)-
resented in Naples, Nov. 4, 1737. Two
numbers, the duet, " Ne' giorni tuoi felici,"
between Aristea and Megacle, and Clistene's
aria, " Non so donde viene," are among
Leo's best compositions.
OLIMPIADE, L", ojjera seria in three acts,
text by Metastasio, music by Pergolesi, first
represented in Eome in 1735. Although
the music is written iu the composer's best
stj'le, the opera was received with inditt'er-
ence because of its rival opera Nerone by
Duni. After Pergolesi's death, in 1727, the
opera was revived in Rome, with groat suc-
cess. It was first sung in England in 174;"2,
when the part of Megacle was sung by Si-
gnor Monticelli. — Clement et Larousse, 193 ;
Fiitis, Mus. ccdebres, 83 ; Hogarth, i. 385-
388 ; Burney, iv. 448 ; Waldersee, Samm-
lung mus. Vortriige, ii. 153.
OLKIPIADE, L', opera seria iu three
acts, text by Metastasio, music by Piecinni,
first represented in Eome in 1701 ; iu Na-
ples, with new music, 1771. This was one
of Piecinui's most successful operas, and
one of the best settings of this libretto.
— Hogarth, ii. 13G.
OLIMPLADE, L', ojjera seria in three
acts, text by Metastasio, music by Sacchini,
first represented iu Milan in 17(57. It is
said that this opera was deprived of a hear-
ing in Paris through the jealousy of Gluck.
Same text, music by Antonio Caldara, Vi-
enna, Aug. 28, 1733 ; by Domenico Alberti,
Venice, 1739 ; by Duni, about 1740 ; by
Giuseppe Scolari, about 1747 ; by Georg
Christoph Wagenseil, Vienna, 1749 ; by
Gaetano Latilla, Venice, 1752 ; by David
Perez, Lisbon, 1754 ; by Giuseppe Sarti,
Florence, about 1755 ; by Johann Adam
Hasse, Dresden, Feb. IG, 1750 ; by Niccolo
Jommelli, Stuttgart, 17G1 ; by Viucenzo
Manfredini, Moscow, 17G2 ; by Andrea Ber-
nasconi, Munich, 17G4 ; by Gassmaun, Ven-
ice, 1764 ; by Lampuguani, about 17G5 ; by
Ferdinando Giuseppe Bertoui, Naples, 17G5 ;
by Thomas Augustine Arne, London, April
27, 17G5 ; pasticcio by various composers,
arranged by Francesco Puttini, Cremoua,
17G8 ; by Giovanni Paisiello, Naples, 17G8 ;
by Pasquale Cesaro, ib., 1769 ; by Johann
Christian Bach, London, 17G9 ; by Traetta,
St. Petersburg, 1770 ; by Pasquale Aufossi,
Venice, December, 1774 ; by Baldassare
Galuppi, about 1775 ; by Joseph Mysli-
weczek, Rome, 1778 ; by Gaetano Andre-
ozzi, Leghorn, 1780 ; by Francesco Bianchi,
Milan, 1782 ; by Johann Gottfried Schwan-
berg, Brunswick, 1782 ; by Luigi Gatti,
Piacenza, 1784 ; by Giovanni Battista Bor-
ghi, Florence, 1785 ; by Alessio Prati, Na-
ples, 178G ; by Angelo Tarchi, Eome, 1790 ;
by Vincenzo Federici, Turin, 1790 ; by Jo-
hann Friedrich Eeichardt, Berlin, October,
1791 ; by Marcello Perrino, Naples, about
1795 ; by Michael Arditi, ib., about 1800 ;
and by Conti, ib., Oct. 9, 182G.
OLIVER, HENRY KEMBLE, born at
Beverly, Massachusetts, Nov. 24, 1800, died
iu Boston, Aug. 10, 1885. He was a boy
soj^rano in the choir of the Park Street
Church, Boston, in 1810, was graduated at
Dartmouth College in 1818, and taught in
Salem until 1844 ; in 1848-58 he was agent
of a manufacturing company in Lawrence,
of which he was mayor in 1859, and iu 18G1
-65 was treasurer of the State of Blassachu-
setts. In 1865 he returned to Salem, of
which city he was also mayor, aud in 1880
removed to Boston. He was organist and
musical director of several churches in Law-
OLIVETTE
rence and Salem, and the founder of a glee
club (1823), which existed twenty years,
and of a Mozart Association (182G), both in
the latter place. In 1883 he received the
degree of Mus. Doc. from Dartmouth Col-
lege. Works : The National Lyre, with
Tuckerman and Bancroft (Boston, 1848) ;
Collection of Church Music (ib., I860) ;
Original Hymn Tunes (ib., 1875). Federal
Street, one of his best known tunes, written
in 1832 (Mason's Boston Academy Col-
lection, 1835), was sung, set to his own
words, at the Boston Peace Jubilee in 1872,
under his own direction. Others of his
hymns are Morning, Harmony Grove, Bea-
con Street, Hudson, Elkton, and Merton.
He left also motets, chants, and a Te Deum,
and a volume of educational addresses
(Salem, 1856).
OLIVETTE. See Noces d'Olivette.
O LORD, HAVE MERCY. See Golt sei
mir gniidig.
O LORD, WTIOM WE ADORE, alto aria
of Joad, and chorus, in C minor, with ac-
companiment of strings complete, and con-
tinuo, in Handel's Athalia, Act L, Scene 2.
O LUCE DI QUEST' ANIMA. See
Linda di Cliamounix.
OLYilPIE, tragedie-lyrique in three
acts, text In' Dieulafoj- and Briflault after
Voltaire, music by Spontiui, first repre-
sented at the Academic Royale de Musique,
Paris, Dec. 22, 1819. The opera was not a
success at first, and in the following year it
was revised by Spontini, a happy conclu-
sion being substituted for the former tragic
ending. Cassandre, the supposed murderer
of Alexandre, and now King of Macedonia,
is in love with Olympic, Alexandre's daugh-
ter, whose life he has saved. They go to
celebrate their nuptials in the Temple of
Diana, where the officiating priestess proves
to be Statira, Alexandre's wife, who recog-
nizes her daughter, whom she had believed
dead. She denounces Cassandre as the
murderer of her husband, and joins King
Antigone, who is trying to wrest Cassan-
dre's throne from him and to gain the hand
of Olympic ; but, soon learning that Anti-
gone is the true murderer, she is reconciled
to Cassandre, and consents to his union
with Olympic. Original cast :
Statira (S.) Mme Branchu.
Olympie (C.) Mme Albert.
Cassandre (T) M. Nourrit.
Antigone (B.) M. Dcrivis.
The revision was first given in Berlin, Ger-
man translation by E. A. Hoffmann, ]\Iay
14, 1821, with enormous success, and Spon-
tiui was accorded a supremacy in the musi-
Pauline Milder-Hauptmann.
cal world which lasted until the first repre-
sentation of Der Freischiitz, five weeks later.
Mme Milder sang the part of Statira ; Mme
Schulz, Olymjoia ; Herr Bader, Cassander ;
and Herr Blume, Antigonus. In 1822 the
opera was again revised, changes being
made in the airs for Olympia and Cassan-
der, and in their duet in the first act, and a
new scene with terzetto was added to the
third act. The score was dedicated to
Friedrich Wilhelm HI., King of Prussia.
Published by Brandus & Dufour (Paris) ;
by Erard (Paris) ; and by Schlesinger (Ber-
lin, 1826). Same title, tragedie-lyrique in
three acts, text by Guillard, after Voltaire,
O MAN
music by Christian Kalkbrenner, previously
giveu at the Acadcmie Royale de Musique,
Paris, Dec. 18, 1798. Opera ou the same
text, music by Franz Horzizki, Rheinsberg,
about 1800. — Clument et Larousse, 495 ;
Grove, iii. GG9, G73 ; Fotis, viii. 94 ; La-
jarte, ii. 94; Berhner mus. Zeitg., i. 59,
313, 322 ; iii. 349, 357, 386, 393, 409, 417 ;
Cilcilia, ii. 1 ; iii. 51 ; Allgem. mus. Zeitg.,
xxi. 212 ; xxii. 101, 117 ; xxiii. 439 ; xxxi.
532.
O MAN, BEWAIL THY SIN. See 0
Mensch, bewein' deiu' Siinde.
6 MA TENDRE AMIE. See Pre aux
Clercs.
OMBRA FELICE, aria for alto, with or-
chestra, in F, text from Metastasio's Didone
abbandonata, music by Mozart, composed
in Salzburg in Sei^tember, 1776. Breitkopf
& Hiirtel, Mozart Werke, Serie vi., No. 14.
— Kochel, Verzeichniss, No. 255 ; Jahn, Mo-
zart, i. 422.
OMBRA MAI Ftr, mezzo-soprano arioso
of Serse, in F major, with accompaniment
of strings complete, in Handel's Serse. Act
I., Scene 1. A grandiose and generally con-
demnable transcription of this little pas-
toral air, for violin, hai-p, and full modern
orchestra, by Hellmesberger, has won un-
deserved i^opularity in concerts as the "Han-
del Largo."
OMBRE, L' (The Shade), French opera
in three acts, text by Saint-Georges, music
bj- Flotow, first represented at the Opera
Comique, Paris, July 7, 1870. Scene in Sa-
voy, reign of Louis XIV., during the per-
secution of the Protestants. The Comte de
RoUecourt, having protected a family of
Protestants from massacre, is sentenced to
be shot, but is saved by a friend, who ex-
tracts the balls from the muskets. He then
takes refuge in a village as a wood-carver,
under the name of Fabrice. Jeanne, a young
Protestant, who had loved him and had seen
him fall, flees to this village, and becomes
the servant of Fabrice, whom, however, she
does not recognize as the comte. Fabrice,
hearing that his friend is to suffer death for
the stratagem, reveals himself to Jeanne,
marries her, and is about to surrender when
the docteur Mirouet brings his pardon.
Mme AbeiUe, a widow, also loves Fabrice,
but finally consents to marry the good
doctor. There are only four characters in
the opera, and there is no chorus. Original
cast :
Fabrice (I'Ombre, T.) M. Monjauze.
Docteur Mirouet (B.) M. Meillet.
Jeanne (S.) Mile JVIarie Roze.
Mme Abeille (C.) Mile Priola.
It was given in London as " The Phantom,"
at Her Majesty's, Jan. 12, 1878.— Clement
et Larousse, 802 ; Athenreum (1870), ii. 89 ;
(1878), i. 96.
O MENSCH, BEWEIN' DEIN' SUNDE,
figured choral in E major for Coro I. and
n., accompanied by two flutes, two oboi
d' amore, strings complete, organ and con-
tinue, in Johann Sebastian Bach's Passion
nach Matthilus, Part I., No. 35. The mel-
ody is by Hans Leo Hassler (1525).
b MENSCH, ERRETTE DEINE SEELE,
alto aria in D minor, with accompaniment
of strings complete and continue, in Johann
Sebastian Bach's cantata Dom. I. post Trin-
it., O Ewigkeit, du Donnerwort (Bachge-
sellschaft. No. 20). Published also separate-
ly, with the accompaniment transcribed by
Robert Franz (Leipsic, Whistling).
O mO DOLOR. See Sonnambula.
O NA:MENL0SE FREUDE. See Fidelio.
ONLY BLEED, THOU DEAREST
HEART ! See Blute nur, du liebes Herz !
ON S'ETONNERAIT MOINS QUE LA
SAISON NOUVELLE. See Armide et
Renaud.
ON SHORE AND SEA, cantata for
chorus, soli, and orchestra, text by Tom
Taylor, music by Arthur S. Sullivan, writ-
ten for and first performed at the opening
of the Annual International Exhibition at
Albert Hall, London, May 1, 1871. The
action takes place in the 16th centurj', at a
port of the Riviera, and on a Genoese and
Moorish galley at sea. Characters repre-
ONSLOW
sented : La S^Josina, a Riviera woman, and
II Marinajo, a Genoese sailor, and clioruses of
sailors and mothers and wives of the seamen.
It was given at tlie Crystal Palace, London,
Dec. 2, 187G. Published by Boosey (Lou-
don, 1871). — Upton, Standard Cantatas, 334
ONSLOW, GEORGE, born, of English
parentage, at Clermont-Ferrand (Puy-de-
Dome), July 27, 1784, died there, Oct. 3,
1852. A grandson of the first Lord Ons-
low, he passed some years while a child in
O NUIT D'AjVIOUR. See Faust, Gounod.
O, PARDON aiE, aiY GOD. See Er-
barme dich, mein Gott.
OPFERLIED (Offering Song), song with
orchestral accompaniment in E, by Beet-
hoven, op. 121b, on Matthisou's song of
the same title. It was written in 1791, and
revised in 1801 or 1802, and again in 1803
or 1807, and completed in 1822-23 for the
tenor Ehler's benefit concert in Presburg.
The sketches are preserved in a note-book,
London, where he was pupil of Hiillmandel, ', in the KOnigliche Bibliothek, Berlin. Pub-
Dussek, and Cramer. Returning to France, ' lished by Schott (Mainz, 1825), as Chant du
Le began the study of the violoncello, and Sacrifice, by Schouenburg (Paris) ; by
played chamber music with his friends. He Breitkopf & Hiirtel, Beethoven Werke, Se-
Btudied under Reicha, and resided a while
in Vienna, then divided his time between
Clermont and Paris. In 1812 he succeeded
Cherubini as member of the lustitut. He
was a most industrious composer, and en-
joyed a great reputation during his lifetime.
Works — Ojjeras : L'alcalde de la Vega,
Paris, 1824 ; Le colporteur, ib., 1827 ; Le
due de Guise, ib., 1837. Four symphonies,
op. 41, 42, G9, 71 ; Nonet for flute, oboe,
clarinet, horn, bassoon, and string quartet,
op. 77 ; Septet for pianoforte, flute, oboe,
etc., op. 79 ; sextet for do., op. 30 ; 34
string quintets ; 3(5 string quartets ; 10
trios for pianoforte and strings ; G sonatas
for pianoforte and violin ; 3 do. for piano-
forte and violoncello ; Sonatas, variations,
toccatas, etc., for pianoforte ; Abel's Death,
solo scena for bass, with orchestra. — Grove ;
Riemann ; Fetis ; Mendel ; Schilling ; Har-
monicon (1828), 263 ; Riehl, ]\[us. Charak-
terkiJpfe, i. 293.
ON THE BANKS OF S^^'EET GA-
RONNE. See Obcron.
rie xxii.. No. 212. Another song on the
same poem, for voice with pianoforte, was
written by Beethoven in 1797. Published
without opus number by Breitkopf & Hiir-
tel, Beethoven Werke, Serie xxiii.. No. 233.
— Thayer, Verzeichniss, 144 ; Nohl, Beetho-
ven, iii. 393, 577 ; Nottebohm, Beethoven-
iana, 51 ; Ciicilia, viii. GG ; AUgem. mus.
Zeitg., xxvii. 704.
OPHELIA, symphonic poem for orches-
tra, by E. A. Macdowell, op. 22, first per-
formed in Germany in 1885 ; at Chickering
Hall, New York, Nov. 4, 188G.— Krehbiel,
Review (188G-S7), IG.
O PUISSANTE MAGIE. See Pardon de
Ploermel.
ORATORIO, FA-
THER OF. See Aiii-
muccia.
ORATORIO DE
NOEL (Christmas Or-
atorio), for chorus and
soli, with accompani-
ment of strings, harp,
and organ, text from
' the Bible, music by Saint-Saens, op. 12.
Published by Durand SchcEnewerk & Cie.
(Paris). Messe de Noel, oratorio, by Le-
sueur, first performed in Paris, Dec. 25,
1786.
ORAZJ E CURIAZJ, GLI (The Horatii
and Curiatii), Italian opera in two acts,
text by Sogi'afi, music by Cimarosa, first
OR
represented at La Fenice, Venice, in 1797.
In the original representation the part of
Orazia was sung by Giusejipa Grassini, af-
terwards noted for her relations with Napo-
leon,who made in it an extraordinary success.
She sang it also in London, in 1805, where
her acting in this piece was pronounced al-
most equal to that of Mi's. Siddons. It was
given in Paris in January, 1812, and on June
IC, 1813. Pubhshed by Simrock (Bonn).
Same title, Italian operas, by B. Marcello,
Venice, about 1720 ; by F. G. Bertoni, ib..
Giuseppa Grassini.
171G ; by Zingarelli, Turin, 1794 ; by Mar-
cos Portugal, Ferrara, 1799 ; by Capotorti,
Naples, 1800 ; and by Mercadante on Cam-
marauo's text, Vienna, 1830 ; Naples, ISIB.
OE CHE IL CIELO A ME TI RENDE,
aria for soprano with orchestra, in E-flat, by
Mozart, composed in Vienna in 1781. Breit-
kopf & Hilrtel, Mozart Werke, Serie vi.. No.
22. — KOchel, Verzeichniss, No. 374: ; Andre,
No. 175 ; Jahn, IMozart, iii. 8.
OR CHE IL DOVER, recitative and aria
(Tali e cotanti sono di Sigismondo i merti)
for tenor with orchestra, in D, text from an
opera, Licenza, written for the name-day of
the Ai'chbishop of Salzburg, music by Mo-
zart, composed in 1770. Breitkopf & Har-
tel, Mozart AVerke, Serie vi.. No. 3.— KOchel,
Verzeichniss, No. 36 ; Jahn, Mozart, i. 228,
414.
ORDINAIEE, RAOUL, born at Besanjon
in 1843, still living, 1890. Instrumental
and vocal composer, pupil of Pierre de
Mol. He is also a writer on music, and in
1866-70 was co-editor of " L'art musical."
Works : Morceaux symphoniques ; Serenade
for quintet ; Quartet for strings ; Trio for pi-
anoforte and strings ; Sonata for pianoforte
and violoncello ; Pianoforte music, choruses,
and songs. — Petis, Supplement, ii. 287.
O REST IN THE LORD. See Sei stiUe
dem Herru.
ORFEO, Italian opera in five acts, music
by Monteverde, first represented at the
court of Mantua, in 1607. The libretto, on
the story of Orpheus and Eurydice, was
thought until recently to have been writ-
ten by Rinuccini, the author of the text
of Peri's Euridice, but Alessandro Striggio
is now considered the true author. Char-
acters represented : La Musica, Prolo-
go ; Orfeo ; Euridice ; Speranza ; Caronte
(Charon) ; Pluto ; Proserpine ; Apollo ;
Chorus of nymj)hs and shepherds, and
chorus of infernal spirits. The oisera be-
gins with a prologue of five recitatives, the
first of which is spoken by the Genius of
Music to declare the argument and to en-
join silence from the audience. Thei-e are
no solo arias, but the work is composed of
duets, recitatives, choruses, and trios, and
closes with the Moresca, or Moorish Dance,
performed by shepherds. The score shows
many remarkable affinities with dramatic
music in its latest development, including
the constant employment of mezzo-recita-
tivo, supi^orted by characteristic instru-
ments ; and the great variety and efl'ect in
the orchestration. The introduction to
Wagner's Eheingold is identical in construc-
tion with the instrumental prelude to this
opera, called by Monteverde a Toccata, and
consisting of eight measures on the chord of
C with a single and sustained note in the
ORFEO
bass. It is directed to be played three times
before the rising of the curtain. For Orfeo
the composer emploj'ed an orchestra of
thirty-six instruments, at tliat time an un-
usual number. These were : 2 gravicem-
bali (supposed to be clavicembali, harpsi-
chords) ; 2 contrabassi di viola ; 10 viole
da braccio ; 1 ai-pa doppia ; 2 violini pic-
coli alia francese ; 2 chitarroni ; 2 organ i di
legno ; 3 bassi da gamba ; 4 tromboni ; 1
regale (a small organ) ; 2 cornetti ; 1 flau-
tino alia vigesima seconda ; 1 clarino, con 3
trombe sordine. The entire score ^Yas jjub-
lished in Venice in IGOi), reprinted by Ric-
ciardo Amadiuo (ib., 1G15). A copy of the
second edition, formerly owned by Sir John
Hawkins, is now in the Royal Library,
Buckingham Palace. The score was jjub-
lished by Robert Eitner and J. J. Maier, in
vol. ix. of the " Publication iilterer praktisch-
er und theoretischer Musikwerke " (Traut-
wein, Berlin, 1880). The descent of Or-
pheus into Hades was the first profane sub-
ject used for an opera ; and the first Orfeo,
text by Cardinal Riario, nephew of Sixtus
IV., music by Angelo Poliziauo, was first
represented in Rome in 1-480. Other Ital-
ian operas on the same subject, Orfeo ed
Euridice, by Fen-ari, Mantua, 1G07 ; Orfeo
ed Euridice, supposed to be by Zarliuo, or
Monteverde, given at the Louvre, Feb. 26,
1647, for the amusement of Louis XTV. at
the instance of Cardinal Mazarin, and the
first opera represented in Paris ; Orfeo ed
Euridice, text by Am-elio Aureli, music by
Sartorio, Venice, 1652 ; La lira d' Orfeo,
text by Miuato, music by Antonio Draghi,
Vienna, May 13, 1683 ; Orfeo ed Euridice,
in Italian, text by Pariati, music by J. J.
Fus, Vienna, Oct. 1, 1715 ; I lamenti d'
Orfeo, text by Pasquini, music by Georg
Christian Wagenseil, ib., July 26, 1740;
Orfeo, by Karl Heinrich Graun, text bj'
ViUati, Berlin, Blarch 27, 1752 ; Orfeo ed
Euridice, by Johann Christian Bach, Lon-
don, 1770 ; do., by Antonio Tozzi, Munich,
1775 ; do., by Bertoni, text by CaJzabigi,
Venice, 1776 ; Hanover, 1783 ; Orfeo, by
Pietro Guglielmi, London, 1780 ; Orfeo ed
Euridice, by Haydn, begun in London in
1793-94 (unfinished) ; and Orfeo, by Luigi
Lamberti, about 1800. Operas in German,
by Heinrich Schiitz, text by Rinuccini, Dres-
den, Nov. 20, 1638 ; Orpheus, by Rhein-
hard Keiser, text by Bressand, Brunswick,
1699, Hamburg, 17*02 ; by Georg Benda,
Berlin, 1788 ; Der Tod des Orpheus, by
Max von Droste-Hiilshoff, text by Jacobi,
1791 (not given) ; same text, music by Gott-
lob Bachmann, Brunswick, 1798 ; Orpheus,
by Cannabich, Munich, about 1800 ; by F.
A. Kanne, Vienna, 1810. Operas in French,
Orphee, by Jean Baptiste LuUy, text by
du Boullay, Paris, 1690 ; by Antoine Dau-
vergne, about 1770 (not given). Orpheus in
English, by J. Hill, London, 1740 ; and Or-
pheus, in Danish, by J. G. Naumaun, Co-
penhagen, 1785. Ballets : Orpheus und
Euridice, hj Heinrich Schiitz, for the be-
trothal of George H., Elector of Saxony,
Dresden, 1638 ; Orpheus, English masque,
by Martin Bladen, London, 1705 ; by J.
Dennis, ib., 1707 ; and John Weaver, ib.,
1717 ; Oiishee, in French, by Blaise, Paris,
1738 ; Orpheus and Euridice, English panto-
mime, by Rich, London, 1741 ; and ballets,
by William Reeve, ib., 1792 ; and by Peter
von Winter, ib., 1805. Ojjerettas : Le petit
Oi-phee, parodie-operette in four acts (au-
thor unknown), Havre, March 10, 1795 ;
by Prosper Didier Deshayes, Paris, 1793 ;
Orpheus der Zweite, by Ditters, Vienna,
1787 ; Oi-pheus und Euridice, in two acts,
by K. Meisl, ib., 1813 ; Orphee aux enfers,
in two acts, text by Hector Cremieux, mu-
sic by Ofl'enbach, Paris, Oct. 21, 1858 ; and
Orpheus im Dorfe, text by Karl Elmai",
music by Karl Ferdinand Conradin, Vienna,
Jan. 27, 1867.— Grove, ii. 358, 500; Ho-
garth, i. 17 ; Burney, iv. 27, 35 ; Hawkins,
iii. 430 ; Edwards, Hist. Opera, i. 7 ; Mu-
sical Times (London), March and April,
1800 ; Clement et Larousse, 500 ; Schlet-
terer, Studien zur Geschichte der franzO-
sischen Musik, iii. 183 ; Choquet, Histoire do
la musique dramatique en France, 76, 94 ;
46
ORFEO
Bitter, Eeform der Oper durcli Gluck, 123 ;
Ambros, Geschichte der Musik, iv. 353 ;
Reissmann, Geschichte der Musik, ii. 138 ;
Mus. Wochenblatt (1874), 185 ; Allgem.
mus. Zeitg., ix. 150 ; Vierteljahrsscbrift fiir
Musikwissenschaft, iii. 343.
OEFEO ED EURIDICE, ItaHau opera
in tbree acts, text by Calzabigi, music by
Gluck, first represented at tbe Hof Burg-
theater, Vienna, Oct. 5, 1762. The author
of the libretto rehearsed the actors, and
Gluck conducted the ojaera, which was the
first work written in his new dramatic
style. It was received with great enthusi-
asm. Among the best numbers are : The
chorus of the Furies ; the ballet-music ;
and Orfeo's tender and beautiful aria in C
major, "Che faro senza Euridice," accom-
panied by the strings, sung after he has
taken the forbidden glance at Euridice as
she follows him from Hades. She is re-
stored by Amore, aud the opera ends haj)-
pily. Original cast :
Orf eo Signor Gaetano Guardini.
Euridice Signora Marianna Bianchi.
Amore Signora Lucia Clavarau.
The opera was given in Frankfort-on-the
Main in 1761, in Parma at the marriage
fute of the infanta in 1769, in London in
1770, and at a concert in the Conservatory,
Milan, May 24, 1813. It was represented
in Paris as Orpliee et Euridice, Aug. 2, 1774,
translation by Moline. The autograph is
in the Koj-al Library, Vienna. The full
score was published at the expense of Count
Durazzo at a cost of 2,000 livres. It was
sent to Favart, who gave it to Moudouville,
and the latter had it printed by Chambon
(Paris, 1764). This edition is very rare.
—Marx, Gluck und die Oper, i. 294-329 ;
Wiener Diarium (1762), No. 80 ; Bitter, Ee-
form der Oper durch Gluck, 244 ; Cramer,
Magazin der Musik (1784), ii. 459 ; Schmid,
Gluck, 90 ; Desnoiresterres, Gluck et Pie-
cinni, 48 ; Hogarth, ii. 194-204.
ORFEO E EURIDICE, cantata for one
voice with orchestra, by Pergolesi, fii'st
performed in 1736. One of Pergolesi's
best works. Published in Rome (1738).
It is included in Choron's " Principes de
composition des ecoles d'ltalie " (3 vols.,
Paris, 1808).
ORGELBUCHLEIN (The Little Organ-
Book), a collection of forty-five chorals, by
Johann Sebastian Bach, for beginners in
organ playing. It was compiled in CiJthen,
and was intended for a lesson-book for his
son Wilhelm Friedemanu and others. The
chorals are treated in canon form and in
strict counterpoint, and in many the con-
trapuntal elements of the music reflect the
emotional meaning of the words with great
fervour. The autograph, in the Konigliche
Bibliothek, Berlin, bears the words " Dem
hochsten Gott allein zu Ehren, Dem Nilch-
sten draus sich zu belehren." Mendelssohn
owned an autograph by Bach of the Orgel-
biichlein, containing thirty-eight chorals.
This was in the possession of Herr Ernst
Mendelssohn-Bartholdy in 1879, and it is
supposed that this is the older of the two
MSS., for there is a slight difference in
the reading of several of these chorals, the
most of which are supposed to have been
composed while Bach was organist at Wei-
mar. Many pages of the Orgelbiichlein
remain blank, inscribed only on the up-
per staff with the first lines of the chorals
which Bach intended to elaborate. The
chorals completed are : I. Nun komm' der
Heiden Heiland ; II. Gott, durch deiue
Giite ; HI. Herr Christ, der einzige Gottes
Sohn ; IV. Lob sei dem allmiichtigen Gott ;
V. Puer natus in Bethlehem ; VI. Gelobet
seist du, Jesu Christ ; VH. Der Tag der ist
so freudenreich ; VHI. Von Himmel hoch,
da komm' ich her ; IX. Vom Himmel kam
der Engel Schaar ; X. In dulci jubilo ; XI.
Lobt Gott, ihr Christen, allzugleich ; XII.
Jesu meiue Freude ; XJH. Christum wir
sollen loben schon ; XIV. Wir Christen-
leut' ; XV. Helft mir Gottes Giite jireisen ;
XVI. Das alte Jahr vergangen ist ; XVH.
In dir ist Freude ; XVHI. Mit Fried' imd
Freud' ich fahr' dahin ; XIX. Herr Gott,
4T
OEGIANI
nun scUeuss den Himmel auf ; XX. O
Lamm Gottes uuscbuldig ; XXI. Christe,
du Lamm Gottes ; XXU. Chiistus, der uns
selig macht ; XXHI. Da Jesus an dem
Kveuze stund ; XXIV. O Mensch, bewein'
dein Sunde gross ; XXV. Wir danken dir,
Herr Jesu Christ ; XXVI. Hilf Gott, dass
mir's gelinge ; XXVII. Clu-ist lag in Todes-
banden ; XXVIII. Jesus Christus, uuser
Heilaud ; XXJX. Christ is erstanden ; XXX.
Erstanden ist der beil'ge Christ ; XXXI.
Erschienen ist der herrliche Tag ; XXXII.
Heut' triumphiret Gottes Sohu ; XXXIII.
Komm, Gott, SchOpfer, heiliger Geist ;
XXXrV. Herr Jesu Christ, dich zu uns
wend ; XXXV. Liebster Jesu, wir sind
hier ; XXX\T[. Dies siud die heil'gen zehn
Gebot ; XXXM^I. Vater unser im Himmel-
reich ; XXXVIII. Durcb Adam's Fall ist
ganz verderbt ; XXXIX. Es ist das Heil
uns kommen her ; XL. Ich rnf zu dir, Herr
Jesu Christ ; XLI. In dich hab" ich gehof-
fet, Herr ; XLCI. Wenn wir in hochsten
Nothen sein ; XLHI. "Wer nur den li<>ben
• Gott li'isst walten ; XLIV. Alle Menscheu
mtissen sterben ; XLV. Aeh wie nichtig,
ach wie fliichtig. Edited by Wilhelm Rust
for the Bach-Gesellschaft, year XXV. (Leip-
sic, 1875).— Spitta, Bach, i. 588-592 ; 601-
601 ; 818 ; Spitta, Bach (Bell), i. 597-603 ;
611-615 ; 647-652 ; Winterfeld, Der Evan-
geliche Kirchengesang, iii. 415.
ORGL^I, Don TEOFILO, Italian com-
poser of the second half of the 17th cen-
tury, died at Udine about 1714. Dramatic
and church composer, maestro di cappella of
the cathedral at Udine. Works — Operas :
II vizio depresso, e la virtti coronata, ovvero
r Eliogabale riformato, Venice, 1686 ; Dio-
clete, ib., 1687 ; Le gare dell' ingauno e del
amore, ib., 1689 ; II tiranno deluso, Vicen-
za, 1691 ; L' onor al cimeuto, Venice, 1703 ;
Armida regina di Damasco, Verona, 1711.
Many compositions for the church. — Fetis.
ORGITANO, RAFAELLO, born in Na-
ples in 1780, died in Paris, in 1812. Drama-
tic composer, son of Paolo Orgitano (1745-
98 ?), pupil of Sala. Works : L' iufermo ad
arte, opera buffa, Naples, 1803 ; Non cre-
dere alle apparenze, do., ib., 1804 ; Arsinoe,
opera ; Jefte, oratorio ; La Passione di N.
S., cantata for 3 voices ; Endimioue, can-
tata ; Canzonette, etc. — Fetis.
ORIANA. See Amadigi di Gallia.
ORLANDI, FERNANDO, born at Parma,
Italy, in 1777, died at Munich in 1840.
Dramatic composer, pupil of Rugarti at
Colorno, and of Ghiretti at Parma, then at
the Conservatorio della Pieta de' Turchini,
in Naples, of Sala and Tritto in counter-
point. On his return to Parma he obtained
employment in the court orchestra, and
soon won a brilliant rejjutation through his
operas, although they were of little merit
and void of inspiration. lu 1806 he was
called to Milan, as vocal instructor at the
pages' institute, and acted in the same ca-
jiacity at the Conservatorio, since 1809, and
in Munich since 1828. Works : I furbi
alle nozze, Rome, 1802 ; L' amore strava-
gante, Milan, 1802 ; L' amore deluso, Flor-
ence, 1802 ; H liore, Venice, 1803 ; La
sposa contrastata, Rome, 1804 ; II sartore
declamatore, Slilan, 1804 ; Nino, Brescia,
1804 ; La villanella fortunata, Turin, 1804 ;
Le nozze chimeriche, Milan, 1805 ; Le nozze
poetiche, Genoa, 1805 ; H Corrado, Turin,
1806 ; La melodanza, I raggiri anioi'osi,
Milan, 1806 ; II balordo, Venice, 1807 ; La
dama soldato, Genoa, 1808 ; L' uomo bene-
fico, Tui'iu, 1808 ; L' amico dell' uomo,
1809 ; II luatrimonio per svenimento, 1811 ;
II quiproquo, II cicisbeo burlato, Milan,
1812 ; Zulemo e Zelima, 1813 ; Rodrigo di
Valeuza ; La Fedra. — Fetis.
ORKiNDINI, GIUSEPPE MARIA, born
in Bologna, Italy, about 1690, died (?).
Dramatic composer, pupil of Padre Dome-
nico Scorpioni ; he was maestro di cajijDella
to the Grand-duke of Tuscany, and became
a member of the Accademia Filarmonica,
Bologna, in 1719. Works : Farasmane,
1710 ; La fede tradita e vendicata, Venice,
1713 ; Carlo, re d' Allemagna, ib., 1714 ;
L' innocenza giustificata ; Merope, 1717 ;
Antigone, Bologna, 1718 ; Lucio Papirio,
ORLANDO
Venice, 1718 ; Ifigenia in Tauride, 1719 ;
Paride, Giiselda, Bologna, 1720 ; Nerone,
Venice, 1721 ; Orontea, Milan, 1724 ; Be-
renice, Venice, 1725 ; L' Adelaide, ib., 1729 ;
La donna nobile, 1730 ; Massimiauo, Ven-
ice, 1730 ; II Temistocle, Florence, 1737 ; Lo
scialacquatore, 1715. Oratorios : Giuditta,
Aucona, 1723 ; Gioas, re diGiuda, Florence,
1746.— Futis.
ORLANDO, Italian opera in tbree acts,
text by Braccioli, music by Handel, first
represented at the King's Theatre, London,
Jan. 27, 1733. The autograph, in Buck-
ingham Palace, is dated at the end of the
second act, Nov. 10, 1732, at the end of the
third, Nov. 20, 1732. It contains the last
songs which Handel wrote for Seuesino.
One of these, " Giil 1' ebro mio ciglio," has
an accompaniment for two violette marine,
which were played by the brothers Pietro
and Prospero Castrucci, who introduced
that instrument into England in 1732.
The aria, " Sorge infausta," was sung by
Siguor Tasca at the Handel commemora-
tion, May 27, 1784. Original cast : Orlan-
do, hero (C), Signor Senesiuo ; Angelica,
Queen of Catai, in love with Medoro (S.),
Signora Strada ; Medoro, African prince,
Angelica's lover (A.), Signor BertoUi ; Do-
rlnda, a shepherdess (S.), Signora Celeste
(Gismondi) ; and Zoroastro, a Persian ma-
gician and friend of Orlando (B.), Signor
Montagnano. Published by Walsh (Lon-
don, 1733) ; edition by Chrysander, for
the Handel - Gesellschaft (Leipsic, 1881).
—Chrysander, Handel, II., 252 ; Rockstro,
Handel, 180 ; Schoelcher, Handel, 122 ;
Marshall, Handel, 87 ; Burney, iv. 362 ;
id., Handel Commemoration, 49 ; Grove, i.
319 ; iv. 267.
ORLANDO GENEROSO, Italian opera,
text by Hortensio Mauro, music by Steffani,
first represented in Brunswick in 1696.
Other Italian operas on Tasso's hero. La paz-
zia d' Orlando, by Giacomo Griffino, Lodi,
1692 ; Orlando, by Steffani, text by Mauro,
Brunswick, 1696 ; by Domenico Scarlatti,
on Sigismondo Capeci's text, Rome, 1711 ;
Orlando, by Maurizio Cacciati, about 1710 ;
Orlando furioso, by Ristori, on Braccioli's
text, Venice, 1713 ; Same text, music by
Vivaldi, ib., 1714 ; Same text, music by An-
tonio Bioni, Baden, 1725, Breslau, 1725 ;
by Giacomo Macari, Venice, 1727 ; II nuovo
Orlando, by Niccolo Picciuui, Naples, 1763;
Le pazzie d' Orlando, by Pietro Gugliemi,
London, 1771 ; by Pasquale Anfossi (?), Vien-
na, June 19, 1877 ; Ritter Roland, by Haydn,
on Nuuziato Porta's text, Eszterhaz, 1782,
Presburg, 1787, Dresden, 1792 ; Orlando
furioso, by Agostino Lofifredo, Naples, 1831 ;
and Orlando, German opera, by Fr. Adami,
Schwerin, Jan. 1, 1848. See Roland.
OR LET THE MERRY BELLS, aria of
L' Allegro, for soprano or tenor, in D ma-
jor, with accompaniment of two violins and
bass, in Handel's L' AUegi'o, il Pensieroso,
ed il Moderato, Part I, No. 26.
ORLOWSKI, ANTONI, born in Warsaw
in 1811 (?), still Hving (?), 1890. Violinist,
pupil at the Conservatorium, Warsaw, of
Bielawski, and in composition of Eisner ;
won in 1823 the first prizes for violin and
pianoforte. After 1827 he passed some
time in Germany, and in 1830 went to
Paris, where he studied under Lesueur ; then
settled at Rouen, where he conducted the
theatre orchestra and the philharmonic so-
ciety. Works : Le mari de circonstauce,
opera, Rouen, 1834 ; The Invasion of Sjjain
by the Moors, ballet, Warsaw, 1827 ; Quar-
tet for pianoforte and strings ; Trio for do. ;
Sonata for jiianoforte and violin ; Duo for
do. ; Polonaises, rondos, caprices, etc., for
pianoforte. — Fetis ; Sowiuski.
ORPH^E ET EURIDICE, French opera
in three acts, text by Moline, translated from
Calzabigi, music by Gluck, first represented
at the Acadcmie Royale de Musique, Paris,
Aug. 2, 1774. The role of Orphee, which
had been written for a contralto, was trans-
posed for a high tenor, six measures were
added to his first song in the infernal re-
gions, three to his second, three to the "Che
faro senza Euridice," and one to the chorus
of the happy shades ; " Torna o bella al tuo
49
orphEe
consorte ; " and the symphonic description
at Orphee's entrance to the Elysian Fields
was reinstrumented. The new numbers in-
cluded : Amour's first song, " Si les doux
accords de ta lyre ; " that of Euridice with
chorus, " Get asile aimable et tranquille ; "
the aria di bravura inserted for Legros,
" L'esjjoir renait dans mon ame," taken
from Bertoni's Tancredi (Venice, 1778) ;
and several new airs for the ballet. The
French edition, which was played many
1 ^. \s( y : '
^^
Hastreiter, as Orpheus.
years at the Acadumie, was engraved with
many errors, and coiTections by an unknown
hand. Act I. presents Orphee's lament
over Euridice's tomb, and the entrance of
Amour, who brings to Orphoe permission
from the gods to seek her in Hades. Act
IL Orphoe in Pluto's realms, where he re-
covers Euridice. Act IH. Their journey
to the upi^er regions, when Orphee, turn-
ing to see if Euridice follows, loses her ;
Amour appears and aids Orphee in recov-
ering her a second time, and Eui-idice re-
turns to the world amid the rejoicing of
nymphs and shepherds assembled in the
Temple of Love. The opera ends with a
chaconne. The second act, in which the
plaintive and ethereal songs of Orphi'e are
most effectively contrasted with the gro-
tesque and wild music of the furies and de-
mons, is a masterpiece. Original cast :
Orphee M. Legros.
Euridice Mile Sophie Arnould.
Amour Mile Eosalie.
This opera was given at the Acadt'mie
nearly every year from 1774 till 1833, and
again in 1848, receiving 297 representa-
tions. When Adolphe Nourrit sang the
part of Orphue he substituted the air, " O
transport, 6 desordre extreme," from £cho
et Narcisse, for the aria di bravura in Act
L This opera was given in Berlin, April
20, 1808 ; in Stockholm in 1815 ; and again
in Berlin, German translation by G. D.
Sander, Oct. 15, 1818. It was represented
in Weimar under Liszt's direction, on the
birthday of the Grossfiirstin Marie Pau-
lowna, Feb. 16, 1854, for which perform-
ance Liszt, who admired this work greatly,
wrote his symphonic poem, Orpheus. The
opera was revived at the Theatre Lj'riquo,
Paris, Nov. 18, 1859, with the score revised
by Berlioz. It was given at Covent Garden,
London, in Italian, with Mme Viardot as
Orjiht'e and Mme Sax as Euridice, June 27,
1860. It was first represented in New York
with i\Ime Vestvali as Orphee, May 27, 1863 ;
and was given there hj the American Opera
Company, at the Academy of Jlusic, in Eng-
lish, Jan. 8, 1886, with Mme Helene Hast-
reiter as Orpheus and Miss Emma Juch as
Euridice. Gluck dedicated the score to the
Queen. It was published by Pacini (Paris,
1774). Editions by Mme V. Launer (Vas-
sal, Paris, 1774) ; by Carl Ivlage (Schles-
inger, Berlin, 1818) ; by Berlioz (Paris,
1859) ; by Alfred DOrffel (Gustav Heinze,
Leipsic) ; by F. Brissler (Peters, Leip-
sic) ; and by Sh" Charles Halle, translation
by Henry F. Chorley (Chappell & Co., Lon-
don).— Clement et Larousse, 502 ; Lajarte,
i. 278 ; Liszt, Gesammelte Schriften, iii. 1 ;
60
ORPHEUS
Berlioz, A travers chants, iii. ; Schmid, Bit-
ter von Gluck, 223 ; Marx, Gluck uud die
Oper, i. 291-329 ; ii. 13i ; Eeissmann,
Gluck, 106 ; Bitter, Reform der Oper durcli
Gluck, 214 ; Desuoiresterres, Gluck et Pic-
ciuni, iii. ; Naumann, Deutsche Toudichter,
106 ; Jahn, Mozart, ii. 232 ; Hauslick, Mo-
derne Oper, 3 ; Fetis, iv. 31 ; Favart, MC-
moires et correspoudance Utteraires (Paris,
1808), ii. 113 ; Revue et Gaz. mus. de Paris
(1859), 385 ; "Waldersee, Sammlung mus.
Vortriige, iv. 272 ; Naumann (Ouseley), ii.
830 ; Allgem. mus. Zeitg., x. 525 ; xx. 675 ;
Athenreum (1860), i. 58 ; ii. 33 ; Ki-ehbiel,
Review (1885-86), 105.
ORPHEUS, symphonic poem for orches-
tra, by Liszt, op. 4, No. 4, first performed
at a rein-esentation of Gluck's Orphee, in
Weimar, Feb. 16, 1854. It was first given
at a concert in Weimar in November, 1854.
Published by Breitkopf & Hartel (Leipsic,
1856), also by Schuberth (Leipsic). Ar- 1
ranged for two pianofortes by the composer,
and for pianoforte, violin, and violoncello by
Saint-SaOns, Breitkopf & Hartel (Leipsic,
1887).— Pohl, Liszt, 221 ; Revue et Gaz. \
mus. de Paris (1855), 352.
ORPHEUS' SELF MAY HEAVE HIS
HEAD, soprano aria of L' Allegro, in G
major, with accompaniment of strings com-
plete, in Handel's L' Allegro, il Pensieroso,
ed il Moderato, Part H., No. 38.
OESINI, ALESSANDRO, born in Rome,
Jan. 24, 1842, still Uving, 1890. Dramatic
and church composer, pupil of Mariano
Astolfi, Ricci, Raimoudi, and Muti Papaz-
zurri. After having conducted various
orchestras in Italy, he returned to Rome,
was elected member of the Accademia di
Sta. Cecilia, and in 1870 became its libra-
rian, and in 1873 professor of vocal music.
Works : 5 operas, not performed ; La mo-
dista alia corte, ballet, Rome, 1865, and 7
other ballets. Lamberto di Pavia, cantata,
1864 ; n genio di Roma, do., 1870 ; Can-
tata for the inauguration of the monument
to Cavour, Turin, 1873 ; Ave Maria alia
Palestrina ; Benedictus ; Inuo della Pente-
eoste, chorus for female voices ; Salve del
mar, o Stella, with various instruments ;
several pieces for orchestra ; 12 Etudes
d'harmonie pratique. — Fetis, Supplement,
ii. 288.
ORSINI, ANTONIO, born at Naples,
June 13, 1843, still living, 1890. Pianist,
pupil of Autoine Coop and in theory of
Baron Staifa ; appeared with success as a
virtuoso in his native city, in Rome, Paris,
and London. Works : Benvenuto Cellini,
opera, Naples, 1875 ; Fughe per quattro
voci. He published also : Norme per ap-
prendere la composizione, etc., and Schema
di un indirizzo all' arte del canto. — Futis,
Sujjplement, ii. 288.
ORSUCCI, POMPEO, born at Lucca,
May 21, 1665, time of death not known.
Church composer, dean of the collegiate
church of San Michele in Foro, Lucca. He
was considered one of the most able and
learned composers of sacred music ; his
works are stUl performed and admired in
the churches of his native city. Works :
Missa in pastorale ; 2 Vexilla for 2 choruses ;
Pater noster for 2 voices ; Hymn to the
Trinity, do. ; Te Deums, hymns, motets,
psalms, litanies, etc.— Futis, Supplement, ii.
288.
ORTLIEB, EDUARD, born at Stuttgart,
drowned near there in 1861. Church com-
poser, pastor at Drakenstein. Works : Mass
for 4 voices with organ and small orchestra,
op. 1 ; 2 masses for 4 voices and orchestra,
op. 5 and 8 ; Mass for 4 voices and organ,
op. G ; Requiem for 3 voices and organ.
—Mendel.
ORTO, GIOVANNI DE (Jean Du Jardin,
de Horto), contrapuntist of the IGth cen-
tury. Nothing is known of his life, but he
was probably a Belgian by birth. Works :
Misse de Orto, containing 5 masses ; Domi-
nicalis, Jay j)ris amours, Lomme ai'me, La
' belle se sied ; Petite Camusette (Venice,
1505) ; Kyrie of a mass in Fragmenta mis-
sarum(ib., 1509); Lamentation of Jeremiah
(in Lamentationum Jeremia; prophetic liber
primus, ib., 1506) ; Ave Maria for 4 voices,
61
OETOLAN
and 11 cbausons for do. (in Harmonice mu-
sices odhecaton, Venice, 1500-1) ; Masses,
8ongs, and motets in manuscript. — Fetis ;
Mendel ; Riemann.
ORTOL.VN, EUGf:NE, born in Paris,
April 1, 1824, still living, 1890. Dramatic
composer, pupil of Berton and Haluvy at the
Conservatoire, whUe studying law at tlio
same time ; won tbe second grand pris in
1845, and after taking bis degree as doctor,
entered tbe ministry of foreign affairs. L.
of Honour ; Orders of Leopold and Stanislas.
"Works : Lisette, opera-comique, Tbeatre
Lyrique, 1855 ; La momie de Eoscoco,
oiseretta, Boufifes Parisiens, 1857 ; Tobie,
oratorio, Versailles, 1867 ; Sympbouic mu-
sic, and vocal melodies. — Futis, Supplement,
ii. 289.
ORTOL.\NI, AXGELO, born at Siena,
April 11, 1788, died tbere, April 18, 1871.
Pupil of Ritterfels, Deifebo Romagnoli, and
of Ettore Romagnoli, wboni be succeeded
as maestro di cappella at Santa Maria di
Proveuzauo, in 1838. Works : R giorno
delle nozze, opera (1835-3G ?), not per-
formed ; L' Arte del contrappunto, etc.,
published under tbe pseudonym Lotario
Gauleno (Siena, 1828). He published also
7 volumes of comedies and dramas (ib.,
1839), and Memoirs on tbe history of Siena
(ib., 1842).— Fetis, Supplement, ii. 289.
ORTOL.A.NI, TERENZIO, born at Pesaro,
Ancona, Sept. 4, 1799, died tbere, April 7,
1875. Church composer, pupil of Ripini
in harmony and counterpoint, then at tbe
Liceo, Bologna, of Padre Mattel. He was
maestro di cappella successively in several
cities in tbe Marches and tbe Romagna, and
then at the cathedral of Pesaro. "Works :
La pastorella delle Alpi, opera buflfa, Naples,
1830 ; Many masses, psahns, and other
church music ; 10 fugues for 8 voices and
figui-ed bass ; 100 fugues for 2 to 4 voices ;
10 cuxular canons. — Fetis, Supplement, ii.
200.
O RUDDIER THAN THE CHERRY,
bass aria of Polyphemus, in G minor, with
accompaniment of flute, two violins, and
continue, in Handel's Acts and Galatea, Act
H.
O SANCTISSniA, O PURISSBIA, a
hymn to tbe Virgin Mary, set to a melody
called tbe Sicilian Mariners' hymn, a tune
which was popular in Non-conformist chap-
els in England. It is still sung by tbe gon-
doliers in Venice, especially on St. Mary's
Day. The air, Sicilian Mariners', is included
in Miller's " Dr. "Watts's Psalms and Hymns
set to Music " (London, 1800). — Grove, iii.
491.
OSBORNE, GEORGE ALEXANDER,
-■: born at Limerick, Ire-
land, Sept. 24, 1806,
still living, 1800. Pi-
anist, j^upd in Paris
(1826) of Pixis and
Fetis ; later studied
under Kalkbrenner,
and was intimately ac-
quainted with Chopin
and Berlioz. In 1843
be settled in London and became a pojjular
teacher. "Works : Duets for pianoforte and
violiu (with de Beriot) ; Violin quartets ;
Pluie des Perles and other pianoforte mu-
sic including rondos, fantasias, and varia-
tions.— Fetis ; Mendel ; Grove.
OSGOOD, GEORGE LAURIE, born of
American parentage, in Chelsea, Massa-
chusetts, April 3, 1844, still Hving, 1890.
Tenor singer, pupil in 1800-62, on the organ
and in counterpoint, of J. K. Paine in Cam-
bridge ; in 1866 went to Europe and stud-
ied, in Berlin, composition under Haupt and
singing under Ferdinand Sieber ; in Halle
tbe German Lied under Robert Franz ; and
in Milan Italian vocal methods under Lam-
perti. After a successful concert tour in
Germany, he returned to America in 1872 ;
he made a concert tour with Theodore
Thomas in 1872-73, singing with success in
tbe principal cities of tbe United States.
He then settled in Boston as a teacher of
singing and tenor singer. Since 1875 be
has conducted tbe Boylston Club, and since
1882 be has been choir master of Emman-
OSSIAN
uel Church, Boston. His compositions are
mostly songs, some of which have had a
large sale.
O SINK' HEKNIEDER, NACHT DER
LIEBE. See Tristan und Isolde.
O SOMMO CARLO. See Ernmn.
OSSIAN, ou les bardes, French opera in
three acts, text by Dercy and Deschamps,
music by Lesueur, first represented at the
Academic Royale de Musique, Paris, July
10, 1804. The scene is in Caledonia ; the
story that of Ossian, the warrior-bard, son
of Fingal. One of the best numbers of the
opera is the dream in which Ossian believes
that he sees the future heroes of his race.
Original cast :
Ossian M. Lainez.
Hydala M. Lainez.
Duntalmo M. Cheron.
Rosmala Mile Armand.
The severe and plagal harmonies employed
caused one critic to say that at church Le-
sueur was "un musicien de theatre et au
theatre un musicien d'eglise." It was the
most successful opera represented at the
Academie since Sacchini's OEdipe a Colone,
and it was jjlayed from 1806 till 1811, re-
vived on May 31, 1814 and 1815, and on
Sept. 29, 1817, receiving G5 representations.
This work gave the new name. Academic
Imperiale, to the Opera-house. Napoleon,
who was fond of Ossian 's poems, greatly
admired Les bardes, and gave to its com-
poser the order of the Legion of Honour
and a gold snuflf-box. The score was dedi-
cated to Napoleon and published by Janet
(Paris, 1805). Same subject, Ossian's Harfe,
Danish opera, text by Baggesen, music by
Kunzen, Copenhagen, 1709. — Clement et
Larousse, 85 ; Clement, Mus. cel^bres, 241 ;
Lajarte, ii. 34.
OSTER-ORATORimi (Easter Oratorio),
by John Sebastian Bach. The author of
the text, which is very meagre, is unknown.
It is supposed that Bach wrote this oratorio
in 1736, and that it was first sung on Easter
Sunday, April 6, 1738. It describes John,
Peter, and the two Marj-s at the tomb of
Christ after the Resurrection, expressing
their longing to their Lord and rejoicing
that he lives again. The closing chorus
and the Sanetus of the B minor mass are
similar in construction. Both are written
in the form of the French ouverture, and
both are of two sections with a closing
movement in three-eighth time following
one in common time, with the change ef-
fected in the same manner. The form of
the numbers in this work shows Bach's ma-
ture hand. Characters rejiresented : Maria
Jacobi (S.) ; Maria Magdelena (A.) ; Petrus
(T.) ; and Johannes (B.). L Sinfonia ; II.
Adagio ; HI. Duetto, tenor and bass with
chorus, Kommt, eilet und laufet ; IV. Alto
recitative, O kalter Manner Sinn ; V. So-
prano aria, Seele, deine Specereien ; VI.
Tenor, bass, and alto recitative Hier ist
die Gruft ; VI. Tenor aria, Sanfte soil mein
Todeskummer ; VII. Soprano and alto rec-
itative In dessen Seufzen ; VIII. Alto aria,
Saget, saget mir geschwinde ; IX. Bass rec-
itative, Wir sind erfreut ; X. Chorus, Preis
und Dank bleibe, Herr, dein Lobgesang.
Edited by Wilhelm Rust for the Bach-
gesellschaft (year XXII., Leipsic, 1871).
— Spitta, Bach, ii. 421, 818 ; Spitta, Bach
(Bell), ii. 590, 714.
O StJSSE NACHT! EWGE NACHT.
See Tristan und Isolde.
OTELLO, Italian opera in three acts,
text by Berio, after Shakespeare, music by
Rossini, first represented at the Teatro del
Fondo, Naples, Dec. 4, 1816. The libretto
is very inferior. Many of the best scenes
of the tragedy are omitted, lago is a subor-
dinate character, and is converted into a
rejected lover of Desdemona, the charac-
ters of Cassio and Roderigo are blended
into one, and the nobility of Otello's nature
is suppressed. Desdemona falls by Otello's
dagger, with which the Moor kills himself
afterwards. In this work, which is the sec-
ond of his serious operas, Rossini continued
the reforms begun in Tancredi. The or-
chestration is richer than in any of his pre-
OTELLO
vious compositions, and the liberal treat-
ment of the horns and clarinets occasioned
much discussion. The recitatives are ac-
companied by the orchestra instead of the
pianoforte, as was the custom in Italy at
that time, although this instrument had
been banished from the orchestra in France
by Gluck in 1774, and stiU earlier in Ger-
many. Original cast :
Otello (T.) Signor Davide.
Eoderigo (T.) Signor Nozzare.
lago (T.) Signor BenedettL
Desdemona (S.) illle Colbran.
This opera was first represented in Leijjsic
in 1820, in Berlin, Jan. IG, 1821, at the
Bang's Theatre, London, with Camporese
as Desdemona, and Cuiioni as OteUo, May
16, 1822 ; and in Dresden in 1834. It was
first given in New York, Feb. 27, 1825, with
Manuel Garcia as Otello ; his son, Manuel,
lago ; Signora Garcia, Desdemona ; Signor-
ina Marietta Gar-cia (Malibran), Emilia; and
Mme Barbieri, Koderigo. Otello was a
favorite role of Tamberlik and of Garcia.
with great success by Pasta, Grisi, and
Patti, OteUo by Kubini and Tamberlik, and
Garcia, as Otetlo.
The latter acted with such passion that his
daughter, who sang Desdemona with great
eflfect, was afraid that he would actually
kiU her. Desdemona has also been sung
Pasia, as Desdemona.
lago by Tamburini and Ronconi. Otello
was translated into French by Rover and
Waez, and given at the Academie Royale
de Musique, Paris, Sept. 2, 1844, with
Mme Stolz as Desdemona and Duprez as
Otello. Published by Diabelli (Vienna) ;
by Schott (Mainz) ; and by Breitkopf &
Hiirtel (Leipsic). — Edwards, Rossini, 152 ;
Escudier, Rossini, 53, 69 ; Clement et La-
rousse, 505 ; Edwards, Lyrical Drama, ii.
22 ; Edwards, Hist. Opera, ii. 157 ; Vie de
Rossini par un dilettante, 137 ; Hanslick,
Modeme Oper, 107; Grove, iii. 167;
Ebers, Seven Years of the King's Theatre,
164 ; Allgem. Mus. Zeitg., xxii. 252, 344,
785, 801 ; -triii. 121 ; xxvi. 667 ; Berliner
Mus. Zeitg., L 429 ; u. 4, 13 ; iii. 133 ;
Harmonicon (1823), 79.
OTELLO, Italian opera in four acts, text
by Arrigo Boito, after Shakespeare, music
54
O TEMERAIIIO
by Verdi, first represented at La Scala,
Milan, Feb. 5, 1887, with great success.
Original cast :
Otello (T.) Signor Tamagno.
lago (Bar.) Signor Maurel.
Cassio (T.) Signor Paroli.
Eoderigo (T.) Signor Fomari.
Lodovico (B.) Signor Navanini.
Desdemona (S.) Signora Pantaleoni.
It was first given in New York at the Acad-
emy of Music under Signor Campanini's di-
rection, April IG, 1888, with Signor Marconi
as OteUo ; Signor Galassi, lago ; Signoi-a
Tamagno.
Tetrazzini, Desdemona ; and Signora Scal-
chi, Emilia. Otello was first represented in
London, May 18, 1889. Published by Ri-
cordi (Milan, 1887).— Signale (1887), "225,
257 ; Mus. Wochenblatt (1887), 91 ; Neue
Zeitschr. (1887), 71, 125 ; Krehbiel, Review
(1887-88), 113 ; Athensum (1889), i.
O TEMERARIO ARBACE, recitative and
aria (Per quel paterno amplesso) for so-
prano with orchestra, in B, text from Me-
tastasio's Artaserse, music by Mozart, com-
posed in Milan in 1770. Breitkopf &
Hiirtel, Mozart Werke, Serie vi.. No. 7.
— Kuchel, Verzeichniss, No. 79.
O TERRA, ADDIO. See Aida.
OTHMAYR (Othmayer), KASPAR, born
at Amberg, Palatinate, about 1519, died at
Nuremberg, Feb. 4, 1553. Vocal composer,
was rector at the convent school in Heidel-
berg, 1545, canon of St. Gumbert, in Ans-
pach, in 1547, and provost at Anspach in
1548. Works : 1 book of Tricinia ; do. of
Bicinia sacra ; Ode on the death of Luther ;
2 Latin motets ; Many songs in Georg For-
ster's collections. — Mendel ; Riemann ; Mo-
natsh. f. Musikgesch., vii. 163 ; viii. 10, 33.
OTHO \1SC0NTI, grand opera in three
acts, by Frederic Grant Gleason, op. 7.
The work is in MS., but selections have
been published by W. A Pond & Co. (New
York).
O THOU THAT TELLEST, alto aria
and choms in D major, with accompani-
ment of violins in unison, and continuo, in
Handel's Messiah, Nos. 8 and 9.
6 TOI QUI M'ABANDONNE. See
Pro2)hHe.
OTS, CHARLES, born at Brussels about
1775, died there in 1845. Violinist, passed
the greater part of his life at Ghent, teach-
ing music, and returned when quite old to
his native city. Works : La ruse villageoise,
opera-comique, Ghent, 1796 ; Jean Second,
ou Charles-Quint dans les murs de Gand,
do., ib., 1816 ; David Teniers, do., ib., 1818.
Dixit Dominus, Laudate pueri, Tantum
ergo, O salutaris, with orchestra, and other
church music. — Fetis.
OTTANI, BERNARDINO, born at Bo-
logna in 1735, died at Turin, April (Oct. ?)
26, 1827. Dramatic and church composer,
pujiil of Padre Martini. He was only
twenty-two when appointed maestro di cap-
pella at S. Giovanni in Monte ; three years
later he acted in the same capacity at the
Hungarian College, and in 1779 was of-
fered a similar position at the cathedral in
Turin. Works — Operas : Amor senza ma-
lizia, Venice, 1767 ; H maestro, Munich,
1768 ; L' isola di Calipso, Turin, 1777 ; Ca-
tone in Utica, Naples, 1777 ; La sprezzante
abbandonata, Rome, 1778 ; Le nozze della
citta, Florence, 1778 ; L' industria amorosa,
Venice, 1778 ; Fatima, Turin, 1779 ; Di-
done, ib., 1780 ; Arminio, ib., 1781 ; Le
Amazzoni, ib., 1784 ; La clemenza di Tito,
65
OTTO
ib., 1789. Forty-sis masses ; Vespers,
psalms, litanies, etc. — Fetis ; Mendel.
OTTO, (EKNST) JULIUS, born at KO-
/'^ ■'^^v nigsteiu, S a x o n j' ,
/ ^ Sept. 1, 1804, died
a"^*^ ^P. at Dresden, March 5,
1877. Yocal com-
poser, pupil of Wein-
lig and Uber, at the
Kreuzscbule in Dres-
den. He was in-
structor several years
at Bloebmann's Music
Institute, and in 1830-75 cantor at the
Kreuzkirche, also for a long time music di-
rector of the i^riucipal Lutheran churches,
and conductor of the Liedertafel. Works :
Das Schloss am Rhein, opera, Dresden,
1838 ; Der Schlosser von Augsburg, do.,
Augsburg. Oratorios : Hiob, Bitterfeld,
18-10 ; Des Heilands letzte "Worte, Dresden,
1844 ; Die Feier der Erlosten am Grabe
Jesu. Masses for male voices, motets,
hymns, and other church music ; Festival
cantatas ; Cyclus for male chorus ; Many
choruses for male voices in the collection
"Ernst und Scherz." His brother Franz
(1809-41) is also favourably known as com-
poser of choruses for male voices, and of
songs. He published 12 dances for orches-
tra.— Fetis ; Mendel ; Riemann.
OTTONE, Italian opera in three acts,
text by Nicola Haym, music by Handel, first
represented at the King's Theatre, London,
Jan. 12, 1723. It was written in 1722. It
contains a greater number of beautiful songs
than almost any opera of the period. The
subject is Otho I. the Great, King of Ger-
many (936-973) and Emperor of Rome
(962). Scene, Rome. Original cast : Ot-
tone. King of Germany and lover of Teo-
fane (C), Signor Senesino ; Teofane, daugh-
ter of the Roman commander of the Orient
(S.), Signora Francesca Cuzzoni, her first
appearance in Loudon ; Emireno, corsair,
called Basilio, brother of Teofane (B.), Si-
gnor Boschi ; Gismonda, widow of Beren-
gario, tyrant of Italy (S.), Signora Duras-
tanti ; Adelberto, sou of Gismonda (A.),
Signor Berenstadt ; and Matilda, Ottone's
cousin, betrothed to Adelberto (S.), Mi's.
Anastasia Robinson. This ojjera became
popular at once, and the gavotte at the end
of the overture, Burney tells us, was " played
throughout the length and breadth of the
land on every possible instrument, from the
organ to the salt-box," an instrument used
by clowns and j ugglers. It was often played
for a hornpipe or country-dance. In the
original autograph, in Buckingham Palace,
the overture is of four movements : An in-
troduction, and two fugues, between which
is the gavotte ; but Handel afterwards sub-
stituted the second fugue for the first,
closing with the gavotte, in which form the
overture was first printed with the opera
by Walsh (London, 1723). The first fugue
Handel transposed a semitone lower and
made it the second movement in the over-
ture to Giulio Cesare (1724). The sinfonia
in Act I. was afterward used by Handel for
his sixth oboe concerto. The aria, " Af-
fanni del peusier," was sung by Signor Pac-
chierotti at the Handel Commemoration,
May 27, 1784. Full score edited by Chry-
sander for the Hiindelgesellschaft (Leipsic,
1881). Same subject, Italian oijeras, Ot-
tone in Italia, text by Diani, music by Marco
Rosetti, Munich, 1670 ; Ottone il Grande,
text by Silvani, music by Paolo Biego, Ven-
ice, 1688 ; Ottone, text by Roberti, music
by Pollarollo, Venice, 1694 ; Ottone in Italia,
text by Lalli, music by Vivaldi, ib., 1713 ;
Ottone amante, text by Boccardi, music by
Luigi Tavelli, ib., 1726; and Ottone, text
by Salvi, music by Gennaro d' Alessandri,
Naples, 1740. — Chrysander, Handel, ii. 88 ;
Rockstro, Handel, 138 ; Schcclcher, Handel,
69 ; MarshaU, Handel, 71 ; Burney, iv. 286 ;
Mainwaring, Memoirs ; Burney, Handel
Commemoration, 63.
OUDRID Y SEGURA, CRISTOBAL,
born at Badajos, Feb. 7, 1829, died at Ma-
drid, March 15, 1877. Dramatic composer ;
went to Madrid in 1844, and began to pro-
duce some orchestral compositions in 1849 ;
66
OITI
soon won reputation as an orchestra con-
ductor in several theatres, became chorus-
master at the Italian opera in 1867, maes-
tro de capilla in 1872 at the Teatro de la
Zarzuela, and later at the Teatro del Ori-
ente. He wrote more than thirty zarzue-
las, given at Madrid, some of them con-
jointly with Barbieri, Gaztambide, Eogel,
Caballero, and others. The last one, El
consejo de los diez, was given after his
death, 1884— Futis, Sui^ploment, ii. 290.
OUI, C'EST MOI QUI VIENS ICI. See
Ambasmdrice.
OUI, VOUS L'AKRACHEZ A MON
AME. See GuiUaume Tell.
OLT JE VAIS ? See Huguenots.
Oil PEUT-ON ETRE MIEUX QUAU
SEIN DE SA FAjMILLE? (Where can
one be better off than in the bosom of one's
family ?), quartet in the oj^era of Lucile, by
Gretry, represented at the Italiens, Paris,
Jan. 5, 17G9. It was sung at Versailles,
July 15, 1789 ; at Carlton House, at the iirst
visit of George III. and Queen Charlotte to
the Prince of Wales, Feb. 3, 1795 ; and at
Korythnia, on the retreat from Moscow,
Nov. 15, 1812. It was adopted by the
Bourbons after the Restoration as a na-
tional air. — Grove, ii. 61G ; Clement et La-
rousse, 412 ; Larousse ; Masson, La lyre
franjaise.
OURS, L' (The Bear), symphony for or-
chestra in C, by Haydn, written in 1786 for
the society of the " Loge Olympique," in
Paris. It got its name from the finale,
which begins with a motive :i la cornemuse
(bagpijies), resembling a bear-dance. I.
Vivace assai ; II. Allegretto ; HI. Menu-
etto ; IV. Finale : Vivace assai. Published
by Andre, Haydn Sinfonien, No. 2 (Offen-
bach am Main). — Grove ; Reissmann, Haydn,
168.
OUSELEY, Rev. Sir FREDERICK AR-
THUR GORE, Bart., born in London Aug.
12, 1825, died at Hereford, April 6, 1889.
Pianist and organist, son of Sir William
Ouseley, Bart., to whose title he succeeded
in 18i-l. He early showed musical ability,
and composed an opera when only eight
years old ; was educated at Chi-ist Church,
Oxford (B.A., 1846;
M.A., 1849) ; was or-
dained in 1849, and
in 1849-51 was curate
at St. Paul's, Knights-
bridge. In 1855 he
succeeded Sir Henry
R. Bishop as profes-
sor there, and in the
same year was ap-
pointed in-ecentor of Hereford Cathedral;
in 1856 he became vicar of St. Michael's,
and warden of St. Michael's College,
Tenbury. He induced Oxford to confer
degrees in music, which the university had
not done before 1879. Mus. Bac, Oxford,
1850; Mus. Doc, ib., 1854; Mus. Doc,
Cambridge, 1862 ; Hon. LL.D., ib., 1883 ;
do., Edinburgh, 1885. Works : L' isola di-
sabitata, opera ; St. Polycarp, oratorio, 1855 ;
Hagar, do., 1873 ; The Lord is the true
God, cantata; 11 sei-vices ; 70 anthems;
About 35 preludes and fugues for the
organ ; Andantes ; Sonatas ; Glees and part-
songs ; Songs with pianoforte accompani-
ment ; Sestet and two quartets for strings ;
Pianoforte music. He was author also of
treatises on harmony, on counterpoint and
fugue, and on form and general composi-
tion ; edited Orlando Gibbons's sacred
works ; Cathedral services (1853) ; Aughcan
Psalter Chants (1872), with E. G. Monk ; con-
tributed articles to Grove's Dictionary of
Music and Musicians ; and edited Naumann's
History of Music (English translation by F.
Praeger). — Grove ; Fetis ; do.. Supplement,
ii. 291 ; Mendel, Ergiinz., 322 ; Riemann.
OU VAS-TU, PAUTRE GONDOLIER?
See Zampa.
OUVERTUEA DI BALLO (Overture to
the Ball), for orchestra, iu E-flat, by Arthur
S. Sullivan, first performed at the Birming-
ham (England) Festival, Aug. 29, 1870. It
is written in graceful and melodious dance-
rhythms. Published by Stanley Lucas (Lon-
don, 1869).— Athenfeum (1870), ii. 315.
OUYERTURE
OUVEETUEE FUE HAEMONIE-inj-
SIK (Overture for Wind-instruments), in C,
by Mendelssohn, op. 24. It was written in
1826. Andante con moto, Allegro vivace.
Published by Breitkopf & Hiirtel, Mendels-
sohn Werke, Serie vii., No. 29. — Hanslick,
Concertwesen in Wien, ii. 419.
OmTSKTURE, SCHERZO, UND FI-
NALE, for orchestra, by Schumann, op. 52,
first performed at the Gewandhaus, Leipsic,
Dec. G, 1841. I. Ouvertiire, Andante con
moto in E minor, Allegro in E ; II. Scher-
zo, Vivo in C-sharp minor ; HI. Finale, Al-
legro molto vivace in E. The work is in the
form of a symi>hony, but Schumann would
not give it this name because it had no
slow movement. He revised the finale in
1845. This work was first given in Dres-
den, Dec. 4, 1845 ; by the Philharmonic of
London, April 4, 1853 ; and by that of New
York in the season of 1857-58. Published
by Kistner (Leipsic, 1854). Breitkopf &
Hiirtel, Schumann W'erke, Serie ii., No.
1. — AUgem. mus. Zeitg., xliii. 1100 ; xlvii.
928 ; Maitland, Schumann, 78.
OLTERTUKE TRIOMPHALE, for or-
chestra, by Tschaikow.ski, op. 15. Its sub-
ject is the national hymn of Denmark. Pub-
lished by Jiirgenson (Moscow, between 1874-
79). AiTangeel for pianoforte for four hands.
OMUERO Y RAMOS, IGNACIO, born
at Madrid, Feb. 1, 1828, still Hving, 1890.
Organist, jsupil of one Gimeno, and of Lo-
desma ; in 1858 he was appointed assistant
professor at the Conservatorio. Works :
Fernando Cortcz, lyric drama, Madrid,
1848 ; La Cabana, zarzucla, ib., 1848 ;
About 200 compositions for the church.
— Fetis, Sujjplement, ii. 291.
OVER THE DARK BLUE WATERS.
See Oberon.
O WEINT UM SIE (Oh ! weep for those),
cantata for soprano solo, chorus, and orches-
tra, text from Byron's "Hebrew Melodies,"
music by Ferdinand Hiller, op. 49. Pub-
lished by Simrock (Bonn, between 1841-44).
OXFORD SYMPHONY, for orchestra, in
G, by Haydu, written for and first per-
formed under the composer's direction,
July 7, 1791, at Oxford, where he received
the degree of Mus. Doc. on the following
day. This symphony is j)ublished in the
London Philharmonic Catalogue as " Letter
Q ; " in Rieter-Biedermanu's as No. 2 ; and
in Peters's as No. 9. — Townsend, Haydn, 94 ;
Pohl, Mozart und Haydn in London, ii. 148.
OX HHNUET, THE (Die Ochsen-Meuu-
ette), Singspiel in one act, text from Hoff-
mann's " Le menuet du bceuf," music select-
ed by Ignaz Seyfried from Haj'dn's works,
first rei^reseuted in Vienna, Dec. 13, 1823.
The play is based on a story without founda-
tion, regarding a minuet that Haydu is said
to have written at the request of an Hun-
garian butcher for the wedding of his daugh-
ter, in acknowledgment of which the com-
poser was presented with a living ox.
Characters represented : Joseph Haydn ; his
niece, Therese ; Frau Barbara, the house-
keeper ; Istock, the butcher ; Jantschi,
Haydn's scholar ; and Eduard. Anvanged
for the i^ianoforte by C. Burchard (Bauer,
Dresden, 18G3). — Grove ; Allgem. mus.
Zeitg., xxvi. 41 ; xxxi. 791.
OZI, fiTIENNE, born at Nimes, France,
Dec. 9, 1754, died in Paris, Oct. 3, 1813.
Virtuoso on the bassoon, went to Paris in
1777, appeared in the Concerts Spirituels
two years later, was first bassoon player in
the royal, afterwards the imperial orchestra,
also in the Opera orchestra, and professor
at the Consei-vatoire. Works : 7 concertos
for bassoon, with orchestra ; 3 symphonies
concertantcs for clarinet and bassoon ; 24
duos for bassoons ; 6 do. for do. or violon-
cellos ; Airs varies for do. ; Slethod for bas-
soon (Paris, 1800).— Fetis ; Schilling.
O ZITTRE NICHT, METN LIEBEE
SOHN. See Zauherflbte.
PABST, AUGUST, born at Elberfeld,
Prussia, May 30, 1811, died at Riga,
July 21, 1885. Dramatic composer,
cantor and organist at Konigsberg, where
he was made royal music director in 1857.
58
PACCIIIONI
He became afterwards director of the Con-
servatorium at Riga. Works — Operas : Der
Kastellan von Krakau, given at Konigsberg,
1846 ; Unser Jobanu, ib., 1848 ; Die letzten
Tage von Pompeji, Dresden, 1851 ; Die
Longobarden (18C0, not given).
PACCHIONI, ANTONIO MAEIA, born
at Modena, July 5, 10.54, died there, July
15, 1738. Church composer, pupil of Mur-
zio Erculeo d' Otricoli in singing, and of
Giovanni Maria Bononcini in counterpoint ;
perfected his musical knowledge by the
study of Palestrina's works. In 1G94 he
became maestro di cajjpella at the cathe-
dral, and in 1722 to the Duke of Modena.
Works : Le porjjore trionfali di S. Iguazio,
oratorio {1G78) ; La gran Matilda, do.,
Modena, 1G82 ; Motets for 4 voices (Venice,
1687) ; Cantatas, motets for 8 voices, and
other church music in MS., iu the ducal
library, Modena. — Fetis ; Schilling.
PACELLI, ASPIKILIO, born at Varci-
ano, Italy, in 1570, died iu Warsaw, May 4,
1623. Church composer ; was at first maes-
tro di cajipella at the German college in
Rome, then in the Vatican, 1602-3, and
was called to Warsaw, in the same capacity,
by Sigismuud III., King of Poland and
Sweden, who caused a monument to be
erected to his memory in the Cathedral of
Warsaw. Works : Cantiones sacrte, for 5-
10 voices (Frankfort, 1604) ; do. for 5 to 20
voices (ib., 1608) ; Psalmi et motetti octo
vocum (ib., 1607) ; Psalmi, motetti et Mag-
nificat quatuor vocibus (ib., 1608) ; Madri-
gali, etc. — Fetis ; Mendel ; Schilling.
PACHELBEL, JOHANN, born in Nu-
remberg, Sept. 1, 1653, died there, March
3, 1706. Organist, with Buxtehude one of
the immediate precursors of Bach ; pupil
of Heinrich Schwemmer, then studied at
Altdorf and Ratisbon, and in 1674 went
to Vienna, where he became assistant or-
ganist, at St. Stephen's, to Kaspar Kerl,
which gi-eat artist naturally influenced him
very much. In 1677 he was court organist
at Eisenach and in 1678 organist of the
Predigerkirche iu Erfurt, whence he was
called to Stuttgart in 1690. The invasion
by the French army, in 1692, caused him
to take refuge at Gotha, where he was city
organist until 1695, when the post of or-
ganist, at St. Sebaldus, Nuremberg, was
given him, in succession to Wecker. Works :
Musikalische Sterbensgedanken, aus 4 va-
riirten Choriilen bestehend (Erfurt, 1683) ;
Musikalische Ergotzung, aus 6 verstimmten
Parthien von 2 Violinen, 2 Geigen und
Generalbass (Nuremberg, 1691) ; 78 Cho-
rale zum Prilambuliren (ib., 1693) ; Hexa-
chordum Apolliuis, aus 6mal variirten Arien
(ib., 1699) ; Tabulaturbuch geisthcher Ge-
siinge D. Martini Lutheri, etc., 160 Choral-
Melodien mit Generalbass und kurze fu-
gierte Vorspiele (MS., grand-ducal librarj-,
Weimar) ; Many other vocal and instru-
mental pieces in Franz Commer's " Musica
sacra," and other collections. His sou and
pupil, Wilhelm Hierouymus (born at Erfurt
in 1685), who was organist at Wehrd, and
from 1706 of the Jakobskirche at Nurem-
berg, published : Musikalisches Vergniigen,
bestehend in eiuem Praeludio, Fuga, und
Fantasia, etc. ; Fuga in F-dur fiirs Klavier
(Nuremberg, 1725) ; Praeludium fiir die
Orgel (Berlin, 1726). — Doppelmeier, Von
Niirnberger Kiiustlern, 257 ; Fetis ; Ger-
ber ; Mattheson, Ehrenpforte ; Reissmann,
Gesch., ii. 241 ; Riemann ; Schilling ; Win-
terfeld, Kircheugesang, ii. 589, 626.
PACKER, JOSEPH ADALBERT, born
at Daubrawitz, Moravia, March 29, 1818, died
at Gmiinden, Upper Austria, Sept. 3, 1871.
Pianist, mostly self-taught, afterwards in
Vienna pupil of Preyer in harmony and
countei-point ; made successful concert tours
through Austria and Germany, and taught
in Vienna several years. His compositions
for the pianoforte, consisting of nocturnes,
caprices, etudes, variations, etc., number
more than seventy works. — Wurzbach.
PACINI, GIOVANNI, born in Catania,
Sicily, Feb. 19, 1796, died at Pescia, Dec.
6, 1867. Dramatic composer, son of a fa-
mous tenor, who took him while a child to
Rome, where his musical education was
PACINI
beguu ; then studied at Bologna under
Marches! and Mattel, and in 1808-12 at
Venice under Furlanetto. Educated to oc-
cupy a position in some church choir, his
first compositions were church music, but
when eighteen he wrote an opera, Anuetta e
Lucindo, which had some success at Venice ;
and uj) to 1834 he had produced forty-two
operas in the principal Italian cities with
varying success. In 1825 he married Ade-
laide Castelli, of Naples, and became maestro
di cappella to the Empress Marie Louise,
widow of Napoleon I. The total failure of
his ojiera Carlo di Borgogua at Venice in
1835 inducing him to give up com^sosition
for a time, he went with his family to Via-
reggio, near Lucca, where his mother lived,
and there founded a suocessful music school,
for which he wrote a history of music, a
treatise on counterpoint, and one on har-
monj'. Several of his pupils have since
risen to eminence. The school was after-
wards transferred to Lucca. In 1840 he
brought out at Naples with flattering and
deserved success his opera of Saffo, his best
known, as it is probably his best, work. He
married three times, and had three children
by each wife, of whom four daughters and
his onlv son, Luigi, survived him. He was
musical du'ector of the music school at
Florence, and a knight of several orders.
In 1851 he went to Paris to superintend the
production of his L' ultimo dc' Clodovei, a
new version of Gli Ai-abi uelle Gallic which
Napoleon III. had applauded at Home
twenty-seven years before. Pacini wrote,
besides eight}' operas, more than seventy
masses, oratorios, and cantatas, of which
the cantata for the Dante centenary best
deserves mention. He was an imitator of
Rossini, and when that master's peculiar
style passed out of fashion, Pacini's success
began to wane. He was a facile and melo-
dious, but very cai'eless writer ; his knowl-
edge of the voice and of the requirements |
of the stage was great, and he excelled in
writing arias to exhibit the best qualities in
the voices of individual singers. The vari-
ety and beauty of his cabalettas have been
much jJiaised. During his Viareggio jse-
riod he made quite a study of the works of
Mozai-t, Haydn, and Beethoven, for all of
whom he had a profound admiration, and,
in his subsequent operas he tried his best
to throw off his Rossini habit.
Works : I. Operas : Annetta e Lucindo,
Venice, 1811 ; Gli spousali de' silfi, Milan,
1814; ; L' evacuazione del tesoro, Pisa, 1815 ;
Rosina, Florence, 1815 ; II matrimonio per
procura, Milan, 1815 ; II carnevale di Mi-
lano, ib., 1815 ; Piglia il montio come viene,
ib., 1815 ; II seguito di Ser Mercantonio (se-
quel to Stefano Pavesi's Ser Mercantonio),
Venice, 1815 ; L' iugenua, ib., 181G ; Dalla
befla il disingauuo, Milan, 1817 ; La sacei-
doiessa d' Irminsul, Trieste, 1817 ; Adelaide
e Comminghio, Milan, 1818 ; II barone di
Dolsheim, ib., 1818 ; La sposa fedele, ib.,
and Venice, 1819 ; H falegname di Livonia,
Milan, 1819 ; L' ambizione delusa, ?, about
1820 ; Atala, ?, about 1820 ; Vallace, ossia
r eroe scozzese, Milan, Feb. 24, 1820 ; La
schiava di Bagdad, Tuiin, 1820 ; La gio-
ventii di Enrico V., Rome, 1821 ; Cesai-e
nelle Gallic, ib., 1822 ; La vestale, Milan,
Feb. 6, 1823 ; Temistocle, Lucca, 1823 ;
Isabella ed Enrico, Milan, June 12, 1824 ;
AlessaiiJro nell' Indie, Naj^les, 1824 ; Ama-
zUia, ib., 1825 ; L' ultimo giorno di Pom-
peja, Naples, Nov. 19, 1825, and Pai-is, Oct.
2, 1830 ; La gelosia corretta, Milan, 182G ;
Niobe, Naples, Nov. 19, 1826 ; Gli ArabineWe
Gallie, ossia 1' ultimo de' Clodovei, Milan,
1827, and Paris (with 7 new numbers),
1855 ; Margherita d' Angiti, Najsles, Nov.
19, 1827 ; I crociati in Ptolemaide, Trieste,
about 1827 ; I cavalieri di Valenza, Milan,
June 15, 1828 ; II talismano, ossia la terza
crociata in Palestina, ib., June 10, 1829 ;
Cesare in Egitto, ?, about 1830 ; I fidanzati,
ossia il contestabile di Chester, Milan, 1830 ;
Giovanna d' Arco, ib., March 14, 1830 ; Gi-
anni di Calais, Naples, 1830 ; II corsaro,
Rome, 1831 ; Ivanhoe, Venice, April, 1832 ;
R convitato di pietra, Viareggio, 1832 ; Gli
Elvezi, Naples, 1833 ; Ferdinando duca di
60
PACINI
Valeuza, ib., 1833 ; Irene, ossia 1' assedio
di Messina, ib., Nov. 30, 1833 ; Maria re-
gina d' Ingbilterra, Milan, 1834:, and as
Maria Tudor, Palermo, Feb. 11, 1843 ; Carlo
di Borgogna, Venice, February, 1835 ; Saffo,
Naples, Nov. 27, 1840 ; Furio Camillo, ib.,
1841; L' uomo del mistero, ib., 1841; II
duea d' Alba, Venice, 1842 ; Adolfo di Wer-
beck, Najjles, 1842 ; La fidanzata corsa, ib.,
1842 ; Medea, Palermo, December, 1843 ;
Luisella, ossia la cantatrice del Male di
Napoli, Naples, January, 1844 ; L' Ebrea,
Milan, Feb. 27, 1844 ; Lorenzino de' Medici,
ossia Elisa Valasco, Eome, March 5, 1845 ;
Buondelmonte, Florence, 1845 ; Stella di
Napoli, Naples, 1845 ; La regina di Cij^ro,
ossia Catarina Cornaro, Turin, 1S4G ; Me-
rope, Naples, 184G ; Ester d' Engaddi, Tu-
rin, 1847 ; Allan Cameron, Venice, 1848 ;
Malvina di Scozia, Naples, 1851 ; ZafBra,
ib., 1851 ; II Cid, Milan, March 12, 1853 ;
Romilda di Provenza, Naples, 1853 ; La
punizione, Venice, 1854 ; Margherita Pus-
terla, Naples, April, 1856 ; II saltimban-
co, Eome, May 24, 1858 ; Lidia di Bru-
selles, Bologna, November, 1858 ; Gianni di
Nisida, Eome, November, 1860 ; E mula-
tiere di Toledo, ib., June, 1861 ; Belfegor,
Florence, 1861 ; Don Diego di Mendoza,
Venice, 1867 ; Berta di Varuol, Naples,
April, 1867 ; Niccolo de' Lapi (posthumous),
Florence, Oct. 29, 1873.
II. Oratorios : La destruzione di Gerusa-
lemme, Sala dei Cinque Cento, Florence,
1858 ; E carcere Mamertino, Eome, Sala del
Capitolio, 1867 ; E trionfo di Giuditta ; E
trionfo della religione ; Sant' Agnese. in.
Cantatas and hymns : L' omaggio piii grato,
Pavia, 1819 ; II puro omaggio, Trieste,
1822 ; Cantata for Franyois I, Naples,
1825 ; Cantata for the wedding of Maria
Cristina of Naples, 1830 ; II felice imeneo,
Naples, 1832 ; Cantata for Pius IX., Eome,
1848 ; Cantata for the Emperor of Brazil,
1851 ; Cantata for the Emperor of France ;
Cantata for the wedding of Prince Ferdi-
nand of Naples ; Cantata for the wedding
of the Prince of Tuscany ; Eossini e la
patria, cantata for the Eossini fetes at Pe-
saro ; L' Italia cattolica, cantata, for the
Accademia dei Quiriti, Eome ; Hj'mu to
Guido d' Arezzo ; Hymn to the Viceroy of
Egypt ; Hymn for San Marino ; Hymn to
the Virgin ; Choruses for the Qildipus of
Sophocles, Vicenza, 1847. IV. Masses, etc.:
Messa alia Madonna del Castello, Milan,
1822 ; Messa a 8-voci, dedicated to Greg-
ory XVI., 1827 ; Mass performed at Via-
reggio in 1835 ; Messa di Eequiem, dedi-
cated to the town of Catania ; Mass sung
at Monte Carlo ; Messa di Eequiem to the
memory of Michele Puccini ; Messa di
Eequiem for the removal of Bellini's body
to Italy ; and a large number of masses in
3 and 4 parts, with accompaniment of or-
gan and contrabass, or with grand orches-
tra ; two SEserere, a De profundis, and sev-
eral vesper services for 4 and 8 parts with
grand orchestra. V. Instrumental music :
Dante symphony ; Octet for three violins,
violoncello, oboe, bassoon, horn, and con-
trabass ; Six string quartets ; Quartet, ded-
icated to Mme Pacini ; Quartet, dedicated
to Lucca, two trios for pianoforte, violin,
and violoncello ; A number of duos, trios,
and quartets for the pianoforte and wind
instruments ; Several morceaux for piano-
forte and harp ; Collection of 6 songs ;
do. of 5 songs and a duet ; and a num-
ber of songs for one and several voices.
VI. Theoretical works : Corso teorico-
pratico dil ezioui di armonia ; Principj
elementarj col metodo del meloplasto ;
Ceuni storici sulla musica, e trattato di
contrajJiJunto (Lucca, 1864) ; Sulla ori-
ginalita della musica italiana ; Memoria
sul migliore indirizzo degli studj musicali
(Florence, 1863) ; Progetto per giovani
compositori (1863) ; Lettera ai Municipj
italiani per una scuola musicale (1863) ;
Discorso in morte di Michele Pulcini
(1865) ; Vita di Giudo d' Arezzo ; Dis-
corso ai collegi sul concors oall' ufficio
di Direttore uel Conservatorio di Paler-
mo (Pescia, 1862) ; Discorso nel primo
pubblico esperimento degli alunni dell'
PACIUS
Istituto musicale in Lucca (Lecca, 1865) ;
Ragionameuto sull' opera del Tiron : stud-
ies in Greek music ; Diseorso nel secundo
pubblico esperimento degli alunni dell'
Istituto musicale in Lucca (Pescia, 1867).
— Le mie memorie artisticbe, autobiog-
raphy (Florence, 1865, revised and com-
pleted by Filippo Ciccouetti, Rome, 1872) ;
Futis ; Clc'ment, Mus. culebres, 434
PACIUS, FRIEDRICH, born in Ham-
burg, Marcb 19, 1809, died at Helsingfors,
Finland, March 19, 1889. Virtuoso on the
violin, pupil of Spohr ; from 1834 music
director at the University of Helsingfors.
He was author of the Finnish national air,
" Our Country," and other songs popular in
Finland and Sweden. Works : Kouig
Karl's Jagd, opera ; Loreley, Finnish ojiera,
Helsingfors, April, 1887 ; Songs.
PADLOCK QUINTET. See Zauberflote.
PAER, FERDINANDO, born in Parma,
Itah', June 1, 1771,
died in Paris, May
3, 1839. Dramatic
composer ; studied
composition in his na-
tive town under an
organist and the vio-
linist Ghh-etti. He
pursued his studies
with great facility,
and at the age of sixteen stopped his lessons
altogether, and began composing operas.
His first, an opera bufta. La locanda do'
vagabondi (Parma, 1789), showed decided
comic talent ; the second, I pretendenti
bui-lati, although wTitten before he was
seventeen, contains some of the best music
he ever wrote. It was intended for, and
given at, an amateur theatre, but its success
was soon noised abroad. During the next
ten years Paor wrote twenty operas, given,
with almost invariable success, at Venice,
Rome, Naples, Florence, Milan, Bologna,
and Padua. In 1791 he became maestro di
cajjpella at Venice, where he composed with
the greatest industry, leading the while a
dissolute life and ending by marrying the
--^
noted singer, Francesca Riccardi, from
whom he afterwards separated. During
this period he founded his style on Cima-
I'osa, Paisiello, and Guglielmi. In 1797 he
was called to Vienna, where Mozart's music
made a strong impression upon him, and a
consequent modification in his own style
soon became apparent. His harmony grew
more vigorous, his instrumentation richer,
and his modulation more varied. I fuoru-
sciti di Firenze (Vienna, 1800) marked the
beginning of his second manner. In 1801
the Elector of Saxony invited him to Dres-
den to replace Naumann, deceased, as Ka-
liellmeister. Here Paer composed several
operas with un\vonted care, and his finest
works belong to this period of his life. In
180G he followed Napoleon to Warsaw and
Posen, and in 1807 was appointed his mai-
tre de chapelle, and settled permanently
in Paris. In 1812 he succeeded Spontiui
at the Thi'iUre Italien, where he remained
until 1827, Rossini being his associate from
1824 to 1826. In these years he wrote eight
operas, none of which made any decided
success. In 1831 he was admitted to the
Academic, and in 1832 was made director
of the King's chamber music. As a man,
PaOr was of the loosest morals, and he had
an immeasurable love for intrigue. As a com-
poser, he is one of the most important rep-
resentatives of Italian opera at the close of
the eighteenth century. His melodic power
was great, and his mastery of the simpler
forms of comj)osition comijlete. His comic
gift was remarkable, but he was almost to-
tally lacking in pathos and earnestness.
His best work, upon the whole, is jjrobably
Camilla, ossia il sotten-aueo.
Works : I. Operas : La locanda de' vaga-
bondi, Parma, 1789 ; Iprelendenti burlati,
ib., 1790 ; Circe, Venice, 1791 ; Said, ossia
il seraglio, ib., 1792 ; L' oro fa tutto, Milan,
1793, and Dresden, 1795 ; I molinari, Ven-
ice, 1793 ; Laodicea, Padua, 1793 ; II tempo
fa giustizia a tutti, ossia 1' astuzie amorose,
Pavia, 1794 ; Idomeneo, Florence, 1794 ;
Una in bene ed una in male, Rome, 1794,
C2
PAGANINI
and Dresden (in German, as Niclit gelungen
und docb gelungen), 1802 ; H matrimonio
improvviso, Vienna, 1794 ; L' amante servi-
tore, Venice, 1795 ; La Rossana, Milan, Jan.
31, 1795 ; L' orfana riconosciuta, Florence,
1795 ; Ero e Leandro, Naples, 1795 ; Tamer-
lano, Milan, 1796 ; I due sordi, Venice, 1796 :
Sofonisba, Bologna, 1796, and Dresden,
1808 ; Griselda, ossia la virttial cimeuto, Par-
ma, 1796 ; L' iutrigo amoroso, Venice, 179G ;
La testa risealdata, ib., 1796 ; Cinna, Padua,
1797 ; II priucipe di Taranto, Parma and
Milan, 1797 ; II nuovo Figaro, Parma,1797 ;
La sonnambula, Venice, 1797 ; 11 fanatico
in berliua, Vienna, 1797; Pirro, ib., 1798;
Poco ma bene, ib., 1798 ; II morte vivo, ib.,
1799 ; Le donne cambiate, ossia il calzolajo,
ib., 1800 ; I fuorusciti di Firenze, ib., 1800 ;
Camilla, ossia il sotterraneo, ib., 1801 ; Gi-
nevra degli Almieri, ossia la peste di Fi-
renze, Dresden, 1802 ; Sargino, ossia 1' al-
lievo deir amore, ib., 1803 ; Tutto il male
vien dal buco, Venice, 1804 ; II maniscalco,
Padua, 1804 ; Leonora, ossia 1' amore conju-
gale, Dresden, 1805 ; Achille, ib., 1806 ;
Nunia Pompilio, Paris, Theatre de la Cour,
1808 ; Cleopatra, ib., ib., 1809 ; Dklone
abbandonata, ib., ib., 1810 ; I baccanti, ib.,
ib., about 1811 ; L'oriflamme (with Berton,
Kreutzer, and Mehul), ib., Academie Impe-
riale de Musique, Jan. 31, 1814 ; L'eroismo
in amore, Milan, 1816 ; La primavera felice,
Paris, July 6, 1816 ; Agnese, ib., July 24,
1819 ; La gazza ladra (not performed, writ-
ten about 1820) ; Le maitre de cbapelle,
Paris, Theatre Feydeau, March 29, 1821 ;
Blanche de Provence (with Berton, Cheru-
bini, and Kreutzer) ; Olindo e Sofronia (un-
finished, written about 1824) ; La marquise
de Brinvilliers (with Auber, Batton, Berton,
Blangini, Boieldieu, Carafa, Cherubini, and
Herold), Paris, Ojjcra Comique, Oct. 31,
1831; Un caprice de femme, Paris, 1834.
U. Oratorios : II San Se^jolcro, Vienna,
1803 ; Utrioufo dellaChiesa, Parma, 1804 ;
La Passione de Giesti-Cristo, 1810. m.
Cantatas : II Prometeo, with orchestra ;
Bacco ed Ai-iana, do. ; La conversazione ar-
monica, do. ; Europa in Creta, voice and or-
chestra ; Eloisa ed Abelardo, two voices
with pianoforte ; Diana ed Endimione, do. ;
L' amor timido, voice with pianoforte ;
L' addio di Ettore, two voices with piano-
forte ; Ulisse e Penelope, two voices and
orchestra (in score, Launer, Paris) ; Saffo,
voice with orchestra (ib.) ; 2 serenades for
three and four voices with accompaniment
of harp or pianoforte, horn, violoncello, and
contrabass ; 6 duets for voices (Artaria, Vi-
enna) ; 6 little Italian duets for voices, in
two suites (Paris) ; 42 Italian ariettas for
one voice with pianoforte ; 6 cavatinas of
Metastasio for do. (Mollo, Vienna) ; 12
French romances with pianoforte ; 2 collec-
tions of exercises for soprano and tenor
(Paris, 1821, 1825) ; 4 motets (O salutaris
Hostia), three voices and orchestra (Petit,
Paris) ; Oflertory for chorus (Janet, Paris) ;
Ave Regina coeli, two voices and organ
(Porro, Paris). TV. Instrumental music :
Symphonie bacchante for grand orchestra
(Nadermann, Paris) ; Vive Henri IV., varia-
tions for gi-and orchestra (ib.) ; Grandes
marches mihtaires, Nos. I., IL, DI., IV. (Janet,
Paris) ; 6 waltzes for sis- and ten-part wind
band (ib.) ; La douce victoire, fantaisio for
pianoforte, two flutes, two horns, and bas-
soon (Schoenenberger, Paris) ; ^,^
3 gi'and sonatas for the piano- Y J '*
forte, violin obligato, and (XJT' ,,
violoncello ad libitum (Janet, Paris) ; and
many themes with variations for pianoforte.
— Thomas Masse and Antony Deschamps,
Paer et Rossini (Pari.?, 1820) ; Fetis ; Cle-
ment, Mus. celebres, 289 ; Carafa de Colo-
brano, Funerailles de M. Paer : Discours
(Paris, 1839).
PAESIELLO. See Paisiello.
PAGANINI, ERCOLE, born at Ferrara
about 1770, died (?). Dramatic conqjoser,
settled in Milan during the first years of
the 19th century. Works — Operas : La
conquista del Messico, Milan, 1808 ; Le ri-
vali generose, ib., 1809 ; I filosofi al cimento,
ib., 1810; Cesare in Egitto ; Demetrio a
Rodi. — Futis.
68
PAGANINI
PAGANINI, NICC0L6, born in Genoa,
Oct. 27, 1782, died at Nice, May 27, 1840.
The father of
this most famous
of all violin vir-
tuosi was a smaU
tradesman, with
no musical cult-
ure, but a decid-
ed love for the
art ; as soon as he
perceived his
son's marked
musical gift, he
gave him regular instruction on the mando-
lin, which instrument he played himself.
But he soon turned him over to abler
teachers, fii'st to G. Sei-vetto, and then to
G. Costa, the Genoese maestro di cappella,
with both of whom the young Niccol5
studied the violin. At the age of eight
the boy's proficiency was ab-eady remark-
able, and he had composed a sonata for his
instrument. His first public appearance
was in 1793 in Genoa, he playing variations
on La carmagnole with gi'eat success. Ev-
ery Sunday, too, he would play a violin con-
certo in church. About 1795 he was taken
to Parma to study under Alessandro Eolla,
who gave him some lessons ; he studied
also for some time under Ghiretti, who had
been Paer's teacher. In after-life Pagauiui
always denied having taken lessons from
Eolla, but it is almost certain that he really
did. But, whoever his teachers were, he
began so soon to explore new paths in vio-
lin plaj-ing that he must be considered as to
a great extent self-taught. On his return
to Genoa he composed his first studies,
which contained then unheard-of difiiculties,
and gave himself iip to the most arduous
practising. His father's strict control was
exceedingly ii'ksome to him, and when he
was allowed to go to Lucca to play at a
musical festival in November, 1798 (his
first journey alone), he did not return to
his family, but made an independent tour
through Pisa and some other towns. He
was addicted to all sorts of dissipation,
although only sixteen ; fits of illness,
brought on by his habits, would interrupt
his practice and his appearances in public,
and his youthful excesses undoubtedly laid
the foundation of his general ill-health in
later life. In Leghorn he had gambled
away everything, even to his violin ; and, to
enable him to ]Aa.y at a concert, one M.
Levron lent him a fine Joseph Guarnerius,
which he afterwards presented to him, iu
delight at his performance. This Guarne-
rius remained his favourite violin through
life, and he bequeathed it to the town of
Genoa, where it is still kejjt under glass in
the Municipal Palace. The painter Pisani
also gave him an admirable Stradivarius.
In 1801 Pag.anini withdrew to the chateau
of a lad}' of rank, where he lived in retu-e-
ment four years, practising the guitar, and
writing two sets of sonatas (op. 2 and 3) for
guitar and violin. In 1804 he returned to
Genoa, and once more took up violin prac-
tice, studying Locatelli's "Arte di uuova
modulazione," and other of his studies, and
doing his best to outdo their difficulties.
In 1805 he set out on fresh travels, creat-
ing immense enthusiasm wherever he ap-
peared. At Lucca, where he lived until
1808, as court violinist, he began hia fa-
mous performances on the G-string alone.
After 1808 he never accejjted another regu-
lar position, but led a roving life, full of
adventures, and not always devoid of danger
from outraged husbands and fathers, and
audiences with whom he allowed himself to
take undue Hberties. But liis artistic suc-
cess was constant ; in Jlilan he gave in 1813
thirty-seven concerts. He came out victor
in two violin contests — with Lafont in Mil-
an in 1816, and with Lipinski at Piacenza
in 1817. Pope Leo XH. conferred on him,
in 1827, the order of the Golden Spur.
His first trip outside of Italy was in 1828,
when (March 9) he gave his first concei-t in
Vienna ; his reception was unexampled, the
city giving him the gi'and gold medal of
St. Salvator, and the Emperor making him
M
PAGANINI
court virtuoso. From Vienna he continued
his tour through several cities, playing in
March, 1829, for the first time in Berlin.
On March 9, 1831, he ajipeared in Paris
and on June 3 in London. His concerts
in Great Britain and Ireland during this
visit, and two more he made in the follow-
ing year, wei-e so successful, financially, that
in 1832 he returned to the Continent with
a large fortune, mainly invested in landed
estates. He spent the winter of 1833 in
Paris, and in January, 1831, asked Berlioz
Paganini in 1831.
to write a viola concerto for him, which re-
quest resulted in the composition of Harold
en Italic. He passed most of the next two
years at the Villa Gaiona, near Parma. But
his bent for making money would not let
him rest long in retirement. In 1836 he was
induced to embark in a dubious speculation
in Paris, the Casino Paganini, a fashionable
club-house, ostensibly for concerts, but
really chiefly for gambling. But the gam-
bling license was refused, and the concerts
alone could not float the undertaking.
Paganini went to Paris to do his best to
save the enterprise by appearing at the con-
certs, but he was too ill to play. The com-
pany went into bankruptcy, and his person-
al loss was 50,000 francs. He staid in Paris
during the winter of 1838, and it was in
this year that he gave Berlioz the so much
talked of present of 20,000 francs as a
mark of admiration for his Symphonic fan-
tastique. But this apparent piece of munifi-
cence was in reality by no means what the
world took it to be for many years. Fer-
dinand Hiller relates, on the authority of
Franz Liszt, who was in Paris at the time,
and was intimate with all the parties to the
transaction, that the splendid gift was a
mere advertising dodge, suggested by Jules
Janin to Paganini, whose well-known miser-
liness had made him unpopular with the
Parisian public, and that the 20,000 francs
did not even come out of Paganini's purse.
But Berlioz never knew the truth about the
matter, and always supposed the gift to be
from Paganini himself. Paganini was, and
always had been, miserly and grasping in
money matters, and it was this insatiable
thirst for money which probably lay at the
bottom of his ruinous passion for gambling.
His chagrin at the failure of the Casino ag-
gravated the laryngeal phthisis from which
he had been suffering for some time ; ho
stayed a few months at the house of a
friend in Marseilles, but, getting no relief,
went to Nice for the winter of 1839, and
died there in the following May. Paganini's
genius was ejsoch-making in the history of
violin-playing. Both his technique and his
whole style of performance were original.
But marvellous and novel as were his feats
of virtuosity, his immense hold upon his
audiences was chiefly due to his impressive
individuality and the passionate warmth of
his playing. He was a romantic virtuoso
rather than a classical player, and he never
attained to that highest distinction of the
violinist, of being a fine, or even a good,
quartet-player. As a composer, his reputa-
tion was purely ephemeral, and his once
famous violin caprices now live only through
Schumann's and Liszt's pianoforte tran-
65
PAGEN
scriptions, works into which the transcrib-
ers i)ut far more of their own individuality
than they left of Paganini's. Works :
Ventiquattro capricei per vioHno solo, op.
1 ; Sei sonate per vioUno e chitarra, op. 2 ;
do., op. 3 ; Tre gran quartetti a violin o,
viola, chitarra e violoncello, op. 4 and 5 ;
Concerto in E-flat (solo-part in D, for violin
tuned a semitone higher than usual), op. G ;
do. in B minor (rondo a la clochette), op. 7 ;
Le streghe, variations on a theme by Simon
Mayr, op. 8; Variations on "God save
the King," op. 9 ; II camevale di Venezia,
bm-lesque variations on a popular air, oj).
10 ; Perpetuum mobile, op. 11 ; Variations
on "Non piii mesta," op. 12; do. on "Di
tanti palpiti," op. 13 ; CO do., in all keys,
on the air " Barucaba." Only the first five
K
opus numbers were pubhshed during his
life-time ; other compositions ascribed to
him ai-e spurious. — M. Schottky, Paganini's
Leben und Treiben als Kunstler und als
Mensch (Prague, 1830 ; translation by Lu-
dolf Vinata, Hamburg) ; George Harris,
Pagiinini in seinem Reisewagen und Zim-
mer, etc. (Vierweg, Brunswick, 1830) ; II-
menau, Leben, Charakter, und Kunst dcs
Eitter N. P. (1830) ; M. J. Imbert de la
Phalcque, Notice sur . . . N. P. (Paris) ;
Gvihr, Ubcr Paganini's Kunst die Violine zu
spielen (1829, English translation by Sibilla
Novello, London, 1831) ; G. E. Anders, Pa-
ganini, sa vie, sa personne et quelques mots
sur son secret (Delaun.ay, Paris, 1831) ; Fr.
FayoUe, Paganini et de Bcriot (Paiis, 1831) ;
Bennati, Notice physiologique sur . . .
Paganini (read before the Acadumie Royale
des Sciences, Paris, 1831 ;Kevuemusicale, xi.
113-llG) ; Giancarlo Conestabile, Vita di N.
P. da Genova (Pei-ugia, 1851) ; F. J. Futis,
Notice biographique sur N. P. (Paris, 1851 ;
EngUsh translation by Wellington Guern-
sey, Loudon, 1852) ; Niccolo Paganini, etc..
raconto storico di Oreste Bruni (Florence,
1873) ; Elise Polko, N. P. und die Geigen-
bauer (Leipsic, 1875).
PAGEN UND DEE KONIGSTOCHTEE,
VOM, four ballads for soli, chorus, and
orchestra, by E. Geibel, music by Schu-
mann, op. 110, first performed at Diissel-
dorf, Dec. 2, 1852. Characters repre-
sented : Prinzess, KOnigin, and Nixe (S.) ;
Alto solo ; Page (T.) ; KOnig, Meermann,
and Sj)ielmann (B.). This work was given
in Leipsic, Nov. 19, 18G1. Published by
Eieter-Biedermanu (Leij^sic and Wiuter-
thur, 1858). Posthumous works. No. 5.
By Breitkopf & Hiirtel, Schumann Werke,
Serie ix.. No. 13.— Neue Zeitschr., liii. 27.
PAGLIAEDI, GIOVANNI IIAEIA, Flor-
entine dramatic composer, maestro di caii-
pella to the Grand Duke of Tuscany dur-
ing the second half of the 17th century.
Works — Operas : Caligula delirante, Venice,
1C72 ; Lisimacco, ib., 1G73 ; Numa Pompi-
lio, ib., 1G74.
PAINE, JOHN KNOWLES, born in
Portland, Maine,
Jan. 9, 1839, still
living, 1890. His
first musical in-
stniction was in
his native town
from H. Kotzsch-
mar. In 1858 he
went to Berlin,
where ho studied
the organ and
counterjjoint under Haupt, singing under
Fischer, and instrumentation under Wic-
precht until 18G1, when he retui-ned to the
United States. After giving organ concerts
in several cities he settled in Boston, where
he held the position of organist at the West
Church, Cambridge Street, for about a year.
In 18G2 he was engaged as music teacher
at Harvard University, and organist at Ap-
pleton Chapel in Cambridge, where he has
lived ever since. In 187G he was invested
with a fuU professorship of music at Har-
vard, the first chair of the soii created at
66
PAINE
an American university. Paine's reputation
as an organist was exceedingly brilliant
during the first six or eight years after bis
return from Germany, his taste and style
of 2)laying placing him almost alone in this
country as a follower of the extreme classic
school ; but of late years be has jDlayed
but little in public, or even in church, and
is known to-day principally, if not solely,
as a composer and teacher of composition.
As a composer he baa admittedly belt! the
first rank in America for some years. His
musical education was very thorough, and
entirely classic in its tendency ; indeed, be
may be said to have been brought up on
Bach. His earlier works, too, are wholly
of the classic type, and show a rare mas-
tery over musical form. But after his Mass,
op. 10, he began to strike out more and
more plainly in the modern romantic direc-
tion, and is now to be classed with the ro-
manticists. Works : I. For voices with
orchestra : Domine salvum fac, for male
chorus and orchestra, op. 8, given at the
inauguration of President Hill, of Harvard
University, Cambridge, March 4, 1SG3, and
at that of President Eliot, ib., Oct. 19,
18G9 (MS.) ; Mass in D, for soli, chorus, and
orch., op. 10, given under the composer's
direction, Berlin, Singakademie, February,
1SG7 (pianoforte score, New York, Schir-
mer) ; Saint Peter, oratorio, op. 20, Port-
land, Me., May, 1873 (pianoforte score,
Boston, Ditson, 1872) ; Centennial Hymn,
in D, for chorus and orch., op. 27, given in
Philadelphia, at the opening of the Centen-
nial Exposition, May 10, 1876 (Boston, Dit-
son) ; Music to the (Edipus Tyrannus of
Sophocles, for male voices and orch., op.
35, Cambridge, Sanders Theatre, May 17,
1881 (Boston, Schmidt); The Bealm of
Fancy, cantata for soprano solo, chorus, and
orch., op. 3G, Boston, Music Hall, 1882
(Boston, Schmidt) ; Phcehus, arise, for tenor
solo, male chorus, and orch., op. 37, ib.,
1882 (Boston, Schmidt) ; The Nativity, can-
tata for soli, chorus, and orch., op. 38, Bos-
ton, Music Hall, 1883 (Boston, Schmidt) ;
Song of Promise, do. for soprano, chorus,
and orch., op. 43, Cincinnati May Festival,
1888 (Cincinnati, John Chiu'ch & Co.) ;
Harvard Commencement Hymn ; Mirabel,
romantic opera in 4 acta (MS., not yet fin-
ished). H. For orchestra : Symphony No.
1, in C minor, op. 23, Boston, Music Hall,
Thomas orchestra, Jan. 2G, 187G (MS.) ;
Overture to Shakespeare's " As You Like It,"
in F, Cambridge, Sanders Theatre, Thomas
orchestra, Nov. 21, 1878 (MS.) ; Symphonic
poem on Shakespeare's Tempest, in D minor,
op. 31, New York, October, 1877 (MS.) ;
Duo concertante for violin and violoncello,
with orch., in A, op. 33, Cambridge, San-
ders Theatre, Thomas orchestra, April, 1878
(MS.) ; Sp)ring symphony. No. 2, in A, op.
34, Cambridge, Sanders Theatre, March,
1880 (Hamburg, Schmidt & Cranz) ; An
Island Fantasy, symphonic poem in G-sharp
minor and A-flat major, op. 44, Boston,
Symphony Orchestra, April, 1888 (MS.) ;
HI. Songs and part-songs : Part-songs and
motets, op. 14, IG, 18 (MS.) ; 4 songs, with
pianoforte, op. 29 (Boston, Ditson) ; 3
songs, with do., op. 40 (ib., Schmidt). FV.
Chamber music : String quartet in D, op. 5
(MS.) ; Trio for pianoforte, violin, and vio-
loncello, in D minor, op. 22 (MS.) ; Larghetto
and scherzo for do., in B-flat, op. 32 (MS.) ;
Sonata for pianoforte and violin, in B mi-
nor, oj). 24 (MS.) ; Eomanza and scherzo
for pianoforte and violoncello, op. 30 (MS.).
V. For pianoforte : Sonata No. 1, in A mi-
nor, op. 1 (MS.) ; do. No. 2, in F-sharp
minor, op. 4 (MS.) ; Christmas gift, in D,
op. 7 (Boston, Ditson) ; Funeral March for
Abraham Lincoln, in B-flat minor, op. 9
(New York, Schirmer) ; 4 Charakterstiicke,
op. 11 (Leipsic, Forberg) ; Komance in C
minor, op. 12 (Boston, Schmidt) ; 4 charac-
ter pieces, op. 25 (ib., Ditson) ; In the coun-
try, 12 pieces, op. 2G (ib., ib.) ; Komauco
in D-flat, op. 39 (ib., ib.) ; 3 pieces, op. 41
(ib., Schmidt) ; Nocturne in B-flat, op. 45
(MS.). VI. For organ : Concert variations
on the Austrian Hymn, in F, and on The
Star-spangled Banner, in C, op. 3 (Boston,
67
PAISIELLO
Ditson) ; Fantasia in F, and double fugue
on God Save the Queen, op. 6 (MS.) ; Fan-
tasia and fugue in E juinor, and Fantasia
oil Ein' feste Burg, op. 13 (MS.) ; Miscel-
laneous pieces, op. 17, 19 (MS.).
PAISIELLO (Paesiello), GIOVANNI,
bom at Taranto,
Italy, May 9, 1741,
died in Naples,
June 5, 1815.
Dramatic com-
poser, son of a vet-
erinary surgeon,
who sent him,
when five years
old, to the Jesuit
school at Taranto.
The beauty of his voice attracted the no-
tice of the cavaliere Guarducci, maestro di
ca23pella at the Capuchiu church, who ad-
vised his parents to send him to Najsles to
be educated as a musician. After he had
been taught the elements of music by one
Carlo Kesta, a priest, his father took him,
in Maj', 1754, to Naples, where he studied
at the Conservatorio di S. Onofrio, under
Durante, Cotumacci, and Abos. During
his live years there he devoted himself
to church music, and continued writing
masses, motets, and oratorios for four years
more. But in 17G3 he wrote a dramatic
intermezzo which showed so much dra-
matic talent that he was invited to Bologna
to write a comic opera, La pupUla, ossia
il mondo al rovescio (17G4). The next
twelve years were an almost unbroken
series of successes at Modena, Parma, Ven-
ice, Kome (where he wrote his once so fa-
mous H marchese di Tuhpano), and Naples,
where he sustained successfully a brisk
rivalry with Piccinni and, afterwards, with
Cimarosa. In this Paisiello did not depend
upon his genius alone, as he might have
done, for the success of his L' idolo ciuese
(17C9) was fully equal to that of any work
of his rivals at that time ; he did not dis-
dain to have recourse often to very shabby
intrigues, jealousy and unscrupulouaness
being marked traits in his character. In
1776 he went to St. Petersburg, on invita-
tion of the Empress Catherine. He stayed
eight yeai-s in Russia, being paid a royal
salary, and writing some ten ojjeras, of
which the most noteworthy is II barbiere
di Siviglia. In 1784 he returned to Italy,
stopjjing a while on his way at Vienna,
where he wrote II ri; Teodoro and twelve
symphonies for Joseph 11. Appointed
court maestro di cajjpella by Ferdinand IV.
of Naples, the absence of Cimarosa and
Guglielmi left him there without a rival,
and during the thirteen years he remained
at his post (refusing advantageous offers
from Berlin in 1788, and Russia and Lon-
don in 1790) he wrote some of his best and
most successful scores, such as I zingari in
fiera, Nina, o la pazza per amore, and La
molinara. In 1797, on invitation of Napo-
leon, he competed successfullj- with Cheru-
bini for the composition of a funeral march
for General Hoche. Bonaparte's decision
on this occasion spoke more for his well-
known love for Paisiello's music than for
his ai-tistic discrimination. During the rev-
olution of 1799 Paisiello adopted republi-
can principles, which ho was quick enough
to repudiate at the subsequent restoration of
Ferdinand IV., although it took him a good
two years of scheming to regain the king's
favour, and his former position. In 1802
he went to Paris to organize and direct
the chapel of the First Consul. He was so
munificently treated as to excite the jeal-
ousy of French musicians, notably Mehul
and Cherubini, whom he furthermore en-
raged by sjjitefuUy using all his patronage
to favour their rivals. While in Paris he
wi-ote chiefly church music ; in 1803, how-
ever, he produced an oj)era, Pomone, but
with such ill-success that he asked leave to
return to Naples on the plea of his wife's
want of health. This permission was
granted him next year, and he accordingly
returned to his old post, endowed with a
handsome pension, after appointing Losu-
eur (to general sui-prise) as his successor
G3
PAISIELLO
at Paris. In Naples he enjoj'ed the favour
of Joseph Bonaparte and Murat, but on
the return of the Bourbons lost his pen-
sions, retaining only his salary at the Royal
Chapel. The anxiety at this sudden down-
fall of his fortune undermined his health,
which received a fiu-ther shock at the death
of his wife in 181.5. He survived her only
a few months. PaisieUo was one of the
most prolific of composers ; besides 91 ojie-
ras, he wrote 103 masses and other church
compositions, and more than 50 instrumen-
tal pieces. Gifted neither with the highest
tragic nor comic power, he was yet a master
of beautiful, simple, and expressive melody.
The musical means he employed were of
the simplest, but he knew how to obtain
singularly fine effects by them. He ab-
horred showy vocalization, and was incapa-
ble of producing elaborate work of any
sort ; but few writers have been so well
able as he to keep up the interest in a mel-
ody in spite of frequent repetitions of the
same phrase, without change or ornament.
His operas are now wholly out of date, yet
the student can probably find in them more
food for thoughtful study than in those of
any other Italian dramatic composer of his
day. Works :
I. Operas : La pupilla, ossia il mondo al
rovescio, Bologna, 17G1 ; La madama hu-
morista, Modena, 17G5 ; Demetrio, ib.,
1765 ; Artaserse, ib., 1765 ; I virtuosi ridi-
coli, Parma, 1765 ; H negligente, ib., 1765 ;
I bagni di Albauo, ib., 1765 ; Le pescatrici,
Venice, 1765 ; H ciarloue, ib., 1766 ; II
marchese di Tulipano, Rome, 1766 ; La ve-
dova di bel genio, Naples, 1766 ; L' amore
in ballo, Venice, 1766; L' imbroglio delle
ragazze, Naples, 1766 ; L' idolo cinese, ib.,
1767, and Paris, Academic Royale de Mu-
sique, June 10, 1779 ; Lucio Papirio ditta-
tore, Naples, 1767 ; II furbo mal accorto,
ib., 1767 ; L' OUmpiade, ib., 1768 ; La ser-
va padrona, ib., 1769 ; Andromeda, Milan,
about 1770; Le nozze disturbate, Naples,
1771 ; La somiglianza dei nomi, ib., 1771 ;
Gli scherzi d' amore e di fortuna, ib., 1771 ;
L' innocente fortunata (La semplice fortuna-
ta), Venice, 1772 ; Le frame per amore, Na-
ples, 1772 ; Le Dardaue, ib., 1772 ; L' Arabo
cortese, ib., about 1773 : La contesa de'
numi, ib., 1773 ; Semiramide, Rome, 1773 ;
Montesuma, ib., 1773 ; II tamburro nottur-
no, Naples, 1773 (?), and Vienna, May 17,
177-4 ; Annibale in Italia, Turin, 1773 ; I
filosofi (perhaps identical with I Socrati im-
maginarj, q. v.), ib., 1773 ; II giocatore, ib.,
1773 ; Le astuzie amorose, Naples, about
1773 ; La discordia fortunata, Venice, 1773 ;
Demnfoonle, ib., 1773 ; II credulo deluso,
Naples, 1774 ; L' osteria di Marechiaro, ib.,
1774 ; La Frascatana, Venice, 1774 ; La
luna abitata, Naples, about 1775, and, as II
mondo della luua, Moscow, 1778 ; Alesmn-
dro neir Indie, Modena, about 1775 ; Don
Anchise Campauone, ossia gli amauti co-
mici, Naples, 1775 ; Don Chisciotto della
Mancia, ib., about, 1775 ; H duello comico,
ib., 1775, and in French, as Le duel co-
mique, with some numbers by Mereaux,
Paris, Opera Comique, Se2)t. 16, 1776 ; II
finto jjrincipe, Florence, 1775 ; La disfatta
di Dario, Rome, about 1775 ; Dal finto in
vero, Naples, about 1775 ; I Socrati immagi-
narj, ib., 1775, Milan, 1783, and, as I filosofi
immagiuarj, St. Petersburg, 1779 ; La tinta
maga per vendetta, Najiles, 1776 ; II gran
Cid, Florence, about 1776 ; Le due con-
tesse, Vienna, Nov. 17, 1776 ; II harhiere di
Siviglia, St. Petersburg, 1776, and Paris,
Tuileries, July 12, Theatre Feydeau, July
22, 1789 ; II matrimonio inaspettato, St.
Petersburg, 1777 ; La finta amante, Mohi-
slaw, Poland, 1780 ; L' amor contrastato, St.
Petersburg, 1780 ; Achille in Sciro, ib.,
about 1780 ; Nitleli, ib., 1781 ; Lucinda ed
Artemidoro, ib., 1782 ; Alcide al bivio, ib.,
1783 ; n r!i Teodoro iu Venezia, Vienna,
Aug. 23, 1784 ; Anligono, Naples, 1784 ;
L' amor ingegnoso, Rome, 1785 ; Ruggiero e
Bradamante, Naples, 1785 ; La grotta di
Trofonio, ib., 1786 ; Le gare generose, ib.,
1786 ; Pirro, ib., about 1786 ; La lavandaja
astuta, Pisa, 1786 ; Fedra, Naples, 1788 ;
L' impresario in angustie, Florence, 1788 ;
PAIX
Catone in Utica, Naples, 1788 ; La molinara,
ib., 1788, and Pai-is, Sept. 2, 1801 ; I zin-
gari in fiera, Naples, 1789, and Paris, May
3, 1802 : II matrimonio per fanatismo, Na-
ples, 1789 ; Nina, o la pazza per amore, Bel-
videre, near Naples, 1789 ; II fanatico in
berlina (La locandiera), London, 1789, and
Najjlcs, 1792 ; Giimone Lucinda, dramatic
cantata, Naples, 1789 ; Zenobia in Palmira,
ib., 1790 ; La modista raggiratrice, Milan,
June 7, 1790, and, as La scuffiara, Najiles,
1792 ; II conte di Bell' umoi-e, Verona, 1791 ;
n genio poetico appagato, Naples, 1791 ; I
pretendenti delusi, Brunswick, 1791 ; I
giuochi d' Agrigento, Venice, 1792 ; II ri-
torno di Perseo, Naples, 1792 ; I visionari,
ib., 1792, and in German, as Die Pbantas-
ten, Dresden, 1793 ; Elfrida, Naples, about
1793 ; L' inganuo felice, ib., 1793 ; I scbiavi
per amore, ossia U jtadrone generoso se buon
padrone, Pai-is, 1793 ; L' antiquario bui-lato,
Bergamo, 1793 ; H calzolajo, Berlin, 1793 ;
Elvira, Nai)les, about 1703 ; Didone abban-
donata, ib., 1795 ; La Daunia felico, Fog-
gia, 1797 ; Andromacca, Naples, about 1798;
La contadina di spirito, ib., about 1800 ;
Zelmira (not performed, written about
1800) ; I^oserjnnc, Paris, Opc'ra, March 30,
1803; I Pittagorici, Naples, 1807. The fol-
lowing are doubtful : Solimanno ; La finta
giardinicra ; Zamora ; L' avaro punito.
n. Chui'ch music : La Passione di Gesii
Cristo, oratorio, Warsaw, 1781 ; Pastorali
per il S. Natale, a canto e coro ; 3 solemn
masses for 2 choirs and 2 orchestras ;
Itequiem for do. ; Te Deum for do. (for
the coronation of Napoleon) ; Eequiem for
4 voices and orchestra ; about 30 masses for
do. ; Te Deum for do. ; 4 Dixit, 3 Magnifi-
cat, Kji-ie, and Gloria, for do. ; 2 masses for
5 voices ; 2 Dixit for do., alia Palestrina ;
Miserere for do., with violoncello and viola ;
about 40 motets with orchestra, etc.
in. Instrumental : 12 symphonies for
orchestra (dedicated to
*, Jose^jh n.); Marche
funubre in memory of General Hoche, for
do. ; G concertos for pianoforte ; 12 quar-
tets for do. and strings ; 6 do. for strings ;
Sonata and concerto for the harp ; 2 volumes
of sonatas, caprices, etc., for pianoforte.
— Arnold, Giov. PaisieUo, seine kurze Biog.,
etc. (Ei-fui-t, 1810) ; Biog. del regno di Na-
poli, iii. ; Fotis ; Gagliardo, Onori funebri,
etc. (Naj)les, 18 IG) ; Le Sueur, Notice sur,
etc. (Paris, 181G) ; Quatremcre de Quincy,
Notice historique (ib., 1817) ; Schizzi, Delia
vita e degli studi di G. P. (Milan, 1833) ;
Villarosa, Slemorie dei comijositori, etc.
(Naples, 1840).
PAIS, JAKOB, born at Augsburg in
1550, died at Lau-
ingen, p robabl y
soon after 15 9 0.
Organist at Lauin-
gen, where he pub-
lished the foUowiug
collections : E i n
schon niitz mid
gebrouchlich Orgel-
Tabulaturbucb, etc., containing motets for
4 to 12 voices by famous composers, be-
sides songs, Passamezzi, and other dances
(1583) ; Missa ad imitationem Motettio
(1584) ; Seleetfp, artificiosro et elegantes
fugte, etc. (1587, 1590) ; Missa parodia
Mutetas (1587) ; Thesaurus motettarum, 22
motets by different composers (Strasburg,
1589) ; Missa Helveta, artificiosa) et ele-
gantes fugce, etc. (1590).— Fctis ; Gerber ;
Mendel.
PALADILHE, fiinLE, born at Montpel-
lier (Hurault), June 3,
1844, still hving, 1890.
Dramatic composer ;
entered when only
nine years old the
Conservatoire, where
he was pupil of Mar-
montel on the piano-
forte, of Benoist on
the organ, and of
Halevy in counterpoint. In 1857 he won
the first piize for pianoforte, and in 18G0
the organ prize and the prix do Home, the
latter for the cantata Le czar Ivan IV,
70
PALESTRINA
given at the OpC-ra, 18G0, but never j)ub-
lisbed. During his stay in Rome he sent
to the lustitut several compositions, in-
cluding an Italian opera buffa, a mass, and
orchestral works, which showed ability.
On his return to Paris he wrote his first
opera, Le passant, on Coi^pue's text, but
the music was not regarded as a success.
His Suzanne was better received, and his
Patrie still more favourably ; but his meth-
ods are antiquated and he is wanting in in-
vention. Legion of Honour, 1881. Works
— Operas: Le passant, opcra-comique, one
act, given at the Opera Comique, Paris,
1872 ; L'amour africain, do., two acts, ib.,
1875 ; Suzanne, do., three acts, ib., 1878 ;
Diana, do., ib., 1885 ; Patrie, grand opera,
text from Sardou's drama. Opera, Dec. 20,
1886. Symphony for orchestra, 18G0 ; 6
melodies ecossaises ; 20 melodies, voice and
pianoforte ; Fragments symphoniques, 1882 ;
2 masses ; Songs, etc. — Fetis, Supplement,
ii. 29G ; Grove.
PALESTRINA, GIOVANNI PIERLUIGI
DA (Joannes Petraloysius Prteuestinus),
born at Palestrina, near Rome, probably in
1514-15, died in Rome, Feb. 2, 1594. His
family name was Sante ; in the earlier edi-
tions of his works he is called either simply
Gianetto, or Gianetto with differently si^ellcd
affixes, such as Palestrina, Pallestrina, Pales-
trino, Palestina, Pelestrino, with or without
the da ; sometimes, also, Jo. de Palestina.
He is called J. P. Aloisius by his biographer
Baini. The date of his lairth has been much
disj)uted, and was formerly set at 1524, but
the best later authorities now agree that it
must have been ten years earlier. He was
the son of Pierluigi and Maria (Gismondi)
Sante, people in a humble station. His
musical gift is said to have been first dis-
covered by tlie maestro di cappella of Sta.
Maria Maggiore, in Rome. It is almost
certain that he was sent at an early age to
Claude Goudimel's music school, where he
laid the foundations of his unsiu-passed
mastery in counterpoint. The first record
of his occupying an ofiicial position is his
succeeding Francesco Rosseli as maestro de'
putti (master of the boys) at the Cappella
Giuha, in February
or March, 1551,
the chapter of St.
Peter conferring
upon him the title
of maestro della
cappella della Ba-
silica Vaticana ; it
is estimated that
he began his pro-
fessional career as
a musician in 1544. In 1554 was published
his first book of masses, dedicated to Pope
Julius HI. On Jan. 1, 1555, he was made
maestro di cappella of the Pontifical Chap-
el, Giovanni Animuccia succeeding him at
his former post at St. Peter's. It is evident
that his exceptional genius must have been
pretty well recognized at this period, for the
jjope dispensed him from passing the strict
examination prescribed in the Motu proprio
of Aug. 5, 1553, for all applicants for admis-
sion to the Pontifical Chapel, and also over-
looked the regulation that all members of
the chapel must be priests ; for at that
time Palestrina was already married, and
had several sons. But although these in-
fractions of the rules of the chapel were
winked at also by Julius's successor, Mar-
cellus n., who had been a jmtrou of Pales-
trina's before his accession to the Papal
Chair, that stern reformer in church matters,
Paul rV., expelled him and two other mar-
ried singers from the chapel, with a very
small pension, July 30, 1555, so that he
held the position for only seven months.
It was, however, a stroke of the irony of fate,
that Palestrina should afterwards have been
a potent agent in thwarting one of Paul's most
cherished reformatory measures : the aboli-
tion of contrapuntal chui-ch music, and the
return to the plain Gregorian chant. On
Oct. 1, 1555, Palestrina was appointed maes-
tro di cappella at San Giovanni in Laterano ;
but as this post was poorly paid he ob-
tained a release from it, and in 1561 the
71
PALESTRINA
appointment to the similar position at Sta.
Mai-ia Maggiore. In 1563 came the most
famous event of
his Ufe, the writ^
ing of the Mar-
cellus Mass, and
with it the
so-
" saving
art of
This
transac-
which
called
of the
music."
whole
t i o n ,
ended in nullify-
ing, in so far as
music itself was
concerned, the radical reforms in church mu-
sic proposed bj' Paul IV., and discussed at
gi'eat length at the Council of Trent (1545-
63), has been made the theme of almost end-
less romancing. A brief account of it may
be found under the heading 3Iissa Papaj
Marcelli, and a detailed one in Ambros (iv.,
7-20). The result to Palestrina was his be-
ing made composer to the Pontifical Chapel,
an honorary position which has been held only
by him and by Felice Anerio. In 1571, on
the death of Auimuccia, he was made maes-
tro di cappella at St. Peter's, which i)Ost he
held until his death. Other suiiplementaiT
posts held by him were those of composer
to the Congregazione del Oratorio, founded
by S. Filippo Neri, of maestro concertatore
to Prince Buoucompagni in 1581, and oc-
casional teacher in G. M. Nanini's music
Bchool. Pope Gregory XUI. intrusted him
with the revision of the Roman Gradual
and Antiphoiial, an enormous task, in which
he was assisted by his pupil Giudetti, but
left unfinished at his death. In 1585 Pope
Sixtus V. tried to reinstate him in his
former position of maestro di cappella to
the Pontifical Chapel, but the jealous op-
position of the singers was too energetic to
be overcome. Palestrina stands universally
accepted as the greatest genius not only of
the " great " Roman contrapuntal school
but of the whole epoch of strict simple con-
trapuntal composition, which reached its
culmination in him. The only two men
who could in any way dispute his suprema-
cy in this style were Giovanni Gabrieli and
Orlando Lasso ; but, making all due allow-
ance for the greatness of these men, the
palm of superiority must still be awarded
to Palestrina. The romantic legends that
grew up around the nucleus of fact con-
cerning the jiart he and his Marcellus Mass
j)layed in the history of church music after
the Council of Trent for a long time misled
musical historians into looking u^jou him
as an important innovator in music. He
was dubbed not only the Prince of Music,
but the Father of Music. But Palestrina
was in no sense a musical innovator ; his
tendencies were conservative, he never de-
parted from the field of composition which
had been so well worked by his great prede-
cessors. In the Marcellus Mass itself there
was not a single element of novelty either in
style or construction. Palestrina's mission
was to complete and perfect a great musi-
cal epoch, not to pave the way for a new
one. His compositions are all in strict sim-
jjle counterpoint in the Gregorian modes, for
unaccompanied chorus ; he made frequent
use of almost every contrapuntal subtlety
known to the older Netherlandish compos-
ers, but with a completeness of technical mas-
tery and an iin failing sense for ideal beau-
ty that wholly veiled the merely scholastic
side of these devices. His long life was a
hard-working, but not particularly eventful
one ; he saw a line of fifteen popes — from
Leo X. to Clement VHI. — ascend the throne
and pass awa}', and he held some of the
most brilliant musical positions of his day ;
but the salaries were small, and there is lit-
tle doubt that he was miserably poor the
greater part of his life. The portrait on this
page is a facsimile of part of the frontis-
piece of his first book of masses, represent-
ing him presenting the book to the pope.
It is the only contemporary likeness of him.
Works : I. Masses : Joannis Petri Aloysii
Prsenestini in Basilica S. Petri de Urbe
cappellse Magistri, Missai'um, liber primus.
72
PALESTEINA
four4-part masses, and one in 5 parts (Rome,
1554 ; 2d ed., 1572 ; 3d ed., containing a 5-
part Requiem and a 6-part mass, 1591) ; Mis-
sarum, liber secundus, four 4-part and two
5-part masses, and the 6-part Missa Papse
Marcelli (Rome, 1567 ; 2d ed., Venice, 1598) ;
]\Iissarum, liber tertius, four 4-part, two 5-
part, including the Tihomme armu, and two
6-part masses (Rome, 1570) ; Missarum,
liber quartus, four 4-part and three 5-part
masses (Rome, 1582 ; 2d ed, ib, 1582 ; 3d
ed, ib., 1590) ; Missarum, liber quintus,
three 4-part, two 5-part, and two 6-part
masses (Rome, 1590 ; 2d ed., Venice, 1591) ;
Missaj, liber sestus, four 4-part masses, and
one 5-part (Rome, 1594 ; 2d ed., containing
also a 6-part Ave Maria, Venice, 1596) ;
Missse, liber Septimus, two 4-part and two
6-part masses, published after Palestrina's
death by bis son Hygin (Rome, 1594 ; 2d
ed., ib., 1595 ; 3d ed., containing also a
6-part mass, Venice, 1605) ; Missarum, liber
octavus, two 4-part, two 5-part masses, and
one 6-23art with perpetual double canon
(Rome, 1599 ; 2d ed, ib., 1609) ; Mis-
sarum, liber nonus, two 4-part, two 5-part,
and two 6-part masses (Rome, 1599 ; 2d
ed., ib., 1608) ; Missarum, liber decimus,
two 4-part, two 5-part, and two 6-part
masses (Rome, 1600) ; Missarum, liber un-
decimus, one 4-part, two 5-part, and two
6-part masses (Rome, 1600) ; Missarum,
liber duodecimus, two 4-part, two 5-part,
and two 6-part masses (Rome, 1601) ; Mis-
B8e octonis vocibus concinendse, four 8-part
masses (Venice, 1601) ; Lauda Sion, Pater
noster, and Jesu nostra redemptio, in 4-
parts ; Beatus Laurentius, Panem nostrum,
Salve Regina, and O Sacrum Convivium, for
5 parts ; Ecce ego Joannes, and Veni Creator
Spiritus, for 6 parts, and other unedited
masses preserved in the Library of the
Vatican ; also a collection in the Minerva
Library, Rome. II. Motets : Motecta fes-
torum totius anni, cum communione sanc-
torum quaternis vocibus, liber primus
(Rome, 1585 and 1590 ; Venice, 1601 ; and
Rome, 1622) ; Mottettorum quse partim
quinis, partim senis, partim septenis voci-
bus concinantur, liber primus (Rome, 1569 ;
2d ed, Venice, 1586 ; 3d ed, 1600) ; Mot-
tettorum, liber secundus, discovered by
Baini (Venice, 1572) ; Mottettorum, liber
tertius (Rome, 1575 ; Venice, 1581, 1589,
and 1594) ; Mottettorum quatuor vocibus,
partim plena voce, e jjartim partibus voci-
bus, liber secundus (Venice, 1581 ; Rome,
1590 ; Venice, 1604, 1606) ; Mottettorum
quinque vocibus, liber quartus (Rome, 1584 ;
2d ed., Venice, 1584 ; 10th ed., Rome,
1650) ; Mottettorum quinque vocibus, liber
quintus (Rome, 1584 ; Venice, 1588, 1595,
1601). Three books of motets for 4, 5, and
6 voices were collected by Baini. HL La-
mentations of Jeremiah : 23 Lamentations
in 4 parts, liber primus (Rome, 1588 ;
Venice, 1589) ; and two other works in 4,
5, and 6 parts, collected by Baini. IV.
Hymns : Hymni totius anni, secundum S.
R. E. consuetudinem quatuor vocibus con-
cinendi nee non hymni religionum (Rome
and Venice, 1589 ; Rome, 1625). V. Offer-
toria (Rome, 1593; Venice, 1594, 1596).
VI. Magnificat : Magnificat octo tonorum,
liber primus (Rome, 1591 ; 2d ed., Venice,
1591) ; also of 5-, 6-, and 8-part unedited
Magnificats, collected by Baini. VII. Lit-
anies : Litanipe Deiparfc Virginis (Rome,
1600) ; Vm. Madrigali spiritual], libro
primo (Venice, 1581) ; libro secundo (Rome,
1594). IX. Psalms : Sacra omnia, solemn.
Psalmodia Vespertina (Venice, 1596). X.
Madrigals : Libro primo a quattro voci
(Rome, 1555; Venice, 1568, 1570, 1594,
1596, 1605) ; libro primo a cinquo voci
(^^enice, 1581) ; secundo libro a quattro
voci (Venice, 1586). Many of Palestrina's
masses were edited and jjublished by Al-
fieri in his " Raccolta di Musica in cui con-
tengonsi i capolavori di celebri compositori
italiani " (Rome, 1841) ; and Alfieri also pub-
lished, " Raccolta di mottetti a quattro voci
di Giovanni Pierluigi da Palestrina, Ludo-
vico de Vittoria di Avia e di Felice Anerio "
(ib., 1841). A number of Palestrina's works
were published by Proske in his collection of
73
PALESTRINA
" Musica Divina." Tbo most of Palestrina's
MSS. are in the Library of the Vatican, and
37 motets are in the Library of the Con-
servatoire in Paris. Breitkojof & Hartel's
edition of Palestrina "Werke : L 5, 6, and
7-part Motets ; 11. 5, G, and 8-part Motets ;
IIL 5, 6, and S-jjart Motets; IV. 5-part
Motets ; V. 4-part Motets ; YL. 5, 6, and
8-part Motets; VH. 4, G, 8, and 12-pai-t
Motets ; \TII. 4-part Hymns ; IS.. 5-part
Offertories ; X. Masses, 1st Book ; XI. 2d
Book; Xn. 3d Book; XHL 4th Book;
XrV. 5th Book ; XV. Gth Book ; XVI 7th
Book ; XVn. 8th Book ; XYIJI. 9 Books
of Masses ; XIX. 10 Books of Masses ;
XXIV. 15 Books of Masses ; XX\1. Three
Books of Litanies for 4, 5, 6, and 8 voices,
and six 12-part Motets and Psahns ; XXVII.
35 Magnificats in 3 Books. XX^TH. 3, 4,
5, and 6-part Madrigals, 3 Books ; XXIX.
5-part Madrigals, 2 Books ; 15 Books of
Masses ; 3 Books of Lamentations in 4, 5,
/7_ f •> A ' /"• • and G parts ; 3 Books
j4^^H^^C^/k4/l of Litanies in 4 and
C jiarts ; 2 Books of Magnificats in 4, 5, 6,
and 8 parts ; and a Supplement of miscel-
laneous works, biographical data, and docu-
ments, etc. — Baini, Memorie storico-critiche
della vita e delle opera di G. Pierluigi da
Palestrina (2 vols., Rome, 1828 ; German
translations by Kandler and Kiesewetter,
1834) ; C. Winterfcld, Palestrina, seine
"Werke und deren Bedeutung fiir die Ge-
schichte der Tonkunst (Breslau, 1832) ;
Biiumker, Palestrina (Freiburg, 1871) ;
Fc'tis, vi. ; Ambros, iv. 1. ; Clement, Mus.
celebres, 7 ; Kiemann ; Naumann, Italien-
ische Tondichter von Palestrina bis auf die
Gegenvrart (?).
PALESTRINA, oratorio, by Cari Loewe,
written in 1841. It was performed by the
Berlin Singakademie in 1845. — Wellmer,
Loewe (Leipsic, 1887).
PALIONE, GIUSEPPE, born in Rome,
Oct. 7, 1781, died in Paris, December (?),
1819. Dramatic composer, pupil of Fonte-
maggi in Rome and of Fenaroli in Naples ;
went to Paris in 1805, and taught vocal
music. "Works — Operas : La finta amante,
Naples, about 1800 ; Le due rivali, Rome,
1802 ; La vedova astuta, ib., about 1803 ;
La villanella rapita, ib., about 1804. De-
bora, oratorio ; Ai-iane, cantata ; 2 sympho-
nies for orchestra ; 3 quintets for 2 piano-
fortes, 2 violins, and violoncello ; 9 quartets
for strings. — Fetis.
PiiLLAVICmO, BENEDETTO, born at
Cremona in the second half of the IGth cen-
tury, died (at Mantua?) after IGIG. Vocal
composer, maestro di eappella to the Duke
of Mantua. "Works : Book of madrigals, for
4 voices (Venice, 1570) ; 7 books of do., for
5 voices (ib., 1581, 1.593, 159G, 1597, 1G12,
1G13) ; Book of do., for G voices (1587) ; do.
of motets, for 8, 12, and IG voices (ib.,
1595) ; Madrigals in several collections of
the time. — Fetis ; Riemann.
PALLA"V^CINO, CARLO, born at Bres-
cia, Italy, in 1G30, died in Dresden, Jan.
27, 1G88. Dramatic composer, Vize-Kapell-
meister in Dresden, 1GG7 ; Kaiiellmeister
in 1G72 ; then lived for several years in
Italy, but from 1G85 again in Dresden
as Kapellmeister of the new Italian ojjera.
"Works : AureUano, Demetrio, Venice, IGGG ;
II tiranuo umiliato d' amore, ovvero Meraspe,
1G67 ; Diocleziano, 1674 ; Enea in Itaha,
1G75 ; Galeuo, 1G76 ; H Vespasiano, 1G78 ;
n Nerone, 1G79 ; Messalina, 1G80 ; Bassiano,
ossia il maggiore impossibile, 1G82 ; Carlo,
ro d' Italia, 1G83 ; R re infante, 1G83 ; Li-
cinio imi^eratore, 1G84 ; Recimero, vh de'
Vaudali, 1G85 ; Massimo Puppieno, 1685 ;
Penelope la casta, 1G8G ; Didone delirante,
168G ; Amor innamorato, 1687 ; L' amaz-
zone corsara, 1687 ; Elmiro, re di Corinto,
1G87 ; La Gorusalemme liberata, 1G88 ;
Antiope (finished by Strungk), Dresden,
1689.— Fetis ; Mendel.
PALilA, SILVESTRO DI, born at Ischia,
near Naples, about 1762, died at Naples,
Aug. 8, 1834. Dramatic com^joser, pupil
of Valenti and Fenai-oli at the Conserva-
torio in Loreto, and afterwards of Paisiello.
"Works : La finta matta, Naples, 1791 ; La
pietra simpatica, ib., 1792 ; GU amanti ridi-
74
PALME
coli, ik, about 1794 ; La sposa contrastata,
Turiu, about 1797 ; II iiaturalista immagiua-
rio, Florence, 180G ; Several others, given in
Naples. — Fetis.
PALME, RUDOLF, born at Barby, Prus-
sian Saxony, Oct. 23, 1834, still living, 1890.
Organist of the Church of the Holy Ghost
at Magdeburg, and royal music director ;
pupil of August Gottfried Ritter. Works :
Sonatas, jireludes, Conzert-Phantasie with
male chorus, and many other comjjositions
for the organ ; Choruses for male, and
mixed voices, sacred songs, etc. — Riemann.
PALMEN-SONNTAG MORGEN (Palm-
Sunday morning), for chorus, soli, and or-
chestra, text by Geibel, music by Ferdinand
Hiller, op. 102. Pubhshed by Rieter-Bie-
dermaun (Leijisic, 1860-67).
PALIMER, HORATIO RICHMOND,
born, of American parentage, in Sherburne,
New York, April 26, 1834, still living, 1890.
When nine years old he sang alto in a
church chou-, at seventeen was organist
and choirmaster, and at eighteen began
composing. He studied thorough-bass and
harmony under his father, but is chietly
self-taught. He became professor of mu-
sic in the Academy, Rushford, New York,
then musical editor of the " Sunday School
Teacher ;" in 1866 began editing the " Con-
cordia," a monthly journal of music in Chi-
cago, where for sis years he was chorister
in the Second Baptist Church. In 1874 he
removed to New York, where he still resides.
He has lectured in nearly every State in the
Union, and has had several thousand pupils
under his instruction. In 1879 the Uni-
versity of Chicago gave him the degree of
Doctor of Music. He has published many
collections, containing most of his own com-
positions ; among them : The Song Queen
(1867) ; Sabbath School Songs (1868) ; Nor-
mal Collection of Sacred Music (1870, 200,-
000 copies sold) ; The Song King (1871,
200,000) ; The Standard (with L. O. Emer-
son, 1872) ; Concert Choruses (1873) ; Songs
of Love for the Bible School (1874) ; The
Leader (with L. O. Emerson, 1874) ; The
Song Monarch (with L. O. Emerson, 1874) ;
The Song Herald (1876) ; Book of Anthoma
(1879) ; The Sovereign (1879) ; Rays of
Light (1882) ; Concert Gems for Choruses
(1883) ; Book of Threnodies (1883) ; The
Choral Union (1884) ; Concert Collection of
Choruses, 1886 ; Book of Literludes, 1888 ;
Anthems, glees, and jjart-songs.
PALOTTA, MATTEO, surnamcd II Pa-
normitano, born at Palermo in 1680, died
in Vienna, March 28, 1758. Church com-
poser, pupU at the Conservatorio di S. Ono-
frio, Najiles, about the same time as Pergo-
lesi. He was ordained secular jiriest on
his return to Palermo, devoted himself to
studies in part-writing and counterpoint,
and produced a valuable work entitled :
Gregorian! cantus enucleata praxis et cog-
nitio ; a treatise on Guido d' Arezzo's Sol-
misation ; and an instruction book on
church tones. In 1733 he was apjjoiuted
Hof-Kapellmeister in Vienna ; was dis-
missed in 1741, and reinstated in 1749.
Works : Masses in four and eight parts,
motets, etc., in the libraries of the court
chapel and the Gesellschaft der Musik-
freunde, Vienna. — Mendel ; do., Ergilnz.,
324 ; Riemann ; Schilling.
PALUMBO, COSTANTINO, born at
Torre Annunziata, Naples, Nov. 30, 1843,
still living, 1890. Pianist, pupil at the
Conservatorio of Lanza antl Russo, and in
comjiosition of Mercadante ; made a eon-
cert tour in 1864 through Italy, and in 1867
went to Paris, where he profited by the ad-
vice of Henri Herz and Planti"'. Having
appeared also in London as a vii'tuoso, he
returned to Naj)les, where he gave many
concerts, often performing in company with
Thalberg. In 1873 he became professor at
the Conservatorio. Works : Maria Stuarda,
opera, given at Naples, Teatro San Carlo,
1874 ; More than 70 compositions for the
pianoforte. — Fctis, Supplement, ii. 298.
PAmNGER (Pammigerus), LEON-
HARDT, born at Aschau, Upper Austria, in
1494, died at Passau, May 3, 1567. Con-
trapuntist, educated in the Monastery of
T5
PAMPANI
St. Nicholas at Passau, where he became
secretary after completing his studies in
Vienna in 1513-16.
Works : Ecclesias-
ticarum cantionum
4, 5, G et jjlurium
vocum, etc. (Nur-
e mbor g, 1573) ;
Others in several
collections of the
times. His three
sons, Balthasar,
Sophonias, and Sig-
ismund, were also composers. — Fetis ; Men-
del ; Eitner, Bibl., 771.
PAMPANI, ANTONIO GAETANO, born
in the Komagna in the beginning of the 18th
century, died in Venice, February, 17G9.
Dramatic composer, maestro di cappeUa of
the cathedral at Fermo until 1748, then di-
rector of the Venice Couservatorio. Mem-
ber of the Accademia Filarmonica, Bologna,
1746. Works— Operas : Anagilda, 1735 ;
Artaserse Lougimano, 1737 ; La caduta d'
Amulio, 174G ; La clemenza di Tito, 1748 ;
Artastrse, 1750 ; II Vinceslao, 1752 ; Astia-
nassc, 1755 ; Demofoonte, 1764 ; Demelrio,
1768. Church music— Fetis.
PiVNICO, mCHELE, born at Naples,
July IG, 1830, still living, 1890. Dramatic
and church composer, pupil of the Couser-
vatorii at Naples and Milan. Works : La
figlia di Domenico, opera, Naples, 1857 ;
Stella, do., ib., 1859 ; SI e no, ojieretta, ib.,
1875 ; Mass with full orchestra, 1855 ; Other
church music, and vocal melodies. — Fetis,
Supplement, ii. 299.
PANIZZA, GLACOMO, born at Castel-
lazzo, Italy, May 1, 1804, died there, April,
18G0. Dramatic composer, and vocal in-
structor of considerable reputation, who
formed many excellent singers. Works —
Operas : Sono eghno maritati ?, Milan,
1827 ; La coUerica, ib., 1831 ; Gianni di
Calais, Trieste, 1834 ; I ciarlatani, Milan,
1839. Ballets : La rosiera ; Merope (with
Viviani), Milan, 1832; Faust (with Costa
and Bajetti), ib., 1848 ; Palmiua (with
Santos and Pinto), ib., 1853 ; Nana Sa'ib
(with Strebiuger), Vienna, 1867. Inno a
Maria Malibran, serenade for 4 voices and
orchestra, Milan, 1834 ; Sextet for wind in-
struments ; Arias and romances. — Fotis ;
do.. Supplement, ii. 299.
PANNAIN, ANTONIO, born at Naples,
Jan. 31, 1841, still living, 1890. Instru-
mental and vocal composer, pupil of Nicola
Fornai-ini, his uncle. Works ; 4 masses, of
which 3 with orchestra ; Other church mu-
sic ; 2 overtures for orchestra ; Pianoforte
music, and songs. — Futis, Supplement, ii.
299.
PANNY, JOSEPH, born at Kohlmitz-
berg, Nether Austria, Oct. 23, 1794, died
at Mainz, Sept. 7, 1838. VioUnist, pupil of
his father, and in theory of his grandfather,
an organist ; studied afterwards in Vienna,
where Paganiui took a fancy to him (1824),
and invited him to join him on his future
concert tours. In Prague they separated
and Pauny went to Germany, gave concerts
in Munich (1828) and other cities, and set-
tled at Mainz, whence he made concert
tours to Hamburg and Berlin in 1830, to
Norway, Sweden, and England in 1831-32.
Works : 3 masses ; Requiem, for 3 voices,
2 violins, 2 horns, and organ ; Several grad-
uals ; Cantatas ; Quartets ; Sonata for clar-
inet and pianoforte ; Violin music ; Cho-
ruses for male voices, and songs. — Allgem.
wiener mus. Zeitg. (1842), 448 ; Fetis ; N.
Necrol. der D. (1839), i. 38 ; Wurzbach.
PANOFKA, HEINRICH, born in Brcs-
lau, Oct. 2, 1807, died in Florence, Italy,
Nov. 18, 1887. Violinist, and professor of
singing ; destined to the law by his father,
he took lessons on the violin from his sis-
ter, a clever violinist ; learned the princi-
ples of music from the cantor Strauch and
his successor Foerster, played at a concert
at the age of ten, when his father, recogniz-
ing his talent, sent him to study in Vienna
under Mayseder and Hoffmann, 1824-27.
He gave his first concert in 1827 ; left Vi-
enna for Munich in 1829, and thence went to
Berlin, and at last settled in Paris as violin-
70
PANSEKON
ist. He played at the Conservatoire con-
certs, studied vocal music and itfs practical
instruction under Bodogni, and with him
established in 1842 an Acadcmie de Chant,
in imitation of the one in Berlin. Their
project was not successful, as the Prince de
la Moskowa was then forming his Societu
de Concerts. In 1844 Panofka went to
London, and in 1847 was engaged by Lum-
ley as assistant at Her Majesty's Theatre at
the time of Jenny Lind's visit. The Revo-
lution of 1848 obliging him to remain in
London, he became widely known as a
teacher of singing, but returned to Paris in
1852, and settled at Florence in 1866.'
Works : L' art de chanter, op. 81 (Paris) ;
24 vocalises progressives, op. 85 ; Abecc-
daire vocal, 2d edition ; 12 vocalises d' ar-
tiste, op. 86 ; Erholung und Studium, op.
87 ; 86 nouveaux exercices, op. 88 ; 12 vo-
calises pour contralto, op. 89 ; 12 Vokalisen
fur Bass, op. 90 ; Works for violin and pi-
anoforte, and violin and orchestra, etc. — Fe-
tis ; Riemauu ; Mendel ; Schilling.
PiVNSERON, AUGUSTE MATTHIEU,
bom in Paris, April 2G, 1796, died there,
July 29, 1859. Vocal composer, professor
of singing, and writer ou music ; the son
of a professor of music who scored many of
Gretry's operas, he entered the Conserva-
toire in 1804, became pupil of Gossec in
counterpoint, of Levasseur on the violon-
cello, and of Bertini in harmony, winning
prizes in these studies. He won, also, in
1813 the grand jirix de Rome for his can-
tata Herminie. He went to Italy, took
lessons in counterpoint from Mattel in
Bologna, lived in Naples and Rome several
years, studying under the best masters,
went to Germany, and was pupil of Salieri
in Vienna, and of Winter in Munich. In
1817 he became honorary Kapellmeister to
Prince Eszterhiizy at Eisenstadt. After vis-
iting Prussia be returned iu 1818 to Paris,
where he taught singing and became ac-
companist at the Opera Comique, then in
1826 professeur de solfege and in 1826 pi'O-
fesseur de chant at the Conservatoire. His
great charm as a composer was in his ro-
mances, which acquired great popularity,
and of which he published two hundred
between 1825 and 1840. His greatest
merit lies in his didactic treatises, which
were the outcome of his experiences as jjro-
fessor at the Conservatoire. L. of Honour ;
Orders of Oaken Crown, and of the Red
Eagle. Works : La grille du pare, opera-
comique, Paris, Theatre Feydeau, 1820 ; Les
deux cousines, do., ib., 1821 ; Le mariage
difficile, ib., 1823 ; L'ccole de Rome, Oduon,
1827 ; 3 solemn masses ; 2 masses for 3 so-
prani ; Requiem ; De prof undis ; Miserere for
4 voices ; Mois de Marie, motets and hymns
for 1-3 voices ; Pie Jesu ; Many fugues ;
Fantaisies, nocturnes, and themes varies
for pianoforte and flute. ABC musical ;
Suite de I'A B C ; Solfuge a deux voix ; Sol-
fege d'artiste ; Solfege sur la clef de fa ;
Solfege d'ensemble a deux, trois et quatre
voix, 3 parts ; Solfege du pianiste ; Solfege
du violoniste ; Solfege concertant a deux,
trois et quatre voix, 3 parts ; 50 lemons de
solfege a changements de clefs ; 36 do., suite
aux 50 lemons ; Methode complete de voca-
lisation, 3 parts ; Douze etudes sj)eciales ;
Traite de I'harmonie pratique, etc. — Fetis ;
do.. Supplement, ii. 300 ; Riemann ; Schil-
ling, Supplement, 334.
PANZINI, ANGELO, born at Lodi, Nov.
22, 1820, still living, 1890. Pianist, pro-
fessor at the Conservatorio in Milan.
Works : La carita, cantata ; II brindisi,
song with chorus ; Ariettas and other vocal
music ; Grand sonata for pianoforte and
harmonium ; Various pieces for do. ; do.
for pianoforte and flute ; Grand duo for
2 flutes ; Nocturnes, caprices, melodies,
scherzi, etc. — Fetis, Sujjplement, ii. 300.
PAOLUCCI, Padre GIUSEPPE, born at
Siena in 1727, died at Assisi iu 1777. Church
composer and Franciscan monk, pujjil of
Padre Martini at Bologna, then maestro di
cappella successively in the convents of his
order at Venice, at Sinigaglia, and at Assisi.
Works : Preces pife, for 8 voices (2 choirs),
(Venice, 1767) ; Other church music iu MS.
77
PAPILLONS
He is particularly noteworthy through the
IJublication of his Arte pratica di contrap-
punto dimostrata con esempj di vari autori
(ib., 17G5-72).— Fetis.
PA-PA-PAPAGENO. See ZaubcrflOie.
PAPILLONS (Butterflies), a set of twelve
short pianoforte ijieces in dance form, by
Schumann ; op. 2. Nos. 1, 3, 4, G, and 8
were composed in 1829, the others in 1831.
They were written in Heidelberg and Leip-
sic, and are dedicated to the composer's
sisters-in-law, Therese, Rosalie, and EmiUe
Schumann. The name indicates musical
ideas and phases, exjiressed from esjseri-
ences of a thoughtful Ufe, through which
they break as the butterflj' from its chrysa-
lis. Schumann gives them a poetical mean-
ing by referring to the chapter of Jean
Paul's " Flegeljahre," describing a masked
ball, or carnival, which the PapLllous ai-e
sui^posed to depict. The last bars of the
finale ai-e inscribed with these words : "The
noise of the Carnival night dies away. The
church clock strikes sis." The PapUlons
may be regarded as a sketch for the more
elaborate Carneval, op. 9, and in this work
a passage is inserted from the Papillons,
No. 1. The finales of both works contain
the Grossvaterlanz, which is the finale of op.
2, and is treated coutrax)uutally with the
subject of Papillon No. 1. Introduzione,
Moderate, in D ; L In D ; H. Prestissimo,
in E-flat and A-flut ; IIL In F-sharp minor ;
IV. Presto, in A ; V. In B-flat ; VI. In D
minor ; Vli. Semplice, in F minor and A-flat ;
\TII. In C-sharp minor and D-flat ; IX.
Prestissimo, in B-flat minor ; X. Vivo, in C,
Piti lento in G and C ; XI. In D, Piti lento
in G, In tempo vivo in D ; XH. Finale in
D (Grossvatertanz), Piii lento. PubUshed
by Kistner (Leipsic, 1832). Breitkopf &
Hiirtel, Schumann Werke, Serie vii., No. 2.
— Wasielewsky, Schumann, 3d ed., 328 ;
Reissmann, Schumann, 41 ; Maitland, Schu-
mann, 49 ; Wiener mus. Zeitg. (1832), No.
26 ; AUgem. mus. Zeitg., xxxv. G16 ; Grove,
ii. G45 ; iii. 408.
PAPINI, GUIDO, bom at Camaggiore,
near Florence, Aug. 1, 1847, still living,
1890. Virtuoso on the violin, pupil of Gi-
orgetti. He made his debut at the age of
thii-tcen in Florence, jjlaying Spohi-'s third
concerto ; and was for several years leader
of the Societa del Quartetto in that city.
In 1874 he appeared in England at the
Musical Union, and has since played at the
old and new Philharmonics, and in 187G at
the Pasdeloup Concerts in Paris. Works :
Concerto for violin ; do. for violoncello ;
Exercices du mecanisme pom- le violou
seul ; Amour, romance-nocturne ; A mon
t'toile, romance sans pai'oles ; FeuiUes
d'album, etc. ; Arrangements and tran-
scriptions.— Fetis, Supplement, ii. 312 ;
Grove ; Mendel, Ergiiuz., 325.
PARADIES, PIETRO D03IENIC0,
bom in Naples in 1710, died in Vcuico in
1792. Harpsichord player and dramatic
comj)oser, pupil of Porpora ; he went to
London in 1747, and lived there many
years, teaching the pianoforte. Works :
His best known operas are Alessandro in
Persia, Lucca, 1738 ; II decreto del fato,
Venice, 1740 ; Phaiiton, London, 1747 ; Le
muse in gara, cantata, Venice, Conserva-
torio dc' Mcndicanti, 1740 ; 12 sonato di
gravicembalo (London ; 2d ed., Amsterdam,
1770).— Fetis ; Grove ; Mendel.
PARADIES UND DIE PERI, DAS
(Paradise and the Peri), cantata in three
parts, for soli, chorus, and orchestra, text
from Moore's " Lalla Rookh," music by
Schumann, op. 50, first performed at the
Gewandhaus, Leipsic, Dec. 2, 1843, imder
the composer's direction. This is Schu-
mann's first work for voices and orches-
tra, and is one of his most important com-
jiositions. It bears the same relation to
the concert hall that Weber's Oberon does
to the stage. The text was chosen largely
from Emil Fechsig's translation of " Lalla
Rookh," but Schumann added several num-
bers to the third part. Characters repre-
sented : A Peri (S.) ; an Angel (A.) ; the
King of Gazna (B.) ; a Youth (T.) ; a
Horseman (Bar.) ; a Maiden (S.) ; and cho-
78
PARADIS
ruses of Indians, Angels, Houris, and Genii
of the Nile. The part of Narrator is sung
by the different voices and the chorus.
This work was first given in Dresden, Dec.
23, 1843 ; in Berlin, Feb. 17, 1847 ; in Dub-
lin, Feb. 10, 1854 ; in London, by the Phil-
harmonic Society, with Mme Jenny Lind
Goldschmidt as the Peri, June 23, 185G ; at
the Theatre Italien, Paris, in December,
18G9 ; and in New York by the Oratorio
Society in 1876. Published by Breitkopf &
Hiirtel (Leipsic, 1845). Schumann Werke,
Serie ix.. No. 1. Same title, cantata by
John F. Barnett, Birmingham (England)
Festival, Aug. 31, 1870. — Heissmaun, Schu-
mann, 129 ; Maitland, Schumann, 85-87 ;
130-131 ; Neue Zeitschr. xxvi. 71 ; Naumann
(Ouseley), ii. 1020 ; Concertwesen im Wien,
ii. 145 ; Signale (1858), 113 ; Allgem. mus.
Zeitg., xlv. 951 ; slvi. 28 ; xlvii. 561, 585,
606, 617 ; lii. 210 ; Athenjeum (1844), 951 ;
(1855), 651 ; (1856), 81G ; Grove, ii. 648 ;
iii. 416; Upton, Standard Oratorios, 273.
PAEADIS, MAEIA THEKESIA VON,
born in Vienna, May 15, 1759, died there,
Feb. 1, 1824. Pianist and, although blind
from her fifth year, a skilful organist, pupil
of Eichter and Ko^eluch, Salieri, and Ei-
ghiui, and in composition of Friberth and
the Abt Vogler. She became a protegee
of the Empress Maria Theresa, her god-
mother, and went in 1784 to Paris, where she
played at the court concerts and Concerts
Spirituels, and at the then newly founded
Professional Concerts. She visited London
in 1786, then Brussels and the most im-
jDortant German courts, and on her return
to Vienna played at the concerts of the
Tonkunstler Societilt. Mozart wrote a con-
certo for her, and a friend invented a system
of notation for her so that she took up com-
position. Towards the close of her life she
devoted herself to teaching singing and the
pianoforte. Principal works: Ariadne and
Bacchus, melodrama, Vienna, 1791 ; Der
Schulcandidat, operetta, ib., 1792 ; Kinaldo
und Alcina, fairy oj^era, Prague, 1797 ;
Deutsches Monument Ludwig's des Ungliick-
lichen, a funeral cantata for the anniversary
of the death of Louis XVI., Vienna, 1794 ;
Trio for pianoforte and strings ; Sonatas,
variations, etc., for pianoforte ; German
songs and Italian canzonets. — Fctis ; Ger-
ber ; Mendel, viii. 15 ; Eiemann ; Schilling ;
Wurzbach.
PAEADIS SOETI DU SEIN DE
L'ONDE. See Africaine.
PAEADISE AND THE PEEI, fantasy-
overture for orchestra, by William Sterndalo
Bennett, op. 42, written for, and first per-
formed at the Jubilee concert of the Phil-
hai-monic Society, London, July 14, 1862.
— Athen.t'um (18^62), ii. 89.
PAEDON DE PLOEEMEL, LE (The
Pilgrimage of PloGrmel), French opura-co-
mique in three acts, text by Jules Barbier
and jMichel Carro, music by Meyerbeer,
first represented at the Optra Comiquo,
Paris, April 4, 1859. Original cast :
Dinorah (S.) Mme Cabel.
HoOl (Bar.) M. Faure.
Corentin (T.) M. Saiute-Foy.
The scene is laid in the village of PloiJrmel,
Brittany. On a certain day, when the in-
habitants of Plourmel make a j)ilgrimage to
the shrine of the Vii-gin, Hool, a goatherd,
and Dinorah, his betrothed, go to receive a
benediction. A storm arises and destroys
Dinorah's house. Hoel, resolving that she
shall not suffer by the loss, and acting on a
wizard's advice, leaves Ploermel in quest of
a treasure which is guarded by the Kori-
gans, fays of Brittany, and spends a year in
the forest in solitude. Dinorah, believing
that her lover has abandoned her, becomes
mad and wanders about with her goat, seek-
ing him. The opera begins at this point.
After a rustic chorus, Dinorah enters and
sings a slumber song to her goat, "Dors,
petite, dors tranquille." Soon HoOl arrives,
and goes to the house of a bagpiper, Corent-
in, to whom he tells the story of the treasure.
Dinorah is seen in the distance, and the act
closes with a trio. The second act begins
with a drinking-song by the wood-cutters.
79
PAEENTI
When they leave the stage, Dinorah enters
and begins a pathetic air ; but seeing her
shadow in the moonHght, she dances to it,
singing meanwhile the famous aria, " Ombre
legfere," or " Shadow Song," a polka ma-
zurka, which is frequently given at con-
certs. The next scene is in the Val Maudit,
where HoOl and Corentin are searching for
the Korigans' treasui-e. Dinorah is heard
singing, and from her words Corentin learns
that whoever touches it first will die. He
refuses to continue the quest, and Hoel,
who sees Dinorah, believes her to be a spiiit.
D^sirSo ArtJt.
She falls from the bridge into the torrent
and is rescued by HoOl, who takes her back
to Ploermel. In the last act Dinorah's rea-
son returns, and she goes with HoOl to the
chapel, while a procession is seen in the dis-
tance wending its way to the shrine. The
overture is a retrospect, and is unique in
having interpolated a chorus, which sings
behind the scenes a chant to the Virgin.
The role of Dinorah, one of the most fan-
tastic and charming of light soprano
parts, has been sung with success by Ade-
Una Patti, lima de Murska and Dosirt'e
Artot. The opera is given in Italian under
the title of " Dinorah." It was represented
in Italian at Covent Garden, London, under
Meyerbeer's direction, July 20, 1859, with
Mme Miolan-Carvalho as Dinorah ; Si-
gner Gardoni, Corentin ; and Signor Grazi-
ani, Hoiil. It was given at Covent Garden
in English, Oct. 3 of the same year, with
Miss Pyne, Mr. Santley, and Mr. Harrison.
It was first represented in New York with
IMlle Cordier as Dinorah. Published by
Brandus & Dufour (Paris, 1859) ; by Bote
& Bock (Berlin, 18G0).— Clement et La-
rousse, 511 ; Mendel, Meyerbeer, 86 ; Eovue
et Gaz. mus. de Paris (1859), 117, 125, 133,
349 ; Athenfeum (1859), i. 522 ; ii. 151,
473 ; Upton, Standard Operas, 153 ; Hans-
lick, Moderne Oper, IGl.
P.\ItENTI, FEANCESCO PAOLO
(MAURIZIO), born in Naples, Sept. 15,
1764, died in Paris in 1821. Dramatic and
church composer, pupil, at the Conserva-
torio della Pieta de' Turchini, of Tarantia,
Sala, and Traetta ; went to Paris in 1792,
and was accompanist and chorus-master at
the Italian opera there in 1802-3. Works
— Operas : Le vendemie, Venice, about
1784 ; II matrimonio per fanatismo, 1785 ;
I viaggiatori felici, about 1785 ; H re pas-
tore, about 1787 ; Nitteti, Venice, about
1788 ; Artaserse, about 1789 ; Les deus por-
traits, Paris, 1792 ; L'homme ou le malheur,
ib., 1795. Masses and motets alia Pales-
trina, and other church music. — Ft'tis.
PARIDE ED ELENA (Paris and Helen),
Italian opera in five acts, text by Calzabigi,
music by Gluck, first represented in Vi-
enna in 1769. This work was written af-
ter Alceste and Orfeo, and continued the
reformation begun in those operas. The
story is from the Iliad ; but Elena is made
Queen of Sparta, and the betrothed, in-
stead of the wife of Menelaus. Characters
represented : Paride, son of Priam, King of
Troy (S.) ; Elena, Queen of Sparta (S.) ;
Erasto (Amore, the god of love), (S.) ; Pal-
lade (Pallas), the goddess (S.) ; a Trojan
(T.) ; and chorus of Trojans and Spartans.
The opera closes with a ballet. Among the
80
' THE NEW YORR
il'UBLIC LIBRARY
1
TlLBf.N FOUNCATION*
TARIS
best numbers ai"e : The Overture in C ; the
ballet music in A minor ; and Paride's first
three arias, " O del mio doles ardor," in G
minor ; " Spiagge amate, ove talora," in
F ; and "La bella immagine," in F minor.
The score was dedicated to the Duke Gio-
vanni di Braganza, and published by Tratt-
ner (Vienna, 1770). The overture was re-
scored by Hans vou Biilow, and jjublished
by Peters (Lei^Jsic, 18(J4). He added two
clarinets in G, two horns in F, and a bass
trombone, to the original score, which re-
quired strings, two flutes, two oboe.s, two
bassoons, two trumpets, two horns, and
drums. A now edition of the opera in
jjianoforte score, by H. M. Schletterer, was
published by Peters (Leij^sic, 18G4) ; and a
new edition of the ballet music, by Carl
Eeinecke, by Brcitkopf & Hartel (Leipsic,
1882). Other operas on the same subject —
in Italian : II ratto d' Elena, by Virgilio Puc-
citeUi, Dantzic, 1C34 ; by Francesco Cirillo,
test by Gennaro Paolella, Naples, 1G55 ;
Elena, regina di Sparta, by Cavalli, Venice,
1659 ; II Paride, text and music by Gio-
vanni Andrea Bontempi, Dresden, Nov. 3,
1(jG2 ; Elena rapita da Paride, by Giovanni
Domenico Freschi, Venice, 1G77 ; L'amorosa
preda di Paride, by G. B. Bassani, Bologna,
1684 ; II giudizio di Paride, by Pollarolo,
Venice, 1G99 ; by Gianettini (Zauettini),
about 1710 ; by K. H. Graun, text by Vil-
lati, Berlin, June 25, 1752 ; by Valentino
Fioravauti, about 1803 ; II giudizio di
Paride corretto della giustizia, serenata,
test by L. N. Cilni, music by P. E. Bal-
dasari, Vienna, July 10, 1707 ; Helena, ossia
la forza dell' amore, text and music by
Eeinhardt Keiser, Hamburg, 1709 ; Paride
in Ida, text bj' Mazzari, music by Coletti
and Carlo Monza, Venice, 1709, revised by
Mendozzi as Le due rivali in gara, Padua
and Bologna, 1719 ; Le nozze di Paride, by
Galuppi, Venice, 1756 ; II Paride, by Pietro
Casella, Naples, 1806 ; and Elena in Troja,
Italian operetta by Eoberto d' Alessio, Na-
ples, January, 1875. Operas in French, Le
jugement de Paris, by Marc Antoiue Char-
pentier, Paris, about 1700 ; by T. Bertin
de la Due, test by Mile Barbier and Pelle-
grin, ib., June 21, 1718 ; by Franz Hor-
zizk}', Eeinsberg, about 1790 ; opera-co-
mique, by Laurent de Eillo, text by Albyaud
Commerson, Paris, Feb. 11, 1859 ; La belle
Hc'lene, by Offenbach, ib., Dec. 17, 18G4 ;
La belle Helene dans sou menage, by
Georges Eose, ib., 1867 ; ballet by Mehul,
ib., 1793, and cantata by Salieri, ib., 1787.
Operas in German : Paris und Helena, test
by David Schirmer, composer of music un-
known, Dresden, Dec. 2, 1650 ; by Johann
David Heinichen, Leipsic, 1709 ; by Peter
von Winter, Munich, 1780 ; Der Eaub der
Helena, ballet by Josef Weigl, Vienna, May
16, 1795 ; Paris und Helena, ballet by J.
N. Hummel, about 1810 ; Der trojanisclie
Krieg (second part of Die schOne Helena),
by W. Homann, test by SchObel, Hamburg,
August, 1867 ; and music to Euripides's He-
lena, by Louis Kuhler, about 18G0. Operas
in English : The Judgment of Paris, masque,
by Congreve, music by Purcell, Eccles,
Weldon, and Finger, London, March 11,
1701 ; new music, by Dr. Arne, ib., 1740 ;
oi^ora, by F. H. Barthi'lemon, ib., 1770 ; and
a ballet, by D. Steibelt, ib., 1804.— Marx,
Gluck und die O^Jer, i. 396-433 ; ii. 377 ;
Schmid, Eitter von Gluck, 135-154 ; Bitter,
Eeform der Oper durch Gluck, 256 ; Eeiss-
mann, Gluck, 129 ; AUgem. mus. Zeitg., xiv.
632 ; (1864), 849, 865, 869.
PAEIGI, O CAEA. See Tramata.
PAEIS, CLAUDE JOSEPH, born at Ly-
ons, March 6, 1801, died in Paris, July 25,
1866. Dramatic composer ; studied first in
his native city, then was j)upil of Lesueur
at the Conservatoire, Paris, where he won
the second grand prix in 1825, and the first
in 1826. He then studied two years in
Eome and Naples, returned to Paris, then
to Lyons, and about 1835 became chef
d'orchestre at the Theatre du Pantheon,
Paris. Works : L' alloggio militare, opera
buffa, Vienna, 1829 ; La veillee, Paris, Ope-
ra Comique, 1831 ; Le cousin de Denise,
Theatre Beaumarchais, 1849 ; ballet, The-
81
PARISE
aire de la Porte Saint-Martin, 1825 ; Her-
minie, cantata, 182G. — Futis ; do., SuppK'-
ment, ii. 304.
PARISE, GENNAEO, born at Naples
during the last j-ears of the 18th century.
Church composer, pupil of his father, but
formed himself chie% by studying the
works of the gi'eat masters. He became ma-
estro di cajipella at the cathedral and several
other churches of Najiles, and in ISGljwofes-
sor at the Koyal College of Music. "Works :
Masses with orchestra ; Do. alia Palestrina ;
Do. for 3 voices, with organ ; Short masses
and vesjjers, with organ and harp ; Requiem
with full orchestra ; 2 do. alia Palestrina ; 3
complete vespers with all the psalms, do.;
Other psalms with fuU orchestra ; Dixit,
Credo, Te Deum, etc., hymns with orches-
tra, or organ, or alia Palestrina. — Fetis.
PARISER SmFONIE, for orchestra, in
D, by Mozart, first performed at the Concert
Spii-ituel, Paris, June 18, 1778, with gi-eat
success. L Allegi'o assai ; H Andantino ;
UL iVllegro. The opening phrase of the
first movement was -wi-itten with regard to
the "premier coup d'archet," for which the
Paris orchestra was famous. Legros, by
whom Mozart was commissioned to write
the symphony, wished him to insert a
lighter movement in place of the Andan-
tino. Mozart acquiesced, and the sym-
phony in its new form was played in Paris,
Aug. 15, 1778. It is one of the compos-
er's most fully scored symphonies, and is
usually given as originally written. It was
PARISH- ALVARS, ELI AS, born at
Teignmouth, England, Feb. 28, 1808, died
in Venice, Jan. 25, 1849. Virtuoso on the
harp and pianist, pupil of Dizi, Labarre,
and Bochsa ; became one of the most dis-
tinguished performers on the harp ; visited
Germany in 1831, and played at Bremen,
Hamburg, and other places with great suc-
cess. After visiting Milan, he went in 1836
to Vienna, where he remained two years ;
travelled in the East in 1838-42, and on his
return gave concerts in Leipsic, and visited
Bei'lin, Frankfort, Dresden, Prague in 1843,
and Naples in 1844. In 184G he went to Leip-
sic, where his association with Mendelssohn
imjjroved his composition, and in 1847 ho
settled in Vienna and became chamber mu-
sician to the Emperor. Works : 2 concertos
for harp and orchestra ; Concertino for two
harps and orchestra ; Fantasias, transcrip-
tions, romances, and melodies, for harp and
orchestra, harp and jHanoforte, etc.; Marcli
for harp ; Voyage d'uu liarpiste en Orient,
a collection of airs and melodies pojjular in
Turkey and Asia Minor. — Grove ; Fetis ;
IMendel ; Wnrzbach.
PARISIAN BACCHANALE. See Tann-
liduser.
PARISIENNE, LA, French revolutionary
song, text by Casimir Delavigne, music by
Brack, supposed to have been written in
1757, at the time of the siege of Harburg.
The music was transposed by Auber, who
composed for it additional bars of instru-
mental accompaniment. It was first sung
performed at the Crystal Palace, London, i in public at the Theatre de la Porte Saint-
March 15, 1873. The autograph, in pos- [ Martin, Paris, Aug. 2, 1830, and at the Aca-
session of Andre (Offenbach), was published dcmie Royale de Musique, Paris, Aug. 4,
by Breitkopf & Hiirtel, Mozart Werke, Serie 1830, during a representation of La muette
viii.. No. 31. A second symphony is said to
have been written bj' Mozart in Paris at
that time and first perfonned there, Sejit.
18, 1778, but the score of this has been
lost. — KiJchel, Verzeichniss, No. 297 ; An-
dre, Verzeichniss, No. 127 ; Jahn, Mozart,
ii. 287 ; Nissen, Mozart, i. 377, 385 ; Geh-
ring, Mozart, 7G ; Mozart's Letters (Lady
Wallace), i. 208 ; Grove.
de Portici, by Adolphe Nourrit, who sang it
every evening for several months, and it
was greatly owing to him that it became
popular. The subject is the triumph of
the Orleanist party. Of late years a con-
troversy has arisen regarding its origin.
The air, which is bold and martial, was pre-
viously introduced into Le baron de Trenk,
a comedie-vaudeville in two acts, by Scribe
82
PARISDSTA
and Delavigne, Paris, Oct. 4, 1828. Henri
Herz wrote variations on this air, op. 58,
published by Seliott (Mainz, 1830).— Grove,
ii. G49 ; Larousse ; Eevue et Gaz. mus. de
Paris (April i), 1849).
PARISINA, overture for orchestra, in
F-sharp minor, to Loi-d B3'ron's j^oem of
the same title, bj' William Sterudale Ben-
nett, op. 3, composed in 1834-35, and first
performed in Loipsic, in March, 1837, and
at the London Philharmonic in 1839. It
was given at the Euterpe Concert, Leipsic,
Feb. 1, 187G. Published by Kistner (Leip-
sic, 1S7C).
PARISINA, Italian opera in three acts,
text by Romani, music by Donizetti, first
represented at the Pergola, Florence, March
18, 1833. The story is fi-om Byron's "Pa-
risina." Azzo, Duke of Ferrara, who has
put his wife, Matilda, to death, marries
a young and beautiful woman, Parisina,
who loves Hugucs, a young soldier who has
won renown under Ernest, the Duke's gen-
eral. Hugues, victor in a tournament, is
crowned by Parisina, who betrays Ler af-
fection for him. On making this discovery,
Azzo has the two arrested and sentenced to
death. Ernest reveals to him that Hugues
is his child, whom Matilda left in his charge.
Although Azzo hates this son, lie revokes
the sentence and orders him to be banished.
The order comes too late, for at the moment
■when Parisina makes her last prayer Ernest
appears, and, drawing a curtain, discloses
the corpse of Hugues, upon \?hich Parisina
falls dead. Original cast :
Parisina (S.) Mle Ungher.
Hugues (T.) M. Duprez.
Azzo (B.) M. CoseUi.
This ojjera was given at the Theatre
Italien, Paris, Feb. 24, 1838, with Grisi,
Eubini, and Tamburini in the cast. Pub-
lished by Ricordi (Milan). — Clement et
Larousse, 512 ; Revue et Gaz. mus. de
Paris (1837-38), 101 ; Allgem. mus. Zeitg.,
xxxvii. 405.
Dance of Sirens,
PARKER, HENRY, born in London,
Aug. 4, 1845, still living, 1890. Instru-
mental and vocal
composer, pupil at
Lei2")sic of Moscheles,
Eichter, and Plaidy,
and in Paris of Le-
fort. Works: Pa-
mela, gavotte for or-
chestra ; Clarissa,
minuet for do. ; Do-
rothea, sarabande,
do. ; P a V a n n e d e
Guise, do. ; Imogen, do.
do. ; 400 songs and pianoforte jjieces.
PARKER, HORATIO WILLIAM, Iwrn,
of American par-
ents, at Auburn-
dale, Massachu-
setts, Sept. 15,
18G3, still living,
1890. Organist
a n d composer,
pupil from 1877
of his mother, an
accomplished mu-
sician, then in
Boston of Stephen
A. Emery in har-
mony and pianoforte, of John Orth in piano-
forte, and of George W. Chadwick in comjjo-
sition. In 1880 he was organist of St. Paul's,
Dedham, Mass., and in 1881 of St. John's,
Boston Highlands. In 1882 he went to
Munich, where he studied for three years the
organ and composition under Josef Rhein-
berger, and conducting under Ludwig Abel.
In 1885 his cantata. King Trojan, was suc-
cessfully given in Munich. On his return
to America in the same year he became j)ro-
fessor of music at the Cathedral Schools of
St. Paul and St. IMary, Garden Citj-, Long-
Island ; in lS8(i he became organist and
choirmaster at St. Andrew's Church, Har-
lem, New York, and in 1887 resigned his
position in St. Paul's, but retained that in
St. Mary's School ; in 1888 became organist
and choirmaster at the Church of the
I ^■^
PAIiKEli
Holy Trinity, Madison Avenue, New York.
"Works: Concert overture, in E-flat, given
in Munich, 1884 ; Psalm xxiii., for female
chorus, organ, and harp, ib., 1884 ; Ro-
mance for chorus and orchestra, ib., 1884 ;
Symphony in C major, orchestra, ib., 1885 ;
Kegulus, heroic overtui-e, ib., 1885 ; King
Trojan, ballad for chorus or orchestra, ib.,
1885 ; String quartet in F major, Garden
City, 188G ; Der Normanuenzug, ballad for
male chorus and orchestra. New York, 1889 ;
Chamber music ; Organ and pianoforte mu-
sic ; Songs and jiart-songs for male, female,
and mixed voices.
r.\ItKER, JAjMES cutler DUNN,
born, of Amer-
ican parentage,
in Boston, Mas-
sachusetts, June
2, 1828, still liv-
ing, 1890. Or-
ganist; was
g r a d u ated at
Hai-vard Col-
lege in 1848,
and began to
study law, but
soon gave it up for mu.sic, and, after prelim-
inary- study in Boston, went in 1851 to Eu-
rope and studied, in Leipsic, the pianoforte
under Moscheles and Phiidy, hai'mony un-
der Hauptmann, and composition under
Rietz and Richter. In 1854 he returned to
Boston and soon took a prominent jilace as
organist, leader, and instructor. In 1862 he
organized the Parkiu' Club, an amateur vo-
cal association which gave classical works
with success. He has been organist of the
Handel and Haydn Sociot\', and for the past
twenty-four years organist and choir direc-
tor of Trinity Cluu-ch, Boston ; and has
held a 2)rofessorship in the College of Mu-
sic connected with the Boston University.
"Works : Redemption Hymn, for contralto
solo and chonis, wi-itten for the fourth trien-
nial festival of the Handel and Haydn Soci-
ety, May 17, 1877 ; The Blind King, cantata,
188G ; Church music. Didactic : Manual of
Sterndale Bennett.
Harmony (1855) ; Theoretical and Practical
Harmony (1870).
PARKER, LOXnS NAPOLEON, born at
Calvados, France, Oct.
21, 1852, still living,
1890. I'ianist ; studied
in Italy, France, and
Germany, and fro m
1870 at the Royal Acad-
emy of ]\Iusio, London,
under Harold Thomas,
"Walworth , B a n i s t e r,
Steggall, Cusins, and
In 1874 he was elected
an Associate of the Royal Academy of Mu-
sic, and he has been since 1877 director
of music in the King's School, Sherborne.
Works : Silvia, dramatic idyl, text by Sew-
ard Mariner (Walter Raymond), for four
solo voices, chorus, and small orchestra,
1880 ; Psalm xxiii., motet for female voices ;
The Wreck of the Hesperus, trio for female
voices, text by Longfellow ; Cantate Do-
mino and Deus misereatur ; Overtures for
orchestra (MS.) ; "Violin music ; Pianoforte
music ; Songs.
PARLAR, SPIEGAR. See vl/o.s^ in
Egitto.
PARJIENTIER, CHARLES JOSEPH
THEODORE, born at Barr (Bas-Rhin),
3*Iarch 14, 1821, still living, 1890. Ama-
teur composer, general in the French army,
where he served with distinction in the
coqjs of engineers, and took part in the
campaigns in the Crimea, 1855, Italy, 1859,
and France, 1870-71 ; was wounded at
Wiirth, and taken prisoner at Sedan. He
is the husband of the violin virtuoso Te-
resa Milanollo. Works : Grande polonaise
de Weber, for orchestra ; 2 polkas for do.;
4 pieces and fugue for organ ; 9G preludes
and versets, do. ; Nocturnes, barcarolles, ca-
prices, etc., for pianoforte ; Choruses for 4
male voices ; Romances ; German songs and
Balladen. — Fetis ; do., Supplement, ii. 304.
PARNASSO CONFUSO, IL (Parnassus
in Confusion), festa teatralo in one act, text
by Metastasio, music by Gluck, first reprc-
84
PAENASSO
sented in the palace of Sclionbrunn, Jan.
23, 1765, on the wedcling day of Josejsli 11.
and Maria Josepha of Bavaria, for which
occasion both tlie text and music were
written. The Archduke Leopold conducted
and accompanied the play on the clavecin.
The part of Apollo was sung by the Prin-
cess Amalia, and the Three Graces, hy Eliz-
abeth, Charlotte, and Josephine. — Marx,
Gluek und die Oper, i. 33.'5 ; Sehmid, Ritter
von fUiK^lc, 115.
PAI'iNASSO IN FESTA, Italian sercnata
by Handel, first represented at the King's
Theatre, London, March 13, 1734, in honour
of the marriage of the Princess Anne with
the Prince of Orange, which took place on
the following day. The royal family was
I^resent at the first performance ; the work
was repeated several times. It was given
without dramatic action and in one gayly
decorated scene, representing Mount Par-
nassus, with Apollo and the Muses seated,
celebrating the marriage of Peleus and
Thetis. The work contains only thirteen
new airs, the rest of the music being ta-
ken from Handel's oratorio, Athaliah, which
had not been heard in London at that
time, and to which ho afterwards added sev-
eral new airs from the Paruasso in Festa.
Characters represented : Apollo (S.) ; Orfeo
(S.) ; Cho (S.) ; Calliope (S.) ; Cloride (A.) ;
Eurilla (A.) ; Euterpe (A.) ; Proteo (B.) ; and
chorus of nymphs and shepherds. At the
close of the wedding ceremony, March 14,
the choir sang an anthem, "This is the
day," with orcliestral accompaniments, the
music of which was selected by Handel
from Athaliah, the Parnasso in Festa, and
the seventh Chandos Anthem. The MS.
conducting score of this and of the Par-
nasso in Festa are in the Public Library,
Hamburg. In each the music is in Smith's
handwriting and the text in Handel's. The
Parnasso in Festa was published by the
Hiindelgesellschaft, Breitkojjf & Hilrtel
(Leipsic, 1878). — Chrysander, Hilndel, ii.
319, 358 ; Scha-lcher, "Hilndel, 103 ; Rock-
stro, 201 ; Burncy, iv. 374.
PARRATT, WALTER, born at Hudders-
field, Yorkshire, England, Feb. 10, 1841,
still living, 1890. Organist, pupil of his
father, Thomas Parratt (organist at Hud-
dersfield), and in Loudon of George Cooper.
Organist at Armitage Bridge Church, 1852 ;
St. Paul's, Huildersfield, 1854-GO ; at Wit-
ley Court, Worcestershire, 18G1-G7 ; Wigan
Parish Church, 18CS-71 ; Magdalen College,
Oxford, 1872-81 ; appointed to St. George's
Cliapel, Windsor, in 1882, vice Sir George
Job Elvej'. In 1873 he became Mus. Bac,
Oxford, and in 1883 professor of the organ
in the Eoyal College of Music. Works :
Music to Agamemnon, given at Oxford,
1880, and to The Story of Orestes, Prince's
Hall, 188G ; Anthems ; Songs ; Organ music.
PARRY, CHARLES HUBERT HAST-
INGS, born at Bournemouth, Feb. 27, 1848,
still living, 1890. Instrumental and vocal
composer, educated at Eton and Christ
Church, Oxford ; pupil of Elvej', and in
Stuttgart of Pierson ; in London, of Mac-
farren and Dannreuther. Mus. Bac, 1870 ;
Mus. Doc, Oxford ; do., Cambridge (hon-
orary degree), 1883 ; professor at Eoyal
College of Music ; choragus of Oxford Uni-
versity : professor of composition and mu-
sical history in Royal College of Music.
Works : Scenes from Shelley's " Prometheus
Unbound," for soli, chorus, and orchestra,
Gloucester Festival, 1880; Music to "The
Birds" of Ai-istophanes, Cambridge, 1883;
Judith, oratorio, Birmingham Festival,
1888 ; Ode for chorus and orchestra ; Guil-
lem de Cabestanh, overture. Crystal Palace,
1879 ; Symjshony in G, Birmingham, 1882 ;
do. in F, Cambridge, 1883 ; do. in C, Phil-
harmonic Society, Loudon, May 23, 1889 ;
Suite moderuc, Gloucester Festival, 188G ;
Concerto for pianoforte and orchestra ;
Nonet for wind instruments ; Quartet for
pianoforte and strings ; 2 trios for do. ;
Quintet for strings ; Quartet for do. ; So-
nata for j)ianoforte and violin ; 2 sonatas for
pianoforte and violoncello ; Sonatas for pi-
anoforte ; Duo for 2 pianofortes ; O Lord,
thou hast, cantata ; Morning and Evening
86
PAERY
Service ; 3 Odes of Anacreon ; Charakter-
bilder, for pianoforte ; Songs, etc. — Grove ;
Riemann ; Crystal Palace Programmes
(1878-79), 523.
PARRY, JOHN, born at Denbigh, North
Wales, Feb. 18, 1776, died in London, Apul
8, 1851. Clarinet player and teacher, com-
I^oser of songs and dramatic music. He
received his earliest education from a danc-
ing master, joined the band of the Den-
bighshire militia in 1795, became master
in 1797, resigned in 1807 ; settled in Lon-
don as teacher of flageolet. He was en-
gaged in 1809 to compose songs for Vaux-
hall Gardens, and adapted English vrords
to many Welsh melodies. He composed
the music for the extravaganzas. Harlequin
Hoax, 1814 ; Oberon's Oath, 181G ; and
High Notions, 1817 : and wrote both text
and music for Fair Cheating, 1814 ; Helji-
less Animals, 1818 ; Two Wives, 1821 ; My
Uncle Gabriel, etc. He also adapted music
for Ivanhoe, 1820, and Caswallon, a tragedy,
1829. He was for many years conductor of
the Cynimrodorion .and Eistcddvod.an, or
Congresses of Welsh bards, hold in various
places in Wales ; received in 1821 the de-
gree of Bard d Alaw, or Master of Song.
He was author of An Account of the Rise
and Progress of the Harp ; An Account of
the Royal Musical Festival held in West-
minster Abbey in 1834, of which he w.as sec-
retary. Was nuisical critic for the "Morn-
ing Post " from 1834 to 1848. He imblished
also a collection of Welsh melodies under
the title of the " Welsh Harper." — Grove ;
FtJtis ; Riemann, G7G ; Mendel.
PARRY, JOSEPH, born at Merthyr-Tyd-
vil, Wales, May 21, 1841, still lining, 1890.
Dramatic composer, son of Daniel Parry,
■who removed to the United States in 1853.
Joseph returned in a few years, and after
receiving some instruction in music at his
native place went back to America, where he
continued his studies. In 18G8, through
the aid of Brinley Rich.ards and others, he
was enabled to enter the Royal Academy of
Music in London, where he studied until
1871 under Sterndale Bennett, Garcia, and
Steggall. A bronze medal was awarded
liiin in 1870, a silver
one in 1871, and in the
same year his overture
to the Prodigal Son
was given at the Acad-
cmj-. In 1871-78 he
was professor of music
at the University Col-
lege at Aberystwith,
in 1879-8G principal
of the Music College
of Wales at Swansea, and since then has been
professor at Cardiff University. Mus. Bac,
Cambridge, 1871 ; Mus. Doc, ib., 1878.
Works : Blodwen, opera, Aberdare, and Al-
exandra Palace, London, 1878 ; 2 other op-
eras (MS.) ; Emmanuel, oratorio, St. James's
Hall, London, May 12, 1880 ; 2 other ora-
torios (]MS.) ; G overtures ; Sj'mj^hony for
full orchestra ; Anthems ; Druids' Chorus,
1888, and other cantatas ; 400 songs ; Piano-
forte music, etc — Grove ; Riemann.
P.;VRSIFAL, a festival stage-consecration
play in three acts, text and music by Rich-
ard Wagner, first represented at Bayreuth,
July 2G, 1882, with the following cast:
Ainfortas (Bar.) Herr Roichmann.
Titurcl (B.) Herr Kindcrmaiin.
Gurnemanz (B.) Herr Scaria.
Parsifal (T.) Herr Winckelmann.
Klingsor (B.) Herr Carl Hill.
Kundi-y (S.) Frau Materna.
The action takes place in and near the
Castle of Mon.salvat, Spain, where the Holy
Grail is kept, and whence came Lohengrin,
son of Parsifal (called Parzivid in Lohen-
grm), in his swan-boat, to the rescue of
Elsa of Brabant. The Holy Grail, the
crystal chaUce used by Christ at the eu-
charist and in which Joseph of Arimathea
caiight the Saviour's blood after the lance-
thrust, is in charge of the Knights of the
Holy Grail, who derive from it all their
sustenance, physical as well as spiritual.
In order to share in the benefits to be de-
8C
PAESIFAL
rived from its adoration, tbo Kuiglits are
required to lead lives of purity. Amfortas,
their king, who has fallen from this estate,
is suffering from a wound received in an
encounter with the magician Klingsor.
Klingsor, who aspired to become a Knight
of the Grail but had been rejected, studied
the magic arts and created for himself a
fairy j)alace at the foot of the mountain on
which stands the castle, peopling it with
beautiful women to tempt the Knights of
WincVelmann, as Parsifal.
the Grail. Kundry, one of these women,
beguiles Amfortas, who falls into the power
of Klingsor, and loses the holy spear — the
spear with which the Saviour's side was
pierced — receiving from it a wound which
will never heal until the coming of " der
reiueThor" (the gxiileless fool), appointed
to cure him. Parsifal (whose name Wagner
derives from two Ai-abic words signifying
" foolish pure-one "), who has been reared by
his mother in ignorance of the world, has
his chivalric nature aroused by sight of
some knights, and starts out in search of
adventure, armed only with his bow and
arrows. He shoots a swan in the vicinity
of the Castle of the Grail, where all animals
are sacred, and when questioned by Gurne-
manz, one of the Knights of the Grail, ap-
pears to be unaware that he has committed
any wrong. In hope that he may prove to
be der reine Thor, he is led into the great
hall of the castle and permitted to witness
the adoration of the Grail. Parsifal is be-
wildered at the splendour of the holy vessel,
which glows with ever-increasing light, and
at the ceremonial, but acknowledges that
he does not understand the rite and is
ignominiously cast out. The second act is
in the palace and gardens of Klingsor, who,
recognizing Parsifal as the promised re-
deemer, turns all his magic powers against
him ; but Parsifal overcomes wicked knights
sent against him and is proof against the
fascinations of the flower-maidens who seek
to seduce him. Kuudry, who leads a dual
life — in the service of the Knights of the
Grail as well as in that of the sorcerer —
also fails ; but Parsifal, who siiuriis her,
learns from her kiss the meaning of all that
has taken place, and demands to be led to
Amfortas. She, declaring he shall never
find the way to the castle, summons Kling-
sor, who hurls the sacred spear at Parsifal.
It remains suspended in the air, and Parsi-
fal, grasjDing it, makes with it the sign of the
cros.s, and the enchanted palace disajijiears ;
Parsifal and Kundry are left alone in a
desert, and while she sinks to the ground
he turns from her to seek the Castle of the
Grail. In the third act Parsifal, after wan-
dering for years, at last meets Gurnemanz,
now an old man living as a hermit in the
forest, where Kundry is serving him. Gur-
nemanz, recognizing the sacred spear, hails
him king, and Parsifal, after baptizing
Kundry, is led to Monsalvat just as the
tolling bells announce the funeral of Titu-
rel, father of Amfortas. Parsifal heals the
wound of Amfortas by touching it with the
spear, and, while Kundry dies in the joy of
87
PARSONS
repentance and the others kneel in homage,
proclaims himself Iving of the Grail and
raises on high the chalice amid the joyful
chants of the knights. Parsifal, like Lo-
hengrin, is founded on the Ai-thurian legend
of the Holy Grail, and follows, with some
changes, the metrical romance of "Parzi-
val," by Wolfram von Eschenbach. The
poem of Parsifal was published by Schott
(llainz, 1877) ; the sketch of the first act was
completed in the spring of 1878, the second
act, Oct. 11, the third, April, 1879, and the
orcliestration was finislied at Palermo, Jan.
13, 1882. The Vorspiel was first performed
privately by the Meiiiingcn orchestra, un-
der the composer's direction, at Bayreuth,
Christmas, 1878. It was given sixteen
times at Bayi'euth in 1882, and was rejieated
in 1883, 1881, 188G, and 1889. It was sung
as an oratorio by the Royal Albert Hall
Choral Society, London, Nov. 10 and 15,
1884, and by the Oratorio Society of New
York, March 4, 188G. Full score iDublished
by Schott (Mainz, 1882) ; pianoforte score,
by Jo.seph llubinstein (ib., 1882). English
translation by H. L. and F. Corder (ib.,
1882). — Wagner, Gesammelte Schriften, x.
417; Pohl, Wagner, 323; Nohl, Wagner
(Upton), 159 ; Wolzogen, Leitfadcn durcli
Parsifal ; Bartsch, Parcifal (1870-72) ; !
Brachvogel, Parcival (Berlin, 1877) ; Wolf-
ram von Eschenbach, Parcival aus dcm
Mittelhochdeutschen von Sau-Marte (A.
Schulz, Leipsic, 1858) ; Wolfram von Esch-
enbach, Parcival Fragmente vom Titurel
luid Willehelm und Lieder-Lachmann ;
Wolfram von Eschenbach, Parcival Epos ;
Carl Simrock, Parcival, dritte Auflage (1857);
Eichberg, Pai-sifal (Leipsic, 1882) ; Mayer-
]\Iarkau, Parsifal (:Magdeburg, 1882) ; Max
Gutenhaag, Parsifal (Leipsic, 1883) ; All-
gem, deutsche mus. Zeitg. (1877), No. 49 ;
Bayreuther Blatter (1878), 95, 119, 222 ;
(1879), 12, 47, GG, lOG ; (1881), 112, 181,
206, 238, 272, 342 ; (1882), 189 ; (1883), 57,
264 ; (1884), 97 ; (1885), 27 ; (1886), 41, 69,
103; (1888), 277; Neue Zeitschr. (1882),
301, 341, 353, 361, 429, 471, 527 ; (1883),
318; (1884), 317, 326; (1888), 387, 399;
Mus. Wochenblatt (1882), 313, 325, 337,
357, 369, 395, 606 ; (1883), 369, 386 ; (1884),
457, 469 ; Signale (1882), 641 ; Athenteum
(1882), ii. 151, 183 ; (1884), ii. 633 ; Acad-
emy (1882), ii. 91, 109; (1888), ii. 169;
Ki-ehbiel, Review (1885-86), 159; Grove,
iv. 364 ; Upton, Standard Operas, 308.
PARSONS, ALBERT ROSS, born, of
American parentage, in Sandusky, Ohio,
Sept. 16, 1847, still living, 1890. Organist
and pianist ; he studied in 1854-56 the
pianoforte under Robert Denton in Buffalo,
in 1863-66 the pianoforte and theory under
Dr. F. L. Ritter in New York, and in 1867-
69, at the Leipsic Conscrvatorium, piano-
forte under Moscheles, Reinecke, Weuzel,
and Pappeiitz, and countei'point and fugue
under E. F. Richter and Oscar Paul. The
following j'ear ho studied in Tausig's High
School for Pianists, in Berlin, iiianoforte
under Tausig, and harmony, counterpoint,
and fugue under C F. Weitzmann, and
in 1871, in the same city, at Kullak's New
Academy of Music, pianoforte under Kul-
lak and composition tinder Richard Wiierst.
On his return to America he settled in New
York, where he has since resided. He has
occupied tlic following jrositions : 1861-62,
organist of Third Pre.sbyteriau Church,
Indianapolis ; 1863-66, organist of First
Baptist Church, Indianapolis ; 1873, princi-
])al of department of instrumental music
in New York Institute for the Bhnd ; 1874-
79, organist of First Reformed Episcopal
Church, New York ; 1875, editor of " Ber-
ham's Musical Review ; " 1877, editor of
" The Orpheus," New York ; 1879-85, or-
ganist of Church of the Holy Trinitj', New
York ; since 1885 organist of Fifth Avenue
Presbyterian Church, New York. In 1889
he was elected ^jresident of the Music
Teachers' National Association. He is
the translator and editor of the follow-
ing : Wagner's " Beethoven," Lessmann's
" Liszt," Kullak's " Comjjlete Works of
Chopin," HoUilnder's " Complete Works of
Schumann,'' and other works of impor-
PARTAGEZ-VOUS
tance ; and has edited and annotated many
pieces for instructive purposes. His orig-
inal compositions include songs, vocal quar-
tets, etc.
PAETAGEZ-VOUSMESFLEURS. See
HamJet.
PARTANT POUR LA SYRIE, French
song, text by Count Alexandre de Laborde,
music by Queeu Hortense, written in 1809.
It was suggested by a picture which the
Queen showed Count Laborde, representing
a knight cutting an inscription on a stone
Avith his sword. Louis Napoleon took his
mother's melody for a national air when
he ascended the throne of France in 1853,
and it was arranged for military bands.
Drouet claims to have had a share in its
composition, and a claim has been made for
Narcisse Carbonel, Queen Hortense's accom-
panist. Dussek wrote variations for the pi-
anoforte in E-flat on this tune. — Grove ;
Larousse ; Mile Cochelet's (Mnie Parquiu)
Momoires sur la Eeine Hortense, i. 4.5 ;
Masson, La Lyre franraise, lOG.
PART DU DL\BLE, LA, opura-comique
iu three acts, text by Scribe, music by
Auber, first represented at the Opera Co-
mique, Paris, Jan. IG, 1843. Subject, Philip
V. of Spain, who after the death of his sou
had fallen into a state of despair and melan-
choly, and is restored to health by the jDOwer
of music through the singing of Farinelli
(Carlo Broschi), whom the Queen employs
for this purpose. Afterwards Farinelli plays
the part of Satan in order to win Philip's
consent to the union of a young student,
Rafael d' Estuniga and Caselda, Farinelli's
sister, with whom the King also is in love.
Mme Rossi-Caccia sang the part of Farinelli
ill the original cast. The opera was given
iu Berlin and Leijssic in 1843. Published
by Schott (Mainz, 1843).— Clement et La-
rousse, 514 ; Allgem. mus. Zeitg., slv. 8G1.
PARTENIO, GIOVANNI DOMENICO,
died at Venice in 1701. Dramatic and
church composer, of a family from Friuli,
who had settled at Venice. He became a
priest, and was at first a singer in the ducal
chapel of S. Marco, where he succeeded
Legreuzi as second maestro di cappella, in
1G85. Shortly after this he founded the
philharmonic society, and in 1090 was made
director of the Couservatorio de' Mendicanti ;
in 1G92, maestro di cappella at S. Marco.
Works — Operas : Genserico, Venice, 1GG9 ;
La costanza trioufaute, 1G73 ; Diouisio,
1G81 ; Flavio Cuniberto, 1082. Much
church music. — Fetis.
PARTENOPE, Italian opera in three acts,
text by Silvio Stampiglia, nuisic by Handel,
first represented at the King's Theatre, Lon-
don, Feb. 24, 1730. The original score, in
Buckingham Palace, is dated at the end of
the first act, Jan. 14 ; at the end of the opera,
Feb. 12, 1730. Besides the overture there
are in this work four sinfonie — short in-
strumental interludes — and many beautiful
arias. The aria, " Furibondo spira il vento,"
has been published with additional accom-
jsanimeuts by Robert Franz (Kistner, Leip-
sic). Burney considers this one of Han-
del's best ojjeras. Original cast : Par-
tenope. Queen of Parthenope (Naples), and
lover of Ai'sace (S.), Signora Strada ; Ros-
mira. Princess of Cyprus and lover of Arsace
(A.), Signora Merighi ; Arsace, Prince of
Corinth, once lover of Rosmira, now of
Partenoi^e (C), Signor Bernacchi ; Armindo,
Prince of Rhodes, lover of Partenope (A.),
Signora Bertolli ; Einilio, Prince of Cuma,
lover of Partenope (T.), Signor Fabri ; Or-
monte, cajjtaiu of the guards of Partenope
(B.), Signor Riemschneider ; and chorus of
soldiers and people of Najjles. The opera
was given only seven times during the first
season, but it was revived the following
year and received seven more representa-
tions, when several alterations were made,
especially in cutting the recitatives. Par-
tenope was translated into German by H.
Wend, and represented in Hamburg with
recitatives by Reinhard Keiser in 1733.
Published by Walsh ; Hiindelgesellschaft,
Breitkopf & Hiirtel (Leipsic, 1879). Other
Italian operas of the same title : By Cal-
dara, Venice, 1707 ; by Luca Antonio Pre-
89
PASCAL
dieri, Bologna, 1719 ; bj' Sarri, IMetastasio's
text, Naples, 1722 ; by Porpora, ib., about
1742 ; by J. A. Hasse, Vienna, 1767 ; a
dramatic cantata by Kossini, Naples, May
9, 1819 ; and Partenope, by Cordelia, Na-
ples, about 1830. — Cbrysander, Handel, ii.
237 ; Buruey, iv. 344^349.
PASCAL, FLORIAN. See Williams,
Joseph.
PASCAL, PEOSPER, born in France
about 1825, still living, 1890 (?). Dramatic
comjjoser, and musical critic. "Works : Le
reman de la rose, given in Pai-is, Theatre
Lyiique, 1854 ; La nuit aux gondoles, ib.,
18G1 ; Le cabaret des amours. Opera Co-
mique, 1862 ; Fleur de lotus, Baden-Baden,
1864 ; Les Temijliers, grand opera. Les
chants de la veillue, collection of vocal
melodies. — Fetis, Supplement, ii. 305.
PASMORE, HENRY BICIvFORD, bora,
of English pai'entage, in Jackson Township,
"Wisconsin, June 27, 1857, still living, 1890.
Organist ; began the study of music in
San Francisco when twenty years old,
pupil on the organ and in harmony of John
P. Morgan, and in singing of S. J. Morgan.
In 1882 he went to Leijjsic, and studied
hai-mony and composition under S. Jadas-
sohn and C. Reiuecke, and singing under
Frau "Uuger-Haujit ; then, in London, sing-
ing under William Shakespeare and R. H.
Cummings. On his return to America he
settled in San Francisco, where he is organ-
ist of St. John's Episcopal Church ; also
professor of vocal music in University of
the Pacific, San Jose, "^'orks : Conclave
March, for orchestra, performed at Sinfonie-
Conzert, Leii^sic, 1883 ; Overture to Miles
Standish, performed at Leipsic Conserva-
torium concert, 1884 ; Suite for organ and
string orchestra ; Tarantelle for pianoforte ;
Kyrie from Mass in F ; Mass in B-flat ;
Rainy Day, Sechs Lieder, Sea Song, Stars
of the Summer Night, Those Evening Bells,
Among the Heather, and other songs ; also,
pai't-songs for male voices.
PASQUINI, BERN.IRDO, born at Massa
di Valnevola, Tuscany, Dec. 8, 1637, died
in Rome, Nov. 22, 1710. Organist, pupil
of Loreto Vittori and of Antonio Cesti, but
foi'med himself chiefly by studying the
works of Palestrina ; went to Rome when
quite young, and became organist at S. M.
Maggiore ; later received the title of organ-
ist to the Senate and the Roman j^eople,
and was also chamber musician to Prince
Borghese. "Works : Dov' e amor e pietu,
opera, Rome, 1679 ; Allegorical drama, ib.,
1686 ; La forza d' amore, ojsera ; La sete
di Crislo, oratorio ; Toccates et suites pour
le clavecin (Amsterdam, 1704) ; Organ mu-
sic ; Saggi di contrapinmto (1695). — Fetis ;
Mendel ; Schilling.
PASSACAGLIA, a work for the organ, in
C minor, by Johanu Sebastian Bach, written
in "Weimar between 1717 and 1723. Its
form, a dance-form, consisting of a short
theme on a ground bass elaborated with
contrapuntal devices, was a favourite one
with the organ and harjisichord composers
of the 17th and 18th centuries. The work
was published by the Bachgesellschaft,
year xv., Orgelwerke, vol. i. The first cho-
rus of the cantata, "Weinen, Klagen, Sorgen,
Zageu (Bachgesellschaft, year ii., Kirchen-
cantateu, ii.. No. 12), contains a passacaglia
the theme of which is again used in the
cantata, Jesu, der du meine Seele (Bach-
gesellschaft, year xviii., voL viii., No. 78).
Other noted jjassacaglias are by Buxtehude,
Frescobaldi (Toccate d' Intavolatura, vol.
i.), and by Handel (Suite vii. and Sonata
iv. of Vn. Sonatas or Trios). There are
also passacagUas in Gluck's operas, and
some cui-ious examples in Salvatore Maz-
zella's "Balli, Correnti, Gighe, Gavotte,
Brande, e Gagliarde, con la misura giusta
per ballare al stile Inglese " (Rome, 1689).
— Spitta, Bach, i. 276 ; ii. 234, 650 ; Spitta,
Bach (Bell), i. 279 ; ii. 405 ; iii. 170 ; Grove,
ii. 661 ; Schcelcher, Handel, 174.
PASSARINI (Passerini), Padre FRAN-
CESCO, born at Bologna dui-ing the fii-st
half of the 17th century, died there in 1698.
Church comi^oser, Franciscan friar, was aji-
pointed maestro di cappella in the convent
ao
PASSION
of his order in 1657, ami resumed that posi-
tion after having fulfilled the same functions
at Viterbo in 1674:-S0. Works : Salmi con-
certati a 3-G voci con violini, etc. (Bologna,
1G71) ; Antifone della Beata Vergine a voce
sola (ib., 1C71) ; Compieta concertata a 5
voci, con violini obligati (ilx, 1072) ; Misse
brevi a otto voci col' organo (ib., 1G90).
— Potis.
PASSION, German oratorio, text from
Barthold Hermann Brockes'a poem, "Der
fiir die Siindcu der Welt gemartete und
sterbende Jesus," music by Handel, first
performed in Hamburg in 1717. This,
Handel's onlj' German oratorio, was written
during his visit to Hamburg with George L
It is different in treatment from his other
oratorios and shows the influence of Keiser
and Steffani. Characters represented : Ma-
ria, Drei Mi'igde, Tochter Zion, and Gli'iu-
bige Seele (S.) ; Judas, Johannes, Jacobus,
Kriegesknecht, and Glaubige Seele (A.) ;
Evangelist, Petrus, and Glaubige Seele (T.) ;
Jesus, Caiphas, Pilatus, Hauptmann, and
Glaubige Seele (B.) ; and chorus. The work
contains a sinfonia, arias, recitatives, and
choruses. The duet between Maria and
Jesus, " Soil mein Kind, meiu Leben ster-
ben, Ja ich sterbe dir zu gut," was worked
over for the duet in Eather, " Who calls my
parting soul from death. Awake my soul, my
life, my breath," and the Daughter of Zion's
aria. Die ihr Gottes Gnad' versaiimet, was
again used in the air, "In Jehovah's awfid
sight," in Ikhoruh. The originalMS. islost,
but several autograph transcriptions are ex-
tant, two in Buckingham Palace, two in the
Royal Library, Berlin ; and one, partly in
Johann Sebastian Bach's handwriting. It
was first published by the Hilndelgesell-
schaft, Chrysander's edition, Breitkopf &
Hiirtel (Leipsic, 1863). The same poem
was set by Eheinhard, Keiser, Hamburg,
170J:; by Gottfried HeinrichStoelzel, Prague,
1715 ; by Telemann, Hamburg, 1716 ; and
by Mattheson, ib., 1718. Handel wrote also
a Passion cantata, in two parts, on Postel's
version of the Passion according to Saint
John, Hamburg, 1704. The autograph in
the Konigliche Bibliothek, Berlin, was ed-
ited by Chrysander and published by the
Hiindelgesellschaft, Breitkopf & Hiirtel
(Leipsic, 18G0).— Chrysander, Handel, i.
88-102, 427-449 ; Rockstro, 32, 101 ; Schoil-
cher, 45 ; Maitland, GO ; Wiuterfeld, Der
evangeliche Kirchengesang, iii. 128, 164,
179, 195 ; Athenffium (1872), i. 215.
PASSION — nach dem Evangelisten Mat-
tliilus, in two parts, text selected from the
Bible, St. Matthew, chapters sxvi. and
xsvii., by Picander (Christian Friedrich
Henrici) and J. S. Bach, music by Johann
Sebastian Bach, first performed at St.
Thomas's Church, Leipsic, Good Friday,
April 15, 1729. This surpasses all other
works on the same theme. The text, con-
tained in Picander 's " Scherzhaffte und sa-
tyrische Gedichto " (vol. ii., 101), is writ-
ten partly in the dramatic and partly in
the epic form. An Evangelist, the prin-
cipal tenor, relates certain events ; but
Christus, Petrus, Pilatus, and other persons
speak in the words assigned to them in the
Bible. The arias and choi-uses, called Soli-
loquire at the time of their composition,
are meditations and exj^ressions of sorrow
ujion the events acted and narrated. The
double choruses of fanatical Jews, or loviusr
disciples, in the dramatic form, are in intri-
cate part-writing. The congregation was
expected to join in the chorals, repre-
senting the voice of the entire Christian
Church, and the sermon was delivered be-
tween the parts of the oratorio. Part I.
treats of the conspiracy of the High Priests
and Scribes ; the anointing of Christ ; the
institution of the Lord's Supper ; the praj'er
on the Mount of Olives ; and the betrayal
by Judas. Part II., of the hearing before
Caiajjlias ; Peter's denial ; Pontius Pilate's
judgment ; Judas's death ; the progress to
Golgotha ; and the crucifixion, death, and
burial of Christ. The music is written for
two choruses, each with its separate or-
chestra and organ accomjianiment, but in
the less dramatic numbers and chorals they
PASSION
are combined into ouo clioir. The open-
ing double chorus, " Kommt ibr Tijchter,
helft mir Klagen," sung by the Daughters
of Zion and believers, has the addition of
a third choir, Soprano ripieuo, which sings
the choral melody, " O Lamm Gottes un-
schuldig," one of the finest numbers in the
work. All of the solos by biblical persons,
excepting the false witnesses, are supported
b}' the first chorus. The Evangelist and
other sjieakers sing in recitativo secco,
and Jesus is accompanied by the strings.
Among the fourteen chorals the one, " 0
Haujjt voll Blut und Wunden," occiu-s five
times, each time with new words and har-
mony. The work was revised by Bach and
extended into its present form and given
about 1740-41. The original score is in the
Kijnigliche Bibliothek, Berlin, which also
possesses a cojiy in Bach's autograph. An-
other coj)y is owned by the Berlin Singaka-
demie, and one, in Kiriiberger's writing, is
in the Joachimsthal Gymnasium, Berlin.
The oratoi'io was revived by Mendelssohn,
and first given under his direction by the
Singiikademie, Berlin, March 11, 21, and
24, 1829. The solo singers were Herr
Stumer, the Evangelist ; Herr Devrient,
Christ ; Herr Bader, Herr Busolt, Mme
^Milder, Mme Tiirrschmidt, Frl. Blanc, and
Frl. von Schiitzel. This work was first given
in Brcslau, April 3, 1829 ; in Dresden,
Ajnil 3, 1833 ; selections in Paris, Jan. 12,
1840 ; in Vienna, 1802 ; in London, by the
Bach Society, under W. S. Bennett's direc-
tion, April 6, 1854 ; in St Martin's Hall,
March 23, 1858 ; at St. James's Hall, Feb.
15, 1871 ; at Westminster Abbey, April 13,
1871, and IMarch 28, 1872 ; and it is fre-
quently given during Passion week, and at
the musicial festivals in England. It was
first giv(ai in America by the Handel and
Haydn Society, Boston, May 8, 1874 ; and
by tlie Oratorio Society, New York, March
18, 1880. Published by Schlesinger (Ber-
lin, 1829) ; French translation by Maurice
Bourgcs, ib. (Paris, 1844) ; by Trautwein
(Beriin, 1829) ; by the Bachgesellschaft
(year iv.), edited by Julius Rietz and re-
vised by W. llust, by Breitkopf <fc Hiirtel
(Leijisic, 1854) ; by Novcllo, with an intro-
duction by Macfarren (London) ; edition by
Julius Stern, by Peters (Leipsic, 18G0-G7) ;
and with additional accompaniments by
Robert Franz, by Breitkopf & Hiirtel (Leip-
sic, 1860-67) ; and by Leuckart (Leipsic,
1860-67).
Bach left five settings of the Passion, the
most important of which, next to the ]Mat-
thiius, is the Passion uach dcm EvangeUsten
Johannes, in two parts, first performed at
St. Nicholas's Church, Leipsic, Good Friday,
April 7, 1724. This is supjiosed to have
been written at Cothen in 1723. The text
was selected from the Bible by Bach, who
adopted some verses of Brockes's Passion
poem for the arias. It is written for a
single chorus with orchestra and organ ac-
comjianiment. Several of the chorals set
to Stockmann's hymn, "Jesu Leiden, Pein
und Tod," are in Bach's most exquisite
style, and the arias are among the finest that
he ever wrote. The work originally opened
with the chonis, " O Mensch bewcin dein
Siinde gross," wlucli Bach afterwards cutout,
transposed from E-flat to E, and inserted
into the Matthew Passion, when he revised
it in 1740, and it closed with a choral
chorus, " Christe du Lamm Gottes," now
the last number of the cantata, Du wahrer
Gott. It treats of the betrayal of Jesus
by Judas ; Peter's denial ; the scene with
Pilate ; the cries of the Jews for the cruci-
fixion ; the division of the garments ; the
agony of the cross ; and a final Requiem.
This work was first given in Berlin, March
21, 1833 ; in London, under Mr. Barnby,
March 22, 1872. The oldest copy of the
original score is lost, but one of Bach's
later copies is in the Konigliche Bibliothek,
Berlin. This was edited by W. Rust for
the Bachgesellschaft (year xii.), and jjub-
lished by Breitkopf & Hiirtel (Leipsic,
1862).
Between the writing of the first and sec-
ond parts of the St. John Passion, Bach is
PASSION
snp250sed to have composed another Passion
oratorio on a text by Picander, written for
Good Friday, 1725. The music is lost but
the test remains. The Bible narrative is
recited by an Evangelist, and the characters
represented are Christ, Peter, John, and
Mary. There are no dramatic choruses,
and only two chorals are introduced.
The Passion nach dem Evangelisten Lucas
is supposed by some authorities to be the
earliest of Bach's comi^ositions on this theme.
It is thought to have beeu written for Good
Friday, 1733, but the King Elector of Sax-
ony died in that year and there was a gen-
eral mourning. It is supposed that Bach set
the work aside, finished it in 173i, and gave
it at St. Thomas's Church on Good Friday
of that year. There are only eight lyric
numbers, but there are thirty-one chorals,
among which Johann Flittner's hynin, " Je-
su meines Herzeus Freudo," occurs many
times. The authenticity of this work is,
however, more than doubtful, and m'any
excellent authorities, among them Men-
by three Deacons, but in 1585 Vittoria made
a polyphonic setting of words uttered by
the crowd, Turbfs, which, intermingled with
the chants of the Deacons, were so effec-
tive that they were continued in use. Pub-
lished by Gardano (Rome, 1585). Portions
of this were published by R. Butler (Lon-
don). Francesco Suriano also made a po-
lyphonic setting for four voices of these
words, his last work (Rome, 1G19), included
in Proske's " Musica Divina " (vol. iv.). The
old church form of the Passion contained a
dramatic germ which developed into the
jMystery and Miracle plays, originally per-
formed in the churches, and some valuable
sf)ecimens of the music to these plays are
extant. The Passion music borrowed its
form from the contemporary sacred drama,
and the German Passion music, which
reached its climax with Bach, was devel-
oped through these old forms and the in-
fluence of the Italian oratorio into a sin-
gular compound, both simjile and intricate.
S. Gregory Naziauzen (330-390) was the
delssolm and Robert Franz, have denied it i first to arrange the history of the Passion
altogether. It has been published by H.
Durffel (Breitkopf & Hiirtel, Lcipsic and
Brussels, 1887). See Prieger, Echt oder
unccht? (Berhu, 1889).
The Passion nach dem Evangelisten Mar-
cus, in two jiarts, was first given in St.
Thomas's Church, Leii^sic, on Good Friday,
1731. The text, which is by Picander, is
thought to have been adapted to the music,
written originally for the Traue7--0de on
the Electress of Saxony (1727). Five lyric
pieces are preserved in this ode (Bachge-
scUschaft, year xiii.).
The earliest known Cantus Passionis is
a solemn Plain Chaunt Melod}', which was
handed down by tradition, a version of
which was published at the instance of
Pope Sixtus v., by Giudetti, under the title,
"Cantus ecclesiasticus Passionis Domini
nostri Jesu Christi secundum Matthfeum,
Marcum, Lucam, et Johanncm " (Rome,
1586). From the beginning of the 13th
century until the IGth the Passion was sung
in a dramatic form. In the IGth century
the German text came into general use.
The principal settings arc by Jakob Obrecht,
1538, in Georg Rhau's collection, " Harmo-
nire selecfro quatuor vocum de Passione
Domini " (Wittenberg, 1538) ; Orlando di
Lasso, for five voices (Patrocinimn Musices,
vol. iv., Munich, 1575) ; Jakob Reiner (1559-
(?) IGOG), three Passions (Proske's Library) ;
Johann Walther, St. Matthew and St. John,
1530, fi'om the four Gospels, in German,
1552 ; Balthasar Resinarius, 1541 ; a MS.
in the Royal Library, Vienna, Meissen,
1559 ; Antonius Scadellus, about 15G0 ;
Clemens Stephani, text by Buchau, Nurem-
berg, 1570 ; Ludwig Daser, Munich, 1578 ;
Jakob Gallus, copy in Kr)nigsberg, 1587 ;
Bartholomiins Gese, 1588, published in F.
Commer's "Musica Sacra," voL vi. (Berlin) ;
Three Passions after Matthaus in Matt.
Ludecus's Vesperale e Mattutinale, 1589 ;
Johann Machold, Erfurt, 1593, MS. in Kr.-
nigsberg ; Melchoir Vulpius, 1C13 ; Th.
93
PASSION
Mancimis, 1620, reprinted in Sehuberlein's ]
Scliatz des liturgischen Chor imd Gemein-
degesangs, part ii., 362 ; Christoph Deman-
tius, Freiburg, 1631, copy of MS. in Pirna ;
Christoph Schultz, Leipsic, 1653 ; Heinrich
Schiitz, Siebeu Worte des Erlosers am
Kreuz, 16-15, published by Riedel (Leipsic,
1870) ; Historia des Leidens und Sterbcns
unsers Herrn und Heilandes lesu Christi
(1665-66) ; Giovanni Sebastiani, KOnigs-
berg, 1672, MS. in Konigsberg; Johann
Theile, Liibeck, 1673 ; Funcke, Liineburg,
1683, MS. in Liineburg; J. C. Eothe,
Sondershausen, 1697, MS. in Sonders-
hausen ; Reinhardt Keiser, test by Hunold,
Der blutige und sterbende Jesus, Ham-
burg, 1701 ; on Brockes'a text, ib., 1712 ;
Handel, text by Postel, ib., 1704 ; text
by Brockes, ib., 1716 ; The Messiah, Dublin,
1711 ; Gottfried Heinrich Stoelzel, Prague,
1715 ; Telemanu, Hamburg, 1716 ; Mar-
kus-Passion, 1725 ; Mattheson, Hamburg,
1718 ; Johann Kuhnan, Leipsic, 1721 ;
Kramer, Arnstadt, 1735 ; Karl Heinrich
Graun, Der Tod Jcsu, text by Ramber, Ber-
lin, 1756 ; by J. F. Doles, same test, Leip-
sic, 1759 ; Karl Philipp Emanuel Bach,
22 Passions ; Chi-istoph Ehrcgott Weinlig,
Leipsic, 1780 ; J. H. Rolle, 8 Passion.s,
1780 ; J. Abr. P. Schulz, Christi Tod, Co-
penhagen, 1792 ; J. G. Schicht, Die Feier
der Christen auf Golgotha and Das Ende
des Gerechten, Leipsic, 1785 ; F. Schneider,
Gethsemane und Golgotha, 1838 ; E. F.
Ricliter, Clu'istus der Eloser, Leipsic, March
8, 1819 ; and Fricdrich Kiel, Berlin, 1871.
Oratorios : Chi'isto al limbo and La morte
del giusto, by Giac. Perti, Bologna, 1698 ;
La morte di Chiisto, by Ant. Gianettini,
Vienna, 1704 ; La morte vinta sul Calvario,
by "M. Ant. Ziani, text by P. A. Bernard oni,
ib., 1706 ; and La passiono uelF orto, by
the same, ib., 1708 ; La passione di Christo,
by Attilio Ariosti, ib., 1709 ; Christo nell'
orto, by J. J. Fux, test by Pariati, ib., 1718 ;
La deposizione della croce di Gosii Christo,
by the same, ib., March 23, 1728 ; La pas-
sione di Gesti Christo, by Antonio Caldara,
text by Metastasio, ib., April 4, 1730 ; same
text by Gius. Venturelli, Modena, 1735 ; La
virtti appie deUa croce, by J. A. Hasse,
Dresden, 1737 ; I pellegrini al sepolcro, ib.,
1742 ; La deposizione della croce di Gesil
Christo, text by Pasquini, Dresden, 1744 ;
same title, by Ad. Schiirer, ib., 1755 ; by
J. Gottfried Naumann, ib , 1769 ; by Ign.
Holzbauer, Mannheim, 1773 ; La morte di
Christo, by Jos. Mysliwcczck, about 1775 ;
by Ant. Salieri, Vienna, 1776 ; by Josef
Schuster, Dresden, 1778 ; by Luc. Xavier
dos Santos, Lisbon, 1783 ; by Giovanni Pai-
siello, Warsaw, 1784, Bologna, 1790 ; G.
Andreozzi, Naples, 1792 ; S. Mayr, Forli,
1794 ; Die sieben worte des ErlOsers am
Ivreuz, Vienna, by Haydn, 1798 ; I peWe-
grini al sepolcro, J. G. Naumann, Dresden,
1798 ; by Gius. Niccolini, Naples, 1799 ; by
Dom Cercia, about 1800 ; Christus am Oel-
berge, by Beethoven, 1815 ; by F. Pacr,
about 1810 ; by Pietro Raj, Monza, 1807 ;
by Josef Weigl, text by Carpani, Vienna,
1811 ; by F. Morlacchi, Dresden, 1812 ; by
Michael Costa, Naples, 1827 ; by Josef
Eisner, Warsaw, 1844 ; and Franz Liszt,
Chnslus, Rome, 1867. — Spitta, Bach, ii.
307-400; do. (BeU), ii. 477-569; Bitter,
Bach, i. 315-423 ; Mosewius, J. S. Bachs
Matthaus - Passion musikalisch - ilsthetisch
dargestellt (Berlin, 1852) ; Wintcrfcld, Der
evangehche Kirchengesang, iii. 364 ; Bit-
ter, Gesehichte des Or.atoriums, 198 ; Poole,
Bach, 88 ; La Mara, Mus. Studienkiijjfe, iv.
104; Grove, ii. 540, 663; Allgem. mus.
Zeitg.,sssi. 234, 258, 601'; sxxiii. 265, 285,
302 ; xxsv. 257, 294, 323 ; Berliner mus.
Zeitg. 1829). 65, 73, 79, 89, 97, 121 ; (1830),
105, 153, 157 ; Neue Zeits., xiv. 99 ; xviii.
57, 61, 65, 69, 73, 77, 85 ; (1887), 374, 558 ;
Hanslick, Concertwesen in Wien, ii. 242 ;
Hensel, The Mendelssohn Family, i. 170 ;
AthenfEum (1854), 469; (1858), i. 409;
(1872), i. 409 ; Bitter, Emanuel und Fricde-
mann Bach, i. 274 ; Vierteljahrsschrift fiir
Musikwissenschaft (1888) iv. 471 ; Monats-
hefte fiir Musikgesehichte, iii. 97 ; v. 77 ;
xi. 71, 87; Ai-rey von Dommer Handbuch
94
PASSIONE
der mus. Geschichte, 243 ; Eeissmann, Ge-
scbiclate der Musik, ii. 18G3 ; Sebastian!,
Kurze Nachricbt wie die Passion, etc., ge-
sungen wird (1686), in the Koyal Library of
Konigsberg.
PASSIONE DI GESU CRISTO, LA,
oratorio in two parts, text by Metastasio,
music by Salieri, first performed by the
Tonkiiustler - SocietJit, Vienna, in 1777.
Same text, oratorio by Caldara, Vienna,
1730 ; and German translation, music by
Eberlin, at the Convent of the Benedictines,
Salzburg, 1755.
PASSIONE, LA, symphony, in F minor,
by Haydn, sujjposed to have been written
in 1773. I. Adagio ; II. Allegro di molto ;
in. Menuet; IV. Presto. Eieter-Bieder-
mann's Catalogue, No. 1. — Pohl, Haydn, ii.
265.
PASTORALE EN MUSI QUE, LA,
French opera, text by the Abbe Perrin, mu-
sic by Cambert, first rej^resented privately
at Issy, April, 1689. It was the first French
ojjera. — CK'ment et Larousse, 516.
PASTORAL SYIMPHONY. See Sinfonia
pastorale.
PASTORAL SYMPHONY, a short com-
position for strings, in Handel's Messiah,
inserted to introduce the scene of the
" Shejjherds abiding in the fields." This
air, marked Pifa in Handel's MSS. and in
Smith's transcriptions, is an ancient Cala-
brian melody which Handel heard played
by the peasants, called Pifferari, on the
Piffero (fife) in the streets of Rome during
his visit there in 1709. It was scored for
strings only, with a third violin part, which
has often been left out. When the name Pas-
toral Symphony was given to it is not known.
Wright, Randall, and Abell's edition of the
Messiah (Loudon, 1768) bears the word
Pifa ; but Arnold's earlier edition calls it
" Sinfonia Pastoralle." Dr. Rimbault, in
his edition of the Messiah for the Handel
Society of London (Loudon, 1850), gives
the origin of the air, and says it was in-
cluded in a MS. collection of hymns (1630).
Similar tunes, under the title of Partheuia,
are contained in Playford's " Musick's Hand-
maid " (1678), and in Crotch's " Specimens
of Various Styles of Music," where the air
is called a Siciliana. This title is given also
to short orchestral movements in other ora-
torios by Handel. — Rockstro, Handel, 55,
237 ; Schcelcher, Handel, 28-1 ; Grove, ii. 671.
PASTOR FIDO, IL (The Faithful Shep-
herd), Italian opera in three acts, text by
Giacomo Rossi, music by Handel, first rep-
resented at the Queen's Theatre, London,
Nov. 26, 1712. The subject was taken from
a pastoral by Battista Guarini, represented
and published in Venice in 1590. The
greater part of the original autograph has
been lost ; but fragments of the second and
third acts, and the final chorus, dated Lon-
don, Oct. 24, 1712, arc in the second vol-
ume of " Songs and Sketches " in Bucking-
ham Palace, where the conducting score,
with the exception of the overture, may be
found. Several of the airs were used again
for later ojaeras, and many oboe passages in
the aria, "Ritorna adesso Amor con la Spe-
ranza," were introduced into the overture to
Esther. Original cast :
Mirtillo (S.) Cavaliere Valeriano.
Amarilli (S.) Margarita de I'Jiipine.
Eurilla (S) La Pilotti Schiavonetti.
Silvio (A.) Signor Valentini.
Doriuda (A.) Mrs. Barbier.
Tirenio (B.) Richard Leveridge.
The opera was revived by Handel at Covent
Garden, Nov. 9, 1734. " Favourite songs
in Pastor Fido " were published by Walsh
(London, 1734). The opera was first pub-
lished by the Hiindelgesellschaft, with a res-
toration of the overture, Breitkopf & Hiirtel
(Leipsic, 1876). Other operas of the same
title : In English, by Sir Richard Faushaw,
Loudon, 1646 ; by E. Settle, ib., 1677 ; in
Italian, after Guarini, music by Luigi Pie-
tragrua, Venice, 1721 ; by Apollini, Venice,
1739; by Salieri, text by da Ponte, Vienna,
1789.— Chrysander, Hiiudel, ii. 363 ; Rock-
stro, 76 ; Schffilcher, 167 ; Ck'ment et La-
rousse, 516 ; Burney, iv. 234, 377.
95
PATIENCE
PATIENCE, ffisthetic English opera in
two acts, text by Gilbert, music by Sullivan,
first represented at the Opi'ra Comique,
Strand, London, April 25, 1881, with the
following cast :
Patience (S.) Miss Leonora Braham.
Bunthorne (T.) Mr. Grossmith.
Lady Jane (A.) Miss Alice Baruett.
Ai-chibald Grosvenor (B.) . Mi'. II. Barrington.
It is a droll satii-e on sestheticism, and was
very successful in London and in New
York, where it was first given at the Stand-
ard Theatre, Sept. 22, 1881. Published by
Cliappoll & Co. (Loudon, 1881). — Atheureum
(1881), i. GOl ; Academy (1881), i. 32C ; Pall
j\Iall Budget (April 29, 1881) ; New York
Tribune (Sept. 23, 1881).
PATRIE, overture for orchestra, by
Georges Bizet, first performed at the Con-
cert Populairo, Paris, iu 1871. This is one
of Bizet's last works, and it was given at
the composer's memorial concert, Paris,
Oct. 31, 1875. Pubhshed by Eiirstner (Ber-
hn, 1874).
PATlilE, oder die Erben des weissen
Berges (The Heirs of the White Mountain),
hymn for mixed chorus to words by Halck,
music by Dvoi-:'ik, originally published as
op. 4, reissued as op. 30 by Novello & Co.
(London). — Grove, iv. G23.
PAT HIE, French opera, text by Sardou,
nuisic by Paladilhe, first rei^resented at the
Oi)ora, Paris, Dec. IC, 18SC. It was well
received.
PATRIOTIC HYMN, by An tonin Dvorak.
See ratric.
PATTISON, JOHN NELSON, born, of
American parentage, at Niagara Falls, New
York, Oct. 22, 1815, stDl Uviug, 1890.
Pianist, early showed musical talent, and at
fifteen had some reputation as a performer ;
soon after he went to Europe, and again in
18G2, and studied in Berlin, Leij^sic, Paris,
and Loudon, and has had as teachers Liszt,
Thalberg, Henselt, and von Billow on the
pianoforte, and Haupt in harmony. Since
his second return to America he has per-
formed in more than 800 concerts in the
United States ; and has made concert tours
with Parepa Eosa,
Al-
and
Among
Miss Kellogg,
bani, Lucca,
others.
his more notable
performances
were his recitals
at the Centennial
Exhibition, Phila-
delphia ; he has
played also with
-' ■ success at the
concerts of the New York and Brooklyn
Philharmonic Societies. His works consist
of more than 200 compositions ; among
them the following : In the Forest, The
Dawn of Day, Dreamland, The Village IMill
"WTieel, Marche militaire, for the piano-
forte ; Concert overture, in A minor, for
grand orchestra, performed iu Berlin, and
by Thomas's Orchestra iu New York ; Niag-
ara, grand symphony for orchestra and mil-
itary baud ; Concerto fantaisie-romantique,
for pianoforte and orchestra.
PATTISON, THOM.iS IVIEE, bom at
Warrington, England, Jan. 27, 1815, still
living, 1890. Organist of St. Paul's church,
Wan-iugton, smce 18G9. Works : The
Happy Valley, opera ; The Ancient Mar-
iner, cantata, 1885 ; Lay of the Last Min-
strel, do., 1885 ; Anthems ; Organ and
pianoforte music.
PAUER, ERNST, born in Vienna,
21, 182G, still living,
1890. Pianist, sou of
the general superin-
tendent of the L u-
theran churches o f
Austria, and pupil
o f Theodor Dirzka,
of Wolfgang Amadeus
Mozart the younger,
and of Sechter in
Vienna, then of Franz
Lachner in Munich. He became director
of musical societies iu Maiuz iu 1847, and
Dec.
96
PAUKENSCHLAG
played in London with success in 1851. In
1852 he married the singer Miss Andrea
of Frankfort-on-the-Main, and then settled
in London. In 18G1 he began giving his-
torical recitals of pianoforte music, played
within a few years iu Holland, Leipsic,
Munich, and Vienna, and was made Aus-
trian court pianist iu 18GG. From 1870 he
lectured on the history of music in Great
Britain and Ireland ; succeeded Cipriani
Potter in the Royal Academy of Music ; in
ISTGhecame in'ofessor at the National Train-
ing School for Music at Kensington Gore ;
and in 1878 was a member of the musical
board of Cambridge University, being made
examiner the nest year. He has rendered
great service by publishing editions of clas-
sical composers. Hanslick calls him the
first pastor of German music in Loudon.
Works — Operas : Don Riego, Mannheim,
1849 ; Die rothe Maske, ib., 1850 ; Die
Brautsehau Friedrichs des Grossen, ib.,
18G1. Symphony in C minor, oj). 50 ;
Quartet, quintet, jiianoforte music, and
songs ; Arrangements of Schumann's sym-
jjhonies and Mendelssohn's pianoforte con-
certos. He edited : Alte Klavier-Musik ;
Alte Meister ; Old English Composers for
the Virginals and Harpsichord ; classical
composers, from Bach and Handel to Schu-
mann, in Augener's edition ; New Gradus
ad Parnassum, containing 100 studies,
some by himself ; Primer of the Pianoforte,
and Elements of the Beautiful in Music
(187G) ; and Primer of Musical Forms
(1878).— Grove ; Vl^irzbach ; Mendel ; Rie-
mann ; Fetis ; do., Supplement, ii. 311 ;
Hanslick, Concertwesen in "Wien, 326.
PAUIvENSCHLAG, SINFONIE MIT
DEM, iu G, by Haydn. I. Adagio cauta-
bile, vivace assai ; H. Andante ; IH. Menu-
etto ; rV. Allegro di molto. It is known
in England and America as the Sui'^srise
Symphony. Breitkopf & Hiirtel edition.
No. G ; Peters, No. 4 ; London Philhar-
monic Catalogiie, No. 3.
PAUKENWIRBEL, SINFONIE MT
DEM, in E-flat, by Haydn, supposed to
have been written in 1795. I. Adagio, Al-
legro con spirito ; H. Andante ; HI. Menu-
etto ; IV. Allegro con spirito. Breitkopf &
Hilrtel's edition. No. 1 ; Peters, No. 1 ;
London Philharmonic Catalogue, No. 8.
PAUL ET VIRGINIE, French opera in
three acts, text by Dubreuil, music by Le-
sueur, first represented at the Theatre Fey-
deau, Paris, Jan. 13, 1794 The libretto is
founded on the romance of Bernardin de
Saint-Pierre, but the story is greatly
changed. The hymn of the Indians to the
rising sun, " Divin soleil, ame du monde,"
was long sung at concerts after the opera
had been withdrawn from the stage. — Cle-
ment et Larousse, 517.
PAUL ET VIRGINIE, French opera in
three acts and seven tableaux, text by Mi-
chel Carre and Jules Barbier, music by
Victor Masse, first represented at the Ojjera
National Lyrique, Paris, Nov. 15, 187G.
The libretto is from Bernardin de Saint-
Pierre's romance. Original cast : Paul, M.
Capoul ; Virgiuie, Mile Cijcile Ritter ; Mme
de La Tour, Mme Sallard ; Marguerite, Mme
Teoni ; Meala, Mme Engally ; M. de Saiute-
Croix, M. Melchisedech ; Domingue, M.
Bouhy ; M. de La Bourdonnais, M. Bonnefoy.
This oj)era is one of Masse's best works.
It was given at Covent Garden, Loudon, in
Italian, with M. Capoul as Paul and Mile
Albaui as Virginie, June 1, 1878, and first
iu New York, March 28, 1883. The score,
dedicated to M. Capoul, was published by
Theodore Michaelis (Paris, 1878) and by
Chappell tt Co. (Loudon). Other operas of
the same title, in French : By Rudolj)he
Kreutzer, text by Favieres, Paris, Jan. 15,
1791 ; by Lesueur, text by Dubreuil, ib.,
Jan. 13, 1794 ; by Denis Robert, Port Louis,
Mauritius, Oct. 30, 187G. Iu Italian : Paolo
e Virginia, by Angelo Tarchi, Venice, 1789 ;
by Pietro Guglielmi, text by Palomba, Na-
ples, about 1790, Milan, Jan. 3, 1830 ; by
Miglioi-ucci, Milan, 1813 ; by Mario Aspa,
Rome, April 29, 1843. In Spanish : Pablo
y Virginia, by Jose Rogel, Madrid, 1861.
Paul and Virginia, English ballet, by
97
PAULUS
William Eeeve and Mazzinghi, London,
1800 ; and Paul und Virginia, German bal-
let, by Wenzel Giibricli, Berlin, about 1840.
— Glomeut et Lai-ousse, 864 ; Atbenseura
(1876), ii. 696; (1878), i. 742; Academy
(1878), i. 519.
PAULUS (St. Paul), oratorio in two parts,
text compiled from the Bible by Filrst,
Sclmbring, and Mendelssohn, music by
Mendelssohn, op. 36, first jjerformed at the
Lower Rhine Festival, Diisseldorf, May 22,
1836, under the composer's direction. It was
sung by Frau Fischer-Achten (S.) ; Friiuleiu
Grabau (A.) ; Herr Schmetzer (T.) ; and HeiT
Wersing (B.). Mendelssohn received a com-
mission to write this, his first oratorio, from
the Ciicilien-VereLn of Frankfort in 1831.
The music was begun in March, 1834, when
its composer was iu his twenty-sixth year.
The oratorio contains an overture iu A mi-
nor, and forty-five numbers. Its chief sub-
jects are the martyrdom of Saint Stephen,
the conversion of Saint Paul, and the latter's
subsequent career. The choral inserted
on the death of Stephen was by Georg
Neumark, who also wrote the original
words. After the first perfoi-mance Men-
delssohn revised the work, cutting out
fourteen numbers, and it was again given
at Liverpool, under Sir George Smart's
direction, Oct. 3, 1836. It was first per-
formed in London by the Sacred Harmonic
Society, March 7 and Sept. 12, 1837 ; at
the Birmingham (England) Festival, under
Mendelssohn, Sept. 20, 1837 ; in Leipsic,
March 16, 1837 ; in Berhn, Oct. 6, 1837 ;
in Dresden, Dec. 8, 1837 ; in Vienna, March
1, 1839 ; and in Paris, March 19, 1847. It
was first sung in New York by the Sacred
Harmonic Society, Oct. 29, 1838, and by
the Oratorio Society, Nov. 9, 1875, and first
by the Handel and Haydn Society, Bos-
ton, Jan. 22, 1843. Published by Simrock
(Bonn, 1837) ; by Breitkopf & Hiirtel (Leip-
sic, 1837) ; and by Novello, English trans-
lation by W. Ball. An oratorio in Italian,
San Paolo in Ateue, text by Pasquini, music
by Bouno, was given in Vienna iu 1740.
— Lampadius, Mendelssohn, 47 ; Reiss-
mann, 173 ; Rockstro, 61 ; Hensel, The
Mendelssohn Family, ii. 331 ; Goethe and
Mendelssohn, 189 ; Hand, Aesthetic der
Toukunst, ii. 576 ; Schumann, Gesammelte
Schriften, ii. 68 ; Bitter, Geschichte des Ora-
toriums, 5-22 ; Neue Zeitschr., vii. 75, 147 ;
X. 87; xiii. 150; Cacilia, xix. 201 ; xx. 135;
Allgem. mus. Zeitg., xxxviii. 410, 807 ; xxxix.
209, 497, 513, 534, 705, 821 ; xli. 250 ; xliv.
380 ; Grove, ii. 271, 555, 675 ; Atheuieum
(1837), 708 ; (1871), i. 310 ; (1S72), ii. 817 ;
Chorley, Modern German Music, i. 22 ; Up-
ton, Standard Oratorios, 208 ; Clement et
Larousse, 518.
PAUSCH, EUGEN, born at Neumarkt,
Bavaria, in 1758, died there after 1838.
Church composer, instructed in music while
a choir-boy in the church at Neuburg ; en-
tered in 1777 the Cistercian Order at "Wal-
derbach, where he taught music and con-
ducted the choir. After the suspension of
the abbeys in Bavaria, he was for a short
time director of the seminary at Amberg ;
theu returned to his native town. Works :
6 masses, 7 motets, and 1 Requiem, for 4
voices, 2 violins, 2 horns, organ, and bass
(Dillingen, 1790) ; Te Deum, for 4 voices,
organ, and orchestra (Augsburg, 1791) ;
Psalmi vespertini, etc. (ib., 1792) ; 6 missse
breves, solemnes tamen, etc., op. 4 ; Misste
breves ac solemnes, etc., op. 5. In manu-
script : 12 operettas, and other music. — Fe-
tis ; Schilling.
PAm'RE DA:ME i\LARGUERITE. See
Dame blanche.
PAm\-ELS, JEAN ENGELBERT, born
in Brussels, Nov. 26, 1768, died there, June
3, 1804. Violinist, pupil of van Malder,
and in harmony of Witzthumb, then in
Paris of Lesueur in composition. He ob-
tained a position at the Italian ojsera, but
in 1790 went to Strasburg, where he was
chef d'orchestre at the theatre. In 1791 he
returned to Binissels, appeared with success
as a virtuoso in a concerto of his own com-
position, and became solo violinist at the
theatre, and iu 1794 maitre de chapelle.
PAVESI
111 1799 he established permanent concerts,
the technical perfection of which contrib-
uted much to the advancement of music
in Belgium. Works — Oj)eras ; La mai-
sonette dans les bois, L'auteur malgre lui,
Lcoutine et Fonrose, aU given at Brussels,
about 1791-1800 ; Concerto for violin and
orchestra ; do. for horn and orchestra ; 3
quartets for strings ; 6 duos for violins ;
3 polonaises for soprano and orchestra ;
L'amitie, duet for soprano and tenor, with
orchestra. In manuscript : Symj)honies,
concertos for violin, masses, etc. — Fetis ;
Mendel ; Kiemanu.
PAVESI, STEFANO, born at Casaletto
Vaprio, near Cremona, Jan. 22, 1779, died
at Crema, July 28, 1850. Dramatic com-
poser ; studied at the Conservatorio dei
Turchini, Naples, until the Revolution of
1799, when he was imprisoned and finally
sent to Marseilles ; thence he went to Di-
jon and joined a regimental band, with
which he returned to Italy for the Marengo
campaign. He seized the Ofiportunity of
returning to Venice, where he began in
1802 writing for the theatre, and was soon
engaged as composer by all the leading
theatres in Italy. He wrote most of his
ojjeras for Venice, where he lived chieflj',
although he was appointed maestro di cap-
pella at Cremona in 1818, to succeed Gaz-
zaniga. "Works : L' avvertimento ai gelosi,
L' anonimo, Venice, 1803 ; I castelli in
aria, Verona, ISOi ; L' accortezza materna,
L'amor coutrastato, Venice, 1801 ; L' amo-
re prodotto dall' odio, Padua, 1801: ; Fingallo
e Comala, Amare e nou voler esser amante,
Venice, 1805 ; II trionfo d' EmQio, Mi-
lan, 1805 ; II giuocatore, Erminia o la Ves-
tale, Rome, 1806 ; Napoleoue il Grande al
tempio deir immortalita, cantata. La sor-
presa, L' amor vince 1' inganno, Venice,
1806 ; Sapersi sciegliere uu degno sposo,
L' alloggio militare, ib., 1807 ; I baccanali,
Leghorn, 1807 ; La festa della rosa, L' amor
perfetto, I Cherusci, Venice, 1808 ; L' Ai-is-
todemo, Naples, 1808 ; II servo padrone, B
maldiceute, Bologna, 1809 ; Le Amazzoni,
Bergamo, 1809 ; II Corradino, Venice,
1810 ; Elisabetta, regina d' lughilterra,
Turin, 1810 ; Trajano in Dacia, Milan, L'or-
fanella di Ginevi-a, ossia Ai-minia, 1810 ; II
Giobbe, oratorio, Bologna, 1810 ; Ser Marc'
Antonio, La contadina abruzzese, II monas-
tero, Milan, 1811 ; La Nitteti, Turin, 1812 ;
Tancredi, Milan, 1812 ; Amore e generosita,
L' ostregario, II Teodoro, Venice, 1812 ; La
forza dei simpatici, Una gioruata pericolosa,
ib., 1813 ; Ii'ene e Filandro, Naples, 1813 ;
L' Agatina, Milan, 1814 ; La Celanira, Ven-
ice, 1815 ; La fiera di Brindisi, Modena,
1815 ; Le Danaide romane, Venice, 1816 ;
La gioventii di Cesare, Milan, 1817 ; II ti-
ranno geloso, Venice, 1818 ; I jiitocchi for-
tunati, Venice, 1819 ; II trionfo di Gedeone,
oratorio, Modena, 1819 ; Don Gusmano, ib.,
1819 ; B gran naso, Najjles, 1820 ; Eugenia
degli Astolfi, Naples, 1820 ; L' Arminio o
r eroe germano, Venice, 1821 ; L' Andro-
macca, Milan, 1822 ; L' Lies d' Almeida,
Anco Marcio, Naples, 1822 ; L' Egilda di
Proveuza, Venice, 1823 ; I cavalieri del
nodo, Naples, 1823 ; Andano e Dartulla, ib.,
1825 ; B solitario ed Elvida, Naples, 182G ;
Antigono e Lauso, Milan, 1827 ; La donna
bianca d' Avenello, ib., 1830 ; Feuella o la
muta di Portici, Venice, 1831 ; L' incognito ;
La fiera ; La gloria, cantata. He published
also a quantity of church music and, with
Gazzaniga, a collection entitled : Salmi, Can-
tici ed Inni Cristiani del Conte L. Tadini,
posti in musica populare (Milan). — Sanse-
verino, Biog. di Stefano Pavesi (Jlilan, 1851) ;
Fetis ; do.. Supplement, ii. 312 ; Mendel ;
Schilling.
PA VILLON DES FLEUES LE, ou les
pecheura de Grenade, comedie-lj'rique in
one act, test by E. C. Guilbert de Pixero-
court, music by Dalayrac, first represented
at the Opera Comique, Paris, May 13, 1822.
It was a posthumous arrangement of the
Pavilion duCalife, ou Almanzoret Zobeide,
opera in two acts, text by Descliamj)a and
Morel, music by Dalayrac, first given at the
Opera, Paris, April 11, 1804.— Clement et
Larousse, 519.
687351
PATER
PAYER, HIERONTlVrDS, born at Meid-
ling, near Vienna, Feb. 15, 1787, died at
Wieburg, near Vienna, September, 1845.
Dramatic and church comijoser, instructed
bj' his father, otherwise self-taught ; was at
first organist in his native village, went to
Vienna in 181G to teach music, and was
made Kapellmeister at the Theater an der
Wien. In 1818 he made a concert tour
through Germany, accepted a call to Amster-
dam as Kapelmeester in 1824, but went to
Paris in 1825, and for eight years was much
sought as a pianoforte and singing teacher,
also conducted the German opera, founded
there during the last year of his sojourn.
In 1832 he retui'ned to Vienna, and became
Kapellmeister at the new oijeraiu the Josef-
stadt Theater. A stroke of paralysis in
1838 reduced his resources to the income
from his lessons, which left him in naiTow
circumstances during the remainder of his
life. Works — Operas : Hochlands Fiirsten,
given at Amsterdam ; La folle de Glaris,
Paris, Odeou ; La croix de feu, ib. Op-
erettas : Der wildc Jiiger ; Der hohle Baum ;
Das Sternenmiidchen ; Die musikalische
Akademie ; Die Trauer ; Die Einsame ;
Coco, vaudeville. Six masses ; motets, gi'ad-
uals, Tautum ergo, etc. ; 3 concertos for
pianoforte ; Octet for do., flute, 2 horns,
and strings ; Quintet for do., flute, and
strings ; Trio for do. and strings ; Many
overtures, marches, rondos, etc., for mili-
tary baud ; Serenades for flute and guitar
concertante ; do. for mandolin and guitar ;
Many waltzes, minuets, and other dances ;
Organ and ^^ianoforte music, etc. — Allgem.
wiener mus. Zeitg. (1846), Nos. 5 and 6 ; do.,
384 ; Fetis ; SchilUng ; Seyfried, Denk-
steine, etc. (Vienna, 1848), 95 ; "Wurzbach.
PAZZA PER AIMORE, LA. See Nina.
PEACE, ALBERT LISTER, born at
Huddersfleld, England, in 1845, still living,
1890. Organist and church composer. He
was appointed organist of the parish church
of Holmfirth in 1854, when only nine yeai-s
old, and subsequently held a similar posi-
tion in other churches iu that neighbour-
hood. He settled in Glasgow in 186G as
organist of Trinity Congregational Church,
,. ~ and soon after became
organist of the Univer-
sity : organist at St.
Andrew's Hall, 1877 ;
do., Glasgow Cathe-
dral, 1879. Mus. Bac,
Oxford, 1870; Mus.
Doc, ib., 1875.
"Works: Psalm
cxxxviii., 1870 ; The
Narrative of St. John the Baptist, cantata,
1875. Morning, Communion, and Evening
Services ; Anthems ; Organ arrangements,
etc. — Grove.
PE.ARCE, STEPHEN AUSTEN, born
near Loudon,
England, Nov.
7, 1836, still
living, 1890.
Organist, pupil
at Cambridge
of John Larkiu
Hopkins. In
1859 he was '■
graduated at
New College,
Oxford Univer-
sity, as Mus.
Bac, and iu 1864 as Mus. Doc. During
the same year he visited America, and
on his return to England became org.in-
ist and musical director at St. Katharine's
Royal CoUegiate Church, Loudon, and
later of St. John's Church. In 1872 he
again went to America, where he has
since remained. He has been instructor
of vocal music in Columbia College, New
York, and has lectured on harmony and the
science of music at the General Theological
Seminary ; on the music of all nations at the
Peabody Institute, Baltimore ; and on clas-
sical music at Johns Hopkins University.
In 1874 he became musical editor of the
New York " Eve&ing Post," and he has con-
tributed many articles on music to periodi-
cals. He has been organist of several
'- \ ' ..y
100
PEAESALL
churches in New York, among them, in
1870-85, of the Collegiate Church, 48th
Street and Fifth Avenue, in 1885-88 of Ziou
Church, and now (1890) of the Church of
the Ascension. Works : La belle Ameri-
caiue, opera in three acts ; Allegro agitato
in D minor, for orchestra ; Overture in E
minor, for orchestra, written for the Crystal
Palace Classical Concerts, London ; The
Psalm of Praise, an ecclesiastical cantata ;
Celestial Visions, dramatic oratorio for
eight-part chorus, soli, full orchestra, and
organ ; Pianoforte music ; Church choral
music ; Organ music ; Songs. He is author
also of a pocket Dictionary of Musical
Terms in twenty-one languages.
PEAESALL, EGBERT LUCAS, born at
Clifton, England, March 14, 1795, died at
Wartensee, on Lake Constance, Aug. 5,
1S5G. Vocal composer ; was educated for
the bar but left it in 1825 and went to live
in Mainz, where he became the jsuijil of
Panny in composition. He revisited Eng-
land in 1829, then settled in Carlsruhe in
1830, and at Wartensee in 1832. Works :
Requiem ; Madrigals for 4, 5, G, and 8
voices (Loudon, 1840) ; 8 Glees and madri-
gals (ib., 18G3) ; 24 Choral Songs, edited
by J. Hullah (ib., 1SG3) ; Ballet Opera
Choruses (ib., 1878) ; Psalms and Anthems ;
Part-songs, among them : "Thehardy Norse-
m.au's house of yore," "A king there was
in Thule," " O who will o'er the downs so
free?," and "Sir Patrick Spens." He pub-
lished also Catholisches Gesangbuch (18G3),
founded on that of St. Gall, which is still
in use, though mostly in MS. — Grove ; Fe-
tis. Supplement, ii. 313.
PEARSON (Peerson, Pierson), MARTIN,
born in latter half of IGth century, died in
Loudon in 1G50. Vocal composer, master
of the children in St. Paul's Cathedral in
1G03 ; Mus. Bac, Oxford, 1G13. He was one
of the contributors to Leighton's "Teares
or Lamentacions," etc. (1614). Works : Pri-
vate ]\Iusicke, or the First Booke of Ayres
and Dialogues, containing Sougs of 4, 5,
and 6 Parts of severall sorts, etc. (1G04) ;
Mottects or Grave Church Musique, etc.,
with organ part, which for want of Organs
can be performed on Virginals, Base Lute,
BandoraorIi-ishHarpe(1630) ; also a Mourn-
ing Song of sixe parts. — Grove ; Fetis.
PEASE, ALFRED HUMPHREYS, born
in Cleveland, Ohio,
May G, 1838, died in
St. Louis, Missouri,
July 13, 1882. Pian-
ist, educated at Ken-
yon College, Ohio ;
studied the pianoforte
in Berlin under Theo-
dor KuUak and von
Billow, composition
under Richard Wiier.st,
and scoring under Wieprecht. After three
years he made a short visit to the United
States, and returned to Germany for three
years' further study. On his final return he
made extended concert tours, playing with
success in most of the important cities
and towns. Works : Reverie and Andante,
Andante and Scherzo, Eomanze, Concerto
(1875), all for orchestra, given with success
by Theodore Thomas ; Manj' pianoforte
compositions, arrangements, etc. ; Songs.
PECHATSCHEK (Pechaczec, Pechaeek),
FEANTISEK, the elder, born at Wilden-
schwert, Bohemia, in 17G3, died in Vienna,
Sept. 2G, 181G. Violinist, first instructed in
his native town, then at Weisswasser, Si-
lesia, j)upil of Lambert, and of Dittersdorf.
In 1783 he went to Vienna, and in 1790-
1805 was Kapellmeister at one of the thea-
tres. He was the Strauss of his time, being
especially notable as a comjjoser of dance
nmsic. Works : 2 operas ; 12 operettas ;
about 30 ballets ; Several masses and other
church music ; 12 symphonies for orches-
tra ; Overture for do.; Music for violin,
with other instruments ; Many waltzes,
Liindler, eeossaises, minuets, etc., for or-
chestra, or for pianoforte, violin, etc. — Dla-
bacz ; Fctis ; Wurzbach.
PECHATSCHEK, FRANZ, the younger,
born in Vienna, July 4, 1793, died iu Carls-
101
PECHEDES
ruhe, Sept. 15, 1840. Violin virtuoso and
composer, son and joupil of the above, after-
wards pupil of FOrster in composition ; j)er-
formed at the imperial court when only ten
years old, and in 1803 made a concert tour
with his father to Prague. For a time
second Kapellmeister at the Theater an der
Wien in Vienna, he went to Hanover in
1818 as first violinist in the court orchestra,
gave many concerts in various cities of Ger-
many in 1821-25, and was called to Carls-
ruhe, in 1826, as Conzertmeister. Works :
Concertino for violin and orchestra, op. IG ;
Polonaises for do., or pianoforte ; ThOmes
varies, do. ; Rondos, do. ; Pot-poui-ris, do. ;
Quartets for strings ; Duo concertant for 2
violins, etc. — Fetis ; Wurzbach.
PfiCHEUES DE PERLES, LES (The
Pearl Fishers), French opera in three acts
and four tableaux, text by Cormon and Mi-
chel CaiTc, music by Georges Bizet, first
represented at the Theatre Lyrique, Paris,
Sejjt. 30, 1863. The story is of Ltila, a
vestal virgin, who is stationed on a high
rock jutting out over the sea, where she
prays to the gods to protect the pearl
fishers. She is closely veiled, and no man
may approach her. Zurga and Nadii-, two
fishermen, climb the rock, and Nadir tells
his love, which is accepted by Lt'ila. They
are surjjrised, captui-ed, and condemned to
death ; but they escape through aid from
Zurga, who sets fire to the fishermen's
cabins. The music is wi-itten in the mod-
ern school, and the iusti-umentation is well
worked. Mile Luontine de Maesen, Ismacl,
and Moriui appeared in the original cast.
Published by Bote & Bock (Berlin, 1863).
— Clement et Larousse, 521.
PECHEURS, LES (The Fishermen), co-
medie in one act, text by the Mai-quis de la
Salle, music by Gossec, first represented at
the Comedie Italienne, Paris, June 7, 1760.
It was one of Gossec's most successful
works. — ClL'ment et Larousse, 520.
PEDRELL, FELIPE, born in Catalonia,
contemporary. Pianist, and dramatic com-
l)oser. Works : El ultimo Abeucerrajo, op-
era, Barcelona, 1874 ; Quasimodo, do., ib.,
1875 ; Mass for 3 voices and choruses, with
orchestra, organ, and harp ; Pianoforte mu-
sic and songs. — Fetis, Supplement, ii. 314.
PEDROTTI, CARLO, born in Verona,
Italy, Nov. 12, 1817, still living, 1890.
Dramatic composer, pupil of Domeuico Fo-
roni ; was conductor of the Italian opera
in Amsterdam in 1840-45, then lived for
several j-ears in his native city, and in
18G8 was called to Turin as du-ector of
the Liceo Musicale, maestro concertatore,
and maestro di cappella of the Teatro
Regio. In 1872 he established popular
concerts, which prospered rapidly, and
are still successful. Works : Lina, Clara
del Mainland, Verona, 1840 ; Matilde, Am-
sterdam, 1841 ; La figlia del arciere, ib.,
1844 ; Romea di Moufort, Verona, 1846 ;
Fiorina, ib., 1851 ; II parrucchiere della
reggeuza, ib., 1852 ; Gelmina, o col fuoco
non si scherza, Milan, 1853 ; Genoveffa del
Brabante, ib., 1854 ; Tutti in maschera, Ve-
rona, 1856 ; Isabella d' Arragona, Tiu-iii,
1859 ; La guerra in quattro, Milan, 1861 ;
Mazeppa, Bologna, 1861 ; Marion de Lormc,
Trieste, 1865 ; H favorito, Turin, 1870 ; Ole-
ma la schiava, Modena, 1872. — Futis, Sup-
plement, ii. 314 ; Mendel ; Riemaun.
PEELLAERT, AUGUSTIN PHILIPPE
MARIE GmSLAIN, Baron DE, born in
Bniges, March 12, 1793, died at Saint-
Josse-ten-Noode-lez-Bruxelles, April 16,
1876. Dramatic composer, jjupil at Lille
of d'Ennery, and in Paris of IMomigny and
PaOr. He entered the army, and retired
as lieutenant -colonel. Works: L'amaut
troubadour (1815), not performed ; Le sor-
cier par hasard, given at Ghent, 1819 ;
L'heure du rendez-vous, Brussels, 1821 ;
Agnes Sorel, ib., 1823 ; Le Barmecide, ib.,
1824 ; Teniers, ib., 1825 ; L'exile, ib., 1827 ;
Songe et realito (1829), not given ; Faust,
Brussels, 1834 ; Le coup de pistolet, ib.,
1836 ; Louis de Male, ib., 1838 ; Le barigel ;
Monsieur et Madame Putiphar, Brussels,
1857 ; Le manage par testament ; Regilde ;
Castor et Pollux. Operettas : Les trois clefs ;
PEER
Trois centre un ; Thucla ; Sans dot ; La si-
rcne. Several masses ; 2 trios for jJianoforte
and strings ; More than 100 vocal melodies.
— Fetis ; do., Supj)lement, ii. 315 ; Peellaert,
Cinquante ans de souvenirs (Binissels, 1867).
PEER GYNT, entr'acte music and dances
to Hendrik Ibsen's comedy of "Peer Gynt,"
by Edvard Grieg, op. 23. Published by
Peters (Leipsic, 1881). Arranged for piano-
forte for four Lands. It was first given in
New York, at Cbickering Hall, by Theo-
dore Thomas, Jan. 24, 1889.— Mus. Woch-
enblatt (1884), 511.
PELLEGRINI AL SEPOLCRO, I (The
Pilgrims at the Sepulchre), Italian ora-
torio, test by Pallavicini, music by Johann
Adolpli Hasse, first performed in Dresden
in 1742. The Pilgrim's chorus from this
oratorio was given in Berlin in November,
1844. The original score, in the KOnig-
liche Bibliothek, Berlin, was published by
J. A. Hiller, German translation by Eschen-
bach (Leipsic, 1784). Oratorio of the same
title by Johann Gottlieb Naumann, Dres-
den, 1798. — Allgem. mus. Zeitg., xxxi. 243.
PELLET, ALPHONSE, born at Uzus
(Gard), Oct. 18, 1828, still living, 1890.
Dramatic composer, first instructed by his
father, who was organist of the cathedral
at Uzes ; then pupil at the Paris Conserva-
toire of Colet and of Hah'vy. In 1849 he
settled at Nimes, where he became director
of the Conservatoire and organist of the
Basilica. Works : Les deux avares, Nimes,
18G4 ; L'ours et le j)acha, ib., 18G5 ; Salsifi,
ou les incouvenients de la grandeur, ib.,
186G ; Futaille a vendre, saynete, ib., 1868 ;
Deux locataires, ib., 1873 ; Sous les pal-
miers, ib., 1878 ; Oratorio ; About 20 can-
tatas ; Quintet for strings ; Quartet for pi-
anoforte and strings; Trio for do.; Sonata
for pianoforte and violoncello ; 2 series of
melodies for do. ; Collection of sacred mu-
sic ; Pianoforte pieces, etc. — Fetis, Supple-
ment, ii. 316.
PENA TIRANNA 10 SENTO, alto aria
of Dardano, in D minor, with accompani-
ment of oboe solo, bassoon, three violins, i
viola, and bass (senza cembalo), in Handel's
Amadigi, Act IT., Scene 5. Published also
separately, with the accompaniment tran-
scribed by Otto Dresel (Leipsic, Breitkopf
& Hiirtel).
PENDANT LA NUIT JAI PARfi MA
CHAUrafcRE. See Ame en peine.
PENDU! PENDU! See rostillon do
Longjumeau.
PENFIELD, SmTH NEWELL, born, of
American parent-
age, in Oberlin,
Ohio, April 4,
1837, still living,
1890. Organist
and pianist, piupil
in New York of
James Flint ; then
studied, in Leip-
sic, pianoforte un-
der Moscheles,
Reiuecke, Papperitz, and Plaidy, organ un-
der Richter, and harmony and theory under
Hauptmann ; later, in Paris, under Delioux.
After his return to America he resided in
Rochester, New York ; then in Savannah,
Ga., where he founded the Savannah Con-
servatory of Music, and the Mozart Club ;
later, lived for six years in Brooklyn, where
he founded the Arion Conservatory, and
since 1882 has resided in New York. In
1884 the degree of Mus. Doc. was given
him by the University of the City of New
York, and in 1885 he became president of
the Music Teachers' National Association ;
he is now organist of the Broadway Taber-
nacle Church. Works : Psalm xviii., can-
tata, for soli, chorus, and orchestra ; Over-
ture for orchestra ; String quintet ; Anthems ;
Pianoforte pieces ; Songs.
PENNA, LORENZO, born in Bologna,
Italy, in 1613, died at Imola, Oct. 20, 1693.
Church composer and didactic writer, en-
tered the Carmelite monastery at Parma,
became its maestro di cappella, and later
occupied the same position in the cathedral
at Imola. Works : Messe piene a quattro
ed otto voci se place, libro primo, op. 9 (2d
103
PENTENPJEDEE
ed., Bologna, 1677) ; Galena del sacro Par-
Dasso ; Messe piene con stromenti ad libi-
tum, libro secondo (ib., 1670) ; II sacro
Parnasso deUi Salmi festivi, etc., op. 8 ;
Salmi 1381- tutto 1' anno ed una Messa, etc.
(1669). He published also a treatise : Li
primi albori musicali per li principianti
della musica figurata, etc. (1679), and Diret-
torio del canto fermo (1689). — Fetis ; Men-
del ; Riemann.
PENTENRIEDER, FRANZ XAVER,
born at Kaufbem-en, Bavaria, Fob. 6, 1813,
died in Munich, July 17, 1867. Dramatic
and church composer, j)upil of Kalcher and
Stunz in Munich, where ho entered the
choir of the Frauenkirche. He became
court Kapellmeister, court organist, choir
director at St. Ludwig's, and Repetitor at
the royal theatre. Injuries received from
being run over by a carriage resulted hi
such serious consequences that he passed
the last years of his life in an insane asylum.
Works : Die Nacht auf Paluzzi, opera, given
on aU the principal stages of Germany ;
Das Haus ist zu verkaufen, do., Leipsic,
18i6 ; Cantatas, masses, motets, etc. — Men-
del ; Riemann.
PENTHESELEA, overture for orchestra,
in G, to lileist's drama of the same title, by
Goldmark, op. 31, first jDcrformed in Vi-
enna, Dec. 26, 1880. Published by Schott
(Mainz, Loudon, and Brussels, 1881) ; by
Leede (Leijisic). An-anged for the piano-
forte for foiu- hands. — Mus. "SVochenblatt
(1881), 92.
PEPUSCH, JOHAXX CHRISTOPH,
born in Berlin in 1667, died in London, Julj-
20, 1752. Dramatic composer, jjupil at
Stettin of Gottlieb Kliiigenberg, and of
Grosse, a Saxon organist. He was a musi-
cian at the Prussian court in 1681-97, was
in Holland in 1698, and about 1700 went to
London, where he became a member of the
orchestra at Druiy Lane. In 1707 he ad-
apted the music of Thomyi-is, Queen of
Scythia, and of other operas, adding recita-
tives and songs. He devoted much time to
the study of ancient music, and in 1710
.'?-£.
aided in establishing the Academy of An-
cient Music. In 1712 he became organist
and composer to
the Duke of Chan-
dos at Cannons,
where he preceded
Handel; in 1713
he took the degree
of Mus. Doc. at
Oxford, and soon
after became mu-
sic director of Lin-
coln's luu Theatre.
In 1724 he joined Dr. Berkeley in his scheme
of a college in the Bermudas, but was ship-
wrecked and returned to England. Soon
afterwards he married Mai-guei-ite do 1' Ejsiue
the singer, and in 1731 became organist of
the Charter House, a position he held until
his death. His wife, who brought him a
fortune of .£10,000, died in 1716. Pepusch,
though pedantic, was skilled in musical
science, and was one of the chief authorities
on music in England previous to Handel.
He is best known by his scoring and ar-
rangement of the Beggar's Opera. Works :
Venus and Adonis, masque, 1715 ; Apollo
and Dajjhne, and The Death of Dido,
masques, 1716 ; The Union of the Three Sis-
ter Ai-ts, masque for St. Ceciha's Day, 1723 ;
The Beijgar's Opera, 1727 ; Polly, opera,
1729 ; The Wedding, ballad opera, 1734 ;
Ode to the Memory of the Duke of Devon-
shire, 1707 ; Ode for the Princess of Wales's
Birthday, 1715-16 ; 6 English cantatas
(London, 1712) ; Sonatas and concertos
for strings and wind instruments ; Anthems
and motets. He published also a Short
Treatise on Harmony (London, 1730 ; 2d
ed., 1731) ; and edited Corelli's Sonatas in
score. — Grove ; Fetis ; Burney, Hist., iv.
634 ; Mendel.
PERABO, (JOHANN) ERNST, born in
Wiesbaden, Germany, Nov. 14, 1845, still
living, 1890. Pianist, the youngest of ten
children, all of whom followed the profession
of music ; began when five years old to
study under his father. In 1852 he went to
IM
PEKANDI
America with his parents, and two years
later made his first pubhc appcarnncc at a
concert in New
York. After two
years spent in
Dover, New Hamji-
shire, he studied
the viohn in Boston
under William
Schultze, andjilayed
at a concert under
Carl Zerrahn's di-
rection. He lived
next in Chicago, and then in Washington,
returning finally to New York, whence, in
1858, he went to Europe. In 18G2 he
entered the Leipsic Conservatorium, where
he studied the pianoforte under Moscheles
and E. F. Wenzel ; harmony under Pap-
peritz, Hauptmann, and Eichter ; and com-
position under Eeinecke. In 1865 he re-
turned to America, and after a concert
tour in the West settled in 18GG in Boston.
He has played often in public, and has a
high reputation as a pianist and teacher of
the pianoforte. In 1878-79 he again visited
Leipsic, to study further under Wenzel.
Many of his works are transcrijitions and
arrangements for the jjianoforte ; among
them the following : Lowe's ballads, The
Dance of Death, Melek at the Spring, The
Secluded ; First movement of Rubinstein's
Ocean Symphony, and the overture to Di-
mitri Donskoi ; First movement of Schu-
bert's unfinished sj-mj^hony ; 10 selections
from lolanthe, op. H. Among his original
compositions, mostlj- for the jaianoforte, are :
Moment musical, op. 1 ; Scherzo, op. 2 ;
Prelude, op. 3 ; Waltz, op. 4 ; Three studies,
op. 9, 1880 ; Peusees, op. 11, 1884 ; Circum-
stance, or Fate in a Human Life, op. 13,
1887 ; Songs.
PERANDI, MAECO GIUSEPPE, born in
Eome, beginning of the 17th century, died
in Dresden, Jan. 12, 1675. Church com-
poser, entered the service of the Elector of
Saxony between 1G51 and 1G56, and was
appointed Kapellmeister in 1663. Works :
Die Historia von der Geburt des Herrn und
Heilandes Jesu Christi ; Passion des Evan-
gelisten St. Marcus ; 6 masses for 5 voices,
with trumpets and drums ; 3 Magnificat for
5 and 9 voices ; 15 concertos for 3-6 voices,
with instruments ; 15 madrigals for 2-5
voices ; 3 symjihonipc. With Bontempi he
also composed a German opera, Dajibne,
given in Dresden, 1672. — ^Mendel.
PERDONO E TI COm^IANGO. See
Norma.
PEEEIEA, DOJIINGOS NUNES, bora
at Lisbon about the middle of the 17th cen-
tury, died at Camarate, near Lisbon, March
29, 1729. Church composer, for many years
mestre da capella of the cathedral at Lisbon.
Works : Responsorios da Semana Santa, for
8 voices ; Do. dos officios de defuntos, for
do. ; Li(;oens de defuntos, for 4 voices ; Con-
fitebor, Laudate jjueri, for 8 voices ; Vilhan-
cicos e motetes, for 4, 6, and 8 voices. — Vas-
concellos.
PERELLI, NATALE, born in Lombardy
about 1815. Dramatic composer, jjupil at
the Conservatorio, Milan. Works : Gale-
otto Manfredi, opera, Pavia, 1839 ; Osti et
non osti, do., Genoa, 1840 ; II coutrabban-
diere, Turin, 1842.
PEREZ, DAYIDE, born in Naples, of
Spanish parents, in 1711, died in Lisbon
in 1778. Church and dramatic comjioser,
pupil at the Conservatorio di Loreto of An-
tonio Galli on the violin, becoming a virtu-
oso on that instrument, and of Francesco
Mancini in counterpoint. He went in
1739 to Palermo as maestro di caj^jiella of
the cathedral. There he wrote his first
oj)eras, and soon acquired great reputation
in Italy ; he comjjosed for all the leading
cities, and in 1752 went to Lisbon, where,
after the great success of his Demofoonte,
the king bestowed on him the Order of
Christ, and appointed him royal mestre de
capella. In 1755 he ojiened the new theatre
in Lisbon with his Alessandro nell" Indie,
procuring for it the best singers from Italy ;
went to London in the same year, and pro-
duced his Ezio, with great success. Fetis
:05
PERFALL
ranks his compositions next to those of
Jommelli. AYorks — Operas : L' eroismo di
Scipione, Palermo, 1741 ; Astartea, Medea,
L' isola incantata (Palermo), La clemenza
di Tito, Naples, 1749 ; Semiramide, Rome,
1750; Furnace, ib.j Merope, Genoa, 1751;
Didone abbandonata, ib.; Alessandro nell'
Indie, ib. ; Zenobia, Turin, 1751; Demetrio,
ib., 1752 ; Demofoonte, ib.; Artaserse, Adri-
ano in Siria, ib., 1755 ; L' eroe cinese, ib., '
1753 ; Ipermnestra, ib., 1754 ; Olimpiade,
ib.; Ezio, London, 1755 ; Solimanno, Lis-
bon, 1757 ; Euea in Italia, 1759 ; Giulio
Cesare, 1762. A fine edition of bis Matu-
tini de' morti, his best sacred work, was
published while he was in London. Other
church music : Mass for 8 voices and or-
chestra ; do. for 5 voices and orchestra ;
Motets for 4 voices ; 2 Salve Regina for do. ;
Resjjonses for do. ; Psalms for 3 voices and
chorus. — Grove; Futis; Buruey, Hist., iv.
570 ; Mendel ; Schilling ; Gerber ; Hogarth,
Mus. Hist., i. 225.
PERF.y:,L, K.\RL, Freiherr VON, born
in Munich, Jan. 29, 1824, still living, 1890.
Dramatic composer, pupil of Hauptmauu at
Leipsic (1848) ; left the government service
in 1850, and assumed the direction of the
Miinchener Liedertafel. In 1854 he found-
ed the Oratorio Societj', which he conducted
until 18G4, when he was appointed court
music iutendant. In 1SG7 he became in-
tendant of the royal theatre, in which posi-
tion he has made the Munich opera one of
the most prominent. Works — Oj)eras: Sa-
kuntala, Munich, 1853 ; Das Konterfei, ib.,
18G3 ; Raimoudiu (also as Mclusine), ib.,
1881 ; Junker Heinz, ib., 188G ; Barbarossa,
melodrama ; Dornroschen, Milrchen for soli,
chorus, and orchestra ; Undine, do. ; Riibe-
zahl, do. — Eiemann.
PERGOLESI (Pergolese), GIOVANNI
BATTISTA, born at Jesi, Roman States,
Jan. 3, 1710, died at Pozzuoli, March IG,
1736. Dramatic composer, pupil, when
very young, at the Conservatorio dei Poveri
di Gesti Cristo, Naples, on the violin of
Domenico de Matteis. He soon attracted
notice at the conservatory by the curious
and unheard-of passages he imjirovised
while practising,
chromatic p r o -
gressions based
upon harmonic
successions being
then unknown.
Such seemed to be
his originality,
that he was placed
under Gaetano
Greco to study
counterpoint (harmony having hardly risen
to the dignity of a separate study at that
time) ; he continued his contrapuntal studies
for a while under Durante, and then under
Francesco Feo. He made rapid progress,
but soon formed a style of his own, retaining
only as much of the contrapuntal science he
had learned as could be subordinated to me-
lodious and expressive writing. His first
composition worthy of the name was an
oratorio, La couversione di San Guglielmo,
which was given (with comic interludes) at
the cloister of S. Agnello in 1731, before
Pergolesi had left the conservatorj-. After
leaving the conservatory he studied vocal
composition under Vinci, and possibly also
under Hasse. His first opera. La Sallustia,
was given in 1731, but had no more than a
succi'3 d'estime. Two other ojjcras also
failed, and starvation would probably have
been his fate had not the Prince of Stegli-
ano, first equerry to the King of Naples,
taken an active interest in him and heljied
him to get work. After a great earthquake
in Naples, a solemn mass was voted to the
patron saint of the city, and Pergolesi was
commissioned to write the music. He ac-
cordingly wrote a mass and vespers for ten-
part chorus and double orchestra, which
was soon followed by a second mass for
double chorus and two orchestras (to which
the composer afterwards added parts for
two more choruses), which was much ad-
mired by Leo. About this time Pergolesi
wrote also thirty trios for two violins, vio-
106
PERGOLESI
loncello, and bass, dedicated to the Prince
of Stegliano. In the winter of 1731 the
workl-famous La serva padrona, was writ-
ten and produced. Its success at first was
not overwhelming', but it was the only gen-
uine success Pergolesi had during his hfc-
time. Several other operas followed it, but
they were all regarded by the public as
failures. In 1734 he went to Loreto as ma-
estro di cappella. After the failure of a new
oj)era, Flaminio (1735), the Confraternity of
San Luigi di Palazzo, who had for years
been in the habit of giving Alessandro
Scarlatti's Stabat Mater on every Friday in
March, ordered a new one of Pergolesi for
ten ducats (about $8.75). He immediately
set to work, but was soon called off to Rome
to write an opera for the Teatro Tordiuone.
His fame, which was now sjsreadiug beyond
Najjles, seems to have been almost wholly
due to the high esteem in which contem-
porary musicians held his works, for the
public almost ignored them. But at Rome
L' Olimpiade failed with a crash, while Du-
ni's Neroue (a far inferior work, as its com-
poser admitted) made a resounding success.
Pergolesi returned to Loreto, in disgust
with the stage, and resumed work on the
Stabat Mater. But his health, which had
long been undermined by excesses of the
gallant sort, now gave way, and consumjj-
tion declared itself. He moved to Pozzuoli,
near Najsles, and, although really far too ill
to work, he persisted in composing a can-
tata, Orfeo e Euridice, a Salve Regina, and
in finishing the Stabat Mater, iu spite of
the urgent entreaties of his old master Feo,
who counselled rest. He died a few days
after the completion of the Stabat. He
was buried in the precincts of the Pozzuoli
Cathedral, where, a century later, the Mar-
quis de Villarosa and the Cavaliere Cori-
glano raised a monument to his memory.
His death was an almost immediate signal
for a boundless enthusiasm for his works
all over Italy, and twenty-four years later
in France. L' Olimpiade was revived at
Borne with overwhelming success. Indeed,
Pergolesi's high renown was entirely post-
humous, a fact unparalleled in the annals
of Italian music. Pergolesi is to be re-
garded as virtually the father of " modern "
music in Italj' — perhaps even in Europe.
In his music the contrapuntal element steps
for the first time definitely into the back-
ground, and the melodic-harmonic element
asserts its supremacy. The step from Leo
and Feo to Pergolesi is somewhat like that
from the younger Bachs to Gluck and
Haydn. Pergolesi's chief merits were great
pathos, sweetness, and depth of expression.
Of contrapuntal, or even melodic invention,
he did not give surjjassing evidence, but it
should be remembered that he died at the
age of twenty-six, and that there is no
calculating the splendour of development
which awaited his genius had he but lived
longer. Although in originality of concep-
tion his works pale somewhat beside the
more mature productions of other com-
posers, if we compare them with what other
great men had written before the age of
twenty-six, we shall see that the comparison
is rather in Pergolesi's favour than against
hiiu. In fact, his Serva padrona was the
model of nearly all Italian opere buffe that
followed it.
Works — I. Operas : San Guglielmo d'
Aquitania, Naples, 1731 ; La Sallustia, 3
acts, ib., 1731 ; Amor fa 1' uomo cieco, 1
act, ib., 1731 ; Recimero, 3 acts, ib., 1731 ;
La serva padrona, 2 acts, ib., Teatro San
Bartolomeo, 1731, and Paris, Theatre
Italien, Oct. 4, 1746 ; II maestro di mu-
sica, 2 acts, Najjles, 1731 ; II geloso scher-
nito, ib., 1732 ; Lo frate innamorato, in
Neapohtan dialect, ib., 1733 ; II prigio-
niero superbo, 3 acts, ib., 1733 ; Adriano iu
Siria, ib., 1734 ; Livietta e Tracolo, ossia la
contadina astuta, ib., 1734 ; Flaminio, 3 acts,
ib., 1735 ; L' Olimpiade, 3 acts, Rome, 1735.
H. Church music : Kyrie cum gloria, 4
voc, with orchestra (Vienna, Haslinger) ;
Mass, 5 voc, with orch.; do. for two 5-part
choruses and double orch.; Dixit, 4 voc,
strings, and organ ; do., double chorus and
107
PERI
orch. ; Miserere, 4 voc. and orch. (Paris,
Plejel) ; Confitebor, 4 voc. ; 2 Domine ad
adjuvaudum, 4 and 5 voc; Laudate, 5 voc.
with orcL.; Lsetatus sum, 2 soprani and 2
basses ; do., 5 voc. ; Laudate, one voice
with instruments ; Salve Regiua, one voice,
strings, and organ (Paris, Leduc and Por-
ro) ; Slahal Mater, for soprano and con-
tralto, strings, and organ (Paris, Bonjour
and Porro) ; Dies ira3, for soprano and con-
tralto, and strings ; jMass, 2 voc, and or-
gan ; do., in D, 4 voc, with orchestra ;
Oratorio sacro per la nascita del Reden-
tore.
ni. Chamber and concert music : Orfeo,
cantata for one voice and orchestra (in Cho-
ron's Principes de composition des £coles
d'ltalie) ; 5 cantatas for sopi-ano with clavi-
chord ; 30 trios for 2 violins and violoncello,
with a figured bass for harpsichord (24 of
these were published in London and Am-
sterdam); Two movements, 6 voc, from
Psalms are in the FitzwiUiam Music (Lon-
don, Novello) ; Air in F minor, for clavier,
is in Clauss-Szarvady's Klavierstiicke (Leip-
sic, Senff) ; Mass, and a Kyrie, and Gloria,
10 voc, are in MS. in the FitzwiUiam
Librai-y ; 3 jjsalms, a Stabat Mater, a Salve,
and a mass are in the British Museum, Add.
MSS., No. 5044. — ViUarosa, Lettera biogra-
fica, etc., Naples (1831) ; do., IMcmorio dei
compositori di musica del licgno di Napoli
(Naples, 1840), 141 ; Belasis, Biografia di
Pergolese ; Fctis ; Grove.
PERI, ACHILLE, born at Reggio d' Emi-
lia, Italy, Dec 20, 1812, died there, March
28, 1880. Dramatic composer ; was at first
maestro di cappella of an Italian opera
troupe at Marseilles, afterwards at the Tea-
tro Grande in his native city. Works : Una
visita a Bedlam, IMarseilles, 1839 ; II soli-
tario, Reggio, 1841 ; Dirce, ib., 1843 ; Ester
d'Engaddi, Parma, 1843 ; Taucreda, Genoa,
1848 ; I fidanzati, ib., 185G ; Vittore Pisani,
Reggio, 1857 ; Giuditta, biblical drama,
Milan, 18G0 ; L' e.spiazione, ib., 18G1 ; Or-
fano e Diavolo ; Rienzi, Milan, 1862. — Fo-
tis ; do., Supplement, ii. 321.
PERI, JACOPO, caUed II Zazzerino, born
in the latter half of the 16th century in
Florence, died (?). He studied music under
Cristoforo Malvezzi, of Lucca, and became
maestro di cappella to Fernando, Duke of
Tuscany, and later to Cosimo II. de' Me-
dici. He married a rich noblewoman of
the house of Fortini, by whom he had a
son who showed great mathematical talent,
and was jjut to study under Galileo Galilei,
but eventually ruined himself by dissipation.
This was the young man of whom Galileo
used to speak as " il mio demone." In
spite of the trouble given him, and the fre-
quent disgrace brought ui)on his household
by his son, Peri continued to move in the
highest Florentine society. He soon as-
sociated himself with Giovanni Bardi, conte
di Vernio, Vincenzo Galilei, Piero Strozzi,
Jacopo Corsi, the poet Ottavio llinucciui,
and the composer Giulio C'accini, in the
great Renaissance movement known as the
Florentine Music Reform of the 17th cen-
tury (see Ambros, iv. 147) which resulted
in the establishment of the so-called stile
rajjpresentativo, and the foundation of the
lyric drama. He followed Caccini's epoch-
making Nuove Musiche with a similar
work of his own, Le varie musiche del Si-
gnor Jacopo Peri, etc., less rigidly solemn
than Caccini's in the declamatory portions,
but also less elaborate in ornamentation.
He was the first to develop this new style
of vocal chamber music into actual dramatic
composition in his setting of Riuucciui'a
drama Dafne, which is properly accounted
the first opera, and was brought out in
private at the Palazzo Corsi in 1594 (not
1597, as given in Grove, and as stated by
Marco da Gagliano ; the work was given
during the Carnival of three successive
years, and da Gagliano probably heard only
the last performance). This was soon fol-
lowed by his setting of the same poet's
Euridice. Singularly enough. Peri did not
try to follow up these successes, perhaps
from lack of opportunity ; certainly he
wrote no more operas. He left Florence,
108
PEEKINS
for some unknown reason, and in 1601 was
appointed maestro di eappella to the Duke
of Ferrara. His latest publication was the
Varie musicbe. Works : Dafne, j^astoral
ojiera, Florence, Palazzo Corsi, 1594 (all
trace of this work is lost) ; Euridice, do.,
Florence, 1600 ; Le varie musiche del Si-
gnor Jacojjo Peri a una, due e tre voci con
alcuni spirituali in ultimo, per cantare nel
clavicembalo e chitarrone e ancora maggior
isarte di essa per sonare semplicemente
nel orgauo (Florence, Marescotti, 1609).
Three madrigals, 4 voc, are printed in
Kiesewetter's " Schicksale und Beschaf-
fenheit des weltlicheu Gesauges " (1841).
— Ambros, iv. 201, 253 et seq. ; Grove ;
Eiemaun.
PEEIONS.HENEY SOUTH WICK, born,
of American parentage, in Stockbridge, Ver-
mont, March 20, 1833, still living, 1890.
Son and j)upil of Orson Perkins (singing
master, 1802-82) ; graduated in 1861 at the
Boston Music School. In 18G7-71 he was
president of the Iowa Normal Academy of
Music, Iowa City ; in 1867-68 professor of
music in the State University of Iowa ; in
1870-74 president of the Kansas Normal
Academy of Music, Leavenworth ; in 1887-
88 president of the Illinois Music Teachers'
Association ; in 1888 secretary and treasurer
of the Music Teachers' National Association.
In 1875-76 he went to Eurojie, and studied
methods of conducting and teaching. He
is well known as a conductor of musical
conventions, festivals, and normal music
schools ; resides in Chicago. Works : Sweet
and Low, Sleep in Peace, She said she'd be
my Bride, and other quartets ; Trust her
not, quintet ; Make your Home beautiful,
Little Wanderer, My Mariner, Alone, There's
Peace on the Deep, and other songs. He
is the compiler also of several collections,
such as : The Nightingale (1860) ; Sabbath
School Trumpet (1864) ; Church Bell (1867) ;
Song Echo (1871) ; Sunnyside (1875) ; Shin-
ing River (1875) ; Palms of Victory (1880) ;
Song Wave (1882) ; Soul Songs (1885) ; and
several books of instruction.
PERKINS, WILLIAM OSCAR, born at
Stockbridge, Vermont, May 23, 1831, still
living, 1890. Son and pupil of Orson Per-
kins and brother of the preceding ; after
studying with American musicians he went
to Europe, and took lessons in singing of J.
Q. Wetherbee, London, and of G. Periui,
Milan. On his return home he devoted
himself to teaching, conducting, and com-
posing. He visited Eurojie again in 1871-
72 ; received the degree of Mus. Doc. from
Hamilton College in 1879. He has pub-
lished about forty books of compilations,
containing many of his own compositions,
such as Choral Harmony (1859) ; Perkins's
Anthem Book (1874) ; The Temple (1879) ;
Choral Choir (1882) ; The Peerless (1883),
etc. His youngest brother, Julius Edson
Perkins (1845-75), bass singer and pianist,
married in 1874 Mario Roze, who after-
wards became the wife of Henry Mapleson.
PER LE PORTE DEL TORMENTO,
duet for soprano and contralto (Elmira and
Sosarme), in E major, with accomjaauiment
of strings complete, in Handel's Sosarme,
Act n., Scene 8. Published also separately,
with the accompaniment filled out by Rob-
ert Franz (Leii^sic, Kistner).
PERLE DU BEfiSIL, LA (The Pearl of
Brazil), drame lyrique in three acts, text by
Gabriel and Sylvain Saint-Etienne, music
by Fc'licien David, first rejsresented at the
Theatre Lyrique, Paris, Nov. 22, 1851.
This was the composer's first dramatic work
The admiral Salvador has captured in Bra-
zil a young gii-1 Zora, whom he educates
and intends to marry. He sets sail with
her, and discovers that she has a lover, Lo-
renz, a young lieutenant who had disguised
himself as a sailor to accompany them. A
severe storm compels the ship to seek shel-
ter in a harbour of Brazil, where they are
attacked by the natives. Zora chants a
hymn to the Great Spirit, and, recognizing
their comjsatriot, the Brazilians make peace.
Zora is rewarded by permission fi-om the
admiral to marry Lorenz. The original
cast was : Zora, Mile Duez ; Lorenz, M.
109
PERNE
Soyer ; Admiral Salvador, M. Boucbe.
The opera was revived at the Theatre Ly-
rique, Paris, in March, 1858, with Mme
Emma Nevada.
Miolan-Carvallio, and at the Ojn'ra Coiuiquo,
1883, with Mme Emma Nevada aa Zora. —
Cli'racnt et Larousse, 524 ; Eevue et Gaz.
mus. de Piiris (1858), 83.
PERNE, FRANVOIS LOUIS, born in
Paris in 1772, died there, May 2G, 1832.
Composer and erudite writer on music ;
educated at the maitrise of Saiiit-Jacques-
de-la-Boucherie, where he studied harmony
and counterpoint under the Abbe d'Haudi-
mout. In 17!)2 he became a chorus singer
at the Opera, but in 1799 exchanged to play
the double-bass in the band. In 1811 he
succeeded Catel as professor of harmony
at the Conservatoire, in 181G became in-
spector, in 1820 librarian, and in 1822
retired to reside on an estate near Laon ;
removed to Laon in 1830, and in 1832 re-
turned to Palis. He was a profound stu-
dent of ancient music, and expended a vast
amount of labour in investigating the mu-
sic of the Greeks and of the Middle Ages.
Works : Messe de Sainte-Cecile, 1800 ; Vivat
rex, mass for four voices, 1811 ; Veni Cre-
ator, for three voices ; G sonatas for piano-
forte ; Domine, salvum fac regem, variations
for do.; 2 methods for ijianoforte ; Cours
d'harmonie et d'accompagnement (1822).
He published, also : Exposition de la Semci-
ographie, ou Notation musicale des Grecs
(Paris, 1815) ; Chansons du Chatelain de
Coucy (Paris, 1830) ; and other didactic and
historical works. — Fetis ; Mendel ; Rie-
maun.
PEEOTTI, GIOVANNI AG O ST IN 0,
born at Vercelli, April 12, 17G9, died in
Venice, June 28, 1855. Dramatic and
church composer, brother and pupil of the
following, then in Bologna pui:)il of Mattel ;
went to Vienna in 179G aa accomj)anist at
the Italian opera, and to Loudon in 1798,
in the same capacity. In 1801 he settled in
Venice, where in 1812 ho became substitute,
and in 1817 successor, to Furlanetto as ma-
estro di cappella at S. Mai'co. Works : La
coutadina nobile, given at Pisa, 1795 ; Ales-
saiidro e Timoteo, rearrangement of Sarti's
opera, London, 1800. Ballets ; Church
and chamber music. — Fetis ; Riemann.
PEROTTI, GIOVANNI DOMENICO,
born at Vercelli, Italy, in 17G0, died there
after 1820. Dramatic and church composer,
pupil of Fiorini in Milan, and of Padre Mar-
tini in Bologna ; on his return to Vercelli
he was appointed maestro di cappella at
the cathedral. Works : Zemira e Gondarte,
given at Alessandria, 1788 ; Agesilao, Rome,
1789 ; Much church music for the service
in Vercelli Cathedral. — Fetis.
PERPETUUM ilOBILE (Perpetual
^Motion), rondo in Weber's Sonata in C,
for pianoforte, op. 21, completed in Berlin,
Aug. 18, 1812, and dedicated to Madame la
Grande-Duchesse Marie Paulowna of Saxe-
Weimar. The Rondo, which is the last
movement, is dated " L'infatigable, compo-
nirt June 11th and July 15th." Published
separately as "Perpetuum Mobile," by
Schlesinger (Berlin) ; by Simrock (Bonn
JIO
PER PIETA
and Berlin) ; and by Haslinger (Vienna) ;
as " Mouvement perpctuel," by Brandus &
Dufour (Paris); as "Allegro brillant," by
Augener & Co. (London) ; as " Brilliant
Rondo," by Cba^jpell & Co. (London), and
Cramer & Co. (ib.) ; as "Moto continuo,"
by Chappell & Co. (London) ; and, " II moto
l^erpetuo," by Eicordi (Milan). The Rondo
Las been rearranged by Henselt witb mod-
ei'n difficulties, and adapted by Brahms as
a study for the left hand. Pagauini also
wrote Moto perpetuo, Allegro de concert
for the violin, op. 11. — Jahns, Weber Yer-
zeichuiss, 159 ; Benedict, Weber, 140.
PER PIETA, BELL' IDOL MIO, aria
for soprano with orchestra, in E-flat, text
from Metastasio's Artaserse, music by Mo-
zart, composed in Milan in 1770, Breitkopf
& Hiirtel, Mozart Werke, Serie vi.. No. G.
— Kuchel, Verzeichniss, No. 78.
PER PIETA, NON EICERCATE, rondo
for tenor with orchestra, in E-flat, text from
Anfossi's opera, II curioso iudiscreto, music
by Mozart, composed in Vienna, June 21,
1783. Breitkopf & Hiirtel, Mozart Werke,
Serie -vi., No 27. — Kochel, Verzeichniss, No.
420 ; Andro, No. 59.
PER QUESTA BELLA MANO, aria for
bass, with orchestra, accomj)animent and
contrabass obligato, in D, by Mozart, com-
posed for Franz Gerl in Vienna, March 8,
1791. Breitkopf & Hiirtel, Mozart Werke,
Serie vi.. No. 46. It was sung at the Lon-
don Philharmonic in 1887. — KOchel, Ver-
zeichniss, No. 612 ; Andre, No. 89 ; Jahu,
Mozart, iii. 287.
PER QUESTE TUE MANINE. See Don
Giovanni.
PERRY, EDWARD BAXTER, born, of
American parentage, in Haverhill, Massa-
chusetts, Feb. 14, 1855, still living, 1890.
Pianist ; when two years old he was made
totally blind by accident ; from his sixth to
his nineteenth year he studied the piano-
forte in Boston, and in 1875-78 studied in
Berlin, Frankfort, Stuttgart, and Weimar,
under Kullak, D. Prucknei-, and Liszt. On
his return he settled in Boston and devoted
two years to concert work, but had to aban-
don it on account of an injury to his right
wrist, and in 1881-83 was jirofessor of pi-
anoforte at Oberlin Conservatory. In 1883-
85 he was again in Europe, appeared in
concerts with success, and at Frankfort re-
ceived instruction from Clara Schumann.
Since 1885 he has been instructor in the
Tremont School of Music, Boston, and is
well known as a concert pianist in New
England and the Middle and Western
States. His works consist chiefly of com-
positions for the pianoforte, and songs.
PERRY, GEORGE, born at Norwich,
England, in 1793, died in London, March
4, 18G2. Organist, jjupil of Beekwith,
settled in London in 1822, and was at first
director of music in Haymarket Theatre and
organist of Quebec Chaj)el. In 1832-47 he
was concert-master, and in 1848 conductor,
of the Sacred Harmony Society. From
1846 he was organist of Trinity Church,
Gray's Inn Road. Works : Morning, Noon,
and Night, oj^era, 1822. Oratorios : Elijah
and the Priests of Baal, 1818 ; The Fall of
Jerusalem, 1830 ; TheDeathof Abel ; Heze-
kiah ; Belshazzar's Feast, cantata, 1836.
Overture to the Persian Hunters ; Anthems.
PERSEE, tragedie-lyrique in five acts
and prologue, text by Quinault, music by
Lully, first represented at the Acadomie
Royale de Musique, Paris, Ajn-il 17, 1G82.
It is one of the composer's best operas. The
prologue celebrates Virtue, Innocence, and
Fortune. The first act presents plaj's in
honour of Juno ; the second, the gardens
and palace of Cepheus, King of Ethiopia
and father of Andromeda, whom Perseus
resolves to deliver. He receives a shield
from Minei-va and a casque from Pluto ; in
the third act vanquishes the Gorgon, and
in the fourth rescues Andromeda. The
last act shows their marriage, and the apo-
theosis of Cej^heus, Cassiopea, Perseus,
and Andromeda. Original cast : Persee, M.
Dumesnil ; Phinee, M. Beaumavielle ; Ce-
phee, M. Dun ; Andromede, Mile Aubry ;
Merope, Mile Marthe du Rochois ; and
lU.
peesEe
Meduse, Mile Desvoyes. Thevenard sang
the part of PhiiiOe with great effect Pub-
lished by Ballard (Paris, 1682 ; 2d ed., 1722).
Same text, music by Bernard de Bui-y, Dau-
vergne, Franccour, and Rebel, Paris, 1770 ;
and Persee et Andromode, ballet by Mehul,
ib., June 8, 1810. Italian operas on the
same subject : Perseo, by Aiidrea Mattioli,
Venice, 1GG5 ; by Antonio Draghi, text b}'
Aurelio Amalteo, Vienna, 1GG9 ; Le azioni
fortunate di Perseo, by do., ib., 1G91 ; An-
dromeda, text by Bernardoni, composer un-
known, ib., Feb. 21, 1702 ; by Sacchini,
Loudon, 177-1 ; by Jouo de Sousa Carvalho,
Lisbon, 1779 ; and II ritorno di Perseo, by
Paisiello, Naples, 1792. Also an Hungarian
ballet, Perseus iind Andromeda, by George
Druzecki, Presburg, about 1790. — Clement
et Larousse, 525.
PERSEE, tragt'die-lyrique in three acts,
arranged by Miu-montel from Quinault's text,
nmsic bj' Philidor, first represented at the
Academie lloyale de Musique, Paris, Oct. 27,
1780. Oiiginal cast : Persee, M. Legi-os ;
Andromede, Mile Levasseur ; Mt'duse, Mile
Durancy ; Cassiopi^'e, j\Ille Duplant ; Phinee,
M. Larrivee ; and Mercure, M. Laine. — La-
jarte, i. 319.
PEKSIANI (Persiano), GIOSEFFO, born
at Ilecanati, Papal States, in 180-4, died in
Paris, Aug. 14, 18G9. Dramatic composer,
pupil of Tritto at the royal college of music,
Naples. About 1837 he went to Paris, and
after 1838 jiassed several j-ears in Spain.
"Works : Piglia il mondo come viene, opera
bufTa, Florence, 182G ; L' inimico generoso,
ib., 182G ; Attila, Pamia, 182G ; Danao, re
d' Argo, Florence, 1827 ; Gaston de Foix,
Venice, 1828 ; Costantino in Aries, ib., 1829 ;
Eufemio di Messina, Florence, 1829 ; II
solitario, Milan, 1829 ; I Saraceni in Cata-
nia (a new version of Eufemio di Messina),
Padua, 1832 ; Ines de Castro, Naples, 1835 ;
H fantasma, Paris, 1813 ; L' orfana savo-
jarda, Madrid, 1846.— Ft'tis.
PERSUIS, LOUIS LUC LOISEAU DE,
born at Metz, July 4, 1769, died in Paris,
Dec. 20, 1819. Dramatic composer and vio-
linist, pupil of his father, who was master
of the choristers of the cathedral. He en-
tered the orchestra of the theatre, lived in
Avignon as teacher of violin, and in 1787
went to Paris, where he produced an ora-
torio, Le passage de la mer Rouge, at the
Concerts Spirituels. He was first violinist
at the Theatre Montansier in 1790 and at
the Oj^era in 1793, chef de chant at the
Oi^era in 1804, chef d'orchestrc in 1810,
succeeding Rey ; he became also professor
of violin at the Conservatoire when it was
founded in 1795, but lost this post in 1802.
In 1814 he became inspector-general of the
Opera, and in 1817, through coui-t influ-
ence, sufierseded Choron as director. He
had meanwhile been appointed conductor
of the court concerts, and in 1810-15 was
conductor of the orchestra at the Acade-
mic. Afterwards maitre de chapelle to Louis
XVin. in 1814, succeeding Lesueur as super-
intendent of the Royal Chapel. He exhib-
ited great ability as a conductor, but his
music, though it met with considerable suc-
cess in its day, is now forgotten. Order
of St. Michael, 1819 ; Legion of Honour,
Works — Operas ; Estelle, 1783 ; La nuit
espagnole, 1791 ; Phanor et Angela, 1798 ;
Fanny Morna, 1799 ; Leonidas (with Gres-
nick)," 1799 ; Le fruit defendu, 1800 ; Mar-
cel, 1801 ; Chant de victoire en I'honneur
de Napoleon, 1806 ; L'inauguration de la
Victoire (with Lesueur), 1807 ; Le triomphe
de Trajan, 1807 ; Jerusalem delivrue, 1812 ;
Chant franyais, 1814 ; L'heureux retour
(with Berton and Kreutzer), 1815 ; Les
dieux rivaux (with Spontini), 181G. He
wrote also music for
i ballets (some in col-
iLc*,^ labo ration with
^ ^^ -^ Kreutzer) : Le retour
'^ d'Ulysse, 1807 ; Nina,
1813 ; L'epreuve villageoise, 1814 ; L'heu-
reux retour, 1815 ; Le carnaval de Venise,
1816. His church compositions in MS.
are in the Conservatoire Library. — Fetis ;
do.. Supplement, ii. 32G ; Riemanu ; Men-
del.
119
PEETI
PERTI, JACOPO ANTONIO, born in
Bologua, June 6, 1661, died there, April 10,
175G. Church composer, puijil of Padre
Petronio Franceschini. In 1680 he con-
ducted a mass of his own for solo, chorus,
and orchestra, in San Petronio, and in 1681
was made a member of the Accademia Filar-
monica, Bologna, of which he was six times
priucipe. He was maestro di cajDjDella of
San Petronio till his death. Among his
pupils were Aldovi-andini, Laureuti, Pis-
tocchi, and Torelli. He was the friend and
companion of Padre Martini. Works — Op-
eras, all given in Venice : Atide, 1679 ; Mar-
zio Coriolano, 1683 ; Flavio, 1686 ; Rosaura,
1689 ; L' incoronazioue di Dario, 1689 ;
Brenno in Efeso, 1690 ; L' ingauno sco-
perto per vendetta, 1691 ; Furio Camillo,
1692 ; Nerone fatto Cesare, 1693 ; Laodicea
e Berenice, 1695. Church works : Cantate
morali e spirituali, 1688 ; Messe e salmi
concertati, 1735. The Abbate Santini pos-
sessed a fine collection of his music. There
is an Adoramus Te by Perti in the Fitzwill-
iam Library, Cambridge, and Novello has
included two fine choruses by him in his
" Sacred Music," vol. ii. He wrote two or-
atorios, Giesu al sepolcro, and La morte di
Giesti, 1718.— Burney, Hist., iv. 51 ; Rie-
manu ; Mendel ; Schilling.
PESCETTI, GIOVANNI BATTISTA,
born in Venice in 1704, died there in 1766.
Organist, and dramatic and church com-
poser, pupil of Lotti ; was appointed in 1762
organist of the second organ in S. Marco.
He was in London in 1737^0. Works— Op-
eras : II jjrototipo, Venice, 1726 ; La canta-
trice, ib., 1727 ; Dorinda, ib., 1729 ; I tre
defensori della patria, ib., 1730 ; Narcisso al
fonte, ib., 1731 ; H vello d'oro, London, 1737 ;
Demetrio, ib., 1738 ; Alessandro nell' Indie,
Venice, 1740 ; Tullio Ostilio, 1740 ; Ezio,
1747 ; Diana ed Endimione, cantata, Lon-
don, 1739. Church music ; 9 sonatas for
pianoforte. — Fetis ; Mendel ; Schilling.
PESSARD, fiMILE LOUIS FORTUNE,
born in Paris, May 29, 1843, still living,
1890. Dramatic
composer, pupil
of Bazin and Ca-
rafa at the Con-
servatoire, where
he obtained the
second prize in
1861, and the
first in 1862 ;
grand prix de
Rome, 1866.
He is inspector of vocal music in the public
schools of Paris. Legion of Honour, 1879.
Works — Operas : La cruche cassee, given at
the Opera Comique, 1870 ; Le char, ib.,
1878 ; Le capitaine Fracasse, Theatre Ly-
rique, 1878. Solemn mass for 2 voices with
organ ; Ave Maria, with organ, violin, and
violoncello ; Mater Salvatoris ; Suite for
orchestra ; March for do. ; Quintet for
wind instruments ; Trio for pianoforte and
strings ; Pianoforte music, and songs. — Fe-
tis, Supplement, ii. 327 ; Mendel, Ergiinz.,
333.
PETER SCHMOLL UND SEINE
NACHBARN (Peter Schmoll and his Neigh-
bours), German comic opera in two acts,
text by Joseph Turks, from Carl Gottlob
Cramer's novel of the same title (Rudolstadt,
1798-99), music by W^eber, represented
at Augsburg, in March, 1803. It was writ-
ten in Salzburg, when Weber was a pupil
of Michael Haydn, who recommended this
work of the young composer. It was re-
hearsed in Salzburg in June, 1802, and was
probably first given there. The libretto is
laid in the time of the French Revolution,
and is arranged as a Singspiel with spoken
dialogue. The music as a whole is some-
what crude, but the harmonies are original
and the instrumentation novel and full of
colour, exhibiting the individuality of the
composer. He has used also several obso-
lete instruments to characterize the situa-
tions of the play. The music of Minette's
song in the first act was again used for the
113
PETERSEN
song, "Wircl Philomele trauern," in Abu
Hassan and for the last song in the finale
of the third act of Oberon. Characters rep-
resented: Peter Schmoll, Bast, and Greis
(B.) ; Oberbereiter and Niclas (T.) ; and
ilinette (S.). The original MS. is in the
iwssession of Max von Weber, and a copy
is owned by F. W. Jiihns. The opera was
not published. Weber rescored and partly
rewrote the overture in E-flat in 1807, and
it was published by Gombart (Augsburg) ;
also for jjianoforte for two and for four
hands by Schlesinger (Berlin) ; full score,
Peters (Leipsic), and by Kichault (Paris).
— Jiihns, Weber, Verzeichniss, No. 8 ; Weber,
Weber, i. 65, 73 ; Grove, iv. 410.
PETERSEN, KAKL AUGUST, born in
Hamburg, May 27, 1801, died (?). Flutist,
son and pupil of the following ; abandoned
his instrument for the violin and pianoforte,
both of which he taught in Hamburg, after
having travelled through Denmark and
Sweden. Works : Polonaise for jDianoforte,
with orchestra ; Duos for violins ; Rondo
for violin and pianoforte; Sonata for do.;
Polonaises, rondos, divertissements, etc.
— Fetis ; Mendel ; Schilling.
PETERSEN, PETER NIKOLAS, born
at Bederkesa, near Bremen, Sept. 2, 17G1,
died in Hamburg, Aug. 19, 1830. Virtuoso
on the flute, self-taught, joined a band of
travelling musicians when still a boy, and
at the age of seventeen entered a militia
regiment in Hamburg as oboe player. In
course of time he began to teach, and hav-
ing appeared in public for the first time in
1791, retained favour as the foremost flutist
of Hamburg for thirty years. He also made
important improvements in his instrument.
Works : Etudes pour la flute, 2 books ; Ada-
gio et variations pour la flute et piano ; Re-
cueil de duos pour deux flutes ; Methode
de flQte.— Fetis ; Mendel.
PETIT, ADRIEN (called Coclicus, also
Petri), born in Germany about 1500, died
probably there. Pupil of Josquin Despres,
having gone to France in his youth ; he
travelled afterwards, and seems to have re-
sided in Italy, but returned to his native
country. Works : Musica reservata ; Con-
solationes ex psalmis Davidicis, 4 voc. (Nu-
remberg, 1552) ; Motets in the collections
of Adrien Leroy and Ballard ; Treatise on
music (Nuremberg, 1552). — Fetis ; Mendel ;
Schilling.
PETIT CHAPERON ROUGE, LE (Little
Red Riding-hood), opera-comique in three
acts, text by Theaulon, music by Boieldieu,
first rejjresented at the Theatre Feydeau,
Paris, June 30, 1818. The libretto is an
adaptation of the old fairy tale of Perrault.
Red Riding-hood in the opera becomes
Rose d'Amour, a simple peasant girl, who
on her way to visit an old hermit is attacked
by the wolf, who is the Baron Rodolphe.
He possesses a magic ring, the power of
which no woman is able to resist, but by
virtue of her red hood, which is a talisman,
Rose d'Amour escapes. The Baron hurries
to the hermit's abode, and waits for her in
disguise. Rose d'Amour is again saved,
this time by the hermit, who returns to his
home and discovers that she is the Baron's
niece. Rose d'Amour is afterwards given
in marriage to Count Roger, who had won
her heart in the guise of a shepherd. The
opera showed a marked advance in Boiel-
dieu's style, and the orchestration was richer
than that of his former works. The Petit
Chaperon rouge was given in Vienna under
the title of Rothkiippchen, March 27, 1819 ;
in Berlin, July 7, 1819 ; and in Dresden,
Dec. 10, 1823. It was revived at the Opera
Comique, Paris, in 18G0. The score was
dedicated to Louis X\TII., and published
by Breitkopf & Hiirtel, and by Peters (Leip-
sic). Same title, melodrama by Schaffuer,
Paris, Feb. 28, 1818. — Clement et Larousse,
526 ; Hanslick, Moderne Oper, 96 ; Allgem.
mus. Zeitg., xx. 571.
PETIT DUG, LE (The Little Duke),
opera-comique in three acts, text by Hemi
: Meilhac and Ludovic Hak'vy, music by
Lecocq, first represented at the Theatre de
la Renaissance, Paris, Jan. 25, 1878, with
Mile Jeanne Granier as le petit due. It
114
PETITE
was first given in English at the Islington
Philharmonic Theatre, London, April 27,
1878 ; and first in New York, March 17,
1879. Published by Brandus & Co. (Paris,
1878).— Clement et Larousse, 933 ; Athe-
nffium (1878), i. 1G4.
PETITE ilADEJMOISELLE, LA, opera-
eomique iu three acts, text by Meilhac and
Halevy, music by Lecocq, first represented
at the Theatre de la Renaissance, Paris,
April 12, 1879. The scene is in and near
Paris in 1G52. The petite mademoiselle is
a young widow, the Countess Cameroni,
whom Mazarin wishes to marry to the
brother of the dead count. She refuses,
joins the Fronde, and travels to Paris under
the passport of Mme Douillet. Aided by
the capitaine de Manicamp, she passes
through the garrison and arrives in Paris.
He follows, takes her prisoner, and after-
wards marries her. This opera was given
in English as Madelon at the Casino, New
York, Dec. 5, 1887. PubUshed by Bote &
Bock (Berlin, 1879). — Eevue et Gaz. mus.
de Paris (1879), 123 ; Clement et Larousse,
934.
PETITE MARIEe, la, opera-bouflfe in
three acts, text by Eugene Leterrier and
Albert Vanloo, music by Lecocq, first rep-
resented at the Theatre de la Renaissance,
Paris, Dec. 21, 1875, with great success.
— Clement et Larousse, 8G7 ; Atheuseum
(187G), i. 29.
PETIT SOUPER, LE (The Little Sup-
per), opera-comique in one act, by Dalayrac,
first rej^reseuted at the Theatre de la Cour,
Paris, in 1781. Same title, ojjera-comique,
text by Violet d'Epagny, music by Dourlen,
given at the Feydeau, Paris, Feb. 22, 1822.
PETRELLA,"eRRICO, born in Palermo,
Dec. 10, 1813, died in Genoa, April 7, 1877.
Dramatic composer, pupil of Saverio del
Giudice on the violin, and, at the Couserva-
torio San Pietro a Majella, of Jlichele Costa,
Bellini, Furno, Ruggi, and of Zingarelli. He
produced his first opera, II diavolo color di
rosa, 1829, while studying at this school,
and rapidly became one of the most cele-
brated dramatic composers of Italy, second
only to Verdi. His oj^eras enjoyed great
pojDularity for twenty-
five years. Works :
II giorno deUe nozze ;
Pulclnella morto e
non morto, Naples,
1832 ; Lo scroccone,
ib., 183G ; I pirati
spagnuoli, ib., 1837 ;
Le miuiere di Freim-
berg, ib., 1839 ; Le
precauzioui, ib., 1851 ;
Elena di Tolosa, ib., 1852 ; Marco Visconti,
ib., 1854 ; Elnava, o 1' assedio di Leida,
Milan, 1855 ; lone, ossia I'ultimo giorno di
Pompeji, ib., 1858 ; II duca di Scilla, ib.,
1859 ; Morosina, Naples, 1860 ; II foUetto
di Gresy, ib., 18G0 ; Virginia, ib., 18G1 ; La
contessa d' Amalfi, Turin, 186-1 ; Celinda,
Naples, 18G5 ; Caterina Howard, Rome,
1866 ; I promessi sposi, Lecco, 1866 ; Gio-
vanna H. di Napoli, Naples, 1869 ; Manfredo,
ib., 1872 ; Bianca Orsini, ib., 1874 ; Cimo-
docea, Diana, ossia la fata di Pozzuoli, not
given. — Fetis, Supplement, ii. 328 ; Mendel.
PETROBELLI, FRANCESCO, born at
Bologna about 1C35. Church composei-,
maestro di cappella of the cathedral at
Padua. Works : Motetti e Litanie della
B. V. (Autwerji) ; Salmi a quattro voci con
stromenti obligati (Venice, 1662) ; Musiche
sacre concertate, etc. (Bologna, 1670) ; Can-
tate a una e due voci, etc. (ib., 1676) ; Mo-
tetti, Antifone e litanie della B. V. a 2
voci (ib., 1677) ; Musiche da camera (Ven-
ice, 1682) ; Psalmi breves octo vocibus (ib.,
1684) ; Salmi dominicali a 8 voci (ib., 1686) ;
Scherzi musicali, etc. (ib., 1693). — Fetis ;
Mendel.
PETZOLD, EUGEN KARL, born at
Ronneburg, Saxe-Altenburg, Nov. 7, 1813,
died Jan. 22, 1889. Organist, jjujiil of Can-
tor Hasenmeyer on the iiiauoforte, then at
the Thomasschule in Leipsic of Weinlig in
theory, later of David on the violin, of
Julius Knorr and August Klengel on the
pianoforte, of Pohlenz iu singing and on
us
PEVERNAGE
tbe organ, and of Mendelssolin in score-
reading. In 1837 he founded the Phil-
harmonic Society, in 1838-39 was Kapell-
meister of the Stadttheater at Bautzen, and
in ISiO went to Switzerland as musical
instructor at an institute. Having visited
Paris in 1841, he became in 1842 organist
and music director at Murten and in 1844
at Zofingen, Canton Aargau where he ac-
tively promoted musical cultui-e by the
establishment of regular subscription con-
certs, oratorio performances, etc. In 1874
he retired from public life, retaining only
his position as organist. In 1845 he visited
Italy, and in 1851 London. Works : Music
to Goethe's Faust ; do. to Schiller's Wil-
helm Tell ; Concert compositions for solo,
chorus, and orchestra ; do. for various solo
instruments ; Church music ; Pianoforte
pieces ; Songs and choruses. — Mendel, Er-
giinz., 334.
PEVERNAGE, ANDRfi, born at Cour-
trai, Flanders, in 1543, died in Antwei-p,
Jul}- 30, 1591. Chui'ch composer, jjupil at
the maitrise of his cathedral, where he was
chorister, and of which he became maitre de
chapelle at the age of twenty. In 1574 he
married, and moved to Antwerp as choir-
master of the cathedral, and led an active
life in composing, editing a collection of
other authors' works, and giving at his
own house weekly performances from the
best masters. "Works : 5 books of sacred
motets (Antwerp, 1574-91) ; 5 masses (ib.,
1593) and 7 books of motets (ib., 1602).
The British Museum has a book of chan-
sons, and two imjjerfect cojjies of Harmo-
nic celeste, a collection of madrigals ed-
ited by him, in which seven of his own
appear (1583). Eituer mentions sixteen
detached pieces in various collections of
the time. Two have been jirinted in mod-
ern type, an Ode a Sainte-Cecile, O Virgo
generosa (Commer. col. op. mus. Batav:, vol.
vii., Berlin), and a 9-part Gloria in excel-
sis, in the Csecilia of von Oberhoflfer (Lux-
emburg, 1863). — Fetis ; Riemann ; Mendel ;
Schilling ; Gerber ; Ambros, Gesch., iii. 31G ;
Van der Straeten, i. 127-129 ; ii. 243-244 ;
iii. 5 ; vi. 5G, 178.
PEZEL (Pezelius), JOHANN, born in
Austria in the first half of the 17th centurj-.
Instrumental composer, canon of the Order
of St. Augustine, entered in 1672 a monas-
tery in Prague, but left it in the year fol-
lowing and went to Bautzen, Saxony, where
he embraced Protestantism, and became
town piper ; afterwards lived in the same
capacity at Leipsic. He is one of the few
composers who, in the 17th century, cul-
tivated exclusively instnimental music.
Works : Musica vesijertina Lipsiaca, for 1-
5 voices (Leipsic, 1669) ; Hora decima, for
5 voices (ib., 1669) ; Musikalische Arbeit
zum Abblasen, bestehend in 40 Sonetten
mit 5 Stimmen (ib., 1670) ; Arien iiber die
iiberfliissigen Gedanken (ib., 1673 ; Mu-
sikalische Seelenerquickungen (ib., 1675) ;
Bicinia variorum instrumentorum, etc. (ib.,
1674) ; Intraden in zwei Theileu (ib., 1676) ;
DeliciiB musicales, etc. (Frankfort, 1678) ;
Intraden a 4, nehmlich mit einem Cornet
und drei Trombonen (Leipsic, 1683) ;
Fiinfstimmige blasende Abendmusik, etc.
(Frankfort, 1684) ; Musikahsche Gemiiths-
ergotzungen, etc. (1685) ; Opus musicum
sonatorum, etc. (Fi-ankfort, 1686) ; Musica
cui-iosa Lipsiaca, etc. (Leipsic, 1686). His
only vocal composition is : Jahrgang tlber
die Evangelia von 3-5 Vokalstimmen, etc.
(Leipsic, 1678). He published also: Ob-
scrvationes musicse (Leijisic, 1678-83) ; In-
felix musicus (ib., 1678) ; Musica politico-
practica (ib., 1678). — Fetis ; Gerber ; Men-
del ; Reissmaun, Gesch., ii. 300 ; Riemann.
PFEIFFER, GEORGES JEAN, born at
Versailles, Dec. 12, 1835, still Uving, 1890.
Pianist and instrumental composer, son and
pupil of the pianist Clara Virginie Pfeiffer,
and in composition pupil of Maleden and
Damcke. He won immediate success as a
virtuoso, played in London in 1862, and is
much sought as a teacher. His composi-
tions rank among the best of the modern
French school. He is a partner in the firm
of Pleyel, Wolfif & Cie, Paris, pianoforte
116
PFINGSTEN
makers. Works : 3 concertos for piano-
forte and orchestra ; Allegro symj^lionique
for do. ; Symphony for orchestra ; Jeanne
d'Arc, symphonic poem ; Agar, lyrical scenes
for soli, chorus, and orchestra ; Overture to
Le Cid ; Quintet for pianoforte and strings ;
Trio for do. ; Sonatas for do. ; Le capitaine
Eoch, comic opera ; Romances, waltzes,
mazurkas, sonatas, etudes, and many other
pieces for pianoforte. — Fetis ; do.. Supple-
ment, ii. 331 ; Mendel, Ergiinz., 335.
PFINGSTEN (Whitsuntide), cantata, text
by Immergriiu, music by Ferdinand Hiller,
op. 119. Published by Kistner (Leipsic,
1860-67).
PFINGSTEN IN FLORENZ, operetta in
three acts, text by Eiegeu, Zell, and Genee,
music by Alphons Czibulka, first repre-
sented in Vienna, Dec. 20, 1884. An Eng-
lish version, entitled Amorita, translation
by Sidney Rosenfeld and Leo Goldmark,
was given at the Casino, New York, Nov.
16, 1885.
PH^DRA, music to the tragedy of Prince
Georg of Prussia (G. Conrad), by Wilhelm
Taubert, first performed in Berlin in 1868.
Operas on this subject, in Italian : Fedra
incoronata, text by Vissai'i, composer un-
known, Munich, 1662 ; Fedra, by Gluck,
Milan, 1744 ; by Giovanni Paisiello, Naples,
1788 ; by Niccolini, Rome, 1804 ; by Ferdi-
nando Orlandi, Padua, 1820 ; by Simon
Mayr, text by Eomanelli, Milan, Dec. 26,
1820 ; by John Fi-anc Westmoreland, Flor-
ence, Nov. 17, 1824 ; and in French, Phedre,
text by F. B. Hoffman, music by Lemoiue,
at the Academie Royale de Musique, Paris,
Nov. 21,^ 1786.
PHAETON, tragedie-lyrique in five acts
with prologue, text by Quinault, music by
Lully, first represented at Versailles, Jan.
6, 1683 ; at the Academic Royale de Mu-
sique, Paris, April 27, 1683. This work
was received with immense applause, and
became such a favourite that it was called
" I'opera du peuple." It was played every
night until July 30, 1683, when Lully closed
the theatre, on the announcement of Maria
Theresa's death. The prologue, the sub-
ject of which is the return of the Golden
Age, in praise of Louis XIV., is written for
two characters, Saturne and Astree. The
opera contains many brilliant scenes, and
the temple of Isis, the palace of the Sun,
and Phaeton's ride and fall were represented
with great magnificence. The music ranks
among Lully "s best compositions. The op-
era was revived in 1742. Published by
Ballard (Paris, 1683 ; 2d ed., 1713). This
work occasioned several parodies, one of
which was entitled Le cocher maladroit.
Other operas on the same subject : In Ital-
ian, Fetonte, by J. H. Kapsberger, Rome,
1630 ; by Pietro ParaJisi, London, Dec. 17,
1747 ; by Karl Heinrich Graun, text by
Villati, Beriin, March 29, 1750 ; and by Jom-
melli, Stuttgart, June 11, 1769. Phaeton,
English tragedy by Gildon, with music by
Daniel Purcell, London, 1698; and The
Fall of Phaeton, English opera by Thomas
Augustine Arne, ib., 1736. In German :
Phai-thou und Nais, by Bachmann, Dresden,
about 1790, and by Bierey, Breslau, about
1804. O precipicio de Phaetonte, Portu-
guese opera, by Antonio Joao da Silva, Lis-
bon, 1738. — Lajarte, i. 44 ; Clement et La-
rousse, 528.
PHAETON, symphonic poem, for or-
chestra, in C, by Saint-Saens, op. 39, first
performed in Berlin, Feb. 14, 1876. Dedi-
cated to Mme Berthe Pochet, nee de Tiuau,
and published by Durand Schoenewerk &
Cie (Paris, 1876) ; arranged for the piano-
forte for four hands by E. Guiraud.
PHEDRE, overture to Racine's tragedy,
for grand orchestra, in G minor, by Mas-
senet, first j)erformed at the Concerts Popu-
laires, Paris, March 26, 1876. It is dedi-
cated to Joseph Dupont, and published by
Schott (Mainz, 1876).
PHILEMON ET BAUCIS, ballet-hero-
ique in one act, text by Chabanon de Mau-
gris, music by Gossec, first represented at
the Academic Royale de Musique, Paris,
Sept. 26, 1775. It was given after Alexia
et Daphne, a pastorale in one act, by the
PHILEMOjST
same authors. Original cast : Philumon,
M. Larrivee ; Baucis, 'Mile Levasseur ; and
Jupiter, M. Gclin.
PHILEMON ET BAUCIS, French opera
in thi'ee acts, text by Barbier and Carre,
music by Gounod, first represented at the
Theatre Lyrique, Paris, Feb. 18, 18G0.
The opera had first been composed in one
act for the theatre of Baden. The subject
is treated in a half-mythological, half-bur-
lesque manner. The original cast included
Bataille, Fromant, Balanque, and IMme Car-
valho. Other operas on the subject are :
Baucis e Filemone, by Gluck, Parma, 17G9 ;
by Jotio Cordeiro da Silva, Lisbon, 1789 ;
in French, by P. Alex. Monsigny, 1771, not
given ; in German, Philemon und Baucis,
Mariouettenoper, by Joseph Haydn, Esz-
terhi'iz, Sept. 2, 1773 ; Siugspiel, by Joh.
Bi'ihni, 180;j ; melodrama, by Franz Stanis-
laus Spindler, 1800 ; music to Conrad Gott-
lieb Pfefiel's drama, Philemon und Baucis,
by Anton Schweitzer, Weimar, 1770 ; bid-
let to the same, by K. Chr. Agthe, Ballen-
stiidt, 1790 ; and music to Konrad Eckhoff's
drama, by Karl David Stegmann, Gotha,
1777. — Clement etLarousse, 530 ; Hauslick,
Mus. Stationen, 131.
PHILIDOE, ANDRE DANICAN-, called
Philidor I'aine, born in Paris about 1G47,
died at Dreux, Aug. 11, 1780. Dramatic
composer, son of Jean Danican-Philidor
(1G20-79) ; member of the Grande Ecurie,
the Chambre, and the Chapelle of Louis
XrV\ He played the bassoon, cromorne,
oboe, and tromjjette marine, and competed
with LuUy in writing bugle-calls, fanfares,
and military marches. He was also libra-
rian of the king's music library from 1G8J:
until his death. Works : Le canal de Ver-
sailles, opera-ballet, 1GS7 ; La princesse de
Crete, do. Masquerades : Le mariage de la
Couture avec la grosse Cathos, 1G88 ; Mas-
carade des Savoyards, Le roy de la Chine,
Marly, 1700 ; La noce do village ; Les Ama-
zones ; Le lendemain de la noce ; Le vais-
seau marchand ; Le jeu des echecs ; La
fete d'Ai'cueil. Trios, passe-pieds, et me-
nuets ; Suite de danses pom- les violons et
hautboys ; Pieces a deux basses de viole,
basse de violon et bassou ; Pieces de trom-
l^ettes et timbaUes ; Partition de plusieurs
marches et batteries do tambour, etc. — Fetis,
Supplement, ii. 334.
PfflLIDOE, ANNE D.ANICAN-, born in
Paris, April 11, 1G81, died there, Oct, 8,
1728. Flutist and dramatic composer, son
of the i^receding, was admitted to the king's
chamber music in 1702, and estabUshed
the Concerts Spirituels in 1725. Works:
L'Amour vainqueur, pastorale, 1G97 ; Diane
et Endymion, 1G98 ; Danau, opera. Marly,
1701 ; Te Deum, motet a 4 voix et chante
sur mer, etc. ; Pieces pour la flilte, violons
et hautbois, etc. (1712). His brother Fran-
cois, born at Versailles, March 17, 1G89, was
also an able flutist, and has left 2 books of
Pieces for his instrument (Paris, 171G,
1718). — Fetis, Supplement, ii. 337.
PHHJDOR, FRANgOIS ANDKfi DA-
NICAN-, born at
Dreux (Eure-et-
Loir), Sept. 7,
172G, died in
London, Aug. 31,
1795. He was
the youngest sou
of Andre Diuai-
ean-Philidor, b y
his second mar-
riage. His talent
both for chess and
music showed it-
self at an early age, although he became tlie
first chess-player in the world before he was
at all noted as a musician, or, indeed, before
be showed much enthusiasm for music. As
a boy he was a page in the Chapelle du Eoi,
and laid the foundations of a good musical
education by studying harmony under Cam-
pra. Wlien he left the chapelle he went to
Paris, where for some time he supported
himself bj- lessons and copying music. But
the discouragements he met with were such
that he abandoned music, and took up chess-
playing as a profession. At the age of eigh-
iis
PniLIDOK
teen he was already one of the most formid-
able players in Europe. In 1745 he set out
on a tour, beating the famous Stamma in
Amsterdam. Thence he went to Germany,
staying some time, in 1748, at Aix-la-Cha-
pelle, to write a book on chess. Lord Sand-
wich invited him to the English camp be-
tween Bois-le-Duc and Maestricht, where
the Duke of Cumberland was so pleased
with him and his play that he invited him
to London and to publish his " Analyse du jeu
des t'checs," the first edition of which aji-
peared in 1749. He won immense distinc-
tion on this and other visits to London,
especially at the Chess Club, which institu-
tion afterwards gave him a regular pension.
His zeal for music sprang up suddenly in
1754, when he wrote a Lauda Jerusalem,
hoping to get the jsost of surintendant de
la musique du roi in Paris, Diderot and
others of his friends having done their best
to persuade him that the mental strain of
continued chess-playing was injuring him,
and that music was his true vocation. He
did not, however, get the appointment as
surintendant ; but his seK-love would not
brook the idea of failure, and he turned
his attention to dramatic composition. His
first opera, Blaise le savetier, 1759 (strictly
speaking, his second ; his Diable a quatre
had failed in 175G), was a brilliant success,
and was followed by others equally fortu-
nate. But his passion for chess continued
unabated, and in 1777 he returned to Lon-
don. Going back to Paris in 1779, he
found Gluck and Grutry high in popular
favour, yet tried, nevertheless, for fresh lau-
rels with his Persee and Themistocle, but
without his former success. Every year he
would pass a few mouths in London, inlay-
ing chess ; in 1792 he got permission from
the Comitu du Salut Public to make his
regular visit there, but he was prevented
from returning to Paris, and his relations
did not succeed in getting his name struck
off from the list of emigres before his death.
Philidor was decidedly a more cultivated
musician than his contemporaries GriJtry
and Monsigny ; he was at once more orig-
inal, his harmony was more correct and va-
ried, and he gave far more importance to
the chorus and the orchestra than they ; in
orchestration especially he was the sujoerior
of any French comjjoser of his day. But in
melodic grace and dramatic instinct, both
Monsigny and Gretry surjjassed him. His
popularity was unbounded, and he was the
first composer ever called before the curtain
in Paris — after the first performance of his
Sorcier, in 1764. Works — L Operas : Le
diable a quatre, four acts, Paris, Opera Co-
mique, Aug. 19, 1756 ; Le retour du prin-
temps, opera-ballet, December, 1756 ; Blaise
le savetier, one act, Opera Comique, March
9, 1759 ; L'huitre et les plaideurs, ou le
tribunal de la chicane, one act. Theatre de
la Foire Saint-Laurent, Sept. 18, 1759 ; Le
quiproquo, two acts, Comedie Italienne,
March 6, 1760 (afterwards reduced to one
act, as Le volage fixe) ; Le soldat magicieu,
one act, Theatre de la Foire Saint-Laurent,
Aug. 14, 1760 ; Le jardinier et son seigneur,
one act, Feb. 18, 1761, revived at the The-
atre Lyrique, May 1, 1763 ; Le marcchal-
ferrant, two acts. Theatre de la Foire Saint-
Laurent, Aug. 22, 17G1 ; Sancho Pan<;a dans
son ile, one act, Comedie Italienne, July 8,
1762 ; Le bilcheron, ou les trois souhaits,
one act, ib., Feb. 28, 176.3 ; Les fetes de la
paix (intermezzo, written on the conclusion
of peace with England), 1763 ; Le sorcier,
two acts. Theatre Italien, Jan. 2, 1764 ; Tom
Jones, three acts, ib., Feb. 27, 1765 ; Er-ne-
linde, princesse de Norvege, three acts, Aca-
demie Eoyale de Musique, Nov. 24, 1767,
and revived as Sandomir, jjrince de Dane-
mark, Dec. 11, 1773 ; Le jardinier de Sidon,
two acts. Theatre Italien, July 18, 1768 ;
L'amant deguise, ou le jardinier su25pose,
one act, ib., Sejit. 3, 1769 ; La rosiere de
Salency (with several others), ib., Oct. 25,
1769 ; La nouvelle ecole des femmes, three
acts, ib., Jan. 22, 1770 ; Le bon fils, one
act, ib., Jan. 11, 1773 ; Zelime et Melide, ou
les fausses infidelites, ib., Oct. 30, 1773;
Berthe, three acts (with Botson and Gos-
PHILIDOK
sec), Brussels, 1775 ; Les femmes Tengees,
one act, Paris, Theatre Italian, March 20,
1775 ; Le puits d'amour, ou les amours de
Pierre le Long et Blancbe Bazu, one act,
May 1, 1779 ; Persee, three acts, Academie
Royale de Musique, Oct. 24, 1780 ; Le dor-
meur eveiUe, 1783 ; JJamitie, au village,
three acts, Tht-atre Italien, Oct. 31, 1785 ;
Thumistocle, three acts, Fontainebleau, Oct.
13, 1785, and Academie Royale de Musique,
May 23, 1786 ; La belle esclave (not per-
formed) ; Le mari comme il les faudrait tous,
one act, 1788 ; Bclisaire, three acts (Act 11.
is said to be by Berton), Theatre Italien,
Oct, 3, 1796. n. Church music : Lauda
Jerusalem, motet, performed at the Concert
Spirituel, Paris, Feb. 2, 1755 ; Mass for the
anniversary of Eameau's death, Oratou-e,
Paris, 1766 ; Te Deum, Concert Spirituel,
Paris, Aug. 15, 1786 ; and many motets
performed at the Concerts Spirituels, but
not jjublished. HI. Miscellaneous works :
L'Art de la modulation, quartets for two
violins, oboe, and bass, dedicated to M. le
due d'Ayen (Paris) ; Ariettes periodiques,
for one voice with accompaniment of violin,
viola, bass, oboe, and horn, and also a sim-
ple accompaniment of violin and bass, pub-
lished by Philidor and Trial every fifteen
days. Philidor's include : 1. Le triomphe
de la jeunesse ; 2. Les rigueurs d'Hortense ;
3. Le pure de famille ; 4. Le printemps ; 5.
Le poUtique ; 5 bis. A quelque chose malheur
estbon; 6. Aus sons amoureuxdes musettes;
7 and 7 bis. Venus, venes sous ces bosquets
charmauts, La restitution ; 8. La vie cham-
petre ; 9. L'image de la guerre ; 10. L'iudiffe-
rent; 11. L'amant malheureux ; 12. La ber-
gere coquette ; L'ete, song for one voice with
two violins, viola, and bass ; Six ariettas
composed for Sauvigny's Histoire amoureuse
de Pierre le Long et de sa tres-honoree
dame Blanche Bazu ; and Carmen seculare,
an ode, Loudon, 1779. Philidor also pub-
lished a book on chess. Analyse du jeu des
echecs (London, 1749). — Reflexions sur un
prospectus oti Ton propose par souscription
lapartitioncompleted'Ernelinde, byT. . .
F. (Paris, 1768) ; Lettre a M. le Chevalier
de . . . a I'occasion du nouvel opera
(Ernelinde), (ib., 1868) ; Piot, Particularites
inedites concernant les reuvres musicales
de Gossec et de Philidor ; ]fipitre a M. A.
Phihdor, by a Citoyen (Paris, 1780) ; Lar-
din, Philidor peint par lui-meme (Paris,
1847) ; Fetis, vii. ; Clement, IMus. celebres,
101 ; La France musicale (Dec. 22, 1867, to
Feb. 16, 1868) ; Allen, Life of Philidor.
PHILIDOR, PIERRE DANICAN-, born
in Paris, Aug. 22, 1681, died there (or at
Versailles), Sept. 1, 1731. Flutist, son and
pupil of Jacques Philidor (called Philidor
le cadet, brother of Andre, born in Pai-is,
May 5, 1657, died at Versailles, May 29,
1708), also pupil of his uncle Andre ; at first
oboe player of the Grande Ecurie, then of
the Chapelle (1704), he became flutist of the
chamber music in 1712, and viola player in
1716. Works: Pastorale, Marly, 1697; 6
suites a deux fliites, etc. (Paris, 1717, 1718) ;
Trio, contenant 6 suites, etc. (ib.). — Fetis,
Supplement, ii. 338.
PHILIPPE DE MONS. See Blonte.
PHTTJPPE ET GEORGETTE, opera-
comique in one act, text by Monvel, music
by Dalayrac, first represented at the Come-
die Italienne, Paris, Dec. 28, 1791. This
work was given in Berlin, Feb. 14, 1805, in
a German translation by A W. Schlegel.
— Clement et Larousse, 530.
PHILIPPS, PETER (Petrus Philippus,
Pietro FiUppo), born in England about 1560,
died in April, 1625. Contrapuntist, and
church composer ; was canon of Bethune in
French Flanders, became organist of the
vice-royal chapel of the Archduke Albert and
Isabella, governors of the Low Countries ;
appointed in 1610 canon of the Collegiate
Church of Saint- Vincent at Soignies. Bur-
ney says that the first regular fugue upon
one subject that he had met with was that
by Peter Philipps, found, with others of his
compositions, in Queen Elizabeth's Virginal
Book, Trinity College Librai-y, Cambridge.
Hawkins has printed a four-part madrigal
of his. Works : Melodia Olympica di di-
uo
PHILLIPS
versi eccellentissimi niusici a iv., v., vi. e viii.
voci (1591) ; reprints (1594-lGll). Four
books of madrigals (1596, 1598, 1603) ; Mo-
tets for 5 voices (1612) ; do. for 8 voices
(1613) ; Gemmulse sacrse, for 2-3 voices
with continuo (1613) ; Litanies for 4-6
voices (1623) ; Paradisus sacris cantionibus
conditus (1628). — Grove ; Fetis ; Burney,
Hist., iii. 86 ; Barrett, English Church
Com250sers, U ; Eiemanu ; Mendel ; Schil-
ling ; Gerber.
PHILLIPS, PHILIP, born, of American
parentage, in Casadaga, New York, Aug. 13,
1834, still living, 1890. He studied under
Lowell Mason, George F. Root, Adams Da-
vis, and others. In 1853 he began con-
ducting singing-schools in Alleghany, New
York, and neighbouring places. In 1860
he published Early Blossoms, a collection,
of which 20,000 were sold ; then opened a
music shop in Cincinnati, where, in 1863,
he published Musical Leaves, which had a
sale of 700,000. During the Civil War he
greatly aided the Christian Commission by
services of song in different j^arts of the
country. He has made several trips to Eu-
rope, conducting there nearly six hundred
musical entertainments ; in a tour round
the world he held praise services in the
Sandwich Islands, Australia, New Zealand,
Palestine, Egypt, India, and in many Euro-
pean cities. In 1866 he removed to New
York, where he has since resided. His
other published works are: Singing Pil-
gi-im, 1865 ; Song Life, 1872 ; New Hal-
lowed Songs, 1872 ; Singing Annuals, 1874-
75-76 ; Song Ministry, 1874 ; Song Ser-
mons, 1876 ; International Song Service,
1887.
PHILLIPS, WILLIAM LOVELL, born
in Bristol, England, Dec. 26, 1816, died in
London, March 19, 1860. Pianist, pupil of
Potter at the Royal Academy of Music, and
on the violoncello of Liudley. Professor of
composition at the Roj-al Academy. Mem-
ber of orchestra of Her Majesty's Theatre,
Philharmonic Society, and Sacred Harmonic
Society. Conductor at the Olympic and Prin-
cess's Theatres. Organist of St. Catherine's
Church, Regent's Park. Works : Symphony
in P minor ; Cantata ; Songs.
PHILOSOPH, DER, symphony in E-flat,
written by Haydn about 1764.
PHILP, ELIZABETH, born in Falmouth,
England, in 1827, died
in London, Nov. 26,
1885. Vocal composer,
pupil of Manuel Garcia,
Marchesi, and Ferdi-
nand Hiller. She de-
voted herself to teach-
ing and composed a
number of meritorious '
songs and part-songs,
many of which have ' :
been popular. Among her first was a ballad
(1855), Tell me, the summer stars, words
by Edwin Arnold. She set also six songs
from Longfellow, The Water Babies, Eliza-
beth Barrett Browning's " Inclusions," Vic-
tor Hugo's " Chant des lavandiores," and
Prudhomme's "Le souj^ir." Many of her
songs and part-songs were sung by herself
and other singers at her own concerts.
PHILTRE, LB, French opera in two acts,
text by Scribe, music by Auber, first rep-
resented at the Acadomie Royale de Mu-
sique, Paris, June 20, 1831. The subject
is the same as Donizetti's Elisire d' amore.
Original east : Terusine, Mme Damoreau ;
Guillaume, M. Adoljihe Nourrit ; Fonta-
narose, M. Levasseur ; and Joli Coeur, M.
Dabadie. This opera remained in the rep-
ertory until 1862. It was given in Ber-
lin, Oct. 15, 1831. Full score and piano-
forte score by Ch. Rummel, and by V.
Rifaut, published by Schott (Mainz, 1833) ;
also by E. Troupenas (Paris, 1833) ; Latour
(London, 1833), German translation by von
Lichtenstein. — Allgem. mus. Zeitg., xxxv.
289 ; Clement et Larousse, 530 ; Lajarte,
ii. 138.
PHCEBUS, ARISE, cantata for male cho-
rus, tenor solo, and orchestra, text from
William Drummond of Hawthornden's
poem of the same title, music by John
m
PHEOSINE
Knowles Paine, first performed in tbe Mu-
sic Hall, Boston, by the Apollo Club, April
26, 1882.— Upton, Standard Cantatas, 289.
PHROSINE ET MfiLIDOE, French op-
era in three acts, text by d'Arnault pure,
music by Mehul, first represented at the
Opera Comique, Paris, May i, 1794.
PLiCENZA, PASQU.\LE, born at Casal
Monferrato, Nov. 16, 1816, died at Pistoja,
Oct. 23, 1888. Dramatic composer ; studied
at first the flute and the bassoon, and en-
tered the band of a regiment, of which,
within a few years, he became bandmaster.
In 1859 he was commissioned to organize
the bands of several regiments, obtained
the rank of ofiicer, and after having re-
signed, held various positions as maestro
di cappella at theatres. Works : II tribunal
segi-eto, given at Cuneo, 1845 ; Marinella,
Turin, 1858 ; Cii^riano U sarto, Genoa, 1860
(?) ; Monaldcsca, Turin, 1867. — Fetis, Sup-
plement, ii. 342.
PM.NGERO LA SORTE ^^^^, soprano
ai'ia of Cleopatra, in E major, with ac-
companiment of traversa, two violins, and
bass, in Handel's Giulio Cesare, Act III,
Scene 3. Published also separately with
the accompaniment filled out by Otto Dresel
(Leipsic, Breitkopf & Hiirtel).
PIATTI, ALFREDO, born in Bergamo,
Italy, Jan. 8, 1822,
still living, 1890. Vir-
tuoso on the violon-
cello, son of the vio-
linist Antonio Piatti
(died at Bergamo,
Feb. 27, 1878), pupil
'if his gi-eat-uncle
Zanetti, and in 1832-
37, at the Conserva-
torio, Milan, j)upil of
Merighi. He began playing in the orches-
tra of the theatre at seven ; and in 1837
made his first public ajipearance as a solo
performer. He went to Venice and Vienna,
gave concerts in 18-41 in Frankfort, in 1843
in Munich with Liszt, and iu 1844 in Pai-is
and Loudon. He played with success at
the London Philharmonic Society's con-
cert on the same occasion with IMendelssohn,
and also jjlayed with him several times in
private. In 1845 he went to St. Peters-
burg, but returned in 184G to London, and
still resides there, holding since 1859 the
position of violoncellist at the Pojiular Con-
certs. Works : Concertino and two con-
certos for violoncello and orchestra ; Songs
with violoncello obligate. He has also done
good service by arranging and producing
many forgotten sonatas by Veracini, Valeu-
tini, Locatelli, Boccherini, and other com-
posers for strings of the 18th century.
— Grove ; Fctis ; do., SuppK-nient, ii. 342 ;
Riemann ; Mendel ; Hanslick, Concertwesen
in Wion, 162.
PIAZZA, GIOV.VNXI BATTISTA, born
in Rome, second half of 16th century. Vir-
tuoso on several instruments, especially
on the viola, pupil of Vincenzo Ugolino.
Works: Canzoni per una viola (Venice, 1633,
2d ed.) ; do., 2d book (ib., 1527) ; Balletti e
correnti a una viola con basso (ib., 1628) ; Cia-
conne, passacaglie, balletti, etc. (ib.) ; Can-
zoni, lib. v.; Correnti, ciaconne, etc., lib. vi.;
Canzonette jjer una viola. — Fetis ; Mendel.
PICCHI, ERMANNO, born at Impruneta,
near Florence, June 7, 1811, died in Flor-
ence, April 18, 1856. Dramatic composer,
pupil of Ignazio Colson in Florence, where
he was appointed in 1850 secretary of the
music class at the Academy and in 1852
director of the annex schools. Works :
Marco Visconti, opera, given in Florence,
1838 ; Don Crescendo, opera buffa (with
Fiori), Modena, 1854 ; II domino bianco,
Florence, 1855 ; Ezechia, oratorio ; Masses,
psalms, overtures, concertos, music for mili-
tary bands, and for j)ianoforte. — Fetis ; do.,
Supplement, ii. 342.
PICCHIANTI, LUIGI, born in Florence,
Italy, Aug. 29, 1787, died there, Oct. 19,
1864. Virtuoso on the guitar ; although
opposed by his family, made music his
profession and studied counterpoint under
Disma Ugolini. He became one of the edi-
tors of the " Gazzetta Musicale " of Florence,
123
ncciNJs^i
ami in 1852 was appointed jsrofessor of
counterpoint. Works : Metiiod for guitar ;
Quartet for stringed instruments, and parti-
menti for the study of harmony and ac-
companiment ; Sonatas, caprices, etudes,
and themes varies for guitar ; Psabn cix.,
for 8 voices in two choirs with orchestra,
etc. Didactic works : Princiin generali
e ragiouati della musica teorico-pratica
(Florence, 1854 ; Milan, 1855) ; Notizie della
vitta e delle opere di Luigi Cherubini
(Florence, 1843) ; and other works on har-
mony, composition, and accompaniment.
— Futis ; do., Sujjplement, ii. 343 ; Mendel;
Schilling.
PICCINNI, LUIGI, born in Naples in
1766, died, between Paris and Passy, July
31, 1827. Dramatic composer, son and
puijil of Nicola Piccinni, whom he joined
in Paris in 1783, and accompanied again
to Naples in 1791. He was appointed in
1796 royal Kapellmiistare at Stockholm, and
returned in 1801 to Paris. Works : Les
amours de Cherubin, Paris, Theatre de
Beaujolais, 1784 ; Suzette et Colinet, ou les
amants heureus par stratagems, ib., 1786 ;
La suite des deux chasseurs et la laitiere,
ib., 1788 ; Les infidolites imaginaires. The-
atre Louvois, 1790 ; Gli accidenti inaspet-
tati, Naples, 1792 ; L' aniante statua, Venice,
1793 ; II matrimonio par raggiro, Genoa,
1793 ; La notte imbrogliata, Florence,
1794 ; Ero e Leandro, theatrical cantata^
1795 ; n sonnambulo, Stockholm ; Le
sigisbee, ou le fat corrige, Paris, Theatre
Feydeau, 1804 ; L'ainee et la cadette ;
Avis aux jaloux, ou la rencontre imprevue,
1809 ; Hippomene et Atalante, Opera, 1810 ;
La rancune trompee, 1819. — Fetis.
PICCINNI, LOUIS ALEXANDRE, born
in Paris, Sept. 10, 1779, died there, April
24, 1850. Dramatic composer, son of Giu-
seppe and grandson of Nicola Piccinni, pu-
pil of Hausmann on the pianoforte and of
Lesueur in composition, finally of his grand-
father. At first accompanist at the Theatre
Feydeau and then at the Opera, he was
chef d'orchestre at the Theatre de la Porte
Saint-Martin in 1803-7 and in 1810-16,
court accompanist in 1804-18, and at the
Theatre du Gymnase in 1820-24, and chef
de chant at the Opera in 1816-26. The
privilege of theatrical performances at Bou-
logne was accorded him in 1827, but the
enterprise did not succeed, and he returned
to Paris to teach until 1836, when he settled
at Boulogne, with the same object in view.
Afterwards he lived several years at Tou-
louse, where he was director of the Con-
servatoire, thence went to Strasburg to teach
singing, and while there conducted the con-
certs and music festivals at Baden-Baden.
In 1849 he returned to Paris. Works :
L'amoureux par surprise. Theatre Feydeau,
1804 ; Avis au public, ou le physionomiste
en defaut, ib., 1806 ; lis sont chez eux, ib.,
1808 ; Le sceptre et la charrue, ib., 1817 ;
La maison en loterie, Theatre du Gymnase,
1820 ; Le Bramine, ib., 1822 ; La petite
lampe merveilleuse, ib., 1822 ; La fete fran-
yaise, ib., 1823 ; Alcibiade solitaire. Opera,
1824 ; La prise de Jericho, Strasburg, 1847 ;
and more than 200 melodramas and ballets ;
romances, cantatas, vaudeville airs ; Sonatas,
pot-pourris, and themes varies for jjiano-
forte.— Fetis ; Mendel.
PICCINNI (Piccini, Picinni), NICOLA,
born at Bari, King-
dom of Naples, Jan.
16, 1728, died at
Passy, near Paris,
May 7, 1800. His
father, a musician,
wished him educated
for the church, but
the Bishop of Bari
persuaded him in
1742 to send his son to the Conservatorio
di S. Onofrio, Naples, where the lad became
in time a favourite pupil of Leo and Dvirante,
after being first instructed by a maestrino
(pupil-teacher). Piccinni left the Conserva-
torio in 1754, after twelve years' study, and
brought out bis first opera, Le donne dis-
pettose, at the Teatro de' Fiorentini in Na-
ples, with great success, in spite of the fact
123
PICCINNI
that Logroscino's opere buffe virtually mo-
nopolized the stage at that time. His sud-
den fame, as well as his ability as a composer,
grew rapidly, with subsequent operas, until
in 17G0 his Cecchiua carried everything
before it in Rome, and soon passed on to
almost every lyric stage in Europe. Four
years previously he had married his pupil,
Viuceuza Sibilla, an excellent singer, pos-
sessed of an exceedingly sympathetic voice
and great personal beauty. He never al-
lowed her to go upon the stage, although
he said that she sang his music better than
anyone else. The fame of La cecchina
reached JommeUi's ears, and although at
first inclined to pooh-pooh it as mere boy's
work, the great master predicted, after he
had heard it, great things of the young
composer. Piccinui's next success was
L' Olimpiade, and though the text had
already been set by Leo, Pergolesi, Galuppi,
and Jommelli himself, his oj)era excelled
those of all his predecessors. Even in
these early operas Piccinni showed himself
an innovator, uotablj- in his more dramatic
treatment of the duet, and his more ex-
tended development of the finale, on lines
first laid down by Logroscino. He was,
indeed, practically the first opera eomjjoser
to turn choral masses to dramatic account
on the stage. In 1773 a rivalry sprang up
in Rome between him and Anfossi, who,
although an inferior conijioser, had caught
the popular ear. The fickle Roman public
went over to the new favourite en masse, and
an opera by Piccinni was hissed and had to
be withdrawn. This so outraged Piccinni
that he returned to Najiles, and fell so ill
that his life was despaired of ; but on his
recovery he brought out I viaggiatori,
which made almost as much furore in Na-
ples as La cecchina had in Rome. In 1776
he was offered a salary of G,000 francs, and
travelling expenses, by Marie Antoinette,
through La Borde and the Neapolitan
ambassador, General Caraccioli, if he would
go to Paris to uphold the standard of the
traditional opera against the innovations of
Gluck. He arrived there with his family
in December, and set to work, with Mar-
montel's aid (for he did not know a word
of French), upon a text by Quinault which
Marmontel had remodelled. But a good
while before his opera was finished the
opponents of Gluck clustered around Pic-
cinni as around a chosen chami^ion, and
when at last his Roland came to its first
performance, in 1778, the famous Gluekist
and Piccinnist factions were already at
swords' points, and the animosity between
the two 23arties was so violent that fears
were entertained for Piccinni's safety. The
success of Roland was, however, undoubted,
and the composer was carried home in
triumph. He was appointed director of
the Italian troupe that alternated with the
regular French company at the Academie
de Musique, and was also engaged to give
singing-lessons to Marie Antoinette at Ver-
sailles. It is a little curious that both
Gluck and Piccinni, in their world-famous
rivalry, should have owed much to the
Queen's protection ; it is highly probable,
however, that Marie Antoinette protected
Gluck more from personal affection, as her
old clavecin teacher in Vienna, while her
musical sympathies were more with Pic-
cinni. But she certainly used her iufluence
to secure fair jjlay for each. The rivalry,
and the two opposing factious, went on
until the production of Gluck's Iphigeuie
en Tauride, May 18, 1779, left the victory
with Gluck. An oj^era by Piccinni on the
same subject was to have been brought out
first, and the two composers shown in
more immediate com2)arison than ever ; but
Piccinni found the version of the text offered
him so bad that he had to interrupt his
work ujion it, and hand it over to Ginguene
to be rewritten, and his Iphigouie en Tau-
ride could not be brought out until Jan.
23, 1781, a year after Gluck had left Paris.
It had but small chance of success after
Gluck's immortal work, especially as the
Gluekist faction was, by that time, well in
the ascendant. But a new rival sprang up,
PICCrNNI
in the f)erson of Sacchini, and although Pic-
cinni's Didon was a brilliant success, and
some smaller operas won general favour,
the tide of fortune gradually tui-ned tow-
ard his rival. About 1783 Piccinni was
made head master of a new school of sing-
ing founded in Paris, but his star was on
the wane, and his new oj)eras were all fail-
ures with the public. He was a mau wholly
unfitted for intrigue, being of a frank, ojsen,
kindly nature, fond of domestic life, and
bearing no one ill-will ; in his rivalry with
Gluck he had been supported by a powerful
and active faction, which left no stone un-
turned that could contribute to his success ;
but when left to himself, he had only his
own genius to trust to. He was not in the
least embittered by his reverses, and when
Sacchini died it was he that pronounced
his funeral oration, while on Gluck's death,
in 1787, Piccinni tried to raise funds by
subscription to found a series of annual
concerts in his memory. On the breaking
out of the Eevolution in 1789 he lost his
pension, and returned to Naples, where he
was well received, and obtained a pension
from the king. But the remainder of his
life was an almost unbroken series of
troubles. A daughter of his married a
young Frenchman of advanced liberal ideas,
and he saw one of his ojaeras deliberately
hissed on account of his supposed Jacobin-
ism. He was placed under an-est by the
jirime minister — more to save his life than
for any other reason— and remained im-
prisoned in his own house four years, in
great poverty, for all his propertj' in France
was lost, and a friend whose paper he had
indorsed went into bankrujatcy. He
supported himself as best he could by
writing church music. In 1798, after the
treaty of peace with the French Kejjublic,
some influential friends made it possible for
him to go once more to Paris, where he was
feted at the Conservatoire, and presented
with a sum of 5,000 francs, and a small pen-
sion. But ill-luck still pursued him ; his
pension was irregularly paid, and when his
family, whom he had left in Naples, were
forced to fly before Napoleon's army, they
arrived in Paris in utter destitution. He
had an attack of paralysis, which lasted
several months. On his recovery Napoleon
gave him 25 louis for a military march, and
helped him in other ways ; a sixth inspec-
tor's place was also created at the Conserva-
toire for his benefit, but severe illness struck
him down again, and he retired to Passy,
only to die. He was buried in the common
burial ground (since sold), and a stone
was set up over his grave by some friends.
Works — I. Operas : Le donne dispettose,
Naples, 1754 ; Gelosia per gelosia, ib.,
1755 ; II curioso del suo proprio danno,
ib., 1755 ; Zenohia, ib., 175G ; L' astrologo,
ib., 175G ; L' amaute ridicolo, ib., 1757 ; La
schiava, ib., 1757 ; Cajo Mario, ib., 1757 ;
La morte di Abele, ib., 1758 ; Petiton, ib.,
1758 ; La scaltra letterata, ib., 1758 ; Gli
uccellatori, Venice, 1758 ; Alet^saiuho nell'
Indie, Rome, 1758 ; II Ciro, ?, 1759 ; Siroe,
Naples, 1759 ; Le donne vendicate, ib.,
1759 ; La buona figliuola, ossia la Cecchina,
Rome, 1759, and Paris, Academie Eoyale
de Musique, Dec. 7, 1778 ; Origilla, Naples,
1760 ; H r^ pastore, ib., 1760 ; La couta-
dina bizzarra, ib., 1761 ; L' Olimpiade, Rome,
17C1 ; L' amor senza malizia, Naples, 1761 ;
Demetrio, ib., 1762 ; La bella verita, ib.,
1762 ; Le vicende della sorte, ib., 1762 ;
La viUeggiatura, ib., 1762 ; Demofoonte, ib.,
1762 ; II barone di Torre forte, ib., 1762 ;
II nuovo Orlando, ib., 1763 ; II mondo della
luna, ib., 1763 ; L' incognita perseguitata,
ib., 1763 ; II gran Cid, ib., about 1763 ;
Berenice, ib., 1764 ; La Cecchina maritata
(La buona figliuola maritata), ib., 1765; II
cavaliere per amore, ib., about 1765 ; Le
f)escatrici, ossia 1' erede riconosciuta, ib.,
1765, and Vienna, Jan. 23, 1769 ; La Fran-
cese maligna, ib., 1766 ; La molinarella,
ib., 1766 ; Artaserse, Turin, 1766, and Na-
ples, 1772 ; La finta giardiniera (La baro-
nessa giardiniera), Naples, 1767 ; Mazzina,
Acetone e Dindimenio, ib., about 1767 ;
Didone abbaudonata, ib., about 1767 ; La
125
PICCIONI
donna di spirito (La locandiera di spirito),
ib., 17G8 ; Gli amanti mascherati, ib., about
1768 ; Gli stravagauti, ib., 17G9 ; Gli sposi
perseguitati, ib., 17G9 ; Don Chisciotto, ib.,
1770 ; Catone in Utica, ib., 1770 ; Cesare e
Cleopatra (Cesare in Egitto), Milan, 1770 ;
L' Americano ingentUito, Vienna, 1770, and
Naples, 1772 ; Lo sposo burlato, Vienna,
1771 ; Antigono, Eomo, 1771 ; La donna
di beir umore, Naples, 1771 ; L' Olimpiade
(second setting), ib., 1771 ; La corsara, ib.,
1772 ; Ipermeslra, ib., 1772 ; Le trame zin-
garescbe, ib., 772 ; 11 finto pazzo, ib., 1772 ;
L' ignorante astuto, ib., 1773 ; I furbi bur-
lati, ib., 1773 ; La sposa collerica, ib., 1773 ;
11 ritorno di Don Calandrino, ib., 1771; ; I
Napoletani in America, ib., 1774:; II vaga-
bondo fortunato, ib., 1774 ; Alessandro nell'
Indie (second setting), ib., 1775 ; Lequattro
nazioni, ib., 1775 ; Le gemelle, ib., 1775 ; H
sordo, ib., 1775 ; Eneain Cuma, ib., 1775 ;La
capricciosa, ib., 1776 ; Radamisto, ib., 1776 ;
1 viaggiatori felici, ib., 1776 ; Roland, Paris,
Opera, Jan. 27, 1778 ; Pbaon, CLoisy, at
court, 1778 ; Le fat mepriso, Pims, Como-
die Italiennc, 1779 ; Atys, ib., Acadumie
Eoyale dc Musique, Feb. 22, 1780 ; Iphi-
genie en Tauride, ib., ib., Jan. 23, 1781 ; AdUe
de Pontbieu, ib., ib., Oct. 27, 1781 ; Didon,
ib., ib., Dec. 1, 1783 ; Le faux lord, ib., Oix'ra
Comique, Dec. 6, 1783 ; Le dormeiu- oveillo,
ib., Comedie Italicnne, 1784 ; Diane et En-
dymion, ib., Acadumie Royale de Musique,
Sept. 7, 1784 ; Lucette, ib., TbOatre Italien,
Dec. 30, 1784 ; I decemviri (not performed,
written about 1785) ; Penelope, Paris, Aca-
demie Eoyale de Musique, Dec. 6, 1785 ; Le
mensonge officieux, ib., Comedie Italienne,
Marcb 17, 1787 ; L'euluvemeut dea Sabiues
(not performed, written in 1787) ; Clytem-
nestre (id., 1788) ; Les fourberies de Marine,
Paris, 1790 ; La Ceccbiua zitella (not per-
formed, written in 1790) ; La Vittoriua (id.,
about 1790) ; La serva onorata, Naples,
1792 ; Ercole al Termodonte, ossia la dis-
fatta delle Amazzoni, ib., 1792 ; Griselda,
Venice, 1793 ; D servo padrone, ib., 1793 ;
Lo sposalizio di fciau Pomponio, ?, about
1795 ; n finto Tureo (not performed, written
about 1795) ; II Tigraue (id., about 1795).
n. Church music : Laudate, for live voices
and orchestra ; Laudate, for two soprani,
bass, and chorus ; Beatus vir, for soprano and
chorus ; and Pater noster, for soprano and
orchestra. The scores of nearly sixty of
Piccinni's operas were found at a second-
hand clothier's in Naples by Signor Florimo,
librarian of the Collegio reale di Musica di
San Pietro a Majella, at Najsles. — Ginguene,
Notice sur la vie et les ouvrages de N. Pic-
cinni (Paris, 1801) ; Desnoiresterres, Gluck
et Picciuui (Paris, 1872; 2d ed., 1875);
Clement, Mus. cclebres, 108 ; Fctis, vii. ;
Eiemann ; Mendel.
PICCIONI, GIOVANNI, organist of the
cathedral at Orvieto at the end of the 16th
and beginning of the 17th century. "Works :
Madrigali a cinque voci (Venice, 1596) ; E
pastor fido musicale (ib., 1602). In the
library of the Liceo Musicale at Bologna
are : Concerti ecclesiastiei et Motetti a
1-8 voci (\'enice, 1610) ; do., op. 21 (Rome,
1619).— Fetis ; Mendel.
PICHEL (Piehl), VACLAV (Wenzel),
born at Bechin, Bohemia, in 1740, died in
Vienna, Jan. 23, 1805. Violinist, pupil of
Johauu Pokorny, and, while studying at
Prague University, of Segert in counterpoint.
He was influenced also by Dittersdorf,
under whose auspices he joined the orches-
tra of the Bishop of Grosswardein. For
two years he was musical director to Count
Hartig in Prague, then became first violin
of the National Theatre in Vienna, until in
1775 he was ajjpointed compositore di mu-
sica to the Archduke Ferdinand in Milan.
He visited the chief Italian cities, and was
a friend of Nardini. "When the French oc-
cupied Lombai'dy in 1796, he returned with
the Archduke to Vienna. "Works ; 4 Latin, 1
German, 8 French, and 7 Italian operas ; 35
masses, 22 psalms, 9 offertories, and other
church music ; Cantata ; 29 concertos ; 3
concertiui ; 89 symphonies ; 17 serenades ;
30 sonatas ; 12 sonatinas ; 49 capriccios ; 6
fugues ; 224 variations ; 6 ariettas ; 64 duets ;
12«
PIELTAIN
39 trios ; 172 quartets ; 21 quintets ; 6
sextets ; 7 septets ; 7 octets : in all, 887
numbers, exclusive of 148 quartets, quintets,
and sextets, composed for Prince Esztcr-
hdzj. He made also a Bohemian transla-
tion of Mozart's ZauberflOte. — Dlabacz ;
Futis ; Mendel ; Gerber ; Schilling ; Wurz-
bacli.
PIELTAIN, DIEUD0NN15 PASCAL,
born in Liuge, March i, 1754, died there,
Dec. 10, 1833. Violinist, pujjil of Jarno-
wich, went to Piiris in 1778, and aj^peared in
the Concerts Spirituels for six years in suc-
cession. In 1784-93 he was violinist to
Lord Abiugton in London ; then visited St.
Petersburg, Warsaw, Berlin, and Hamburg
(1800), and returned to his native city.
Works : 13 concertos for violin ; 6 sonatas
for do. ; 6 quartets for strings ; 12 duos
for violins ; 12 airs varies for do. — Fetis ;
Mendel.
PIERO MIO, GO QUA UNA FRITOLA.
See Crhpino e la Comare.
PIEREE LE GRAND (Peter the Great),
comcdie in four acts, text by Bouilly, music
by Gretry, first rejiresented at the Italiens,
Paris, Jan. 13, 1790. Catherine H. of Rus-
sia is the heroine of the opera, which was
represented in Amsterdam in 1812. Other
operas on the same subject : Kaiser und
Zimmermann, Singspiel by K. Aug. von
Lichtenstein, Strasburg, 1814 ; Die Jugend
Peter desGrossen, Singsijiel, by Josef Weigl,
text by Treitschke, Vienna, Dec. 11, 1814 ;
Czar und Zimmermann, by Lortzing, Leii>
sic, Dec. 22, 1837, Berlin, 1854. In Italian,
Pietro il Grande, by Niccolo Vaceaj, Parma,
1824 ; by Mercadante, Lisbon, Dec, 17,
1827 ; II borgomastro di Saardam, oj^era
bufifa, by Donizetti, Naples, 1827 ; Pietro il
Grande, by Louis Antoiue Julien, London,
Aug. 17, 1852. In French, U^toile du Nord,
Paris, Feb. 16, 1854 ; and in English, by
Thomas Simpson Cooke, London, 1829.
PIEESON (Pearson), HENRY HUGO,
born in Oxford, England, April 12, 1816,
died in Leipsic, Jan. 28, 1873. Oi'ganist
and pianist, jDupil of At wood and Arthur
wmwm^
Corfe at Cambridge, and in Germany of C.
H. Rinck, Tomasehek, and Reissiger; had
much intercourse
with Mendelssohn,
and became ac-
quainted with
Meyerbeer, Sjiohr,
a n d Schumann.
He was elected in
1844 to the Reid
jjrofessorshij) of
music in the Uni-
versity of Edin-
burgh, succeeding
Sir Henry Bishop, but soon resigned and
returned to Germany, which he virtually
adopted as his country, changing his name
from Henry Hugh Pearson to that given
above ; he lived at first in Vienna, from 1847
in Hamburg, and afterwards at Leipsic.
Works : Der Elfensieg, opera, Briinn, 1845 ;
Leila, do., Hamburg, 1848 ; Contarini, ib.,
1872 ; Jerusalem, oratorio, comi^osed for
the Norwich Festival, September, 1852 ;
Hezekiah, do. (fragment), Norwich, 1869 ;
Music to the 2d part of Goethe's " Faust "
(1854), repeatedly performed at Hamburg.
Funeral March to "Hamlet ;" Several over-
tures ; Sacred songs, choruses, and songs.
Some of his earlier works appeared under the
pseudouyme of Edgar Mansfeldt. — Grove ;
Fetis ; Eiemann ; Mendel.
PIETA ! SIGNORE ! celebrated aria di
chiesa, for contralto, text from the second
stanza of Arsenio's aria in Alessandro Scar-
latti's oratorio, II martirio di Santa Teodosia,
Naples, 1709 (MS. in the Biblioteca Pala-
tina, Modena), music attributed to Ales-
sandro Stradella, whose authorship is
however, out of the question. Fetis, Nied-
ermeyer, and Rossini have been suggested
as the composers of this melody, but it is
more jirobablj' by Francesco Rossi. It was
sung by Miss Emily Winant at the Musical
Festival, New York, May 6, 1882.
PIETON, LOYSET (Louis), called Loyset
de Bernais, and Le Normand, born at Bernay,
Normandy, in the last quarter of the 15th
127
PIETEO
century. Contrapuntist, whose works, con-
sisting of motets, j)salms, and chansons, are
to be found in various collections of the
times, between 1531 and 1545 ; also in Pe-
trucci's Motetti della Corona (1519). — Futis ;
Mendel ; Kiemann.
PEETRO YON ALBANO, romantic opera
in two acts, text by Charles Pfeiffer, from
Tieck's novel of the same title, music by
Sjjohr, first rejiresented in Cassel, Oct. 13,
1827. It was admired by Meyerbeer. The
opera had only a temporary success. Pub-
lished by Schlesinger (Berlin, 1829) ; the
pianoforte score arranged by Ferdinand
Spohr. Same title, Italian opera by Apol-
loni, Venice, March 9, 1856. — Spohr, Auto-
biography, ii. 1G3 ; Allgem. mus. Zeitg.,
xsxi. 849 ; Berliner mus. Zeitg., vi. 193.
PIFF-PAFF, TRAQUONS-LES ! See
Huguenots,
PIGNATI (Pignata), Abbate PIETRO RO-
MULUS, born in Rome in 1660, died (?).
Dramatic composer ; wrote also most of the
librettos of his operas. Works : Costanza
vince il destine, Venice, 1695 ; iUmiro, re
di Corinto, ib. ; Sigismondo Primo, ib.,
1696 ; L' inganno senza danno, Treviso,
1697 ; Paolo Emilio, Venice, 1699 ; II vanto
d' amore, ib., 1700 ; Oronte in Egitto,
Udiue, 1705.— Fetis ; Mendel.
PIL.\TI (Auguste Pilate, called), born
at Bouchaiu (Xord), France, Sept. 29, 1810,
died in Pai'is, Aug. 1, 1877. Dramatic com-
poser ; studied at first at Douai, then at
the Conservatoire in Paris ; visited London
in 1837, became chef d'orchestre of the
Theatre de la Porte Saint-:\Iartin in 1840,
and later of the Theatre Beaumarchais.
"Works : La modiste et le lord, Paris, 1833 ;
La prova d' un opera seria. La fermiere de
Bolbec, 1835 ; Le-oua, ou le Parisian en
Corge, 1836 ; Le roi du Danube, London,
1837 ; OUvier Basselin, Paris, 1838 ; Made-
moiselle de Fontanges, Le naufrage de la
Mt-duse (with Grisar and Flotow), ib., 1839 ;
Les Farfadets, fairj'-ballet, 1841 ; Les bar-
ricades (with Eugene Gautier), 1848 ; Le
postilion de Saint- Valery, 1849 ; Les t'toiles, i
Les trois dragons, 1854 ; Les statues de
I'Alcade, ballet-pantomime, 1855 ; Jean le
sot, Une devinette, L' Amour et Psyche, 1856 ;
L'ile de Calypso, 1857 ; Peau d'ane, Ignace
le retors, II signor Cascarelli, 1858 ; L'ile du
sol-si-re, 1860 ; H maestro Blaguarino, Lille,
1865 ; Rosette et Colin, Paris, 1874 ; Les
liccheurs de Tarente, ib., 1886 ; Le nid
d'aigle, cantata, 1858. — Fetis ; do., Supple-
ment, ii. 57.
PILGRTMS' CHORUS. See Tannhau-
scr.
PILKINGTON, FRANCIS, EngUsh com-
poser of the 16th and 17th centuries. He
was a chorister in Chester Cathedral ; Mus.
Bac, O-xford, 1595. Works: The First
Booke of Songs or Ay res of 4 parts : with
Tableture for the Lute or Orpharion, with
the Violl de Gamba (1605) ; The First Set
of Madrigals and Pastorals of 3, 4, and 5
parts (1613) ; The Second Set of Madrigals
and Pastorals of 3, 4, 5, and 6 parts ; apt
for Violls and Voyces (1624). He contrib-
uted also, in 1614, two j)ieces to Leightou's
" Teares and Lamentacions." — Grove.
PILOTTI, GIUSEPPE, born in Bologna,
Italy, in 1784, died there, June 12, 1838.
Church composer, pupil of lilattei, and
member of the Accademia Filarmonica
when only twenty-one years of age. Hav-
ing been maestro di cappella at Pistoja
several years, he succeeded Mattel at San
Petronio, Bologna, in 1826, and was aj)-
pointed professor of counterpoint at the
Liceo Filarmonico in 1829. His numerous
compositions for the church remain in MS.
He wrote two operas : L' ajo uell' imbarrazzo,
given at Bologna, and Non essere geloso,
Florence, 1816. — Fetis; Mendel; Rie-
mann.
PINAFORE, H. M. S., English comic op-
eretta in two acts, text bj* Gilbert, music by
SuUivan, first represented at the Opera Co-
mique. Strand, London, May 25, 1878. The
action takes place ou Her Majesty's Ship
Pinafore, and turns on the fact of the
Captain and an officer, Ralph Rackstraw,
having been exchanged in infancy by the
r'"*"" ^-3*1
^''^>
•T*"'
tW-
»*i
fO>-'
PINELLI
bumboat woman, Little Buttercup,
nal cast :
Oiigi-
Captain Corcoran Mr. Barrington.
Sir Joseph Porter Mr. G. Grossmith.
Josephine Miss Howson.
Ealph Eackstraw Mr. Power.
Little Buttercup Miss Everhard.
This opera had an extraordinary success
in London, where it kept the stage for 700
consecutive nights ; and in New York,
where it was first given, Jan. 15, 1879, it
was performed at four theatres for months.
It was adopted throughout the United States
to a degree surpassing all previous records.
It was given under the direction of Gilbert
and Sullivan at the Fifth Avenue Theatre,
Dec. 1, 1879. Published by Metzler & Co.
(London, 1878) ; and by Oliver Ditson & Co.
(Boston and New York, 1879). — Atheuasum
(1878), i. 709 ; New York Tribune, Dec. 2,
1879.
PINELLI DE GERARDIS, GIOVANNI
BATTISTA, born, of noble family, in Genoa,
Italy, in 1545, died in Vienna, or in Prague,
June 15, 1587. Church composer, was cantor
at the Cathedral of Vicenza in 1571, and,
apparently in the imperial service, settled
at Prague before 1580, when he became
Kapellmeister to the Elector of Saxony
at Dresden, on the recommendation of
Emperor Eudolph 11. Constant disagree-
ments, caused by his violent tempei-, led to
his discharge in 1584, and a year later he
was again in the imperial service. Works :
VI. Misse a 4 voci (Dresden, 1582) ; Ger-
man Magnificats (ib., 1583) ; Madrigali a
piti voci (ib., 1584) ; Cantiones sacree, 8,
10 e 15 voci (ib., 1584) ; Newn kurtzweilige
teutsche Liedleiu mit 5 Stimmen (ib., 1584) ;
Libro primo de Neapolitane a 5 voci
(ib., 1585) ; Mutetti quinque vocum, etc.
(Prague, 1588) ; 18 Musettes for 5 voices
(ib., 1588).— Mendel.
PINELLI, ETTORE, born in Eome, Oct.
18, 1843, still living, 1890. Violinist, pu-
pil of Ramacciotti, and at Hanover (1864)
of Joachim ; returned to Rome in 18GG, and
with Sgambati founded a society for clas-
sical chamber music. He also established,
at the Accademia di Sta. Cecilia, a violin and
pianoforte school, out of which grew the
Liceo Musicale, where in 1877 he was ap-
pointed professor. He failed in 1867 in
his endeavour to found a Roman orchestral
society, but succeeded in 1874 in doing so.
He conducts the court concerts alternately
with Sgambati. "Works : Overture ; Italian
Rhapsody ; String quartet, etc. — Riemann.
PINO, ROSARIO ANTONIO, born at
Palermo, Dec. 19, 1850, still living, 1890.
Pianist, pupil of Ferdinando Valeute and of
Luigi Siri, and in composition of Salvatore
Lavigna, of Aspa, and of Battista ; apjicared
as a virtuoso from his fifteenth year, and
settled at Naples to teach his instrument.
Works : Le tre ore di agonia, oratorio, Na-
ples, 1867 ; Masses, vespers, overtures, etc.
— Futis, Supplement, ii. 347.
PINSUTI, Cavaliere CIRO, born at Asina-
lunga, Siena, May 9,
1829, died in Lou-
don, March 10, 1888.
Pianist and dramatic
composer, pupil of his
father ; played in pub-
lic at ten, and was
made an honorary
member of the Acca-
demia Filarmonica,
Bologna, at the age
of eleven ; he went to England with Henry
Drummond, and studied the pianoforte and
composition under Cipriani Potter, and the
violin with Blagrove. In 1845 he returned
to Italy and entered the Conservatorio at
Bologna, where he attracted the notice of
Rossini, and became his favourite pujjil.
He went to England again in 1848, and be-
came a singing teacher, dividing his time be-
tween London and Newcastle, where he
founded a musical society. He frequently
visited Italy, and brought out operas there.
He was professor of singing at the Academy
of Music, London, from 1856. Orders of
I Saint-Maurice et Saint-Lazarus, 1859, and of
129
PIOUS
the Italian Crown, 1878. He was selected
to represent Ital^- at the opening of the
International Exhibition in 1871, and com-
posed a bj-mn for that occasion to words by
Lord Houghton : " O people of this favoured
land." Works — Operas : H mercaute di
Venezia, Bologna, 1873 ; Mattia Corvino,
Milan, 1877 ; Margherita, Venice, 1882. Te
Deum, 1859 ; 35 duets ; 14: trios ; 45 part-
songs, and choruses ; About 250 English
and Italian songs, and 30 pianoforte pieces.
— Grove ; Fetis, Supplement, ii. 348 ; Eie-
mann ; Mendel, Erganz., 350.
PIOUS ORGIES, aria, with accompani-
ment of strings complete, and coutinuo, in
Handel's Judas Maccabicus, Act I. This
air, which is only twenty-seven measures
long, is sung first in E-flat major by Simon
(bass), and then repeated, after a short reci-
tative, either by An Israelitish Man (mezzo-
soprano), in F major, or else by An Israel-
itish Woman (sojirauo), in G major.
PIPELARE, ]\L\THIEU, born at Lou-
vain, flourished about the end of the 15th
and the beginning of the 16th centuries.
Contrapuntist ; signed his name usually with
a rebus composed of the word Pipe and the
notes la, ru. A mass of his composition is
to be found in Andreas de .\ntiquis Jlissa;
XV. (151G), and an Ave Maiia in Petrucci's
Book of motets (Venice, 1505) ; Georg
Ehaw's Biciuia (1545) also contains a few of
his works. Manuscripts by him are in the
royal libraries of Brussels and Munich.
— Fetis ; Riemann.
PIRATA, IL (The Pii-ate), Italian opera
in two acts, test by Romani, music by Bel-
lini, first represented at La Scala, Milan,
Oct. 27, 1827. Gualtiero, having lost his
ancestral estates, becomes chief of a band of
pii-ates. During his absence his betrothed,
Imogene, marries his enemy, Ernesto, Duke
of Calabria, to retrieve her father's fortune.
In the midst of a severe storm Gualtiero is
forced to seek refuge on shore, where he
discovers that Imogene has married. He
attempts to take the life of her son, but
yields to her entreaty to spare him, and
kills her husband instead. Gualtiero is
seized by the authorities, and Imogene be-
comes insane. This opera, written by Bel-
lini at the age of twenty, was received with
enthusiasm. The part of Gualtiero was
composed for Rubiui, who appeared in the
original cast. This work was first given in
Vienna, Feb. 25, 1828 ; in London, April
17, 1830 ; in Berlin, Aug. 31, 1831 ; in New
York, Dec. 5, 1832 ; and in Paris, Feb. 1,
1832, with Rubiui, Santini, and Mme Schro-
der-Devrient, and in 1846 with Mai-io, Co-
letti, and Mile Grisi, who was very suc-
cessful as Imogene. Published by Ricordi
(Milan). — Allgem. mus. Zeitg., xxxiii. 630 ;
Clement et Larousse, 534 ; Harmonicon
(1830), 222.
PIRATES OF PENZANCE, THE, Eng-
lish comic opera in two acts, text by Gilbert,
music by Sullivan, first represented at the
Fifth Avenue Theatre, New York, Dec. 31,
1879, under the composer's direction. Act
I. is placed in the Pirates' lair on the coast
of Cornwall. Frederic, having been ap-
prenticed to the Pirates by mistake, at the
close of his indenture resolves to war against
those whom he loves as companions, but
hates as Pirates. He discovers that he was
born on leap-year, and instead of being
twenty-one is but four and a half years old,
and must therefore remain in the band.
The Pirates, who never rob oi-phans, find
that Major-General Stanley, whose daughter
Mabel is betrothed to Frederic, deceived
them into thinking him an oi-phan, and re-
solve to attack his home. Act H. is in a
ruined chapel on the General's estate, where
the Policemen and Pirates meet, and con-
spicuously enjoin silence, affecting uncon-
sciousness of each other. Gen. Stanley en-
ters, thinking he heard a noise, and after
him his five and twenty daughters. The
Pirates rush for them, but are caj)tured by
the Policemen. They yield instantly at the
mention of Queen Victoria's name, and, on
discovering that they are all noblemen.
Gen. Stanley gives them all permission to
marry his daughters. This opera was first
130
PISANI
given iu London, April 3, 1880. Published
by Cbappell & Co. (London, 1880).— New
Yoric Tribune, Dec. 28, 1879, Jan. 1, 1880 ;
Atbenffium (1880), i. 479.
PISANI, BARTOLOMEO, born at Con-
stantinople iu 1811, still living, 1890. Dra-
matic comjjoser, pupil of Mercadante, was
chef d'orchestre of the Naoum Theatre, at
Constantinople, in 1859, visited France in
18G0, and brought out in Paris several of
his compositions. Works : La peri ; Rosa-
munda ; Ladislao, given at Constantinople,
18G2 ; Rebecca, Milan, 186.5 ; La gitana,
Venice, 1876 ; Una lagrima sulla tomba di
Mercadante, funeral chant ; Patriotic hymn ;
Grande fantaisie for soli, chorus, and or-
chestra ; Songs and choruses, etc. — Fetis,
Supplement, ii. 3-19.
PISARI, PASQUALE, born in Rome
about 1725, died there in 1778. Church
composer ; made a close study of the works
of Palestrina, whom he adopted as a mod-
el ; called by Padre Martini the Palestrina
of the 18th century. The son of a poor ma-
son, he was possessed of a fine bass voice,
which a musician named Gasparino took
pleasure in cultivating ; and in 1752 he
was admitted into the Pontifical Chapel as
a supernumerary, a position he held until
his death. He studied counterjDoint under
Giovanni Biordi, and composed much church
music, which he was too poor to publish.
He wrote for the King of Portugal a Dixit
in sixteen real parts, and a complete service
for all the year, but the payment was so
long deferred that when it reached Rome
Pisari was dead. The Dixit was sung at
the SS. Apostoli, Rome, bj' 150 musicians.
Burney, who heard it, speaks of the learn-
ing displayed in it. Works : Miserere in
9 parts (1777) ; Masses, psalms, motets, in 8
parts ; 2 Te Deum, one for 8, the other for
4 voices. Many of his compositions are in the
Santiui Collection, including a Dixit, a Mi-
serere, a mass, psalms, and motets. — Grove ;
Fetis ; Riemann ; Mendel ; Schilling.
PISENDEL, JOHANN GEORG, born at
Karlsburg, Transylvania, Dec. 26, 1687,
died at Di-esden, Nov. 25, 1755. Virtuoso
on the violin, pupil of Pistocchi and Torelli
at Ansbach, where he was a choir-boy in
the Margi-ave's chapel. In 1709 he went to
Leipsic, to study at the university, but
seems to have devoted himself entirely to
music even then, as he succeeded Mel-
chior Hofmann as Kapellmeister in the new
church, and at the opera in 1710-12. In
1712 he entered the Elector's orchestra in
Dresden, and was thence often sent abroad
in the suite of the Electoral Prince ; to Paris
in 1714, to Venice in 1716, when he studied
under Antonio Vivaldi, to Rome and Naples
in 1717, and to Vienna in 1718. In Rome
he took lessons of Antonio Montanari. He
accompanied the king to Berlin in 1728, and
in the same year succeeded Volumier as
Conzertmeister. Works : 8 concertos for
violin ; Soli for do. and bass ; Concertantes
for 2 oboes with string instruments ; Con-
certi grossi, etc., aU in the royal library,
Dresden. — Fetis ; Mendel ; Schilling.
PISTOCCHI, FRANCESCO ANTONIO,
born in Palermo, Sicily, in 1659, died after
1717. Dramatic composer, jjupil of his
father ; learned composition so readily that
at the age of eight he jiublished, Capricci
puerili variamente composti in 40 modi, etc.
(Bologna, 1667). He studied singing under
Padre Vastamigli and Bartolomeo Monari,
went on the stage as a soprano singer, but
soon abandoned it, and became maestro di
cappella of San Giovanni in Monte, Bologna.
He entered the Oratorio order as a j^riest,
and iu 1697 was called to the court of Ans-
bach as Kapellmeister ; returned to Italy
by way of Vienna and Venice in 1699.
Although a composer of merit, he is best
known from having founded at Bologna, in
1700, a school of singing in which were
educated some of the great singers of the
first half of the 18th century, among them
Bernacchi, Minelli, Pio Fabri, and Bertoliuo
da Faenza. Member of the Accademia Fi-
larmonica, 1692 ; principe in 1708 and 1710.
Works — Operas : Narciso, Ansbach, 1697 ;
Le risa di Democrito, Vienna, 1700 ; Le-
131
PITONI
audro, 1679 ; II girello, 1681. Oratorios :
II martirio di S. Adriano, Venice, 1697 ;
Maria Vergiue addolorata, 1698 ; La fuga
di Sta. Teresia, 1717. Scherzi musicali, a
collection of Frencb, Italian, and German
airs (Amsterdam) ; The Psalm, Lauda
Jerusalem, for five voices and basso con-
tinuo, in MS. — Fetis ; Riemann ; Mendel;
Gerber.
PITONI, GIUSEPPE OTTA\^0, born at
Kieti, Italy, March 18, 1657, died in Home,
Feb. 1, 1713. Church composer, jjupil of
Pompeo Natale from the age of five, succes-
sively chorister at San Giovanni de' Fioren-
tini and the SS. Apostoli, Rome, from the
age of eight. He attracted the notice of
Foggia, who gave him lessons in counter-
point for several years. He was maestro di
cappella at Terra di Eotondo, 1G73, and in
1674 at Assisi, where he began to write out
Palestrina's works in score to study his style,
a practice he afterwards enjoined on his pu-
jjils. Having removed to Eieti in 1676, he
became in 1677 maestro di cappella of the
Collegio di San Marco, Rome, a post he
retained till his death, although engaged,
besides, in the same cai^acity at San Apol-
linare, 1686 ; San Lorenzo in Damaso, 1686 ;
S. Giovanni in Laterano, 1708 to 1719 ; St.
Peter's, 1719, and several minor churches.
His pupils were Durante, Leo, and Feo.
Works : Dixit in 16 jsarts (highlj' praised
by Baini ; one of the finest pieces of music
still sungat St. Peter's during Holy Week) ;
and his masses, Li pastori a Maremme, Li
pastori a Montagna, and Mosca, founded
on popular melodies, ai-e still fresh. He
wrote upwards of sixty masses and psalms,
complete services for St. Peter's for the
entire year, and many pieces for six and
nine choruses ; 3 Masses, 2 Dixit, and a
number of motets in the Santini Collection ;
a mass, a Requiem, 6 motets, a psalm, a
hymn, a Christus factus est, in Proske's
" Musica Divina." He compiled a history of
the maestri di cappella of Rome from 1500
to 1700, the MS. of which, now in the Vati-
can Library, was used by Baini in his life
of Palestrina. He left also, in MS., Guida
armonica, which is unfortunately lost. His
studies in counterpoint, written for his pu-
pils, are preserved in MS. in several of
the best musical libraries of Italy. — Fetis ;
Grove ; Riemann ; Mendel ; Schilling.
PITSCH, K.^EL FRANTISEK, born at
Patzdorf, Bohemia, Feb. 5, 1786, died in
Prague, June 13, 1858. Organist and pi-
anist, first instructed by his father, then at
Glatz, Silesia, jiupil of Otto ; jjlayed the or-
gan when only eight yeai-s of age. He stud-
ied also in Prague, whither he returned after
having been a tutor in the family of a noble-
man in Moravia, in 1815-25 ; was appointed
in 1832 organist at St. Nicholas, in 1810 pro-
fessor at the Conservatorium, and in 1841
director of the organists' school. Among
his compositions, most of which remain in
MS., are a Festival Mass in D ; Te Deum ;
Graduale ; Vocal Requiem ; Preludes, fu-
gues, etc., for the organ ; and many instruc-
tive pieces. — Slovnik nauSn^ (Prague, 1859),
vi. 402 ; Wurzbach.
PITTORE PARIGINO, IL (The Parisian
Painter), Italian opera buffa in two acts,
by Cimarosa, first represented in Rome in
1783. A quartet from this opera, in which
the Grand Duchess and Prince of Tuscany
sang, was performed at Leghorn during
Cimarosa's visit to the Grand Duke of
Tuscany in 1789.
PIU NON CERCA LIBERTA, alto aria
of Arcane, in F major, with accompaniment
of flutes and violins in oct.aves, and bass, in
Handel's Teseo, Act HI., Scene 1. Pub-
lished also separately, with the accompani-
ment filled out by Otto Dresel (Lei^Jsic,
Breitkopf & Hiirtel).
PIU NON SI TROVANO, canzonet in F,
for two soprani and a bass, with accompani-
ment of two basset horns, text from Metas-
tasio's Olimpiade, music by Mozart, com-
posed in Vienna, July 16, 1788. Breitkopf
& Hiirtel, Mozart Werke, Serie 6, No. 41.
— Kochel, Verzeichniss, No. 549.
PIUTTI, CARL, born at Bad Elgersburg,
Thuriugia, in 1846, still living, 1890. Vir-
132
PIXIS
tuoso on the organ, pupil of tbe Conserva-
toriums at Cologne and Leif)sic ; from 1875
instructor at the latter, and since 1880 or-
ganist of the Thomaskirche. He has com-
posed concertos, fugues, and other music
for the organ, pianoforte pieces, and songs.
— Mendel, Ergilnz., 351.
PIXIS, FKIEDRICH ^VILHELM, born
at Mannheim in 178G, died in Prague, Oct.
20, 1842. Violinist, sou of Friedrich Wil-
hclin Pixis (organist, died after 1805), pu-
pil of Kitter, Luigi, and Frilnzel, and later
received advice from Viotti. He made con-
cert tours with his brother, Johann Peter,
joined the court band of Mannheim in
1804, and afterwards became professor at
the Conservatorium and Kapellmeister of
the theatre at Prague. Works : Concertino
for violin and orchestra ; Variations for do.,
etc. — Fetis ; Wurzbach ; Schilling ; Ger-
ber ; Wasielewski, Die Violiue, 190.
PIXIS, JOHANN PETER, born at Mann-
heim in 1788, died at Baden-Baden, Dec.
21, 1874. Pianist, brother of the preced-
ing, with whom he travelled ; then lived in
Munich and Vienna, and settled in 1825
in Paris to teach. He educated his adopted
daughter, Franzilla P. Giihringer, as a singer,
accompanied her on her professional tour
through Germany and Italy, and after her
marriage retired to Baden-Baden. "Works
— Operas: Bibiaua, Paris, 1831 ; Die Sin-a-
che des Herzens, Berlin, 1836. Symphony ;
Trios, quartets, and quintets ; Concertos,
sonatas, fantasias, variations, and other
pieces for pianoforte. — Fctis ; Mendel ;
Gerber ; Schilling.
PIXIS, THEODOE, born in Prague,
April 15, 1831, died at Cologne, Aug. 1, 1856.
Violinist, son of Friedrich Wilhelm Pixis,
pupil at the Conservatorium at Prague,
afterwards of Vieuxtemps at Cannstadt,
having previously visited Paris with his
uncle, Johann Peter Pixis ; he made suc-
cessful concert tours through the Rhine
countries, and afterwards played in Frank-
fort, Hanover, Berlin, etc., and in 1850 was
appointed professor at the Conservatorium
in Cologne. He made successful visits to
Holland in 1853, and to Paris in 1855.
Works : Concert-Fantasias for violin and
oi'chestra ; Variations for do. ; Soli for vio-
lin and pianoforte ; Songs. — Wurzbach.
PLAIDY, LOUIS, born at Hubertsburg,
Saxony, Nov. 28, 1810, died at Grimma,
March 3, 1874. Pianist and violinist, pu-
pil of Agthe and, on the violin, of Haase.
He taught in Dresden, played the violin in
Leipsic, and, after giving attention more
especially to the pianoforte, was chosen
in 1843 by Mendelssohn as instructor at
the Leipsic Conservatorium, where he re-
mained until 1865, when he became a private
teacher. He was wonderfully successful in
developing the technical execution of his
pupils. Works : Technische Studieu fiir
das Pianofortesjsiel, now a standard text-
book in music schools. He was the author
also of Der Klavierlehrer (1874), translated
by F. L. Bitter as the " Pianoforte Teacher's
Guide," and by John S. Dwight as the
" Piano Teacher." — Riemauu ; Grove; Men-
del ; Fetis, Supplement, ii. 350.
PLAINTE DES DAMNES, LA (Com-
plaint of the Damned), cantata for three
voices, two violins, and organ, by Carissimi.
It is very celebrated. The MS. is in the
National Library, Paris.
PL.mQUETTE, ROBERT, born in Paris,
July 21, 1850, still living, 1890. Pianist
and dramatic composer, pui^il at the Con-
servatoire, and for a short time of Duprato.
He began writing chansons and chansou-
nettes for the cafes-chantants, and, having
acquired popularity, composed several op-
erettas, and in 1877 produced his first well-
known oi^era, Les cloches de Corneville,
which was given more than 400 times in
succession, and became as popular in Lon-
don as in Paris. Works : Mefie-toi de
Pharaon, 1872 ; Le serment de Mme
Grogoire, 1874 ; Paille d'avoine, 1874 ; Les
cloches de Corneville, 1877 ; Le chevalier
Gaston, Le peage, 1879 ; Les voltigeurs
de la XXXH., 1880 ; La cantiniere, 1880 ;
Itqj van Winkle, 1882 ; Nell Gwyune, 1884 ;
lo3
PLANTADE
Surcouf, comic opera, 1887 ; Paul Jones,
do., London, 1880 ; Songs and instru-
mental music. — Ft'tis, Supi^lement, ii. 357 ;
Grove ; Kiemanu.
PLANTADE, CHARLES HENRI, born
at Poutoise (Seine-et-
'"" Oise), Oct. 19, 17C4,
died in Paris, Dec. 18,
1839. He was ad-
mitted at the age of
eight to the school of
the king's pages de
musique, where he
learned singing and
the violoncello. On
leaving the king's ser-
vice he studied singing
and composition under Langlo, pianoforte
under Hiillmandel, and the harp under Pe-
trini. He was professor of singing at Mine
Campan's celebrated school at Saint- Denis,
and there instructed Hortense de Beauhar-
nais, who afterwards, as Queen of Holland,
appointed him kapelmeester at her court.
Plantade resigned his position of professor
at the Conservatoire, which he had held
from 1802, in company with Garat, to ac-
cept this new honour, but on the king's ab-
dication he was forced to return to Paris,
where he resumed his position in 1815, was
dismissed in ISIG, reinstated in 1818, and
finally retired in 1828. In ISIG he suc-
ceeded Persuis as maitre de chapelle to
Louis XVlLL, who in 1814 had decorated
him with the Legion of Honour. His best
pupil was Mine Cinti-Damoreau. Through
the revolution of 1830 he lost all his offices,
and retired to Batignollcs. Works — Op-
eras : Les deux sanu-s, 17!)1 ; Les souliers
mordorc'S, 1793 ; Au plus brave la plus belle,
1794 ; Palma, ou le voyage en Groce, 1797 ;
Romagnesi, 1799 ; Le roman, 1799 ; Zoo,
ou la pauvre petite, 1800 ; Lisez Plutarque,
1800 ; Bayard a la Fertc, 1811 ; Le mari
de circonstauce, 1813 ; Scc'ue lyrique, 1814 ;
Blanche de Castille (with Habeneck). Five
masses ; Requiem ; Motets ; Te Deum ;
Sonata for harp ; 20 collections of ro-
mances ; 3 do. of nocturnes for 2 voices.
— Fotis ; Mendel ; Riemann.
PLATANIA, PIETRO, born at Catania,
Sicily, April 5, 1828, still living, 1890. Dra-
matic composer, pupil of Carmelo Messina
on the pianoforte, and of Vicenzo Abatelli
in composition, then at Palermo of Rai-
mondi. In 18G3 he was appointed director
of the Conservatorio at Palermo. Member
of the Accademia di Sta. Cecilia, Rome.
Order of Saint-Maurice et Saint-Lazare, and
of the Italian Crown. Works — Operas:
Matilda Bentivoglio, Palermo, 1852 ; Pic-
carda Douati, ib., 1857 ; La vendetta slava,
ib., 18(55 ; GiulioSabino. Funeral symphony
on the death of Pacini, 18G8 ; Ode-symphony
for chorus, orchestra, and military band,
1878 ; Hymn to the queen, 1878. — Fetis,
Supplement, ii. 353.
PLATEL, NICOLAS JOSEPH, born at
Versailles in 1777, died at Brussels, Aug.
25, 1835. Virtuoso on the violoncello, pu-
pil of Louis Du230rt and of Lamare, entered
in 179G the orchestra of the Theatre Fey-
deau, but in 1797 followed an actress to
Lyons, and did not return to Paris until
1801, when he was considered the best
violoncellist there. In 1805 he made a
concert tour, sojourning in several minor
cities, and in 1813 became first violoncellist
at the 023era in Antwerp ; in 1824 he went
in the same capacity to Brussels, where in
1831 he was appointed also professor at the
Conservatoire. Works : G concertos for vi-
oloncello, and orchestra ; 3 sonatas for
violoncello, with bass ; 6 airs varies for
violoncello ; Caprices or preludes for do. ;
3 trios for strings ; 6 duos for do. ; G ro-
mances, with pianoforte. — Fctis ; Mendel ;
Riemann.
PL.\TT, CHARLES EASTON, born, of
American parentage, in Waterbury, Con-
necticut, Oct. 13, 185G, still living, 1890.
He studied in Boston, in 1875-7G, the or-
gan under Eugene Thayer, then, at the New
England Conservatory of Music, pianoforte
under Joseph A. Hills, S. A. Emery, and B.
J. Lang, and harmony under S. A. Emery ;
134
PLAUSI
and on his return to Waterbury, the organ
under Julius Baier, Jr. In 1877 he went
to Europe, and studied the organ under
August Haupt, the pianoforte under H.
Ehrlieh, KuUak, and Oscar Raif, and mu-
sical theory and composition under F. Kiel,
W. Bargiel, and Franz Neumann ; during
two summers, also, he was a pupil of Liszt
at Weimar. Eeturning to America in 1882,
he became a teacher in the Detroit Con-
servatory of Music, which position he still
holds. He is a member of the Music
Teachers' National Association. Works :
Variations for string quartet, in D minor ;
Theme and variations, in B minor, for pi-
anoforte, violin, and violoncello ; Sonata in
4 movements, for pianoforte ; Also waltzes,
nocturnes, mazurkas, and other pianoforte
music.
PLAUSI ALL' INCLITO SEVERO. See
Poliulo.
PLEYEL, CAIVIILLE, born in Stras-
burg, Dec. 18, 1788, died in Paris, May
4, 1855. Pianist, son and pupil of Ignaz
Josef Pleyel ; received instruction also
from Dussek. He lived a while in London,
then went to Paris, and entered the piano-
forte making firm of Pleyel & Co., estab-
lished by his father, in which the pianist
Kalkbrenner also became later a partner.
Works : Quartet f or jsianoforte and strings ;
3 trios for do. ; Sonatas for pianoforte and
violin, or violoncello ; Pianoforte duet ;
Nocturnes, rondos, fantasias, and other com-
positions for jjianoforte solo, and with ac-
companiment. His wife, Marie Felicite
Denise (born Moke, 1811-75), was a cele-
brated pianist, and in 1848-72 professor at
the Conservatoire of Brussels. — Fetis ; Men-
del.
PLEYEL, IGNAZ JOSEF, born at Rup-
pertsthal, near Vienna, June 1, 1757, died
on his estate near Paris, Nov. 14, 1831. In-
strumental composer, pupil of Wanhall on
the isianoforte, and of Haydn, under whose
entire care he was placed for five years by
Count Erdody. In 1777 the count made
him his Kapellmeister, but allowed him to
In 1792 the society
study four years longer in Italy. After his
return to Vienna, in 1781, he soon went
again to Rome, and
in 1783 accepted the
position as second
Kapellmeister at the
Minster of Stras-
burg, became first
Kaj)ellmeister in
1780, but was de-
prived of his jjost
by the Revolution,
which abolished the
Christian religion,
of Professional Concerts called him to Lon-
don, to compete against Haydn's sympho-
nies, produced in Salomon's concerts ; the
enterprise was successful, but the Profes-
sional Concerts ceased after a few years, and
Pleyel bought and retired to some prop-
erty near Strasburg. Annoyed and sus-
pected by the revolutionary authorities, he
sold his property and removed to Paris in
the beginning of 1795, and established a
music trade, and later a pianoforte factory,
becoming a business man exclusively, and
abandoning composition. The last years of
his life he spent on an estate near Paris,
devoting himself to agriculture. Works :
29 symphonies ; Septet for strings, 2 horns,
and double bass ; Sextet for strings ; 5
quintets for do. ; 45 quartets for do. ; Trios
and duos for do. ; 6 quartets for flute and
strings ; 2 concertos for pianoforte ; 2 do.
for violin ; 4 do. for violoncello ; 7 sym-
phonies concertantes for 2 violins, for string
and wind instruments, for pianoforte and
violin ; Sonatas for pianoforte, violin, and
violoncello ; 12 do. for jjianoforte, etc.- — Fe-
tis ; Gerber ; Mendel ; N. Necrol. der D.
(1831), ii. 967 ; Riehl, Mus. Charakterkopfe,
i. 238 ; Schilling ; Wurzbach.
PLUS BLANCHE QUE LA BLANCHE
HERmNE. See Huguenots.
PLUS ULTRA, sonata for pianoforte, in
A-flat, by Dussek, op. 71, called also " Le
retour a Paris," published by Cianchetti
and Sperati (London, 1808). It is dedi-
135
PLUTUS
cated to " Non plus ultra," a sonata for the
pianoforte, in F, by Joseph Woelfl, op. 41,
closing with variations on the air, " Life
let us cherish " (a favourite German song,
words by Martin Usteri, of Zurich, music by
Hans Georg Niigeli, 1793), which was dedi-
cated to Miss E. Binney, and pubHshed by J.
Lavenu (London, 1800). It was intended to
show that mechanical skill could go no fur-
ther, and Dussek's was an answer. — Grove,
iii. 4.
PLUTUS, opora-comique, text by Mil-
laud and Jolives, after Ai-istof)hanes, mu-
sic by Charles Lecocq, represented at the
0]X'ra Comique, Paris, March 31, 1886.
POEME DAMOUR (Poem of Love),
cycle of songs for voice and pianoforte,
test by Paul Robiquet, music by Massenet.
Sis numbers. Published by G. Hartmann
(Paris, 1879).
POEME D'AVRIL (Poem of April), cycle
of songs for voice and pianoforte, text from
Armaud Silvestre's " Mignonne," music
by Massenet, in eight numbers. Dedicated
to Ernest Reyer, and published by G. Hart-
mann (Paris, 1878).
POEME DHR^ER (Poem of Winter),
cycle of songs for voice and pianoforte, text
bj' Ai'mand SUvestre, music by Massenet.
Published by G. Hartmann (Paris).
POEME b'OCTOBRE (Poem of Octo-
ber), cycle of songs for voice and piano-
forte, test by Paul Collin, music by I\Ias-
senet. Prelude and five numbers. Dedi-
cated to Ernest Ht'bert, and jniblished by
G. Hartmann (Paris).
POEME DU SOUVEXm (Poem of Re-
membrance), text by Armand Silvestre,
music by Massenet. Six numbers, the last
of which is an ejsitaph. Dedicated to Mrs.
Charles Moulton, and published by G. Hart-
mann (Paris).
POEIME PASTORAL, scenes forvoice and
pianoforte, text by Florian and Armand
Silvestre, music by Massenet. I. Pastorale
avec choeur ; H. Musette ; IH. Aurore ; IV.
Paysage ; V. Crepuscule ; VI. Adieus :\ la
jirairie. Published by G. Hartmann (Paris).
POET AND PEASANT. See Dichter und
Bauer.
POETE ET LE MUSICIEN, LE, French
opera-comique in three acts, text by Du-
paty, music by Dalayrac, first represented
at the Theatre Feydeau, Paris, May 30,
1811.
POHLENZ, CHRISTIAN AUGUST, bom
at Saalgast, Nether Lusatia, July 3, 1790,
died in Leij^sic, March 10, 1843. Organist
of the Thomaskirche in Leipsic, and con-
ducted the Gewandhaus concerts, until suc-
ceeded by Mendelssohn iu 1835, when he
still retained the direction of the Sinji-
akademie. "Works : Polonaises for piano-
forte ; Choruses for male voices, and songs,
some of which, especially his " Auf, Matrosen,
die Anker gelichtet," became very popular.
— Mendel ; Fetis ; Riemanu.
POISE, (JEAN ALEXANDRE) FERDI-
NAND, born at Nimes, June 3, 1828, still
living, 1890. Dramatic composer ; after tak-
ing his degree of Bachelier-es-lettres of Paris,
pupil at the Conservatoire, in 1850, of Zim-
merman and of Adolphe Adam for compo-
sition, and won in 1852 the second grand
prix. His first opera, Bonsoir, voisin,
given at the Theatre Lyrique iu 1853, had
an immediate success and was played one
hundred nights. He went to Italy and
Germany to follow the course prescribed
by the lustitut, and since then has been a
popular composer of operas played at the
best theatres of Paris. In 1872 he took the
musical prize of the Acadumie des Beaux-
Ai"ts, instituted by Baron Trt'mont. Works :
Les charmeurs. Theatre Lyrique, 1855 ;
Le the de Polichinelle, Bouffes Parisiens,
1856 ; Le roi Don Pudre, Opera Comique,
1857 ; Le jardiniergalant, ib., 1861 ; Lesab-
sents, ib., 1864 ; Les moissonneurs, cantata,
ib., 1866 ; Le coiTicolo, ib.,1868 ; Les deux
billets, Athem'e, 1870 ; Les trois souhaits.
Opera Comique, 1873 ; La surprise de
I'amour, ib., 1877 ; L'Amour medecin, 1880 ;
Le joli Gilles, 1884 ; Le medecin malgre
lui, 1887. — Fetis ; do.. Supplement, ii.
355.
1S6
POISOT
POISOT, CHARLES fMILE, born at I cinque voci concertati (ib., 1634) ; Motetti a
Dijon, France, Jul}' 8, 1822, still living, I voce sola e a duoi (ib., 1637) ; Messe a 5 e
1890. Pianist and -ivriter on music, pupil : 8 voci concertati, etc. (ib., 1639) ; Salmi
of Jules Senart, Louis Adam, Stamaty, and concertati a 3 e 5 voci ; do. a 8 voci (ib..
Tbalberg on the pianoforte, of Leborne in
counterpoint, and at the Conservatoire
(184:4-48) of Haluvy. He was one of the
founders of the society of composers in
Paris, created the Conservatoire at Dijon,
of which he was made director in 18G8,
and founded there in 1872 the society for
sacred and classical music. Works — Op-
eras : Lo paysan, given at the Ojicra Co-
mique, 1850 ; Le prince de Galles, 1854 ; Les
Sj)endlcrs ; Francesco. Parlor operas : Le
coin du feu ; La cle du secretaire ; Les res-
sources de Jacqueline ; Les terreurs de M.
Peters ; Eosa la rose ; Les deux billets.
Jeanne d'Arc, cantata ; Motets ; Stabat
Mater ; Requiem ; Trio for pianoforte and
strings ; Pianoforte pieces. He published
a Cours d'harmonie and Traite de contre-
point et fugue ; also Notice sur Jean-Philippe
Eameau (1864), and Notice sur Jules Mer-
cier (1869), etc. — Fctis ; do.. Supplement,
ii. 356.
POISSL, JOHANNNEPOjMUK,Freiherr
VON, born at Haukeuzell, Bavaria, Feb. 15,
1783, died at Munich, Aug. 17, 1865. Dra-
matic composer, pupil of Danzi. He was
appointed iutendaut of court music in 1823.
Works : Die Opernprobe, 1806 ; Antigone,
1808 ; Merope, 1810 ; Ottaviano in Sicilia,
1812 ; Aucassiu undNicolette, 1813 ; Athalie,
1814 ; Der Wettkampf zu Olympia, 1816 ;
Nittetis, 1817 ; Die Prinzessin von Provence,
1825 ; Der Untersberg, 1829 ; Der Erudte-
tag, oratorio ; Psalm xcv., for soli and
chorus ; Stabat Mater, 2 Miserere, etc. — Fe-
tis ; Riemann.
POLIDORI, ORTENSIO, church com-
poser of the seventeenth century, born at
Camerino, Papal States, about the middle
of the 16th centui-y. He was maestro di
cappella of the cathedral at Fermo about
1621, afterwards at Cbieti, Naples, and at
Pesaro. Works : Messe a 5 e 8 voci con
ripieni e 2 violiui (Venice, 1631) ; Salmi a
1641) ; do. in 2 cori, etc. (ib., 1646).— Fe-
tis ; Mendel.
POLIDORO, German opera by Karl
Heinrich Grauu, first represented in Bruns-
wick in 1726. This was the composer's
first of)era. Other operas of the same title,
in Italian, by Antonio Lotti, text by Pio-
vene, Venice, 1714 ; in French, by Battistin
Struck, text by the Abbe Pellegrini, Paris,
Feb. 15, 1720 ; in German, by Sigismund
von Rumling, Schloss Carlsberg, near Mu-
nich.
POLIUTO, Italian opera in three acts,
text by Cammarano, after Corneille's " Poly-
eucte," music by Donizetti, written for rep-
resentation in Naples in 1838, but forbidden
by the censorship. The libretto was sug-
gested by Adolphe Nourrit, who designed
the part of Poliuto for himself. The opera
was rearranged and given as Les martyrs,
Paris, April 10, 1840. First represented
in its original form at the Theatre Italien,
Paris, April 14, 1859, with this cast :
Poliuto M. Tamberlik.
Paoliua Mme Penco.
Severo M. Cojtsi.
Felix M. Patriossi.
Callistene M. Manfredi.
Nearco M. Soldi.
Poliuto was one of Tamberlik's best charac-
ters. The opera was first performed in New
York, Jan. 25, 1859, with Brignoli as Poli-
uto ; Amodio, Severo ; Barilli, Felix ; and MUe
Piccolomini as Paolina. Scene in Mitylene,
in the third century after Christ. Poliuto,
a Roman, has become a Christian, but hia
wife, Paolina, daughter of Felix, Governor
of Armenia, is not a convert. Severo, her
former lover, is sent by the Emperor Decius
to extirpate Christianity, and finds to his
grief that Paolina is married. Nearco, a
friend of Poliuto, is arrested and taken to
the temple of Jupiter, where he is ordered
lOT
POLLAEOLO
to disclose the names of bis Christian friends.
He refuses and is about to be executed,
when Poliuto enters, proclaims his faith,
and destroys the idols. He is taken to
prison, and Severe tries to save him. Felis
promises to f)ardon Poliuto if he will re-
nounce his religion, and Paolina takes
him this news, but whUe visiting him in
prison she becomes converted. The opera
closes in the amphitheatre, where the Chris-
tians, including Poliuto and Paolina, are
thrown to the wild beasts. The principal
numbers are : " D' un alma troppo fervida,"
and " Percho distolto giubilo," sung by
Poliuto and Paolina in Act I. ; the chorus
of greeting to Severo, " Plausi all' iuclito
Severo ; " his aria, " II piti lieto de' viventi ; "
Poliuto's aria, " Sfolgoro diviuo raggio ; "
the chorus, " Vieni ! ^deni al circo ; " and
the last duet of Poliuto and Paolina," II
suon deir arpe angeliche," one of Donizetti's
best compositions.- — Revue et Gaz. mus. de
Paris (1859), 128 ; Clement et Larousse,
537 ; Upton, Standard Operas, 98.
POLLAROLO, CARLO FRANCESCO,
born at Brescia in 1G53, died in Venice in
1722. Dramatic composer, pupil of Le-
grcnzi, who entered him in 1G65 as a singer
in the ducal chajjel of S. Marco. In 1G90
he was appointed organist of the second or-
gan and in 1G92 vice-maestro di cappella.
He was one of the most prolific and favour-
ite opera composers of his time ; at Venice
alone he brought out sixty-four operas in
1G8G-1721. Among those written for other
cities were : Antonino Pompeiano, Brescia,
1G89 ; Circe abbandonata, Piacenza, 1G92 ;
Ascanio, Milan, 1702 ; Arminio, Pratoliuo,
1703; L' eqnivoco, Rome, 1711 ; Amore in
gare col fasto, Rovigo, 1711 ; L'Astinomo,
Rome, 1719. Jefte, oratorio, Vienna, 1710,
and sevei'al other oratorios ; Fede, valore,
gloria e fama, cantata, 171G. His son An-
tonio (1G80-1750) succeeded him in 1723
at S. Marco, and Lotti in 1740 as first ma-
estro di cappella. He composed eight
operas for Venice, and some church music.
— Fetis.
POLLEDRO, GIOVANNI BATTISTA,
born at Casalmonferrato alia Piova, near
Turin, June 10, 1781, died there, Aug. 15,
1853. Violinist and composer, first in-
structed at Asti by Mauro Calderara and
Gaetano Vai, then at Turin by a musician
named Paris, and for a short time pupil
of Pugnani, who caused him to be ad-
mitted in the orchestra of the Teatro Regio
at the age of fifteen. He made his first
appearance in public in Turin in 1797, then
in Milan, 1801, and became first violin-
ist at Sta. Maria Maggiore at Bergamo in
1804. Beginning a long professional tour,
he remained five years in Moscow ; then
went to St. Petersburg, Berlin, and Dresden,
where he was Conzertmeister in 1814-
24 ; was recalled to Turin in 1824 by
the king to reorganize the Royal Chapeh
In 1844 he retired from public life. "Works :
8 concertos for violin and orchestra; Airs
varies for do. ; Trios and duos for string
instruments ; Mass for 4 voices and orches-
tra ; Miserere f<n- do. ; Sinfonia pastorale,
for full orchestra ; Concerto for bassoon
and orchestra. — Fetis ; do.. Supplement, ii.
357 ; Storia del violino in Piemonto (Turin,
1863) ; Hart, The Violin, 232 ; Wasielewski,
Die Violine, 108 ; Riemann ; Mendel ; Schil-
ling.
POLLINI, FRANCESCO GIUSEPPE,
born at Laybach, Carniola, in 17G3, died in
Milan, Sept. 17, 184G. Pianist, pupil of
Mozart in Vienna ; about 1793 he went to
Milan, where he studied composition under
Zingarelli. He wrote the opera buffa La
casetta nei boschi, 1798 ; and a cantata,
n trionfo della pace, 1801, on the occasion
of the Peace of Amiens. Soon after he
went to Paris, and on his return to Milan was
appointed professor at the newly founded
(1809) Conservatorio. He originated the
stj'le of playing a melody in the middle of
the kej'board, using the thumb of each hand
alternately, while the hands are also em-
ployed with elaborate passages above and
below it. This invention has been attribut-
ed both to Thalberg and to Parish- Alvars,
188
POLOI^IA
but it appears in one of PoUini's 32 Esercizi
in forma di toccata (1820), dedicated to
Meyerbeer, the music being written in
three staves. Works : Sonata, caprice and
variations, for two pianofortes (Milan) ;
3 sonatas for pianoforte ; Sonate facile,
for violin and pianoforte ; Introduction and
rondo, for jjiauoforte (i hands) ; Caprices,
toccatas, rondeaux-fantaisies, etc., for piano-
forte ; Stabat Mater, with Italian words,
for soprano and contralto, with 2 violins,
2 violoncellos, and organ ; Selma (from
Ossian), for soprano. — F6tis ; Grove ; Eie-
maun ; Schilling.
POLONIA, overture for orchestra, in C,
by Richard Wagner, written in 1832, but
not published. The score is in Bayreuth.
POLUS ATELLA, oratorio by Loewe,
written between 18J:8 and 18G0.
POLYEUCTE, French opera in five acts,
text by Jules Barbier and Michel Carr^', mu-
sic by Gounod, iirst represented at the
Marie Gabrielle Krauss.
Academie Royale de Musique, Paris, Oct.
7, 1878. The libretto is an adaptation of
Corneille's tragedy. Original cast :
Polyeucte M. Salamon.
Pauline Mile Krauss.
Severe M. Lasalle.
Published by Lemoine (Paris) ; by Fiirstner
(Berlin). Same subject, German opera, text
by Elmenhorst, after Corneille, music by
Johann PhUipp Fortsch, Hamburg, 1688 ;
and music to Corneille's tragedy, by Johann
Adam Scheibe, Leipsic, 1738. — Clement et
Larousse, 936 ; Huefter, Musical Studies,
213 ; Athenfeum (1878), ii. 442, 474 ; Si-
gnale (1878), 801.
POLYXftNE ; POLTXJ^NE ET PYR-
RHUS. See Achille et Polyxcne.
POMONE, ojiera or representation in
music, text by the Abbu Perrin, music by
Cambert, first represented at the Theatre
de la rue Guenegaud, Paris, March 19,
1G71. This was the first French opera
heard by the Parisian public, and it was
the first ojjera represented by the Acade-
mic Royale de Musique (1671). The story
is the mythological fable of Pomona and
Vertumnus. Characters represented : Po-
mone. Mile de Cartilly ; Vertumne, M. Beau-
mavielle ; Faune, M. Rossignol. Portions
of the oj)era were published by Ch. Ballard
(Paris). Other opieras of the same title :
In French, by Lacoste, about 1730 ; in Ger-
man, by Reinhardt Keiser, text by Postel,
Hamburg, 1702.— Lajarte, i. 19.
POMPEIA, symphonic fantasy for orches-
tra, by Jules Massenet, first performed at
the Casino, Paris, Feb. 24, 1866. I. Pre-
lude ; II. Hymne d'£ros ; HI. Choeur des
funerailles ; TV. Bacchanale. — Fetis, Sup-
plement, ii. 181.
POMPEH. See Dernier jour de Pompei.
PONCHARD, ANTOINE, born at Bussus
near Peronne, Picardy, in 1758, died in
Paris, September, 1827. Church composer,
received his first musical education as chor-
ister in a church at Pcronne, subsequently
in the cathedral at Liege. He was succes-
sively maitre de chapelle at Saint-Malo, and
of the cathedrals of Bourges and Auxerre.
About 1786 he went to Pont^le-Voy, and
became professor of music in the royal
college, but at the time of the Revolution
followed several callings to earn a living.
In 1803 he settled in Lyons, where he was
13'J
PONCniELLI
chef d'orchestre at the Grand Theatre. He
went to Paris in 1813 in order to be near
his son, a favourite singer at the Opera, and
in 1815 was aj^pointed maitre de chapelle
of Saint-Eustache. Works ; His church
music, consisting of 5 masses, a Kequiem,
considered his best work, psahus, etc., with
organ and orchestral accompaniment, re-
mains in MS. — Fetis ; Larousse.
PONCHDELLI, A:\nLCAEE, born at Pa-
deruo-Fasolaro, near
Cremona, Sept. 1,
1834, died in Milan,
Jan. IG, 188G. Dra-
matic composer, pupil
in 18-13-54 at the Con-
servatorio of Milan.
He lived in Piacenza,
where he was band-
master of a regiment ;
subsequently went to Cremona in the same
capacity. His first opera, I promessi sposi,
given at Cremona, 185G, and, in an altered
arrangement, at the new Teatro dal Verme,
Milan, 1872, won him popularity in Italy,
where he is considered second only to Verdi.
He was immediately engaged by the mana-
gers of La Scala to write a ballet in 7 acts,
and in 1873 Lo duo gemelle was brought
out at that theatre, with extraordinary suc-
cess. In 1881 ho was appointed maestro
di cappella of the cathedral at Bergamo.
Works — Operas : I promessi sposi, Cre-
mona, 185G ; La Savojarda, Cremona, 18G1 ;
Eoderico, re do' Goti, Piacenza, 18G-1 ; Ber-
trand de Born, ballet, Viterbo, 18G7 ; La
Stella del monte, 18G7 ; Clai-ina, ballet, Mil-
an, 1873 ; H parlatoro eterno, scherzo co-
mico, Lecco, 1873 ; I Lituani, MUan, 1874 ;
Gioconda, ib., 1876 ; Lina (a remodelled
edition of La Savojarda), ib., 1877 ; H fi-
gliuol prodigo, ib., 1880 ; Marion Delonne,
ib., 1885. A Gaetauo Donizetti, cantata,
Bergamo, 1875 ; H 29 Maggio, funeral march
to the memory of Manzoni ; Another funeral
march ; Fantasia militare ; Hymn in mem-
ory of Garibaldi, 1882 ; Eteruamente, ro-
mance for soprano, with pianoforte and
violoncello. — Fetis, Supplement, ii. 358 ;
Mendel, Ergiinz., 360.
POND, SYLVANUS BILLINGS, born
at Milford, Vermont, April 5, 1792, died in
Brooklyn, New York, March 12, 1871. He
went while young to Albany, where he en-
gaged in the musical instrument business ;
in 1832 ho removed to New York and asso-
ciated himself with Firth & Hall under the
firm name of Firth, Hall & Pond, which,
after several changes, became William A.
Pond & Co. He was leader of the choir at
the Brick Church, New York, and was at
one time director of the New York Academy
of Music and of the New York Sacred !Mu-
sic Society. He composed church music,
including several popular hymn tunes,
among them Armenia (1835) and Franklin
Square (1850), and compiled the following
collections : Union Melodies (1838), United
States Psalmodist (1841), and Book of
Praise of the Reformed Dutch Church (18GG).
PONLiTOWSKI, J(')ZEF MCHAL
XAWERY FRANCISZEK JAN, Prince of
Monte Rotondo, born in Rome, Feb. 20,
1806, died at Chiselhurst, England, July
3, 1873. Dramatic composer, and tenor
singer ; first taught by Candido Zanetti, a
priest ; and in Florence studied singing and
comjwsition under Ceccherini. He made
his di'but as a tenor singer at the Teatro
Standish in Florence, where in 1838 he pro-
duced his first opera, Giovanni da Procida,
in which he sang the title-role, and from
that time, for more than thirty years, wrote
ojieras for the theatres of Italy and Paris.
After the Revolution of 1848 he went to
Paris as plenipotentiary of the Grand Duke
of Tuscan^', and was made senator under the
empire. After Sedan he followed Napoleon
in. to England, and was on the eve of going
to America professionally, when he died.
Works — Operas : Don Desiderio, Pisa, 1839 ;
Ruy Bias, Lucca, 1842 ; Bonifazio dei Gere-
mei, Rome, 1844 ; I Lambertazzi, Florence,
1845 ; Malek-Adel, Genoa, 1846 ; Esmeralda,
Leghorn, 1847 ; La sposa d' Abido, Venice,
1847 ; Pierre de M6dicis, Paris, 1860 ; Au
140
PONS
travers du mur, ib., 1861 ; L'aventurier,
ib., 1865 ; La contessina, ib., 18G8 ; Gel-
mina, London, 1872. A mass in F, selec-
tions ijlayed at Her Majesty's Theatre, 1873.
His song, " The Yeoman's Wedding," was a
favourite in England. — Grove ; Fc'tis ; do.,
Supplement, ii. 360 ; Sowiiiski, 462 ; Mendel ;
do., Ergiinz., 361 ; Clement, Mus. Cel., 615.
TONS, J0Sl5, born at Gerona, Catalonia,
Spain, in 1768, died in Valencia in 1818.
Comjjoser of vilhancicos, or Christmas pieces,
and other church music, pupil at Cordova of
Jaime Baling. He was maestro de capilla
of the Cathedral of Gerona, and in 1793 ob-
tained the same jjosition at the Cathedral of
Valencia. He is considered by Eslava the
representative of the Catalan school, which
is entirely different from the Valencian.
His vilhancicos were veritable biblical dra-
mas, in the shape of oratorios with jsarts for
voices, orchestra, or organ ; they are said
to be still extensively performed in his own
country. Other works : Miserere for Holy
Week ; Eslava gives a letrilla of his, O
Madre, for 8 voices, in Lira sacro-hisiiana,
iv. — Grove ; Fetis ; Mendel.
PONTOGLIO, CIPKIANO, born at Gru-
mello del Piano, Italy, in 1831, still living,
1890. Dramatic composer, pu^jil of Antonio
Cagnoni. Works : Tebaldo Brusato, Bres-
cia, 1865 ; Don Prospero 1' ottimista, Flor-
ence, 1867 ; La schiava greca, Bergamo,
1868 ; La notte del Natale, ib., 1872 ; Eolla,
ballet, Naples, 1877. — Fetis, Supplement, ii.
361.
PONZIO, PIETRO, born at Parma, Italy,
March 25, 1532, died there, Dec. 27,
1596. Church composer and didactic
writer ; became maestro di cap23ella of the
cathedral at Bergamo in 1570, of Santa
Ambrosia in Milan, 1581, finally of the Cap-
pella della Steccata in his native city. He
is less known, now, by his compositions than
by his writings on music. Works : Mis-
sarum 4 voc. (Venice, 1578) ; Missarum
quinque vocibus (ib., 1580) ; do. (ib., 1581) ;
do. (ib., 1585) ; Psalmi vespertini totius anui
(ib., 1578) ; do. (ib., 1589) ; Motettorum
cum quinque vocibus (ib., 1582) ; Missarum
4 voc. (ib., 1584) ; Magnificat, ib., 1584 ;
MisscB 6 e 8 voc. (ib., 1590) ; Hymni solem-
niores ad vespertinas horas canendi (ib.,
1596). His theoretical works are : Ragio-
namenti di musica, etc. (Parma, 1588) ; Dia-
logo ove si tratta deUa teoria e pratica di
musica, etc. (ib., 1595). — Fotis ; Mendel.
POPOLI DI TESSAGLIA, recitative and
aria (lo non chiedo eterni), for soprano
with orchestra, in C minor and C, text from
Calzabigi's Alceste, music by Mozart, com-
posed for Aloysia Weber, in Munich, Jan.
8, 1779. Breitkopf & Hilrtel, Mozart,
Werke, Serie vi.. No. 19. — Kochel, Verzeich-
niss. No. 316 ; Andre, No. 76 ; Jahn, Mo-
zart, ii. 338.
POPP, WILHELM, born in Prague,
April 29, 1829, still living, 1890. Flute and
pianoforte virtuoso, jjupil of Drouet, C.
Kummer, and A. Spath. At first Hof-pian-
ist in Coburg, then travelled in Russia, and
since 1867 has lived in Hamburg, where he
is solo flute of the Philharmonic Society.
He has written more than three hundred
salon- and study-pieces for the pianoforte
and flute.
POPPER, DAVID, born in Prague, June
18, 1845, still living,
1890. Violoncellist,
pupil of Goltermann
at the Conserva-
torium in Prague ;
since 1863 has made
concert tours. He
received the appoint-
meutof chamber vir-
tuoso to Prince Ho-
henzollern ; was first
violoncello of the Vi-
enna court opera in
the pianist, Sophie Menter, in 1872. Since
1873 he has appeared in concerts in Lon-
don, Paris, St. Petersburg, Vienna, Berlin,
etc. Works : Concerto for violoncello and
orchestra ; Mazurka, gavotte, polonaise,
serenade, and other pieces for violoncello.
— Wurzbach ; Kiemann.
■^^-^j.
1868
POPULUS
POPULUS, NICOLAS ADOLPHE AL-
PHONSE, born at Ai-cueil, near Pai-is, in
1831, still living, 1890. Organist, pupil at
the maitrise of Saint-Jacques du Haut-Pas,
■where he was a choir-boy, then pupil of
BiUard on the pianoforte, of Elwart and
Charles Maui-y in harmony, of Perez y Al-
varez in counterpoint, and of Marius Gueit
on the organ. When only fourteen years of
age he became assistant organist at Saint-
Jacques, was made organist at Saint-Nicolas
du Chardonnet in 1854, at Chaillot in 1855,
and returned to Saint-Jacques as maitre de
chapelle. He is also professor of singing
in the schools of Paris, music du-ector of
Sainte-Geneviove's school, and professor of
pianoforte and singing at the school of the
Sacre-Coeur. Works : Agar et Ismaiil, bibli-
cal scene in 2 acts ; Several masses, for 3 and
4 voices, with organ and orchestra ; Motets
for chorus, etc. ; Chants Hturgiques, for 2
and 3 voices, with organ ; Rupertoire de
chants patriotiques, choruses for 4 voices ;
Recueil de 24 miJlodies religieuses ; Mi'lo-
dies vocales, organ and pianoforte music.
— Fctis, Supplement, ii. 3G1.
PORGI AMOR. See Nozze di Figaro.
PORO (Porus), Italian opera in three
acts, text from Metastasio's Aleifsandro nell'
ludie, which Handel cut freely, music by
Handel, first represented at the King's
Theatre, Loudon, Feb. 2, 1731. The orig-
inal autograph, in Buckingham Palace, is
dated at the end of the first act, Dec. 23,
1730 ; at the end of the second, 30 Dee.
1730 ; and at the end of the third. Fine
dell' opera Poro, Jan. IG, 1731. It was re-
ceived with great favour, and was revived
in 1736. Original cast : Poro, King of
India, lover of Cleofide (C), Signor Se-
nesino ; Cleofide, Queen of another part
of India, in love with Poro (S.), Signora
Sti-ada ; Gandarte, general of Poro's army
and lover of Erissena (A.), Signor Bertolli ;
Erissena, Poro's sister, promised to Gan-
darte (A), Signora Merighi ; Alessandro,
the Macedonian King (T.), Signor Annibale
Pio Fabri ; and Timagene, Alexander's gen-
eral and favourite, but his secret enemy
(B.), Signor Comano. This opera contains
some fine duets and a bravura song of ex-
traordinary dilficultj', " Serbati a grandi
imprese," for Alessandro. It was performed
in Hamburg as Cleofide in 1732. Published
by W'alsh, and the fourth edition contained
three interpolated airs by other composers,
and one taken fi-om Siroe, " Torreute cres-
ciuto per torbida plena." Edited by Chry-
sander for the Hiindelgesellschaft (vol.
79), Breitkopf & Hiirtel (Leipsic, 18G1).
— Chrysander, Handel, ii. 244 ; Rockstro,
1G7 ; Burney, iv. 350.
PORPORA, NICCOLO (Niccola) AN-
TONIO, born in
Najiles, Aug. 19,
1G86, died there,
February, 17G6
(17G7?). His Chris-
tian name is spelled
Niccola in his auto-
graphs, but Niccolo
on the title-pages of
all works published
by himself. H i a
"~ " father, a bookseller,
sent him to the Conservatorio di San Loreto,
where he studied under Gaetano Greco,
Padre Gaetano of Perugia, and Francesco
Mancini. His first opera, Basilio, re d' Ori-
ente, was brought out at the Teatro de'
Fiorentini in 1709, and he was apjiointed
maestro di cappella to the Portuguese am-
bassador. His Berenice, given the next
year at the Teatro Capranica, Rome, was
praised by Handel. In 1719 he was ap-
pointed master at the Conservatorio di San
Onofrio, for which he wrote in 1722 an
oratorio, II martirio di Santa Eugenia ; the
year before he had been made virtuoso to
the Prince of Hesse-Darmstadt. He had
already established his famous school of
singing, to which Hasse came as a pupU in
1724, though he soon left it to study under
Alessandro Scarlatti, a sHght which Porpora
never forgave him. In 1725 he went to
Venice, where he wag made a teacher at
142
PORPOEA
the singing school for girls, La Pieti, and
thence to Vienna, where hia music did not
meet with the success lie had anticijjated,
the Emperor Karl VI. not liking his florid
vocal writing. He soon returned to Venice,
and was appointed master of the Scuola
degl' Incurabili, for the pupils of which he
wrote his vocal cantatas, twelve of which
were published in London in 1735. In
1728 he set out for Dresden, on the invita-
tion of the Electoral Princess Marie An-
toinette, who was anxious to take lessons
of him. On the way he stojJlJed in Vienna,
where, owing to the protection of the Vene-
tian ambassador, he got an order from the
Emperor for an oratorio. He was well re-
ceived in Dresden, where he sustained a
brisk rivah-y with Hasse and his wife Faus-
tina ; but he obtained frequent leave of ab-
sence, retui-ning to Venice in 1729, and
going to London the same year to maintain
for a short time an unsuccessful rivalry
with Handel. He even had his Dresden
engagement cancelled in order to stay in
London ; but made at least two trips to
Venice (in 1731 and 1733), notwithstanding,
to bring out ojjeras there. In 173G he fi-
nally quitted London, and established him-
self in Venice, where he became director of
the Conservatorio dell' Ospedaletto. In
1845 he went a third time to Vienna, in the
suite of the Venetian ambassador Correr,
published there some sonatas for violin
with continuo, and was made Kapellmeister
to the King of Poland. It was on this
visit that he met and gave advice to the
young Haj-dn. He returned to Naples in
1755 or 1760, and succeeded Abos as maes-
tro di cappella at the Conservatorio di San
Onofrio. But he had outlived his poi^u-
larity as a composer, and his last opera,
Camillo, was a failure. After this he wrote
only a little church music. His last years
were passed in gi-eat poverty. The cause
of his death has been stated by Villarosa as
pleurisy, and by Gazzaniga as an accident
to his leg. His burial expenses were paid
by subscription by Neapolitan musicians.
Porpora has lived in history rather as a
great singing teacher than as a composer ;
he was a cultivated man, well up in Latiu
and Italian literature, and sjDeaking French,
German, and English fluently. His operas,
by no means his best works, were popular
in their day, though mostly short-lived. As
a teacher of singing he has never had a peer ;
among his pupils being Farinelh, Caflarelli,
Uberti, and others of the greatest singers
of all time. "Works — I. Ojieras : Dasilio,
re d' Oriente, Naples, Teatro de' Fiorentini,
1709 ; Berenice, Kome, Teatro Caprauica,
1710 ; Flavio Anicio Olibrio, Naples, 1711 ;
Arianna e Teseo, Vienna, Oct. 1, 1714 ; Te-
mistocle, ib., Oct. 1, 1718 ; Faramondo,
Naples, 1719 ; Angelica (serenata), Vienna,
Nov. 19, 1720 ; Eumene, Rome, 1721 ; Issi-
pile, ib., 1723 ; Adelaide, ib., 1723 ; Farnace,
ib., 1724 ; Damiro e Pitia, Munich, 1724 ;
Germanicoiu Germania, Home, 1725 ; S/face,
Venice, 1726 ; Imeneo in Atene, ib., 1726 ;
Meride e Selinuute, ib., 1727 ; Ezio, ib.,
1728 ; Semimmide riconosciuta, ib., 1729 ;
Ermenegilda, Naples, 1729 ; Tamerlano,
Dresden, 1730 ; Alessandro nell' Indie, ib.,
about 1730 ; Andromeda, about 1730 ; Anni-
bale, Venice, 1731 ; Arbace, London, 1733 ;
Mitridate, Venice, 1733 ; Ariadne, London,
1733 ; Ferdinaudo, ib., 1734 ; Polifemo, ib.,
1735 ; Aijrippina, about 1735 ; Ifigenia in
Aulide, London, 1735 ; Eosbale, Venice,
173G ; Lucio Papirio, ib., 1737 ; Carlo il
Calvo, ib., 1738 ; P barone di Zampano,
Naples, 1739 ; Didone abbandonata, about
1740 ; Statira, Venice, 1742 (?) ; Rosmane,
Vienna, Feb. 3 (?), 1742 ; Partenope, Na-
ples, about 1742 ; Le nozze d' Ercole e
d' Ebe, Venice, 1744 ; Filandro, Dresden,
July 18, 1747; Tolomeo, re d' Egitto,
about 1760 ; P trionfo di Camillo, Naj^les,
1760.
H. Oratorios : Gedeone ; II martirio di
Santa Eugenia ; II martirio di 8. Giovanni
Nepomucene ; II Verbo incarnato ; Davide
(London, 1735) ; II trionfo della divina
giustizia ; Oratorio, title unknown, written
in Vienna for the Emperor Karl VI., and
143
PORSILE
many cantatas, twelve of which were pub-
lished in London (1735).
TTT. Church music : Mass for five voices,
without orchestra ; Mass for five voices, two
violins, viola, and bass ; Mass for two chor-
uses, four voices di ripieno, with orchestra
(Lauuei-, Paris) ; In exitu Israel, for two
choruses ; Confitebor, for two choruses, two
violins, viola, and organ ; Domine probasti
me, for two soprani, two contralti, two vio-
lins, viola, and organ ; In te, Domine,
speravi, for five voices, two violins, viola,
and organ ; Qui habitat, for two soprani,
two contralti, violins, viola, and organ ;
Magnificat, for two choruses ; Dixit, for
four voices, two violins, and organ ; Dixit,
for four voices ; Stabat, for two soprani,
two contralti, two violins, viola, and or-
gan ; Sis duos for soprani on the Passion
for Holy Week ; Lessons for the funeral
service ; Laudate, pueri, Dominum, for four
voices, violin, viola, and oboe ; Te Deum,
four voices and orchestra ; In te, Domine,
speravi, four voices ; Beatus vir, four voices ;
Credidi, four voices ; Lauda, Jerusalem,
four voices ; Lictatus sum, two choruses
with violins ; In convertendo, four voices ;
Cum invocarem, four voices ; Nunc dimittis,
five voices ; Do profundis, four voices ;
Confitebor, four voices ; Nisi Dominus, four
voices ; Introduzione al salmo Miserere, for
two soprani, two alti, and orchestra ; Lit-
anies for four voices ; Salve Eegina, one
voice with instruments, original MS. form-
erly in the collection of Aloys Fuchs (Vienna);
2 Kegina Ca'li, one voice with instruments.
rV. Instrumental works : G symphonies
da camera, for two violins, violoncello, and
bass (London, 173G) ; 12 sonatas for the
violin and bass (Vienna, 1754, also in Paris) ;
G fugues for the clavecin first published in
dementi's Practical Harmony (4 vols., Lon-
don), also in Farrenc's Tresor des pianistes.
Biografica degli uomini. . . Napoli (Na-
l^les, 1819). — Fetis, vii. ; Clement, Mus.
celebres.
PORSILE, GIUSEPPE, born in Naples
in 1672, died in Vienna, May 29, 1750.
Dramatic composer, maestro de capilla in
the service of Chai-les 11. of Spain ; returned
to Naples in 1700, and was called to Vienna
in 1713 as music-master to the Archduchess
Josephine, subsequently being appointed
composer to the court. Works — Operas :
Sisara, given in Vienna, 1719 ; Meride e
Selinunte, 1721 ; Spartaco, 1726 ; I due re,
Roboamo e Geroboamo, 1731 ; Giusepi^eri-
conosciuto, 1733. Twelve oratorios, 9 ser-
enades.— Fetis ; Mendel.
PORTA, Fra COSTANZO, born at Cre-
mona, Italy, first half of the IGth cen-
tury, died at Loreto in IGOl. Church
comjjoser and contrapuntist, pupil of Ad-
rian Willaert in Venice. He was a Fran-
ciscan monk and maestro di cappella of the
convent of his order in Padua, then at the
Cathedral of Osimo, the Metropolitan
Church of Ravenna, and lastly of the Santa
Casa di Loreto. He had several celebrated
pujjils, and was one of the musicians who
dedicated a collection of jJsalms to Pales-
trina. His works are grave in style, and
he was especially careful to preserve their
modality intact. Works : Five books of
motets (\'cnice, 1555 to 1585) ; 1 book
masses (ib., 1578) ; 2 books of introitus,
(15GG, 1589) ; 4 books of madrigals (1555,
158G) ; Psalms (1G05) ; Hymns (1G02).
Padre Martini possessed a MS. of Lamen-
tationeset Madrigali, and a treatise : Instru-
zione di contrappunto. Other Composi-
tions are in the old collections published in
Venice and Antweii^ in the 16th century.
Padre Martini has given specimens of his
works in Saggio fondamentale pratico di
contrappunto, which Clioron reproduced in
Principes decomposition des ecoles dltalie.
Hawkins also has inserted specimens in his
General History of Music (i. 112-115).
— Fc'tis ; Burney, Hist., iii. 225 ; Riemann ;
Mendel ; Gerber ; Schilling; Ambros, Gesch.
PORTA, FRANCESCO DELLA, born in
Milan about 1590, died there in 1666.
Organist and church composer, pupil of
Ripalta. He was organist of several
churches in Milan. Works : Villanelle a
144
PORTA
1-3 voci (Rome, 1619) ; Salmi da cappella
(1637) ; Motetti (Venice, 1645, and Ant-
werp, 1654) ; Ricercari (Milan). He was
one of the first comiDOsers to make practical
use of the basso continuo. — Fetis ; Rie-
mann ; Jlendel ; ScLilling ; Gerber.
PORTA, GIOVANNI, boru in Venice,
end of tlie 17th
century, died in
Munich iu 1755.
Dramatic composer,
at first music di-
rector to Cardinal
Ottoboni ; he re-
turned to Venice in
1716, and for
twenty years was
chorus-master at the Conservatorio della
Pieta. After the death of Biffi he com-
peted for the position of maestro di cap-
pella at S. Marco, but failing to obtain
it, went to London, which he had visited
before in 1729. In 1737 he was appointed
Kapellmeister to the Elector of Bavaria.
Works — Operas : La costanza combattuta
in amore, Venice, 1716 ; Agrippa, ib., 1717 ;
L' amor di figlia, ib., 1718 ; Teodorico, ib.,
1720 ; L' amor tiranno (with Chelleri), ib.,
1722 ; Rea Silvia, ossia Romolo e Remo, ib.,
1723 ; Gli sforzi d' ambizione e d' amore,
ib., 1724 ; Antigone, tutore di Filippo (with
Albinoui), ib., 1724 ; Marianna (do.), ib.,
1724 ; Agide, re di Sparta, Ulisse, ib., 1725 ;
II trionfo di Flavio Olibrio, ib., 1726 ; Al-
deso, ib., 1727 ; Amor e Fortuna, Nel per-
dono la vendetta, ib., 1728 ; Doriclea ripudi-
ata da Creso, ib., 1729 ; II gran Tamerlano,
Florence, 1730 ; Farnace, Bologna, 1731 ;
Numitor, London, 1738 ; Ifigenia iu Aulide,
Dafne, Munich, 1738 ; Artaserse, Munich,
1739. Magnificat for 4 voices and orchestra ;
Motet for soprano, 2 violins, viola, and bass.
— Fetis ; Schilling.
PORTER, WALTER, born iu England
about end of 16th centurj', died in No-
vember, 1659. Comjjoser of motets, son
of Henry Porter (Mus. Bac, Oxford, 1600) ;
Gentleman of the Chapel Royal in 1616 ;
master of the choristers of Westminster
Abbey iu 1639. In 1644, after losing both
his f)laces on the suppression of choral ser-
vice, he found a patron in Sir Edward Spen-
cer. Works : Madrigales and Ayres of two,
three, foure and five voyces, with the con-
tinued bass, with Toccatos, Sinfonias, and
Rittoruelles to them after the manner of
Consort Musique. To bo performed with
the Harpsechord, Lutes, Theorbos, Basse-
Violl, two Violins or two Viols (1632) ; Mot-
tets of Two Voyces for Treble, or Tenor and
Bass, with the Continued Bass or Score.
To be performed to an Oi'gau, Harpsycon,
Lute, or Bass-Viol (1057); The Psalms of
George Sandys, set to Music for two Voyces,
with a Thorough-bass for the organ (1670).
Hawkins and Burney mention a collection
of Airs and Madrigals for two, three, four,
and five Voices, with a thorough-bass for
the organ, or Theorbo-Lute, the Italian Way
(1639), possiblj' a 2d edition of the first-
mentioned work. — Grove ; Mendel ; Schil-
ling.
PORTEUR D'EAU, LE. See Deux
journces.
PORTUGAL (DA FONSECA), (Porto-
gallo), MARCOS ANTONIO, boru in Lis-
bon, March 24, 1762, died at Rio de Janeiro,
Feb. 7, 1830. Dramatic comxjoser ; learnt
the rudiments of music in the theological
seminary where he was educated, became
a jjupil of Borselli, of the Opera, for singing,
and of Galluo, mestre de capella of the ca-
thedral, in counterjjoint. While studying,
he composed Italian canzonette and airs
with orchestra which were produced at the
Lisbon theatre. He followed Borselli to
Madrid, and became accompanist there at
the Opera. The Portuguese ambassador
sent him iu 1787 to Italy to study, and in
the following year he wrote his first opera,
for Turin. In 1789 and 1790 he composed
other successful operas for Venice and Flor-
ence, and thoroughly established his repu-
tation in Italy. He paid a visit to Lisbon
iu 1790, when the king made him his mestre
de capella ; during the years following he
145
PORTUGUESE
brought out many of his operas in Italy, and
returned to Lisbon in 1799. In 1810 lie
followed the royal family of Portugal, which
had gone to BrazU at the time of the
French invasion in 1807, and was made
music director-general in 1811 ; conjointly
with his brother Simao, he assumed, in 1813,
the direction of the newly founded Conser-
vatorio at Vera Cruz. After a last visit to
Italy, in 1815, he returned to Rio de Janeiro.
He was the most distinguished composer
Portugal has produced. Works — Operas :
Pequeno drama, Lisbon, Dec. 17, 1787, for
the birthday of Queen Maria I. ; Licenya
pastoril, ib., 1787 ; Idylio, ib., 1788, for the
name-day of the Infanta Carlotta Joaquina ;
L' eroe cinese, Turin, 1788 ; La bacchetta
portentosa, Genoa, 1788 ; Gratidiio, Lisbon,
1789 ; A inveja abatida, ib.. May 13, 1789 ;
A noiva fiugida, ib., 1790 ; Os viajantes
ditosos, ib., 1790 ; L' astuto, Florence,
1790 ; II molinaro, Venice, 1790, Breslau,
1792 ; La donna di genio volubile, Parma,
1791, Venice, 179G ; A mascara, Lisbon,
1792, and Venice, in Italian, as La maschera
fortunata, 1797 ; H Ciuna, Florence, 1793 ;
I due gobbi, ossia le coufusioni nate dalla
somiglianza, ib., 1793, Vienna, 1794 ; Ei-
naldo d' Asti, Venice, 1793 ; H principe di
Sj^azzacamino, ib., 1793, St. Petersburg,
about 1795, and Lisbon, as H barono di S.,
May 27, 1799 ; La vedova raggiratrice,
Florence, 1794 ; Demofoonte, Milan, 1794 ;
Argenide, St. Petersburg, 1794-95 ; Arta-
serse, ib., 1794-95 ; H ritorno di Serse,
Florence and Bologna, 1795 ; Gli avventu-
rieri, Florence, 1795 ; O mundo da lua,
Lisbon, about 1795 ; Zulema e Selinio,
Florence, 1796 ; L' iugauno poco dura,
Naples, 1796 ; II diavolo a quattro, ossia le
donne cambiate, Venice, 1797, and IVIilan,
as II ciabottino, 1801 ; Fernando in Mes-
sico, Rome, 1797 ; II filosofo seduceute,
ossia non irritar le donne, Venice, 1798,
and Paris, 1801 ; L' equivoco in equivoco,
Verona, 1798 ; La madre virtuosa (amoi-osa),
Venice, 1798, and Lisbon, as La morte di
Semiramide, 1801 ; Alceste, Venice, about
1799 ; Idonte, ossia il sacrifizio d' Ecate,
Milan, 1799 ; Gli Orazi ed i Curiazi, Fer-
rara, 1799 ; Adrasto, Lisbon, 1800 ; L' isola
piacevole, ib., 1801 ; A casa de campo, ib.,
1802 ; Quern busca lii fica tosquiado, ib.,
1802 ; O sapateiro, ib., 1802 ; Sofonisba,
ib., 1803 ; II trionfo di Clelia, ib., 1803 ;
Zaira, ib., 1803 ; Oro non compra amore,
ib., 1804 ; Merope, ib., 1804-5 ; Ginevi-a di
Scozia, ib., 1805 ; Hduca diFoix, ib., 1805 ;
La morte di Mitridate, ib., 1806 ; Augurio
di felicita, ossia il trionfo dell' amore, Rio
de Janeiro, 1807 ; II trionfo di Gusmano,
Lisbon, 1810 ; A saloia namorada, Rio de
Janeiro, 1812 ; O juramento dos numes,
ib., 1813 ; Adriano in Siria, Milan, 1815.
Several operettas, burlesques, etc., given
at Lisbon and Rio de Janeiro, 5 great
masses with orchestra, 5 masses with organ ;
2 Te Deum with orchestra ; Psalms with
do. ; Misereres, etc. — Vasconcellos ; Rie-
mann.
PORTUGUESE HYMN (Adeste fideles).
Its origin is unknown, but it is supposeel to
have been first sung in England in the Roman
CathoUc chaj^el attached to the Portuguese
embassy, from which it takes its name. The
tune has been attributed to John Reading,
who wrote " Dulce domum," and also to a
Mr. Thorley, an English organist. It is con-
tained in the modern Latin INIanual of De-
votions of the Roman Catholic Church, en-
titled, " Thesaurus Animas Christianaj," pub-
lished by C. Dolman (London, 1857), and a
note in this book claims it to be a sequence
for the Nativity of Christ, taken from the
Gradual of the Cistercian monks. — Notes
and Queries, Fourth Series, i. 12, 186; si.
75, 219.
POSTILLON DE LONJHMEAU, LE,
opera-comique in three acts, text by Adoljahe
de Leuven and Brunswick, music by Adolphe
Adam, first represented at the Ojsera Co-
mique, Paris, Oct. 13, 1836, with gi-eat suc-
cess. A postillion of Lonjumcau marries
a young peasant, Madeleine, of the same
village, and immediately after the cere-
mony the guests force him to sing to them.
146
rOTIER
The intendant-general of Louis XV., in
search of a tenor for the Academie Royale
de Musique, hears the voice of the young
bridegroom, and is so pleased that he bears
him away to Paris. The abandoned bride
goes to ile-de-FrancQ with an old aunt,
who dies and leaves her a fortune. After
ten years have elapsed, during which time
she has educated herself, Madeleine goes
to Paris, where she is received at court.
At the Opura she recognizes the first tenor
Saint-Phal as her husband, and he falls in
love with hei-. They are married, and the
fact that Saint-Phal is a bigamist is discov-
ered. He is seized, and at this moment his
wife comes forward in the habit of a jJeas-
ant, and thus Saint-Phal discovers that he
has twice married the same woman, who
now brings him love, beauty, and wealth.
The chief numbers are : " Combattons, chan-
tons," sung by Henri ; the couplets, " Oh !
qu'il est beau, le postilion de Lonju-
meau ; " and the air, " Mon petit mari."
The opera was given in Berlin, Dresden,
Leipsic, and Vienna in 1837, and first in
New York in 1839. Published by Schott
(Mainz, 1836) ; overture for pianoforte by
Ch. Rummel (ib., 1837) ; German transla-
tion by M. G. Priedrich (ib., 1837). Ital-
ian operas, H postiglione di Lonjumeau,
by Coppola, Milan, Nov. 6, 1838 ; by Spe-
ranza, Lucca, 1842. — Eevue et Gaz. mus. de
Paris (1836-37), 367 ; (1880), 329 ; Neue
Zeitschr., vii. 110 ; Ciicilia, xis. 19G.
POTTER, HENRI HIPPOLYTE, born in
Paris, Feb. 10, 1816, died there, Oct. 9,
1878. Dramatic composer, pupil at the
Conservatoire of Amedce in solfege, of Zim-
merman on the pianoforte (2d prize, 1830 ;
first, 1831), of Dourlen and Lecouppey in
harmony (first prize, 1832) ; he then stud-
ied counterpoint and fugue for five years,
and, on leaving the Conservatoire in 1837,
began to teach and to compose. In 1850-56
he was chef de chant at the Opera, and in
1875 became professor of singing at the
Conservatoire. Works: Mademoiselle de
Merauges, at the Opera Comique, 1841 ;
Le caquet dn convent, ib., 184G ; II signor
Pascariello, ib., 1848 ; Le vieux prix de
Rome, Theatre Beaumarchais, 1849 ; Ji^lia
et Mysis, ou I'Atellane, ballet, Opera, 1853 ;
Le rosier. Opera Comique, 1859 ; L'ange
de Rothesay, Theatre International, 18G7 ;
Madelaiue, Bouffes-Parisiens, 1869 ; Le
bailly de Suresnes, Le fabliau, Volage et
jaloux, not given. — Fetis ; do., Supplement,
ii. 363.
POTT, AUGUST, born at Nordheim, Han-
over, Nov. 7, 1806, died in Gratz, Styria,
Aug. 27, 1883. VioHuist, pupil of Spohr at
Cassel, where also he made his first appear-
ance in 1824 ; after travelling iu Denmark,
Germany, and Austria, he became Conzert-
meister in 1832 in the grand ducal orches-
tra at Oldenburg. In 1861 he was pen-
sioned, and retired to Gratz. Works : 2
concertos for violin and orchestra ; Varia-
tions for do. ; do. for violin, with violin,
violoncello, and bass ; Duos for violins, etc.
— Mendel ; Riemaun.
POTTER, (PHILIP) CIPRIANI (HAM-
BLY), born in Lon-
don in 179 2, died
there, Sept. 26, 1871.
Pianist and conduc-
tor ; began his musi-
cal education at seven
under his father, a
teacher of pianoforte ;
then studied counter-
point under Attwood,
theory under Callcott
and Crotch, and the
pianoforte under Woelfil. In 1816 an
overture by him was performed by the
Philharmonic Society, and he made his first
appearance in the same year at that so-
ciety's concert, playing a sextet of his own
for pianoforte and stringed instruments.
He then went to Vienna, studied composi-
tion under FOrster, and received friendly
advice from Beethoven ; after visiting Ger-
many and Italy, he returned in 1821 to
Loudon. In 1822 he was appointed pro-
fessor of pianoforte at the Royal Academy
147
rouGm
of Music, and in 1832, on the resignation
of Dr. Crotch, he succeeded him as prin-
cipal until 1859, when he resigned in favour
of Charles Lucas. Works : 9 symphonies
for full orchestra (JVLS., 6 in Philharmonic
library) ; 4 overtures (MS., 3 in ib.) ; 3 con-
certos for pianoforte and orchestra (MS.) ;
Concertante for pianoforte and violoncello ;
Medora e Coi-rado, cantata ; Sextet for pi-
anoforte, flute, violin, viola, violoncello, and
double-bass, op. 11 ; 3 trios for pianoforte,
violin, and violoncello, op. 12 ; 3 sonatas for
pianoforte ; 9 rondos ; 2 toccatas, in G and
B-flat, for pianoforte ; Variations, fantasias,
romances, etc. He published also two
books of studies for pianoforte, contributed
to musical periodicals, and edited the Com-
plete Pianoforte Works of Mozart (Novello),
and Schumann's Album fiU- die Jugend
(1857). — Grove ; Fotis ; Riemann.
POUGIN, (FE.iX^'OIS AUGUSTE) AR-
THUR (PARROISSE-), born at Chateauroux
(ludre), Aug. G, 1834, still living, 1890. In-
strumental and vocal composer, though best
known as historian and critic, and as com-
piler of the Supplement to Fctis'sBiograpliio
dcs musicieus (Paris, 1878-80). The son of
an itinerant actor, he was first instructed in
music by his mother, a good amateur ; at
eight he took up the study of the violin, and
in 184G entered the Paris Conservaloiro as
a pupil of Gui'rin and Alard. From the ago
of thirteen ho plaj-ed in the orchestras of
theatres, at the same time studying counter-
point and harmony under Albert Lhote,
and the violin under Berou ; he then re-
entered the Conservatoire, to study har-
mony under Reber, and in 1855 became
conductor at the Th6;itre Beaumarchais, and
soon afterwards first violin at the Musaril
Concerts, where some of his compositions
were played. In 1856-59 he was vice-con-
ductor and rc'putiteur at the Folies Nou-
velles, and in 1860-G3 violinist at the Opera
Comique. In 1859 he began his first his-
torical sketches and biographical articles
on the French musicians of the 18th cen-
tury, and since then has devoted himself en-
tirely to literary labours and has published
many volumes. Works : Le cabaret de
Ramj^onneau, opera-comique ; Pieces for
orchestra ; Morceau de concert for violin,
with orchestra or pianoforte ; Morceaux de
genre for pianoforte ; Vocal melodies. — Fc-
tis, Supplement, ii. 363 ; Mendel, Ergiinz.,
362 ; Riemann.
POULE, LA, symphony in G minor, by
Haydn, written for Paris, 178G. I. Allegro
spiritoso ; II. Andante ; III. Meiuietto, al-
legro ; IV. Finale, vivace. Published by
Simrock, Berlin.
POURQUOI TREMBLER. See Zampa.
POWELL, THOMAS, born iu Loudon
in 1776, died in Edinburgh after 1863.
Violoncellist ; settled in Dublin iu 1806 to
teach, and later removed to Edinburgh.
In 1805 he played a concerto of his com-
position at the Haymarket Theatre, Lon-
don. Works : 15 concertos for violin and
orchestra ; Overtures for orchestra ; 3 duos
for violin and violoncello ; 3 do. for 2 violon-
cellos ; Sonatas for pianoforte, violin, and
violoncello ; do. for pianoforte and violon-
cello ; Capriccio for violoncello ; Introduc-
tion and fugue for organ, etc.
PRADHER (Prad.'re), LOUIS BARTHl^:-
LEMY, born in Paris, Dec. IS, 1781, died
at Gray (Haute-Saone), October, 1843. Pi-
anist and dramatic composer, son of a vi-
olin teacher ; pupil of his uncle Lefiivre, of
Gobert, and Berton. He left the Paris Con-
servatoire to man-y the daughter of the
composer Philidor. In 1802 he succeeded
Jadin as professor at the Conservatoire,
and numbered Henri and Jacques Herz,
Dubois, and Rosellen among his pupils.
He taught the family of Louis Philippe,
and was accompanist to Louis XVHI. and
Charles X. ; took the actress. Mile. More,
for his second wife, and retired to Toulouse,
where he became director of the Conserva-
toire. Works — Comic operas : Le voisi-
nage (with others), 1800 ; Le chevalier d'in-
dustrie (with Dugazon), 1804 ; La folie
musicale, ou le chanteur prison nier, 1807 ;
Jeuue et vieille, 1811 ; L'empruut secret,
148
rilAGER
1812 ; Philosophe en voyage (with Kreube),
1821 ; Jennj' la bouquetiore (with lii-eube),
1823 ; Les enlevements impromptu, 182-4.
Concerto for pianoforte ; Sonata for piano-
forte, violin, and violoncello ; Adagio and
rondo, for do. ; Rondo for 2 pianofortes ; 5
sonatas for pianoforte ; Eondeaux and fan-
taisies, variations, etc., for do. ; 22 collec-
tions of romances. — Fetis ; Mendel ; Eie-
maun.
PRAETORIUS. See rralorius.
PEAGER, FERDINAND CHRISTIAN
WILHEKVI, born in Leipsic, Jan. 22, 1815,
still living, 1890. Pianist, fii-st studied the
violoncello, but changed to the pianoforte
on the advice of Hummel. He settled at
The Hague as a teacher, when sixteen years
of age, and in 1834 removed to London.
He was selected by Schumann to be the
English correspondent of the Neue Zeit-
schrift f iir Musik ; Las played on the con-
tinent and been very successful as a teacher.
Works : Abelliuo, overture ; Live and love,
battle and victory, symphonic poem (1885) ;
Symphonic prelude to Manfred ; Trio for jii-
anoforto and strings. A selection of his best
pieces for pianoforte was published in the
Priiger-Album (Leipsic, 2 vols.). — Grove ;
Riemann.
PEAGER, HEINRICH ALOYS, born in
Amsterdam, Dec. 23, 1783, died at Magde-
burg, Aug. 7, 1854. Violinist and virtuoso
on the guitar, for some time Kapellmeister
of an itinerant dramatic comjsauy, then at
the theatres in Leipsic, Magdeburg, Han-
over, Cologne, etc. Works : Der Kyff-
hiluserberg, opera ; Quintet for viola, 2
clarinets, flute, and bassoon ; do. for strings ;
Quartets, trios, and duos for do.; Capriccios,
etudes, etc., for violin ; Themes varids for
various instruments ; Music for guitar.
— Futis ; Mendel ; Schilling.
PRATI, ALESSIO, born at Ferrara, Italy,
July 16, 1750, died there, Feb. 2, 1788.
Dramatic composer, pupil of Bighetti. He
was maestro di cappella at XJdiue, went to
Paris in 1767, and taught singing in the
highest circles. Having visited St. Peters-
burg and Germany, he returned in 1781
to Italy and became maestro di cappella to
the King of Sar-
dinia. Works — Op-
eras : Ifigenia in
Aulide, Florence,
1784 ; Semiramide,
ib., 1785 ; Armida
abbandonata, Mu-
nich, 1785 ; Olim-
pia, Naples, 1786 ;
Demofoonte, Ven-
ice, 1787; 12 so-
natas for pianoforte and violin ; Concerto
for flute ; do. for bassoon ; 3 sonatas for
harp and violin ; Duo for 2 harpis ; Several
collections of romances and Italian airs.
— Laderchio, Notizie biografiche intorno alia
vita di A. Prati (Ferrara, 1825) ; Ffetis ;
Schilling.
PRATOEIUS, HIERONYilUS, born in
Hamburg before 1560, died there in 1629.
Organist, first instructed by his father, then
studied music at Cologne, became city can-
tor at Erfurt in 1580, and succeeded his
father as organist at St. Jacob's, Hamburg,
in 1582. Works : Cantiones sacrno, for 5
to 8 voices (1599) ; Magnificat, for 8 voi-
ces (1602-22) ; Liber missarum, for 5 to
8 voices (1616) ; Cantiones sacrro varifc, for
5 to 20 voices (1618) ; Cantiones novno
officiosfc, for 5 to 15 voices (1618-25) ;
Melodeyen-Gesangbuch zu vier Stimmen
(with his son Jacob, 1604). — Mendel ; Rie-
mann ; Schilling.
PRATOEIUS, JAIvOB, born in Erfurt
about 1580, died in Hamburg, Oct. 21,
1651. Organist, sou of the preceding, pu-
pil in Amsterdam of Jan Pieter Swee-
linck ; after his return to Hamburg he
became organist at St. Peter's, and later
held also the honorary posts of vicar and
dean at the cathedral. Besides the nine-
teen chorals in the Melodeyen-Gesangbuch,
edited with his father, there exist only com-
positions for special occasions, preserved
in the city library at Hamburg. None of
his organ music, which was of a high
14<J
PRATOllIUS
order, has come down to us.
Schilling.
PEATOBIUS (Praetorius),
born
Mendel
mCHAEL,
at Kreutz-
berg, Thuriugia,
Feb. 15, 1571
(1572?), died in
Wolfenbiittel,
Feb. 15, 1G21.
The surname i s
latinized from the
German Schulz or
Schulze. He was
one of the promi-
nent composers, and especially one of the
most noted writers on music, of his day
and countrj-. Little is known of his life,
save that he began his career as Kapell-
meister at Liineburg, was afterwards made
organist, and then Kajiellmeister and Secre-
tary to the Duke of Brunswick, and was
appointed Prior of the Monastery of Ringel-
heim, near Gozlar. Works — I. Musical :
Musre Sionise, in IX. parts, containing l,2ii
vocal pieces ; Parts 1 to IV., Konzert-
gesilnge, 8 to 12 voc, on German psalms
and Kirchenlieder ; Part V., Lieder and
psalms, 2 to 8 voc. ; Parts VI. to IX., Kir-
chenlieder, 4 voc, in counterpoint of the
first order ; published 1605-10 (Part IX. re-
published, as Bicinia et Pricinia, IGll) ;
Musai-um Sioniarum motetse et psalmi, 4 to
16 voc, I. pars, 1007 ; Eulogodia Sionia,
60 motets, 2 to 8 voc, for the close of
Divine Service, 1611 ; Missodia Sionia,
1611 ; Hymnodia Sionia, hymns 2 to 8 voc,
1611 ; Megalynodia, madrigals and motets,
5 to 8 voc, 1611 ; Terpsichore, dance-pieces
by himself and several French composers,
1612 ; Polyhymnia caduceatrix et pane-
gyrica, songs of peace and rejoicing, 1 to 21
voc, 1619 ; Polyhymnia exercitatrix, 2 to 8
voc, 1619 ; Uranodia (Uranochordia), 19
songs 4 voc, 1613 ; Kleine und grosse Li-
tanei, etc., 1606 ; Epithalamium for Fried-
rich Ulrich, of Brunswick, and Anna Sophie,
of Brandenburg, 1614 ; Puericinium, 14
Kirchenlieder, 3 to 12 voc, 1621.
II. Literary : Syntagma Musicum, ex vet^
erum et recentiorum Ecclesiasticorum auto-
rum lectione, Polyhistorum consiguatione,
Variai'um linguarum uotatione, Hodierni
seculi usurpatioue, ipsius denique Musicte
artis observatione, in Cautorum, Organista-
rum, Organopoeorum, ceterorumque Musi-
cam scientiam amantium et tractantium gra-
tiam collectum ; et Secundum generalem
Indicem toti Operi priefixum. In Quatuor
Tomos distributum (Vol. I., Part I., Wol-
fenbiittel, 1614; Part II., Wittenberg, 1615 ;
Vol. II., Part I., Wolfenbiittel, 1619 ; Part
n, ib., 1620). A most remarkable historical
and theoretical work, of which only the
first three volumes were ever j'uhlished.
— Grove, iii., 25 ; Fetis ; Mendel.
PEATT, SILAS GAMALIEL, born, of
American jsa-
rentage, i n
Addison,
Vermont,
Aug. 4, 1840,
still living,
1890. Pian-
ist ; studied
pianoforte in
1857 in Chi-
cago ; went
in 1868 to
Europe and
studied pianoforte in Berlin under Beudel
and Kullak. Having lost the use of his
right wrist from overwork, he had to aban-
don the idea of becoming a performer, and
turned his attention to composition. After
a trip through Germany, he returned to
Berlin and studied counterpoint, harmony,
and composition under R. Wiierst and F.
Kiehl. In 1871 he returned to Chicago,
PRAUPNER
organized the Apollo Club, made a concert
tour in the winter of 1873-74, and in 1875
again went to Europe, attended at Bajreuth
the rehearsals of Wagner's trilogy, gave at
"Weimar a recital of his own pianoforte
compositions before Liszt, and studied in
Berlin score-reading under Heinrich Dorn.
On July 4, 1876, his Anniversary Overture
was performed in Berlin, and soou after at
Weimar. After visiting Paris and London,
he returned in 1877 to America, gave in
1878 symphony concerts in Chicago, and
in 1882 produced Zenobia, his first oj^era,
at McVicker's theatre in that city. In 1885
he again visited London, gave concerts of
his own compositions at the Crystal Palace,
when the Pi-odigal Son symphony and selec-
tions from Zenobia were performed, and in
1886 returned to Chicago to engage in direct-
ing music festivals and teach pianoforte.
He is now (1890) professor of pianoforte at
the Metropolitan Consei-vatory of Music,
New York. Works : Zenobia, grand opera
in 5 acts, Chicago, 1882 ; Lucille, lyric opera
in 4 acts, ib., 1887 ; The Last luca, cantata,
chorus, solo, and orchestra ; Magdalena's
Lament, orchestra ; 1st grand symphony ;
2d grand symphony. The Prodigal Son ;
Serenade, for string orchestra ; 3 minuets
for orchestra ; Symi^honic suite, on charac-
ters in Shakespeare's Tempest, for grand
orchestra ; Court minuet ; Waltzes, im-
promptus, mazurkas, polonaises, minuets,
and other pianoforte music ; Centenary
hymn to Washington, 1889 ; Suite of
dances, for orchestra, 1889 ; Songs and
part songs.
PRAUPNER, VACLAV, born at Leit-
meritz, Bohemia, Aug. 18, 1744, died in
Prague, April 2, 1807. Organist and vio-
linist, studied music in his native town and
in Prague, where he taught violin and sing-
ing, conducted the orchestra of Count Nos-
tiz's house theatre, and became regens
chori in different churches, last at the
Theinkirche, in 1794, when he was ap-
pointed also Kapellmeister at the Opera and
at the Kreuzherrenkirche of St. Fi-ancis.
Works : Circe, opera ; Masses, graduals,
offertories. Requiem, vespers for 3 choirs ;
Concertos, symphonies, and arias. — Dla-
bacz ; Futis ; Gerber ; Wurzbach.
PRfi AUX CLERCS, LE, opera-comique
in three acts, text by Planard, music by
Herold, first represented at the Opera Co-
mique, Paris, Dec. 15, 1832, a few weeks
before the composer's death. The action
is placed near the Louvre, where Marguerite
de Valois is retained as a prisoner by her
brother, Charles IX., in order to check the
conduct of Henri de Navarre. She has
under her i^rotection a young girl, Isabelle,
whom the king intends to marry to the
comte de Comminge. Henri de Navarre
sends the baron de Mergy to release his
wife and her young friend, with whom the
baron is in love. Marguerite favours his
suit, and gains the aid of an Italian at the
court, named Cantarelli, who tells Com-
minge of de Mergy 's plans for a secret mar-
riage with Isabelle. This takes place, in
consequence of which de Mergy and Com-
minge fight a duel. The latter is killed and
de Mergy and his bride are left in peace.
The principal numbers are: " Les reudez-voua
de noble compagnie," a duet ; Mergy's air^
"O ma tendre amie ;" the romance, "Sou-
venirs du jeune age ; " Isabella's air accom-
panied by a violin solo, " Jours de mon en-
fance ; " and the trio, " Vous me disiez sans
cesse : Pourquoi fuir les amours?," sung by
Isabelle, the Queen, and Cantarelli. The
part of Isabelle was written for Mme Ca-
simir, who appeared in the original cast,
which included Fargueil, Thenard, Lemon-
nier, Fereol, Mme Ponchard, and Mile
Massy. This opera was first given in Ber-
lin, as Per Zweikampf, in October, 1833 ;
in Vienna in February, 1834 ; and in Lon-
don, in French, at the Princess's, May 2,
1849 ; in Italian atCovent Garden, June 26,
1880. It received its 1,000th representa-
tion iu Paris in 1871. Published by Schott
(Mainz, 1834), German translation by von
Lichtenstein (ib.) ; overture and airs for
the pianoforte, arranged by Ch. Rummel
151
PEECIOSA
(ib., 1835) ; also by Diabelli (Vienna, 1837).
— Clement et Larousse, 5-12 ; Allgem. mus.
Zeitg., xxxvi. 237 ; Athenaeum (1880), ii.
25.
PRECIOSA, cli-ama in four acts, by Pius
Alexander Wolff, with overture and music
by Weber, first represented at the Royal
Opera House, Berlin, March 14, 1821, with
Mme Stich as Preciosa. The subject is
taken from a novel of the same title by Cer-
vantes (1G13), which was fii"st set to music
by Karl Eberweiu aud rejjresented in Wei-
mar without success. Count Briihl per-
suaded Wolff to send his play to Weber,
who was attracted by the Spanish local
coloring. Preciosa is the daughter of the
chief of a band of gypsies, banished to the
Sierra Nevada, under guai-d of the captain-
general of Andalusia, whose son falls in
love with her. He is seizetl by the gypsies,
who threaten to kill him unless they have
the privilege of liberty on the road. The
captain tells them this is only an adopted
son, and Preciosa, discovering that he is of
the gypsy race, marries him. She finds an
underground passage leading to the Alham-
bra, and the gypsies seal the entrance and
go thither. When the officers arrive to en-
force obedience the gypsy camp is deserted.
The music is treated in Weber's individual
manner, and is full of Spanish colour, inten-
sified by the introduction of gypsj' rhythms
and national airs. The part-songs "Im
Wald," " Die Soun' erwacht," and the gypsy
chorus, "Es blinken so lustig die Sterne,"
and Preciosa's song, " Einsam bin ich nicht
alleiue," are favorites in Germany, and the
melodrama, " Liichelnd sinkst, du. Abend,
nieder," is one of the best pieces of the kind
ever written. The overture played by the
Philharmonic Society of New York, first in
the season of 1854-55, is light and sparkling,
and is based chiefly on a bolero, which is
repeated in the fii-st chorus. The work
was first given in Dresden, June 27, 1821 ;
in Munich and Vienna in 1823 ; in London
at Covent Garden, April 28, 1825 ; in Paris,
arranged by Sauvage and Cromont, at the
Odeon, Nov. 23, 1825 ; at the Theatre Ly-
rique, in one act arranged by Nuitter and
Beaumont, April 16, 1858 ; and at Copen-
hagen, Danish translation by Boie, Oct. 22,
1822. The original score, in the possession
of Max von Weber, was pmbUshed by
Schlesinger (Beriin, 1821). The first two
editions are full of mistakes, but a third
has been carefuUy prepared by Ernst Ru-
doi-ff (ib., 1872). Pianoforte score by the
composer (ib., 1821). Operas of the same
title : in German, by Karl Schnabel, Bres-
lau, about 1840 ; iu Italian, Preziosa, by
Ruggiero Bassi-Manna, text by Colla, Casal-
maggiore, 1845, Milan, May 8, 18G1 ; and
by A. SmaregUa, Milan, Nov. 19, 1879.
— Jahns, W^cber Verzeichniss, No. 279 ;
Weber, Weber, ii. 237, 277; Clement et
Larousse, 543 ; Benedict, Weber, 57 ; Har-
monicon (1825), 39 ; Grove, iv. 417 ; Ber-
liner mus. Zeitg., ii. 37 ; Revue et Gaz. Mus.
de Paris (1858), 125 ; Hanslick, Concert-
wesen in Wien, ii. 235.
PREDIERI, GIACOMO CESAEE, born
at Bologna in the second half of the 17th
century, died after 1711. Church composer,
pupil of Giovanni Paolo Colonna, was ap-
pointed maestro di capjjella of the cathedral
in 1698. Member of the Accademia Filar-
monica in 1690, principein 1698, 1707, and
1711. Works : lezabele, oratorio a sette
voci, etc. (with Floriauo Aresti) ; Sacred
and secular cantatas (Bologna, 1G9G). — Fc-
tis ; Mendel.
PREDIERI, LUCA ANTONIO, born iu
Bologna, Italy, Sept. 13, 1688, died there
in 17C9. Dramatic composer, studied the
violin under VitaU, and counterpoint under
his uncle Giacomo Cesare Predieri. Mem-
ber of the Accademia Filarmonica, Bologna,
170G, principe in 1723. He was maestro di
cappella of the cathedral, and in 1739, on
the recommendation of Fiix was appointed
Vice-Kapellmeister of the Court Chapel in
Vienna. In 1746 he became chief Kapell-
meister, and in 1751 was pensioned and re-
tired to Bologna. Works^Operas : Gri-
selda, Bologna, 1711 ; Astarte, 1715 ; Lucio
152
PEEINDL
Papirio, Venice, 1715 ; H trionfo di Soli-
manno, Florence, 1719 ; Merope, 1719 ;
Partenope, Bologna, 1719 ; Scipione il gio-
vane, 1731 ; Zoe, Venice, 1736 ; Sofonisba,
II sacrifizio d' Abramo, oratorio, Venice,
1738 ; Isacco figura del Eedentore, 1710 ;
and Astrea placata, operetta, text by Metas-
tasio, Vienna, Aug. 28, 1739.— Fc-tis ; Men-
del ; Schilling.
PREINDL, JOSEPH, born at Marbacli,
Nether AiLstria, Jan. 30, 175G, died in Vi-
enna, Oct. 26, 1823. Organist, pupil of
bis father and of Albrechtsberger ; became
in 1793 choirmaster of St. Peter's, Vienna,
and in 1809 Kapellmeister of St. Stephen's.
Works : Masses, offertories, graduals, lam-
entations ; Requiem ; Te Deum ; Cho-
ruses and other church music ; Concertos,
sonatas, fantasias, and variations for piano-
forte ; Melodien aller deutscben Kirchen-
lieder welche im St. Stephansdom in Wien
gesungen werden, with cadences, sym-
phonies, and preludes (Vienna, 3d ed., re-
vised by Sechter) ; Gesanglehre ; "Wiener
Touschule, on harmony, counterpoint, and
fugue (ib., 1827, 2d ed., 1832).— Wurzbach ;
Mendel ; Fetis ; Riemann ; Schilling.
PREIS DEE TONKUNST. See Glor-
reiche Augenblick.
PRf^LUDES, LES, symphonic poem, by
Liszt, op. 4, No. 3, first performed in Wei-
mar at a Pensionskonzert of the Hofkapelle,
Feb. 23, 1854. It is written on a passage
from Lamartine's " Meditations poetiques,"
was begun in Marseilles in 1845, and finished
in Weimar in 1850. It was given in Berlin
in December, 1855 ; in Vienna, March 8,
1856 ; in Leipsic, Feb. 26, 1857 ; and by the
New York Philharmonic Society in the sea-
son of 1861-62. Published by Breitkopf &
Hilrtel (Leipsic, 1856). — Neixe Zeitschr., xlv.
225 ; xlvi. 101 ; Hanslick, Concertwesen in
Wien, ii. 117 ; Wagner, Gesch. Schriften, v.
237.
PREMIER JOUR DE BONHEUR, LE
(The First Day of Good Luck), opera-co-
mique in three acts, text by d'Ennery and
Cormon, music by Auber, first represented
at the Opera Comique, Paris, Feb. 15, 1868.
The action is placed in India, during the
siege of Pondicherry. A young officer,
Gaston de Maillepre, after many adventures,
is brought before a court-martial and con-
demned to be shot, but is liberated, and
from this time dates his " 23remier jour de
bonheur." The original cast included Ca-
poul, Saiute-Foy, Prilleux, Bernard, Mel-
chissedec, and Mile Marie Roze. Mme
Cabel and Mile Marie Roze achieved suc-
cess in the short role of the Indian Djelma.
— Clement et Larousse, 742.
PRENDERGAST, ARTHUR HUGH
DALRYMPLE, born in Loudon, June 28,
1833, still living, 1890. Vocal composer, pu-
pil of James Turle. Conductor of the Lom-
bard Amateur Musical Society. Works :
Cantate Domino and Deus misereatur ; Fes-
tival Te Deum, 1882 ; Anthems ; Part-songs
for male and mixed voices, and songs.
PRENDI, L' ANEL. See Sonnambula.
PRENTICE, THOMAS RIDLEY, born
at Ongar, Essex, England, July 6, 1842,
still living, 1890. Pianist, pupil, at the
Royal Academy of Music, in pianoforte of
Walter Macfarren, and in harmony and
composition of Sir G. A. Macfarren. In
1863 he won the silver medal and the Potter
Exhibition. He started the Monthly Popu-
lar Concerts at Brixton in 1869, and the
Kensington Twopenny Concerts in 1880.
Organist of Christ Church, Lee Park. Pro-
fessor of pianoforte at Guildhall School of
Music, 1880, and at Blackheath Conserva-
tory, 1881. Works : Linda, cantata for
female voices ; Anthems ; Part-songs ; Pi-
anoforte music, and songs. The Musician,
instruction book for pianoforte (London,
1888).
PRESCIMONI, NICOLO GIOSEFFO,
born at Francavilla, Sicily, July 23, 1669,
died at Palermo (?). Amateur composer, pu-
pil of Francesco Catalano, while studying
law at Messina ; obtained his degree as doc-
tor at the age of twenty-eight, and settled at
Palermo, to practise his profession. Works :
La gara de' fiumi, serenade for 5 voices
153
PEESCOTT
(Palermo, 1693) ; La nascita di Sansone,
etc., dialogue for do. (ib., 1694) ; L' Onni-
potenza glorificata, etc., do. (Naples, 1695) ;
Gli angeli salmisti, etc., do. (Rome, 1696) ;
II fuoco panegirista del Creatore, etc., do.
(Palermo) ; II trionfo degli dei, serenade
for 5 voices, 2 choruses, and 6 instruments
(Messina, 1695) ; La uotte felice, serenade
for 6 voices (Palermo, 1700) ; La crisi vitale
del mondo, etc., oratorio for 3 voices (Mes-
sina, 1701) ; I miracoli della Providenza,
etc., do. for 5 voices (Palermo, 1703) ; II
tripudio delle Ninfe, etc., serenade for 3
voices, and instruments (ib., 1704) ; H giu-
dizio di Salomone, etc. (ib., 1705) ; La figlia
unigenita di Gefte, etc., dialogue for 5
voices (ib., 1705) ; Le virtii in gara, etc. (ib.,
1707) ; II latte di Jaele, etc., oratorio for 5
voices and instruments. — Futis ; Schilling.
PRESCOTT, OLWEKL\ LOUISA, born
in London, Sept. 3, 1842, still living, 1890.
Instrumental and vocal composer, pupU of
Lindsay Sloper, and at the Royal Academy
of Music of Macfarren, Jewson, Folkes, and
Raljih. She conducts classes for harmony,
etc., in the University of Cambridge cor-
respondence system for women. Works : 2
symphonies ; Several overtures, and some
shorter j'ieces for orchestra ; Concerted
music for stringed instruments ; Psalm xiii.
for solo, chorus, and orchestra ; Psahn cxxvi.,
for voices oulj' ; Lord UUin's Daughter, for
chorus, with ox'chestra ; Anthems ; Part-
songs, and songs.
PRETTY, LOWLY, MODEST FLOW-
ER. See Purilan's Daughter.
PREVOST, EUGfiNE PROSPER, born
in Pai-is, Aug. 23, 1809, died in New Or-
leans, Aug. 30, 1872. Dramatic composer,
pupil, at the Conservatoire, of Jelensperger
and Seuriot in harmony and counterpoint,
and of Lesueur in composition. He won the
second grand jjrix in 1829, for the cantata
Clcopatre, and the pris de Rome in 1831,
for his cantata Biauca Capello. He mar-
ried Eleonore Colon the singer, and became
chef d'orchestre of the Havre theatre, but
left that city in 1838 for New Orleans, where
he remained twenty years as chef d'orches-
tre and singing teacher, though in 1842 he
was conductor of the orchestra at Niblo's
Garden, New York. In 1862 he returned
to Paris, and became chef d'orchestre at
the Bouifes Parisiens, then at the concerts
of the Champs-lilysees. He went again in
1867 to New Orleans, and remained there.
Works : L'hotel des princes, Lc grenadier
de Wagram, Theatre de 1' Ambigu Comique,
1831 ; Cosimo, Ojsera Comique, 1834 ; Le
bon gar(;on, ib., 1837 ; Blanche et Rene,
New Orleans ; L'illustre Gaspard, Paris,
Op^'ra Comique, 1863 ; Several masses.
— Fetis ; do., Supijlcment, ii. 369 ; Mendel.
PRfiVOST-ROUSSEAU, ANTONIN, born
in France, 1824, still living, 1890. Ama-
teur composer, pupil in 1846—48 of Dourlen
and about 1852 of Ai-istide Hignai-d. He
is a lawyer, and became mayor of Cham-
l)igny-sur-Marne. In 1849 he founded a
choral society, which he still conducts.
Works : Les poemes de la natui-e, musical
poem in 8 pai-ts, Cercle Musical, 1863 ; La
ferme, symphonie rustique, 1865 ; Les
songes, symphonie lyrique, 1872 ; Riquet
a la houppe, opera-comique, fragments of
which have been performed at concerts ;
Several masses ; Many choruses, melodies,
etc. — Fctis, Supplement, ii. 369.
PREYER, GOTTFRIED, born at Haus-
brunn, Nether Austria, Mai'ch 15, 1808,
still living, 1890. Organist and violinist,
first instructed on several instruments by
the parson Bohunowsky, then in Vienna, in
1828-34, pupU. of Sechter in harmony,
counterpoint, and composition. In 1835
he became organist of the Lutheran church,
in 1838 professor of harmony and counter-
point at the Conservatorium, in 1844 Vize-
Hofkapellmeister, in 1846 court organist,
and in 1853 Kapellmeister at St. Stephen's.
He was director of the Conservatorium in
1844-48, and jjensioned as Vize-HofkapeU-
meister in 1876. Works — Operas : WaUad-
mor ; Freimannshohle ; Amaranth ; Noah,
oratorio ; Several masses, one for male
voices ; Requiem ; Te Deum ; Hymneu der
154
PRIERE
grieehiscli-katholischen Kirche (1847), and
other cliurch music ; Symphony ; 3 festival
marches for military band, with trio and
chorus ; String quartet ; Organ and piano-
forte music ; Choruses and songs. — Wurz-
bach ; Hanslick, Gesch. des Concertwesens
in Wien, 302, 355 ; Kochel, Die kaiserl.
Hof-Musikkapelle (Vienna, 1869), 113 ; Rie-
mann.
PRifcRE DU MATIN (Morning Prayer),
for two-part chorus, by Berlioz, published
by Escudier (Paris). It may be considered
as belonging to the Feuillets d' Album, op.
19.
PRINCES SANS APANAGES. See
Hamlet.
PRmCESSE JAUNE, LA (The Yellow
Princess), opcra-comique in one act, test by
Louis Gallet, music by Saint-Saiins, first rep-
resented at the Opera Comique, Paris, June
12, 1872. A young Dutch savant fancies
himself in love with a Japanese image, and
is indifferent to the love given to him by
his cousin. He drinks a potion and fancies
himself in Japan with his idol, who, to his
surprise, has the face and manner of his
cousin, and, arousing from his revery, he
falls in love with her. It was first sung by
Lht'rie and Mile Ducasse. Published by
Durand, Schojnewerk & Cie as op. 30 (Par-
is, 1872-73). German translation by von
Loen (Stuttgart, 1880).— Clement et La-
rousse, 808.
PRINCESS IDA, THE, or, Castle Ada-
mant, comic opera in two acts, with pro-
logue, text by Gilbert, music by Sullivan,
first represented at the Savoy, London, Jan.
5, 1884. It is called by its authors "a re-
spectful operatic perversion of Tennyson's
' Princess.' " It was given at the Fifth Av-
enue Theatre, New York, Feb. 11, 1884.
Published by Chajjpell & Co. (Loudon,
1884).— AthenfBum (1884), i. 63 ; New York
Tribune, Feb. 18, 1884.
PRINCESS, THE, overture for orches-
tra, by George E. Whiting, first performed
at a concert of the Apollo Club, Boston, in
the season of 1883-84.
PRmZ WALDMEISTER, romantic comic
opera, text by Heinrich Italiener, music by
Adolf Neuendorif, first represented at the
Thalia Theatre, New York, May 2, 1887 ;
at the Walhalla Theater, Berlin, Sept. 3,
1887. The libretto is an adaptation of Otto
Roquette's " Waldmeisters Brautfahrt."
PRISE DE TROIE, LA. See Les 2Voy-
e)is.
PRISON D'£dIMBOURG, LA (The
Prison of Edinburgh), opera-comique in
three acts, text by Scribe and Planard, mu-
sic by Carafa, first represented at the Opera
Comique, Paris, July 20, 1833. The li-
bretto is founded on Scott's romance " The
Heart of Midlothian." The opera was first
sung by Revial, Hebert, Mme Ponchard,
Mile Massj', and Clai-a Margueron. It was
first given in Vienna in 1835. Published
by Schott (Mainz, 1833-34), German trans-
lation by J. D. Anton (ib.) ; overture for the
pianoforte for four hands arranged by Ch.
Rummel (ib., 1835) ; Pianoforte score by
Joseph Rummel (ib., 1835). — Clement et
Larousse, 548 ; Allgem. mus. Zeitg., xxxvii.
576.
PROCH, HEINRICH, born at BOhmisch-
Leipa, Bohemia, July
22, 1809, died in Vi-
enna, Dec. 18, 1878.
Violinist ; studied law,
but made such pro-
gress in music, mean-
while, that he became
in 1834 a member of
the imperial orchestra
at Vienna, in 1837
Kapellmeister of the Josephstadt Theater
there, and in 1840-70 of the court opera.
In 1874 he was Kapellmeister of the short-
lived Comic Opera. Among his pupils were
Dustmauu, Tietjens, Csillag, Peschka-Leut-
ner, and Friedrich-Materna. Works— Op-
eras : Ring und Maske, Vienna, 1844 ; Die
Blutrache, ib., 1847 ; Der gefilhrliche
Sprung, ib., 1848 ; Masses, offertories, over-
tures, trios, quartets, and other insti-u-
meutal music, and many songs. —Heindl,
PEODANA
Gallerie beriibmter Piidagogen, etc., ii.
105 ; Hanslick, Gesch. des Concertwesens,
355, 3GG ; Wanderer (Vienna, 1847), 215 ;
Wurzbacli.
PRODANA NEVfiSTA (Die verkaufte
Braut ; Married for Money), Czech comic
ojjera in three acts, text by Sabiua, music
by Friedrich Smetana, first represented at
Prague, May 30, ISOG.
PEODIGAL SON, THE, oratorio by Ar-
thur S. Sullivan, written for and first per-
formed at the Worcester (England) Festi-
val, Sept. 8, 1869, with Sims Reeves as the
chief character. It was given by the Glas-
gow Choral Union, Nov. 16, 1870. Pub-
lished by Boosey (London, 18G9). — Athe-
DiEum (18G9), ii. 377 ; Upton, Standard
Oratorios, 293.
PROAIENADES D'UN SOLIT^UIIE
(Solitary Walks), three suites of comjiosi-
tions for the pianoforte, by Stephen Heller,
op. 78, op. 80, op. 8G. They express the
thoughts, not the person of the author,
which wander through field and forest, and
record his impressions of nature from a po-
etic but not realistic j)oint of view. Suite I.,
op. 78 : No. 1. Allegro vivo, in F-sharp
minor ; 2. Allegretto quasi allegro, in F ;
3. Allegro, in B-flat minor ; 4. Andante, in
B-flat ; 5. Allegretto con moto, in G ; G.
Assai vivace, in G minor. Suite IL, op. 80,
Wanderstunden (Reveries d'artiste) : No. 1.
Poco agitato, in C minor ; 2. Allegretto con
grazia, in D-flat ; 3. Allegro appassionato,
in B-flat minor ; 4. Lento con esi^ressioue,
in F ; 5. Assai vivace, in C minor ; G. Con
moto, in B-flat. Suite HL, op. 86, In
Wald und Flur : No. 1. Agrestement, in B-
flat ; 2. D'un mouvement tres-vif et pas-
sionnu, in D minor ; 3. Yivement etde bonne
humeui-, in D ; 4. D'un mouvement agite',
in G minor ; 5. Molto vivace, in F ; 6. As-
sai vivace, in A. — Barbedette, HeUer (Brown-
Borthwiek), 60.
PROJIETHEUS, by Beethoven. See
Vomini di Prometeo, Gli.
PROMETHEUS, overture for orchestra,
in C, by Woldemar Bargiel, op. 10, written
about 1864-65. Given by the New York
Philharmonic in the season of 1805-66.
Published by Breitkopf & Hilrtel (Leipsic,
1805).— Allgem. mus. Zeitg. (1805), 9.
PROMETHEUS, overture for orchestra,
by Ferdinand Hiller, first performed at the
Gewandhaus, Leipsic, Jan. 28, 1847 ; in
Dresden, in July, 1847. — Allgem. mus.
Zeitg., xlix. 70, 409.
PROMETHEUS, symphonic poem and
chorus to Herder's "Entfesselto Prome-
theus," by Liszt, op. 4, No. 5, written for
and first performed with the drama at the
Herderfest, Weimar, Aug. 25, 1850. It was
given in Vienna in 1800. Published by
Breitkopf & Hilrtel (Leipsic, 1850).— Pohl,
Liszt, 221, 232 ; Concertwesen in Wien, ii.
198 ; Revue et Gaz. mus. de Paris (1855),
352.
PR0PH1^.TE, LE, French opera in five
acts, text by Scribe, music by Meyerbeer,
first represented at the OiJura, Paris, April
16, 1849. This is the composer's third
grand opera, and, owing to its splendid dra-
matic and scenic eflects, has always been a
favourite one. The theme of the libretto
is John of Lcj'dcn, who was crowned Em-
Ijeror of Germany by his fanatical followers.
The time is 1534. The first act opens in
the suburbs of Dordrecht, Holland, with the
chateau of the Count of Oberthal in the
distance. Fidi'S, mother of John of Leyden,
and Bertha, his betrothed, imijlore the
Count's permission for the marriage. Struck
with her beauty, he claims Bertha for him-
self, and takes her and Fides prisoners. In
the meantime three Anabaptists from West-
ishalia, who arrive in Holland to kindle in-
surrection, take advantage of the Count's
action to incite his vassals against him.
The second act is in John of Leyden's house,
where he imparts his visions of future sov-
ereignty to the Anabaptists, who, perceiving
that he will aid theu- designs, assure him
that he shall be a ruler. As they depart.
Bertha, who has escajied, rushes in to claim
his protection. The furious Count follows
with a guard bringing Fides, whom he
1B6
PEOniETE
threatens to 1 ill unless Bertha ia restored
to him. To save the life of his mother,
John delivers up Bertha, and goes off with
the Anabaptists. The third act is in the
Pauline Viardot-Garcia.
Anabaptists' camp by a frozen lake, near
Mi'mster, which they are besieging. Skaters
enter, bringing provisions, and dance a gay
ballet. John of Leyden hears from the
Count of Oberthal, who is taken prisoner,
that Bertha has escaj)ed and is in Mi'mster,
which he rouses his followers to assault.
The fourth act is in Miinster, after its capt-
ure. Fidi'S, begging alms in the public
square, meets Bertha, disguised as a pil-
grim. The latter tells her intention to kill
the Prophets, whom she believes to have
caused John of Leyden's death. The next
scene, in the cathedral, where the Prophete
is to be crowned, is one of Meyerbeer's most
brilliant compositions. It forms a striking
contrast to the rest of the opera, so gloomy
with religious and political fanaticism, and
as a piece of glittering pageantry, with gor-
geous decorations, pealing bells, solemn
chants, and stately Coronation March, has
seldom been surpassed. Fides enters as the
Prophete is invested with supreme power.
and claims him as her son. John disowns
her, and through love she declares that she is
mistaken. The last act differs from history.
Instead of being condemned, John is be-
trayed by the Anabaptists. He visits Fidos
in prison, and she convinces him of his
error. Bertha enters, and, learning that
John is the Prophcte, stabs herself and dies.
The last scene is in the banquet-hall of the
palace, whei'e John is revelling. As the
Anabaptists and the Count of Oberthal
enter, and Fides rushes in to forgive him,
an explosion takes place — John's revenge —
and they all perish in the flames. Among
the principal numbers of this opera are :
The pastoral chorus, " La brise est muette ;"
the duet between Fides and Bertha, " Un
jour, dans les flots de la Meuse ; " " Le jour
baisse et ma mere," sung by John, ac-
companied by the chorus ; FidOs's grand
aria, " Ah ! mon fils, soit beni ! ; " the
Roger, as John of Leyden.
chorus of the Anabaptists in the third act,
" Du sang, du sang ; " the bass aria, " Aussi
nombreux que les etoiles ; " the Anabaptists'
trio, "Sous votre banuiere;" the chant,
157
PROSERPINA
" Eoi du ciel et des anges ; " Fides's coup-
lets imploriug charity, " Donnez pour
une pauvre ame ; " the chorus, " Le voila,
le roi prophete ; " Fides's cavatina, " O toi
qui m'abandonne ; " and the allegro, "II
en est temps encore." The part of Fides
(JM.-S.), the most interesting in the opera,
was created by Mme Viardot-Garcia, who
has never been equalled in this character.
Mme Castellan sang Bertha (S.), and M.
Eoger, John of Leyden (T.), in the original
cast This opera had received 348 rep-
resentations at the Paris Opera in 187G.
It was first given in Leipsic in 1850 ; in
Dresden, Jan. 30, 1850 ; in Milan, May 23,
1855 ; in Vienna, Nov. 8, 1855 ; in London
at Covent Garden, in Italian, with immense
success, Mme Viardot and Mario in the
chief parts, July 24, 1840 ; and first in New
York, Nov. 25, 1849. It was given in New
Tork by the German Opera Company at the
Metropolitan Opera House, Dec. 20, 1884.
Published by Brandus (Paris, 1849) ; by
Breitkopf k Hiirtel (Leipsic, 1850). Tran-
scription for the pianoforte by Franz Liszt.
Capriccio for the pianoforte by Stephen
Heller, op. 70, Breitkopf & Hiirtel (Leipsic,
1850). — Ck'ment et Larousse, 551 ; Lajaiie,
ii., 203 ; Mendel, Meyerbeer, GO ; Fctis,
vi. 125 ; Neue Zeitschr., xxxii. 49, 81 ;
Athenffium (1849), 416, 771, 794 ; Upton,
Standard Operas, 157.
PKOSERPINA KAPITA, Italian opera,
test by Giulio Strozzi, music by Monteverde,
first represented at the Palazzo Moceuigo, on
the occasion of the marriage of Lorenzo
Giustiniani with Giustiniana Mocenigo,
Venice, April 16, 1630. This opera was
given with gi-eat splendour, and the choruses,
dances, songs, and instrumentation created
immense enthusiasm. The score, dedicated
to the father of the bride, was published in
Venice, 1630. A copy of the MS. is in the
National Library of Florence. Same text,
music by Sacrati, Venice, 1644 ; same title,
intermezzo by Benedetto Ferrari, ib., 1641.
— Vierteljahrsschrift fiir Musikwissenschaft
(1887), 392.
PEOSERPINE, tragedie-iyrique in five
acts with prologue, text by (Juinault, music
hy Lull}', first repi'esented at Saint-Germain-
en-Laye, Feb. 3, 1680 ; at the Academie
Eoyale de Musique, Paris, Nov. 15, 1680.
The prologue shows the joys of Peace. The
scene represents the domain of Discord,
where Peace and her attendants Happiness,
Joy, Abundance, and Pleasure are chained.
Victory enters with Heroes, liberates Peace,
and confines Discord and her followers.
The libretto, a version of the Eape of Pros-
erpine, is one of Quinault's best, and is set
to music with great skill. Published by
Christophe Ballard (Paris, 1680 ; 2d ed.,
1714). Same text, reduced to three acts by
Guillard, music by Paisiello, Academie
Eoyale de Musique, Paris, Mai-ch 29, 1803.
Other operas on the same subject, in Ital-
ian, by Bonifazio Asioli, Correggio, 1784 ;
by Joiio Cordeiro da Silva, Lisbon, 1784 ;
by Peter von Winter, text by Da Ponte,
London, 1804 ; by John Franc Westmore-
land, ib., 1845. Ballet by Batistin (Struck),
Versailles, about 1713 ; ballet by Schneitz-
hoffer, text by Gardel, Paris, 1818 ; and
The Loves of Pluto and Proserpine, or the
Eape of Proserpine, intermezzo for the
English pantomime, by John Ernst Gal-
liard, London, 1725. — Clement et Larousse,
554 ; Lajarte, i. 3G ; ii. 28.
PEOSEEPINE, French opera in four
acts, text by GaUet, after a poem by Bac-
querie, music by Saint-SaC-ns, rej)reseuted
at the Opera Comique, March IG, 1887.
Mile Salla sang the pai't of Proserpine, and
the original cast included Mile Simonnet,
Taskin, and Lubert. This opera was not a
success. — Neue Zeitschr. (1887), 136.
PEOT, FELIX JEAN, born at Senlis,
France, in 1747, died in Paris in 1823.
Violinist, pupil of Desmarais, and in har-
mony of Gianotti in Paris, whither he went
earlj' in life. In 1775 he entered the or-
chestra of the Comedie Franyaise as viola
player, and in 1822 was pensioned. Works
—Operas : Le bal bourgeois, Les reveries,
1779 ; Le printemps, 1787 ; Symphonic con-
1S8
PROTTI
certante for 2 violas ; 6 duos concertants for
do. ; Duos for 2 violins. — Fetis ; Mendel.
PROTTI, JOSE, born at Malson, Bale-
aric Isles, in 1827, still Uving, 1890. Dra-
matic comj)oser ; settled at Marseilles about
1843, became organist of Saint-Theodore,
and in 1856 of Saint-Vincent de Paul.
Works : Gacela, Spanish opera ; Les gardes
franyaises, ojjera-comique, Marseilles, 1856 ;
Le tresor de Jeannot, ib., 1877 ; Mass ;
Stabat Mater, and other church music ;
Morceaux de genre, for pianoforte. — Fetis,
Supplement, ii. 371.
PROUT, EBENEZER, born at Oundle,
Northamjit o u s h i r e,
England, March 1,
1835, still living, 1890.
Instrumental and vo-
cal comjjoser, and
writer on music ; stud-
ied pianoforte under
Charles Salamau. He
won in 1862 the first
prize of the Society of
British Musicians for
the best string quartet, and in 1865 for a
pianoforte quartet. In 1871-71 he was
editor of the "Monthly Musical Record,"
and since successively musical critic of the
"Academy" and the "Athenaeum." Con-
ductor of the Borough of Hackney Choral
Association, 1876 ; professor of harmony
and composition at the National Training
School for Music, 1876 ; at the Royal Acad-
emy of Music, 1879 ; at Guildhall School
of Music, 1884. "Works : Love and Taxa-
tion, comic opera, 1883 ; Hereward, cantata,
1878 ; Alfred, do., London, 1881 ; Queen
Aimee, do., for female voices, 1885 ; Hail to
the chief, chorus with orchestra, 1877 ;
Freedom, do., 1885 ; Magnificat for solo
voices, chorus, and orchestra, 1873 ; The
100th Psalm, for soprano solo, chorus, and
orchestra, 1886 ; Overture to Twelfth-
Night, 1880; 4 symphonies, 1873, 1876,
1884, 1886 ; Minuet and trio for orchestra,
1877 ; Suite for do., 1878 ; 2 concertos for
organ and orchestra, 1870, 1883 ; Quintet
for pianoforte and strings, 1860 ; 2 quar-
tets for do., 1865, 1881 ; 2 do. for strings,
1862, 1881 ; Sonata for pianoforte and flute ;
do. for organ ; Concertante duet for piano-
forte and harmonium ; 2 Evening Services ;
Morning and Communion Service ; Magni-
ficat and Nunc dimittis, in D ; etc. He is
author also of " Harmony, its Theory and
Practice " (London, 1889), and a contribu-
tor to Grove's Dictionary. — Grove ; Men-
del, Ergilnz., 3C6 ; Riemann.
PROVENZALE, FRANCESCO, Neapoli-
tan church composer of the 17th century, and
one of the most learned and esteemed
masters of the Conservatorio dclla Pieti de'
Turchini, at Najsles. Works ; Pauge lingua,
for 9 voices, with orchestra ; Tantum ergo
and Genitori, for soprano solo and organ,
with chorus ; La colomba ferita, sacred
drama, 1069 ; La Geneviefa, oratorio ; L' in-
fedeltii abbattuta, do. — Fetis ; Mendel.
PRUDENT, EMLE (BEUNIE-), born at
Angouleme, Feb. 3,
1817, died in Paris,
May 14, 1863. Pi-
anist ; received his
first lessons from a
pianoforte tuner who
had adojited him ,
then pujsil of Le-
couppey, Laurent,
and Zimmerman, at
the Paris Conservatoire, which he entered
at the age of ten. He won in 1833 the first
prize for pianoforte, and in 1834 the second
prize for harmony. After Thalberg's ap-
pearance in Paris in 1836 he formed his
style in imitation of that virtuoso, and es-
tablished his reputation by a concert given
at Rennes in 1840. He first appeared in
Paris in 1842, and thenceforth made many
concert tours in France and abroad, played
a concerto of his own at the London Phil-
harmonic in 1848, and was heard at the
New Philharmonic Concerts in 1853. He
was much sought as a teacher, and formed
several distinguished pupils. Works : Les
trois reves, coucerto-symphonie for piano-
159
PEUME
forte and orchestra ; Concerto in B-flat, for
do. ; Trio for pianoforte and strings ; Etudes
and transcrij)tions with and without vari-
ations ; Morceaus de genre, etc. — Fetis ;
Grove ; Mendel ; Eiemann.
PKIBIE, FEANgOIS HUBEKT, born at
Stavelot, near Liege, June 3, 1816, died
there, July 14, 1849. Virtuoso on the vio-
lin, son of the organist of his native town ;
sent, when five years old, to Malmc'dy to
study under a violinist ; entered in 1827 the
newly opened Conservatoire at Liege, and
in 1830 that of Paris, where he became a
pupil of Habencck. He was appointed in
1833 professor at the Liege Conservatoire ;
started iu 1839 on a concert toui', visiting
Frankfort, Leipsic, Berlin, Prague, Sweden,
Norway, Denmark, and Russia, and returned
in 1842 to Stavelot. He afterwards played
in Brussels, Ghent, Antwerp, and visited
some of the German cities, playing with
Liszt at Gotha, spent the winter of 1844
iu Paris, and was recalled to Liege as chief
professor of violin. When not quite thirty
he was afflicted with an incurable disease
of the eye, which resulted iu total blind-
ness. Works : La molancholie, for violin
and orchestra or pianoforte, op. 1. (Paris) ;
Concertino, for do. ; Morceau de concert, for
do. ; Grande polonaise, for do. ; 6 grandes
etudes.— Fetis ; Hart, The Violin, 323 ; Men-
del ; Eiemann ; Schilling, Supplement, 350.
PEU:\HER, ANGE CONEAD, bom about
18-21, died in Paris, April 3, 1884. Harp
jjlayer, son and pupil of Autoiue Piiimier at
the Conservatoire, where he won in 1836 the
second pi'ize, in 1838 the first, and iu 1843
the first prize for fugue. He succeeded his
father at the Opi'-ra Comique, and after-
wards entered the orchestra of the Opera.
In 1870 he became professor at the Conser-
vatoire. Works : Soli and etudes for haii^ ;
2 nocturnes for horn and harp ; Offertory
for military band ; Les trois Nicolas, fan-
taisie for do. ; Les quatre fils Aymon,
march ; O salutaris, Agnus Dei, Ave verum,
Tantum ergo, for tenor, etc. — Fetis, Sup-
plement, ii. 371.
PEXBHER, ANTOmE, bom in Paris,
July 2, 1794, died there, Jan. 20, 1868.
Virtuoso on the hai-ji, pupil of his mother,
a clever amateur ; then, at the Conservatoire,
of Catel in harmony, winning in 1812 the
second prize. After this he was comjjellcd
by militai'y law to enter the £cole Polytech-
nique, but in 1815 gave up mathematics,
and finished his studies at the Conservatoire
as a pupil of Eler iu counterpoint. He be-
came harpist at the Theatre Italien, and iu
1835 at the Opera Comique ; and in the
same year succeeded Nadermann as pro-
fessor of the harp at the Conservatoire,
where he formed a number of well-known
pupils. Legion of Honour in 1845 ; vice-
president, seventeen yeai-s consecutively, of
the Association des artistes musiciens ; re-
tired in 1867 from the Conservatoire. He
published about a hundred fantaisies, ron-
dos, and airs with variations, for hai-p
(Paris). — Fetis ; Grove.
PSALM XLH. (Wie der Hirsch sehreit),
set to music by Mendelssohn, for chorus,
soli, and orchestra, op. 42, first performed
in Leipsic, Jan. 1, 1838. Published by
Breitkopf & Hiirtel (Leipsic, 1839) ; ar-
ranged for j)ianoforte for four hands by E.
F. Eichter (ib., 1841). Breitkopf & Hiirtel,
Mendelssohn Werke, Serie xiv., No. 89.
— Allgem. mus. Zeitg., xli. 119, 289 ; Eeiss-
mann, Mendelssohn, 211.
PSALM XL"VT. (God is our refuge), set
to music for chorus, soli, and orchestra, by
Dudley Buck, and first performed by the
Handel and Haydn Society, Boston, May 7,
1874.
PSALM XC\Tn. (Singet dem Herrn ein
neues Lied), set to music by Mendelssohn,
for eight-voice chorus and orchestra, op. 91,
first performed at the festival sei-vice in the
Berlin Cathedral, New Tear's Day. 1844.
Published by Breitkopf & Hiirtel, Mendels-
sohn Werke, Serie siv., No. 92.
PSALM CXIV. (.41s Israel aus Aegypten
zog), set to music by Mendelssohn, for
chorus of eight voices and orchestra, op.
51, first performed in Leijjsic, Jan, 1, 1840,
PSALM
It was composed in 1838-39, and dedicated
to the painter J. W. Schirmer, of Diissel-
dorf. It was sung at the Niederrheinische
Musikfeste in 1883 and in 1888. Breitkopf
& Hiirtel, Mendelssolin Werke, Serie xiv.,
No. 91. — Allgem. mus. Zeitg., xlii. 2G ;
xliii. 289.
PSALM CXV. (Nicbt uuserm namen,
Herr), Non nobis Dominc, set to music by
Mendelssohn, for chorus and orchestra, op.
31, first performed in Leipsic, Feb. 8, 1838.
Published by Simrock (Bonn, 183G). Breit-
kopf & Hiirtel, Mendelssohn Werke, Serie
xiv.. No. 88. — Allgem. mus. Zeitg., xL 111 ;
Neue Zeitschr., iv. 133.
PSYCHE, cantata, text by Lobedanz, mu-
sic by Gade, op. CO, first performed at the
Birmingham (England) Festival, under the
composer's direction, Aug. 31, 1882, with
Mme Marie Eoze as Psyche and Mr. Santley
as Eros. It was well received, and is full
of graceful melodies. It was first given in
London by the Highbury Philharmonic So-
ciety, Nov. 27, 1882. Published by Ewer
& Novello, London. — Athenaium (1882), ii.
347.
PSYCH15, tragedie-lyrique in five acts,
text by Corneille, music by LuUy, first rep-
resented at the Acadenue Royale de Mu-
sique, Paris, April 9, 1G78. Fontenelle
claimed to have written the text. The
words of one trio, "Deh, j)iangete al pianto
mio," are written in Italian. The part of
Psyche was sung by Mile Desmatins and
fillle Journet ; Amour, by Cochereau ; Ve-
nus, by Mile Maupin and Mile Heuse, and
Psycht-'s father, by Thevenard. Published
by'christophe Ballard (Paris, 1720). Lully
also wrote music for a tragi-comedie-ballet
in five acts, text by Moliere, Quinault, and
Pierre Corneille, first represented at the
Tuileries, Jan. 17, 1G71, and at the Palais
Royal, July 24, 1G71. It was revived of
recent years at the Comedie Franjaise,
Paris. — Lajarte, i. 33 ; Hogarth, i. 44 ;
Clement et Larousse, 556.
PSYCHE, opera-comique in three acts,
text by Jules Barbier and Michel Carre,
music by Ambroise Thomas, first rep-
resented at the Opera Comique, Paris,
Jan. 26, 1857. Original cast : Psyche, Mile
Lefebvre ; Eros, Mme Ugalde ; and Mer-
cure, M. Bataille. This is a delicate and
gracefid composition ; it was revived in
Paris with additions. May 21, 1878. Other
operas on the same subject : In Italian, La
Psiche, intermezzo in two acts, by Ales-
sandro Striggio, represented during the
marriage of Francesco de' Medici and
Jeanne d'Autriche, Florence, 1565 ; Cuindo
e Psiche, by Marco Scacchi, Dantzic, 1634 ;
Psiche cercando Amore, sereuata by Antonio
Draghi, Vienna, 1688 ; Psiche, by Benedetto
Marcello, text by Cassani, Venice, 1711 ; by
J. J. Fux with Caldara, test by Pariati, Vi-
enna, Nov. 19, 1720 ; by J. J. Fux alone, ib.,
Oct. 1, 1722 ; Le nozzedi Psiche con Amore,
by Leo, Naples, 1738 ; L' Amore e Psiche,
by J. F. Agricola, textby Laudi, Berlin, Oct.
5, 1767 ; and Amore e Psiche, by Josef
Schuster, Naples, 1780 : in French, Psyche,
ballet by Blaise, Paris, about 1755 ; L'A-
mour et Psyche, by J. J. Cassanea de Mon-
donville, Paris, June 24, 17G0 ; Psyche et
I'Amour, by Saiut-Amans, text by the Abbe
Voisenon, Brussels, 1778, Paris, 1782 ; :fiti-
enne Nicolas Mehul, same text, ib., 1785 ;
and L'Amour et Psyche, by August Pilati,
Paris, Dec. 13, 1856 : in English, by Matthew
Lock (with Giovanni Baptista Draghi), text
by Shadwell after Quinault, London, 1675 ;
parodied as Psyche Debauched, by Th. Dai-
fet, same music, ib., 1675 : in German, Die
wunderschOne Psyche, by Eeinhard Keiser,
text by Postel, for the birthday of Queen
Sophie Charlotte of Prussia, Hamburg, Oct.
20, 1701 ; Psyche, ballet by J. J. Rodolphe,
Stuttgart, 1762 ; Amor und Psyche, by F.
L. Gassmann, Vienna, Oct. 5, 1767 ; Psyche,
by Karl Beruhard Wessely, Berlin, 1789 ;
Psyche, by Peter von Winter, Munich,
1793 ; and Amor und Psyche, by Johann
Christian Abeille, Stuttgart, 1801.— Clement
et Larousse, 556 ; Revue et Gaz. mus. de
Paris (1857), 33 ; Hanslick, Musikalische
Stationen, 120.
161
PUCCINI
PUCCmi, ANTONIO, born at Lucca in
1747, died there, Feb. 3, 1832. Church
comi^oser, son of Giacomo Puccini (1712-
81, organist and maestro di cappella of the
republic of Lucca), pupil of Caretti at Bo-
logna ; in 1781 succeeded his father at
Lucca. Member of the Accademia Filar-
monica, Bologna. Works : Masses, psalms,
motets, for 2 to 8 voices ; Requiem for
the obsequies of Emperor Joseph U. ; 20
services, with orchestra, for the feast of St.
Cecilia. — Fetis ; do., Supplement, ii. 372.
PUCCINI, DOJIENICO, born at Lucca
in 1771, died there. May 2.5, 1815. Dra-
matic and church comjjoser, son of the lire-
ceding ; studied first in his native city, then
at Bologna under Padi-o Mattel and at Na-
ples under Padi-e Tesei. After his return
to Lucca ho was appointed maestro di cap-
pella of the republic, replacing his father.
Works — Operas : Quinto Fabio ; H ciarla-
tano ; Le frecce d' Amore ; La moglie ca-
pricciosa ; L' ortolanella. Masses, vespers,
psalms, hymns, motets, Te Deum for 2 to
8 voices ; Grand motet, for IG voices and
double orchestra ; Several cantatas. — Fetis,
Sujjplcment, ii. 372.
PUCCINI, mCHELE, born at Lucca,
Dec. 27, 1813, died there, Jan. 23, 1864.
Dramatic and church composer, son of the
preceding, pupil of Fauucchi on the piano-
forte and in theory, and of Padre Santucci
and Eugeuio Galli in hai-mony and counter-
point ; then at Bologna pupil of POoti, and
at Naples of Mercadante. After his return
to Lucca, in 1841, he was made director of
the musical institute. Works : Antonio
Foscarini, opera ; Cattani, o la rivoluzione
degli Straccioni, do. ; 2 masses ; Miserere
and Benedictus ; Several motets, for 2 to 4
voices, with and without orchestra ; 8 ser-
vices for 4 voices and orchestra ; Composi-
tions for 8 voices and 2 orchestras. — Fetis,
Supplement, ii. 372.
PUCCITA (Pucita), \TNCENZO, bom at
Civita Vecchia in 1778, died in Milan, Dec.
20, 1861. Dramatic composer, pupil at the
Conservatorio della Pietu, Naples, of Fena-
roli and Sala. He wrote several small op-
eras before I due prigionieri, Rome, 1801,
made him widely known. In 1806 he went
to London as musical director at the opera.
He travelled with Madame Catalani, as ac-
companist, through Scotland, L'eland, Hol-
land, Belgium, and the Rhine countries,
and followed her to Paris when she as-
sumed the direction of the Italian opera
there. About the end of 1817 he returned
to Italy and settled in Rome. Works :
L' amor platonico, Lucca, 1800 ; Le uozze
senza sposa, Pai-ma, 1800 ; H fuoi-uscito,
Milan, 1801 ; I due prigionieri, Rome, 1801 ;
n puntiglio, Milan, 1802 ; Teresa Wilk, la
fiuta pazza ; Audromacca, Lisbon, 1806 ;
II marchese d' un giorno, ossia gli sposi
fehci, Leghorn, 1808 ; La vestale, Loudon,
1809 ; Le tre sultane, ib., 1811 ; Laodicea,
ib., 1813 ; L' orgogUo avvilito, Paris, 1815 ;
La caccia di Enrico IV., ib., 1816 ; La prin-
cipessa in campagna, ib., 1817 ; La festa
del ^iUaggio, Rome, 1821 ; I prigionieri,
Venice, 1831 ; Adolfo e Chiara, Milan, 1833.
— Fetis ; MeudeL
PUGET, LOlSA, bom in Pai-is about
1810, died in Pau, 1889. Vocal composer ;
she won extraordinary popularity in the reign
of Louis PhUippe by her songs, composed
to words by Gustave Lemoine, whom she
married in 1842. Among the best known
are : A la grace de Dieu ; Ave Maria ; Le
soleil de ma Bretagne ; Ta dot ; Mon pays ;
Les rcves d'une jeune fille. After study-
ing composition under Adolphe Adam, she
jjroduced Le mauvais ceil, at the Opera Co-
mique, in 1836; and La veilleuse, ou les nuits
de milady, operetta, at the Gymnase, 1869.
Her songs were published in albums which
appeared every vear. — Fetis ; Mendel.
PUGET, PAUL CHARLES MARIE
CURET-, bom at Nantes, June 25, 1848, still
living, 1890. Dramatic composer, pupil at
the Paris Conservatoire of Marmontel on
the pianoforte, of Bazin in harmony, and of
Masse in comijosition. He won the prix
de Rome, 1873, for his cantata Mazeppa.
Other works : Les jardins d'Armide, opera-
162
PUGNANI
bouffe ; Le maitre danseur, Bouffes-Pari-
siens, 1869 ; La Marocaine, opora-comique,
Thoutre Lyrique ; Andrea del Sarto, lyric
drama. — Futis, Supplc'ment, ii. 372.
PUGNANI, GAETANO, bora in Turin
in 1727, died there
in 1803. Virtuoso
on the violin, one of
the best represent-
atives of the Pied-
montese school,
pujjil of Somis, who
liad studied under
CorelU, then in
Padua of Tartini.
He combined the
prominent qualities of style and technique
of both these great masters. He was first
violin in the court orchestra at Turin in
1752 ; he travelled in 1751-70, plaj-iug at
the Concerts Spirituels in Paris, and sjsend-
ing several years in London, where he
was for a time leader in the orchestra of
the Italian opera. In 1770 ho returned
to Turin, became maestro di cappeUa of the
royal theatre, and ofiened a violin school
which became famous for its pupils, among
whom were Viotti, Conforti, Buini, and Pol-
ledro. To him may be said to be due the pre-
servation of the grand stylo of Corelli, Tar-
tini, and Vivaldi, and its transmission to the
next generation of riolinists. Works — Ojie-
ras : Tamas Koulikan, Turin, 1772 ; Adone
e Venere, Naples, 1784. Nanetta e Lubino,
opera bufia, Turin, 1781 ; Achille in Sciro,
ib., 1785 ; Demetrio a Eodi, 1789 ; Coreso
e Calliroo, ballet, 1792. Two cantatas :
Issea, 1771, and 1' Aurora, 1775. Nine con-
certos for violin ; 12 octets (symphonies)
for string quartet, 2 oboes, and 2 horns ; 6
quintets for 2 violins, 2 flutes, and bass ; G
quartets for strings ; 3 sets of trios, 2 do.
of duos, for violins. — Fetis ; Mendel ; Schil-
ling ; Wasielewski, Die Violine, 103 ; Hart,
The Violin, 22G ; Dubourg, The Violin,
87.
PUGNI, CESAEE, bom in Milan in 1805
died at St. Petersburg in January, 1870.
Dramatic composer, pufjil in 1815-22 of
Asioli at the Milan Conservatorio. About
1810 he went to St. Petersburg, where for
thirty j'ears be composed ballets almost ex-
clusively. Works : H disertore svizzero, o
la nostalgia, Milan, 1831 ; La vendetta,
ib., 1832 ; Eicciardo di Edimburgo, Trieste,
1832 ; H contrabandiere, Milan, 1833 ; Un
episodio di San Michele, ib., 1834. Among
his ballets are : Le fucine di Vulcano, Pai-ma,
182G ; Eutichio della Castagna, Pelia e
Mileto, Milan, 1827 ; Esmeralda, ilj., 1845 ;
La fille de marbre, Paris, 1847 ; Edoardo,
ib., 1848 ; La vivandiere, ib., 1848 ; Le
violon du diable, ib., 1849 ; Stella, ou les
contrebandiers, ib., 1850 ; Le marche des
innocents, ib., 18G1 ; Diavohna, ib., 1863 ;
Gli elementi, ib., 1866 ; La momie, St.
Petersburg, 1862 ; etc. — Fetis ; do.. Sup-
plement, ii. 373.
PUIG, BERNARDO CALV6, born at
Vich, Spain, Feb. 22, 1819, still living (?),
1890. Organist and singer, pupil of Jos6
Gallt's, and in composition of Francisco Bo-
namieh ; then at Barcelona pupil of Jose
Rose's and of Juan Quintana, the latter of
whom ho succeeded as organist of Nuestra
Dama del Pino. He resigned this post to
become contralto in the Chapel of Santa
Maria del Mar, and afterwards at the ca-
thedral. In 1853 he was appointed maestro
de capiUa of the Church de la Merced.
Works : Carlo il temerario, opera ; L' astro-
nomo, comic opera ; Un novio en dos per-
sonas, zarzuela ; Don Gumersindo ; Don
Francisco de Quevedo ; 2 oratorios ; Stabat
Mater ; Miserere ; Service for the month of
May ; About 200 hymns, motets, psalms,
etc. — Fetis, Supplement, ii. 374.
PUITS D'AMOUR, LE (The Well of
Love), opora-comique in three acts, text by
Scribe and de Leuven, music by Balfe, first
represented at the Opera Comique, Paris,
April 20, 1843. A young king, fidouard,
lives a gay life with his noblemen, and
forces them to throw him into the puits
d'amour. This leads into a subterranean
hall, a rendezvous for the adventurous lords.
1U3
FUriLLE
A young girl, Geraldine, throws herself into
the well, because she was forced to renounce
her lover Tony, the sailor, in reality Lord
Salisbury, by the king, who wanted her for
a waiting woman to his betrothed, the Prin-
cesse de Hainault. Guraldiue, arriving in
the haU among the noblemen, who are dis-
guised as demons, believes herself to be
dead and in hell, but Salisbury, who is
among them, protects her. Edouard is
seized by the sheriff, is released, pardons
the shei-iflf, and consents to the union of
Salisbury with Geraldine. The opera was
first given in London, as Geraldine, English
translation by Gilbert a Becket, in August,
1843. It was given in Vienna as Der Lie-
besbrunnen in 1845. — Clement et Larousse,
557 ; Athenanim (1843), 757.
PUPILLE SDEGNOSE !, contralto aria
of Muzio, in D major, with accompaniment
of oboes and violins in unison, and bass, in
Handel's Muzio Scveola, Act III., Scene 3.
Published also separatclj', with the accom-
paniment filled out by Robert Franz (Leixj-
sic, Kistner).
PUPPO, GIUSEPPE, born in Lucca,
June 12, 1740, died in Florence, April 19,
1827. Violinist, pupil at the Naples Con-
servatorio ; became a virtuoso in Italy at an
early age. He went in 1775 to Paris, thence
to Spain and Portugal, where he is said to
have amassed a considerable fortune, and
after spending several years in London re-
turned in 1784 to Paris, where he became
first violin at the Theatre de Monsieur, and
then at the Feydeau, and finally conductor
of the orchestra at the Theatre Fran<;ais.
In 1811 he left Paris suddenly, abandoning
his wife and children, and was next heard
of in Naples, where he was conductor at a
theatre ; he went thence to Lucca and to
Florence, where he finally died in destitu-
tion in a hospice. His published comijosi-
tions, consisting of duos, concertos, and fan-
tasias for violin and pianoforte, are few and
of little importance. — Grove ; Fotis ; Men-
del ; Hart, The Violin, 231 ; xiii. 423 ; Wa-
sielewski. Die Violine, 126.
PURCELL, DANIEL, born in London in
1660, died there. Dee. 12, 1717. Organist,
brother of Henry Purcell ; was organist
of Magdalen College, Oxford, in 1G88-95,
and of St. Andrew's, London, in 1713-17.
Works — ]\Iusic to dramas : Love's last Shift
(Cibber), 1G90 ; Indian Queen, 1G9G ; Bru-
tus of Alba, or Augusta's Triumph, 1697 ;
Cynthia and Endymion (D'Urfey), 1697 ;
PhaOton, or the fatal Divorce, 1698 ; The
Island Princess (Motteaux), with Clark and
Leveridge, 1699 ; The Grove, or Love's
Paradise, 1700 ; The unhappy Penitent,
1701 ; The Inconstant (Farquhar), 1702 ;
The Judgment of Paris, a pastoral (Con-
greve), 1700. Odes, psalms, instrumental
and church music, and songs.
PURCELL, HENRY, the younger, born
in Old Pye Street,
Westminster, in or
about 1658, died in
Dean's Yard, West-
minster, Nov. 2 1,
1695. The second
son of Henry Purcell
the elder (Gentle-
man of Chapel Roy-
al, IGGO ; member
Royal Band, 1663;
died, 1G64), he lost his father when still a
boy. He entered the Chapel Royal, where
he studied under Cooke and Humphrey,
and received instruction also fi'om Dr.
Blow. In 1675, when only seventeen, he
got an order from Josias Priest, a theatrical
dancing-master, to write an opera on Tate's
Dido and 53neas, to be given at his " board-
ing school for young gentlewomen." The
success of this work, though in somewhat
restricted circles, was such that Purcell
soon had orders to write overtures, songs,
and incidental music to several plays bj-
Dryden, Shadwell, and Jlrs. Behn. The
last works of this, his first period, were
music to Shadwell's version of Shakespeare's
"Timon of Athens," Lee's " Theodosius,"
and D'Urfey "s," The Virtuous Wife." In 1680
he was appointed organist at Westminster
^'P^t
164
PUllCELL
Abbey, and for the next six years wrote
nothing for the stage, but composed several
occasioual cantatas, " Welcome Songs " to
the King, and twelve sonatas for two violins
and continuo. In 1082 ho was appointed
organist to the Chapel Royal. In 168G he
began once more to write for the stage,
with music to Dryden's " Tyrannic Love,"
which was followed by music to other plajs,
until iu 1G90 he l)rought out his first real
opera, Dioclesian. Next year followed his
masterpiece. King Arthur, the score of
which was published by the Musical Anti-
quarian Society in 1S43. From this time
to his death he continued writing operas
and incidental music to plays, as well as
sacred music in various forms. His death
is said to have been Ijrought on by a cold
caught while waiting one night at bis own
door, his wife having locked him out as a
punishment for keeping late hours ; but
it is more probable that the true cause was
consumption. He retained all his faculties,
and even his full musical creative power, to
the last, and one of his best works, the
cantata, " From rosy bowers," was written
during his last illness. He left all his prop-
erty to his wife, making her solo executrix.
He was buried on Nov. 2G, 1G95, under the
organ in the north aisle of Westminster
Abbey. Purcell was without doubt the
greatest, perhaps the only really great, mu-
sical genius England has ever given to the
world. He was the originator of a form of
English opera which was followed almost
universally for over a century and a half,
and was even, in a certain sense, the father
of characteristically English melody. His
chief model in di-amatic music, and the
composer whose works he principally stud-
ied, was Jean Baptiste LuUy ; but he far
surpassed his model in wealth of melody,
while he equalled him in dramatic power.
He was equally great in dramatic and
church composition, and Handel studied
his odes and anthems with avidity. His
instrumental chamber-music, although long
since obsolete, was remarkable for its day.
If, instead of dying at the age of thirty-
seven, he had lived to see Italian opera
introduced into England, and, most of all,
enjoyed an artistic intercourse with Handel,
the very greatest things might have been
ex25ected of him. As it is, ho shares an
undeserved oblivion — as far as the musical
world at large is concerned — with all other
composers of the pre-Handelian period.
A Purcell Club, organized in London in
183G, existed until 18G3. During this
Birthplace of Purcell.
period many of Purcell 's works were per-
formetl and published. The valuable li-
brary of the club was given to Westminster
Abbey. A commemoration to celebrate the
bicentenary of Purcell's birthday was held
in London, Jan. 30, 1858. On Feb. 21,
1S7G, a Purcell Society was founded to pub-
lish his MS. and to perform his works.
Works — I. Operas and music to tragedies
and comedies, all brought out in London :
Dido and J3ueas (text by Nahum Tate),
1G75 (published in score by the Musical
Antiquarian Society, 1840) ; Aurenge-Zebe
(Dryden), 1G7G ; Epsom Wells (Shadwell),
1G76 ; The Libertine (do.), 1G7G ; Abdelazor
(Mrs. Behn), 1G77 ; Timon of Athens (Shad-
well's adaptation of Shakespeare), 1678 ;
Theodosius, or the Force of Love (Nat. Lee),
1G80 ; The Virtuous Wife (D'Urfey), 1G80 ;
A Fool's Preferment (do.), 1G88 ; The Tem-
pest (Shadwell's adaptation of Shakcsiseare),
1690 ; The Prophetess, or the History of
Dioclesian (Betterton, after Beaumont and
Fletcher), 1690 (published in score by sub-
165
PUECELL
scription, 1691) ; The Massacre in Paris
(Nat. Lee), 1690 ; King Ai'thur (Dryden),
1691, and with additions by T. A. Ai-ne,
1770 (pubhshed in score by the Mus. Antiq.
Soc, 1843) ; Distressed Innocence, or the
Princess of Persia (Elkanah Settle), 1691 ;
The Gordian Knot untyed, 1691 ; Sir
Anthony Love, or the Rambling Lady
(Southerne), 1G91 ; Amphitryon (Dryden),
1691 ; Tlie Indian Queen (Howard and Dry-
den), 1692 (published in part by May and
Hudgebutt, 1695, and entire by Goodison) ;
The Indian Emperor (Dryden, sequel to the
foregoing), 1692 ; Cleomenes (do.), 1692 ;
The Wives' Excuse (Southerne), 1692 ; The
Marriage Hater match'd (D'Urfey), 1692 ;
CEdipus (Dryden and Lee), Act HL, 1692 ;
The faii'y Queen (anonymous adai^tation of
Shakespeare's Midsummer Night's Di'eam),
1692 ; The Old Bachelor (Congreve), 1693 ;
The Eichmond Heiress, or a Woman once
in the Eight (D'Urfey), 1693 ; The Maid's
last Prayer (Southerne), 1693 ; Henry the
Second (Bancroft), 1G93 ; Don Quixote
(D'Urfey), Parts I. and H., 1694 ; The
Double Dealer (Congi'eve), 1694 ; The Mar-
ried Beau (Crowne), 1694 ; The Fatal Mar-
riage (Southerne), 1604 ; Love Triumphant
(Dryden), 1694 ; lionduca (PoweU, after
Beaumont and Fletcher), 1695 (published
in score by the Mua. Antiq. Soc.) ; The
Mock Marriage (Scott), 1695 ; The Eival
Sisters (Gould), 1695 ; Oroonoko (South-
erne), 1695 ; The Canterbui-y Guests (Ea-
venscroft), 1695 ; The Knight of Malta
(Beaumont and Fletcher), 1695 ; Don Quix-
ote (D'Urfey), Part HI., 1695 ; Circe (Charles
Davenant), Act I. (never perfonned, and
not surely authentic).
IL Odes : Address to the King, 1669 ;
Elegy on the death of Matthew Lock,
1677 ; Welcome song for His Eoyal High-
ness's return from Scotland, What shall be
done in behalf of the man?, 4-part sym-
phony, solo, and 4-part chorus, 1680 ; Song
to welcome His Majesty home from Wind-
sor, 1680 ; Ode for the King, Swifter, Isis,
swifter flow, 4-part symphony, solo, and
chorus, 1681 ; Ode to the King on his re-
turn from Newmarket, Oct. 21, 1682 ; Ninth
Ode of Horace imitated in a dialogue be-
tween the poet and Lydia ; Music for the
Lord Mayor's show, 1682 ; Three odes for
the festival of St. Cecilia, 1683 ; Welcome
song for the King, Fly, bold rebellion,
1683 ; Ode for Prince George of Denmark's
marriage with the Princess Anne, From
hardy cHmes, 1683 ; St. Cecilia's Ode,
1684 ; Ode to welcome the King on his re-
turn to Whitehall after his summer's j)ro-
gress, 1684 ; Ode in honour of the King,
Why are all the Muses mute ?, 1685 ; Ode
for the King, Ye tuneful Muses, 1686 ;
Elegy on the death of John Playford the
younger, text by Mi-. Tate, 1687 ; Ode for
the King, Sound the trumpets, beat the
drum, 1687 ; Ode for the King, 1688 ; Ode,
"At the Prince of Denmark's coming home,"
1689 ; Arise, my muse, D'Urfey's ode for the
Queen's birthday, April 29, 1690 ; Sound
the trumpet, ode for King William, 1690 ;
Ode for the Queen's birthday. Welcome,
glorious mora, 1691 ; Sir Chai-les Sedley's
ode. Love's goddess sure was blind, for the
Queen's birthday, 1692 ; Brady's ode. Hail,
great Cecilia, for the anniversary of St.
Cecilia, 1692 ; Commemoration ode for
Trinity College, Dublin, Great Parent, hail,
1693 ; Celebrate this festival, ode for the
Queen's birthday, 1693 ; Come, come, ye
sons of art, ode for the Queen's birthday,
1694 ; The art of descant, ode for John
Plaj'ford, 1694 ; Who can from joy refrain?,
a birthday ode for the Duke of Gloucester,
1695.
ni. Church music and anthems : O God,
thou art my God, 4q)art anthem ; O God,
thou hast cast us out, 6-part anthem ; O
Lord God of Hosts, 8-part anthem ; Thy
way, O God, is hol^', 2-part anthem ; Be
merciful unto me, O God, 3-part anthem ;
It is a good thing, 4-part anthem, with
symijhony, or prelude, two violins and bass ;
O praise God in his holiness, with violins
and bass ; Awake, put on thy strength,
ritoruels, solo, and chorus ; Bless the Lord,
166
PURCELL
O my soul, six voices, two choruses, and
symphony ; Why do the heatlien?, three
voices and symphony ; Unto thee will I cry,
three voices and two violins ; I will give
thanks, five voices ; Praise the Lord, sym-
phony for two violins and bass, solo, and
duets ; O sing unto the Lord, four and five
voices, chorus, and symi^hony, two vioUns
and bass ; Behold, I bring you glad tidings ;
Thy word is a lantern ; O give thanks ; They
that go down to the sea in ships, composed
at the request of the Kev. Mr. Gostliug,
when the Iving was at sea (1G7'J) ; Peace be
within thy walls ; Lord, how long ; I was
glad when, ritornel ; The way of God ; O be
joyful ; Blessed is he ; Blessed is the man,
and. Thou knowest. Lord, for Queen Mary's
funeral (1C95) ; Two elegies upon the Queen's
death (1695) ; My beloved spake ; My song
shall be alway ; Rejoice in the Lord alway,
for three voices with symphonies ; Praise
the Lord, O my soul ; Save me, O God ; We
give thanks ; I was glad, and, My heart is
indicting, for the ceremony of James II.'s
coronation at Westminster Abbey, 1G85 ;
Thanksgiving anthem for the recovery of
James II.'s Queen ; Blessed are they that
fear the Lord, 1G88 ; The Lord is King,
1G88 ; Church service in B-flat ; 5-pai-t
Gloria Patri ; Two Psalms ; Crucia in hac
flamma, hymn for two voices ; Hymns and
psalms for three and foui' voices ; and a
Te Deum and Jubilate in D, with orchestral
accompaniments, for the festival of St. Ce-
ciUa, 1694.
IV. Cantatas and songs : How pleasant in
this flowery plain, pastoral song, two voices,
chorus, two flutes, and bass, imfiuished ;
Hark, how the wild musicians sing, pastoral
for three voices, chorus, two violins, and
bass ; Hark, Damon, what Musick's this ?
pastoral ; Above the tumult of a busy state,
pastoral duet ; Dialogue between Charon
and Orpheus, cantata for one and two
voices ; No, to what purpose should I speak,
cantata, with chorus ; Job's curse. Let the
night perish, song ; Amidst the Shades, etc.,
song; See where she sits, etc., duet, two
violins and bass ; In deep vision's intellect-
ual scene, recitatives, arias, and chorus ;
With sick and famished eyes, lamentation ;
Flj', bold rebellion, solo and finale for seven
voices ; Oh, oh, what a scene, etc., 2-part
song ; Though my mistress be fair, do. ;
Sylvia, thou brighter eye of night, do. ; Go
tell Aminta, gentle swan, duet ; From those
serene and rapt'rous joys, choruses and
airs ; Cease, anxious world, your fruitless
pain, song ; They say you're angry, cantata ;
W^hen Teucer from his father fled, 2-part
song ; Sighs for Charles H., If pray'rs and
tears ; In some kind dream, 2-part song ;
Awake, awake, and with attention hear, one
voice ; Here, here's to thee, Dick, 2-part
song ; If ever I more riches did desire, can-
tata ; Anacreon's defeat. This poet sings the
Trojan wars, song ; Celestial music did the
gods iusfiire, Aug. 5, 1789 ; In each truck,
2-i)art song ; Sing, all ye Muses, Fair Chloe
my heart so alarms ; When Myra sings ;
From rosy bowers, sung by Mrs. Cross, as
Altifidora, in Don Quixote ; Sweet tunes
are so bad, dialogue ; Now the maids and
the men, do. ; Many ballads, glees, rounds,
and catches.
V. Instrumental : 12 sonatas of three
parts, two violins and bass, with organ or
harpsichord, 1683 ; Lessons for the harpsi-
chord or spinnet, 1696 ; 10 sonatas in four
parts for the clavecin, the ninth of which is
called the Golden sonata, 1697 ; March and
quick-stejj, afterwards adajjted to the Irish
ballad, Lilliburlero ; Overtures, dance-tunes,
and music for the theatre. Two collections
of Purcell's works were published by his
widow, " Orpheus Britannicus " (2 vols.,
London, 1698-1702 ; 2d ed., 1706-13) ;
and "A collection of Ayres compiosed for the
theatre and other occasions by the late Mr.
Henry Pureell" (Loudon, 1697). Many of
Purcell's works are contained in Playford's
Theatre of Music (London, 1687) ; in the
Harmonia Sacra (ib., 1688) ; and others in
\ the collections of Boj-ce, Arnold, and Page.
A collection of "Purcell's Sacred Music"
was published by Vincent Novello (London,
167
PURITANI
1826-36). Henry Purcell's only surviving
son, Edward (1689-1740), was organist of
Af w St. Clement's,
^iT^PnAJCjMj> Eastcbeap, and of
7' j^UA-^^ -^-^ g^ Margaret's,
"Westminster, 1726. He left a sou Henry
(died about 1750), wbo succeeded bis fatber
as organist. — W. H. Cummings, Purcell
(London, 1881) ; Hawkins, iv. 495 ; Burney,
iii. 483 ; Fc'tis, vii. ; Grove, iii.
PUKITANI DI SCOZIA, I (Tbe Puritans
of Scotland), Italian opera in two acts, text
by Count Pepoli, music by Bellini, first rep-
resented at tbe Thi'atre Italien, Paris, Jan.
25, 1835. Tbe bbretto is tbe poorest iu all
Bellini's operas, but tbe score contains some
of bis best melodies. Scene in England,
during tbe reign of diaries II. Tbe Puri-
tan Elvira, daugbter of Lord Walton, wbo
bas been promised to Sir Riccardo Fortb,
gains bcr fatber 's consent to ber marriage
witb Sir Aiiuro Talbot, a Cavalier, wbo is
admitted to tbe fortress beld by Lord
Walton. On tbe day for tbeir nuptials Ai-
I and sentenced to deatb. At tbis crisis a
berald announces tbe defeat of tbe Stuarts,
and Cromwell pardons tbe political of-
fenders. Tbe joyful news restores Elvira
to bealtb, and sbe is married to Arturo.
Tbe principal numbers are tbe quartet
'^<t-K\yJi
i
Giovanni Batlista Rubini.
tiu'o aids Enricbetta, the widow of Cbarles
I., and a prisoner tbere, to escape, and El-
vira, believing tbat be is eloping, loses her
reason. On bis return Ai-turo makes an
explanation to Elvira, and they renew their
vows ; but Arturo is arrested for treason,
"A te, o cara ; " "Sou vergin vezzosa," a
polonaise sung by Elvira ; " Non casa,
non spiaggia," tbe final chorus of tbe first
act ; Elvira's mad song, " Qui la voce ; " ber
aria, "Vien, diletto;" " Suoni la tromba,"
duet between Riccardo and Giorgio, known
as tbe "Liberty Duet; "and Arturo 's ro-
manza, " A una fonte, afflitto e solo." Bel-
lini wrote tbe score for tbe four great ar-
tists wbo sang in tbe original cast :
Elvira (S.) Mme CJrisi.
Arturo (T.) Signor llubini.
Riccardo (B.) Signor Tamburini.
Giorgio (B.) Signor Lablache.
Tbis was Bellini's last work, for be died on
Sept. 23, 1835. At his funeral a Laciymo.sa
was sung by Rubini, Ivanoff, Tamburini,
and Lablache, tbe music of which was ar-
ranged from the tenor aria, " A una fonte,
afflitto e solo," from IPuritani. This opera
was first given iu Loudon, at tbe King's
Theatre, for the benefit of Mme Grisi, May
21, 1835, and sung by Grisi, Rubini, Tarn-
PURITAN'S
buriui, and Lablacbe, long known as the
" Puritani Quartet." Mme Bosio also was
successful as Elvira. This work was first
given in Berlin, Vienna, Milan, and Rome
in 183G, and first in New York, Feb. 3,
1844. Full score published by Schott
(Mainz, 1835) ; pianoforte score by Tado-
lini (ib.), and by Ch. Rummel (ib., 1839),
and Grande Fantaisie for the pianoforte
by Liszt, op. 7 (ib., 1839). Edition by
Natalia Macfarreu, Novello, Ewer & Co.
(London, 1872).— Clement et Larousse,
558 ; Grove, i. 213 ; Edwards, Hist. Opera,
ii. 253 ; Allgem. mus. Zeitg., xxxviii. 113 ;
Neue Zeitschr., iv. 130 ; Athenjcum (1835),
418 ; Upton, Standard Operas, 54.
PURITAN'S DAUGHTER, THE, Eng-
lish opera in three acts, text by J. V. Bridg-
man, music by Balfe, first represented at
Covent Garden, London, Nov. 30, 1861.
The action takes place in England in the
reign of Charles II. Original cast :
Mary Miss Louisa Pyne.
Clifford Mr. Santley.
Rochester Mr. Harrison.
Wolf Mr. Corn.
Seymour Mr. St. Alban.
King Charles Mr. Patey.
The chief numbers are : Mary's ballad,
" Pretty, lowly, modest flower ; " the duet
between Mary and Clifford, " Oh would that
I had died ere now ; " " Let the loud tim-
brel," a duet between two of the Puritans ;
Rochester's drinking-song, " Let others sing
the praise of wine ; " the quartet, " Ere
long Death, perhaps, shall lay me low ; "
Rochester's song, " Hail ! gentle sleep ; "
and Mary's ballad, " My father dear, though
years roll by."— Athenseiim (1861), ii. 772 ;
Upton, Standard Operas, 36.
PUZONE, GIUSEPPE, born at Naples,
December, 1821, still living, 1890. Dramatic
and church composer, pupil, at the Conserva-
torio di San Pietro a Majella, of Ferrazzano
and Rossi on the oboe, of Lanza on the pi-
anoforte, of Gennaro Parisi in harmony, of
Francesco Ruggi in counterpoint, and of
Donizetti and Mercadante in composition
and orchestration. In 1844 he became
maestro concertatore at the Teatro San
Carlo, where he is now maestro di cappella.
Works — Operas : II marchese Albergati,
Naples, 1839 ; II figlio dello schiavo, ib.,
1845 ; Elfrida di Salerno, ib., 1849 ; II
dottor Sabbato, o^jera bufPa, ib., 1852. Lo
tre ore d' agonia, oratorio ; 3 masses, with
orchestra ; 2 Credo, do. ; 2 Taiituni ergo,
do. ; Many motets, with and without or-
chestra ; Several overtures for orchestra,
etc. — Fetis, Supplement, ii. 375.
PYGMALION, melodrama, text by Jean
Jacques Rousseau, music by Georg Benda,
first represented in Gotha about 1771, in
Leipsic in 1780. The story is that of Pyg-
malion and Galatea. It was given in Ber-
lin, Nov. 14, 1808, with Horr ItHand as
Pygmalion. Other operas, melodramas,
and cantatas on this subject : In Italian,
Pimmaglione in Cipro, by Antonio Draghi,
text by Minato, for the birthday of the Em-
press, Vienna, 1689 ; Pimmaglione, by Gio-
vanni Alb. Ristori, about 1750 ; same title,
ballet by Florian Deller, about 1750 ; can-
tata by Ziiigarelli, Nai:)les, 1779 ; drama,
with music, by Bonifazio Asioli, Turin,
about 1789 ; operetta by Cimadoro, Ven-
ice, 1788, Milan, Nov. 20, 1795 ; by Cima-
rosa, Vienna, 1792 ; by Sirotti, Milan, 1793 ;
and opera, by Giovanni Battista Gordigiani,
Prague, 1845 : in French, Pygmalion, by La
Barre, in Le triomphe des arts, text by La-
motte, Paris, May 16, 1700 ; melodrama by
J. J. Rousseau, set by Horace Coignet, Paris,
Oct. 30, 1775, and by Antoine L. Baudron,
ib., 1780 ; L'Anti-Pygmalion, by Jean Bap-
tiste Rochefort, Paris, 1778 ; Le nouveau
Pygmalion, by Christian Rheineck, Lyons,
about 1780 ; duodrama by Benedetto
Bonesi, text by Du Rosoy, Paris, Dec. 16,
1780 ; scene with orchestra, by Christian
Kalkbrenner, Paris, 1799 ; ballet pantomime
by Lefebre, text by Milon, Paris, Aug. 20,
1800 ; opera-comique by Cherubini, Paris,
Nov. 30, 1809 ; by Halevy, 1823, not given ;
Galatee, by Victor Masse, Paris, April 14,
QUAGLIATI
1852 ; Monsieur Pygmalion et la statue,
operetta by Auguste Leveillu, Paris, about
1865 ; and Pygmalion, operetta by Mme de
Saiute-Croix, Paris, Feb. 9, 1875 : in Ger-
man, Der wunderbar vergniigto Pygmalion,
by Couradi, text by Postel, Hamburg, IGOi ;
Pygmalion, Singsj^iel by Franz Aspelmayer,
Vienna, about 1775 ; ballet by Karl Hanke,
in the castle of Graf Haditz, Eosswalde,
1777 ; Singspiel by T. A. Kuutz, Prague,
1781 ; cantata by Fnuiz Benda, 1785 ; mo-
nodrama (?) by Ant. Schweitzer, about
1785 ; Singsisiel by Justin Heinricli Knecbt,
about 1790 ; Pj'gmalion oder die Keforma-
tion der Liebe, Singspiel by Herklots, com-
poser unknown, Berlin, 1792 : Die Reue des
Pygmalion, ballet by Josef Weigl, Vienna,
Oct. 1, 1794 ; Pygmalion, comic oi:)era by
Karl Jakob Wagner, Darmstadt, 1809 ;
Singsjjiel by Franz Volckert, Vienna, 1827 ;
Singspiel by J. C. H. Kemde, Weimar-,
183G ; and Die scliOne Galathea, ojieretta by
Franz vou Sup2X', text by P. Henrion, Vi-
enna, Sept. 9, 18G5.
PYERHUS ET POLYX^NE. See AchiUe
et Polyxene.
QUAGLIATI, PAOLO, Roman hai-psi-
cbord player of the 17th century.
He was maestro di cappella of Santa
Maria Maggiore in 1G12 and published
Carro di fedelta d' amore (IGll), one of the
oldest musical dramas in existence, and Mo-
tetti e dialoghi a 2-8 voci (1G20).— Fctis ;
Mendel.
QUAISAIN, ADRIEN, born in Paris in
17G6, died there. May 15, 1828. Dramatic
singer and composer, pupil of Berton ; made
his debut in 1797, and was chef d'orchestre
of the Theatre de TAmbigu-Comique in
1799-1819. Works: Sylvain et Lucette,
ou la vendange, 1797 ; La musicomanie,
Les deux ivrognes, Lo mari d'emprunt,
1800 ; Une etourderie, ou I'une pour I'au-
tre. La dot, ou le mari d'un jour, 1801 ; Les
amants absents, 1803. — Fctis ; do.. Supple-
ment, ii. 377.
QUAL COR TRADISTL See Norma.
QUAL FARFALLETTA, soprano aria of
Partenope, in A major, with accompaniment
of two violins and bass, in Handel's Parte-
nope, Act n., Scene 7. Published also sepa-
rately, with the accompaniment fiUed out
by Otto Dresel (Leipsic, Breitkopf & Hilr-
tel).
QUAND JE QUITTAI LA NORMAN-
DIE. See Hubert le Diable.
QUANDO RAPITA IN ESTiVSL See
Lucia.
QUANT' ^ Plil BELLO L' A:M0R CON-
TADINO, nine variations for the pianoforte,
in A, by Beethoven, on a theme from Paisi-
eUo's opera. La Molinara, composed in 1796,
and dedicated to Sua Altezza il Signoro
Principe Carlo de Lichnowsky. Published
byTraeg (Vienna, 1796). Breitkopf & Har-
tel, Beethoven Werke, Serio xvii.. No. 6.
— Thayer, Verzeichniss, 15.
QUANTO AMORE. See Eli>;lre d' amore.
QUANTZ (Quanz), JOHANN JOACHDI,
born at Oberschedeu,
Hanover, Jan. 30, 1697,
died in Potsdam, July
12, 1773. Virtuoso on
the flute, and the famous
instructor of Frederick
the Great ou that instru-
ment. The sou of a
blacksmith, ho early
played double-bass at
village festivals ; and was taken by his un-
cle, Justus Quantz, to Merseburg to be
brought up as a musician. He learned sev-
eral instruments and studied the pianoforte
under Friedrich Kiesewetter. When his
apprenticeship was over, in 1713, he became
assistant musician at Radeberg, then at
Pirna, and in 1716 in Dresden. He stud-
ied counterjjoint under Zelenka and Fux in
Vienna in 1717, and in 1718 joined the Po-
lish royal orchestra of Warsaw and Dres-
den, playing first the oboe, and later the
flute under Buffardin. In 1724 he went to
Italy in the suite of the Polish ambassa-
dor, Count Lagnasco, received instruction in
170
QITAEENGHI
counterpoint from Gasi^erini in Eome, and
made the acquaintance of the Neapolitan
masters ; in 1726 he remained several
months in Paris, where he improved the
flute by adding a second key ; in 1727 vis-
ited London, wliere Italian opera was flour-
ishing under Handel ; and returned to
Dresden aud entered the royal orchestra
again in 1728. His playing in Berlin in-
spired the crown prince to learn the flute,
and twice a year he had to visit Berlin, un-
til his pupil succeeded to the throne and
became Frederick the Great, when in
1741 he was ajjpointed chamber musician
and court composer, with a yearly salary
of 2,000 Thalers, extra payment for every
composition, and 100 ducats for every flute
he should make. Until his death he re-
mained in high favour with Frederick the
Great, and was eminent as a virtuoso and
teacher. Works : 300 concertos and 200
other pieces for one and two flutes, trios,
and quartets, most of them presei-ved in
Potsdam. He irablished 6 flute sonatas
with bass, 6 flute duets, and Neue Kii-cheu-
melodien, or music to 22 of Gellert's odes ;
a few songs ; a serenade ; Versuch einer
Anweisung die FliUe traversiere zu spielen
(1752), a flute method that was translated
into French and Dutch ; Application pour
la flilte traversiere a deux clefs. — Mendel ;
Schilling ; Eiemann ; Fetis ; do., Supple-
ment, ii. 377 ; A. Quantz, Leben und Werke
des Fldtisten J. J. Quantz (Berlin, 1877) ;
Winterfeld, Kirchengesang, iii. 467 ; Eeiss-
mann, Illustr. Gesch. der Mus., 400.
QUARENGHI, GUGLIELMO, bom at
Casalmaggiore, Oct. 22, 1826, died in Mil-
an, Feb. 4, 1882. Violoncellist, pupil at
the Conservatorio, Milan, where he became
professor of double-bass in 1851. He was
appointed maestro di cappella of the catlie-
dral there in 1879. Works : II dl di San
Michele, opera, Milan, 1863 ; Several masses;
Quartets ; Caprices, fantasias, etc., for vio-
loncello.— Fetis, Supjjloment, ii. 377.
QUATRE FILS AYMON, LES, opera-
comique in three acts, text by de Leuven
and Brunswick, music by Balfe, first repre-
sented at the Opera Comique, Paris, July
15, 1844. Four wanderers return to their
fatlier's castle, and find themselves beggars
instead of heirs. Near the Chateau Aymon
dwells the Baron de Beaumanoir, who wishes
to marry his daughter Hermine to the wealth-
iest of his neighbours, and places his three
nieces in a convent to obtain their patri-
mony. An old seneschal, Ivon, invents the
story that the eldest Aymon, Olivier, is
wealthy and eccentric, assuming poverty.
But Hermine refuses to marry before her
cousins. This difficulty is overcome, for
the three cousins accept the brothers of
Olivier. The text and music are trivial and
the ojjera was not as successful as Le ini'ds
d'amour, which it followed. It was given
at the Princess's Theatre, Loudon, as The
Castle of Aymon, or the Four Brothers,
Nov. 20, 1844.— Athenreum (1844), 1074;
Clement et Larousse, 560.
QUE CES MUBS COQUETS. See Am-
ba.'isadrice.
QUEEN CAROLINE'S TE DEUM, by
Handel, written on
the death of Queen
Caroliue, one of his
best friends, and first
performed in King Henry VH.'s Chapel,
Westminster Abbey, at Her Majesty's inter-
ment, Dec. 17, 1737. This work was com-
posed three weeks after the Queen's death.
The text was probably selected by Handel.
The first chorus is based on the German
choral, " Herr Jesu Christ, du hOchstes
Gut," known in Saxony as the Funeral
Hymn, "Wenn mein Stiindlein vorhanden
ist," used also by Mozart as the cantus firmus
of the first movement in his Requiem. The
original autograph, in Buckingham Palace,
is dated London, December 12, 1737. It
contains a Vorspiel, ten choruses, and two
quartets. Burney considered this the finest
171
QUEEN
of all of Handel's works. Part of this Fu-
neral Authem was sung at the Handel Com-
memoration, June 3, 1784. First pub-
lished by Arnold (London) ; Chrysander's
edition for the Hiindelgesellschaft, piano-
forte score by Im. Faisst, published by
Breitkopf & Hilrtel (Leipsic, 18G1).— Chry-
sander, Handel, ii. 43G ; Hawkins, v. 416;
Burney, iv. 419 ; Eockstro, Handel, 206.
QUEEN OF SHEBA. See Kdnicjin von
Saba ; Heine de Saba.
QUESTA O QUELLA. See rdgolelto.
QUI LA VOCE. See Purilani.
QUINTO FABIO, Italian opera in three
acts, by Cherubini, first rejiresented in Ales-
sandria, Piedmont, in the autumn of 1780.
This was the composer's first opera, and it
was rewritten and given in Rome in Jan-
uary, 1783. The subject is Quiutus Fabius
Maximns, the Roman hero of the Punic
wars. Other Italian oijeras of this title, by
Dimitri Bartnansky, text by Metastasio,
Modena, Dec. 26, 1778 ; by Bertoni, Padua,
1778 ; by Marinelli, Rome and Naples, 1791 ;
and by Puccini, about 1800.— Fetis, ii. 783.
QUbl ! C'EST VOUS (^U'ELLE PRfi-
FERE ! See JjAfausse magie.
HABBONI, GIUSEPPE, born at Cre-
mona, Italy. July 16, 1800, died at
Yarenna, Lake Como, Jane 10, 1856.
Virtuoso on the flute, pupil at the Jlilan
Conservatorio (1808-17), of Buccinelli,
whom he succeeded in 1827 as professor.
H(! was also first flutist at the Teatro
della Scala, and made numerous concert
tours, mostly in company with the clarinet-
ist Ernesto Cavallini. His compositions
for the flute number about sixty-seven
works, and were highly esteemed by the
Italian virtuosi on that instrument. — Fctis,
Supplement, ii. 382.
RABE, CHRISTIAN GOTTLIEB, born
at Halle, Oct. 18, 1815, died, Feb. 27, 1876.
Instrumental and vocal composer, pupil of
Tiirk. In 1839 he was Kaijellmeistcr to
Count Hahn, who, with his opera troupe.
travelled through North Germany ; in 1844
he returned to Halle, and was employed at
the Institute for the Blind ; in 1846-47, Ka-
pellmeister at the Stadttheater in Cologne,
then at Basel and Ziirich. In 1848 he be-
came music director and organist at Lenz-
burg, which position he resigned in 1875
on account of ill-health. Some of his op-
eras were given at Bernburg ; he left many
instrumental and vocal compositions in
manuscript.
RABUTEAU, VICTOR ALFRED PEL-
LETIER-, born in Paris, June 7, 1843, stiU
living, 1890. Pianist and violinist, pupil, at
the Conservatoire, of Bazin in harmony and
of Ambroise Thomas in fugue and compo-
sition ; won in 1865 the first jjrize for har-
mony, and in 1868 the grand prix de Rome.
Works : Le passage de la mer rouge, ora-
torio, 1874 ; Suite symphonique. — Futis,
Supplement, ii. 384.
RACHEL! QUAND DU SEIGNEUR.
See La Juive.
RADAMSTO, Italian opera in three acts,
text by Nicholas Haj-m, after an episode in
the "Annals" of Tacitus (xii., cap. 51),
music bj' Handel, first represented at the
King's Theatre, London, April 27, 1720.
The original score, in Buckingham I'alace,
is unsigned and undated. This opera was
received with extraordinary enthusiasm.
Burney calls it " solid, ingenious, and full
of fire," and Handel considered the aria
" Ombra cara," sung by Radamisto, one of
his best solos. The bass aria for Tiridate,
"Alzo al volo," is acccompanied by two
horns, then new instruments in a London
orchestra. Characters represented : Rada-
misto, son of Fai-asmene (S.) ; Zenobia,
his wife (A.) ; Farasmene, King of Thrace
(B.) ; Tiridate, King of Armenia (B.) ; Polis-
sena, his wife, daughter of Farasmene (S.) ;
Tigrane, Prince of Pontus (S.) ; and Fraate,
brother of Tiridate (S.). In the following
November, 1720, when the score was re-
vised, the pai't of Radamisto was changed
to conti'alto for Senesino ; Tiridate was
made a bass ; and the character of Fraate
172
EADECKE
was omitted. The elaborate aria, " Sposa
ingrata," smig by Polissena, originally writ-
ten for one of Handel's early cantatas,
" Castri amori," was altered for Faustina in
1728, when the work was revived. It was
first given in Hamburg, as Zenobia, in 1721.
The score was first published by Richard
Mearcs, at Handel's order (London, 1720).
The only other edition is that revised by
Chrysander, and published for the Hiindel-
gesellschaft, by Breitkopf & Hilrtel (Leip-
sic, 1875). Other Itahan operas on this
subject : Zenobia e Radamisto, by Giovanni
Legrenzi, text by Matteo Noris, Ferrara,
16G5 ; same text, music by Chelleri, Venice,
1722 ; by NicoloPiccinni, Naples, 1776 ; and
Eadamisto e Zenobia, by Pietro Raimondi,
Naples, 1817. See Zenobia. — Rockstro,
Handel, 130 ; Marshall, Handel, 08 ; Bur-
ney, iv. 259 ; Hawkins, v. 295.
EADECKE, ROBERT, born at Ditt-
mannsdorf, Silesia, Oct. 31, 1830, still liv-
ing, 1890. Pianist, organist, and violinist,
pupil at Breslau of Ernst KOhlcr on the pi-
anoforte and organ, of Liistner on the vio-
lin, and of Brosig in composition ; then, at
the Lcipsic Conservatorium, of Moscheles
and Hauptmann. In 1850 he became first
violinist in the Gewandhaus orchestra, in
1852 second director of the Singakademie
with Ferdinand David, and in 1853 musi-
cal director of the Stadttheater of Leipsic.
After serving a year in the army he settled
in Berlin, gave chamber concerts, played
second violin in Laub's quartet, and in
1858-G3 established choral and orchestral
concerts with great success. He was ap-
pointed musical director of the royal opera
in 18G3 with Taubert and Dorn, and in
1871 was made royal Kapellmeister for life.
Works : Kimig Johann, overture for orches-
tra ; Am Strande, do. ; Die Monkguter,
Liederspiel ; Symphony, and other music
for orchestra ; About 100 songs ; Vocal
duets, trios, and quartets. — Mendel ; Rie-
mann ; Fetis.
RADECKE, RUDOLF, born at Ditt-
mannsdorf, Silesia, Sept. 6, 1829, still liv-
ing, 1890. Brother of the preceding, pupil
of Mosewius and Baumgart at the Academi-
cal Institute for Church Music, in Breslau
(1851-53), then of Rietz, Hauptmann, and
Moscheles at the Conservatorium, Leipsic ;
settled in Berlin in 1859, was professor at
Stern's Conservatorium in 1804-71, con-
ductor of the Cilcilien-Verein in 1804-08,
then founded a singing society, named af-
ter him, and in 1809 a musical institute, of
which he is director. Works : Symj^hony ;
Overtures ; Trios ; Duos ; Choruses and
songs. — Mendel ; Riemann.
RADICATI, FELICE ALESSANDRO,
born at Turin in 1778, died, April 14, 1823.
Violinist, pupil of Pugnani ; made a tour
through Lombardy in 1816 and was in Vi-
enna two years later. He married the
singer Teresa Bertiuotti. His death was
the result of injuries received in being
thrown from a carriage. Works : Ricciar-
do Cuor di Leone, opera, Bologna ; Quin-
tets, quartets, and trios for strings ; Duos
for violins ; Themes varii's for violin, and
orchestra, or quartet ; Italian ariettas, with
pianoforte. — Fc'tis.
RADOUX, JEAN TH1^:0D0RE, born at
Liege, Nov. 9, 1835, still living, 1890. Dra-
matic composer, sou of and first instructed
by an artisan, then pupil, at the Conserva-
toire, of Bacha on the bassoon. On his
master's death, in 1856, he obtained his
l^lace by competition, also won the first
prize for pianoforte ; studied counterpoint
and fugue under Daussoigne-Mt'hul, whose
favourite pupil he became. In 1857 a Te
Deum by him was performed at the Liege
Cathedral, and in 1859 he took the Brussels
grand prix de Rome for his cantata Le juif
errant. He then studied in Paris under
Halevy, and from that time became a pro-
lific composer. In 1872 he became director
of the Lioge Conservatoire. Officer of the
Order of Leopold, 1877. Works : Le Bi'ar-
nais, opera-comique, Liege, 1800, Brussels
(remodelled) ; La coupe enchantee, do.,
Brussels, 1872 ; Cain, oratorio, Lii'ge, 1877 ;
La fille de Jephte, cantata for soli, chorus,
173
KADZIWILL
and orchestra ; Le printemps, chorus for
female voices, with orchestra ; Le festin de
Balthazar, tableau symphonique, Liege,
1861 ; Te Deum (ordered by the govern-
ment), Sainte-Gudule, Brussels, 1863 ; Epo-
pee nationale, ouverture symphonique, ib.,
1863 ; Several other national hymns and
symphonies, executed at Liege and Brus-
sels on state occasions ; Sacred pieces for
one or several voices, with and without
chorus, and organ accompaniment ; chor-
uses for male voices ; ]\Ielodies for voice
and pianoforte ; Romances sans paroles for
pianoforte, etc. — Fetis, Supplement, ii.
385 ; Mendel, Erganz., 372 ; Gregoir, ii.
87 ; Viotta.
E.^DZnVILL, Prince AXTON HEIN-
RICH, born at Wilna, June 13, 1775, died
in Berlin, April 8, 1833. Amateur violon-
cellist and vocal comijoser. Married to
the Princess Luise, sister of the distin-
guished amateur Prince Louis Ferdinand
of Prussia, he was known in Berlin not only
as an ardent admirer of good music but as
a singer of much taste and ability and a
liberal patron, and it was to him that Beet-
hoven dedicated the Namensfeier Ouvertiire
in C, op. 115. Ho was best known by his
music to Goethe's " Faust," which was
repeatedly performed during several years
in Berlin, Dantzic, Hanover, Lcipsic,
Prague, and other places. He was one of
the patrons of Frederic Chopin, whom he
placed in one of the best colleges of War-
saw. Works : Romances for voice and
pianoforte ; Songs with guitar and violon-
cello ; Duets with pianoforte ; Many part-
songs composed for Zelter's " Liedertafel "
(MS.).— Fetis ; Sowifiski ; Mendel.
RAFAEL, FRANTISEK KAEEL (Franz
Carl), born at Senftenberg, Bohemia, in
1795, died at Pettau, Styria, Nov. 14, 1864.
Bass singer and double-bass player, pupil
at the Conservatorium in Prague on the
double-bass, which he afterwards jslayed in
the theatre orchestra at BrQnn, but aban-
doned to become a dramatic singer. When
his voice began to fail he taught music, and
organized an orchestra, which was among
the most poj^ular in the city. He then
acted as Kapellmeister at several theatres,
in 1837 at Breslau, then at Troppau, and in
1843 at Marburg and at Pettau, where he
settled, teaching music after 1845. Works :
Solemn mass ; 2 Requiems ; Salutaris hostia ;
Tantum ergo, and other church music ;
Songs. — Wurzbach.
RAFAEL, FRANZ, born in Briinn in
181G, died in Gratz, April 19, 1867. Dra-
matic composei", son and pupil of the fol-
lowing, was for a number of years Kapell-
meister of the theatre at Gratz. Works :
Wittekind, opera, Gratz, 18G1 ; Hcinrich
der Fiukler, do., Olmiitz, 1860; Die Sfiiun-
stube, operetta, Gratz, 1864 ; Burschen-
schwiinke, do. — Wurzbach.
RAFF, (JOSEPH) JOACHDI, born at
Lachen, on the Lake
of Zili-ich, May 27,
1822, died in BerUn,
Juno 26, 1882. Ho
began his education
at Wiesenstetten, in
Wiirtemberg, then
entered the Jesuit
Lyceum at Sehwyz,
where ho won first
prizes in German, Latin, and mathematics.
Poverty comjielling him to stoj) his musical
studies, he turned school-master, but con-
tinued the study of music without a teacher,
making much progi'ess on the pianoforte
and violin, and in composition. In 1843
he sent some MS. compositions to Mendels-
sohn, who gave him an introduction to
Breitkopf & Hiirtel, which led to the pub-
lication of several of his works. From that
time to his death Raff continued to com-
pose and publish almost unceasingly. His
poverty continued for some time unabated ;
but he succeeded in interesting Liszt, who
invited him to join him on a concert tour.
Meeting Mendelssohn at Cologne, in 1846,
he was invited to go to Leipsic to study
under him, and accordingl}' severed his
connection with Liszt for that purpose ;
174
RAFF
but Mendelssolin's death frustrated tbis
plan, and Kaff was fain to stay in Cologne,
■where he supported himself for a time,
partly by musical criticism. Liszt again
tried to help him, and through his instru-
mentality Eaff was just about to enter into
remunerative relations with Mechetti, the
Vienna jjublishei*, when the latter also died.
Eaff returned to his studies, pursuing them
partly at home, and partly at Stuttgart,
where he had the good luck to fall in with
von Billow, who helped his rei^utatiou not a
little by playing his Couzertstiick in public.
In 1850 he went to Weimar to be con-
stantly near Liszt. Here he remodelled an
opera, "KOnig Alfred," which had been
given at Stuttgart, and brought it out with
flattering success. Ho also became en-
gaged to Doris Genast, the actress (daugh-
ter of manager Genast), whom he followed
to Wiesbaden iu 185G, and finally married
in 1859. In Wiesbaden he was for a long
while in great request as pianoforte teacher.
In 1863, his first symphony, An das Vater-
land, got the prize offered by the Gesell-
schaft der Musikfreunde of Vienna. In
1870 his opera. Dame Kobold, was pro-
duced at Weimar. In 1877 he was ap-
pointed director of Hoch's Conservato-
rium at Frankfort. If not a great genius,
Raff certainly was a man of prodigious
talent. He was a hard student, and suc-
ceeded in attaining a mastery over the most
intricate technical details of composition
such as very few of his contemporaries
could boast of. Although his larger works
abound in passages in which quite excep-
tional difficulties have been conquered, he
always seems to write with consummate
ease. His fertility of melodic invention
was immense, and he rarely, if ever, re-
peated himself. In elaboration and perfec-
tion of workmanship, he compares favorably
with the best writers of his day. His be-
setting fault is a certain lack of nobility of
inspiration, and real depth of feeling. The
extraordinary facility with which he wrote,
and the almost constant necessity he was
under of writing rapidly, to satisfy eager
publishers, made him careless of self-criti-
cism. In fact, his poverty was the great
bane of his talent, as it was of his life. Of
over two hundred opus-numbers that he
gave to the world, by far the greater pro-
portion were mere pot-boUers, salon pieces
of questionable value, and few even of his
greater works are wholly free from a cer-
tain tawdriness of stylo. Yet, for the later
half of his hfe, he was assuredly one of the
most prominent musical figures in Ger-
many, and one of the leaders of musical
opinion. His best known works are also
his best ones. Among them are the second
symjihony, in C, oj). 140, third symphony
Im Waldo, fifth symphony Lcuore, the con-
certos for pianoforte, op. 185, for violin, op.
206, and for violoncello, op. 193, the suites
for orchestra, op. 101 and op. 194, and a
great deal of chamber music. Works :
I. For Voices and Orchestra : " Wachet
auf " (text by Geibel) for men's voices and
orchestra, op. 80 ; Deulschland's Aufersteh-
ung, festival cantata for the 50th anniver-
sary of the Battle of Leipsic, for do., op.
100 ; Do profundis (Psalm CXXX.) for 8
voices and orchestra, op. 141 ; Im Kahn
and Der Tanz, 2 songs for mixed chorus
and orch., op. 171 ; Blorgenlkd, for do., op.
186 A. ; Eiuer Entschlafenen, for soprano
solo, chorus, and orch., op. 186 n. ; Die
Jiigerbraut and Die Hirtin, 2 scenes for a
solo voice and orch., op. 199 ; Die Tages-
zeiten, 4 movements for pianoforte, chorus,
and orch., op. 209 ; Weltende, Gericht, neue
Welt, oratorio to words from the Apoca-
lypse ; 4 Antiphons of the Virgin, 5-8 voc,
Kyrie and Gloria, 6 voc. a cappella. Pater
uoster and Ave Maria, 8 voc, without ojsus
number, and in MS. ; 2 choruses. Die
Sterne and DornrOschen, do., do.
II. Dramatic : Konig Alfred, opera, Wei-
mar, 1850 ; Dame Kobold, comic opera, op.
154, ib., 1870 ; Die Eifersiichtigen, do.,
not performed ; Die Parole, do., not per-
formed ; Benedetto Marcello, lyric opera,
not performed ; Samson, grand opera, not
RAFF
performed ; Music to Genast's Bernhard
von Weimar, ^Yeimar, 1858.
ni. Songs : About 85 songs for a voice
with pianoforte : op. 47-53, G6, 98 (Sauges-
frubliug, 30 songs), 172 (Maria Stuart,
Cyclus of 11 songs), 173, 191, 211 (Bloudin
de Nesle, cyclus), and two without ojjus
number ; 12 duets with do., op. 114 ; G
songs for 3 female voices with do., op. 184 ;
30 four-i)art songs for male voices, oj). 97,
122, 195 ; 10 do. for mixed voices, op.
198.
IV. For Orchestra: 11 symj^honies : No. 1,
All das Vaterland, op. 9G ; No. 2, in C, op.
140 ; No. 3, Im Widde, in F, op. 153 ; No.
4, in G minor, op. 1G7 ; No. 5, Lenore, in
E, op. 177 ; No. C, Gelebt, gestrebt— gelit-
teu, gestritteu — gestorben, umworben, in D
miu:or, op. 189 ; No. 7, In den Alpen, in B-
flat, op. 201 ; No. 8, FrUhlingskldiuje, in A,
op. 205 ; No. 9, Im Sommer, in E minor,
op. 208 ; No. 10, Zur Herbstzeit, in F mi-
nor, op. 213 ; No. 11, Der Winter, in A mi-
nor (posthumous, edited by Erdmanns-
dOrfer), op. 214 ; Sinfonietta for 10 wind
instruments, op. 188. Four suites : No. 1, in
C, op. 101 ; No. 2, In unQari»vher\i eise, iuF,
op. 194 ; No. 3, Italiiinische S., in E minor,
without opus number ; No. 4, Thiiriuger S.,
in B-flat (MS.), op. 204. Nine overtm-es :
Jubelouverli'ire, op. 103 ; Festouferturc, m A,
op. 117 ; Conzertouverture in F, op. 123 ;
Festouvertiire for wind instruments for the
50th anniversarj' of the Deutsche Burschen-
schaft at Jena, op. 124 ; Overture on Ein'
feste Burg, op. 127 ; do. to Shakespeare's
Borneo and Juliet (MS.), no opus number ;
do. to Othello (MS.), id. ; do. to Macbeth
(MS.), id. ; do. to The Tempest (MS.), id.
Festmarsch, op. 139;
Abends, rhapsody, op. 163
B. ; Elegy (MS.), no opus
number ; Fugue (MS., un-
finished), id. ^
V. For Pianoforte with
Orchestra : Ode au printemps, op. 76 ; Con-
certo in C minor, op. 185 ; Suite in E-flat,
op. 200.
VI. For Violin with Orchestra : La fOte
d' Amour, op. 67 ; Concerto No. 1, in B mi-
nor, op. 161 ; Suite, op. 180 ; Concerto No.
2, in A minor, op. 206.
Vn. For Violoncello with Orchestra :
Concerto No. 1, in D minor, op. 193 ; do.
No. 2, in G (MS.), no opus number.
VILL Chamber Music : Octet for strings,
in C, op. 176 ; Sextet for do., op. 178 ;
Quintet for jjianoforte and strings, in A mi-
nor, op. 107 ; 10 String quartets : No. 1, in
D minor, op. 77 ; No. 2, in A, op. 90 ; No.
3, in E minor, op. 136 ; No. 4, in A minor,
op. 137 ; No. 5, in G, op. 138 ; Nos. G, Suite
iilterer Form, 7, Die schOno Miilleriu, 8,
Suite in Canon-Form, op. 192 ; Nos. 9, in G,
10, in C minor, op. 202. Four trios for pi-
anoforte and strings : No. 1, op. 102 ; No.
2, in G, op. 112 ; No. 3, op. 155 ; No. 4, in
D, oj). 158. Five sonatas for pianoforte
and violin : No. 1, in E minor, op. 73 ; No.
2, in A, op. 78 ; No. 3, in D, op. 128 ; No.
4, in G minor, op. 129 ; No. 5, in C minor,
op. 145 ; Suite for do., op. 210 ; Other
pieces for do., op. 58, 63, 203 ; one duo in
MS. Duo in A for jsianoforte and violon-
cello, op. 59 ; 2 Fantasiestiickc for do., op.
86 ; 2 Romances for horn or violoncello, op.
182 ; Sonata for pianoforte and violoncello,
op. 183.
IX. For Pianoforte : 2 Sonatas ; No. 1,
with fugue, in E-flat minor, op. 14 ; Fan-
tasie-Sonate in D minor, op. 168 ; 3 sona-
tillas, op. 99 ; 7 suites : op. 69 ; in C, oj).
71 ; in E minor, op. 72 ; in D, op. 91 ; in G
minor, op. 162 ; in G, op. 163 ; in B-flat, op.
204 (from the orchestral suite) ; about 125
opus numbers of other pianoforte music in
various forms. Two Humoreskeu for pi-
anoforte 4 hands, in D, op. 159, Todtentanz,
op. 181 ; Other 4-hand music, op. 82, 160,
174 ; Chaconne in A minor for 2 piano-
176
-'s*'^ '""*
W --
THE SEW YORK
PUBLIC UBRARY
ASTBH, tCN«X
,. TH.DtN FOUNPATiaMa
. — M
RAFFAEL
fortes, op. 150 ; Phantasie in G minor for
do., op. 207 A.; The same arranged for pi-
anoforte and strings, op. 207 b. Kaff also
made a masterly orchestral arrangement of
Bach's D minor chaconne, and wrote the
pamphlet Die Wagnerfrage (1854). — Grove ;
Mendel ; Riemann.
EAFFAEL (Raphael), HYNEK VACLAV
(Iguaz Wenzel), born at Munchengriltz, Co-
liemia, Oct. IG, 17C2, died in Vienna, Feb.
23, 1799. Dramatic and church composer,
studied music in Prague, and first attracted
attention in 1781 as a tenor singer and or-
ganist. Kajoellmeister of a theatre in Pesth
several years, he settled afterwards in Vi-
enna, where he obtained a government
jjosition. "Works : Das Veilchenfest, ballet,
Vienna, 1795 ; Pygmalion, do. ; Virginia,
melodrama ; Pater noster, with orchestra ;
Te Deum, do.; Canons with organ ; Songs
and pianoforte music. — Dlabacz ; FOtis ;
Wurzbach.
EAGUE, LOUIS CHARLES, French
amateur harp player, lived in Paris in
1775-92, then in the neighborhood of Mou-
lins. Works : Memnon, opera, Comedic
Italienne, 1781 ; L'amour filial, do., ib.,
178G ; Concerto for harp and orchestra ; 3
symphonies for orchestra ; Quartets, and
trios for harp and strings ; Duos, sonatas,
etc., for hai-p. — Fetis ; Mendel.
RAIK, DIEUDONNE, born at Lit'ge,
1702, died at Antwerp, Nov. 30, 1764. Or-
ganist, entered the choral school at Antwerp
as a boy, became a priest in 1726, went as
organist to Louvain in 1727, to Ghent in
1742, and finally was recalled to Antwerp,
where ho became vicar and choir director.
He published six suites, and three sonatas
for pianoforte ; other compositions remain
in manuscript at Ghent, Louvain, and Ant-
werp.— Mendel.
RAIMONDI, IGNAZIO, born in Naples
in 1733, died in 1802. Violinist, pupil of
Barbella, settled at Amsterdam about 1762,
and established there regular concerts, which
be conducted until about 1780 ; he then
seems to have gone to Paris, and afterwards
to London. Works: Les aventures de
Tc'lemaque, symphony, Amsterdam, 1777 ;
La muette, opera-bouffe, Paris, 1791 ; 3 con-
certos for violin ; 6 quartets for strings ; 3
trios for do. — Fetis ; Mendel.
RAUIONDI, PIETRO, born in Rome,
Dec. 20, 1786, died there, Oct. 30, 1853.
Dramatic and church composer, and dis-
tinguished conti'apuntist ; pupil at the Con-
servatorio della Pieta de' Turchini, Naples,
of La Barbara and Tritto for six years, but
was then forced to leave because the relative
who had sup^jorted him refused to do so
any longer. After many wanderings he
was called to Florence in 1810, to Naples in
1811, and in the following twenty-five years
wrote operas and ballets for Naples, Sicily,
Rome, and MUan. He was director in 1824
-32 of the music in the Royal Theatres at
Naples, and in 1832 became professor of
composition at the Palermo Conservatorio,
where, during eighteen years he educated
some remarkable pupils, among others
Chiaramonti. He was called to Rome in
1850 to succeed Bassilj as maestro di cap-
pella at St. Peter's. His operas would prob-
ably have been more successful but for
Rossini, who was then dwarfing all others.
His church compositions and oratorios
placed him in the front rank. Among his
more remarkable works are three oratorios,
Potifera, Faraone, and lacob, designed to
be performed either separately or in combi-
nation as one work, under the name of lo-
sef. When given at the Teatro Argen-
tino, Aug. 7, 1852, the success of the single
oratorios was moderate, but when united,
the three orchestras and three troupes
forming an ensemble of 400 musicians, the
enthusiasm knew no bounds. Works — Ope-
ras : Le bizzarrie d' amore, Genoa, 1807 ; II
battuto contento, ib., 1808 ; Ero e Leandro,
ib., 1809 ; Eloisa Werner, Florence, 1810 ;
L' oracolo di Delfi, Naples, 1811 ; H fanatico
deluso, ib., 1811 ; Lo sposo agitato, ib.,
1812 ; Amurat Secondo, Rome, 1813 ; La
lavandaia, Naples, 1814 ; R ventaglio, ib.,
1831, and all over Italy ; and 45 other
RALNrElTHTER
operas ; 20 ballets, Naples, 1812-1828 ; 7
oratorios ; 4 masses with full orchestra ; 2
do., with full chorus acappella ; Mass for 8
and 16 voices ; Credo for 16 voices ; The
whole Book of Psalms alia Palestrina for i,
5, 6, 7, and 16 voices ; Many Te Deum ;
Stabats ; ]\Iisereres, Tantum ergo, etc. ; 2
books of 90 j)artimenti, each on a sej)arate
bass, with 3 different accompauimeuts ; Col-
lection of figured basses with fugued ac-
companiments as a school of accompani-
ment ; Several collections of fugues for 4-8
voices, etc. — Cicconetti, Memorie intorno
Pietro Eaimondi (Rome, 1867) ; Fetis ;
Grove ; Mendel ; Eiemann.
EAINPRUHTER, JO H ANN NEPO-
MUK FRANZ SERAFIN, bom in Bavaria,
May 17, 1752, died at Salzburg, April, 1812. :
Violinist and church composer, first in- j
structed by his father, a musician at Alien- j
Otting, Bavaria ; then jsupil of Leopold
Mozart at Salzburg, where he became choir
director in the monastery of St. Peter about
1773. "Works : 3 solemn masses ; Other
masses, vespers, oifertories, litanies, etc. ;
Symphonies ; Concertos for various instru-
ments ; Quartets, trios, duos, serenades,
etc. — Wurzbach.
rIkOCZY INDULO, the most cele-
brated of Hungarian tunes. It shares its
name with a number of older Hungarian
marches, dating from the beginning of the
18th century, when the Transylvanian
prince, Rakoczy Ferencz, made an unsuc-
cessful attempt to resist the power of Aus-
tria. It is thought that he composed this
march, the performance of which on public
occasions has been prohibited by the Aus-
trian government. The tune, which is stir-
ring, is much loved by the Austrians. Ber-
lioz introduced it into the Damnation de
Faust, writing it the night before he left
Vienna for Prague, during his first visit to
Austria. Berhoz's arrangement has been
adapted for the pianoforte for two bands,
by Ed. Wolff, published by Bote & Bock
(Berlin) ; and for four hands, by Julius
Benedict (ib.). Arrangements, by Liszt :
Marche de Rakoczy for the pianoforte, edi-
tion populaire (Kistner, Leipsic) ; Rakuczy-
Marsch, symphonic arrangement for full or-
chestra, also for the pianoforte for four and
for eight hands (Schuberth, Leipsic) ; and
Rakoczy-Marsch for the pianoforte, Rliap-
aodie, hongroise. No. XV. There are various
arrangements by other composers. — Engel,
the Study of National Music, 192 ; Apthorp,
Beriioz, 52.
RAMANN, BRUNO, born at Erfurt in
1830, still living, 1890. Instrumental and
vocal comjioser, pupil of Brendel, Riedel,
and Hauptmauu ; lives and teaches at Dres-
den. Works : Lob der Frauen, for male
voices and pianoforte ; Ein Tanz-Poem, for
pianoforte four hands ; Three songs for
mixed chorus ; Album fiU'stlicher Minne-
siinger und Lieder ; Pianoforte pieces, etc.
RAMEAU, JEAN PHILIPPE, born at
Dijon, France, Sept.
25, 1683, died in
Paris, Sept. 12, 1764.
Dramatic composer,
son of an organist at
the Dijon cathedral.
He was intended for
the magistracy, but
he so neglected his
studies at the Jesuit
College for music that his parents were
asked to take him away. He was already
an accomplished clavecinist, for at the age
of seven he could play quite difficult mu-
sic at sight. He soon mastered also the or-
gan and violin, and in 1701 made a short
visit to Italy, but soon joined a theatrical
company, with whom he travelled through
South France as first violinist. In 1706 he
was living at Paris as organist to the Jesuit
convent in the rue Saint- Jacques, and of
the chapel of the Pores de la Merci. It is
not known how long he stayed in Paris,
nor where he lived up to the time of his
second visit in 1717. In this year he failed
to get the post of organist at the church of
Saint-Paul, and went to Lille, where he was
organist at Saint-lfitienne for a while, going
178
KAMEAU
theuce to Clermont in Auvergne, where be
succeeded his brother, Claude, as organist at
the cathedral. In the quiet of this secluded
mountain town, Eameau gave himself up to
the study of the writings of Descartes, Mer-
senne, Kirehei-, and Zarlino, and gradually
drew up his famous " Treatise on Harmony
reduced to its natural principles," a truly
epoch-making work. Kameau's system of
harmony was based upon the equal division
of the monochord, and was the first attempt
ever made to reduce the theory of harmony
to scientific principles. For many genera-
tions it was the basis of all theoretic writ-
ings on the subject in France, Germany,
and Ital}', and although it has now been
suj)erseded by other sounder systems, Ka-
meau's theory of the inversion of chords
has held good to the jsresent day. This
was, indeed, his one really important dis-
covery. As soon as he had completed his
work, which he did in four years, he was
anxious to go again to Paris, but the long
engagement which he had signed with the
Clermont chajjter had still several years to
run, and his only means of obtaining a re-
lease was persistently to scorch the ears of
the congregation by such outrageous freaks
of improvisation on the organ, that the
chapter had to let him go iu self-defence.
When he arrived in Pai-is he had his " Traito
d'harmonie " published by Ballard (1722).
The work did not attract much notice at
first, and Rameau had to give music lessons
for a living. In this way he soon became
fashionable, notably with ladies of rank ; he
also got the post of organist at the church of
the Sainte-Croix de la Bretonnerie. On Feb.
25, 1726, he married Marie-Louise Mangot,
a good singer, then only eighteen years old.
By this time his " Traite d'harmonie " had
excited considerable notice, as had also the
music he wrote to several little pieces of
Alexis Piron for the Theatre de la Foire,
and some cantatas and clavecin works he
had published. But iu spito of his growing
rejjutation both as theorist, organist, and
composer, it was not until 1733 that he
succeeded in having a five-act grand opera,
Hippolyte et Aricie, brought out at the
Academic de Musique, which made more
stir than anything that had appeared since
Lully's day, and became the subject of con-
siderable controversy. It was followed by
a long list of other operas and ballets,
written either for the Academic de Musique,
or for the court. He was certainly the
greatest French composer since LuUy, and
did much toward expanding the form of
French opera which Lully had established.
He introduced new forms, a more careful
and varied treatment of the orchestra, richer
harmony, and more frequent modulation.
He was an unequal writer, but would prob-
ably have been less so had he not persist-
ently refused to recognize the fact that he
wrote best when thoroughly inspu-ed by
his subject. Unlike LuUy, who threw the
whole weight of his genius upon truth of
dramatic expression, and was always care-
ful to secure the best possible libretti, Ea-
meau had a theory that it mattered little to
a composer what he set to music, and was
correspondingly careless in his choice of
opera-texts. Still, when at his best, he
wrote music the beauties of which can
hardly be dimmed by time, and he has
always been esteemed the greatest figure
in the history of French opera between
Lully and Gluck. Works — I. Operas : Sam-
sou (not f)erformed, written 1732) ; Ilijjpo-
lyte et Aricie, tragedie-02:)era, Paris, Aca-
demie Eoyale de Musique, Oct. 1, 1733 ;
Les Indes galantes, opera-ballet, ib., Aug.
23, 1735 ; Castor Qi Pollux, tragedie-lyrique,
ib., Oct. 24, 1737 ; Les fOtes d'Hube, ou les
talents lyriques, opera-ballet, ib., May 21,
1739 ; Dardanus, tragedie-opera, ib., Nov.
19, 1739 ; La princesse de Navarre, comedie-
hcroique, Versailles, Feb. 23, 1745 ; Les
fetes de Polhymnie, opera-ballet, Paris,
Academic Eoyale de Musique, Oct. 12, 1745 ;
Le temple de la glorie, do., Versailles, Nov.
27, and Paris, Academic Eoyale de Musique,
Dec. 7, 1745 ; Les fetes d'Hymeu et de
I'Amour, ou les dieux d'Egypte, ballet-
170
RAMEAU
heroique, Versailles, March 15, 1747, and
Paris, Academie Koyale de Musique, Nov. 5,
1748 ; Zais, opura-ballet, ib., Feb. 29, 1748 ;
Pygmalion (act from Laroche's opera Le
triomphe des arts, reset by Rameau), ib.,
Aug. 27, 1748 ; Platoe, ou Junon jalonse,
comudie-ballet, ib., Feb. 4, 1749 ; Nais,
opera-ballet, ib., April 22, 1749 ; ZoroaMre
(the music of Samson remodelled on a new
libretto), tragedie-lyrique, ib., Nov. 5, 1749 ;
Acanthe et Cophise, ou la sympathie, pas-
toral-heroique, ib., Nov. 19, 1751 ; La guir-
lande, ou les fleurs euchantccs, opera-ballet,
ib., Sept. 21, 1751 ; La naissauce d'Osiris,
ou la fete de famille, do., Versailles, 1751,
and Paris, Academie Eoyale de Musique,
1754 ; Daphnis et Egle, do., Versailles,
1753 ; Lj'cis et Dclie, do., ib., 1753 ; Zephire,
opera, Pai'is, Academie Royale de Musique,
1754 ; Nelee et Myrtis (not performed,
written about 1755) ; lo, opera-ballet (id.,
about 175G) ; Le retour d'Astree, prologue,
Paris, Academie Eoyale de Musique, 1757 ;
Anacreon, ballet-hc'roique, ib., May 31,
1757 ; Les surprises de I'amoui', ojiera-bal-
let, ib.. May 31, 1757 ; Les Si/harites, opera,
ib., July 12, 1757 ; Les Paladins, opera-
ballet, ib., Feb. 12, 17G0 ; Le procureur
dupe, opcra-comiquc (not performed, written
about 1760) ; Linus, tragedio-lyrique (id.,
about 1700) ; Abaris, ou les Boreades, do.
(id., about 17G2) ; Roland (left unfinished,
1764). Also divertissements for L'enrole-
ment d'Ai'lequin, Paris, 1726 ; and for the fol-
lowing Inlays by Piron : L'Endriague, Paris,
1723 ; Les coui'ses du Tempe, ib., 1734 ;
La rose, ib., March 5, 1744 ; Le faux pro-
digue, ib., 1744. II. Cantatas : Thetis ;
L'impatieuce ; La musette ; Aquilon et
Orithie ; Le berger fidele ; L'enlovement
d'Orithie ; Orphee et les amans trahis ;
Medee ; L' absence. IIL Instrumental :
Premier livre de pieces de clavecin (Paris,
1706) ; Deuxic'me livre (ib., 1721) ; Trois-
ieme livre, pieces de clavecin avec uue table
pour les agremens (ib., 1730) ; Nouvelles
suites de pieces de clavecin avec des re-
marques sur les differens genres de mu-
sique (ib.) ; Three concertos for the clavecin,
violin, and bass viol, published by Leclerc
(Paris, 1741 ; also in London) ; and pieces
for the organ in MS. Some of his harpsi-
chord music has been published in the
"Tresor des pianistes ; " in Pauer's "Alte
Klaviermusik ; " in Pauer's " Alte Meister ; "
and in "Lesperlesmusicales." IV. Church
music : Motets with choruses : In conver-
tendo quam dilecta ; and Deus noster re-
fugium (in MS.) ; Motet, Laboravi for five
voices and organ (in Le traite de I'harmo-
nie, vol. iii.). V. Theoretical works : Traite
de I'harmonie ri'duite ;i ses principes natu-
rels (three books), (Paris, 1722 ; 3d book
translated into English, London, 1737 ; 3d
English ed., ib., 1752) ; Nouveau Systeme de
musique theorique, etc. (Paris, 1726) ; Dis-
sertation sur les differentes methodes d'ac-
compagnement pour le clavecin ou pour
I'orgue (ib., 1732 ; 2d ed., 1742) ; Lettre
au P. Castel au sujet de quelques nouvelles
reflexions sur la musique (in Menioires de
Trevoux, July, 1736) ; Generation barmo-
nique, etc. (Paris, 1737) ; Demonstration du
principc de Tharmonie, servant de base a
tout I'art musical (1752) ; Reflexions de M.
Rameau sur la maniore de former la voLx,
d'apprendrc la musique, et sur nos facultes
pour les arts d'exercice (Mercure de France,
1752) ; Extrait d'uno reponse de M. Rameau
a. M. Euler sur I'identite des octaves, d'oh
resultent des verites d'autaut plus curieuses
qu'elles n'ont pas encore etc soupgonnees
(1753) ; Observations sur notre instinct pour
la musique et sur son principe (1754) ;
Erreurs sur la musique dans I'Encyclopcdie
(1755) ; Suite des erreurs sur la musique
dans I'Encyclopedie (1756) ; Reponse de M.
Rameau a MIVL les editeurs de I'Encyclo-
pi'die sur leur dernier avertissement (1757) ;
Lettre de M. d'Alembert a M. Rameau, cou-
cernant le corps sonore, avec la reponse de
M. Rameau (1758) ; Prospectus du code de
musique (1759) ; Code de musique pra-
tique, etc. (1760) ; Origine des sciences
suivie d'une controverse sur le meme sujet
(1761) ; Lettre aux philosophes, concemant
180
KANDEGGEll
le corps sonore et la sympathie des tons
(Memoires de Trevoux, 1762) ; Traite de la
composition dea canons en
musique ; Verites interes-
santes peu connues jusquTi
nos jours ; Des avautagea que la musique
doit retirer dea nouvelles decoiivertes (un-
finished).— Ducbager, Reflexioua sur divers
ouvrages de M. Rameau (Rennes, 1701) ;
Rameau aux Cbamps-Elysces (Amsterdam,
1764) ; Ordro clirouique des deuils de cour
l)our raunc'e 1704 ; Palissot, Nucrologe des
liommes ceK'bres pour I'anuee 1705 (Mercure
de France, 1705, vol. i.) ; Maret, Eloge bis-
torique de Rameau (Paris, 1700) ; Jean-
Francois, poem entitled " La Rameide "
(Paris, 1700), parodie "La nouvelle Ra-
meide;" Gautier Dagoby, Galerie franjaise
(1771) ; Croix, Ami des arts (Paris, 1776) ;
Apotbeose de Rameau, scenes lyriques, text
by M. . . music by M. . . (Dijon,
1783) ; Rameau, ballet-allegorique in one
act, by M. Lefebvre, for the centenary of
Rameau's birth, Paris, 1784 ; Maunce Bour-
ges, Gaz. mus. de Paris (183!)), 201, 205,
22S, 230 ; Adolphe Adam, Rameau (Paris,
1804) ; Charles Poisot, Notice sur Rameau
(ik, 1804); Th. Nisard, Mouographio do
Jean Philippe Rameau (ib., 1807) ; Deliber-
ation du conseil municipal de Dijon sur la
projiosition d'eriger une statue a Rameau,
rapport presente par M. Muteau (Dijon,
1870) ; H. Grique, Rameau, sa vie, ses ouv-
rages (Dijon, 1876) ; Ai'thur Pougin, Ra-
meau, Essai sur sa vie et ses oeuvres (Paris,
1876) ; Diderot, Le neveu de Rameau (many
editions) ; Fetis ; Mendel ; Grove ; Rie-
mann.
RANDEGGER, ALBERTO, born at
Trieste, April 13, 1832, still living, 1890.
Dramatic composer, and professor of sing-
ing, pupil of Lafont on the pianoforte, and
of Luigi Ricci in composition. He was
musical director at Fiume, Zara, Sinigaglia,
Brescia, and Venice, and about 1854 left
Italy for Paris, then went to London, where
be has since resided as a successful vocal
teacher. He became in 1808 professor of
singing at the Royal Academy of Music, and
subsequently director of that institution and
member of the com-
mittee of manage-
ment. In 1857 be
conducted a series
of Italian operas at
St. James's Theatre,
and in 1879-85 the
Carl Rosa companj-.
He was also, in 1880,
conductor of the
Norwich Festival, and baa conducted oth-
er festivals. Works : La fidanzata di Castel-
lamare, ballet, Trieste, about 1850 ; La
sposa di Appenzello, do., ib. ; II lazzarone,
opera bufi'a (with Rota, Zelman, and Beyer),
ib., 1852 ; Bianca Capello, opera, Brescia,
1854 ; The Rival Beauties, comic opera,
Leeds, 1804 ; 3Iedea, dramatic scena, Leip-
sic, 1869 ; Saffo, do., London, 1875 ; Fri-
dolin, cantata, Birmingham Festival, 1873 ;
Psalm CL, Boston Festival, 1872 ; Funeral
anthem in memorj- of the Prince Consort ;
Scena, text from Byron's "Prayer of Na-
ture," for tenor and orchestra, 1887 ; Many
songs, and concerted vocal music with or-
chestra or pianoforte. — Fetis, Supplement,
ii. 394 ; Grove ; Riemann.
RANDHARTINGER, BENEDICT, born
at Ruprecbtshofen, Nether Austria, July 27,
1802, still living, 1890. At the age of ten
he became a choir-boy in the court chapel
of Vienna, studied later under Salieri, and
was very intimate with Schubert. After
studying law, he was for seven years pri-
vate secretary to Count Szechenyi, a court
official ; then he became tenor singer of the
court chapel in 1832, Vize-Kapellmeister in
1844, and Hof-Kapellmeister on the death
of Assmayer in 1862. He was pensioned
in 1806, and decorated with the Franz Jo-
seph Order. He travelled much during bis
vacations. Works : KOnig Euzio, opera ; 20
masses ; 2 Requiems ; 60 motets ; 42 gradu-
als and offertories ; 20 sacred arias with har-
monium and violoncello ; 2 symphonies ;
Quintet for strings ; 2 quartets for do. ;
181
liANZ
Trio for pianoforte and strings ; marclies
and variations for pianoforte (4 hands) ; 400
songs ; 10 three-part and 76 four-part songs ;
4 books of Greek popular songs ; Greek
ritual songs, and much other music. Of
his works, numbering more than 600, only
about 124 have been published. — Wurz-
bach ; Schilling ; Mendel ; Fetis.
EANZ DES VACHES (Kuhreihen, Kuh-
reigen, in the Appenzell patois Chiiereiba),
a strain blown upon the Alpine horn to call
the cows to pasture. The word Ranz,
which has been derived from various roots,
means the procession, or march of the cows.
There are numerous Ranz des vaches, vai-i-
riously played in the different cantons of
Switzerland, and possessing great charm
when heard in the Alpine valleys. The
most celebrated is that of Appenzell, a copy
of which is supposed to have been sent to
Queen Anne of England, who was especially
fond of the Swiss melody. The Ranz des
vaches is used with great eftect by Rossini
in his overture to Guillaume Tell, and also
by Grotry in the overture to his opera of
the same title. It has also been arranged
by Weigl, Webbe, and by Adam in his " Mc-
thode de riauo du Conservatoire." It was
first iwinted in Georg Rhaw's "Bicinia"
(Wittenberg, 1545). The Ranz des vaches
has been arranged by ]\Ieyerbcer, for one
and two voices, with French and German
test (Schlesinger, Berlin, 1828). One version
in Rousseau's " Dictionnaire de Musique,"
arranged for four voices by Laborde, is
printed in his '" Essai sur la musique."
Ranz des vaches, melodie by Ferdinand
Huber, with variations by Liszt, dedicated
to Adolphe Pictet. — Dissertation on Nostal-
gia in Zwiuger's " Fasciculus Dissertationum
Medicarum " (Basel, 1710) ; Cappeller, Pi-
lati Montis Historia (1757) ; Stolberg, Reise
im Deutschland der Schweiz (1798) ; Ebel,
Schilderung der Gebirgsvijlker der Schweiz
(1798) ; Sigmund von Wagner, Acht Schwei-
zer Kuhreihen (1805) ; Casteluau, Conside-
rations sur la Nostalgic (1806) ; Edward
Jones, Musical Curiosities (1811) ; Tarenne,
Sammlung von Schweizer Kuhreihen und
VolksUedern (1818) ; J. R. Wyss, Texte zu
der Sammlung von Schweizer Kiihreihen
und VolksUedern (Berne, 1826) ; Huber,
Recueil de Ranz des vaches (1830) ; Tobler,
AppenzeUischer Sprachschatz (1837) ; Grove,
iii. 75 ; Harmonicon (1824), 37, 58 ; AUgem.
mus. Zeitg., xxx. 599.
RAOUL DE COUCY. See Counj.
RAOUL DE CREQUI, comedie-lyrique
in three acts, text by Slonvel, music by
Dalayrae, first represented at the Italiens,
Paris, Oct. 31, 1789. It was first given in
Berlin, Nov. 19, 1804 ; in Vicuna in 1805.
A ballet was arranged to the music by Vi-
gano, Berlin, 1797. Italian operas on this
subject : Raoul di Crequi, bj' Simon Mayr,
text by Romauelh, Jililan, Dec. 26, 1809 ;
by Francesco Morlacchi, Dresden, April,
1811 ; by Valentino Fioravanti, Naj^les,
1811 ; and by Francesco AltaviUa, Turin,
about 1848.
RAOUX, LOUIS ALEXIS, born at Cour-
trai, Sept. 11, 1814, died at ]5vcre-les-Bru-
xeUes, Nov. 15, 1855. Dramatic composer,
pupil of J. H. Mees' music academy at Brus-
sels ; became in 1827 instructor at the royal
school of music, and in 1831 founded a
free music school. In 1833 lie became
professor at the Conservatoire, in 1835
opened an academy of music, and in 1839
founded a conservatoire for classic and
sacred music. Works : Les deux pro-
ceptcurs, opera-comique ; Le mariage a
I'anglaise, do. ; Choruses to Athalie ; Sym-
phonies, overtures, masses, motets, an ora-
torio, cantatas, etc. — Fetis, Sujjplument, ii.
395.
RAPDIENTO DI CEFALO, IL (The
Rape of Cephalus), Italian opera in five acts,
with prologue entitled La poesia, text by
Chiabera, music by Caccini, first represented
at the Pitti Palace, Florence, Oct. 9, 1597.
It was composed by order of the Gi'and
Duke of Tuscany for the marriage festivi-
ties of Maria de' Medici and Henri FV. of
France. The choruses were written by
Stefano Veuturi del Nibbio, Piero Strozzi,
182
KAPPOLDl
and Liica Bati. It was represented after-
wards in a theatre in Florence, and was
published in 1605. Same subject, II ratto
di Cefalo, Italian opera, text by Berni, mu-
sic by Andrea Mattioli, given in Fen-ara,
1651, when new machinery invented by
Carlo Pasetti was used. — Futis, ii. 140 ; Am-
bros, iv. 272.
RAPPOLDI, EDUAED, born in Vienna,
Feb. 21, 1839, still
living, 1800. Vir-
tuoso on the violin,
pupil of Jausa, Hell-
mesberger, and
Bohm, and in com-
position of Sechter
and HUler. He was
a member of the
opera orchestra in
Vienna, in 1854-61, concertmeester in Rot-
terdam in 1861-66, Kapellmeister in Lii-
beck, Stettin, and Prague in 1866-70.
Then he became instructor at the royal
school of music in Berlin, where he was a
colleague of Joachim's and a member of his
quartet, and in 1876 was apjDointed royal
professor. In 1877 he became Conzert-
meister at the Opera and professor at the
Conservatorium in Dresden. In 1874 he
married the pianist Laura Kahrer. Though
a virtuoso of the first rank, he prefers artis-
tic inteq^retation to display. Works : Sym-
phonies, quartets, sonatas, and songs with
p)ianoforte accompaniment. — Mendel ; Rie-
maun ; Mus. Wochenblatt, ix. 480.
RAPPRESENTAZIONE DELL' ANDLi
E DEL CORPO, LA (Representation of
the Soul and the Body), Italian musical
drama, text by Lauro Guidiccioni, of the
house of Lucchesini, music by Cavalieri, first
represented in the oratory of Santa Maria
in Vallicella, Rome, in February, 1600. It
is one of the first works in which the in-
strumental bass (basso continuo) differs
from the vocal bass. It is evident that the
composer felt the need of modulation, but
his harmonies are crude and in false rela-
tion. The choruses are rhythmical, and
belong to the style of the Neapolitan viUa-
nelle, and the arias resemble those of Peri
and Caccini. Published by Alexander Gui-
dotti (Bologna, 1600).— Ambros, iv. 275.
RASOUMOWSKY QUARTETS, three
quartets for two violins, viola, and violon-
cello in F, E minor, and C, by Beethoven,
op. 59, dedicated to Count Rasoumowsky,
probably first played at the Count's house
in Vienna by his quartet — Schuppanzigh,
first violin ; Count Rasoumowsky, second
violin ; Weiss, viola ; and Lincke, violon-
cello. The original MS. of the first quartet,
in the possession of Paul Mendelssohn, is
dated "Quartette angefangen, 26 May, 1807."
These three quartets were finished and
played before Feb. 27, 1807. Mendelssohn
considered the quartet in F, op. 59, and that
in F minor, op. 95, the most Beethovenish
of all his works. The finale of the quartet
in F has a Russian theme in D minor for
its chief subject. No. 1, in F : I. Allegro ;
n. Allegretto vivace e sempre scherzando ;
in. Adagio molto e mesto ; IV. Finale,
Allegro. No. 2, in E minor : I. Allegro ; II.
Molto adagio ; III. Allegro ; IV. Presto.
No. 3, in C : I. titroduzione. Andante con
moto ; n. Andante con moto quasi alle-
gretto ; m. Minuetto grazioso ; IV. Finale,
Allegro molto. Published by Andre (Offen-
bach) ; by Heckel (Manheim) ; by Lanner
(Paris) ; by Peters (Leipsic) ; by Breitkopf
& Hiirtel, Beethoven Werke, Serie vi., Nos.
7, 8, 9. — Lenz, Beethoven, ii., part i. 14-48 ;
Marx, Beethoven, ii. 34-52 ; Thayer, Ver-
zeichniss, No. 127 ; Grove, iii. 77 ; Nohl,
Beethoven, ii. 243, 495 ; Allgem. mus.
Zeitg., ix. 400.
RASTRELLI, JOSEF, born in Dresden,
April 13, 1799, died there, Nov. 14, 1842.
Dramatic and church composer, son of the
following ; pupil of Poland on the violin, of
the organist Feidler in harmony, and at
Bologna, whither he accompanied his father
in 1814, pupil of Mattel in counterpoint.
In 1817 he returned to Dresden, and en-
tered the royal orchestra as violinist, vis-
ited Italy again in 1824, was appointed in
183
RASTKELLI
1829 second Kapellmeister of the court
opera in Dresden, and in 1830 Hof-Kaisell-
meister. Works — Operas : La distruzione
di Gerusalemme, Ancona, 181G ; La scbiava
circassa, Dresden, 1817 ; Le donue curiose,
opera buffa, ib., 1821 ; Velleda, ib.; Amina,
Milan, 1824 ; Salvator Eosa, Dresden, 1832 ;
Bertha de Bretague, ib., 1835. Der Raub
Zetulbeus, ballet ; Music to Macbeth ; Sev-
eral masses ; Vespers ; Miserere ; Salve Ee-
gina, etc. — Fetis; MendeL
KASTRELLI, \TNCENZO, born at Fauo
in 17G0, died in Dresden, March 20, 1839.
Church composer, pui)il of Mattel in Bo-
logna, having already been a successful in-
structor of singing in his native city, whither
he returned in 1786 to become maestro di
cappella of the cathedral. Shortly after-
wards he entered the service of the Elector
of Saxony as composer of the court chapel,
and remained in this i)Osition until 1802,
when he went to Moscow. About the end
of 180G he visited Italy, and was soon re-
called to Dresden, but resigned in 1814 to
make another journey to Italy. After his
return to Dresden, he taught singing, and
in 1824 was reinstated in his post as court
composer, and pensioned in 1831. Works :
Tobias, oratorio ; 10 masses ; 3 vcspei-s ;
Canzonette, arias, duos, etc. — Fctis ; Men-
del.
RATAPLAN. See Fille du regiment;
Hitguenotf.
EATHGEBER, VALENTIN, composer,
born at Ober-Elsbach, Bavaria, about 1690,
died after 1744. He was a Benedictine
monk at Bantheln in Franconia, and a most
industrious composer. Works : Masses ;
Vespers ; Offertories ; Litanies ; Psalms ;
Hymns ; Chelis sonora (1728), containing
concertos and sj'mpbonies concertantes for
different instruments ; Musikalischer Zeit-
vertreib auf dem Klavier (1743) ; Songs and
other pieces. — Walther ; Gerber ; SchiUing ;
Mendel ; Fetis.
RATTI, LAURENTITJS, born in Perugia,
second half of the 16th century, died at
Loreto in 1630. Church comi^oser, pupil
of Vincenzo Ugolini in Rome, where he was
afterwards maestro di cappella in the Ro-
man seminary and the German coUege.
Later he occupied the same position in the
church at Loreto. Works : MadrigaU a
cinque voci, 1st book (Venice, 1615) ; do.,
2d book (ib., 1616) ; Mottecta, 1st book
(Rome, 1617) ; do., 2d book (ib., 1G19) ;
Motetti a 1-G voci (Venice, 1620) ; Litanie
della Beata Vergine a 5-12 voci (ib., 1626) ;
Sacra) modulationes, seu Graduali et Offer-
torii 1-12 vocum (ib., 1628); Cantica Salo-
monis 1-5 vocibus concinenda, etc. (ib.,
1632).— Ft'tis.
RATZENBERGER, THEODOR, born at
Grossbreitenbach, Thuriugia, Ajjril 14,
1840, still living, 1890. Pianist, pupil of
Liszt, and in theory of Peter ComeHus.
He played with great success in concerts at
Geneva, Berne, Zurich, and other cities of
Switzerland, and in 1859 at Sonder.shausen,
where he was made court pianist ; in 1863 in
Switzerland, Belgium, and Paris, settled at
Lausanne in 1864, at Wilrzburg in 1866,
and at Diisseldorf in 1868. Works : 2 con-
certos for pianoforte ; Orchestral works ;
Pianoforte pieces and songs.
RAUB DER S.ABINERmNEN, DER,
(The Rape of the Sabines), dramatic cantata
for chorus, soli, and orchestra, text by
Arthur Fitger, music by Georg Vierling,
op. 50. Published by Leuckart (Lei23sic,
1877). Operas on the same subject in Ital-
ian : II ratto delle Sabine, by Draghi, text
by Minato, Vienna, 1674, on the birthday of
Leopold I. ; by Pietro Simone Agostini,
text by Bussani, Venice, 1680, Bologna,
1689 ; by Zlngarelli, text by Rossi, Venice,
1800 ; and by F. Palmieri, text by Alfano,
Naples, Dec. 4, 1878 ; Le Sabine, by Lauro
Rossi, text by Peruzzini, Milan, Feb. 21,
1852 ; and Le Sabine in Roma, ballet by
Peter Lichtenthal, text by Vigano, Milan,
Dec. 26, 1820. L'enlevement des Sabines,
in French, by Fran9ois Devienne, text by
Picard, Paris, Oct. 31, 1792 ; Der Raub der
Sabinerinnen, in German, by von Zaytz,
text by Betty Young, Aug. 4, 1870 ; and
184
RAUCIIENECKER
by Josef Platzer, Munich, Nov. 1876 ; and
El robo de las Sabinas, by F. Barbieri, Mad-
rid, Feb. 17, 1879.— Signale (1877), 99.
EAUCHENECKER, GEOIIG (WIL-
HELM), born in Munich, March 8, 1811,
still living, 1890. Instrumental and vocal
composer, j'upil of Theodor Lachner on
the pianoforte and organ, of Baumgartner
in counterpoint, and of Josef Walter on the
violin. Li 1800-G2 he was violinist at the
Grand Tlicdtre iu Lyons, vmtil 18C8 maitre
de chai^elle at Aix and Carpentras, then
director of the Conservatoire at Avignon,
and since 1873 music director at Wiuter-
thur. Works : Le Florentin, opera ; Ni-
klaus von der FlUe, cantata (prize), music fes-
tival, Ziirich, 1874 ; Symphony ; 3 quartets
for strings, etc. — Eiemann.
KAULT, FELIX, born at Bordeaux in
173C, died iu Paris after 1800. Flute
player, pupil of Blavel in Paris, where he
entered the orchestra of the Opera in 1753 ;
Member in 17G8-92 of the King's jDrivate
orchestra. During the reign of terror he
lost his pension from the Opera, granted
in 1776, and on the close of the orchestra
of the Theatre de la Cite, where ho played,
became destitute. Works : 2 concertos for
flute and orchestra ; Trios for flutes and
bassoon ; Do. for flute and strings ; 6 duos
concertants ; Sonatas for flute and bass ;
Duos, recueils d'airs, etc., for flutes. — Fe-
tis ; Mendel.
'EAUS MIT DEM NASS. See Straddla.
EAUZZINI, MATTEO, born in Eome in
1754, died in Dublin iu 1791. Dramatic
singer and composei-, brother of the follow-
ing, whom he joined at Munich iu 1770,
and accompanied to England in 1774 ;
shortly after he was engaged at the theatre
in Dublin, and settled there to teach sing-
ing. Works : Le finte gemelle, opera buffa,
Munich, 1772 ; II ro pastore, DubHu, 1784.
— Fetis.
EAUZZINI, VENANZIO, born in Eome
in 1747, died at Bath, England, April 8,
1810. Dramatic composer, pupil in com-
position of a cantor of the Pontifical Chapel.
He made his debut in 1765 ; sang in Vi-
enna in 1767, and next in Munich, where
four of his ojseras
were represented.
In 1774 he mado
his first appearance
at the King's The-
atre, London, where
he remained until
1787 as a singing
teacher, number-
ing among his pu-
jiils Miss Storace,
Braham, Miss Poole, and Incledon. In
1787 he settled at Bath, as a teacher and
concert giver. He entertained there Haydn,
who wrote a 4-part canon or round to his
dog Turk. Works — Operas : Piramo e
Tisbe, Munich, 1769 ; L' ali d' amore, ib.,
1770 ; L' eroecinese, ib., 1770 ; Astarte, ib.,
1772 ; La regina di Golconda, Loudon,
1775 ; Armida, ib., 1778 ; Creusa in Delfi,
ib., 1782 ; La vestale, ib., 1787. String
quartets ; Sonatas for pianoforte ; Italian
arias and duets, and English songs ;
Eequiem, produced at Haymarket Theatre
in 1801. — Grove ; Fetis ; Hogarth, Mem. of
Mus. Drama, ii. 174; Burney, Hist., iv. 51 ;
Schilling ; Gerber ; Mendel ; Harmouicon
(1832), 147.
EAVAL, SEBASTIANO, Spanish contra-
puntist of the end of the 16th and begin-
ning of the 17th century. After occupying
various positions, he became maestro di
cappella to the viceroy of Sicily in the ca-
thedral at Palermo. Works : II prinio libro
di canzonette, etc. (Venice, 1593) ; Libro de'
Motetti a 3-8 voci, etc. (Palermo, 1601) ;
Madrigali a 5 voci (Venice, 1585). — Fetis ;
Mendel.
EAVENSCEOFT, JOHN, English com-
poser of the close of the 17th century, died
about 1745. He was one of the Waits of
the Tower Hamlets and violinist at Good-
man's Fields Theatre. He published a col-
lection of hornpipes, two of which are given
in Hawkins's History, and a set of sonatas
by him in three parts (two violins and vio-
185
KAYENSCROFT
lone or arch-lute) were printed in Kome in
1695.
EAVENSCROFT, TH0:MAS, bom in
England, about 1582, died in London about
1635. He was a chorister of St. Paul's un-
der Edward Pearce, and was graduated in
1G07 as Mus. Bac. at Cambridge. Works :
PammeUa . . . Roundelayes and de-
lightful Catches of 3, 4, 5, 6, 7, 8, 9, 10
Parts in one (London, 1G09 ; 2d ed., 1618),
the earliest coUectiou of rounds and catches
published iu Britain ; Deuteromelia, a col-
lection of roundelays and catches (ib.,
1609) ; Melismata, Musical Phansies . .
to 3, 4, and 5 voyces (ib., 1614) ; The Whole
Booke of Psalmes . . composed into 4
parts by Sundry Authors (ib., 1G21 ; 2d
ed., 1633). Four of his anthems (MS.)
are preserved at Christ Church, Oxford.
—Grove.
KA"VTNA, JEAN HENRI, born at Bor-
deaux, May 20, 1818, still li\-ing, 1890. Pi-
anist, pupil at the Paris Conservatoire of
Laurent and Zimmerman ; won the second
prize in 1832, the first in 1834, and aj>
pointed assistant instructor in the same
year ; studied composition under Reicha
and Leborne. Having obtained the first
prize for hai-mouy in 1835, he resigned his
j)osition in Februai-y, 1837, to appear in
public as a vii'tuoso. He travelled iu Russia
iu 1858, and in Sixain iu 1871. Legion of
Honour, 1861. Works : Concerto for pi-
anoforte and orchestra ; Morceau de con-
cert, for do. ; £tudes de concert ; Etudes
caracteristiques ; Rondeaux, fantaisies, etc.
— Fctis, Sujiplcment, ii. 395.
EAYITS (Ravets), ANTOINE GUIL-
LAUME, born at Louvaiu, in 1758, died at
Antwerj), iu 1827. Church composer, pupil
of Mathias Van den Gheyn. He was organist
at St. James' Church in his native city, after-
wards at the Augustine Church in Antwerp.
Works : Many motets and organ preludes
with orchestra ; Quis sicut Dominus ;
Requiem with orchestra ; De j)rofundis for
2 voices, organ, and orchestra ; Jesu Corona
vu'ginum ; Confiteantur ; Verbum super-
num ; Tecum principum ; Juravit Dominua
— Fetis ; Mendel.
RAYMOND, EDUARD, born at Breslau,
Sept. 27, 1812, still living, 1890. Violinist,
Ijupil of Karl Luge, with whom he played
in pubUc at the age of fourteen. In 1834-
38 he was a member of the theatre orches-
tra in his native city, in 1839 became con-
ductor of the Laetitia Society, and in 1844
of the Sonntags - Gesellschaft. Works :
Three operas (MS.) ; 2 symphonies ; 2 over-
tures ; Nocturne for strings, flute, clarinet,
bassoon, and horn ; Grande polonaise, for
violin, with orchestra or pianoforte ; Grande
fantaisie, for do. ; Pieces for violin and pi-
anoforte.— Fetis ; Mendel.
REA, WILLLUI, born in London, March
25, 1827, still living, 1890. Organist, pu-
jiil on the pianoforte and organ of Josiah
Pittman, whose deputy he was for several
years ; appointed in 1843 organist to Chiist
Church, Watney Street. He studied for a
time under Sterndale Bennett, in 1849 in
Leipsic under Moscheles and Eichter, and
in Prague under Dreyschock. On his re-
turn to England in 1853 he gave concerts,
and became organist to the Hai-monic
Union. In 1856 he founded the London
Polyhymnian choir, in 1858 became organ-
ist of St. Michael's, Stockwell, and in 1860
to the corporation of Newcastle-on-Tyne.
In 1880 he became organist of St. Hilda's,
South Shields. Works : Organ and piano-
forte music ; Anthems ; Songs. — Grove ;
Riemann.
READ, DANIEL, born at Rehoboth,
Massachusetts, Nov. 2, 1757, died in New
Haven, Connecticut, Dec. 4, 1836. He was
of American parentage (son of Daniel and
ilary Read), and was a comb-maker by
trade. One of the earliest of American
psalmodists, his music is full of vigour, and
several of his tunes, especially Sherburne,
Winter, Windham, Lisbon, and Russia, are
still sung. In 1778 he removed to near
Stratford, Conn., and thence to New Haven.
Works : The American Singing Book (New
Haven, 1785) ; The American Musical Maga-
18t
EEALM
zine (ib., 178G) ; The Child's Instructor in
Vocal Music (ib., before 1793) ; Columbian
Harmonist (No. 1, ib., 1793; No. 2, ib.,
1794 ; No. 3, ib., 1795 ; 2d ed., with sup-
plement of 24 pages by Joel Read, Dedliam,
Mass., 1804 ; 3d ed., supplement of 32 pages
by Daniel Read, ib., 180G — enlarged, Bos-
ton, 1807; 4th ed., Boston, 1810); Now
Haven Collection (New Haven, 1818). His
brother Joel (born, 1753) wrote music and
published, besides the above supplement,
The New England Selection, or Plain Psal-
modist (1809). Another brother, William
(born, 17G4), also wrote music, and a neph-
ew, Ezra Read (born, 1777), was associated
with Daniel in pubUshing music books.
REALM OF FANCY, THE, cantata for
soprano solo, chorus, and orchestra, music
by John Knowles Paine, op. 36, set to
Keats's poem of this title, written for and
first performed by the Boylston Club, Bos-
ton, in 1882. — Upton, Standard Cantatas,
288.
REAY, SAMUEL, born at Hexham,
Northumberland, England, March 17, 1S2G,
still living, 1890. Organist, pujiil of his
father (organist of Hexham Church) ; chor-
ister in Durham Cathedral, where he stud-
ied under Rev. P. Penson, and later under
James Stimpson. In 1843 he became or-
ganist of St. Andrew's, Newcastle ; in 1847
of St. Peter's, Tiverton ; in 1854 of St.
John's, Hampstead ; in 185G of St. Saviour's,
Paddington ; in 1859 of St. Peter's College,
Radley, and in 1864 of church at New-
ark-on-Trent. Mus. Bac, Oxford, 1871.
Works : Morning and evening service in F ;
Anthems and other church music ; Songs
and part-songs.
REBEKAH, English oratorio, text by
Arthur Mathison, music by Joseph Barnby,
first performed at St. James's Hall, Loudon,
May 11, 1870. It contains but two scenes :
the meeting of Abraham's servant and Re-
bekah at the well, and the meeting of Isaac
and his bride. — Athenaeum (1870), i. 685.
REBEKKA, biblical idyl, for soli, chorus,
and orchestra, text from the Bible, music
by Ferdinand Hiller, op. 182, first performed
in Stuttgart, under Hiller's direction, June
19, 1878. Full, and pianoforte score pub-
lished by Alt & Uhrig (Cologne, 1878).
REBEL, FRANyOIS, born in Paris, June
19, 1701, died there, Nov. 7, 1775. Violin-
ist, son and pupil of Jean Ferry Rebel ;
joined the orchestra of the Opera at the age
of thirteen, became intimate with Fran9ois
Francceur, and conjointly with him com-
posed ten operas. Both were chefs d'or-
chestre at the Opt'ra in 1733-44, later in-
spectors, and in 1753-57 directors there,
and then till 17G7 impresarios. Louis XV.
appointed Rebel superintendent of music,
and in 1772 inspector-general of the Opera.
Works : Pyrame et Thisbc'', given at the
Op6ra, Paris, 172G ; Tharsis et Zelie, ib.,
1728 ; Scanderbeg, ib., 1735 ; Le ballet de
lapaix, ib.,1738 ; Les Augustales, prologue,
ib., 1744; Zeliudor et Ismone, ib., 1745;
Les genies tutelaires, ib., 1751 ; Le prince
de Noisy, ib., 1760 ; Te Deum ; De pro-
fundis. Concert Spirituel. — Fotis ; Mendel ;
Riemaun.
REBEL, JEAN FERRY, born in Paris
iu 1G(!9, died there in 1747. Violinist,
entered the Opera orchestra in 1699, became
accompanist and in 1707 chef d'orchestre.
Ciiamber composer to the King and one of
his 24 violins. His opera, Ulysse, given in
1703, had little success, but a pas-seul, Le
caprice, written for a then celebrated dan-
seuse, remained a favourite ballet piece for
years. He composed violin solos for other
ballets, duo sonatas for violin, and a book
of trios for two violins, with basso con-
tinue for harpsichord. — Fetis ; Lajarte,
Biblio. mus. de I'Opera, i. 1661 ; Riemann ;
Schilling.
REBELLO, JOlO SCARES (or Lau-
renyo), born at Caminha, Portugal, in 1609,
died at San Amaro, near Lisbon, Nov. 16,
1661. Church composer, entered the ser-
vice of the house of Braganza at the age of
fifteen, and was the teacher of King Joao
IV. Contemporary writers exalt him as
one of the greatest Portuguese composers.
187
llEBEFt
Of his numerous works only a book of
psalms for 16 voices, Magnificats, lamenta-
tions, and Misereres ■with continuo, were
published (Rome, 1057). Masses and other
music are in manuscript at Lisbon. — Fctis ;
Vasconcellos.
REBEK, NAPOLlfiON HENRI, bom at
Miihlhauseu, Alsace,
Oct. 21, 1807, died in
Paris, Nov. 24, 1880.
Dramatic composer,
pupil of Reicha and Le-
sueur at the Paris
Conservatoire, where
he became professor
of harmony in 1851,
and of composition in
18fi2, succeeding Ha-
Icvy. In 1853 he was elected member of
the Acadi'mie, and in 1871 appointed iu-
sjiector of the branch schools of the Con-
servatoire. He distinguished himself in
instrumental composition, in the spirit of
the German classics. "Works — Operas : La
nuit de NoOl, given at the Ojn'ra Comique,
1848 ; Le p^re Gaillard, ib., 1852 ; Les pap-
illotes de M. Benoist, ib., 1853 ; Les dames
capitaines, ib., 1857 ; Le mt'ui'tricr a la
cour, comic opei'a, and Nairn, grand opera,
not given. 4 sj'mphonies ; Overture for
orchestra ; Suite for do.; Iloland, sci'ucs
lyriques for do., Paris, 1875 ; Quintet for
strings; 3 quartets for do.; Quartet for
pianoforte and strings ; 7 trios for do. ;
Pieces for violin and pianoforte ; Do. for
pianoforte (2 and 4 hands) ; Chorus of
Pu-ates for three-part male chorus and pi-
anoforte ; Le soir, for four-part male chorus
and pianoforte ; Ave Maria and Agnus Dei,
for 2 soprani, tenor, bass, and organ. His
Traite d'harmonie (18G2) counts among
the best modern theoretical works. — Fotis ;
Mendel ; Rieniann.
REELING, GUSTAV, born at Barby,
Magdeburg, July 10, 1821, still living, 1890.
Virtuoso on the organ and church com-
poser, first instructed by his father, then in
Dessau, in 183G-39, pupil of Friedrich
Schneider. He was appointed in 1839 or-
ganist of the French church at Magdeburg,
in 1847 instructor at
the seminary, in 1853
choinnaster at t li e
cathedral and vocal
teacher at the gym-
nasium, and in 185(5
court music director.
Since 1858 he has
been organist of St.
John's church. In
1846 he established the Kirchcngesangve-
rein. Works : Psalms for 4-8 voices a
capella ; Do. for one voice with organ ; Mo-
tets ; Music for organ ; Do. for pianoforte ;
Sonata for violoncello ; Choruses ; Songs.
— Mendel ; Riemauu.
RECHENBERG, ERNST, born at Frie-
dersdorf-am-Queiss, SUesia, Oct. 12, 1800,
died (?). Church and instrumental com-
poser, pupil in Berlin at the royal institute
for chui-ch music, and of B. Klein in com-
position. He devoted himself to teaching,
and settled in Berlin as professor of music.
Carl Eckert is one of his pupils. Works :
Gott ist unser Heil, Psalm for voices, or-
chestra and organ ; Allgemeines Choralbucli
with jireludcs and conclusions, selected
from the works of old masters ; Pianoforte
music ; Songs. — Fetis ; Mendel.
REDEIU^TION HYMN, for contralto
solo, chorus, and orchestra, text from
Isaiah (liii.), music by James C. D. Parker,
first performed by the Handel and Haydn
Society, Boston, May 17, 1877, when the
solo was sung by Annie Louise Cary. It
has been given by various musical societies
throughout this country. The pianoforte
score is published by Oliver Ditson & Co.,
Boston. — Upton, Standard Oratorios, 296.
REDEMPTION, LA, oratorio or sacred
trilogy in three parts, text and music by
Gounod, first performed at the Birming-
ham (England) Festival, Aug. 30, 1882.
The solos were sung by Mme Albani, Mme
Marie Ruze, Mme Patey, Jlr. E. Lloyd, Jlr.
W. H. Cummings, Mi-. Santley, Mi-. F. King,
188
EEDERN
and Signer Foli. Gounod began this work
in 18G7, in Rome, wbere be wrote tbe
words, and two fragments of the music :
tbe " March to Calvary," and " The Pente-
cost." Tbe comjioser calls it a "lyrical set-
ting forth of tbe three great facts on which
depends the existence of tbe Christian
Church." Prologue, tbe Creation ; I. Cal-
vary ; n. From the Resurrection to tbe As-
cension ; in. Tbe Pentecost. Characters
represented: Jesus (Bar.) ; Mary (S.) ; and
two Narrators (B. and T.). This oratorio
was first sung in Loudon at Albei't Music
Hall, Nov. 1, 1882 ; in Vienna, Nov. 4,
1883 ; in Paris at the Trocade-ro, April 3,
1884 ; in Rome, in April, 188.5 ; and first in
New York by the New York Chorus Society,
Dec. 15, 1882 ; and it was one of tbe prin-
cipal works given at bis festivals in various
cities of the United States in tbe spring of
1884. Pubbsbed by Novello, Ewer & Co.
(Loudon, 1884) ; pianoforte arrangement
by Berthold Tours ; German translation by
J. Weyl. — Godard, Joseph, Reflections on
Ch. Gounod's Sacred Trilogy, Tbe Redemp-
tion (London, 1882) ; Atheureum (1882), ii.
316, G05 ; Neue Zeitschr. (1884), G7 ; Up-
ton, Standard Oratorios, 98; Sigualc (1883),
1057.
REDERN, FRTEDRICH ^VILHELM,
Graf VON, born in Berlin, Dec. 9, 1802,
died there, Nov. 5, 1883. Amateur com-
poser, pupil of Grell in 1859. Ho studied
law, entered the government service in 1823,
was intendant general of tbe royal opera in
1828-42, and after that of tbe royal court
music, having also had the sujJervisiou
of the Domcbor and of all tbe military
music. He was also royal Prussian lord
steward, privy councillor, and chamberlain.
Works : Christine, opera, given in Berlin,
18G0 ; Laut t/ine uuser Lobgesang, cantata,
ib., Singakademie, 1858 ; Liturgy for 4
voices and chorus ; Musica sacra ; Agnus
Dei ; Adoramus ; Veni Sancte Spiritus ;
Sanctus Dominus ; Nunc dimittis ; Hymnus
angelicus ; Magnificat ; Cbristus factus est ;
Overture for orchestra, Berlin, 1820 ; Con-
cert overture, for do. ; Triumphal march to
tbe tragedy Kaiser Friedrich HI. for piano-
forte ; Torchlight dances, marches, quad-
rilles, etc. — Fetis ; Mendel.
REDIN (Redein), JEAN FRAN(;^OIS,
born in Antwerp, baptized Nov. 5, 1748,
died there, Feb. 24, 1802. Violinist, about
wbo.se musical education nothing is known.
He was first-violin at tbe Cathedral of Ant-
werjj, and seems to have resided in London
in 1789. Works : G duos for 2 violins ; 6
sonatas for do. ; 6 symphonies for 2 vio-
lins, viola, bass, 2 oboes, and 2 horns ; 6
quartets for strings. — Fotis ; Mendel.
REEVE, WDLLIAM, born in London, in
1757, died there, aa'^
June 22, 1815. Or-
ganist, and dramatic
composer, pupil of
Richardson, organ-
ist of St. James,
Westminster. He
was organist at Tot-
nes, in Devonshire,
from 1781 to 1783,
when h e became
composer at Astley's Theatre, London,
and was an actor in several theatres. In
1791 be was commissioned to finish the
music of a ballet j)antoinime, Oscar and
Malvina, left unfinished by Shield, and was
appointed composer to Covent Garden, and
in 1792 organist of St. Martin's, Ludgate
Hill. Works— Music to plays : Oscar and
Malvina, Tippoo Saib, 1791 ; Orpheus and
Eurydice, ballet, adapted froniGluck, 1792 ;
Tbe Apparition, British Fortitude, Hercules
and Ompbale, Tbe Purse, 1794 ; Merry
Sherwood, 1795 ; Ramah Droog (with Maz-
ziugbi), 1798 ; The Turnpike Gate (do.),
1799 ; The Cabinet (with Braham, Davy,
and Moorebead) ; Family Quarrels (with
Braham and Moorebead), 1802 ; and many
others, in all nearly a hundred. — Grove ;
Futis ; Schilling ; Gerber ; Mendel.
REEVES, DAVID WALLIS, born at
Owego, New York, Feb. 14, 1838, still liv-
ing, 1890. Mostly self-educated, but stud-
ies
KEFORMATION
ied the violin and comet under Thomas
Canham, Owego, and harmony under
Jacob Kochkeller, New York. He was solo
cornet in Dodworth's Band, New York,
1864-GG, when he succeeded Joseph C.
Green as director of the American Band
and Orchestra of Providence, Rhode Island,
a position he still retains. He has been
also conductor of the Eocky Point Musical
Festivals, 1875-78, bandmaster of several
military organizations, and director of the
Khode Island Choral Association. He has
made six visits to Eurojie, playing the cor-
net in concerts in London, Liverpool, and
other English cities, and in Berlin and
Dresden, and has made concert tours in all
parts of the United States. "Works : The
Ambassador's Daughter, comic opera, given
in Providence, 1879 ; The Mandarin Zune,
do. pis.) ; More than 70 military marches
(45 published) ; Arrangements and trans-
criptions for band and orchestra.
REFOEMATION SYMPHONY, for or-
chestra, in D, by Mendelssohn, op. 107, first
performed, under the composer's direction,
in Berlin, November, 1832. This, his fifth
symphony, was written with a view to per-
formance at the Tercentenary Festival of
the Augsburg Protestant Confession (June
25, 18'50), presented in 1530 l)y Luther and
Melanchthon to the Emperor Charles V.,
but, owing to the fierce opposition of the
Roman Catholics to the celebration, it was
not given. In 1832 it was rehearsed in
Paris, but was again deferred, and after
Mendelssohn first conducted it in Berlin,
for the benefit of the "Orchestral Widows'
Fund," it was not again given until revived
at the Crystal Palace, London, Nov. 30, 1867.
It was first given by the New York Philhar-
monic in the season of 1867-68. The sym-
phony is constructed in strict form, and illus-
trates the conflict between the old and new
faith. The first movement contains the
passage used for " Amen " in the Catholic
Church of Dresden, known as the " Dres-
den Amen," which is employed also by
Wagner for a Leitmotif in Parsifal. The
fourth movement is, in part, based on
Luther's hymn, " Ein' teste Burg ist unser
Gott," which is combined with a fugue. I.
Andante. Allegro con fuoco ; II. Allegro
vivace ; IH. Andante ; IV. Chorale, Alle-
gro vivace, AUegi-o maestoso. Published
in score and in parts by Novello & Co.
(London) ; and by Simrock as Symphony
No. 5, op. 107, Posthumous works No. 36.
Breitkojif & Hilrtel, IMendelssohn W^erke,
Serie i.. No. 5. — Allgem. mus. Zeitg., xxxv.
22 ; Athenfcum (1SG7), ii. 771 ; Grove, iii.
93 ; iv. 31 ; Upton, Standard Symphonies,
185.
EEGINA DI CIPRO, LA (The Queen of
Cyprus), Italian opera, music by Pacini,
first represented in Turin in 1846, with
Frezzolini, Fraschini, and Balzar in the
cast. Subject, Catarina Cornaro, the fa-
mous Queen of Cyprus. It was given in
Naples, March 10, 1847, and in Trieste in
1864. Other operas on the same theme :
Catarina Cornaro, by Donizetti, Venice,
1844 ; Katherina Cornaro, by Franz Lach-
ner, Munich, 1841 ; an<l La rriiic de Chypre,
by Halovy, Paris, 1841. — Allgem. mus.
Zeitg., xlix. 231.
REGIS (De Roi), JEAN, known also as
Koninck or De Coninck, one of the cele-
brated Belgian composers of the middle
and last half of the 15th century. Ho was
contemporary with Okeghem, Busnois, and
Caron, and, according to Tiuctoris's " Pro-
portionale " (1476), one of the most clever
musicians of his time. Little else is known
of him ; from the researches made by de
Burbure and Pinchai't, it is certain that he
never was a member of the ducal chapel of
Burgundy, nor of the Cathedral of Antwerp,
as so many of the composers of that time
were. Works : Credo for 5 voices from his
mass, Village, in Petrucci's fragments of
masses by different celebrated authors
(1508). In the first book of motets by the
same collector there are 4 by Regis : Ave
Maria ; Clangat, plebs, floret ; Salve Sponsa
tui genitrix ; Lux soleranis adest. In the
3d vol. of Harmonice Musices Odhecaton
190
EEGNARD
(Venice, 1503) is the clianson franjaise
for 4 voices, S'il vous plaisist. Several of
his masses in MS. are in the Pontifical
Chapel, Eome. — Fetis ; Mendel ; Van der
Straeten, vi. 47.
EEGNARD (Regnart), FRANQOIS, born
at Douai in the first half of the 16th cen-
tui-j-. Chm-ch composer and writer of chan-
sons, brother of Jacques Regnard. He was
first attached to the Cathedral of Tournay,
and was maitre de chapelle also for a short
time about 1573 ; afterwards musician to
the Archduke Mathias. Woi'ks : Missfe
tres, quatuor et quinque voc. (Antwerp,
1583) ; Cinquante chansons a quatre et cinq
jjarties convenant tant aux instruments
qu'a la voix (Douai, 1375) ; Poesies de P.
Ronsard et autres pontes mises en musique
a quatre et cinq parties (Paris, 1579 ). — Fu-
tis ; Riemann ; Gerber ; Schilling ; Mendel.
REGNARD (Regnart), JACQUES, born at
Douai about 1531, died in Prague in 1600.
Composer, tenor, and Vize-Kapellmeister
in the imperial chaj^el at Prague under Maxi-
milian n. and Rudolph II. from 1564 to
1599. He was educated in the Jesuit Col-
lege of Douai, and began composing early,
as his works were published in 1552, in a col-
lection of Magnificats by different authors.
Twenty of his motets are in Joannelli'a
Thesaurus musicus (1568). He married
Anna Fischer, of Munich, in 1570, and Fe-
tis says he was called about that time to
Munich by Orlando Lasso to serve in the
chapel of Albert, Duke of Bavaria. Works :
Fifteen collections of chansons and masses
(1573 to 1593). The last were posthumous,
and were published by his wife. Among
the first, Fetis specifies Teutsche Lieder mit
dreyer Stimmen nach Art der Neapolitanen
(Munich, 1573) ; Neue kurzweilige teutsche
Lieder mit fiinf Stimmen zu singen und auf
allerley Instrumenten zu gebrauchen (Nu-
remberg, 1580) ; Canzoni italiane a cinque
voci, lib. i. et ii. (ib., 1581). Among the
collections of masses are : IX. Missse sacrse
(Frankfort, posthumous, 1602) ; 2d suite
(ib., 1003) ; and another posthumous pub-,
lication : Corollarium missarum sacrarum,
etc. (Munich, 1603) ; etc.— Fetis ; Biog. Gen.,
xli. 844 ; Dutihceul, Galerie douaisienne ;
Gerber ; Riemann, 749 ; Mendel ; Ergilnz.,
377 ; Van der Straeten, v. 109-115 ; Viotta,
iii. 213.
REGNAVA NEL SILENZIO. See Lucia.
REICHA, ANTON, born in Prague, Feb.
27, 1770, died iu Paris, May 28, 1836. In-
strumental composer and didactic writer,
nephew and ijupil of Joseph Reicha, at
Bonn, where he entered the Elector's or-
chestra as flutist in 1788, and enjoyed the
intercourse of young Beethoven, who played
the viola in the same orchestra. After the
dissolution of the latter in 1794, Reicha
settled at Hamburg, to teach, and there
composed a French opera, which he hoped
to bring out in Paris, in 1799. This plan
failed, but he won success as an instrumen-
tal composer, with two symphonies, played
iu the then celebrated concerts of the rue de
Clury. In 1802 he went to Vienna, where he
renewed his intimacy with Beethoven, and
entertained friendly relations with Haydn,
Albrechtsberger, and Salieri. He left Vi-
enna in 1808, at the time of the French in-
vasion, and settled in Paris, where he suc-
ceeded in producing several operas, though
without any great success, so that he de-
cided to devote himself thereafter to instru-
mental composition. He established a new
system of teaching composition which drew
many pupils, among them BoiUy, Jelensjjer-
ger, Bienaime, Millaut, Lefebvre, Elwart,
Pollet, Lecai-pentier, and Dancla. In 1818
he succeeded Mehul as professor of coun-
terpoint and fugue at the Conservatoire.
He married in Paris and was naturalized in
1829 ; Legion of Honour, 1831 ; Member of
the Institut, 1835. Works— Operas : Obal-
di, ou les Franjais en Egj'pte ; Ai'gina, regina
di Granata, Vienna ; Cagliostro, Paris, 1810 ;
Natalie, ib., 1816 ; Sapho, ib., 1822 ; 2 sym-
phonies ; overture ; Diecetto for 5 strings
and 5 wind instruments ; Octet for 4 strings
and 4 wind instruments ; 24 quintets for
flute, oboe, clarinet, horn, and bassoon ; 6
m
REICIIA
quintets and 24 quartets for strings ; Quin-
tet for clarinet and strings ; Quartet for
pianoforte, flute, violoncello, and bas-
soon ; Do. for 4 flutes ; 6 quartets for flute,
violin, viola, and violoncello ; Trio for vio-
loncellos ; 6 trios for strings ; 24 do. for
horns ; G duos for violins ; 22 do. for flutes ;
12 sonatas for pianoforte and violin ; a num-
ber of sonatas and other jjieces for ijiauo-
forte. Theoretical works : £tudes ou theo-
ries pour le pianoforte, etc. (1800) ; Traitu
de melodic, etc. (1814) ; Cours de compo-
sition musicale, etc. (1818) ; Traitu de haute
composition musicale (1824-20) ; L'ai-t du
^^-/.'
compositeur dramatique, ou cours complet
de comi)osition vocale (1833) ; Petit traite
d'harmonie pratique. — Futis ; do., Supple-
ment, ii. 398 ; Diet. delaConv., xv. 327 ; La-
rousse, xiii. 873 ; Wurzbach ; Riemann ;
Schilling ; Gerber ; Mendel ; do., Ergiinz.,
377.
REICHA, JOSEPH, born in Prague in
174G, died at Bonn in 1795. Violoncellist
and instrumental composer. After several
years in the service of the Count von Wal-
lerstein, he was appointed in 1787, by the
Elector of Cologne, Conzertmeister and
conductor of the orchestra, at the National
Theatre at Bonn. Works : 3 concertos for
violoncello and orchestra ; 3 symphonies
for 10 instruments ; 2 synq)honics concer-
tantes for violin and violoncello ; S^'mphonie
concertante for 2 horns ; G duos concertants
for violin and violoncello ; Symphonic con-
certante for 2 violins, or violin and violon-
cello ; 3 duos for violin and violoncello.
— Meudel ; Eiemann ; Fetis.
KEICHAEDT, GUSTAV, born at Schmar-
sow, near Demmin, Pomerania, Nov. 13,
1797, died in Berlin, October 19, 1884. Vo-
cal composer, pupil of Bernhard Klein ;
settled in Berlin to teach music, and was
for several years conductor of the Lieder-
tafel. He composed only thii-ty-six works,
mostly songs, among which " Was ist des
Deutschen Vaterland ? " has made his name
widely popular. — Mendel.
REICHAEDT, JOHANN FRIEDRICH,
born at Konigs-
berg, Prussia,
Nov. 25, 1752,
died at Giebich-
enstein, near
Halle, June 17,
1814. Dramatic
composer, pujiil
of Carl GottUeb
Richter on the
pianoforte and in
composition, and of Veichtuer on the vio-
Hn. He studied in 17G9-70 at Kiinigsberg
University, and in 1771 at Leipsic University ;
then travelled over Germany, and embodied
his observations in a book. On hearing of
the death of court Kapellmeister Agricola,
he applied to Frederick the Great for the
place, and received it in 177G. In 1783 he
founded the Concerts Spirituels for the
performance of novelties with short analj'-
litical jjrogi-ammes, but his position hardly
allowed him to produce his own works as
much as he would have liked. In 1782 he
made a brief trip to Italy, and in 1785 he
availed himself of a leave of absence to visit
London and Paris, obtaining in the French
capital an order for the composition of two
operas, and went to Paris again in 1786 to
prepare for their performance ; but the news
of Frederick the Great's death recalled him
to Berlin to wi'itc the customarj' funeral
cantata. Under Friedrich Wilhelm H. his
orchestra was enlarged and he secured new
singers from Italy, but his enemies informed
the king of his sympathies with the French
Revolution and so prejudiced the monarch,
that his position became untenable. First
he received a three years' leave of absence
with full pay, and in 1794 was dismissed,
and settled in Altona. In 1797 he was ap-
pointed inspector of salt works at Halle,
and after the king's death he appeared
again in Berlin as a composer. He visited
Paris also several times. The French inva-
193
REICIIEL
sion of Germany drove him from home in
180G, but the fear of losing his fortune
eaiiseJ him to return, and Jerome Napoleon
api^ointed him Kapellmeister at Cassel.
He could not long retain this place, and was
given leave to visit Vienna. As he did not
succeed to his satisfaction, he went back to
his estate near Giebichensteiu, and remained
there until his death. It seems to have been
difficult for him to live in harmony with his
associates. His writings show that he was
more of a literary musician than a learned
one. While culture, melody, and dramatic
feeling are found in his compositions, they
lack the fertility of invention which belongs
to genius. He was one of Mendelssohn's
favorite composers ; his Singspiele are im-
portant factors in the develoj)ment of Ger-
man oj)era, and his Lieder are interesting
as being among the earliest of their kind,
so that he must always hold a considerable
place in musical history. Works — Operas :
Hilnschcn uud Gretchen, KOuigsberg, 1772 ;
Amor's Guckkasten, Riga, 1773 ; La gioja
dopo il duolo, o le feste superbe, Berlin,
177G ; Andromeda, ib., 1788 ; first act of
Protesilao, 1789 ; Brenno, 1789; Olimjjiade,
1791 ; Tamerlan,and Panth(Je,French ojieras,
not performed ; Rosamunda, Italian opera,
1801; Das Zauberschloss, 1802; Bradamante,
Vienna, 1808 ; L'heui-eus naufrage, 1808 ;
4 Singspiele to Goethe's Claudina von Villa-
bella, Jery und Biltely, Erwin und Elmire,
and Lilla ; Die Geisterinsel, SingS23iel after
Shakespeare's Tempest ; Other operas and
Singspiele ; Oratorios and cantatas ; Music
to Biirger's translation of Macbeth, Goethe's
Faust, Egmont, Tasso, and to other dramas ;
Many songs, including Goethe's lyrical
poems ; Ouvertura di Vittoria and Schlacht-
symphonie in honor of the battle of Leipsic ;
(5 other symphonies : Concertante for string
quartet, and orchestra ; 14 concertos for
pianoforte ; 17 sonatas for do.; 11 do. for
violin ; concerto for do. ; 6 trios for strings ;
2 quartets for pianoforte and strings ; Quin-
tet for pianoforte, 2 flutes, and 2 horns ;
Sonata for flute, etc. He edited several mu-
sical periodicals, and, besides lesser literary
works, wrote : Briefe eines aufmerksamen
Reisenden die Musik betreffend (Frankfort
and Leipsic, 1774) ; Ueber die deutsche
komische Oper (Hamburg. 1774) ; Vertraute
Briefe aus Paris (ib., 1804-5) ; Vertraute
Briefe, geschrieben auf einer Reise nach
Wien (Amsterdam, 1810). — Autobiography
in Berhn Musikalische Zeitung (1805) ;
Ft'tis ; Mendel ; Riemann ; Schlettcrer, J.
F. Reichardt, sein Leben (Augsburg, 18G5) ;
Gerber; Schilling; do., Supplement, 357;
Lindner, Geschichte des deutschen Liedes,
132.
REICHEL, ADOLF (HEES'RICH JO-
HANN), born at Tursznitz, West Prussia,
in 181G, still living, 1890. Vocal and in-
strumental composer, pupil at Elbing, of
Cantor Brandt, and later, in Berhn, of Dehn
and Louis Berger in composition. After
travelling in Germany and Switzerland, he
settled in Paris, where he taught music
fourteen years. In 1857 he was appointed
instructor of composition at the Conserva-
torium in Dresden, and director of Dreis-
sig's Singakademie, and in 18G7 went to
Berne, as director of the city music.
Works : Mass ; Trio for pianoforte, violin,
and violoncello ; 4 preludes and fugues for
pianoforte ; Sonatas and mazurkas for do.;
Choruses ; Songs. — Fetis ; Mendel.
REICHEL, FRIEDRICH (CARL), born
at Oberoderwitz, near Zittau, Jan. 27, 1833,
still living, 1890. Instrumental composer,
pupil in Dresden of F. Wieck on the piano-
forte, and of Julius Otto and Rietz in
theory. At the age of twelve he took part
in the church music of his native town,
playing the organ, the violin, the flute, the
horn, and the trombone, or singing. About
1852 he settled in Dresden as instructor of
music, and in 18G0 became director of the
Liedertafel there, in 18G9 leader of the
Neustadter Chorgesangverein, and in 1870
EEicn
director of the Amateur Orchestra Society.
Works : Die geangstigten Diplomaten, ope-
retta, given at the Dresden Court Theatre,
1875 ; Symphonies ; Octet for wind instru-
ments ; Quartets for strings ; Gesang der
wandernden Musensohne, for chorus and
orchestra ; Festival song, for do. ; 4 cho-
ruses for men's voices ; 4 terzets for female
voices ; 5 songs for mixed chorus ; Piano-
forte music ; Songs. — Mendel.
REICH MIR DIE HAND, seven varia-
tions for two oboes and an English horn,
in C, by Beethoven, on the theme, Reich
mir die Hand (Lt'i ci darem la mauo), from
Don Giovanni. The original autograph, in
the possession of Artaria & Co., was pub-
lished (Vienna, 1800).
REIF, WILHELM, born at Schwallung-
en, in 1833, still living, 1890. Clarinet
player, music director of the court orches-
tra at Meiuingen ; has composed several
operas, among which Abu Said was espe-
cially successful, and symjjhonies, overtures,
suite for orchestra, festival marches, Con-
zertstilcke for solo instruments, pianoforte
pieces, etc.
REDUNN, IGNAZ, born at Albendorf,
Silesia, Dec. 27, 1820, died at Rengersdorf,
ib., June 17, 1885. Church composer, pu-
pil at the Seminary at Breslau. Works :
7-1 masses ; 24 Requiems ; 4 oratorios ; 4
Te Deums ; 37 Htanies ; 83 offertories ; 50
gradiials, cantatas, etc. ; 9 overtures, and
other works for orchestra. — Riemann.
REINAGLE, JOSEF, born, of German
parentage, at Portsmouth, England, in
1762, died at Oxford, in 1836. Violoncel-
list, entered the king's service as a hoi-n
player, but afterwards took up the violon-
cello, and became director of concerts at
Edinburgh. In 1789 he went to Ireland,
1)ut returned to London and finally lived
at Oxford. Woi-ks: 30 progressive duets
for 2 violoncellos ; Quartets for strings ;
24 lessons for harpsichord ; Method for
violoncello. His brother Hugo (born at
Portsmouth, 1766, died young at Lisbon)
was a virtuoso on the violoncello, pupil of
Crosdil. He composed solos and duos for
his instrument.
REINECKE, KARL (HEINRICH CAR-
STEN),bornatAltona,
June 23, 1824, still
living, 1890. Pianist,
pupil of his father, an
able theorist ; made
his first concert tour,
in 1834, to Denmark
and Sweden, and after
perfecting himself at
Leii^sic, where Men-
delssohn and Schu-
mann then highly influenced the musical
world, played again iu the northern cities
of Germany, and at Copenhagen, where in
1846-48 he was court pianist to Christian
Vni. ; then lived for some time in Paris.
In 1851 he became instructor at the Con-
servatorium of Cologne, was music director
at Barmen in 1854-59, at Breslau in 1859-
60, when he was appointed Kapellmeister
of the Gewandhaus at Leipsic, and professor
at the Conservatorium. He still continues
to appear as a virtuoso, playing with suc-
cess in London and other cities, and on his
annual tours to Scandinavia, England, Hol-
land, and Switzerland always meets with an
enthusiastic reception. As an interpreter of
Mozart he has few rivals. Among his pupils
in composition are Bruch, Grammann, Grieg,
Klauwell, Sullivan, Svendsen, etc. ; among
those on the pianoforte, Josefly, Louis Maas,
Kwast, etc. He is at present undoubtedly
the most prominent musical figure of Leip-
sic. Works — Operas : Konig Manfred, five
acts, given at W^iesbaden, 1867, Leipsic,
1885 ; Der vierjilhrige Posten, not given ; Aiif
hohen Befehl, Hamburg, 1886 ; Ein Aben-
teuer Hiindels, Schwerin, 1874. Belsazar,
oratorio; 2 masses ; Music to Schiller's Wil-
helm Tell ; Ilakoit Jarl, for male chorus,
soli, and orchestra ; Die Flucht nach Agyp-
ten, do. ; Sommerbilder, do. (1885) ; Schnee-
uiUchen, for female chorus, soli, and piano-
forte ; AschenbrOdel, do. ; DornrOschen,
do. ; Die wilden Schwiine, do. ; 20 canons
194
REINECKE
for 3 female voices, -with pianoforte ; 2 sym-
phonies. Overtures : Dame Kobold ; Ala-
din ; Friedensfeier ; Fest-Ouvertilre, op.
148 ; Zeuobia ; In memoriam, introduction
and fugue with choral for orchestra ; Fu-
neral march for Emperor Wilhelm I., op.
200 ; Concerto for violin ; do. for violon-
cello ; do. for hai-p ; 3 quartets for strings ;
4 concertos for pianoforte and strings ; Quin-
tet for do. ; Quartet for do. ; G trios for do. ;
2 sonatas for violoncello ; 4 do. for violin ;
Phantasie for pianoforte and violin ; Undine,
sonata for flute and pianoforte ; Sonatas,
fantasias, caprices, etc., for pianoforte ; Sev-
eral collections of songs ; Choruses for
male, and mixed voices, etc. — Mendel; Eie-
mann.
EEINECKE (Eeinicke), KARL LEO-
POLD, born at Dessau, in 1774, died at
Quedlinburg, Oct. 22, 1820. Dramatic
composer, first instructed on several instru-
ments by his father, court musician at An-
halt-Dessau, later pupil of Eust on the vio-
lin, and in 179G-98, in Dresden, of Nau-
mann in composition. In 1798 he was aj)-
pointed Conzertmeister and music director
at Dessau. Works — Operas : Adelaide von
Scharfeneck ; Feodora ; Peronka und Al-
fred, given at Dessau. Symphonies ; In-
strumental pieces ; Songs. — Fetis ; Mendel.
EEENE DE CHYPEE, LA (The Queen
of Cyprus), opera in five acts, text by Saint-
Georges, music by Halevy, first represented
at the Acadomie Eoyale de Musique, Paris,
Dec. 22, 1841. The time of the action is
14G9. A Venetian patrician, who has prom-
ised his daughter, Catarina Cornaro, to a
French nobleman, Gerard de Courcy, is
informed by Mocenigo that the Council of
Ten orders her to be given in marriage to
Lusignan, King of Cyprus. He yields only
on threat of death, and Catarina is forced
to renounce her lover. The third act is
placed in Cyprus, where Gerard is discov-
ered, attacked, and saved by one who is un-
known to him. He still resolves to kill
Lusignan, and during a fete is about to take
his life when he recognizes him as his de-
liverer, and Lusignan again protects him.
After several years, during which Catarina
has become reconciled to her fate and Ge-
rard has been made Chevalier of Ehodes,
the latter discovers a plot against Lusignan
and tells Catarina of it. Mocenigo appears
at this moment, and says he will fasten the
crime upon them. Lusignan, who over-
hears this threat, orders Mocenigo to prison,
but the latter has had time to give signal
for the Venetians to attack the city. Dur-
ing the conflict Lusignan is seconded by
Gerard, but is wounded, and dies in Cata-
riua's arms. She brings out her son to her
subjects, who proclaim him their sovereign,
and Gerard returns to Rhodes. Original
cast :
Catarina Mme Stoltz.
Gerard M. Dnprez.
Lusignan M. Baroilhet.
Mocenigo M. Massol.
This opera was first given in Leijisic, Sept.
19, 1842. Published by Lemoine (Paris,
1842) ; by Schlesinger, German translation
by Griinbaum (Berlin, 1842). Pianoforte
score by Wagner (Paris, 1841). See Cata-
rina Cornaro. — Clement et Larousse, 567 ;
Lajarte, ii. 1G9 ; Allgem. mus. Zeitg., xliv.
705 ; Neue Zeitschr., xvii. IIG.
EEINE DE FEANCE, LA (The Queen of
France), symjDhony in G minor, by Haydn,
supjjosed to have been written in 178G. I.
Adagio, Vivace ; II. Eomanze, allegretto ;
III. Menuetto, allegretto ; IV. Finale,
piresto. Published by Simrock.
EEINE DE SABA, LA (The Queen of
Sheba), French opera in four acts, text by
Jules Barbier and Michel Carre, music by
Gounod, first rejDresented at the Opera,
Paris, Feb. 28, 1862. The Queen of Sheba,
Balkis, visits Solomon, and falls in love with
195
REINER
an artisan, Adoniram, with whom she runs
away. The last act takes place in the ravine
of Cedron, where Adoniram is assassinated
by three other artisans, whose demands for
salary he had ignored. The work ends
with the Queen's distress, she believing the
murder to have been instigated by Solomon
for revenge. Original cast :
La reine (Balkis) Mmc Gueymard.
Adoniram J\I. Gueymard.
Soliman M. Belval.
Phanor M. Marie.
Benoni lllle Hamackers.
An English version, entitled Irene, by H.
Famie, was given as a concert at the Crystal
Mme Gueymard.
Palace, Aug, 12, 1865. Published by Chou-
dens (Paris, 18G2) ; Schott (Mainz) ; Eng-
lish edition by Cramer & Co. (London).
Transcription for the pianoforte by Liszt.
— CU'ment et Larousse, 5G8 ; Athenaeum
(18G5), ii. 253.
REINER, AMBROSIUS, church com-
poser of the 17th century, about the middle
of which he lived in Prague, then at Inns-
bruck, as composer and Kapellmeister to
the Archduke Ferdinand Karl of Austria.
Woi-ks : Motets for 2-4 voices, with
vioUns (Munich, 1645) ; Motets for 4-6
voices, with 2 violins (ib., 1648) ; Motets for
8 voices (ib., 1654) ; Psalms for 8 voices
(ib., 1G54) ; Mass for 5 voices and 3 instru-
ments (Innsbruck, 1655). — Fetis ; Mendel.
REINER, JAKOB, born about 1560 at
Altdorf, "Wiirtemberg, died in the Convent
of Weingarten, Aug. 12, 1606. Church
composer, first instructed in the Convent
school at Weingarten, then, in Munich,
pupil of Orlando Lasso. Ho was ap-
pointed vocal instructor, and later choir-
master of the Convent of Weingarten. —
Works : Liber cantionum sacrarum, 22 mo-
tets for 5-6 voices (1579, new ed. by O.
Dressier, 1872) ; Schone neue deutscho
Lieder, 32 songs for 4-5 voices (1581) ;
Christliche Gesang, teutsche Psalmen, 15
psalms for 3 voices (1589) ; Selectse pireque
cantiones, 20 motets for 6 voices (1591) ;
Cantica sive mutctfc, 29 songs for 4-5 voices
(1595) ; Liber motettarum, 32 motets for
6-8 voices (1600) ; Liber motettarum, 18
motets for 6 voices (1603) ; Sacrarum
missamm, for 5-6 voices (1G04) ; Glorio-
sissimfc Virginis Magnificat, for 8-12 voices
(1604) ; Miss.T) tres cum litaniis for 8
voices (1G04) ; Miss«3 aliquot sacrre cum
officio B. M. V. et Antiphonis, for 3-4
voices (1608) ; Many songs in MS.— Fi'tis ;
Mendel ; Riemann ; IMonatshefto fiir Mu-
sik-Geschichte, iii. 97.
REINE TOPAZE, LA (Queen Topaz),
opera-comique in three acts, text by Lock-
roy and Leon Battu, music by Victor Jlasse,
first reijresented at the Theatre Lyrique,
Paris, Dec. 27, 1856. Topaze is a young
girl, who in infancy was stolen from her
parents, and becomes queen of a band of
gypsies. She loves the captain, Rafael,
whom she wins from his betrothed, a
wealthy noblewoman. He falls in love with
Topaze, but hesitates to marry her until
the secret of her birth is revealed to him
by the gypsies. The success of this opera,
one of the composer's best, was greatly
owing to the brilliant execixtion of Mme
Miolan-Carvalho, whose name is inseparably
196
KEINIIOLD
conrioctefl with the work. Tlie Carnaval
de Venise, with Pagaiiiui's variations, which
In ff^- -^^
Euphrosyne Parepa-Rosa.
is interpolated in the second act, was sung
by her with gi'cat facihty find precision.
Original cast :
La reinc Topaze . . . Mme Miolan-Carvalho.
Lc cajiitaino It.ifacl M. Montjauzc.
Annibal M. Meillet.
Francai3pa ]M. Balanque.
Fritellino M. Froment.
Filomolo Mile Pannetrat.
This ojiera was given a,t Her Majesty's,
London, with ]\Ille Parepa in the title-role,
Dec. 24, 18G0. Published by Schott
(Mainz, 1857). — Clement et Larousse, 569 ;
Eevue et Gaz. mus. de Paris (1857), 2 ;
Athenffium (1860), ii. 301 ; Neue Zeitsch.
(1859), i. 32.
EEINHOLD, HUGO, born in Vienna,
March 3, 1854, still living, 1890. Instru-
mental composer, pupil at the Vienna
Conservatorium, of Bruckner, Epstein, and
Dessoff in 1868-74, and received a silver
medal. His compositions are very prom-
ising. Works : Prelude, minuet, and fugue
for orchestra ; Suite for pianoforte, and
strings ; String quartet ; Im Walde, and
Fantasie-Bilder, for pianoforte (4 hands) ;
Other pianoforte f)ieces, and songs. — Fetis,
Supplement, ii. 399 ; Riemann.
REINKEN (Eeinke, Eeinicke), JOHANN
ADAM, born at _ ,,. ,
D e V e n t e r, Hol-
land, April 27,
162 3, died in
Hamburg, Nov.
24, 1722. Organ-
ist, pupil of Jan ,,
Pieter Sweelinck
in Amsterdam ;
became in 1654
organist of t h e ^' *» ^
church of St. Catherine, in Hamburg. So
great was his reputation that Johanu Sebas-
tian Bach walked twice at least from Lune-
burg to Hamburg to hear him. On the latter
occasion Bach in turn played for the aged
organist, who exclaimed "I thought that
this art was dead, but I see that it still lives
in you." Works : Hortus Musicus for two
violins, viola, and bass (Hamburg, 1704) ;
Toccata for organ ; 2 arrangements of
chor.als ; 2 variations for clavier. — Mendel ;
F6tis ; Schilling ; Mattheson, Ehren-Pforte,
292.
EEINTHALEE, KAEL (MAETIN), born
at Erfurt, Oct. 13,
1822, still living,
1890. Pupil of G.
A. Eitter and A. B.
Marx ; visited Paris,
where he studied
singing under Ge-
raldi and Bordogni,
then spent some
time at Naples, Mi-
lan, and Eome. He became instructor of
singing at the Cologne Conservatorium, in
1853 ; was appointed city music director,
organist of the Cathedral, and director of
the Singakademie at Bremen in 1858, and
later conductor of the Liedertafel there.
He is royal Prussian music director, and
since 1882 member of the Berlin Academy.
197
REISS
Works — Operas : Edda, Bremen, 1875 ;
KiitLcben von Heilbronn, Frankfort, 1881.
Jephtha and bis daughter, oratorio ; In
der Wiiste, for chorus and orchestra ;
Das Miidchen von Kolab, do. ; Symphony ;
Psalms ; Choruses ; Songs. — Mendel ; Rie-
mann ; Fotis ; do., Supplement, ii. 400.
REISS, CARL HEINRICH ADOLF,
born in Frankfort-ou-the-Main, in 1829,
still living, 1890. Pianist, pupil, in Frank-
fort, of Rosenhain on the pianoforte, of
Ferdinand Kessler in harmony, and later,
in Leipsic, pupil of Moritz Hauptmann. At
the age of fourteen, he appeared with suc-
cess in a concert in Frankfort, and when not
yet twenty years old, was appointed chorus-
master in the Stadttheater of Mainz. He
was music director successively at the thea-
tres of Berne, Basel, and Wiirzburg, and
in 1854 returned to Mainz as first Kapell-
meister of the Stadttheater. In 1856 he
was called to the Court theatre at Cassel,
where later he succeeded Spohr as Hof-
Kapellmeister ; in 1881-86 he filled the
same position at "Wiesbaden. Works : Otto
der Schiitz, opera, given in Cassel and
Mainz ; Pianoforte music ; Songs. — Fctis ;
Mendel ; Riomann.
REISSIGER, FRIEDRICH AUGUST,
bora at Belzig, Prussia, July 26, 1809, died
at Frederikshald, Norway, March 2, 1883.
Brother of the following, first instructed
by his father, then pupil of Schicht and
Weinlig at the Thomasschule in Leipsic,
and of Dehu in Berlin. He was music
director at the theatre in Christiania in
1840-50, and thence went to Frederikshald,
as organist and miUtary Kapelmester.
Works : Music to Tie Saters, and to Ogte-
mandens Reprsesentant ; Several masses ;
Requiem ; Cantatas ; Concert overtures ;
Pianoforte music ; Many songs, and chor-
uses for male voices. — Mendel.
REISSIGER, KARL GOTTLIEB, born
at Belzig, Jan. 31, 1798, died in Dresden,
Nov. 7, 1859. Dramatic composer, pupil
in 1811 of Schicht at the Thomasschule,
Leipsic. In 1818 he began the study of
theology, but soon gave himself up to mu-
sic ; pursuing his studies in Vienna, in
18 21, he appeared
the following year as
a singer and pian-
ist. He then visited
Munich, where he
became the pujjil of
Winter, went to Ber-
lin in 1823, and trav-
e 1 1 e d in Holland,
France, and Italy in
1824-25, to inform himself about the musi-
cal institutions of those countries, by order
of the Prussian government. He was then
for a short time instructor at the royal in-
stitute for church music, and in October,
1826, was summoned to The Hague, to or-
ganize the Conservatorium, which is still
flourishing. In the same year he succeeded
Marschner as music director of the Ger-
man Opera in Dresden, and soon after was
appointed Hof-Kapellmeister to succeed
Weber. Works — Operas : Das Rockenweib-
chen (1821, not given) ; Didone abban-
donata, Dresden, 1823 ; Der Ahneuschatz
(1824, do.) ; Yelva, melodrama, Dresden,
1827 ; Libella, ib., 1828 ; Die Felsenmiihle
von Etalieres, ib., 1829 ; Turandot, ib.,
1835 ; Adole de Foix, ib., 1841 ; Der Schiff-
brueh der Medusa, ib., 1846 ; Overture and
entr'actes to the tragedy Nero, Munich,
1822. David, oratorio ; 10 masses ; Hymns,
j)salms, motets, vespers, etc. ; Symphony for
orchestra ; Overture for do. ; Concerto for
flute ; Concertino for clarinet ; Quintet for
pianoforte and strings ; 6 quartets for do. ;
27 trios for do. ; Quintet for strings ; 8
quartets for do. ; 2 sonatas for violin and
pianoforte ; Sonata for clarinet ; Sonatas
(4 and 2 hands), rondos, variations, and
other music for pianoforte ; Many songs,
some of which have become veiy popular.
— Ftitis ; Mendel ; Riemann ; Schilling ;
Schumann, Ges. Sehriften, ii. 292.
REISSHLiNN, AUGUST, born at Fi-an-
kenstein, Silesia, Nov. 14, 1825, still living,
1890. Dramatic composer, and writer on
19S
EEITER
music, pupil in his native place of Heinrich
Jung, and in Breslau of Mosewius and
Baumgart in theory, of Ernst Richter on
the pianoforte and organ, of Liistner on the
violin, and of Kahl on the violoncello.
The favourable reception given his com-
positions sti-engthened his purpose to be-
come a composer, but a residence in 1850-
52 in Weimar, vphere the new school of mu-
sic had its most ardent chamjiions, turned
him more to literary work. After living
several years at Halle, he settled in 1863 in
Berlin, where he lectured in 18GG-74: on
musical history at the Couservatorium ; and
afterwards took up his residence in Leip-
sic. He was a prominent contributor to
Mendel's Musikalisches Conversations-Lexi-
kon, and after his death continued and
completed it. In 1875 the degree of Ph. D.
was conferred upon him by Leijjsic Uni-
versity. His compositions have not at-
tracted great attention, and his literary
works are sometimes injured by liis fond-
ness for putting all music into a system,
but his industry and good use of his op-
portunities have made him of considerable
authority in the musical world of Germany.
Works — Operas : Gudi'un, Leipsic, 1871 ;
Das Gralspiel (not given) ; Die Biirger-
meisteiin von Schorndorf, Leipsic, 1880.
Two dramatic scenes, Drusus Tod and Lo-
reley ; Wittekind, oratorio ; 2 sonatas for
pianoforte and violin ; Concerto for violin
and orchestra ; Suite for do. ; Many songs
and ballads, duets, terzettos, and choruses.
Writings : Von Bach bis Wagner (Berlin,
18G1) ; Das deutsche Lied in seiner his-
torischen Entwickelung (1861), rewritten
as Geschichte des deutschen Liedes (1874),
his most important work ; Allgemeine Ge-
schichte der Musik (1863-65, 3 vols.) ; Allge-
meine Musiklehre (1861, 2d ed., 1874) ;
Grundriss der Musikgeschichte (1865) ;
Robert Schumann (1865, 3d ed., 1879) ;
Lehrbuch der musikalischen Komposition
(1866-71, 3 vols.) ; Felix Mendelssohn-Bar-
tholdy (1867, 2d ed., 1872) ; Franz Schu-
bert (1872) ; Die konigliche Hochschule
fiir Musik in Berlin (1875) ; Leichtfassliche
Musikgeschichte (1877) ; Zur Aesthetik der
Tonkunst (1879) ; Joseph Haydn (1879) ;
Illustrirte Geschichte der deutschen Musik
(1880) ; J. S. Bach, and G. F. Hiindel (1881) ;
Gluck, and Weber (1882) ; and other works.
— Mendel ; Riemann ; Fctis, Supplement,
ii. 101.
REITER, ERNST, born at Wertheim,
Baden, in 1811, died at Basel, July 14,
1875. Violinist, professor at the Conserva-
torium at Wiirzburg, where he apj)eared
also in concerts in 1835-37. In 1839 he
went as music director to Strasburg, and
in 1841 to Basel. In 1843 he conducted
the music festival at Lucerne. Works : Die
Fee von Elverhoe, Wiesbaden, 1865 ; Das
neue Paradies, oratorio, Basel, 1845, Vienna,
1847 ; 2 quartets for strings ; Songs.
REJOICE GREATLY, soprano aria in
B-flat major, with accompaniment of violins
in unison, and coutiuuo, in Handel's 3Ies-
mih. Part I., No. 16.
RELLSTAB, JOHANN KARL FRIED-
RICH, born in Berlin, Feb. 27, 1759, died
at Charlottenburg, Aug. 19, 1813. Com-
poser and writer, pupil of Agricola and
Fasch. His father's death compelled him
to take charge of a printing establishment
in Berlin, to the business of which he added
music printing and selling, and in 1785
opened a circulating music library. In
1787 he founded a concert for amateurs,
and the concerts given by the Singakademie
and others were often held at his house and
expense. The war of 1806 caused the loss
of almost his whole fortune, but his love of
music revived on the return of peace. He
wrote musical criticisms for the Vossische
Zeitung, lectured on harmony, inspired
wealthier men to give private concerts, and
instructed his children musically. In 1811
he visited Italy and Vienna. His composi-
tions are little more than mechanical, but
his books give evidence of critical observa-
tion. Works : Die Apotheke, opera ; Die
Hirten an der Krippe zu Bethlehem, can-
tata ; Pygmalion, do. ; Ode ; Passion ora-
199
EEMBT
torio ; Mass ; Te Deum ; Marches, waltzes,
sonatinas, and other music. He published
Versuch iiber die Vereinigung der musi-
kalischeu und oratorischen Deklamation (Vi-
enna, 1785) ; Ueber die Bemerkungen eines
Reisendeu (Berlin, 1789), a reply to a work
by Reichardt ; Anleitung f iir Klavierspieler,
den Gebrauch der Bach'scheu Fingerset-
zung, die Manieren und den Vortrag be-
treffend (ib., 1790).— Fotis ; Gerber ; Men-
del ; Kiemann ; Schilling.
EEMBT, JOHLV^vN ERNST, born at
Suhl, Prussian Saxony, in 1749, died there,
Feb. 2G, 1810. Organist, formed himself
by the study of Bach's works, of which he
was an eminent interpreter. Ho was organ-
ist in his native city from 1772, and left it
only once in his life, to visit Leiiisic in
1797. Works : G trios for organ (1787) ; 6
do. ; 50 four-part fughettas for do. ; Cho-
rals, fugues, preludes, etc., for do. — Fetis.
REMDE, JOHANN CHRISTIAN HEIN-
RICH, born at Berka-ou-the-Ilm, Saxe-
Weimar, iu 1790, died at Weimar (?) after
1840. Dramatic comiioser, first instructed
by his father, then pupil of Tiirk at Halle.
He taught music in Berlin, then lived at
Leipsic and at Memmingen, Suabia, and
settled at Weiruar, where he attracted Goe-
the's attention, and was appointed music
director of the court theatre, and professor
at the pages' school. Works — Operas : Die
lustigen Studenten ; Der Zaubersee, given
at Weimai-, 1836 ; Die entwaffnete Rache ;
Pygmalion, melodrama. Der Wandel des
Irrthuuis, cantata. Pianoforte music, part-
songs, ballads, and songs. — Fetis.
REMfiNYI, EDUAED, born at Heves,
Hungary, iu 1830 ; reported drowned off
^Madagascar iu 1887, but living at Cape
Town, South Africa, in 1890. Virtuoso
on the violiu, pupil in 1842-45, at the Vi-
enna Conservatorium, of BOhm. He took
an active part in the insurrection of 1848,
and was adjutant to the famous general
GOrgey ; when the revolution was crushed
he left his countiy and travelled in the
United States in 1849-50, giving many
successful concerts. In 1853 he went to
Weimar to study under Liszt, and in 1854
to London as solo
violinist to the
Queen,
obtained
nesty in
returned
Having
an am-
18G0, he
to Hun-
gai-y, and was made
solo violinist to
the Emperor of
Austria. In 18G5
he appeared successfully in Paris ; then vis-
ited Germany, Holland, and Belgium, and
in 1875 settled temporarily in Paris. He
went to London again in 1877, to America
in 1878, travelled extensively in the United
States, Canada, and Mexico, and stai-ted on
a new concert tour around the world in
188G. Among his works are a concerto for
violin and orchestra ; most of his other
compositions consist of aiTangements which
he has made for his own jjlayiug, chiefly
of Hungarian airs, and of Field's, Chopin's,
Schubert's, Bach's, Rameau's, and Mozart's
music, which he has i^ublished as Nouvelle
£cole de violon (Paris). — Fetis, Supple-
ment, ii. 402 ; Wui'zbach ; HansUck, Con-
certweseu in Wien, ii. 2G7.
RfiMUZAT, JEAN, born at Bordeaux
(Gironde), May 11, 1815, died in Shanghai,
Sept. 1, 1880. Virtuoso on the flute, jDupil
of Tulou at the Conservatoire, Paris, where
he won the first i^rize iu 1832 ; appeared
successfully in many concerts, then settled
in London, where he became first flutist at
the Queen's Theatre ; in 1853 he returned to
Paris, and was engaged in the same capa-
city at the Theatre Lyrique. He composed
concertinos, fautaisies, airs varic's, and mor-
ceaux de salon for his instrument. — Fetis.
RENAUD, tragedie-lyrique in three acts,
text by Lebceuf, music by Sacchini, first
represented at the Academie Royale de Mu-
sique, Paris, Feb. 28, 1783. This opera
was a re-arrangement of Sacchini's Armida
e Rinaldo, first given in Milan iu 1722.
The French version was given in Paris,
SCO
RENAUD
through the influence of Marie Antoinette,
with Mme Saint-Huberty as Ai-mide. It is
Antoinette C^cile Saint-Huberty.
one of the best of the many settings of the
subject. See also Armidc et Kenaud. — Cle-
ment et Larousse, 570 ; Lajarte, i. 333.
EENAUD D'AST, comeilie in two acts,
in prose, text by Radet and Barre, music
by Dalayrac, first re2:)reseuted at the Italions,
Paris, July 19, 1787. The libretto is an
imitation of La Fontaine's "L'oraison de
Saint-Julien," taken originally from Boccac-
cio. The music was popular, and the airs
were long sung in the Paris vaudevilles.
Same title, French ojiera in two acts, text
by Lemonnier, music by Trial and Vachon,
previously given in Paris, Oct. 22, 1765.
Italian comic oj)eras on this subject : Eiu-
aldo d' Asti, by Marcos Portugal, Venice,
1793 ; by Niccolo Isouard, Malta, 1796 ; by
Francesco Morlacchi, Parma, 1809 ; and by
Carlo Coccia, Rome, 1816.
RENDEZ-VOUS BOURGEOIS, LES,
opera-bouifou in one act, text by Hoffman,
music by Niccolo Isouard, first represented
at the Opera Comique, Paris, May 9, 1807.
The libretto is the most amusing of Hoff-
man's works for the stage, and the music
is gay and thoroughly French in chai'acter.
It was given in Berlin as Das SteUdicheiu,
Oder Alle fiirchten sich, in 1831 ; in Vi-
enna, Aug. 18, 1826.— Clement et Larousse,
571.
R£ PASTORE, IL (The Shepherd King),
dramatic cantata in two acts, text by Metas-
tasio, music by Mozart, first represented at
Salzburg, April 23, 1775. The libretto was
written in 1751, set to music by Bono, and
given in Vienna in that year. Mozart was
ordered to compose music to this text in
March, 1775, for the entertainment of the
Archduke Maximilian, son of the Empress
Maria Theresa, who was expected to visit
Salzburg the following month. The so-
prano Cousoli, from Munich, sang the prin-
cipal 2:)art, and Mozart composed a new bra-
vura air for her. Characters represented :
Alessandro, King of Macedonia ; Amiuta,
shepherd descendant of the Kings of Sidon,
and lover of Elisa ; Elisa, shepherdess ; Ta-
miri, fugitive princess, daughter of the tyrant
Stratone, loved by Agenor ; and Agenor,
noble of Sidon, lover of Tamiri, and friend
of Alessandro. Alessandro, having taken
Sidon, puts to death the tyrant and usurper
Stratone, and places on the throne the
rightful king, Aminta, who has been liv-
ing as a shepherd. Alessandro wishes to
marry him to Tamiri, daughter of Stratone,
who loves Agenor, and Aminta, rather than
give up the love of Elisa, a shepherdess, re-
turns the crown to Alessandro. The latter
is so delighted with his fidelity that he
unites him with Elisa, and establishes them
upon the throne. He also gives Tamiri to
Agenor, and promises him the next king-
dom he may conquer. Amiuta's aria, " Aer
tranquiUo," was sung by Mile Weber in
Mannheim in 1778. Another aria of Amin-
ta's, " L' amero," was a favourite with Jenny
Lind. The original autograph, in the
KOnigliche Bibliothek, Berlin, was {jub-
lished by Breitkopf & Hilrtel, Mozart
Werke, Serie v.. No. 10. — KOchel, Verzeich-
niss. No. 208 ; Andre, do., No. 37 ; Jahn,
Mozart, i. 399 ; Gehriug, Mozart, 54.
Rfe PASTORE, IL, Italian opera in three
acts, text by Metastasio, music by Giuseppe
201
EEQUIEM
Sarti, first represented in Venice in 1753.
This opera bad an immense success, and
quickly sjiread the fame of its composer.
Other Italian operas on Metastasio's text, by
Giuseppe Bono, SchOnbrunn, near Vienna,
1751 ; by Johaun Agricola, Berlin, 1752 ;
by Johann Adam Hasse, Hubertusberg,
near Dresden, Oct. 7, 1755 ; by Nicolo
Jommclli, Stuttgart, 1757 ; by Zonca, Mu-
nich, 17(50 ; by Piccinni, Naples, 17C0 ; by Jo-
hann Christian Richter, Dresden, 1762 ; by
Pietro Guglielmi, Naples, 17G7 ; by Fran-
cesco Uttiui, Venice, about 1773 ; by Matteo
Rauzzini, Dublin, 1784 ; by Parenti, Naples,
1788 ; and by Luciano Xavier dos Santos,
Lisbon, 1793 ; and a French opera on the
same subject, Le jardinier de Sidon, in two
acts, text by Renard de Pleinchene, music
by Philidor, first given at the Italiens, Paris,
July 18, 17G8.
RE(iUIE:M, by Berlioz. See J/esse des
Morts.
REQUIEM, in C minor, by Chcrubini,
written for the anniversary of the execution
of Louis XVI. (Jan. 21, 1793), and first per-
formed at the Abbey Church of Saint-
Denis, Pai-is, Jan. 21, 1817. Berlioz con-
sidered this the greatest work of its com-
poser, and especially admired the Agnus Dei.
It is one of the gi-eatest musical expressions
of Itahan Catholicism, and its general tone
is that of deep religious feeling and mourn-
fulness. The Credo for eight voice.s, a
cappella, is a striking example of Cherubini's
mastery of counterpoint. The Requiem was
sung in the same church at the funeral ser-
vice of the due de Berri, Feb. 14, 1820.
It was first performed by the Sacred Har-
monic Society of London, under the direc-
tion of Sir Michael Costa, March 23, 1881.
Full score published by Frey (Paris), and
by Breitkopf & Hiirtel (Leipsic). Cherubini
■wrote also another Requiem, in D minor, for
three male voices (two tenors, and a bass),
first performed at a concert of the Conser-
vatoire, Paris, March 25, 1838, the Dies
irffi having been previously given at the
same place, March 19, 1837. This, Cheru-
bini's last masterpiece, was written in his
seventy-seventh year, and it was sung at his
own obsequies at Saint-Roch in 1842. It is
a more dramatic work than the one in C
minor, and in some respects it is greater.
It was first sung in London as a funeral
service in the Roman Catholic chapel in
Farm Street. Published by Frey (Paris).
— Bellasis, Cherubini, 230, 334 ; 337-347 ;
Grove, iii. Ill ; Monthly Musical Record
(1872), ii. 71 ; AthenfBum (1881), i. 468.
REQUIEM, by Gossec. See Messe des
Morts.
REQUIEM, for chorus, soli, and orches-
tra, by Mozart, written in 1791, and first per-
formed in Jahn's Hall, Vienna, 1796. This,
the composer's last work, was undertaken in
consequence of a visit in July, 1791, from a
mysterious stranger, who brought Mozart a
commission to write a Requiem mass. The
\'isitor was Herr Leutzeb, the steward of
the Count Franz von "Walsegg, who, having
lost his wife, wished to honor her memory
by a funeral mass, which he proposed to
have performed as his own composition.
Owing to the weakness of impaired health,
and worn with overwork, Mozart soon be-
lieved that this strange visitor was a mes-
senger from the other world, and that the
mass was for his own funeral. This ner-
vousness probably hastened his death (Dec.
5, 1791), which occurred before the MS.
was finished. His widow, fearing that she
might be forced to refund the payment
already received for the Requiem, gave the
copy to the Hof-Kapellmeister, Joseph von
Eybler, to complete ; but, after filling in
the instrumentation as far as the Confutatis,
and wi'iting two measures in continuation of
the Lacrymosa, he abandoned the task in
despair. The MS. was then given to Franz
Xaver Siissmayer, an accomplished musi-
cian, intimate with Mozart's methods of
working. Mozart had completed the first
two movements, the Requiem and Kyrie, in
full score, and the Dies irse, excepting the
last verse, was sketched out ; the voice
parts were comj)letely wi'itten with the
S02
EEQITIEM
basso-continuo ; and the instrumental jjarts
where the accompaniment is independent.
The movements of the Offertorium, the
Domine Jesii Christe, and the Hostias were
also partially written. Siissmayer's task
was to fill in the necessary instrumentation
and to compose the Sanctiis, Agnus Dei,
Benedictus, and the concluding part of the
Lacrymosa. He made a skilful transcript
of the entire Eequiem, and his handwriting
resembled Mozart's so closely that Count
von Walsegg accepted the MS. with the be-
lief that it was in the autograph of the great
composer. A copy of the MS. was in the
possession of Mozart's widow, who sold it
to Breitkopf & Hilrtel, and it was printed
by them for the first time in full score
(Leipsic, 1800). Its authenticity was
doubted immediately. Siissmayer claimed
to have completed the instrumentation of
the Eequiem, Kyrie, Dies irae, and Domine,
and to have composed the Sanctus, Bene-
dictus, and Agnus Dei. In 182.5 Gottfried
Weber published an attack on the Requiem,
which he considered unworthy of Mozart,
and attributed the whole to Siissmayer.
Mml von Nissen (Frau Mozart) afterward
aided Joliann Andre in publishing a new
edition of the score marked, on the author-
ity of the Abbe Stadler, M. and S. to distin-
guish the parts written by Mozart from
those by Siissmayer (Offenbach, 182G).
Andre published also Mozart's original
sketches of the Dies ivce, Tuba Mirum, and
Hostias (ib., 1829). The motif of the first
number of the Requiem is the same as that
chosen by Handel for his Queen Caroline's
Te Deum, which has the old choral, "Herr
Jesvi Christ, du wahrer Gott," or " Weuu
mein Stiindlein vorhanden ist," for its cantus
firmus. The motif of the Kyrie is the same
as the subject of the chorus, "Hallelujah
we will rejoice in Thy salvation," in Han-
del's Joseph, and the chief subject of the
Kyrie eleison is the same as the fugue
"And with His stripes" in the Messiah.
Haydn said : "If Mozart bad written noth-
ing except his violin quintets and his
Requiem, he would have rendered his name
immortal." This work was first performed
by the Siugakademie, Berlin, in memory of
its founder Fasch, Oct. 8, 1800 ; in memory
of the Queen of Prussia in 1805 ; of the
Akademie director Frisch in 1815 ; of Prince
Radziwill in 1833 ; of Count Briihl in 1837 ;
of Friedrich Wilhelm III. in 1840 ; and of
Friedrich Wilhelm IV. in 18G1 ; and in
Paris under Cherubini in 1801. It was
given also in Berlin in memory of Andreas
Romberg in 1821 ; of Bernard Klein in
1823 ; of Ludwig Berger in 1839 ; in Leip-
sic in memory of Schicht in 1821 ; in Lem-
berg, under the direction of Mozart's son,
on the anniversary of the composer's death,
Jan. 5, 1827 ; and in Vienna on the anni-
versary of Weber's death, Sept. 5, 1826 ;
and of Beethoven's, April 3, 1827. A lover
of music in Venice left a legacy for the an-
nual performance of three Requiems, in-
cluding Mozart's ; and a society was founded
in 1857 in Senftenberg, Bohemia, to per-
form this Requiem annually on June 18th.
It was given in Rio Janeiro in 1819 ; by the
Handel and Haydn Society, Boston, Jan.
18, 1857, and by the Oratorio Society of
New York, Dec. 1, 1887. The original
score was obtained gradually by the Im-
perial Library of Vienna. In 1831: the
Abbe Stadler bequeathed to it the auto-
graph of the Dies irse, with the excej)tion
of the last movement ; von Eybler sent
soon afterward the MSS. of the Lacrymosa,
Domine Jesu, and the Hostias ; and in 1838
the Library purchased the entire MS. sold
to Count Walsegg. From these " Ur-
schriften," or sketches, it is proven that all
of Mozart's work is extant, and that these
sketches were filled in by Siissmayer, who
did not write the Eequiem and the Kyrie
as he claims to have done. An edition for
the pianoforte without words was published
by Hasliuger (Vienna, 1828). Other edi-
tions, by Schlesinger (Paris) ; by Novello &
Co. (London) ; and by Breitkopf & Hilrtel,
Mozart Werke, Serie xxiv. No. 1. Tran-
scriptions of the Confutatis and Lacrymosa,
KEQUIEM
were made by Liszt for the pianoforte.
— Kochel, Verzeichniss, No. C2G ; Jahn,
Mozart, iv. 679-739, 775 ; do. (Townsend),
iii. 352-392 ; Nissen, Mozart, 563, 573 (An-
hang, 168) ; Oulibicheflf, Mozart, iii. 419 ;
Fetia, vi. 339 ; Mosel, Ueber die Origiual-
Partitur des Kequicm von W. A. Mozart
(Vienna, 1839) ; Habu, Mozarts Requiem
(Bielefeld, 1867) ; Rocblitz, Fiu- Freunde
der Tonkuust, i. 159 ; Lobe, Comj)ositions-
lehre, iii. 195 ; Sievers, Mozart und Siiss-
maier, 8 ; Pobl, The Story of Mozart's Re-
quiem (London) ; Erdmann, Ergcbnisse der
bisberigen Forscbungen iiber die Ecbtbeit
'des Mozart'scben Requiem (2 vols., Sebott,
Mainz, 1826-28) ; Stadler, M., Vertbeidigung
der Ecbtbeit des Mozart-Requiem ; Cilcilia,
iii. 205-230 ; iv. 120, 257-352 ; v. 237 ; vi.
133, 193-230 ; xiv. 147 ; sx. 279 ; Allgem.
mus. Zeitg., i. 147, 178 ; iv. 2, 23 ; sxv.
685 ; xxviii. 105, 729 ; xxix. 519 ; xxx. 209 ;
xli. 81, 317 ; xlii. 54 ; Berliner mus. Zeitg.
(1825), 370, 378, 389 ; Neue Zeits., x. 10 ;
Grove, iii. 110 ; Upton, Standard Oratorios,
230.
REQUIEM, Missa pro Defunctis, by Pa-
lestriiia. Tins work, wbicb is very beauti-
ful, was left incomplete by tbe composer.
It consists of tbe Kyric, in wbicb tbe Plain
Cbaiint of tbe Credo is so plaintive and ten-
der tbat it almost conceals tbe enormous
skill displayed in tbe contrapuntal treat-
ment ; tbe Oflfurtoriura ; Sanctus ; Benedic-
tus ; and tbe Agnus Dei. Tbe otber num-
bers are supposed to bave been sung in
unison Plain Cbaunt, still tbe custom at
Roman funerals, but Palestriua bas left two
settings of tbe Libera me, in wbicb tbe
Gregorian melody is exquisitely treated.
One of tbese MSS. is in tbe Archives of tbe
Pontifical Cbapel, Rome ; tbe otber in tbe
Lateran Basilica. Tbis work was first pub-
lished as a supplement to the third edition
of Palestrina's " First Book of Masses "
(Rome, 1591). It was reprinted by Alfieri
in bis " Raccolta di Musica Sacra," vob I.
(1841) ; by Latage, " Cinq Messes de Pales-
trina," pubUshed by Launer & Cie. (Paris),
and by Sebott & Co. (London) ; by the
Prince de la Moskowa (Josejjb Napoleon
Ney) in Vol. IX. of bis " Recueil des mor-
ceaux de musique ancienue," etc. ; and by
Breitkopf & Hiirtel, Palestriua Werke.
—Grove, iii. 109.
REQUIEM (The Manzoui), by Verdi, first
performed in tbe Church of San Marco, Mi-
lan, May 22, 1874, ou tbe anniversary of
Alessandro Mauzoni's death. The solos
were sung by Teresa Stoltz, soprano ; Maria
Waldinan, alto ; Giuseppe Capponi, tenor ;
and Orniondo Maini, bass. Soon after
Rossini's death (Nov. 13, 1868), Verdi con-
ceived the idea that tbe Italian composers
should unite in writing a Requiem to his
memory, to be performed in tbe cathedral
of Bologna every centenary of Rossini's
death, and at no other place and on no
other occasion. The numbers were as-
signed as follows : I. Requiem aiternam,
in G minor, Buzzola ; 11. Dies irre, in C
minor, Bazziui ; m. Tuba mirum, in E-flat
minor, Pedrotti ; IV. Quid sum miser, in
A-flat, Cagnoni ; V. Recordare, in F, Ricci ;
VI. Ingeraisco, in A minor. Mini ; VII. Con-
futatis, in D, Bouchenon ; VIII. Lacrymosa,
in G and C minor, Coccia ; IX. Domino
Jesu, in C, Gaspari ; X. Sanctus, in D-flat,
Platania ; XI. Agnus Dei, in F, Pctrella ;
XII. Lux iuterna, in A-flat, Mabollini ; and
XTTT. Libera me, in C minor, Verdi.
When put together the numbers were found
to be so different in treatment and style,
tbat tbe work was condemned as incohe-
rent and so wanting in unity tbat the MSS.
were returned to tbe various composers.
Signor Mazzucato, who examined the
Requiem, was so imjiressed with Verdi's
contribution that be entreated him to com-
pose an entu-e Requiem, and on the death
of bis fi'iend, the poet Manzoni, in 1873,
Verdi wrote this work, to which he trans-
ferred tbe Libera me originally intended
for the Requiem of Rossini. It has been
enthusiastically praised by Verdi's admir-
ers and enthusiastically denounced by the
German critics. Hans von Biilow calls it
S04
EEQUIEM
an " opera in ecclesiastical costume." I.
Requiem and Kyrie (quartet and chorus) ;
II. Dies Ir«! (chorus), Tuba IVIirum (chorus),
Liber scriptus (chorus and fugue). Quid
sum miser (trio for soprano, alto, and
tenor), Rex tremendse (quartet and cho-
rus), Recordare (duo for soprano and
alto with chorus), Ingemisco (tenor solo),
Coufutatis (bass solo), Lacrymosa (quartet
and chorus) ; III. Domiue Jesu (quartet) ;
IV. Sanctus (fugued double chorus) ; V.
Agnus Dei (duo for soprano and alto with
chorus) ; VI. Lux roterna (trio for alto, tenor,
and bass) ; VII. Libera me (solo for so-
prano, chorus, and final fugue). This work
was given in Paris under Verdi's direction,
June 4, 1874 ; in London at the Roj'al Al-
bert Hall, under Verdi's direction. May 15,
1875.— Grove, iv. 252 ; Upton, Standard Ora-
torios, 303 ; Athenaeum (1875), i. 604,
COG.
REQUIEM for six voices, comjjosed by
Vittoria, for the funeral of the Empress
Maria, the widow of Maximilian IE., in 1G03.
This is the composer's last work of impor-
tance, and it is considered the " greatest
triumph of his genius." The full title is
" Officium Defunctorum sex vocibus, in
obitu et obsequiis Sacrso Imj)eratricis," and
it consists of a G-part Missa pro defunctis ;
a G-part Versa est in luctum ; a G-part Re-
spousorium, Libera ; and a 4-part Lectio,
Tajdet anima. The movements are based
on the Cautus firmus, but the music is sur-
prisingly modern on account of its j^ower-
ful harmony. The score, dedicated to the
Princess Margaret, daughter of the Em-
press, was published in Madrid in 1603.
The Lectio was reprinted by Joseph Schrems
in continuation of Proske's "Musica divina"
(Ratisbon, 1869).— Grove, iii. 139 ; iv. 316.
REQUIEM FUR mGNON, for soH, cho-
rus, and orchestra, text from Goethe's
" Wilhehn Meister," music by Schumann,
op. 98 B, composed in 1849, and first per-
formed at Diisseldorf, Nov. 21, 1850. It
was first given in America by the Arion
Club, Providence, Dec. 2, 1885. This is
one of Schumann's most delicate and sym-
pathetic compositions. First published by
Breitkopf & Hilrtel (Leipsic). Breitkopf &
Hiirtel, Schumann Werke, Serie ix., No. 6.
— Reissmann, Schumann, 180 ; Neue
Zeitschr., xxxv. 219.
RESTA, O CARA, aria for soprano with
orchestra, in C, by Mozart, composed for
Mme Duschek in Prague, Nov. 3, 1787.
Breitkopf & Hiirtel, Mozart Werke, Serie
vi., No. 37. — Kuchel, Verzeichniss, 528 ;
Jahn, Mozart, iv. 304.
RESURRECTION, THE, oratorio in two
parts, text by Dr. E. G. Monk, music by Sir
George Alexander Macfarren, first per-
formed at the Birmingham (England) Festi-
val in August, 1876. It was sung by Mr.
Santley, Mr. Lloyd, Mme Lemmens, and
Mme Patey, and conducted by Walter Mac-
farren, brother of the composer. Other
oratorios on this subject: in German by
Eberlin, Salzburg, about 1756 ; in English
by Samuel Arnold, London, 1777. — Athen-
Kum (1876), ii. 314.
RESURREZIONE, LA, (The Resurrec-
tion), Italian oratorio in two parts, text
founded on Scriptural narrative, music by
Handel. The author of the simple and dra-
matic libretto is unknown. This, Handel's
first oratorio, differs but slightly from the
ordinaiy operas of that period. It is dated
" Roma la Festa di Pasque dal Marche, e
Ruspoli (11 d' Aprile) 1768." It was written
in the palace of the Marchese di Ruspoli, and
is supposed to have been first performed in
the jjalace of Cardinal Pietro Ottoboni.
The first violin part, which is of special
prominence, is said to have been played
by Coi-eUi. The string orchestra is some-
times divided into six j)arts, the first and
second violins being subdivided. Charac-
ters represented : Angelo (S.) ; Maddalena
(S.) ; Cleofe (A.) ; San Giovanni (T.) ; Luci-
fero (B.); and Voce (S.). The original
score, in Buckingham Palace, was first pub-
lished by Ai-nold (London, 1797) ; Chry-
sander's edition for the German Hiindel-
geseUschaft, Breitkopf & Hiirtel (Leipsic,
ao6
RE TEODORO
1878).— Chrysander, Handel, i. 2U ; Rock-
stro, 52 ; Schcelcber, 19.
E£ TEODORO m \^NEZL\, IL (King
Theodore in Venice), Italian opera bufl'a,
text by Casti, music by Paisiello, first rej)-
resented in Vienna, Aug. 23, 1784. This
opera, which contains some of the com-
poser's best music, was written for the Em-
peror of Austria, Joseph 11. The septet
became very popular. The work was given
at the Theatre Feydeau, Paris, Feb. 21,
1789. The hero is Theodorich, King of
the Goths, called by the German Minne-
singer, Dietrich von Bern. Other Italian
operas on this subject : Teodorico, by Gio-
vanni Porta, text by Salvi, Venice, 1720 ;
by Giuseppe Maria Buiui, Bologna, 1729 ; II
Teodoro, by Stefano Pavesi, test by Rossi,
Venice, 1813 ; and II re Teodoro in Venezia,
by Luigi Finali, Parma, December, 182G.
RETURN, OH GOD OF HOSTS, alto
aria of Micah, in E-flat major, with accom-
paniment of two violins and bass, in Han-
del's Samson, Act H., Scene 1. Published
also separately, with the accompaniment
filled out by Otto Dresel (Leij)sic, Breit-
kopf & Hiirtel).
REUBKE, JULIUS, born at Hausnein-
dorf, near Quedliuburg, IMarch 23, 183G,
died at Pillnitz, Saxony, June 3, 1858.
Pianist, pupil of Kullak, and in composi-
tion of Marx in Berlin, then studied under
Liszt at Weimar, and became one of his
favourite puijils. Works : Grand sonata for
pianoforte (dedicated to Liszt) ; Psalm xciv. ;
Sonata for organ, etc. His brother Otto
(born Nov. 2, 1842), is virtuoso on the organ
and pianoforte, pupil of Bulow and Mai-x,
and lives at Halle as conductor of a musical
society.
REULING, WILHELM, born at Darm-
stadt, Dec. 22, 1802, died at Munich, April
27, 1877. Dramatic composer, pupil of
Rinck, then in Vienna of Seyfried and of
Emanuel Fijrster. The gi-eat success of
some compositions for the Josej^hstadt
Theater led to his appointment in 1829
as its Kapellmeister. He occupied the
same position at the Kiirnthnerthor Theater
in 1830-54, and retired to his native city,
devoting himself exclusively to composition.
Works — Operas : Ulysses ; Die Riiuber-
hOhle ; Der blinde Harfuer, Die Feuer-
braut, given at Trieste, 1829 ; Alfred der
Grosse, Vienna, 1840 ; Der letzte Graf von
Anxor. Ballets, 1830-3G : Die Vestalin ;
Clorinde ; Oberon ; Der Kobold ; Soj)hie,
Grossfiirstin von Moskau ; Der Rekrut ;
Die Heimkehr ; etc. Many operettas, pan-
tomimes, and Singspiele ; Fest-Ouvertiire ;
Couzert-Ouvertiire ; Adagio et Rondo con-
certant, for flute, oboe, clarinet, horn, and
bassoon, with orchestra ; Octet for piano-
forte, strings, flute, clarinet, and horn ; 3
quartets for pianoforte and strings ; 3 trios
for do. ; Other chamber music ; Cantatas,
and choruses for male and mixed voices.
— Wurzbach.
REUTER, ROMANUS, born at Kallmiinz,
near Ratisbon, in 1755, died in the Abbey
of Priifening in 1800. Benedictine monk ;
at fii'st a choir boy in the Abbey of Priife-
ning, then pupil of Schuhbauer in the semi-
nary at Neuburg on the Danube. Having
studied philosophy at Ambei"g, he entered
the Abbey of his order, and greatly im^
proved the standard of the much neglected
choir. Works : Naboth's Weinberg, melo-
drama ; Masses, motets, sonatas for harjisi-
chord. — Fetis ; Mendel.
REUTTER, GEORG, the elder, born in
Vienna in 1G56, died there, Aug. 29, 1738.
Organist and theorbist, became organist of
St. Stephen's in 1G8G ; played the theorbo
in the court chapel in 1G97-1703 ; was
made court and chamber organist in 1700 ;
succeeded Fux as Kajjellmeister at the
Gnadenbild of St. Stephen's in 1712, and
three years later was ajjpointed Kapell-
meister of the Cathedral itself. In 1095
he was made a knight in Rome by Count
Francesco Sforza. Woi-ks : Miserere a due
cori air uso romano ; Organ toccatas and
fugues in manuscript ; Requiem and mass
in Berlin Library. — !Mendel ; Wurzbach ;
Riemann ; Gerbcr ; Schilling.
S06
REUTTER
REUTTER, GEORG (KARL), the— Clement et Larousse, 810; Atlienffium
younger, born in Vienna, Ajoril 6, 1708, (1870), i. 31.
died there, March 12, 1772. Sou and pupil REVENGE, THE, ballad for chorus and
of Georg Reutter, was appointed in 1731 orchestra, test from Tennyson, music by
court composer. In 1738 he succeeded his Charles Villiers Stanford, first performed
father as Kapellmeister of St. Stephen's, in
17i6 became second court Kaj)ellmeister,
at Leeds, England, Oct. 14, 188G. Pub-
lished by NoYello (London). — Athenseum
acted from 1751 as chief court Kaj)ellmeis- (1886), ii. 541.
ter, and received the title in 1769 on the \ REVENGE, TIMOTHEUS CRIES, bass
death of Predieri. It was during his time aria in D major, with accompaniment of
that the court chapel of Vienna sank to its trumpet, 2 oboes, and strings complete, in
lowest ebb of efficiency, partly in con- Handel's Alexander's Feast, Part II., No.
sequence of administrative changes. He \ 12. The second j)art of this air, Behold
engaged the boy Haydn for the choir of
St. Stei^hen's, and treated him very badly.
In 1731 he married the singer, Theresia
Holzliauser, and in 1740 he was ennobled.
His compositions were more showy than
substantial, and are now almost forgotten.
Works : La forza dell' amicizia, opera (with
Caldara), Vienna, 1728 ; La pazienza di
Socrate con due mogli, a dramatic diver-
tissement (do.), 1731 ; Le C'inesi, operetta
in one act, text by Metastasio, Vienna,
1735 ; La gara, operetta in one act, text
by Metastasio, Vienna, 1755 ; La divina
Providenza in Ismael, oratorio ; R ritorno
di Tobia, do.; Belulia liberata, do., 1734;
Masses ; Augurio di felicita, cantata for three
a ghastly band, in G minor (marked No.
18, as a separate air, in Mozart's score), is
accompanied by two violas, violoncelU ri-
pieni, three bassoons, and bass.
REY, JEAN BAPTISTE, born at Lau-
zerte (Tarn-et-Garonne), Dec. 18, 1784, died
in Paris, July 15, 1810. Dramatic com-
poser, educated at the Abbey of Saint-
Sernin, where he was a choir boy. At
the age of seventeen he became maitre
de chapelle of the cathedral at Auch, and
in 1754 chef d'orehestre at the opera in
Toulouse. Ha^ang filled similar positions
at Montpellier, Marseilles, Bordeaux, and
Nantes until 1776, he was summoned to
Paris, where he conducted the Opura orches-
tra for thirty years, at first assisting
Francceur, and from 1781 as his suc-
cessor. In 1781-85 he conducted
^^C'T^'li^'r^f*^^ ^^®° ^^® Concerts Spirituels, and in
^ • 1770 was annointed director of the
l^c^^l^^
voices, text by Metastasio, Schonbrunn,
1749 ; Other cantatas for different occasions ;
Motets, and other music. — Wurzbach ; Men-
del ; Schilling ; Rieraanu ; Futis ; Burney,
Present State of Music in Germany, i. 356.
RfiVE D'AMOUR (A Dream of Love),
opera-comique in three acts, text by Den-
nery and Cormon, music by Auber, first
represented at the Opera Comique, Paris,
Dec. 20, 1869. This is Auber's last opera.
Capoul, Gailhard, Sainte-Foy, Prilleux,
Mile Priola, Mile Girard, and JRle Nau
appeared in the original cast. The opera
was given in London in December, 1869.
1779 was appointed director of the
chamber music by Louis XVI. He lost
his post through the Revolution, but was
elected a member of the administrative
committee of the Opera in 1792, and ap-
pointed professor at the Conservatoire in
1794. As an adherent of Rameau's and an
opponent of Catel's system, he was pensioned
at the reduction of the faculty in 1802, but
in 1804 was appointed maitre de chapelle
by Napoleon. Works : Apollon et Coronis,
Paris, 1781 ; Diane et Endymion, ib., 1791 ;
3d act to Sacchini's Arvire ed Evelina ; Bal-
let music in Salieri's Tarare ; do. in Sac-
chini's (Edipe a Colone ; Masses with or-
807
RET
chestra, motets, etc. His brother, Louis
Charles Joseph (1738-1811), was for forty
years violoucellist at the Opera in Paris,
and published trios and duos for violin and
violoncello. — Fetis ; Mendel ; Eiemann.
EEY, JEAN £TIENNE, born at Tou-
louse, Aug. 3, 1832, still living, 1890. Dra-
matic composer, pupil at the Conservatoii-e,
Paris, of Carafa in composition, and of
Rovial in singing ; obtained an accessit de
chant in 1854, and in 1855 mamed Mile
Balla, the singer, who had won in 1854 the
second prize. In the following year she
was awarded the first prize in singing in
opera and opora-comique, and received a
promising engagement to travel. Her hus-
band thenceforth gave up his own profes-
sional career as a singer, and while travelling
with her thi'ough Italy, Belgium, Spain,
and Portugal, gave much time to composi-
tion, some of his best works being brought
out in the principal cities of those countries.
After her death he remained in Paris, de-
voting himself to composition in various
branches. Works — Operas : La gitana,
Bordeaux, 1864 ; J'ai coupe le roi ; L'a-
mour villageois ; Stribor ; Le taUsman des
sultanes, opera-bouffe ; Balthazar ; Irene.
Le mai'tyre de Saint-Saturniu, oratorio, Tou-
louse, 1856 ; Choruses for 4 male voices ;
12 sacred melodies for one voice ; Sacred
choruses for 4 male voices ; and other vocal
music in every style ; Eequiem mass for 4
male voices, and other church music ; 7
symphonies for orchestra ; Many pieces for
pianoforte, violin, and other instruments.
He has published also a Methode de chant,
and easy sonatas for the pianoforte, and
violin, for beginners, etc. — Fetis, SuppU'-
ment, ii. 406 ; Mendel, Ergiinz., 385.
REYER, LOUIS fiTIENNE ERNEST
(Rey, called), bom at Marseilles, Dec. 1,
1823, still living, 1890. Dramatic composer,
and writer on music, pupU at Barsotti's
music school in Marseilles ; entered the
government service in Algiers and did not
take up music as a profession until 1848,
when he went to Paris, and became a pupil
of Mme Farrene, his aunt. He is deemed,
by his countrymen, one of the most prom-
inent representa-
tives of the modern
French romantic
school. As a writer
he has won reputation
as a worthy successor
of Berlioz, whom he
replaced as librarian
of the Grand Opera.
He is also musical edi-
tor of the Journal des
Debats, where he succeeded d'Ortigue, who
followed Berlioz in that position. His prin-
cipal articles have been published under
the title " Notes de musique " (Paris, 1875).
Member of the Academy, 1876 ; Legion of
Honour, 1862, Officer, 1886. Works— Ope-
ras : Maitre Wolfram, Theatre Lyrique,
1854, Opera Comique, 1873 ; La statue, ib.,
1861, Opera Comique, 1878 ; Sacountala,
ballet, 1858, EroMrate, Baden-Baden, 1862,
Paris, 1871 ; Sigurd, Theatre de la Monnaie,
Bi-ussels, 1884, Opera, Paris, 1885 ; Sa-
lammbo, founded on Flaubert's romance,
Theatre de la Monnaie, Brussels, Feb. 1,
1890. Vicloire, cantata, Paris, 1859 ; Le
Selam, ode-symphony, 1850 ; L'union des
arts, hymn ; Salve Regiua ; Ave Maria ; O
salutaris, etc. — Fetis ; Supplement, ii. ?
Mendel, Ergiinz., 313 ; Riemann.
RHAPSODIE D'AU\T:RGNE, for piano-
forte and orchestra, in C, by Saiut-Saens, op.
73. The score, dedicated to Louis Diemer,
is pubUshed by Durand, Schcenewerk & Cie
(Paris).
RHAPSODIES HONGROISES (Hun-
garian Rhapsodies), fifteen works for the
pianoforte by Franz Liszt. I. in E-flat,
dedicated to E. Zerdaheli ; H. in C-sharp
! minor and F-sharp, dedicated to Count La-
dislas Teleki, also for four hands, and an
easy edition for two hands ; HI. in B-flat,
dedicated to Count Leo Festetics ; IV. in
E-flat, dedicated to Count Casimir Eszter-
hiizy ; V. Huroide elogiaque in E minor,
dedicated to the Countess Sidonie Reviczky ;
EHAW
VI. in D-flat, deflicfited to Count Antoine
d'Appouyi ; VII. in D minor, dedicated to
Baron Fery Orczy ; VIII. in F-sharp minor,
dedicated to M. A. d'Augusz ; IX. in E-flat,
Le carnaval de Pe.sth, dedicated to H. W.
Ernst ; X. Preludio in E, dedicated to
Egre.s.sy B6ny ; XI. in A minor, dedicated
to Baron Fery Orczy ; XII. in C-sLarp minor,
dedicated to Josef Joachim ; XTTT. in A
minor, dedicated to Count Leo Festetics ;
XIV. in F minor, dedicated to Hans von
Billow ; XV. in A minor, Rakoczy-Marscli.
Nos. I. and 11. published by B. Seufif (Leip-
sic) ; No. n. arranged for orchestra by K.
Miiller-Berghaus (ib.) ; Nos. IE., IV., V., VI.,
and VII. published by C. Haslinger (Vienna),
and by Schlesiuger (Berlin) ; Nos. VIII., IX.,
and X. by Schott (Mainz) ; and Nos. XL, XII.,
Xni., XIV., and XV. by Schlesinger (Ber-
lin). Nos. XI., Xn., Xin., XIV., and XV. are
arranged for the pianoforte for four hands
by F. G. Jansen (Schlesinger, Berlin) ; No.
XV. for eight hands by August Horn (ib.) ;
and No. XH. for violin and pianoforte by
J. Joachim (Sehuberth, Leipsic). Nos. II.,
v., VI., IX., XII., and XIV. were arranged for
full orchestra by Franz Liszt and F. Dop-
pler ; I. (No. XIV.), in F minor, dedicated to
Hans von Billow ; H. (No. XII.), transposed
to D minor, dedicated to J. Joachim ; HI.
(No. VI.), transposed to D, dedicated to
Count Antoine d'Apponyi ; IV. (No. II.),
transposed to D minor and G, dedicated to
Count Ladislas Teleki ; V. (No. V.), in E
minor, dedicated to Sidonie Eeviczky ; and
VI. (No. IX.), transposed to D, dedicated to
H. W. Ernst, Pester Carnaval. Published
by Sehuberth (Leipsic). Arrangement for
the pianoforte for four hands by Liszt (ib.) ;
for eight hands by August Horn. — Neue
Zeitschr., xli. 2G9 ; Weitzmann, Geschichte
des Clavierspiels, IGl.
RHAW (Rhau), GEOEG, born at Eisfeld,
Franconia, in 1488, died in Wittenberg,
Aug. 6, 15-48. Church composer, cantor
until 1520 at the Thomasschule in Leipsic,
where a mass for twelve voices and a Te
Deum of his composition were executed on
the occasion of Luther and Eck's disputa-
tion. In 1524 he established a printing
press at Wittenberg, principally for bring-
ing out the works of Protestant composers.
He also published a theoretical work, En-
chiridion musices (1518-20). — Futis ; Men-
del ; Riemann.
RHEIN, CHARLES LAURENT, born at
Toulouse, Feb. 24, 1798, died in Paris, Oc-
tober, 1864. Pianist, nej)hew of the flutist
Friedrich Rhein (1771-98) ; first instructed
by his father, a pianist and oboe player,
then pupil at the Paris Conservatoire of
Pradher on the pianoforte, of Dourlen in
harmony, and of Eeicha in composition.
In 1817 he won the second prize for piano-
forte, in 1818 the first, and then taught un-
til 1832 in Paris. After a concert tour
through the south of France, he settled in
1836 at Bordeaux, then lived at Lyons, and
afterwards returned to Paris. Works : So-
natas for pianoforte and violin ; Roudoletto
for do. ; Duos for do. ; Sonatas for piano-
forte and flute ; Duos for harp and piano-
foi-te ; Duos, fantaisies, rondeaux, etudes,
etc., for pianoforte. — Ft'tis.
RHEINBERGER, JOSEPH (GABRIEL),
born at Vaduz, in the
principality of Liech-
tenstein, March 17,
1839, still living,
1890. The sou of
the receiver of rev-
enues for the princi-
pality, he began to
play the pianoforte at
the age of five, and at
seven played the organ quite well, and had
already tried his hand at composition. He
studied first under PiJhly, then at the Royal
Music School in Munich, in 1851-58, under
Herzog, Leonhard, and J. J. Maier. After
graduation he became teacher of pianoforte
at the Music School, and in 1859 teacher of
theory. Shortly before this he was ap-
pointed organist at the Hofkirche of St.
Michael, and director of the Oratorienverein.
From 1865 to 1867 he was repetitor at the
S09
EHEINEK
Court Opera, and, on relinquisliing this
post, was made professor and inspector at
the Music School, and Hof-Kapellmeister,
conducting the choir of the royal chapel,
but not the opera. He has for years taught
composition and advanced organ playing
at the Music School, and
counts many of the young-
er generation of German
and American composers
among his pupils, notably
George W. Chadwick and
Horatio W. Parker. Eheiuberger has long
stood in the front rank of contemporary
German composers ; although his talent
is not marked by especial originality,
and one finds a certain dryness of inspira-
tion in much that he has written, his un-
usually solid musical education, and his
rare mastery over the technique of com-
position, have gone far to compensate his
natural shortcomings. His writing, too,
is marked by great refinement, and sound
musicianly feeling. He has not been a
very voluminous composer, his most note-
worthy works being : Ghristoforus, or-
atorio, op. 120 ; Toggenhiirg, cantata, o\).
76 ; Waldmorgen, do. ; Klilrchen auf Eber-
stein, do., op. 97 ; Konig Erich, ballad,
for chorus with pianoforte, op. 71 ; Witie-
kind, do., op. 102 ; Das Tlial des Espingo,
do. ; Requiem for those who fell in the
Franco-Prussian "War, op. GO ; 2 Stabat
Mater ; Mass for double chorus, dedicated
to Leo XHL, oji. 100 ; Die sieben Eaben,
romantic opera, op. 20, Munich, May 23,
1869 ; Music to Calderon's Magico prodi-
gioso, op. 30 ; do. to Eaimund's Die unheil-
briugende Krone ; Thiirmer's TOchterlein,
comic opera, op. 70, Munich, April 23, 1873 ;
Wallendein, symphonisches Tongemillde, op.
10 ; Florenlinische Sinfonie ; Fantasia for
orchestra, op. 70 ; Concerto for pianoforte
and orchestra in A-flat, op. 94 ; do. for or-
gan, strings, and 3 horns ; Overture to
Der Widerspenstigen Ziihmung (Taming
of the Shrew), op. 17 ; Do. to Dcmrtrius,
op. 110 ; ?Hwwip/i-Ouverture ; Nonet for
flute, oboe, clarinet, bassoon, horn, and
strings, op. 139 ; Theme with 50 variations
for string quartet, op. Gl ; Quartet in E-
flat, for pianoforte, violin, viola, and violon-
cello, op. 38 ; Symphonische Senate for pi-
anoforte, op. 47 ; 9 Organ sonatas ; Much
pianoforte music, songs, and part-songs.
— Kiemann ; Fctis, Supplement ; Grove.
EHEINEK, CHEISTOPH, born at Mem-
mingen, Nov. 1, 1748, died there in 1796.
Dramatic composer, entered upon a com-
mercial careei", lived for some time at Lyons
and in Paris, then returned to his native
place to keep an inn left him by his father.
Works : Le nouveau Pygmalion, opera-co-
mique, Lyons ; Le fils reconnaissant, do., ib. ;
Einaldo, grand opera (German), Memmin-
gen, 1779 ; Der Todesgang Jesu, oratorio,
1778 ; Mass ; 6 concertos for pianoforte ; 4
collections of songs, etc. — Fotis ; Mendel.
EHEINGOLD, DAS (The Ehine-Gold),
music drama in four scenes, by Eichard
Wagner, first represented (without the au-
thor's authorization) at the Hofoper in Mu-
nich, Sept. 22, 18G9 ; the first regular per-
formance was at Bayreuth, Aug. 13, 1876.
The first drama (Vorabend) in Der Ring des
Nibelungen. The original Munich cast was
as follows :
Wotan August Kindermann.
Donner. Herr Heinrich.
Froh Franz Nachbaur.
Loge Heinrich Vogl.
Alberich Emil Fischer.
Mime Carl Schlosser.
Fasolt Herr Polzer.
Fafner Herr Bausewein.
Fricka Fri. Stehle.
Freia Frl. Miiller.
Erda Frl. Seehofer.
WogUnde
RHEINGOLD
Wellgunde Fran Vogel.
Flosshilde Frl. Eitter.
The original Bayreuth cast was :
Wotan Franz Betz.
Donner Eugen Gura.
Frob Georg Uuger.
Loge Heinrich Vogl.
Alberich Carl Hill.
Mime Carl Schlosser.
Fasolt Albert Filers.
Fafner Franz von Reichenberg.
Fricka Friedericke Griin.
Freia Marie Haupt.
Erda Luise Jaide.
Wogliude Lilli Lebmann.
Wellgunde Marie Lebmann.
Flossbilde Minna Lammert.
In tbe deptbs of tbe Ebine lies a nugget of
gold, jealously guarded by tbe three Ebine-
daugbters, Wogliude, Wellgunde, and Floss-
bilde. Whoever shall gain possession of this
gold, and fashion it into a ring, shall have
supreme power over the world ; but only
be who has first forsworn love can compass
tbe charm by which tbe ring is to be made.
Tbe first scene of the drama opens on tbe
bottom of the Ehiue ; the Ehine-daugbters
are seen swimming in sportive gambols
around tbe Ebeingold, which rests on tbe
top of a high cUif. Soon appears Alberich,
the Nibelung, and, attracted by tbe beauty
of tbe girls, be makes love first to one, then
to another of them. They treat bis ad-
dresses with scorn, and, as the Ebeingold
begins to glow with a magical effulgence,
join together in singing praises of its secret
power, feeling sure that their treasure is
safe from anyone of Alberich's amorous
disposition. But tbe Nibelung, stung to
frenzy by their taunts, and his innate greed
of power stimulated by what be has beard,
clambers up the cliff, seizes upon tbe gold,
renounces love for evermore, and plunges
headlong with his prize into the darkest
depths of tbe river, followed by tbe Rhine-
daughters' shrieks of dismay. The waters
roll tumultuously downward, and resolve
themselves first into clouds, then into a
lighter and lighter mist, which at length
evaporates, and discloses to view tbe new-
built castle Valhalla, glistening in tbe
morning light, while across tbe Ebine val-
ley lie Wotan, chief of tbe gods, and bis
spouse Fricka, asleej). On awaking, Wotan
is lost in joyous contemplation of the castle,
which the Giants have just built him ; but
Carl Hill, as Alberich.
the anxious Fricka reminds him of the re-
ward he has foolishly promised tbe Giants.
This reward is nothing less than the person
of Freia, goddess of Youth. Soon Freia
herself rushes in for protection from tbe
two Giants, Fasolt and Fafner, who come
to claim her of Wotan, according to the
contract, the terms of which are graven on
the shaft of Wotan's s^jear, and which can-
not be broken, save by the consent of both
su
EllEINGOLD
parties, so long as the spear lasts. Wotan
knows not what to Jo ; for he never intended
to give up Freia, but was persuaded into
the contract with the Giants by Loge, the
god (or demigod) of Fire, who promised to
find some way to help him out when the
time came. Soon, however, Loge is seen
coming up from the river, and Wotan
harshlj' upbraids him for leaving him in the
lurch. Loge replies that he has been all
over the world to find something that the
Giants would accept in Freia's stead, but
that he found that nothing in water, on
earth, or in air would ever give up the love
of woman. The Rhine-daughters, however,
had told him of one Alberich, who had for-
sworn the love of woman, and made himself
a magic ring, by the power of which he had
amassed great treasure of gold and precious
stones, and now ruled over all Nibelheim.
Fasolt and Fafner, hearing of this treasure,
and of the new power of their old enemy
Alberich, tell Wotan that they will give uji
Freia if he will get the Nibelung's treasure
for them. This Wotan, after some demur,
and still advised by Loge, agrees to do.
The Giants withdraw, taking Freia with
them as an hostage, and Wotan and Loge
descend together into Nibelheim. Here
they soon find iUberieh in his glory ; he
has the Ring on his finger, has forced his
brother. Mime, to make him a Tarnhelm, or
cap-of-darkness, and is obeyed by all the
Nibcluiigs. But Loge's cunning is too much
for him, and he soon finds himself bound,
a prisoner of the two gods, who drag him
up out of Nibelheim, to where Fricka and
the other gods are awaiting their return.
Alberich has to summon all tlie Nibelungs
to bring the Treasure, and lay it at Wotan's
feet ; nest he has to give up the Tarnhelm,
and then Wotan wrenches the Ring itself
from his finger, and puts it on his own.
The hapless Nibelung is unbound, and told
to go his way. Alberich, mad with help-
less rage, curses the Ring to bring misfort-
une, death, and destruction ujion everyone
into whose hands it comes, and then departs.
The two Giants come to return Freia, and
claim the Treasure, and it is agreed that
they shall have as much of the latter as will
suffice to cover up Freia. It takes the
whole, and more, for Wotan has to add the
Tarnhelm to the pile, and at last even the
Ring, being advised thereto by the old
goddess Erda, who appears to him and
warns him not to keep the Ring that Albe-
rich had cursed. As soon as Freia is thus
ransomed, the Giants quarrel between them-
selves about the division of their bootj',
and Fafner strikes Fasolt dead with his
staff, the first effect of Alberich's curse.
As Fafner goes oft' with the Treasure, Don-
Fanny Moran-Olden.
ner, the god of Storms, summons up a
mighty thunder-storm, and when it has
subsided a rainbow bridge is seen leading
across the Rhine Valley up to the gates of
Valhalla. Wotan, who has been sunk in
thought, suddenly leads the way, as if hav-
ing formed a great, secret determination,
and the gods cross the bridge together,
Loge following at a distance ; just as they
set foot upon the bridge the voices of the
Rhine-daughters are heard, bewailing their
loss of the Gold. The most notable pas-
sages in the music are the orchestral intro-
duction, which is a marvel of instrumenta-
tion, and, although 136 measures long, runs
throughout in the chord of E-flat major ;
The Rhine-daughters' terzets : " Rheingold !
leuchtende Lust," in Scene 1, and " Rhein-
212
KIIEINISCHE
gold ! reiues Gold ! " at tlie close of Scene
4 ; Wotan's apostrophe to Valhalla : " Voll-
endet das ewige Werk ! " and Loge's narra-
tive : " Immer ist Undank Loge's Lohu ! "
in Scene 2 ; the thunder-storm and the rain-
bow-music ill Scene 4. Das Rheingold was
first given in America at the MetroiJolitan
Opera House in New York, Jan. 3, 1889,
with Emil Fischer as Wotan, Max Alvary
as Loge, Joseph Beck as Alberich, Fanny
Morau-Oldeu as Frieka, and Sophie Traub-
mann, Felice Koschoska, and Hedwig Eeil
as the Rhine-daughters. Text-book pub-
lished by Schott (Mainz, 1869) ; full and pi-
anoforte score, Schott (ib.) ; score for piano-
forte, four hands, by A. Heinz, Schott (ib.,
1878).— Hanslick, Moderne Oper, 30G ; Sig-
nale (1869), No. 46, No. 49 ; Neue Zeitschr.
(1869), 315, 324, 344; Mus. Wochenblatt
(1871), 210; (1875), 565; (1876), 366;
(1887), 257, 269, 373, 349, 281, 289, 301,
386, 545 ; Bayreuther Blatter (1880), 144,
149, 193, 252, 301 ; Glasenapp, Wagner,
i. 357, 368 ; Jullien, Wagner, 191 ; Clement
et Larousse, 871 ; Krehbiel, Review (1888-
89), 50.
RHEINISCHE SINFONIE (Rhenish or
Cologne Symphony) for orchestra, in E-llat,
by Schumann, op. 97, first performed in Diis-
seldorf, Feb. 6, 1851. This, which Schumann
numbers as his third symphony, was written
between Nov. 2 and Dec. 9, 1850, and he
records that it was intended to convey the
imj)ressions which he received during a visit
to Cologne. It was first given in Cologne,
Feb. 25, 1851 ; at the Gewandhaus, Leip-
sic, Dec. 8, 1851 ; and first in London at a
concert given by Signor Arditi, Dec. 4,
1865. L Lebhaft ; U. Scherzo ; III. Nicht
schnell ; IV. Feierlich ; V. Lebhaft. Pub-
lished by Simrock (Bonn, 1851) ; Breitkopf
& Hiirtel, Schumann Werke, Serie I., No. 3.
Arranged for the pianoforte for four hands
by Carl Reinecke, for two pianofortes for
eight hands by Ph. Lampe, and for piano-
forte solo by J. B. Krall. — Reissmaun,
Schumann, 182 ; Maitland, do., 82 ; Neue
Zeitschr., xsxv. 278.
RIARIO SFORZA, II duca GIOVANNI,
born in Naples, May 21, 1769, died there (?),
Dec. 4, 1836. Amateur composer, attained
the rank of captain in the nav}', but left the
service on the death of his eldest brother,
and devoted himself to music. Works :
Piramo e Tisbe, opera ; Saffo, do. ; Armida,
dramatic scene ; Mass for 4 voices, chorus,
and orchestra ; Salve Regina, for 3 voices
and orchestra ; Tantum ergo, for bass and
orchestra ; Dixit, for bass, chorus, and or-
gan ; Stabat Mater, for 3 voices, and do. ;
Magnificat, for chorus (4 parts) a cappella.
— Fetis ; Mendel.
RICCARDO 1°., Italian opera in three
acts, text by Paolo Rolli, music by Handel,
first represented at the King's Theatre,
London, Nov. 11, 1727. Characters repre-
sented : Riccardo, King of England (C.) ;
Faustina Bordoni.
Costanza, Princess of Navarre, his wife (S.) ;
Berardo, cousin and tutor to Costanza (B.) ;
Isacio, tyrant of Cyprus (B.) ; Pulcheria,
his daughter (S.) ; and Oronte, Prince of
Syria (A. ). The original cast included Sene-
sino, for whom the part of Riccardo, one of
Handel's finest and most difficult roles, was
written ; Signora Cuzzoni, Costanza ; and
Signora Faustina, Pulcheria. The opera
was given in Hamburg in 1729. Costanza's
aria, " Caro vieui," was sung by Miss Can-
tello at the Handel Commemoration, May
22, 1784. The original autograph, iu Buck-
213
RICCI
ingliam Palace, dated " Fine dell' opera,
May 16, 1727," and dedicated to George 11.,
wasfirst published by Cluer (London, 1727) ;
and "Airs for the Flute," from this work,
was printed by Walsh (ib., 1728) ; Chrj'-
sander's edition for the Hiludelgesellschaft
by Breitkopf & Hilrtel (Leipsic, 1877).
— Chrysauder, Hiiudel, ii. 177 ; Rockstro,
1.5.5 ; Barney, iv. 326 ; Burney, Handel
Coiniuemoratiou, 51.
KICCI, FEDERIGO, born at Naples,
Oct. 22, 1809, died
at Couegliano, Dec.
10, 1877. Dramatic
composer, brother
of Luigi Ricci, pu-
pil at the Couservato-
rio di San Pietro a
Majella, Naples, of
Furno, Bellini,
Raimondi, and Zin-
garelli, but left before his studies were
com2)leted in order to join his brother. A
very strong tie existed between the two, and
in the operas which they afterwards wrote
together their stj-les resemble each other so
closely that it is impossible to find where
one leaves off and the other begins. He
wrote in all nineteen operas, some of which
were in collaboration with Luigi. He was
ia Paris in 1841:, passed several years in
Spain and Portugal as music director of the
theatres at Madrid and Lisbon, and went in
the same capacity to St. Petersburg in 1853.
The successful production of Crispino e la
comare (written with his brother), in Paris,
caused him to take up composition again in
1860, after a long interval. He retired to
Couegliano shortly after the failure of his
last opera. Works — Operas : Monsieur
Deschalumeaux, Venice, 1835 ; La prigione
d' Edimburgo, Trieste, 1838 ; Un duello
sotto Richelieu, Milan, 1839 ; Michelangelo
e RoUa, Florence, 1841 ; Corrado d' Alta-
mura, Milan, 1842 ; Vallombra, ib., 1843 ;
Isabella de' Medici, Trieste, 1844 ; Estella,
Milan, 1846 ; Griselda, Venice, 1847 ; I due
ritratti, ib., 1850 ; II marito e 1' amaute.
'■m\ \
Vienna, 1852 ; II paniere d' amore, ib., 1853 ;
Una follia a Roma, Piu-is, 1869 ; Le docteur
Rose, Une fete a Venise, ib., 1872 ; and
the operas written with his brother. La
felicitata, cantata, Genoa, 1842 ; 6 masses,
6 albums or collections of vocal pieces
and many detached songs and albums of
songs. — Futis ; do., Supplement, ii. 412 ;
Florimo, Cenni storici uella scuola musicale
di Najjoli ; Riemaun ; Mendel ; Clement,
Mus. celebres, 508.
RICCI, LUIGI, born in Naples, June 8,
1805, died in
Prague, Dec. 30,
1859. Dramatic
composer, pupil at
the Couservatorio
di San Pietro a
Majella of Gio-
vanni Furno and
Zingarelli ; studied
for a while under
Generali, who also
helped him with
advice when he wrote his first opera, L' im-
jsresario in angustie, j'erformed in 1823
by the students at the Conservatorio. He
wrote also in collaboration with his brother
Federigo. In 1836 he was appointed maes-
tro di cappella at the Cathedral of Trieste,
and director of the chorus at the theatre.
His last opera, H diavolo a quattro, Trieste,
1859, was given just before he began to
show symptoms of insanity. He died in an
asylum at Prague. Works : La cena fras-
tornata, Naples, 1824 ; L' abbate Taccarella,
ib., 1825 ; II diavolo condannato a preuder
moglie, ib., 1826 ; La lucerna d' Epitteto,
ib., 1828 ; Colombo, Parma, 1829 ; L' orfa-
nella di Ginevra, H sonnambulo, Rome,
1829 ; L' eroina del Messico, ossia Fer-
nando Cortez, ib., 1830 ; Annibalein Torino,
Turin, 1830 ; La neve, Chiara di Rosem-
berg, Milan, 1831 ; II nuovo Figaro, Parma,
1832 ; I due sergeuti, Milan, 1833 ; Un'
avventura di Scaramuccia, ib., 1834 ; Gli
esposti, ossia erano due ed or son tre, Turin,
1834 ; Chi dura vince, Rome, 1834 ; H co-
814
RICCIO
lonello (with Federigo), Naples, 1835 ; Cbi-
ara di Moutalbano, ]VIilau, 1835 ; La serva e
r ussaio, Pavia, 1835 ; II disertore per
amore (with Federigo), Naples, 1836 ; Le
nozze di Figaro, Milan, 1838 ; La solitaria
delle Asturie, Odessa, 1844 ; L' amante di
ricLiaiuo (with Federigo), Turin, 1846 ; II
birrajo di Preston, Florence, 1847 ; Crisjnno
e la comare (with Federigo), Venice, 1850 ;
La festa di Piedigrotta, Naples, 1852 ; II
diavolo a quattro, Trieste, 1859 ; Cola di
Rieuzi, Venice, Feb. 21, 1880. Ulisse, can-
tata, Naples, 1828 ; Mass for 4 voices and
orchestra, and many other sacred compo-
sitions ; 2 albums of vocal melodies. — Fetis,
Supplement, ii. 410 ; Florimo, Cenni storici,
etc. ; Riemann, 7G3 ; Clement, Mus. celebres,
508 ; Villars, Notices sur Luigi et Federigo
Eicci, etc. (Paris, 1866) ; Rada, I fratelli
Eicci (Florence, 1878) ; Dal Torso, Di Lu-
igi Eicci e delle sue opere (Trieste, 1860).
EICCIO, ANTONIO TEODOEO, born
at Brescia about 1540, died after 1583.
He was a learned musician and composer of
madrigals and of some church music ; was
at first maestro di cappella at Ferrara, after-
wards in the service of the emperor at Vi-
enna. He left the last j^osition in order to
go to Dresden, where he embraced the Ee-
formed religion, married, and became in
1579 chaplain to the Margrave of Branden-
burg. Works : Two books of madrigals,
for 5, 6, 7, 8, and 12 voices (Venice, 1567) ;
H primo lib. delle canzoni alia uapolitana,
etc. (Nuremberg, 1577) ; Cantiones sacrse,
5, 6 6 8 voc. (ib., 1576) ; a book of masses,
and one of motets (KOnigsberg, 1579-80) ;
Introitus, etc. (Venice, 1589). — Fetis ; Ger-
ber ; Schilling ; Mendel.
ElCCroS, AUGUST FEEDINAND, born
at Bernstadt, near Herruhut, Saxony, Feb.
26, 1819, still living, 1890. Instrumental
and vocal composer, first instructed by the
cantor of his native place, then pupil of
Ziramermann at Zittau. He went to Leip-
sic to study theology, but soou devoted him-
self entirely to music, and became conductor
of the Euterpe concerts. In 1855 he suc-
ceeded Eietz as director of the theatre or-
chestra, and in 1864 went as Kapellmeister
to Hamburg, where he was afterwards ac-
tive as a musical reporter. Works : Over-
ture to Schiller's Braut von Messina ; Die
Weihe der Kraft, cantata ; Entr'actes ; Trios,
duos, pianoforte music ; Songs and cho-
ruses.— Mendel ; Fetis.
RICCIUS, KARL AUGUST, born at
Bernstadt, Saxony, July 26, 1830, still Hv-
ing, 1890. Nephew of the preceding, pu-
pil in Dresden of Wieck, Karl Kriigen, and
Schubert, on the pianoforte and violin, then
at the Conservatorium in Leipsic of Men-
delssohn, Schumann, Hauptmann, Richter,
and David. In 1847 he entered the royal
orchestra iu Dresden as violinist, was made
Correpetitor at the opera in 1859, chorus-
master in 1863, and royal music director in
1875. Works : Es sjuikt, comic opera, Dres-
den, 1871 ; Music to Schneewittchen, Diium-
ling, Aschenbrodel, Der gestiefelte Kater,
Ella, etc. ; Several ballets ; Dithyrambe
(Schiller), for chorus, soli, and orchestra,
1854 ; Pianoforte music and songs. — Men-
del.
RICHARD CCEUR DE LION, comedie
in three acts, text by Sedaine, music by
Gretry, first represented at the Opera Co-
mique, Paris, Oct. 21, 1784. The work
was given in four acts, Dec. 21, 1785, and
reduced again to three acts, Dec. 29, 1786.
The libretto pictures the deliverance of
Richard by Blondel, and, in spite of many
anachronisms and episodes, the work has
kept its interest up to the present time.
This opera is Gretry's masterpiece, written
at the ijeriod of his highest development.
The air, " O Richard, o mon roi, I'univers
t'abandonne," has become very celebrated,
and is of historic value, for it was sung
during the French Revolution at a bancjuet
at Versailles, Oct. 1, 1789. The duo, " Una
fie^vre brrtlante," between Richard and Blon-
del, always effective on the stage, was long
a favourite theme for variations. Beethoven
wrote a set of eight for the pianoforte, in C,
published by Traeg (Vienna, 1798) : Breit-
S16
RICHARD III.
kopf & Hiirtel, Beethoven Werke, Serie
xvii., No. 10 ; and a set of seven variations
for the pianoforte, in C, have been attributed
to Mozart. The original cast included M.
Philippe, as Richai'd, and M. Clairval, as
Blondel. The opera was arranged for the
German stage by Ignaz von Seyfried, and
was given in Vienna, Nov. 28, 1810. It was
given at the Opera Comique, Paris, Sept.
27, 1841, ^vith new instrumentation by
Adolphe Adam, and it was given in Paris
in 185() with Roger as Richard and Masset
as Blondel. It was revived at the Opera
Comique, Paris, Doc. 20, 1880. Piano-
forte score by Fritilrich Ludwig Seidel,
published by Schlesinger (Berlin, 1814).
Other operas on the same subject, in
French : Rosanie, in three acts, bj'
Henri Joseph Rigel, text by Devismes,
Paris, July 24, 1780 ; revision, July 14,
1700 ; Richard en Palestine, in three acts,
by Adolphe Adam, text by Paul Fouchcr,
ib., Oct. 7, 1844. In English: Richard
CcBur de Lion, by William Shields, Lon-
don, 1786. In German : Richard LOwen-
herz, ballet bj' Josef Weigl, Vienna, Feb.
2, 1795 ; and Richard und Blondel, opera
in three acts, by Daniel Elster, text by F.
Adami, Meiningen, December, 1835. In
Italian : Ricciardo Cuor di Leone, by Radi-
cati, Bologna, about 1820. — Clement et La-
rousse, 574 ; Revue et Gaz. mus. de Paris i
(1850), 165, 173 ; Allgem. mus. Zeitg., xii.
1057 ; xiii. 83 ; xvi. 275 ; Gretry, Essais
sur la musique, i. 367 ; Grove, iii. 127 ;
Thayer, Beethoven Verzeichniss, No. 61.
RICHARD IIL, overture and music to
Shakespeare's tragedy, by Friedrich Robert
Volkmann, op. 73. The overture, in which
the Scotch &ir, "The Campbells are com-
ing," is introduced, was given at the Crys-
tal Palace, Loudon, Oct. 30, 1875. It was
given at the Gewandhaus, Leipsic, in March,
1882. Operas on this subject : Richardus
impius Anglife res, etc., in Latin, by Eber-
lin, Salzburg, Sept. 4, 1750 ; Riccardo HI.,
in Italian, by Giovanni Battista Meiners,
text by Codeb6, MUan, Nov. 12, 1859 ; by
Luigi Canessa, text by Fulgonio, ib., Nov.
10, 1879 ; and by Gervais Bernard Sal-
vajTe, text by Blavet, St. Petersburg, Dec.
22", 1883.— Athenteum (1875), ii. 017 ; Mus.
Wochenblatt (1882), 76.
RICHARD EN PALESTINE, French
opera in three acts, text by Paul Foucher,
music by Adolphe Adam, first represented
at the Academic Royale de Musique, Paris,
Oct. 7, 1844. Original cast : Richard, Bar-
roilhet ; Ismaiil, Levasseur ; Kenneth, Ma-
rie ; Berengei'c, Mme Dorus-Gras ; and
Edith Plantagenet, Mile Mequillet. This
opera received only thirteen representa-
tions.
RICHARD LOWENHERZ, ballad for
tenor solo, chorus, and orchestra, text by
Wolfgang von KOnigswinter, music by Fer-
dinand Hiller, op. 200, first performed at
the Musical Festival in Cologne, in 1883.
Published by Kistner (Leipsic, 1883). — Sig-
nale (1883), "562.
RICHARD, O MON ROL See Eichard
Cceur de Lion.
RICHARDS, (HENRY) BRINLEY, born
at Carmarthen, Wales,
Nov. 13, 1817, died
in London, May 1,
1885. Pianist, i)u-
pil at the Royal
Academy of Music,
where he obtained
the King's scholar-
ship in 1835 and in
183 7. He gained a
high position in Lon-
don as a pianist and
composer. He devoted liimself specially to
the study of Welsh music, upon which he
lectured, and exerted himself greatly in
promoting the interests of the South Wales
Choral Union on its visits to England in
1872 and 1873. Works : Overture in F
minor, for orchestra, Paris, 1840, London,
1841 ; Additional songs for the English
version of Auber's Crowni Diamonds, 1846 ;
God bless the Prince of Wales, 1862, and
other songs and part-songs ; Up, quit thy
RICHAEDSON
bower, trio ; Pianoforte music. — Grove; Fe-
tis, Suppk'meut, ii. 414 ; Riemanu ; Men-
del, Ergimz., 389.
RICHAllDSON, JOSEPH, born in Eng-
land in 1814, died in
London, March 22,
1862. Flutist, con-
nected with several
London orchestras ;
was a member of Jul-
lien's orchestra, in
which he played solo
many years, and later
became principal flute
in the Queen's j^rivate
baud. His rapidity of execution was won-
derful, and his compositions for his instru-
ment were noted for brilliancy and dilSculty.
Works : Many fantasias, variations, arrange-
ments and original pieces for Hute ; Songs,
etc. — Grove.
mCHTER, EENST FRIEDRICH EDU-
ARD, born at
Gross - Schonau,
Lusatia, Oct. 24,
1808, died in Leip-
sic, April 9, 1879.
Organist, pupil at
the gymnasium of
Zittau; in 18 31
went to Leipsic to
study music under
Weinlig. When
the Leipsic Conservatorium was founded, in
1843, he became with Hauptmann instruc-
tor of harmony and composition. After
the death of Pohlenz he was director of the
Singakademie until 1847 ; he was appointed
organist of the Peterskirche in 1851, of
the Neukirche in 18G2, and soon after of
the Nicolaikirche. In 1868 he succeeded
Haujitmann as cantor of the Thomasschule
and musical director of the principal
churches, and became also a royal profes-
sor. The Leipsic University granted him
the honorary title of University Music Di-
rector. His theoretical works enjoy an im-
mense circulation. Works : Chi'istus der
Erloser, oratorio, 1849 ; Schiller's Dithy-
rambe for the Schiller celebration of 1859 ;
Masses, motets, and i:)salms ; String quar-
tets ; Violin sonatas ; Organ pieces ; Sona-
tas for pianoforte, and other music. He
was author also of Die praktischen Studien
zur Theorie der Musik (Leipsic, 1853 ; 14th
ed., 1880), which has been translated into
English and other languages. — Riemann ;
Mendel ; Fetis ; Mus. Wochenblatt, x. 214.
RICHTER, ERNST HEINRICH LEO-
POLD, born at Thiergarten, near Ohlau,
Prussian Silesia, Nov. 15, 1805, died at
Steinau-on-theOder, April 24, 1876. In-
strumental and vocal comj^oser, pupil of
the organist Ernst in his native place, then
of Hientsch, Berner, and Siegert at Breslau,
and finally of Bernhard Klein and Zelter
at the royal institute for church music in
Berlin. In 1826 he returned to Breslau,
and became in 1827 instructor at the
teachers' seminary, continuing his connec-
tion with it after its removal to Steinau in
1847. At Breslau he conducted also the
chorus of the Singakademie, and other sing-
ing societies. Works : Die Contrebande,
comic opera, Breslau ; Symphony ; Psalms,
motets, and cantatas with orchestra ; Pre-
ludes for organ ; Mass for 4 voices and or-
chestra ; Domine salvum fac regem, for
male voices and orchestra ; Psalm Ixxs., for
chorus and organ ; Sacred and secular songs
for 4 male voices ; Several collections of
songs, with pianoforte, etc. — Fetis ; Men-
del.
RICHTER, FRANZ XAVER, born at
Holleschau, Moravia, Dec. 1, 1709, died in
Strasburg, Sept. 12, 1789. After finishing
his musical education he was for some
years court musician at Mannheim. He
was appointed Kaiiellmeister of Strasburg
Cathedral in 1747, where Ignaz Plej'el was
his assistant from 1783. Works : Twenty-
six symphonies ; Concerto for pianoforte ;
3 trios ; 6 string quartets ; 7 masses ; Te
Deum, hymns, motets, and psalms, mostly in
MS. in the Cathedral of Saint-Die', Vosges.
He was author of the treatise, Harmonische
SIT
TIICIITER
Belehruugeu, oder griiudlicLe Auweisung
zu der luusikalischen Toukunst, translated
by Kalkbrenuer as Traite d'harmonie et
de composition (Paris, 1804). — Wurzbach ;
Mendel ; Schilling ; Riemann ; Gerber ; Fe-
tis.
EICHTEE, KARL GOTTLIEB, born in
Berlin, 1728, died at Konigsberg, summer
of 1809. Organist, pupil of Scbaffratli, a
musician in the service of Princess Amalia
of Prussia. He settled afterwards at Ko-
nigsberg, to teach music, and quite late in
life became organist of the cathedral there.
Works: 11 concertos for pianoforte ; 6 trios
for 2 flutes and bass. — Fotis ; Mendel.
RICONOSCI IN QUESTO MIPLESSO.
See Nozze di Figaro.
EICORDATI, inO BEN, duet in B-flat
major, for soprano and alto (Vitige and Te-
odata), with accompaniment of violins in
unison, viola, and bass, in Handel's Flavio,
Act I., Scene 1. Published also separately,
■with the accompaniment filled out by
Robert Franz (Leipsic, Kistuer).
RIDE OF THE VALKYRIOR. See Il'a/-
ktlre.
RIECK, CARL FRIEDRICH, born about
the middle of the 17th century, died at Ber-
lin (?) in 1704. He entered in 1G83 the
service of the Elector of Brandenburg, and
■was appointed in 1G98 director of the cham-
ber music, receiving in 1700 the title of
royal Kapellmeister. Works : La festa del
Imeneo, ballet-oijera (with Ai-iosti) ; Can-
tatas : Peleus und Thetis, oder das GlUck
der Liebe, Oranienburg, 1700 ; Der Tri-
umph der Liebe, 1700 ; Der Streit des
alten und neuen Siieculi, 1701. — Futis ;
Mendel.
RIEDEL, KARL, born at Kronenberg,
near Elberfeld, Oct. G, 1827, died in Leip-
sic, June 4, 1888. He was a silk dyer ujs to
1848, when the disturbance of his business
by the revolution induced him to devote
himself to music ; he became a pupil of Karl
Wilhelm, at Crefeld, and in 1849 entered
the Leij)sic Conservatorium. In 1854 he
founded a singing society, named after him-
self, whose first public concert was given
the following year ; established the Leipsic
ZweigvereLn ; and
assisted in founding
the Beethoven stift-
ung. He was pres-
ident of the All-
gemeine deutsche
Vereiu and of the
Leipsic Wagner-
Verein ; was a sup-
porter of the Wag-
n e r performances
given at Bayreuth in
1876, and did much for vocal associations in
Germany. Works : Songs and choruses. He
edited Schiitz's Siebeu Worte ; J. W. Franck's
Geistliche Melodien ; Eccard's Preussische
Festlieder ; Priitorius's Weihnachtslieder ;
Altbohmische Hussiten- und Weihnachts-
lieder ; ZwOlf altdeutsche Lieder. — Mendel ;
Riemann ; Mus. Wochenblatt, iii. 213, 229.
REEDER, A3IBR0SIUS, born atDobling,
near Vienna, Oct. 10, 1771, died (?). Or-
ganist ; formed himself by the study of
Turk's, Kirnberger's, and Marpurg's theo-
retical ■works, and ■was afterwards a pujiil of
Albrechtsberger. In 1802 he became choir-
master in the church at Petersdorf, near
Vienna. Works : Mass for chorus and or-
chestra ; Requiem for 4 voices, orchestra,
and organ ; Graduals, offertories, etc. ;
Quartets for strings ; Sonatas for piano-
forte, violin, and violoncello ; Fugues and
preludes for the organ ; Many songs, ■with
pianoforte. — Fc'tis ; Mendel.
RIEDT, FRIEDRICH WILHELM, born
in Berlin, Jan. 5, 1710, died there, Jan. 5,
1783. Virtuoso on the flute, pupil of Graun
and Schaffrath ; became in 1741 chamber
musician, and in 1750 director of the mu-
sical societ}' in Berlin. Works : Sym-
phonies ; Quartets ; Sonatas for 2 flutes ;
Sonata for flute and violoncello ; 6 trios for
2 flutes and bass. He isublished also sev-
eral theoretical works. — Ft'tis ; Mendel.
RIEGER, GOTTFRIED, born at Tro-
2)lowitz, Austrian Silesia, about 1764, died
218
EIEGER
at Briinn, Moravia, after 1837. Dramatic
and cliurch composer, first instructed by
the village schoolmaster, then at Weiss-
wasser, by a musical friar, in counterjjoint.
He went afterwards to Briinn, where he
assumed the direction of the theatre, and
whither he returned after a short stay on
the estate of Count Haugwitz ; he then
conducted the church choir, and established
concerts. Works — Operas : Das wiitliende
Hear ; Die Todtenglocke ; Schuster Flink ;
Die vier Savoyarden ; 3 solemn masses ; 13
short masses for male chorus and orchestra ;
German mass, with organ ; Hymns, offer-
tories, motets, cantatas, and oratorios ; Con-
certos for pianoforte and orchestra ; Quar-
tets for strings ; Trios for pianoforte and
strings ; Sonatas for pianoforte and violon-
cello ; do. for pianoforte and flute ; Sona-
tas, rondos, variations, etc., for pianoforte.
— Fotis ; Mendel.
EIEGER, JOHANN NEPOMUK, born
in Berlin in 1787, died in Paris, February,
1828. Pianist ; settled in Paris in 1811, to
teach his instrument. Works : Symphonic
concertante, for pianoforte and violin, with
orchestra ; 2 concertos for pianoforte ; Ron-
do pastoral, with orchestra ; Trio for piano-
forte and strings ; Sonatas, nocturnes, ron-
dos, fantaisies, etc., for pianoforte. — Fetis.
EIEM, 'SVTLHELM FEIEDRICH, born
at CoUeda, Thuringia, Feb. 17, 1779, died
in Bremen, April 20, 1837. Organist, self-
taught up to his fifteenth year, then pupil
of Hiller at the Thomasschule in Leipsic,
where he became organist of the Reformed
Church in 1807, and at the Thomasschule
in 1814 In 1822 he was appointed organist
of the cathedral in Bremen. Works : Cantata
for the celebration of the Augsburg Confes-
sion, Bremen, 1830 ; Quintet for strings ;
3 quartets for do. ; Sonatas for pianoforte
and violin ; Rondos, sonatas, polonaises,
for pianoforte (4 hands) ; Sonatas, caprices,
variations for do. (2 hands) ; Siimmtliche
Orgel-Compositionen zum Gebrauch des
Gottesdienstes, a collection of organ-pieces ;
Choruses for 4 voices. — Fetis ; Mendel.
EIEMENSCHNEIDER, GEORG, born
in Stralsuud, April 1, 1848, still living,
1890. Instrumental composer, j)upil of A.
Lorenz at Stettin, of A. Haupt on the or-
gan, and of Kiel in Berlin. Kapellmeister
successively of several theatre orchestras ;
since 1875 at Lubeck. Works : Die Eis-
jungfrau, opera ; Nachtfahrt, Julinacht,
Todtentanz, Donna Diana, Fest-Prilludium,
for orchestra.
RIEN NE PLAtT TANT AUX TEUX
DES BELLES. See Ami de la Maison.
RIENZI, DER LETZTE DER TRI-
BLTSfEN (Rienzi, the Last of the Tribunes),
tragic opera in five acts, text and music by
Richard Wagner, first represented at Dres-
den, Oct. 20, 1842, with the following cast :
Cola Rienzi (T.) Herr Tichatschek.
Irene, his sister (S.) Frl. Wiist.
Stefano di Colonna (B.) Herr Dettmer.
Adriano (S.) Mme SchrOder-Devrient.
Paolo Orsini (B.) Herr Wiichter.
Raimondo (B.) Herr Rheinhold.
Baroncelli (T.) Herr Joachim Vestri.
Cecco del Vecchio (B.). . . .Herr Carl Risse.
Ein Friedeusbote (S.) Frl. Thiele.
The libretto is an adaptation of Bulwer's
novel of the same title (London, 1835),
Wagner first read it at Dresden in 1837,
and, impressed by its adaptability for oj)-
era, began his sketch at Riga in the autumn
of the same year. He completed the book
in the following summer, began the music
in the autumn of 1838, finished two acts
by the spring of 1839 at Riga and Mittau,
and wi'ote the remainder in Paris. He
offered it in vain to the Opera and the
Theatre de la Renaissance, and in 1841
sent it to Dresden, where its success the
following year brought him the position of
Hof-Kapellmeister, with a salary of 1,500
Thalers. The overture, which is in the ac-
cepted form, derives its themes from the
body of the work. In the first act are
Rienzi's aria, "Wohlan, so mOg' es sein,"
leading up to the terzetto between Rienzi,
Irene, and Adriano, " Adriano du ? Wie ein
RIENZI
Coloiina ! " and the scena between Irene
and Adriano, " Er gelit und liisst dich
meinem Schutz ; " tlie double chorus, " Ge-
griisst, gegrtisst," shouted by the populace
and the monks, interrupted by Rienzi's ap-
peal, " Erstehe, hohe Roma, neu." The
second act opens with the reception of the
peace messengers, including a lovely song,
" Ich sah die Stiidte, sah das Land," by one
of the messengers, leading to a terzetto be-
tween Adriano, Orsini, and Colouna, fol-
"7
,^^
Tichatschek, as Rienzt.
lowed by a chorus " Ei-schallet Feierkliinge,"
and a ballet, and closing with a grand
septet and finale " O lass der Gnade Him-
melslicht." The third act, which is full of
action, contains the call to arms by Rienzi,
"Ihr Rijmer, auf," the answering chorus of
the people, Adriano's prayer, " Gerechter
Gott," changing to the allegro, " "\Vo war
ich ? " as he hears the toll of the Capitol bell,
the signal for slaughter, Rienzi's battle-
hymn, " Santo spirito cavaliere," the duet
between Adriano and Irene, • Lebwohl,
Irene," and the jubilee chorus, " Auf ! im
Triumpf zum Capitol." In the fourth act
are the terzetto and chonis, " Wer war's
der euch hierher beschied ? " and the finale,
which closes with the malediction of the
monks, "Yx, vpb tibi maledicto." The last
act opens with Rienzi's praj-ei', " Alliniicht'-
ger Vater," followed by the duet between
him and Irene, " Verliisst die Kirche mich,"
Rienzi's aria, " Ich liebte gliihend," and a
second duet between Adriano and Irene,
" Du hier, Irene," and closes with an ener-
getic finale, chiefly choral. Rienzi was first
given in Berlin, Oct. 2G, 1847 ; in Prague,
1854 ; in Paris, April G, 1869, French trans-
lation by Nuitter & J. Guillaume ; in Mu-
nich, June 27, 1870 ; in Vienna, May 20,
1871 ; in Venice, March 15, 1874 ; in Lon-
don, in English, Jan. 27, 1879 ; in New
York, by the German Oisera Company, Feb.
5, 1880. Full and pianoforte score pub-
lished by Fiirstner (Berlin) ; vocal score in
Italian by Augener (London) ; in French,
by Diu-and, Schcenewerk & Cie (Paris). The
Messengers of Peace and Rienzi's prayer,
published separately in German and English
by Augener (London). Other operas on this
subject, in Italian : Rienzi, by Georg Dam,
Berlin, about 1835 ; by AchiUe Paer, text
by Piave, Milan, Dec. 26, 1862 ; by Kasch-
peroff, Florence, 1863 ; Cicco e Cola, opera
buffa by Miggliaccio, te.\t by Vecchio, Na-
ples, October, 1871 ; Cola di Rienzi, by
Persicchini, text by Cossa, Rome, June 28,
1874 ; by Luigi Ricci, text by Bottura,
Venice, Feb. 21, 1880 ; and a ballet, Rienzi,
by Bemardi, Milan, October, 1878. — Wag-
ner, Ges. Schriften, i. 41 ; Glasenapp,
Wagner, i. 127 ; Julhen, Wagner, 41 ; Hans-
lick, Moderne oper, 274 ; Kastuer, Wagner
Catalogue, 5 ; AUgem. Wiener Mus. Zeitg.
(1846), 585 ; Allgem. Mus. Zeitg., xlvii.
253 ; xlix. 883 ; Leipziger Dlust. Zeitg.
(1873), No. 7; Neue Zeitschr., xvii. 148,
168 ; XX. 125 ; xxvii. 285 ; (1865), 148 ;
Athenaeum (1879), i. 159 ; Upton, Standard
Operas, 245.
230
RIES
at Bonn,
EIES, ADOLPH, born in Berlin, Dee. 20,
1837, still living, 1890. Sou of Hubert Ries,
and pupil of SteiflfensantI, Kullak, and BOh-
mer. He settled in London as a teacher in
1858. Works : Trio for pianoforte and
strings ; Violin sonata ; Pianoforte pieces ;
Songs. — Grove ; Fctis ; Mendel.
EIES, FERDINAND, born
Nov. 28, 1784, died
in Frankf ort-on-tbe
Main, Jan. 13, 1838.
Pianist, son and pupil
of Franz Anton Ries ;
studied the violoncello
under Bernhard Rom-
berg. At the age of
thirteen he became
pujnl of a friend at
Ai-nsberg, but was superior to his teacher,
and studied the violin by himself. On re-
turning home he wrote out the quartets of
Haydn and Mozart in score, and arranged for
the pianoforte Haydn's Creation and Sea-
sons, and Mozart's Requiem. In 1801 he re-
ceived a few lessons from Winter, at Munich,
and when this master departed for France,
he went to Vienna with but seven ducats
in his purse and a letter from his father to
Beethoven, who had been intimate with his
family in Bonn. Beethoven received him
kindly, helped him financially, and gave him
lessons on the pianoforte, but for compo-
sition referred him to the aged Albrechts-
berger. Nearly four years of association
with Beethoven had a profound influence
upon him, though their relations sometimes
tended toward unpleasantness. Bonn then
being in the possession of the French, he
was summoned as a conscript in 1805, but
was exempted, because he had lost an eye
from the small-pox in his childhood. He
next lived in Paris for two years, and re-
turned to Vienna in 1808. Then he went
to Cassel, Hamburg, Copenhagen, Stock-
holm, and St. Petersburg, where he found
his old teacher, Bernhard Romberg, and
made a concert tour with him in Russia.
The French invasion in 1812 causing him to
leave Russia, he went in 1813 to England,
and became prominent in Loudon as a com-
poser, virtuoso, and teacher. Having made
a fortune, he removed in 1824 to Godcs-
berg, near Bonn, where he had bought an
estate. In 1830 he settled in Frankfort;
visited London in 1831, Italy in 1832 ; di-
rected the Nether-Rhenish Festivals .several
years ; was chosen director of the city or-
chestra and the Singakademie of Aix-la-
Chapelle in 1834, but returned in 183G to
Frankfort, where in 1837 he became head
oftheCiicilieu-Verein, founded by Schelble,
his last official position. He was among
the best pianists of his time, though his
technique was not perfect ; as a composer,
his style was an emanation, if not a direct
imitation, of Beethoven's, and while his
later works show a striving for greater
freedom from the influence of his master,
they do not rise to such an excellence of
originality as to make them immortal. His
work on Beethoven is of the highest au-
thority, and to some extent he may be re-
garded as the Boswell of Beethoven. Works
— Operas : Die Riuiberbraut, Frankfort-on-
the-Main, 1828 ; Liska, given as The Sor-
cerer, London, 1831 ; Eine Nacht auf dem
Li ban on (1835, not given) ; Der Sieg des
Glaubens, oratorio ; Die Kimige Israels,
do.; 6 .symphonies; 4 overtures; 9 con-
certos for pianoforte and orchestra ; Con-
certo for violin ; Octet for pianoforte,
strings, clarinet, and horn ; Septet for do.;
2 sextets for pianoforte and various instru-
ments ; Quintet for pianoforte and strings ;
3 quartets for do. ; 5 trios for do.; 6 quin-
tets for strings ;
14 quartets for
do. ; Trio for two yy ^^^ ,- £/^x^/}m
pianofortes and ^ i ^T/
harp ; 20 sonatas
for pianoforte and violin ; Sonata for do.
and violoncello ; Manj' sonata.s, rondos,
fantasias, and other pieces for pianoforte ;
and songs. His book on Beethoven, writ-
ten with Dr. F. G. Wegeler, is entitled :
Biographische Notizen iiber Ludwig van
EIES
Beethoven (Coblentz, 1838).— Fetis ; Ger-
ber ; Mendel ; Eiemann ; Schilling ; do.,
Supplement, 359 ; Harmonicon (1824), 33.
EIES, FEANZ, born in Berlin, April 7,
1846, still living,
1890. Violinist and
composer, son and
pupil of Hubert Eies,
and studied compo-
sition under Kiel.
He was also a pupil,
at the Paris Conser-
vatoire, of Massart,
in 18C6-C8 ; appeared
in London in 1870,
and when forced by
illness to give up playing in public, estab-
lished himself in 1873 as a music-dealer in
Dresden. Works : Concerto for violin and
orchestra ; An overture ; Quintet for
strings ; 2 quartets for do. ; 2 suites for
violin and pianoforte ; More than 100 songs
for one and two voices ; Pianoforte and
vioHn music. — Eiemann ; Fetis, Supple-
ment, ii. 420 ; Mendel.
EIES, HUBEET, born in Bonn, April
1, 1802, died in Beriin, Sept. 14, 1886.
Violinist, son and pupil of Franz Anton
Eies, studied violin also under Spohr, and
composition under Hauptmann. He went
to Berlin in 1824 and joined the orchestra
of the KOnigstiidter Theater ; was attached
to the royal opera next year ; visited Vienna
professionally in 1830 ; and on returning to
Berlin in 1833 founded quartet concerts
with BOhmer, Maurer, and Just. He was
director of the Philharmonic Society in
1835-71 ; became Conzertmeister in 1836,
member of the Eoyal Academy in 1839 ;
and besides having many private pupils,
was head of the orchestral school connected
with the roj'al theatres. He was pensioned
in 1872. Works : A Violin School, of which
two editions and an English translation
have been published ; 15 violin studies ; 12
concert studies for violin ; 2 concertos for
violin and orchestra ; Violin duets ; Quai'-
tets, exercises, songs, and other composi-
tions. His oldest son Louis (born in Ber-
lin, Jan. 30, 1830), also a violinist, was in-
structed by him and by Vieuxtemps ; went
in 1852 to London, where he shortly suc-
ceeded in making for himself an esteemed
and lucrative position. — Mendel ; Schilling ;
Supplement, 359 ; Eiemann ; Fetis.
EIETZ, JULIUS, bom in Berlin, Dec. 8,
1812, died in Dresden, Oct. 1, 1877. The
family name was originally Eitz. Both his
father and elder brother Eduard (a violinist
of note) were j^rofessioual musicians, and he
was educated under their care. He studied
the violoncello under Schmidt, of the royal
orchestra, and later under Bernhai'd Eom-
berg and Moritz Ganz. He studied com-
position under Zelter, and from the begin-
ning was intimate with, and much under
the influence of, Mendelssohn. In 1828 he
was engaged as violoncelhst in the orches-
tra of the Kunigstadter Theater, during
which engagement he first made his mark
as a composer, writing incidental music to
Holtei's play "Lorbeerbaum und Bettel-
stab." In 1834 he was appointed assistant
conductor to Mendelssohn at the opera in
Diisseldorf, and on the latter's resignation,
in 1835, became first conductor ; but next
year he exchanged the position for that of
Stiidtischer Musikdirector, the duties of
which were to conduct the subscription
concerts, the principal choral society, and
the music at the Andreaskirche. In 1847
he resigned his Diisseldorf jiost in favom*
of Ferdinand Hiller, and went to Leipsic to
conduct the opera and the Singakademie.
In 1848 he accepted also the posts of con-
ductor to the Gewandhaus orchestra, and
teacher of composition at the Conserva-
; torium. In 1860 he was appointed con-
' ductor at the Eoyal Opera in Dresden, and
of the music at the Eoman Catholic church,
besides being made artistic director of the
Dresden Conservatorium. In 1876 he was
awarded the title of General-Musikdirector.
Eietz was an excellent violoncellist, but gave
up playing when he left Diisseldorf to de-
vote his whole time to comj^osition, teach-
222
EIETZ
ing, and conducting, and, during the later
part of his life, to editing important works
of the great masters. His work in this
last capacity is of great value ; Mozart's
operas and symphonies, and the symphonies
and overtures in Breitkopf & Hiirtel's
complete edition of Beethoven, as well as
the whole edition of Mendelssohn, passed
through his hands. He did much work
also on the great editions of the German
Bach and Handel Societies. His editions
of some of Handel's scores compare favour-
ably with all but the very finest modern
"additional accompaniment" work. As a
conductor, he was justly famous ; although
his beat was awkward, and not very distinct
to those who were not accustomed to it,
his command over chorus and orchestra
was absolute, and he was an admirable re-
hearser. He was chief conductor at the
Lower-Rhine Festivals at Diisseldorf in
1845-5G-69, and at Aix in 1864-67-73. As
a composer, Rietz was one of the most dis-
tinguished of Mendelssohn's followers ; he
was a complete master of musical form,
and treated the orchestra with consummate
skill. His style is vigorous and straight-
forward ; yet, he could hardly be called a
man of true genius. His musical scholar-
ship exceeded his inventive jjower, and too
many of his works are dry and laboured,
rather than spontaneously inspired. Eietz
was an extreme classicist, and had little
sympathy with the musical doings in Ger-
many since Mendelssohn. He viewed the
tendencies of Schu-
mann, not to speak of
those of his followers,
with much suspicion.
He naturally abhorred
both Liszt and Wag-
ner, although, as a
conductor, he was un-
avoidably fascinated
by the technical diffi-
culties to be overcome in the latter's works,
and delighted in conducting performances
of Wagner's operas. His most successful
compositions are the concert overture in A,
the symphony in E-flat, the Altdeutscher
Schlachtgesang and Dithyrambe (both for
male choi-us and orchestra). Two operas
written at Leipsic, Der Corsar and Georg
Neumark, were failures. In 1859 the Leip-
sic University conferred on him the hono-
rary degree of Ph.D. Works — I. Operas :
Lorbeerbaum und Bettelstab, three acts,
text by Karl von Holtei, Berlin, Feb. 13,
1833 ; Das Miidchen aus der Fremde, Sing-
spiel, Diisseldorf, 1839 ; Jery und Biitely,
Berlin, about 1840 ; Der Corsar, Leipsic,
1850 ; Georg Neumark und die Gambe,
one act, text by E. Pasquc, Weimar, 1859.
H. Symphonies : No. 1, in G minor, op.
13 ; No. 2, op. 23 ; No. 3, in E-ilat, op. 31.
ni. Overtures : Militilr-Ouvertiire, op. 3 ;
Conzert-Ouvertiire, in A, op. 7 ; Hero und
Leander, op. 11 ; Lustsjjiel-Ouvertiire, op.
18 ; Overture in F to Shakespeare's " Tem-
I^est," op. 14 ; Ouvertiire zur Feier der gol-
denen Hochzeit des Konig und der Konigin
von Sachsen, op. 53. IV. Instrumental :
Conzertstiick, Idyllische Scene, for orches-
tra, op. 41 ; String-quartet in D, op. 1 ;
Fantasia for violoncello and orchestra, op.
2 ; Concertos for do, op. 16 and op. 32 ;
Concerto for the pianoforte and orchestra
in G, op. 34 ; Concerto for violin and or-
chestra, op. 31 ; Concerto for clarinet and
orchestra, op. 29 ; Couzertstiicke for oboe
and orchestra, Adagio, Litermezzo, and
Finale, op. 33 ; Arioso for violin and or-
chestra, op. 48a ; Scherzo capriccioso for
the pianoforte, in B minor, op. 5 ; Sonata
for the pianoforte, in A minor, op. 17 ; do.,
in E-flat, op. 21 ; Sonata for the pianoforte
and flute, o\). 42 ; Twelve Kinderstiicke for
the pianoforte ; Jubelmarsch for the piano-
forte. V. Vocal : Cantata for the inaugura-
tion of the monument to Weber ; Festival
Cantata ; Altdeutscher Schlachtgesang for
male chorus and orchestra, op. 12 ; Das
grosse deutsche Vaterland, hymn by Pabst,
op. 51 ; Dithyrambe by Schiller, for male
chorus and orchestra, op. 20, an-anged for
the pianoforte for four hands by A. Horn ;
EIFAUT
Eheinsage, Lieder for male voices (in Sihig-
erhalle, Baud HI., Heft 8) ; 6 duets for
soprano and alto with pianoforte, op. 9 ; 2
Lieder for male voices from Froebel's " Ee-
publikaner ; " G songs for male voices, op.
40 ; do., o}}. 47 ; 7 songs for voice and jii-
auoforte, op. 27 ; Concert aria for sojsrano,
Was ist mir, op. 38 ; 4 Lieder, An die Rose ;
Ein Stiiudlein vor Tag ; Trost im Scbeiden ;
Aiideuken ; Deutsche Liederhalle, Volks-
lieder, for male voices (six books), op. 22 ;
Lied vom Wein, by E. Geibel, male chorus
and orchestra ; G geistliche Lieder, for so-
prano, alto, tenor, and bass, op. 36 ; Mai-
enzeit uud Morgenlied (in Kej)ertorium
fiir deutschen Miinnergesang, Heft I.) ;
Kecitative and cavatina for soprano, Sagt
mir ihr kosenden Luftchen, op. 19 ; Deut-
scher Siingerhaiu, Volkslieder for soj^rano,
alto, tenor, and bass (two books) ; Twelve
Gesilnge (two books), op. 2G ; do. (two
books), op. 28 ; Bardalo deutscher Volks-
lieder ; Seven Lieder, op. 27. VI. Church
Music : Mass in F ; G Psalms for tenor or
bass, op. 25 ; Te Deum laudamus, for male
voices, op. 50 ; Salvum fac regeni, Doniiue,
chorus and orchestra ; Offertorium, Laudate
Dominum, for baritone solo, chorus, and or-
chestra, op. 48 ; Motets. — Mendel ; Eie-
mann ; Grove.
RIFAUT, LOmS VICTOR fiTIENNE,
born in Paris, Jan. 11, 1798, died in Or-
leans, March 2, 1838. Dramatic composer,
son of a contrabassist at the Opera, pupil
at the Conservatoire of Adam the elder on
the pianoforte, later of Berton in harmony
and composition. He won the first prize
of the Institut for composition in 1821,
for his cantata Diane et Eudymion. After
living in Rome, Naples, Vienna, Munich,
and Dresden, he returned in 1825 to Paris,
and became accompanist at the Ojx'ra Co-
mique. In 1828 he became chef de chant
at the same theatre, and in 1820 professor
of accomjjanimeut at the Conservatoire.
Works : Le duel, ou une loi de Frederic,
Opera Comique, 182G ; Le roi et le ba-
telier (with Halevy), ib., 1827 ; Le camp du
draiJ d'or (with Batton and Leborne), ib.,
1828 ; Un jour de reception, ib., 1828 ;
Andre, ou la sentinelle jierdue, ib., 1834 ;
Ga.sparo, ib., 183G. — Fetis ; do., Sujiple-
ment, ii. 421 ; Mendel.
RIGATI (Rigatti), GIOVANNI ANTO-
NIO, Italian comjsoser of the 17th century,
died in Venice about the end of 1G49.
Church composer, priest in the Church of
Sta. Maria Formosa ; was a singer at S. Mar-
co about the middle of the 17th century,
and also vocal instructor of the young
ladies in the Conservatorio degl' lucurabili.
Works : Messe e salmi, parte concertati,
etc. (Venice, 1640) ; Prima parte de' Mo-
tetti a 2-4 voci, con alcuni cantilene (ib.,
1640) ; Motetti a voce sola con partitura
(ib., 1643) ; Messe e salmi ariosi a 3 voci
concertati (ib., 1643) ; Salmi diversi di
compieta, etc. (ib., 1G4G) ; Messa e salmi a
3 voci, etc. (ib., 1648).— Fetis ; Mendel.
RIGEL, HEINRICH JOSEF, born at
Wertheim, Frauconia, Feb. 9, 1741, died
in Paris in May, 1799. Dramatic com-
poser, ])upil of Jommelli at Stuttgart ; went
to Paris in 1768, was very successful as a
teacher and composer, became musical
director of the Loge Olympique, and of
the Concerts Spirituels, and afterwards
professor at the Conservatoire. Works —
Operas : Le savetier et le financier. Opera
Comique, 1778 ; Blanche et Vermeille, ib. ;
L'automate, ib , 1779 ; Rosanie, ib., 1780 ;
Aline et Zamorin, Theatre des Beaujolais;
Lucas, ib. ; Le bon fermier, ib. ; Les
amoiu's du Gros-Caillou, ib. ; Alix de Beau-
caire. Theatre Moutansier ; Cora et Alonzo,
grand opera, not given. Oratorios : La
sortie d'Egypte ; Jephte ; La prise de
Jericho. — Fetis ; Mendel.
RIGEL, HENRI JEAN, born in Paris,
May 11, 1772, died at Abbeville, Dec. 16,
1852. Son and pupil of the preceding ;
S34
TH." NEW YORK
PUBUC LIBRARY
TiLBtw FOUNDATHW
pjGiimi
became, when only thirteen, repetiteur at
the royal school of singing, accompanied
Bonaparte on his expedition to Egyj)t in
1798, and conducted the music at the
French theatre in Cairo. He returned in
1800 to Paris, resumed his functions as
teacher of the pianoforte, and was made court
pianist to Napoleon. He was especially
distinguished as an accompanist. "Works :
Les deux meuniers, opera, Cairo, 1799 ;
Le duel nocturne, Paris, 1808 ; Goduou,
sacred cantata ; Judith, do. ; Le retour
de Tobie, do. ; Symphony ; 2 overtures ; 4
concertos for pianoforte ; Trios for piano-
forte, harp, and violin ; Sonatas for piano-
forte and violin ; Duos, sonatas, fautaisies,
etc., for pianoforte. — Fetis ; Mendel.
KJGHmi, VINCENZO, born in Bologna,
Jan. 22, 175G, died there, Aug. 19, 1812.
Dramatic composei", pupil in the cathedral
choir of San Petronio, subsequently of Ber-
nacchi in singing, and of Padre Martini
in counterpoint ; made his debut at Parma
in 1775, then sang for three years in the
Ojjera Buft'a at Prague, and began to be-
come known as a composer. In Vienna,
where he arrived in 1777, he was chosen by
Joseph n. as singing master for the Ai'ch-
duchess Elizabeth, and conductor at the
Opera Buffa. In 178S he entered the ser-
vice of the Elector of Mainz, and in 1792
was summoned to Berhn to compose an
opera, the success of which procured for
him the appointment as royal Kapellmeister
in the place of Alessandri, in 1793. As a
composer he was not in the front rank ; but
he was a successful teacher, and counted
distinguished artists among his pupils.
Works: La vedova scaltra, Prague, 1778;
La bottega del cafife, ib. ; Don Giovanni,
ossia il convitato di pietra (same subject as
Mozart's master work), ib. ; L' incontro iu-
aspettato, Vienna, 1785 ; II Demogorgone,
ossia il filosofo confuso, Mainz, 1788 ; An-
tigouo, ib., 1788 ; Alcide al bivio, Coblentz,
1789 ; Armida, Aschaffeuburg ; Enea nel
Lazio, Berlin, 1793 ; H trionfo d' Ariauna,
Tigrane, ib., 1800 ; Gerusalemme liberata,
ossia la selva incantata, ib., 1803 ; La
sorpresa amorosa, cantata, Vienna, 1780 ;
II natale d' Apollo, do., ib. ; Atalanta e
Meleagro, festa teatrale, Berlin, 1797 ;
Minerva belebt die Statuen des Dildalus,
ballet ; Messa solenne ; Te Deum ; Re-
quiem a cappella ; Several cantatas ; Many
scenes for the stage, and songs, etc. His
best orchestral work is his overture to
Tigrane, still occasionally played in Ger-
many and England. His exercises for the
voice (1804) are among the best that exist.
— Fetis ; Riemann ; Gerber ; Schilling ;
do.. Supplement, 360 ; Mendel.
EIGOLETTO, Italian opera in three acts,
text by Piave, music by Verdi, first rep-
resented in Venice, March 11, 1851, with
the following cast :
Rigoletto (Bar.) Signor Coletti.
II duca di Mantua (T.). . .Signor Beaucarde.
Gilda (S.) Signora Evers.
The libretto is taken from Victor Hugo's " Le
Padilla-y-Ramos.
roi s'amuse," was first entitled "La male-
dizione," and was also called " Viscardello "
in Italy. The authorities forbade its per-
formance for political reasons, and in order
to secure a representation the character of
ib., 1793; Ai-mida (rewritten), ib., 1799 ; | Francis L was changed to the Duke of
225
EIKIKI
Mantua ; Saint- Vallier, to the Count of
Monterone ; and Tiiboulet, to Rigoletto,
whose name was given to the ojiera. This
has been regarded by many critics as Verdi's
■ masterpiece, and, notwithstanding the repul-
sive story, it still keeps the stage. The prin-
cipal numbers are : The Duke's aria, " Questa
o quella ; " his duet with Gilda, " Addio,
speranza ed anima ;" the chorus of the con-
spirators " Zitti, zitti," closing the first act ;
the Duke's aria in Sparafucile's house, " La
donna e mobile ; " and the great quartet,
" Bella figlia dell' amore," sung by the
Duke, Gilda, Rigoletto, and Maddalena,
and which is one of the composer's best
inspirations. It was first given at Covent
Garden, London, in Italian, May 14, 1853,
with Ronconi as Rigoletto ; Mario, the
Duke ; Mme Bosio, Gilda ; and Mile Nantier-
Didiee, IMaddalena ; and it was first given
in Paris at the Theatre ItaHen, Jan. 19,
1857, with Corsi as Rigoletto ; Mario, the
Duke ; Mme Frezzolini, Gilda ; and Mme
Alboni, Maddalena. The opera was trans-
lated into French by £doviard Duprez, and
represented at the Theatre Lyrique, Paris,
Dec. 24, 1803. The part of Rigoletto is a
favourite witli IsmaOl and with Padilla-y-
Eamos. That of Gilda was Mme Bosio's
greatest part, and it has been sung with
success by Adelina Patti, Mme Bliolan-
Carvalho, Mile Battu, and Mme Novello.
Publi.shed by Ricordi (Milan, 1851). Tran-
sciiption for the pianoforte by Liszt (Schu-
berth, Leipsic). — Athcnreum (1851), 1097 ;
(1853), 625 ; Clement et Larousse, 576 ;
Revue et Gaz. mus. de Paris (1857), 25 ;
Neue Zeitschr. (1860), ii. 41 ; Upton,
Standard Oiseras, 220 ; Hanslick, Modcrne
Oper, 229.
RIKIKI, operetta, music by Josef Hell-
mesberger, Jr., represented at the Carl-
theater, Vienna, Sept. 27, and tlic Walhalla
Theater, Berlin, Oct. 27, 1887 ; afterwards
in Munich and Pesth.
RBIBAULT, EDWARD FRANCIS, born
at Soho, London, June 13, 1816, died in Lon-
don, Sept. 26, 1876. Organist and composer,
son and pupil of Stephen Francis Rimbault,
organist (1773-1837), then pupil of Samuel
Wesley. He became organist of the Swiss
Church, Soho, in 1832, and later of several
other London churches. He became in-
terested in the study of musical history
and literature, gave lectures on the history
of music, took an active part in the forma-
tion of musical societies, and edited many
musical collections and works. He also
arranged operas and other works, was
author of elementary books, and a con-
tributor to periodical literature. Works :
The Fair Maid of Islington, operetta, Lon-
don, 1838 ; The Castle Spectre, ib., 1839 ;
Country Life, cantata (posthumous). His
song, Happy Land, was widely popular.
— Grove ; Fetis ; Riemanu ; Mendel.
RDISKI-KORSAKOFF, NICOLAI AN-
DREYEVICH, born
at Tikhvin, Russia,
in 1844, still living,
1890. Dramatic and
instrumental com-
poser, one of the fore-
most representatives
of the Young-Russian
\% school. At first an
officer in the navy, he
left the service to fol-
low a musical profes-
sion. He has been since 1871 professor
of composition and insti-umentation at the
St. Petersburg Conservatory, and is direc-
tor of the free school of music in that city.
Works — Operas : Pskovityanka (The Maid
of Pskov), St. Petersburg, 1873 ; The May
Night, ib., 1880 ; Snegorutchka (Snow-
drop), ib., 1882. Sadko, legend for orches-
tra, Altenbvu-g, 1876 ; Antar, symphony,
Magdeburg, 1881 ; Other symphonies ; Fan-
tasia for orchestra : Choral works, cham-
ber music, pianoforte pieces, and songs.
— Rieraann.
RINALDO, cantata for tenor solo, male
chorus, and orchestra, text by Goethe, mu-
sic by Brahms, op. 50, published by Sim-
rock (Berlin, 1874). Gade's cantata, Die
KINALDO
Ereutzfahrer, op. 50, is on the same subject.
— Mus. Wochenblatt (1874), 58.
KINALDO, Italian opera iu three acts,
text by Adam Hill, translated by Giacomo
Kossi, music by Handel, first represented
at the Queen's Tlieatre, London, Feb. 27,
1711, with the following cast :
Rinaldo (S.) Signor Nicolini.
Armida (S.). . .Signora Pilotti Schiavonetti.
Almirena (S.). . .Signora Isabella Girardeau.
Argante (B.) Signor Boschi.
Goifredo (A.) Signora Boschi.
Eustazio (A.) Signor Valeutini.
Mago Christiano (A.) Signor Cassani.
This work, one of the comjjoser's master-
pieces, was written for the Queen's Theatre,
and inaugurated Handel's advent in Eng-
land. It was represented with extraordi-
nary magnificence for the time. The sjJec-
tacular realism, especially the scene of
Armida's garden, into which live sparrows
were introduced, brought forth the satire
of Addison and Steele. The oisera was re-
ceived with enthusiasm, and it was played
fifteen times without intermission. The
libretto is founded on Tasso's " Gerusa-
lemme liberata." The scene is laid in the
Holy Land at the time of the first Crusade.
Einaldo, a Knight Templar, is betrothed
to the daughter of Godfrey de Bouillon,
Almirena, who is seized by the jealous
enchantress Armida, and concealed in
her magic garden. Ai-gante, a Paynim
King and the accepted lover of Armida,
falls in love with Almirena as Armida has
with Rinaldo, who comes to her garden to
deliver Almirena. To gain his affection,
Armida summons her powers of magic and
appears alternately as Almirena and as her-
self. Rinaldo is rescued by Godfrey de
Bouillon and Eustazio. Armida and Ar-
gante are besieged and conquered, and the
opera ends with their conversion. The
score contains many arias of great beauty,
including : " Cara sposa," sung by Rinaldo,
considered by Handel the best aria that he
ever wrote; the melody, "Laschia ch' io
pianga," sung by Almirena upon her cajv
ture, previously used in the Trionfo del
tempo, and originally a sarabande iu his
earlier opera, Almira ; the bass aria, sung
by Argante, " Sibillar gli angui d' Aletto,"
taken from Aci, Galatea e Polifemo ; Almi-
rena's air, with violin solo, " Bel piacer," from
Agrippina ; and Rinaldo's air, " II tricerbero
umiliato," sung with great eifect by Nico-
lini, long afterwards became popular in the
form of the drinking-song, " Let the waiter
bring clean glasses." The march in the
third act, with its fiery passages for four
trumpets, was adopted by the Royal Guards,
and it was published under the title of
"The Royal Guards' March" iu "The La-
dy's Banquet," a collection of music for the
harpsichord (London, 1720) ; and it was in-
troduced into the Beggars' Opera by Dr.
Pej^usch as a chorus to the words, " Let us
take the road." Rinaldo was rejwesented
in Hamburg in 1715. The original auto-
graph does not exist in a complete form.
Portions are in Buckingham Palace, and
fragments of the first and third acts are
contained in the second volume of the
" Songs and Sketches." The MS. of the
overture is in the volume entitled " So-
natas." A complete copy of the conductiug-
score, in Smith's autograph, with annota-
tions by Handel, is also in Buckingham
Palace, and many fragments in Handel's
autograph are in the Fitzwilliam Librarj-,
Cambridge. Rinaldo was dedicated to
Queen Anne, and first published by Walsh
(London, 1711), afterwards reprinted with
additions. Chrysander's edition for the
Hilndelgesellscliaft was published by Breit-
kopf & Hiirtel (Leipsic, 1874:). See Arinide
et Eeuaud. — Rockstro, Handel, 60 ; Chry-
sander, Handel, i. 276 ; Schrelcher, 29 ;
Maitland, 52 ; Burney, iv. 223 ; Hawkins,
V. 267 ; Hogarth, ii. 2 ; Edwai-ds, Hist.
Opera, i. 123 ; Spectator, No. 5.
RING DES NIBELUNGEN, DER, Biih-
nenfestspiel fiir drei Tage und ein Vora-
beud (The Nibelung's Ring, a festival stage-
play for three days and a prior evening),
EING
by Richard Wagner. A tetralogy, consist-
ing of four connected music-dramas : Das
Rheingold (Tlie Ehine-gold), Die WcdkUre
(Tlie Valkyr), Siegfried, and Gijlterdam-
merung (Twilight of the Gods), the subject
being taken from the Eddas. The first
sketch of the plot was drawn up bj' Wag-
ner in 184:8, and is published in his " Ge-
sammelte Schrifteu uud Dichtungen," ii.
201 (in English iu Burlingame's " Art-Life
and Theories of Wagner "). The texts of
the four dramas were written iu inverse
order : Siegfried's Tod iu June, 1848 (pub-
lished in its original form in Ges. Schr. uud
Dicht., ii. 215), aud remodelled, and the title
changed to Gotterdilmmerung before 1855 ;
Der junge Siegfried (the title afterwards
changed to Siegfried), in 1850 ; Die Wal-
kure, in 1851 (?) ; Das Rheingold, in 1851-
52. The music to these dramas was written
iu the regular order, as follows : Das Rhein-
gold, begun at Spezzia iu 1853, finished in
May, 1854 ; Die Walkiire, finished in Zurich
iu 1856 ; Siegfried, begun in Zurich, aud
Act I finished in April, 1857 ; Act U, up
to the Waldwebeii, iu 1857 ; Act II finished
in Munich June 21, 1865, and Act III by
the beginning of 1869 ; Gotterdiimmerung,
begun at Lucerne in 1870, sketch of Pro-
logue and Act I finished Jan. 20, 1871 ;
sketch of the whole finished at Bayreuth
June 22, 1872 ; orchestration finished in
November, 1874. Das Rheingold aud Die
Walkiire were given at the Court Opera in
Munich, without the author's sanction, Sept
22, 1869, and June 26, 1870, respectively ;
the whole work was first given at Bayreuth
Aug. 18, 14, 16, and 17, 1876. The plot,
which has Uttle in common with that of the
old German epic, Der Nibelunge Not, will
be found under the several titles of the
sepai-ate dramas. — Fischer, Dr. H., Die For-
schungen tiber das Nibelungenlied (Leipsic,
1874) ; Gottschall, Die Nibeluugen (1876) ;
Nieudorf, M. A., Das Nibelungenlied aus
dem Mittelhochdeutscheu (Berlin, 1854) ;
Rassmann, A., Die Niflungeu-Saga und das
Nibelungenlied (1877) ; Reborn, Carl, Die
deutsche Sage von den Nibelungen in der
deutscheu Poesie ; Rope, G. R., Die moderne
Nibelungen-Dichtung (Hamburg, 1869) ;
Saupe, J., Die Nibelungen ; Lauter, Franz,
Der Nibelungen Noth und Klage in den
iisthetischen Excursionen (Leipsic, 1875) ;
ScheiT, J., Die Nibelungen iu Prosa (1865) ;
Dahn, Felix, Nibeluugendrama (1875) ;
Wagner, Ges. Schrifteu, v. 257 ; vi. 1, 365 ;
is. 366, 371 ; Wagner, Ueber die Auft'iihruug
des Buhnenfestspiels ; Fritzsch, E. W., Der
Ring des Nibelungen (1871) ; do., Bericbt
an tleu Deutschen Wagner- Verein (ib.,
1872) ; Oscar Berggruen, Das Biihuenfest-
spiel in Baj'reuth (Leipsic, 1877) ; Dollhopf,
Carl, Der Riug des Nibelungen (Munich,
1870) ; Dorn, H., Aufsatz iu Ostracismus
(Berlin, 1875) ; Dullo, Gustav, Ein Wort
der Aufkliirung iiber Richard Wagner's
Nibelungen (Kijnigsberg, 1872) ; Ehrlich,
H., Fiir den Ring des Nibelungen gegen
das Festspiel in Bayreuth (Berlin, 1876) ;
Engel, G., Das Biihnenfestspiel in Bayreuth
(Berlin, 1876) ; Frenzel, Carl, Die Bay-
reuther Festspiele (Hanover, 1877) ; Gis-
bert, Der Ring des Nibelungen (Leijjsic) ;
Gumprecht, Otto, Richard Wagner und
sein Buhnenfestspiel (Leipsic, 1873-76) ;
Kahu, A., Die Staatsmusik der Zukunft (Ber-
lin, 1876) ; Kalbeck, Max, Das Biihnen-
festsjiiel in Bayreuth (Breslau, 1876) ; Koch,
Richard Wagner's Buhnenfestspiel (Leipsic,
1875) ; Koestlein, Carl, Richard Wagner's
Tondrama ; La Mara, Das Buhnenfestspiel iu
Bayreuth (Leipsic, 1877) ; Lindau, Paid,
Niichterne Biiefe aus Bayreuth (Berlin,
1876) ; Peter Lehmann, Au dramatisehe Ton-
setzer (Leipsic) ; Melilis, C, GOtterglaube
und Nibelungenring (Leipsic, 1876) ; do., Im
Nibelungenlande (Cotta, 1877) ; Mohr, W.,
Richard Wagner und das Kunstwerk der
Zukunft im Lichte der Bayreuther Autl'iih-
rungen betrachtet (Cologne, 1876) ; Miiller,
Dr. Franz, Der Riug des Nibeluugen (Leip-
sic, 1876) ; Naumann, Emil, Musikdrama
oder Oper (Berlin, 1876) ; Oesterlein, Ni-
colaus, Bayreuth (Vienna, 1877) ; Pliider-
mauu, Die Biihnenfestsj)icle in Bayreuth ;
RINK
Wolzogen, H. von, Poetiscbe Lautsymbolik
(Leipsic, 1816) ; do., DerNibelungen-Mythos
in Sage und Litteratur (Berlin, 1876) ; do.,
Die Edda (Leipsic, 1876) ; do., Thematisolier
Leitf aden durcli die Musik zu . . . Der
Ring des N. (Leipsic, 1882), in English as
Guide tbiougli the Music, etc., by E. von
Wolzogen (ib.); do., Eililuterungen zu R.
W.'s Nibelungen Drama (ib.) ; Gustav Kob-
be, R. Wagner's Music Dramas ; W. F. Ap-
thorj). Some of Wagner's Heroes and Hero-
ines (Scribner's Maga., v. 331) ; do., Boston
Transcript (1884, April 4, 8, 9, 12, 14) ; Die
Tragodie in Bayreuth und ihr Satyrspiel
(Leipsic, 1877) ; Alfred Formann ; The Ni-
belung's Ring (in English, London, 1877) ;
Jullien, Wagner, 209 ; Glasenapp, Richard
Wagner's Leben und Wirken, ii. 327 ; Pohl,
Wagner, 206 ; Kastener, Wagner Catalogue,
55 ; Mus. W^ochenblatt (1871), 210, 241, 277,
307, 323, 356, 370, 387, 433 ; (1872), 719 ;
(1873), 233, 249, 265, 281, 289, 321, 353, 361,
409, 433, 465, 489, 521, 593, 609, 633, 661,
681, 714 ; (1874), 563 ; (1875), 65, 77, 101,
113, 468 ; (1876), 81, 93 : 252, 277, 313,
366, 384, 429, 443, 456, 457, 463, 471, 480,
491, 493, 503, 504, 505 : 461, 469, 477, 489,
501 ; (1877), 17, 33, 45, 457 ; (1878), 105,
121 ; (1879), 306 ; (1881), 40 ; (1883), 5,
19, 33, 43 ; Neue Zeitschr. (1863), i. 191,
203, 211, 221 ; (1876), 373, 385, 397, 407,
421, 440, 460, 471, 478 : 401, 503, 515 : 13,
21, 53, 85, 97, 110, 219, 247 ; (1878), 209,
409: 101, 113, 125; (1879), 45, 369, 381,
404, 413, 421, 445, 456 ; (1881), 217 ;
(1882), 247 ; (1880), 221, 233, 283, 477,
486, 497 ; Bayreuther Blatter (1878), 263,
309, 341, 352 ; (1879), 313 ; (1880), 141,
252, 301 ; (1881), 21, 198, 233, 259; (1884),
70 ; (1885), 140 ; (1886), 1-35, 337 ; Echo
(1875), No. 35 ; (1876), Nos. 26, 34, 38 ;
Revue de la musique (1877), No. 22 ; Le
MOnestrel (1876), Nos. 38, 39 ; Neue il-
lustr. Zeitg. (Vienna, 1877), Nos. 13-16 ;
Leipsiger Nachrichten (1876), No. 227 ;
Allgem. deutsch mus. Zeitg. (1877), No.
36 ; Signale (1876), 721, 737 ; Athenreum
(1876).
RINK (Rinck), JOHANN CHRISTLA.N
HEINRICH, born at Elgersburg, Saxe-
Gotha, Feb. 18, 1770, died in Darmstadt,
Aug. 7, 1846. Organist, pupil of several
organists, and finally, in Erfurt, of Kittel,
who had studied under Bach. He became
in 1790 organist at Giessen, and in 1805 in
Darmstadt, where he was also teacher at
the seminary. In 1813 he was appointed
court organist, and in 1817 chamber musi-
cian to the Grand Duke. He was consid-
ered the best organist of his time, and made
concert tours, which were very successful.
He received various decorations, and the
degree of Doctor of Philosophy and Ai-ts by
the University of Giessen. Works : Orgel-
schule (Bonn, 1819-21) ; 2 Choralbiicher ;
Many choral-preludes ; Der Choralfreund ;
Variations for organ ; Sonatas for piano-
forte ; Trios ; Mass ; Charfreitagscantate ;
Weihuachtscantate ; Todtenfeier ; Hallelu-
ja ; Pater Noster ; 12 chorals for men's
voices ; Motets, hj'mns, and other vocal mu-
sic.— Autobiography (Breslau, 1833) ; Men-
del ; Riemann ; Fetis ; Schilling ; do.. Sup-
plement, 360 ; Gerber ; Clement, Mus.
culebres, 263.
RIOTTE, PHILIPP JACOB, born at
Treves, Rhenish Prussia, Aug. 16, 1776,
died in Vienna, Aug. 20, 1856. Dramatic
and instrumental composer ; passed the
greater part of his life in Vienna, where he
was Kapellmeister at the Theater an der
Wien. Works : Mozart's Zauberflote, opera,
Prague, 1820 ; Noureddin, Prinz von Per-
sien, do., ib. ; Die Lieb' in der Stadt,
ojjeretta, Vienna, 1834 ; Other operettas,
and ballets ; Sympihony ; Quartets for
strings ; Trios for pianoforte and strings ;
Concertos for pianoforte ; do. for flute ;
do. for clarinet ; Sonatas for pianoforte and
violin ; do. for pianoforte. — Fetis ; Men-
del.
RIP VAN WINKLE, English opera, text
by J. H. Wainwright after Irviug's stoiy,
music by George Bristow, first represented
by the Pyne and Harrison Opei'a Company,
at Niblo's, New York, Sept. 27, 1855. Char-
RIP
acters represented : Kip vau Winkle, Mr.
Strettou ; Dame van Winkle, Miss S. Pyne ;
Alice, !Miss L. Pyne ; Gardiner, Mr. Har-
rison ; Nicholas Vedder, Mr. Hayes ; Ville-
cour, Mr. Horncastle ; and Van Bummel,
'Mr. Setchell. Same title, French operetta
in three acts, text by Meilhac and Gille,
music by Robert Planquette, given in Lon-
don, Oct. 13, 1882.
EIP VAN WINKLE, overture for orches-
tra, by George Whitfield Chadwick, written
in Leipsic in 1879. The composer was
awarded a prize by the Leipsic Conserva-
torium for this work, first performed in Bos-
ton by the Harvard Musical Association in
1880. It was given at the Handel and Haydn
Festival, Boston, in 1880, and at the Wor-
cester (Mass.) Musical Festival, Sept. 26,
1889.
RISCHBIETER, "\MLHELM ALBERT,
boi'u in Bnjnswick in 1884, still living,
1890. Violinist, jjupil of Moritz Haujit-
mann ; occupied positions as violinist at
Leipsic, Bremen, Nui-emberg, and Liegnitz,
and in 18G2 became professor of harmony
and counterpoint at the Conservatorium in
Dresden. Works : Sj'mjjhony ; Overtures ;
Other insti'umental and vocal composi-
tions.
RI8P0LI, SALVATOR, born in Naples
about 171:5, died (?). Dramatic composer,
pui)il at the Conservatoiio di San Onofrio,
Naples, where he became professor in 1792.
Works : Ipermestra, Milan, 178G ; Idalide,
Turin, 1786 ; II trionfo di Davide, Naples,
1788 ; Church music ; La gelosia, collec-
tion of duos ; Toccatas for pianoforte, etc.
— Fetis ; Mendel.
RISTORI, GIOVANNI ALBERTO, born
in Bologna in 1692, died in Dresden, Feb.
7, 1753. Dramatic and church composer,
son of an actor, with whom he went in 1715
to Dresden, and was appointed in 1717
composer at the court theatre. In order to
accompany the king-elector to Poland, he
became also director of the Polish chapel,
established in 1717. In 1733 he was made
chamber organist, in 1746 church composer,
and in 1750 Vize-Kapellmeister. Works
— Operas : Calandro, Dresden, 1726 ; Don
Chisciotto, ossia un pazzo ne fa cento, ib.,
1727 ; Le fate, Ai-ianna, ib., 1736 ; Temis-
tocle, Naples, 1738 ; Adriano in Siria ;
Nicandro ; Pimmaglione ; Ercole. Ora-
torios : La deposizione della Croce, 1732 ;
La Vergine annunziata ; La sepoltura di
Cristo. Eleven masses ; 3 do., without
Credo ; 3 Requiem ; 3 Te Deum ; 5 Gloria ;
2 Kyrie and Gloria ; 1 Sanctus and Agnus ;
21 motets (offertories), partly for 4 voices,
partly for soli with orchestra ; 4 Litanise
lauretana3 ; 5 other litanies ; 6 Alma Re-
demptoris ; 6 Salvo Regina ; 3 Miserere ; 10
duetti per la Quadragesima ; 2 Stabat
Mater ; and other church music, all for 4
voices with orchestra. Cantatas : 3 for
special occasions, 1735, 1736 ; Nice a Tirsi,
1739 ; Didoue abbandonata, 1748 ; Laviuia
a Turuo, 1748 ; I lamenti d' Orfeo, 1749 ;
Amore insuperabile ; Madonna in villa ; La
pesca ; Virtii e Fortuna ; Cantata a alto solo
con stromenti ; 3 Cantate, do. ; Cantata a
soprano col basso ; 8 arie (4 a soprano, 4
a alto) ; Numa Pompilio, serenade ; 6 Inter-
mezzi ; Concerto for oboe, with strings ; 3
symphonies for strings, 2 oboes, and 2
horns.— Mendel ; Fiirstenau, ii. 119, 202.
RITA, OU LE M.U{I BATTU, opira-
comique in one act, text by Gustave Vaez,
music by Donizetti, first represented at the
Opera Comique, Paris, May 7, 1860. Rita
marries a sailor, Gasparo, who on their
wedding-day beats her and then flees to
Canada. News comes that he has perished
in a shipwreck, and Rita marries Peppe,
who allows himself to be beaten. Gasparo
returns, and, finding that Rita has married
again, renounces his claims and, after teach-
ing Peppe how to defend himself from his
better half, leaves the country forever.
This opera was sung by Mme Faure-Le-
febvre, M. Warot, and M. Baiielle. — Clement
et Larousse, 579.
RITORNA, O CARO, soprano aria of
RodeUnda, in G major, with accompani-
ment of strings complete, in Handel's Rode-
S30
RITORNO
linda, Act 11., Scene 6. Published also
sejsaratelj', with the accompaniment trans-
cribed by Kobert Franz (Leipsic, Kistner).
RITORNA, VINGITOR. See Aida.
RITORNO DI DON CALANDRINO, IL
(The Return of Don Calandrino), Italian
opera in two acts, music by Cimarosa, first
represented in Rome in 1778. Same title,
opera by Nicolo Picani, Naples, 1774.
RITORNO DI TOBIA, IL (The Return
of Tobias), Italian oratorio, text by Gio-
vanni Gastone Boccherini, music by Haydn,
first performed in Vienna, April 2, 1775.
Characters represented : Tobia, Christian
Sijecht ; Anna, his wife, Margarethe Spang-
ler ; Tobia, their son, Karl Friberth ; Sara,
his wife, Magdalena Friberth ; Raffaele,
archangel appearing as Azaria, Barbara
Teyber. This oratorio was given at the
Gewandhaus, Leipsic, in 1802 ; in Vienna in
1808. Tlie overture was ijublished by Sim-
rock (Berlin, 1805) ; also by Artaria (Vi-
enna). Other oratorios on the same sub-
ject, in Italian : II ritorno di Tobia, by
Carlo Agostiuo Badia, text by Negro, Vi-
enna, 1707 ; Tobia, by Porsile, text by
Zeno, ib., 1720; Tobia, by Caldara, ib.,
1720 ; II ritorno di Tobia, by Georg Karl
Reutter, the younger, text by Pa.squini, ib.,
March 5, 1733 ; La pazienza ricompensata
negli avvenimenti di Tobia, by B. Casali,
Bologna, 1761 ; by D. Barbieri, Faenza,
1777 ; La famigliadi Tobia, by Mysliweezek,
about 1780 ; Tobia idle nozze con Sara, can-
tata by Gaetano Marin elli, 1781 ; Tobiaj
matrimonium, by Simon Mayr, text by
Foppa, Venice, 1791 ; in French : Le retour
de Tobie, by L. Armand Chardiny, Paris,
1787 ; Tobie, by Eugene Ortolan, text by
L6on Halevy, Versailles, April IG, 1SG7 ;
and Tobie, by Gounod, Paris, 1870.— Bitter,
Geschichte des Oratoriums, 456 ; Pohl,
Haydn, ii. 68, 338.
RITORNO D' ULISSE, IL (The Return
of Ulysses), Italian opera, text by Moui-
glia, music by Monteverde, first represented
at the Teatro San Mose, Venice, in 1641.
Other Italian operas on the same subject, by
Gazzaniga, text byMoniglia, Palermo, 1781 ;
by Giordani, same text, Mantua, Dec. 25,
1782 ; Ulisse e Penelope, by Alessaudri,
text by Filistri, Potsdam, Jan. 25, 1790 ;
by Basilj, text by Moniglia, Florence, 1799 ;
by Simon Mayr, text by Privadali, Venice,
1809 ; La finta pazzia d' Ulisse, by Ziani
text by Matteo Noris, Venice, 1G94 ; Ulisse
sconosciuto in Itaca, by Pollarollo, Reggio,
1698 ; Ulisse e Telemacco, by Treu, Bres-
lau, 1726 ; Ulysse et Penelope, grand French
opera in five acts, by J. Feny Rebel, Sr.,
text by Henri Guiehard, Paris, Jan. 21,
1703 ; La casta Penelope, by Antonio Draghi,
text by Minato, Vienna, 1670 ; Penelope la
casta, by Niccolini and Pallavicino, text by
Matteo Noris, Venice, 1685 ; by Perti,
Rome, 1696 ; Penelope, by Fortunato Chel-
leri, same text, Venice, 1716 ; by Conti,
text by Pariati, Vienna, Feb. 6, 1724 ; by
Galuj)pi, London, 1741 ; by Joiio Sousa de
Carvalho, Lisbon, 1782 ; Penelope, in French,
by Piccinni, text by Marmontel, Paris, Dec.
G, 17S5 ; Penelope, in Italian, by Cimarosa,
Naples, 1795, and by Rota, text by Bottura,
Trieste, March 24, 1866 ; L' isola di CalijDso,
by Bertoni, Venice, 17G9 ; by Abbate Ber-
nardino Ottani, Turin, 1777 ; by Pietro Carlo
Guglielmi, the younger, text by Romanelli,
Milan, Jan. 23, 1813 ; La partenza d' Ulisse
da Calipso, by Sarti, 1776 ; Kalypso, in Ger-
man, by Teleraann, text bj^ Priltorius, Ham-
burg, 1727 ; Calipso abbandonata, by Luigi
Romano, Briinn, 1793 ; La partenza d' Ulisse
da Calipso, by Giaccomo lusauguine, Naples,
1782 ; Calipso, in Italian, by Peter von
Winter, London, 1803 ; Kalj-j^so, by Joseph
Kfihn, 1840 ; and L'ile de Calypso, French
operetta, by Pilati (Ruytter), text by Jullien
Baris, December, 1857. See Circe and
Ulisse.
RITTER, AUGUST GOTTFRIED, born
at Erfurt, Aug. 11, 1811, died at Magde-
burg, September, 1885. Virtuoso on the
organ and pianist, pupil in Berlin of Lud-
wig Berger, A. W. Bach, and Rungenhagen.
On his return to Erfurt he became organist
(1837) of the merchants' church, in 1844 of
RITTER
the cathedral at Merseburg, and in 1847
of the cathedral at Magdeburg. He made
several concert tours in Germany, and
appeared often successfully as a pianist.
Works : 3 overtures for orchestra ; 2 sym-
phonies for do. ; Concerto for pianoforte
and orchestra ; Quartet for pianoforte and
strings ; Motets ; Sonatas, preludes, varia-
tions, etc., for organ ; Die Kunst des Orgel-
spiels. — Futis ; Mendel.
RITTER, FREDERIC LOUIS, born in
S t r a s b u r g (of
Spanish origin,
family name Ca-
ballero), June 22,
1834, still living,
1800. Composer
and musical writer,
pupU of Moritz
Hauser and Hans
Michel S c h 1 e t -
terer, and later in
Paris of Georges Kastner. After two years
in Germany he returned in 1852 to France,
and became professor of music in the Prot-
estant seminary at Fcnctrange, Lorraine.
In ISrA) he went to the United States, and
after several years' residence in Cincinnati,
where he organized the Cecilia (choral) and
the Philharmonic (orchestral) Societies and
did much to advance the cause of music, re-
moved in 1861 to New York and became
conductor of the Sacred Harmonic and
Arion Choral Societies. In 1867 he organ-
ized and conducted the first musical festival
of importance held in New York, and in
the same year was appointed professor of
music at Vassar College, Poughkeepsie,
whither he removed in 1874. In 1878 the
degree of Mus. Doc. was conferred upon
him by the University of New York. Works
— Vocal : Psalm xxiii., female voices, op. 8 ;
Psalm xcv., female voices with organ, op.
14 ; Psalm iv., baritone solo, chorus, and
orchestra; Psalm xlvi., soprano solo, chorus,
and orchestra ; O salutaris, baritone and
organ ; Ave ISIaria, mezzo-soprano solo and
organ ; Hafis, cyclus of Persian songs, op.
1 ; Dirge for Two Veterans (poem by Walt
Whitman), with melodramatic accompani-
ment for pianoforte, op. 13 ; Serenade for
male voices ; More than 100 German Lieder.
Instrumental : Five symphonies ; Overtures ;
Concerto for violoncello and orchestra ; do.
for pianoforte and orchestra ; Fantasia for
bass-clarinet, and orchestra ; Serenade-
septet for flute, horn, and string quin-
tet ; String quartets ; Pianoforte trios and
other pianoforte music. Literary : His-
tory of Music (2 vols., Boston, 1870-74 ;
London, 1878, 2d ed., 1880) ; Music in Eng-
land (New York, 1883) ; Music in America
(ib., 1883) ; Musical Dictation (Novello).
His wife, Fanny Raymond Ritter (born in
Philadelphia, 1840), is a talented musician
and writer. Among her publications are :
Woman as a Musician (London, 1877) ; and
Some Famous Songs (ib., 1878). She has
translated also Ehlert's Letters on Music to
a Lady (ib., 1877), and Schumann's Music
and Musicians (2 series, ib., 1878-80). — Fe-
tis, Supplement, ii. 424 ; Riemann ; Men-
del ; Grove.
RITTER, PETER, born at Mannheim
about 1760, died there after 1813. Violon-
cellist, probably pupil of Abt Vogler in
composition, travelled in Germany and
played in 1785 at the court of Berlin,
where he had to compete against Duport.
About 1801 be became Conzertmeister, and
director of the Singspiel at Mannheim.
Works — Operas : Der Eremit auf Formen-
tera, Mannheim, 1788 ; Der Sclavenhiindler,
ib., 1790 ; Die Weihe, musical prologue,
1792 ; Die lustigen Weiber, operetta, 1794 ;
Maria von Montalban, Frankfort, 1801 ;
Die Zitherschliiger, 1813 ; Der Mandarin.
Chamber music, and songs. — Fetis ; Men-
del.
RITTER, THl^ODORE (BENNET,
called), born near Paris in 1836, died in
Paris, April 7, 1886. Pianist and composer ;
finished his studies under Liszt ; made his
appearance as a virtuoso, when quite young ;
travelled in Germany, Belgium, and Eng-
land, where he was a great favourite.
rJTTER-BALLET
Works : Marianne, opera, Paris, 1861 ; La
dea risorta, do., Florence, 18C5 ; Le paradis
perdu, scene dramatique ; Mepliistoplielos,
do. ; Le sacrifice, vocal with orchestra,
given at the Chatelet, 1875 ; Ave Maria a
2 vois^ etc. ; Morceaux de genre, for piano-
forte.— Fetis, .Supplement, ii. 423 ; Rie-
mann.
RITTER-BALLET, for orchestra, by
Beethoven, first performed at the Redouten-
saal, Bonn, March 6, 1791. It was com-
posed in 1700-!)1, but not published. The
original autograj^h is in the possession of
Artaria & Co. (Vienna). I. Marsch for pic-
colo, two clarinets, two horns, two clarini,
timpani, two violins, viola, and bass ; II.
Deutscher Gesang ; III. Jagdlied ; IV.
Minnelied ; V. Kriegslied ; VI. Trinkhed ;
VII. Walzer oder teutscher Tanz ; VIII.
Coda.
RIVfi-KING, JULIE, born, of French
parentage, in Cincinnati, Ohio, Oct. 31,
1857, still living, 1890. Pianist, pupil on
the jDianoforte in Cincinnati of her mother
(Caroline Staub Rive, 1822-82, a successful
teacher), in New York of "William Mason
andS. B. Mills, in Leipsic of Carl Reinecke,
in Dresden of Blassmanu, and in "Weimar of
Liszt ; and in theory in Dresden of "Wil-
helm Albert Rischbieter. In 1873 she made
a successful debut as a pianist at one of
the Euterpe concerts, Leipsic, under Rei-
necke's direction, and was about to make a
tour in Europe when she was recalled to
America by her father's death. In the
following winter she played in Cincinnati,
and in 1875 at a Philharmonic concert in
New York, and since then she has appeared
in the principal cities of the United States
and Canada. Since 1886 she has made
her residence in New York. "Works : Im-
Ijromptu Mazurka, 187G ; Impromptu in
A-flat, 1876 : Concert etude in A-flat, 1877 ;
Humoresque, 1878 ; Bubbling Spring, tone
poem, 1878 ; On Blooming Meadows, con-
cert waltz, 1879 ; Polonaise heroique, 1880 ;
Mazurka caprice, 1881 ; Pensees dansantes,
valse brillante, 1882 ; Knight Templar
March, 1882 ; Hand in Hand Polka, 1882 ;
March of the Goblins, 1883 ; Concert etude
in F-sharp minor, 1887 ; and many transcrip-
tions.
RIVOLGETE A LUI, aria for bass with
orchestra, in D, text from the opera, C'osl
fan tutte, music by Mozart, composed for
Benucci in Vienna in December, 1789.
Breitkopf & Hiirtel, Mozart "Werke, Serie
vi.. No. 45. — KOchel, Verzeichniss, No. 584 ;
Jahn, Jlozart, iv. 526.
ROBBERECHTS, ANDRlO, born in Brus-
sels, Dec. 16, 1797, died in Paris, May 23,
1860. Violinist, pupil of Van der Plancken,
then in Paris of the Conservatoire and of
Baillot, finally of Viotti. On his return to
Brussels, in 1820, he was appointed solo
violiniist to King "William I., but after the
political events of 1830 settled in Paris.
Works : Grande fantaisie for orchestra and
chorus ; Fantaisie romautique, for violin
and orchestra ; Grand duo concertant for
violin and pianoforte ; Airs varies, romances,
variations, duos, etc., for do. — Fetis ; Men-
del.
ROBERT BRUCE, French opera in three
acts, text by Alphonse Royer and Gustave
Vaez, music by Rossini, first represented at
the Academic Royale de Musique, Paris, Dec.
30, 1846. The subject is from Sir Walter
Scott's "History of Scotland" (2 vols., 1829-
30). Robert Bruce defends his crown against
Edward H. of England, and is aided by the
Black Douglas, who is accompanied by his
daughter Marie. She is in love with an
English officer, Arthur, who saves the life
of Bruce. He is accused of treason, and
as he is about to forfeit his life, Douglas
takes the castle occupied by Edward II. and
expels the English. The music is a pastic-
cio arranged by Niedemeyer from four of
Rossini's operas : La donna del lago ; Zel-
mira ; Bianca e Faliero ; and Torvaldo e
Dorliska. The opera was not successful.
Original cast : Robert Bruce, M. Baroilhet ;
Douglas, M. Aneoni ; Arthur, M. Bettini ;
Edward II., M. Paulin ; Marie, Mme Stoltz ;
and Nelly, Mile Nau. Published by Trou-
ROBERT
penas (Paris) ; and by Eicordi (jVIilan).
— Clement et Larousse, 581.
EGBERT LE DIABLE, grand opera in
five acts, text by Scribe and Delavigne, mu-
sic by Meyerbeer, first represented at the
Academie Eoyale de Slusique, Paris, Nov.
21, 1831. It was composed for the Oi^era
Comique, but was not given until altered
and adapted for the Acadc-mie, where it was
represented with splendour and received
with enthusiasm. It requires all the acces-
sories of brilliant stage-setting and elab-
oi'ate mechanical devices, and the ballet
divertissement is a part of the story. Al-
though written according to the precise
rules of the Academic , Meyerbeer broke
from the conventional school of Eossini,
and jjursued au independent course. Its
gi-eat fault is that the legend is not poeti-
cally treated, but is given over to necro-
mantic tricks and sui^ernatural situations
of no dramatic value. This was the first
of the composer's series of gi-eat works,
and its success was unparalleled. The
scene is in Sicily, where Eobert le Dia-
ble, Duke of Normandy, is banished for his
misdeeds. He falls in love with Isabelle,
daughter of the Duke of Messina, and to
win her hand enters the lists at a tourna-
ment. "While Alice, his foster-sister, is im-
ploring Eobert to change his wicked life,
Bertram, Robert's fiend-father, enters and
entices him to a gaming-table, where he
loses his wealth and in consequence fails to
attend the tournament. Berti-am conveys
him to the cavern of Sainte-Irene, where
the former makes a compact with the evil
spirits holding an orgy there to deliver
Eobert, and he promises to restore Eobert 's
wealth and honour if he will gather a mys-
tic branch from the Abbey of Sainte-Eosalie.
There among the ruins, Bertram, in an in-
cantation, raises the buried nuns. Eobert
siezes the branch and flees to Isabelle, an-
nouncing his intention to carry her away.
Moved by her entreaties, he breaks the tal-
isman, thus destroying the spell. Bertram
begs him to sign the fatal contract, and re-
veals himself as Robert's father, but Eobert
is saved by Alice, who reads to him his
mother's warning against the fiend. "While
Eobert is hesitating between good and evil
the clock strikes, and Bertram disappears.
The scene changes to a cathedral, where
Eobert is awaited by Isabelle in her wed-
ding robes. The principal numbers in-
clude : The ballad, " Jadis rc-gnait en Nor-
mandie ; " Alice's romance, " Va, tlit-ello,
mon enfant ; " the chorus, " Au seul j)laisir
fidele," with the SiciUenne, " O fortune, a
ton caprice;" the soprano aria, "En vain
j'espere ;" the duo, " Ali,rhonnt'te homme ;"
Alice's couplets, " Quand je quittai la
Normandie ; " the evocation of the nuns,
" Nonnes qui reposez ; " the aria, " Eobert,
toi que j'aime," sung by Isabelle ; the chorus
of monks ; Bertram's air, "Je t'ai trompe,
je fus coupable ; " and, above all, the terzets
"Fatal moment, cruel mystere," and "Que
faut il faire ? " Original cast :
Eobert M. Nourrit.
Alice Mle Dorus-Gras.
Isabelle Mme Cinti-Damoreau.
Helena Signora Taglioni.
Bertram M. Levasseur.
Eaimbault M. Lafont.
It was one of the most popular ojjeras in the
repertory of the Academic, where in 1876
it received its 593d representation. It was
first given in London at Drury Lane in
English as " The Demon, or the Mystic
Branch," Feb. 20, 1832, and by a rival com-
pany at Covent Garden as "The Fiend
Father," Feb. 21, 1832 ; and in French at
the Iviug's Theatre, June 11, 1832, with the
Paris cast, excepting Alice, jNIme de Meric,
and Helune, IVEle Heberle. The opera was
first given in Berlin in 1832 ; in Leipsic
and "Vienna in 1833 ; iu Dresden in 1834 ;
and first in New York, Dec. 17, 1851. It
was first given in Italian at Her IMajesty's,
London, May 4, 1847, when Jenny Liud
made her debut on the English stage as
Alice, one of her best roles. It was also
one of Tietjen's best impersonations. Mile
S84
EOBEET
Dorus and Mile Adelina Patti were very
successful in this character ; also Mine Viar-
dot, who on one occasion, when the Isabelle
of the evening was taken ill, played both
characters with remarkable skill. Full
score published by Brandus & Dufour
(Paris, 1831-32) ; and full pianoforte score
by Schlesinger (Berlin, 1833). — Clement et
Julie Aimee Dorus-Gras.
Larousse, 582 ; Mendel, Meyerbeer, Si ;
Lajarte, ii. 140 ; Liszt, Gesammelte Schrif-
ten, iii. 48 ; Hauslick, Moderne Oper, 114 ;
Lavoix, Histoire de Tinstrumentatiou, 407 ;
Edwards, Hist. Opera, ii. 211 ; do.. Lyri-
cal Drama, i. 35, 242 ; Harmonicon (1832),
47, G9, 70, 159 ; Allgem. mus. Zeitg.,
xxxiv. 473, 483 ; xxxv. 38 ; Athenseum
(1847), 499; (1871), ii. 567; Dr. Vcron,
Mumoires d'un bourgeois de Paris, iii.
218 ; Clayton, Queens of Song, ii. 110 ;
Upton, Standard Operas, 148.
ROBERT, TOI QUE J'AIME. See
Robert le Diable.
ROBERTI, GIULIO, born at Barge,
Piedmont, Nov. 14, 1823, still living, 1890.
Dramatic and church composer, and mu-
sical critic, pupil of Luigi Felice Rossi in
Turin, having at first studied law. About
1850 he went to Pai-is, where he entered
the service of a railway company, after the
failure of his second opera in Turin, in
1858. Still cultivating music in his leisure
hours, he was induced, by the success of a
mass in London and other English cities,
again to devote himself to music, and
settled in London. Obliged, by family con-
siderations, to return to his native country,
he settled about 1867 at Florence, where
he founded a choral school for the pupils
of the Pia Casa di Lavoro, in 1869 a gratui-
tous evening course for choral singing, and
later a seminary for teachers of element-
ary singing, all of which were successful.
In 1873 he founded the Societii Armonia
Vocale, and organized an orchestra for the
Greek-Russian chapel of Prince Demidoff
at San Donate. Invited by the cities of
Mechlin and Ghent, in 1875, to represent
Italy at the choral festivals as one of the
judges, he visited, on that occasion, also
the principal cities of Germany. In con-
sequence of the financial calamities at Flor-
ence about 1876, Koberti removed to Turin,
as director-general of vocal instruction and
conductor of the Stefano Temjiia singing
society. Works : Piero de' Medici, opera,
Turin, 1849 ; Petrarca, do., ib., 1858 ; Mass
for 4 voices and orchestra ; do. for 4 male
voices a cappella ; Music for vespers, for
mixed voices and orchestra ; Hymns and
sacred songs for mixed chorus ; Armonia
vocale, 50 choruses, partly original, partly
arranged ; 6 chamber terzets for mixed
voices and pianoforte ; 6 terzets for female
voices and do. ; Chamber duets for do. ;
Inspirations italiennes, 12 songs for one
and two voices, and pianoforte ; L' Album
di Nina, do ; Sextet for pianoforte and
strings ; Quartet for do. ; Trio for do. ;
Quartet for strings ; Les feuillets de Ma-
delaine, collection of pianoforte pieces ; etc.
—Mendel, Ergiinz., 394.
ROBERTO DEVEREUX, CONTE D'ES-
SEX, Italian opera in three acts, text by
Cammarano, music by Donizetti, first repre-
sented in Naples in 1836. The libretto is
taken from Thomas Corneille's tragedy,
ROBERTS
"Le comte d'Essex." The climax is the
execution of Essex, put to death by order
of Queen Elizabeth on account of his love
for the Countess of Nottingham. The
score contains several fine numbers, and by
a strange anachronism Donizetti has intro-
duced into the overture the national anthem,
God Save the King, not composed until
many years after the period of the opera.
The original cast included Baroilhet, Bas-
sadona, and Mrae Eonzi de Begnis. The
opera was given in Paris at the Theatre
Italien, Dee. 27, 1838 ; and at Her Majesty's,
London, June 24, 1841, with Rubini as
Essex ; Grisi, Queen Elizabeth ; Tamburini,
the Earl ; and Mme Granchi, the Countess of
Nottingham. It was first given in New York,
Jan. 15, 1849. Published by Breitkopf &
Hiii-tel (Leipsic, 1840) ; also for the piano-
forte for four hands (ib., 1840). — Clement
et Larousse, 581 ; Atheuccum (1841), 510.
ROBERTS, JOHN V.4JILEY, born at
Stanningley, ueai-
Leeds, England, Sept.
25, 1841, still living,
1890. Organist, at an
early age, of St. John's
Church, Calverley-
c u m - Parsley, near
Leeds, then of St. Bar-
tholomew's, Armley,
in 1867 of the par-
ish church, Halifax,
in 1882 of Magdalen College, Oxford, and
in 1885 of St. Giles's, Oxford. He is also
conductor of the University Glee and Mad-
rigal Society, founded in 1884, and of the
Oxford Choral Society, and since 188G one
of the university examiners for musical
degi-ees. Mus. Bac, Oxford, 1871 ; Mus.
Doc, ib., 187G ; Fellow of College of Or-
ganists, London, 1876. Works : Jonah,
sacred cantata ; Psalm ciii., for chorus and
orchestra ; Morning and Evening Services ;
Appendix and Supplement to Cheetham's
Psalmody ; Anthems ; Organ music.
ROBESPIERRE. See MaximUien Eo-
bespieri'e.
ROBIN ADAIR (Aileen Ai-oon or Eileen
a Roon : Ellen, the secret treasure of my
heart), a song. The tune and original
words are said to have been written during
the reign of Queen Elizabeth, by an Irish
knight, Carroll O'Daly, who, in the guise
of a harper, carried oft' his fair Ellen during
the festivities of her enforced marriage.
This ballad resembles Scott's " Young
Lochinvar." Many words have been writ-
ten to this old Irish air, including Burus's
" Phillis the fair," and " Had I a cave," and
Moore's " Erin, the smile and the tear in
thine eye." The words bearing Robin
Adair's name have had several origins as-
signed to them, for which see bibliography
below. The tune first became popular in
the latter part of the 18th century, when
Tenducci, one of the original singers in
Arne's opera, Ai-taxerxes, sang it in Ireland,
where he learned the song, and in England.
It was published in London with the L'ish
words written out phoneticallj', and the mu-
sic. Braham gave the song Robin Adair
currency when he sang it at his benefit at
the Lyceum Theatre, London, Dec. 17,
1811. Braham's version was published by
"William Reeve (Loudon, 1811) ; and it was
introduced by Boieldieu into La dame
blanche. Beethoven arranged it for so-
prano, tenor, and bass, with the accompani-
ment of pianoforte, violin, and violoncello,
op. 108. Breitkopf & Hiirtel, Englische,
Schottische, Irische, and Italienische Lie-
der, No. 259, Beethoven Werke, Serie
xxiv., No. 7. — Robin Adair, Omnia viucit
amor (Kearsley, London, 1790) ; Conran,
National Music of Ireland, 208 ; Notes and
Queries, 3d Series, iv. 130 ; v. 404, 442,
500 ; vi. 35, 176, 254 ; 4th Series, is. 99,
130, 197 ; 5th Series, v. 120 ; Grove.
ROBIN DES BOIS, pasticcio in three
acts, from Weber's Der Freischiitz, by Cas-
til-Blaze and Sauvage, first represented at
the Odoon, Paris, Dec. 7, 1824. It was
given again at the Opora Comique, Jan. 15,
1835 ; and at the Theatre Lyrique, Jan. 24,
1855. Published by Castil-Blaze (Paris,
ROBIN
182G).— Jabu, Weber, Verzeichniss, 316 ;
Ciicilia, iv. 170 ; Kevue efc Gaz. mus. de
Paris (1855), 25.
ROBIN ET MARION, LI GIEUS DE,
the oldest of all opc'ras-comiques. Both text
and music were written by Adam de la Hale,
aud, according to Fetis, first rejjreseuted
about 1285 at the coui-t of Naples, which
■was at that time essentially French. Other
authorities place the date of its composition
before 12G0. The work, a melange of di-
alogues aud couplets in verse, interrupted
by graceful ariettas, has the following char-
acters : Robin ; Marion ; le Chevalier ; le
Roi ; Gautiers ; Baudons ; Peronelle, or
Perette ; Huars ; Warniers ; Gios ; and Ro-
gaus. From this the composer received
the title of the founder of opuracomique.
Marion, a shepherdess, loves Robin, a shep-
herd, and while waiting for him in a field
meets the chevalier Aubert, riding a fine
steed, with falcon on wrist, who makes love
to her. She remains true to Robin, who
now appears with other shepherds, who
pipe, dance, and sing. The chevalier re-
turns, makes battle with Robin, and carries
Marion away by force ; but she escapes
and returns to Robin and his companions,
and the work closes with joyful songs aud
dances. Although the harmony is crude,
the music has a quaint and graceful charm.
Fortunately the composer chose the only
modes of plain-chauut which accord with
the modern tonalitj'. The MS., prepared
by M. Monmerque, was published by the
Socicte des Bibliophiles of Paris, an edition
of only twenty copies being issued for mem-
bers, through Firmin Didot freres (Paris,
1822) ; the second edition was published
by Ant. Aug. Renouard in vol. ii. of the
third edition of "Des fabliaux ou contes de
Legrand d'Aussy," and the test was also
printed in the " Theatre fran(;ais du moyen
age, public d'apres les manuscrits de la
Bibliothe'que du Roi," by L. J. N. Mon-
merque and Francisque Michel, published
by Firmin Didot freres (Paris, 1839). An
edition of the GSuvres completes du trouvere
Adam de la Hale was edited by E. de Cous-
semaker (Paris, 1872).— Ambros, ii. 295 ;
Coussemaker, L'art harmonique aus XII"
et Xni" siccles, 87 ; Larousse ; Choquet,
Histoire de la musique dramatique, 34 ;
Revue de musique ancienne et moderne
(October, 185G) ; Fetis, i. 13 ; Mus. "Woch-
enblatt (1871), 81 ; Revue et Gaz. mus. de
Paris (1836-37), 412.
ROBIN HOOD, pastoral cantata, text by
George Linley, music by John Liphot Hat-
ton, written for and first performed at the
Bradford (England) Triennial Festival in
August, 1856. The solos wei-e sung by
Sims Reeves, Mr. Weiss, Mr. Winn, and
Miss Milner. Other works on same sub-
ject : Robin Hood and his Crew of Soldiers,
intermezzo, 1627 ; Robin Hood, musical en-
tertainment, by Charles Burney, text by
Mendez, London, 1751 ; Singspiel, by Will-
iam Shield, London, 1784 ; do.. Maid Marian,
ib., 1788 ; Robin Hood, by Karl Friedrich
Baumgarten, ib., 1786 ; English opera in
three acts, by George Alexander Macfarreu,
test by John Oxenford, ib., Oct. 11, 1860 ;
and romantic German opera, by Hermann
Dietrich, text by Reinhart Mosen, Frankfort-
on-the-Main, April 6, 1879. A sym2)hony,
Robin Hood, by Alfred Holmes, was per-
formed in St. James's HaU, London, March
31, 1875.— Athenfeum (1856), 1089 ; (18G0),
ii. 488, 522 ; (1872), i. 759 ; (1875), i. 464 ;
Upton, Standard Cantatas, 187.
ROB ROY, overture by Hector Berlioz,
written in Rome in 1830, and first given in
Paris in 1831. It was not well received,
aud Berlioz burned the score immediately
after the concert. Same title, English
opera by John Davy, London, 1803 ; and
French opera by Flotow, text by Duport
and Forges, Paris, May, 1837.
ROBUSCHI, FERDINANDO, born at
Colorno, near Parma, Italy, Aug. 15, 1765,
died (?). Dramatic composer, pupil of For-
tuuati at Parma, of Padre Martini at Bo-
logna, of Sarti at Milan, and of Cimarosa
at Naples. Ou his return to Parma he was
appointed court composer. Among his
ROGUE FORT
thiity-four operas the most successful were :
I Castroni, Parma, 1786 ; Attalo, ro di Bi-
tinia, Padua, 1788 ; II geloso disperato,
Rome, 1788 ; Chi sta bene nou si muova,
Florence, 1789 ; La morte di Cesare, Leg-
horn, 1790 ; La Briseide, Naples ; I tre
rivali in amore, Venice. — Fctis ; Mendel.
ROCHEFORT, JEAN BAPTISTE, bom
in Paris, June 24, 174G, died there in 1819.
Dramatic comijoser ; studied music as a
choir-boy in the maitrise of Notre Dame,
and entered the Opera orchestra in 1775 as
a double-bass player. Having been direc-
tor of the little French opera at Cassel in
1780-85, he returned to Paris, resumed his
position in the orchestra, and in 1815 was
pensioned. Works : Daphuis et Flore, pas-
toral ; Ariane, lyric scene ; L'enlcvement
d'Europe, ballet ; Jerusalem di'livrce, do. ;
La prise de Grenade, do. ; Bacchus et
Ariane, do. ; Toulon soumis, ijiece rt'ijub-
licaine ; L'inconnue persecutoe, opera-co-
mique, Paris, 1776 ; L'esprit de contradic-
tion, do., 1776 ; La pantoufle, do., 1776 ;
La cassette, do., 1785 ; Dorothue, do.,
1775 ; La porape fuucbre de Crispin, do.,
Cassel, 1781 ; Les nocea de Zerbine, do.,
ib., 1784 ; La force du sang, lyric drama,
Paris, 1794 ; P^-rame et Thisbc, melodrama,
ib., 1782 ; Le temple de la jJostrritr, can-
tata ; 12 quartets for strings ; 6 duos for
violins. — Fetis; !Mendel.
KOCHLITZ, JOHANN FREEDRICH,
born i u Leipsie,
Feb. 12, 1769, died
there, Dec. 16,
1842. Entered in
17S2 the Thomas-
schule under Doles ;
began to study the-
olog}', but poverty
compelled him to
leave the university
and to support him-
s e 1 f b}' teaching
and wi-iting. He founded in 1798 the All-
gemeine musikalische Zeitung, which he
edited until 1818, and was from 1805 a di-
rector of the Gewandhaus concerts. His
articles in the Zeitung contributed largely
to the general appreciation of Beethoven,
Mozart, and Haydn. Works : Die Vollen-
dung des Erlosers, cantata ; Mass ; Te
Deum ; Psalm xxiii. ; Choruses for men's
voices ; Fiir Freunde der Tonkunst (Leip-
sie, 1824-32 ; 3d ed., 1868) ; Sammlung
vorziiglicher Gesangstiicke (Mainz, 1838-
40). — Mendel ; Riemann ; r6tis ; Gerber.
RODE, (JACQUES) PIERRE (JO-
SEPH), born at Bor-
deaux, Feb. 16, 1774,
died at the Chateau de
Bourbon, between Ton-
neins and Aiguillon
(Lot-et-Garonne), Nov.
26, 1830. Virtuoso on
the violin, pupil of
Fauvel ; at the age of
thirteen he was sent
to Paris, where he
studied under Viotti
for two years, and in 1790 made his first
ajipearauce under his auspices. In 1790-94
he was leader of second violins at the Fey-
deau. After a concert tour in Holland and
Germany, and a brief visit to London, he
went a second time to Holland and Germany,
and returned to Paris, where he was ap-
pointed professor of violin at the Conserva-
toire, then just established. In 1799 he
visited Spain, where he met Boccherini, who
wrote for him several concertos. In 1800
he was appointed solo violinist to the First
Consul, and in 1803 he went with Boieldieu
to Russia, where he became first violinist to
the Emperor Alexander. After his return
to Paris, in 1808, he travelled in Germany,
Austria, and Switzerland, and at Vienna
met Beethoven, who finished his sonata in
G, op. 96, expressly for him. In 1814 he
went to Berlin, married, and retired to live
in his native place. In 1828 he made an
ill-advised attempt to appear again in Paris,
but met with a complete failure, and, heart-
broken, never played in public again.
Rode was assisted greatly in his composi-
RODE
tions by Boccherini, who wrote the orches-
tral accompauimeiits, Rode being deficient
in theoretical knowledge. Owing to his
life of travel he had few pupils, but his
influence, through his compositions and ex-
ample, on the violinists of France and Ger-
many was great. Chevalier of the Legion
of Honour late in life. Works : 13 concer-
tos ; Themes varies, with orchestra ; do.,
with quartet ; Fautaisie with orchestra ;
Cavatine et rondeau, with quartet ; 11 quar-
tets for strings ; 24 Caprices en forme
d'etudes, dans les 24 tons de la gamme
(these, with
Kreutzer's f a -
mous 40, hold
their place as
indisijeusable in
the study of the
violin) ; 12 etudes ; 3 books of duos for 2
violins ; Methode de violon (with Baillot and
Kreutzer) ; Romances franjaises ; Arietta.
— Fetis ; do., Supplement, ii. 428 ; Hart,
The Violin, 303 ; Dubourg, do., 197 ; Rie-
mann ; Mendel ; do., Ergilnz., 397 ; Har-
monicon (1831), 26.
RODE, JOHANN GOTTFRIED, born at
Kirchscheidungen, near Freiburg, Prussia,
Feb. 25, 1797, died at Potsdam, Jan. 8,
1857. Virtuoso on the horn and other
wind instruments, pujnl of the cantor and
organist Loewe in his native place, then of
SchnoiT, city music director at Eisenberg,
and in composition pupil of Zelter in Ber-
lin, where in 1817 he had entered the band
of the royal guard riflemen battalion. In
1827 he became its director, and in 1852
was appointed royal music director. Works :
Die Hubertusjagd, tone-painting ; Die
freuudlicheu Klilnge der Jagd, do. ; Con-
certos for horn, and trumpet ; Other mu-
sic for horn, and many arrangements of
overtures, symphonies, opera finales, etc.
— Fetis ; Mendel.
RODE, THEODOR, born at Potsdam,
May 30, 1821, still living, 1890. Son and
pupil of the preceding, and pupil of Wiede-
mann at Potsdam, then of Louis Berger,
Elsler, and Dehn, in Berlin. In 1848-52
he conducted the choir at St. Matthew's
Church, then for several years a singing so-
ciety, and in 1862 assumed the direction of
the new academy for male chorus singing,
founded by Miicke. He contributed largely
to several musical periodicals. Works :
Christmas and Passion cantatas ; Motets,
psalms, hymns, choruses, etc. ; Sonatas for
pianoforte ; Music for military band, etc.
His Theoretisch-praktische Schulgesang-
bildungs-Lehre is widely known. — Fetis ;
Mendel.
RODELINDA, Italian opera in three
acts, text by Nicolo Haym, music by
Handel, first represented at the King's
Theatre, Loudon, Jan. 30, 1725. The scene
is in the Royal Palace, IMilan. Characters
represented : Rodelinda, Queen of Lom-
t-^
Francesca Cuzzoni.
bardy and wife of Bertarido (S.), Signora
Cuzzoni ; Bertarido, driven from the throne
by Grimoaldo (C), Signor Senesino ; Gri-
moaldo, betrothed to Edvige (T.), Signor
Borosini ; Edvige, sister of Bertarido (A.),
Signora Anna Dotti ; ITnulfo, a lord of
Lombardy, counsellor of Grimoaldo, but
the secret friend of Bertarido (A.), Signor
Paccini ; and Garibaldo, Duke of Turin,
friend of Grimoaldo, and rebel to Bertarido
(B.), Signor Boschi. Senesino won great
applause by the recitative, " Pompe vane di
i!39
EODELIXDA
morte," and the air, " Dove sei, amato
bene," published by Arnold in tbe pastic-
cio, "The Redemption," as "Holy, hoi}-.
Lord God Almighty." Another air of Ber-
tarido's, in Act 11., " Con rauco mormorio,"
has been ijublished separately, with addi-
tional accompaniments by Robert Franz, by
Fr. Kistner (Leipsic). Cuzzoni was so suc-
cessful in this opera that the gown of brown
silli, embroidered with silver, in which
she appeared, was adopted by fashionable
dames, and Biu-ney says, "for a year the
dress seemed a national uniform for youth
and beauty." The duet, "lo f abbraccio,"
was sung by Mme Mara and Siguor Barto-
lini at the Handel Commemoration, INIay
27, 1784. The autograph score, in Buck-
ingham Palace, was first published by Cluer
(London, 1725). The opera was repre-
sented in Hamburg in 1734. — Chrysander,
Handel, ii. 128 ; Burney, iv. 298.
RODELINDA, REGIXA DE' LONGO-
BARDI, Italian ojiera, text by Bottarelli,
nuisic by Karl Heinrich Graun, first rep-
resented in Berlin, Dec. 3, 1741. The li-
bretto was translated into German byRost.
Other operas of this title: By Perti, Florence,
1710 ; by Canuti, Lucca, 1724 ; by Cor-
dans, text by Sarti, Venice, 1731 ; and by
Francesco IMaria Veracini, London, 1744.
RODER, GEORG "STNCENT, born at
Rammungeii, Franconia, iu 1780, died at
Alt-Getting, Bavaria, Dec. 30, 1848. Church
composer ; studied at Wannerstiidt, while
organist in the Augustine monasteiy there,
then at Wiirzburg, where at the university
he was pupU of Kurzinger in composition.
In 1805 he became a member of the newly
formed Electoral orchestra, and soon after
was iutrusted with the leading of the opera
music. In 1830 he went to Augsburg as
music director, and in 1839 was called to
Munich as Kapellmeister to King Ludwig
I. Works : Die Schweden, opera, Prague,
1842 ; La Messiade, oratorio ; Ciicilie, can-
tata ; 7 masses ; Te Deum, with orchestra ;
Psalms and vespers, for all the festivals of
the year, do. ; Psalms for the Sundays ; 3\Io-
tets ; Symphony for orchestra. — Fotis ;
Mendel.
RODERIGO, Italian opera in three acts,
music by Handel, first represented in Flor-
ence in July, 1707. Neither the libretto
nor the name of its author has been dis-
covered, and the date of its composition is
also unknown. The original autograph, in
Buckingham Palace, is incomplete, consist-
ing of fragments of the first and third acts,
and the entire second act. The story is
that of the national hero of Sj^ain, the Cid.
Characters represented : Roderigo (S.) ;
Esilena (S.) ; Florinda (S.) ; Evaneo (S.) ;
Fernando (A.) ; and Giuliano (T.). Ro-
derigo's aria, " Dolce amor che mi consola,"
is the same as Eurilla's aria, "Di goder," in
Pastor Fido. The overture to Almii-a was
rearranged with a suite of dance tunes for
the overture to this opera, the success of
which was extraordinary. The Grand Duke
presented the composer with 100 sequins
and a service of silver plate, and Vittoria
Tesi, who sang the part of Roderigo, fol-
lowed Handel to Venice so that she might
take part in the first representation of his
next gi'eat work, Agrippina. Published for
the Hiiudelgesellschaft (Breitkojjf <fc Hiirtel,
Leipsic, 1873). For other operas on this
subject, see Le Gid. — Chrysander, Hilndel,
i. 181 ; Rockstro, 47 ; Sehoelcher, 14 ; Main-
waring, IMemoirs, 49.
RODIO, ROCCO, born in Calabria about
1530-32, died (?). Composer of the early
Neapolitan scliool, celebrated contrapuntist
and didactic writer ; one of the first mas-
ters who published rules and examples for
conti'appunto da mente, in the treatise :
Regole di Musica (Najjles, 3d ed., 162G).
There is no date given of the first edition,
but it is supposed to have been about IGOl,
when he was living in Naples. Padre Mar-
tini places him at the head of his school,
directly after Tinctoris. He pubhshed a
collection with Giovanni delle Castelle,
Francesco Antonio Villani, and others in
1589. The Abbate Santini wrote out sev-
eral of his masses in score from a collection
240
EODOLPIIE
printed iu Naples in 1580. These are : In
dominicalibus, Fac tibi, In miuoribus dii-
jjlicibus, Sancte Alphonse, Mater patris, all
for four voices ; Sancta Maria, Ultimi miei
sospiri, Descendit angelus, Missa de Beata
Virgine, all for five ; the last named is a re-
markable production, as it can be sung by
4 voices if the quintus is suppressed, or by
3 equal voices if the superius is omitted, or
by 3 supcrii if the quintus and bassus are
left out. Mass on Adieu mes amours, for G
voices ; Libro di ricercati a -i voci (Naples,
1575).— Fi'tis ; Buruey, Hist., iii. 212 ; Kie-
mann ; Mendel.
EODOLPHE (Rudolph), JEAN JOSEPH,
born in Strasburg, Oct. 4, 1730, died iu
Paris, Aug. 18, 1812. Dramatic composer,
instructed by his father on the horn and
violin at the age of seven, then in Paris pupil
of Leclair ou the violin. For several years
fiii'st violinist in the theatre orchestras at
Bordeaux, Montjjellier, and other cities of
Southern France, he entered about 1754 the
service of the Duke of Parma, studied har-
mony and counterpoint under Tractta, and
in 17G0 went to Stuttgart, where Joramelli
completed his instruction. Iu 1763 he
returned to Paris, joined the orchestra of
Prince Couti, and two years later that of
the Opera. Appointed professor of com-
position at the Conservatoire in 1784, he
lost both positions iu 1789, but was rein-
stated as professor of singing in 1799, and
pensioned iu 1802. For several years he
was also violinist in the orchestra of the
Theatre Franjais. Works : Mudee et Ja-
son, ballet-hcroique, Stuttgart ; Psyche, do.,
ib. ; La mort d'Hercule, do., ib. ; Armide,
do., ib. ; Le mariagepar capitulation, opera-
comique, Paris, 17G4; L'aveugle de Palmyre,
ib., 17G7 ; Ismuuor, Versailles, 1773 ; 2 con-
certos for horn ; Fanfares faciles, for 2
horns ; 24 fanfares, for 3 horns ; Duos for
violins ; Etudes for do., etc.— Fetis ; Men-
del.
ROD WELL, GEORGE HERBERT
BONAPARTE, born in London, Nov. 15,
1800, died there, Jan. 22, 1852. Dramatic
composer and litterateur ; son of Thomas
Rodwell, manager of the Adelphi Theatre,
on whose death he succeeded to his share
in the theatre. For years he persistently
advocated the establishment of a National
Opera. Works— Operettas, etc. : The Bottle
Imp, The Mason of Buda, 1828 ; The Spring
Lock, The Earthquake, The Devil's Elixir,
1829 ; IMy own Lover, The Evil Eye, 1832 ;
The Lord of the Isles, 1834 ; Paul Clifford,
1835 ; and many others. His two collections
of songs, Songs of the Sabbath Eve, and
Songs of Birds, abound in pleasing melo-
dies.— Grove.
ROECKEL, JOSEPH LEOPOLD, born
in London, April 11, 1838, still living, 1890.
Pianist, son of Josei:)h August Eoeckel (con-
ductor and tenor singer, 1783-1870), pupil
of Eisenhofer and Gotze. Lives and teaches
at Clifton. Works — Cantatas : Fair Rosa-
mund, 1871 ; The Ten Virgins ; Ruth ;
Father Christmas ; The Sea Maidens ; West-
ward Ho ; Heather Belles ; Mary Stuart.
Pianoforte music and songs. His brother
Eduard (born at Treves, Nov. 20, 1816), pu-
pil of Hummel, is settled at Bath as a pi-
anist and teacher. He has published many
works for pianoforte.
BOEDER, aiARTIN, born in Berlin, April
7, 1851, still living, 1890. Dramatic com-
poser, pupil of the royal school of music in
Berlin ; went to Milan as chorus-master at
the Teatro dal Verme, and in 1875 founded
a society for classical music, with which he
gave successful performances. In the win-
ter of 1875-76 he conducted the opera at
Ponta Delgada in the Azores. Works
— Operas : Pietro Candiauo IV. ; Giuditta ;
Vera ; Maria Magdalena, oratorio ; Azoren-
fahrt, symphonic poem ; Leonore, do. ;
Trios, sonatas, etc. — Mendel, Ergilnz.
ROEMHILD, JOHANN THEODORI-
KUS, born at Salzungen, Saxe-Meiningeu,
Sept. 3, 1684, died at Merseburg in 1757.
Organist and church composer, pupil of
Johanu Jakob Bach at Suhl, then of Schelle
and Kuhuau at the Thomasschule in Leip-
sic. In 1708 he became cantor at Sprem-
24:
EOGEL
berg, then at Freistadt, Silesia, ancl fiuallj'
organist and Kaj)ellmeister at the Cathedral
of Merseburg. Works : A complete series
of church music for the entire year ; 12
secular cantatas, treating the life of man.
— Fetis; Mendel.
EOGEL, JOSfi, born at Orihuela, Ali-
cante, Spain, Dec. 24, 1829, still living,
1890. Dramatic composer, pujoil of the
organist of the cathedral, Joaquin Cascales,
and of the maestro de capilla Josu Gil. At
the age of nine he arranged operatic music
for concert and military bands, and com-
posed waltzes ; and when ten wrote a
mass which became populai- in his native
province. His father had destined him to
the law, but fi-om that time he assumed the
charge of the orchestra and the military
band of Orihuela, and although he went
through the course of six years' study of
law at Valencia, he gave lessons and studied
counterpoint and fugue under the organist
Pascual Perez. He composed several Stabat
Mater, funeral marches, etc., and a Jota for
four military bauds which was jjlayed at the
university. After taking his degi'ee he
abandoned the law, became conductor of
several theatres in Madrid, and one of the
most popular writers of zarzuelas, of which
he wrote seventy-five. Pougin gives a list
of sixty-one of these, from 1854 to 1879.
Some of his works were written in collabo-
ration with other well-known Spanish com-
posers.— Fetis, Supplement, ii. 480 ; Men-
del, Ergiinz., 397.
ROGERS, BENJAJIIN, born at Windsor,
England, in 1G14, died in Oxford, June,
1698. Church composer, son of Peter
Rogers, lay-clerk of St. George's Chapel,
Windsor ; chorister there under Dr. Na-
thaniel Giles, and later lay-clerk. In 1G39
he became organist of Christ Church, Dub-
lin, but in 1641 returned as lay-clerk to
Windsor, and on the breaking up of the
choir, in 1644, taught music in Windsor.
Mus. Bac, Cambridge, 1658 ; organist of
Eaton College, 1661 ; reappointed lay-clerk
at St. George's, Windsor, 1662 ; organist of
Magdalen College, Oxford, 1664 ; Mus. Doc.
Oxford, 1669. He removed from Magdalen
in 1685, being ejected by order of James
n. Works : Airs in four parts for violins
and organ (1653) ; Hymnus Eucharisticus,
four parts, sung at Guildhall when Charles
n. died there, July 5, 1660 ; Hymnus Eu-
charisticus (2d), the first stanza of which is
sung in Magdalen College Hall as a grace
after dinner (printed in ajspeudix to Hawk-
ins's History) ; Evening service in G ; Ser-
vices in D, A minor, E minor, and F (col-
lections of Boyce, Rimbault, and Ouseley) ;
Anthems ; Hymns ; Songs ; Instrumental
music. — Grove ; Ft' tis ; Barrett, Eng. Church
Composers, 69 ; Harmouicon (1832), 263.
ROGERS, CL.\RA KATHLEEN (Clara
Doria), born in Cheltenham, England, Jan.
14, 1844, still living, in Boston, Massachu-
setts, 1890. Vocal and instrumental com-
Ijoser, daughter of John Barnell (born,
1802) and of Eliza Emily Lindley Bai--
nett (daughter of Robert Lindley, 1777-
1855) ; pupil of her parents, and from
1856, at the Leipsic Conservatorium, of
Moscheles and Plaidy on the pianoforte,
of David and Rietz in ensemble playing, of
Papperitz and Richter in harmony, and from
1858 of Goetze in singing. After gradua-
tion at Leipsic she studied in Berlin the
pianoforte under von Billow and singing
with Frau Zimmermann ; and from 1861
operatic singing in Italy with San Giovanni.
In 1863 she made her debut at Turin as Isa-
bella in Roberto il Diavolo, under the pseu-
donym of Clara Doria, and afterwards sang
at Genoa, Leghorn, Florence, and at the
San Carlo, Naples ; where she appeared as
Amina and Lucia. In 1866 she went to
London and sang in concerts five years ; in
1871 she went to the United States with the
Parepa-Rosa company, and appeared at the
Academy of Music as Donna Elvira in Don
Giovanni, and in other roles, and in 1872-73
sang with Pauline Lucca in several operas.
In 1873 she settled in Boston, and gradually
gave up her career as a public singer to en-
gage in teaching. She was married, April
242
EOGERS
24, 1878, to Henry M. Kogers. 'Works— pub-
lished : Six songs for soprano and tenor
(Schmidt, Boston, 1882) ; Scherzo for pi-
anoforte, op. 15 (ib., 1883) ; G songs, op.
20 (ib., 1884) ; Aubade, song with vioHn
obligato (ib., 1885); 3 songs, op. 22 (ib.,
1885) ; 5 songs, op. 24 (ib., 1887). Among
her unpubHshed works are a string quartet,
sonata for violoncello and pianoforte, and
sonata for violin and pianoforte.
EOGERS, EDMUND, born in Salisbury,
England, in 1851, still living, 1890. Chor-
ister at Salisbury Cathedral, 18G0-65 ; or-
ganist of St. Thomas's, Portman's Square,
London. Works— Cantatas : The Bridal
Lay, 1871 ; Jack and the Beanstalk, 1879 ;
Blue Beard, 1881 ; Beauty and the Beast,
1882 ; .John Gilpin, or the Ride to Ware,
1883 ; The Pilgrim's Progress, 1883 ; The
Forty Thievesi" 1884. Mass in D ; OCfer-
tory sentences ; Part-songs, and songs ;
Organ voluntaries, pianoforte music, etc.
ROGERS, FREDERICK F., born at
Cheltenham, England, in 184G, still living,
1890. Organist and choirmaster, succes-
sively, at Highworth (18G3-G5), Great Mal-
vern, College Chapel (18G5-G9), and St.
Peter's, Malvern Wells. Works : Deborah,
sacred cantata ; Psalm Ixix., for soli, chorus,
and organ ; Te Deum ; Offertory sen-
tences ; Many chaunts and Kyrie ; Songs
and part-songa ; Pianoforte music.
ROGERS, Sir JOHN LEMAN, Bart.,
born in England, April 18, 1780, died, Dec.
10, 1847. Amateur composer, member of
Madrigal Society in 1819, and president in
1820-41. Works : Sixteen glees for 3, 4,
5, and 6 voices (London, n. d. ) ; Church ser-
vice in F ; Anthems, chants, etc.
ROGERS, ROLAND, born at West Brom-
wich, Staffordshire, Nov. 17, 1847, still liv-
ing, 1890. Organist, successively, of St.
Peter's, West Bromwich, 1858 ; of St. John's,
Wolverhampton, 1861 ; Tettenhall, 18G7 ;
Bangor Cathedral, 1871. Mus. Bac, Ox-
ford, 1871 ; Mus. Doc, ib., 1875. Works :
Prayer and Praise, cantata ; Syniphonj' in
A, for orchestra ; Quintet for strings ; Even-
ing services in B-flat and D ; Anthems ;
Part-songs and songs ; Organ music.
ROHDE, EDUARD, born in Halle in
1828, still living, 1890. Organist and choir-
master at St. George's Church, Berlin.
Works : Schildhoru, cantata for chorus,
soli, and orchestra ; Motets ; Sacred and
secular choruses ; Organ and pianoforte
music.
ROI DE LAHORE, LE (The King of La-
hore), French opera in five acts, text by Louis
Gallet, music by Jules Massenet, first repre-
sented at the Ojjera, Paris, April 27, 1877.
-y/y-- ,-'
f'/^W- -- ,.■'.1-; ^■'■■/>v'"^'4
Joslphlne De Reszke.
The libretto resembles Spontini's La vcsiale.
Alim, King of Lahore, secretly loves Sita, a
young priestess and niece of the high-priest
Timour ; Scindia also loves Situ, and is re-
fused her hand by Timour, because she has
taken her first vows, which can be annulled
by the king only. Sitii repulses Scindia,
and is denounced by him and sentenced to
death. Her unknown lover now reveals
himself as the king, and promises to save
the country from the invasion of the Sultan
Mahmoud if Timour will consent to his
union with Sita. He agrees, but Scindia
vows vengeance. The second act shows the
plains of Thol, where the battle is fought,
24.3
EOI
during wbicb Alim is wounded and dies in
Sita's arms. Tlie third act is in the para-
dise of ludra, where, in spite of heaveulj'
joys, Ahm mourns for Situ, and Indra prom-
ises that he may return to the earth as a
mortal in the most humble condition, but
he must die the same day that Sitii dies.
Returning to Lahore, he finds Scindia on
the throne, and he is treated by the court
as an impostor. Sita, who has escaped
from Scindia, takes refuge in the temple
and intends to renew her vows. Alim joins
her, and they are about to flee when Scindia
appears in the sanctuary, having entered by
a secret door. At this moment Sita and
Alim die together, and the scene changes,
showing them in the realms of the blessed,
while Scindia, recognizing a divine power,
is punished for his crimes. ]\M. Salomon,
Lasalle, Boudoui-esque, ]\Ienu, and Mile de
Keszke and MUe Fouquet appeared in the
original cast. — Clement et Larousse, 941 ;
Hueft'er, Musical Studies, 225 ; Athcnicum
(187!)), ii. 24.
ItOI DU CIEL ET DES ANGES. See
Proplidte.
ROI DTS, LE (The King of Ys), opt'ra-
comique in five acts, text by Ivlouard BLui,
music by Edouard Lalo, fii-st represented at
the Opera Comique, Taris, May 7, 1888. It
had a great success and was awarded by
the Academie des Beaux-Arts the Monbinne
biennial i^rize of 3,000 francs. Scene in
Brittany in the 6th century ; theme, the de-
struction of the city of Ys bj' the waters of
the ocean. This opera had its 100th repre-
sentation in Paris, May 7, 1889. — Chron-
ique des Arts (1888), 174.
ROI DYVETOT, LE (The King of Yve-
tot), opcra-comicjue in three acts, text by de
Leuven and Brunswick, music by Adolphe
Adam, first represented at the Opera Co-
mique, Paris, Oct. 13, 1842. The libretto
is a liberal paraphrase of one of Berauger's
chansons. Josselyn, a cloth-merchant, pos-
sesses the will of the late King of Yvetot,
creating him the successor, but, loath to
assume the cares of royalty, lives a quiet
life until his housekeeper Jeanneton dis-
covers the secret and he is proclaimed King
of Yvetot. The commander of Malta now
declares war and makes his nephew, Adal-
bert, the fiance of Josselyn's daughter Mar-
guerite, a chevalier, and he is forced to
leave his promised bride. It is soon learned
that Maiguerite is the child of the com-
mander of Malta, who had abandoned her
in infancy. No objections are made to the
marriage, and the lovers are therefore re-
united. Beranger's song, " II etait un roi
d'Yvetot," is introduced into the opera.
The original cast included Chollet, Josse-
lyn ; Mile Darcier, Jeanneton ; Mile Rou-
vi'oy. Marguerite ; Grard, Mocker, and Au-
dran. Le roi d'Yvetot, opera-bouffe in three
acts, by M. L. Vasseur, text by Chabrillat
and Emery, Theatre Taitbout, Paris, April
3, 187G. — Clement et Larousse, 58.5 ; Neue
Zeitschr., xvii. 19(5 ; Allgem. mus. Zeitg.,
xlv. 438, 801.
ROI ET LE FERMIER, LE (The King
and the Farmer), comedie in three acts
with ariettas, text by Sedaine, music by
Monsigny, first represented at the Italiens,
Paris, Nov. 22, 17()2. The story is simple.
A king of England, tired of the chase, takes
refuge in the house of a farmer, or inspector
of the forest, named Richard, and in return
for his hospitality rewards him by favour-
ing his marriage with a young girl, Jenny,
whom one of the king's courtiers wished for
himself. Same subject, KOuig und Piichter,
Gcrm.au Siugspicl by Josef Michl (Munich,
1777) ; and German opera in four acts, by
Johann Christian Lobe, text by Biedeufeld,
Weimar, June 22, 1844. — Clement et La-
rousse, 587.
ROI L'A DIT, LE (The King has said it),
opera-comique in three acts, text by Ed-
moud Gondiuet, music by Leo Delibes, first
represented at the Opera Comique, Paris,
May 24, 1873. The action is placed in the
time of Louis XTV. It was played by Is-
maol, Sainte-Foix, Lh6rie, Barnolt, and Miles
Chapuy, Revilly, Priola, Guillot, Nadaud,
and Thibault. — Clement et Larousse, 873.
244
ROI
ROI LT5AE, LE, overture for orchestra, in
C, by Hector Berlioz, op. 4, composed in Nice
and Rome in May, 1831, and first performed
at the Conservatoire, Paris, under Habe-
neck's direction, Dec. 9, 1832. It was first
given in Berlin in 1843 ; in Weimar in
1844 ; and by the New York Philharmonic
Society in the season of 1846-47. The
score, dedicated to M. Armand, was pub-
lished by Richault (Paris, 1840). Published
by Hofmeister (Leipsic). Arranged for the
pianoforte for two and for four hands by J.
A. Leibrock. Richault (Paris) and Litolff
(Brunswick). Overture, King Lear, by Baz-
ziui, London, 1880 ; incidental music to
Shakespeare's play, by Johann Andre, 1780 ;
and operas on the same subject : Cordelia,
by Konradin Kreutzer, text by Wolfi", Do-
naueschingen, 1819, Vienna, Feb. 15, 1823 ;
Cordelia, by Semeladis, text by Pacini and
Deschainps, Versailles, April, 18.54 ; and
Cordelia, Russian opera, by Soloviefl;' (188.5).
— Jullien, Berlioz (1888), G7 ; Neue Zeit-
schr., xxii. 5, 9.
ROLAND, tragedie-Iyrique iu five acts,
with prologue, text by Quinault, music by
Lully, first represented at the Academie
Royale de Musique, Paris, Jan. 18, 1G85.
Lully, who gave the idea of the libretto to
Quinault, regarded it as his best opera.
Angelique, Queen of Cathay, is loved by
Medor, an officer of the African king, and
shares his passion. In the first act Roland,
nephew of Charlemagne, gives Angelique a
jewelled bracelet as a token of bis love.
The next three acts are placed near the en-
chanted fountain of love iu the midst of a
forest. Roland enters, and, disappointed at
not seeing Angelique, who has made herself
invisible by aid of a magic ring, withdraws.
Medor appears, and, believing that Ange-
lique will consent to accept the hand of
Roland, is about to kill himself, when she
enters and dispels his fears. Roland re-
turns and, the shepherds assuring him tliat
Angelique does not love him, and exhibit-
ing the bracelet which she left to them, be-
comes mad. In the fifth act Roland is rep-
resented asleep, while the shades of illus-
trious heroes pass before him, calling him
to glory and the deliverance of his country.
Roland rouses himself, resolving to follow
fame and not love. Original cast :
Angelique Mile Rochois.
Themire Mile Armand.
Roland M. Beaumavielle.
Medor M. Du Mesny.
The part of Angelique was sung succes-
sively by Miles Desniatius, Jouret, Antier,
Le Maure, and Chevalier ; Themire, by
Bllles Poussiu, Pelissier, Fel, and Jacquet ;
Roland, by Thevenard for forty-two years,
afterwards by Chasse ; and Medor, by Pous-
sin, Cochereau, Tribou, Jelj'otte, and La
Tour. The score was published by Clir.
Ballard (Paris, 1685 ; 2d ed., ib., 1709).
— Clement et Larousse, 588 ; Lajarte, i. 48.
ROLAND, French opera in three acts,
text by Marmontel, music b}' Piccinni, first
represented at the Academie Royale de Mu-
sique, Paris, Jan. 17, 1778. The libretto
was taken from Quinault. Original cast :
Angelique, Mile Levasseur ; Thumire, Mile
Le Bourgeois ; Belise, Mile Gavaudan ;
Coridon, M. Laine ; Medoi', M. Legros.
Published by Dezauche (Paris). Other
French operas on the same subject : Ro-
land, by Ranieau, finished by Igiiaz von
Beecke, ib., 1760 ; Roland a Ronceveaux,
by Auguste Mermet, Paris, Oct. 3, 1SG4 ;
and La revue pour rieu, ou Roland a Ronge-
Veau, a parody operetta by Herve, ib., 1865.
See also Orlando. — Clement et Larousse,
588 ; Lajarte, i. 294 ; Futis, vi. 46 ; Schmid,
Ritter von Gluck, 323.
ROLAND, scenes lyriques, for orchestra,
from Quinault, by Henri Reber, first per-
formed in 1875. Published by Colombier
(Paris).
ROLLA, ALESSANDRO, born at Pavia,
Lombardy, April 6, 1757, died in Milan,
Sept. 15, 1841. Violinist, studied the pi-
anoforte under Sanpietro, a priest of the
cathedral, then under Fioroni at Milan,
but exchanged it for the violin, which be
PtOLLE
studied under Reiizi and Conti. In 1782
lie was called to Panna, as chamber virtuoso
and solo violinist, and
had Paganini for his
pupil a short time.
After the death of the
Duke of Parma he re-
turned to Milan, in
1802, and became
conductor of the op-
era at La Seala. In
1805 he was appoint-
ed first violinist of the
chamber music of Eugene de Beauhar-
nais. Vice-king of Italy, and pi-ofcssor at
the Conservatorio. Works : 3 concertos
for violin with orchestra ; 4 do. for viola ;
Divertissement for do. ; Adagio et theme
varit-, for violin and orchestra ; Quintette
concertaut for strings ; Several quartets and
trios, besides duos for \'iolin and viola, and
for 2 violins. His son and pupil, Antonio
(1707-18;?7), was first violinist at the Ital-
ian opera in Dresden in 1823-3G, and pub-
lished : Concerto for violin ; Rondos alia
polacca, with orchestra ; Variations bril-
lantcs, do. ; do. with quartet, etc. — Fotis ;
Hart, Tlie Violin, 245.
EOLLE, JOHANN HEINRICH, born
at Quedlinburg, Doc. 23, 1718, died at
Magdeburg, Dec. 21), 1785. Dramatic com-
poser, pupil of his father, who was city
music director at Quedlinburg, and then
at Magdeburg. Having studied law at
Lfipsic, he went to Berlin in 1740 to prac-
tise it, but failing in his endeavour to make
a position for liimself as a lawyer, and at-
tracted by the musical life of the capital,
he entered the royal orchestra as violinist.
In 174G he became organist at St. John's,
Magdeburg, and in 1752 succeeded his fa-
ther as city music director. Works — Ora-
torios or musical dramas : Der Tod Abel's ;
David's Sieg im Eichthale ; Saul, oder die
Gewalt der Musik ; Orest und Pylades ; Abra-
ham auf Moria ; Lazarus ; Idamant, oder das
Geli'ibde ; Jacob's Ankunft in JLgypten ; Die
Befreiung Israels ; Thirza und ihre Suhne ;
Hermann's Tod ; MeHda ; Mehala ; Der
Sturm, oder die bezauberte Insel ; Gedor,
oder das Erwachen zum besseren Leben ;
David und Jonathan ; Die Opferuug
Isaak's ; L' apoteosi di Romolo ; GiJtter und
Musen ; Die Schiifer ; Die Thateu des Her-
cules ; Die Regungen der Freude ; Dank-
barkeit und Liebe ; Simson. Music for all
the Sundays and Festivals ; Cantatas for
Easter, Whitsuntide, and Christmas ; 5 Pas-
sions ; 20 motets ; Over GO other sacred
compositions ; Anakrcoutische Lieder ;
Sammluug geistlicher Lieder ; Sechzig aus-
erlesene Gesilnge ; Organ and pianoforte
music; Music for orchestra. — Mendel;
Fetis ; Riemaun ; Gerber ; Schilling ; Roch-
litz, Fiir Freunde der Tonkunst, ii. 118.
ROLLEND IN SCHALOIENDEN WEL-
LEN, bass aria of Raphael, in D minor, in
Haydn's Die Schopfung, Part I., No. G.
ROLLING m FOAIVUNG BILLOWS.
See Bollend in schiiumenden Wellen.
ROMA, suite No. 3, for orchestra, by
Bizet. I. Andante, Andante sostenuto e
eantabile ; H. Scherzo, Allegretto vivace ;
HI. Andante, Andante sostenuto c eanta-
bile ; IV. Carnaval, Allegro vivacissinio.
Published posthumously by Choudens
(Paris). Arranged for the pianoforte for
two and for four hands. This records Bi-
zet's impressions of Rome, which he visited
after receiving the gi-and prix.
ROILVN D'ARLEQUIN, LE (Harlequin's
Romance), pantomimes enfantines for the
pianoforte, by Massenet. Published by
Schott (Mainz, between 1874 and 1879).
ROMANI, CARLO, born at Avellino,
Naples, May 24, 1824, died in Florence,
March 4, 1875. Dramatic composer, pupil
of Palafuti on the pianoforte, of Picchianti
in composition, and of his uncle Pietro Ro-
inani, who was a musical director in Flor-
ence. He wrote recitatives for Weber's
Der Freisehiitz at the age of eighteen (Flor-
ence, 1842^3). Chevalier of the Order of
the Crown of Italy, and member of the
Accademia of the Instituto Reale di Musica,
Florence. Works — Operas : Tutti amanti,
246
EOMANO
Florence, 1847 ; II mantello, ib., 1852 ; I
baccauali di Roma, ib., 1854 ; I diamanti
della corona, ib., 1856 ; San Sebastiano,
oratorio, 1864. He wrote several popular
patriotic songs, and some chamber, vocal,
and instrumental music. — Fetis, Supi^lt;-
ment, ii. 436.
EOMANO, ALESSANDRO, called Ales-
.sandro della Viola, born in Rome about
1530, died (?). Virtuoso on the viol ; en-
tered the Pontifical Chapel as a singer in
15G0, and afterwards became a monk in the
order of Monte Oliveto, under the name
of Don Giulio Cesare. Works : Two
books of Canzoui uapolitane for 5 voices
(Venice, 1572, 1575) ; Set of motets, in 5
parts (Venice, 1579) ; Concerti a pin voci e
stromenti, quoted by Adami de Bolsena.
His five-part madrigal, Non pur d' almi
sf)lendori, is published in the Libro terzo
delle Muse (Venice, Gardano, 1561). — Fe-
tis ; Eiemanu ; Gerber ; Schilling ; Men-
del.
EOMANO, GIULIO. See Caccini.
ROMBERG, ANDREAS, born at Vechta,
near Miinster, Ajsril
27, 17 67, died at
Gotha, Nov. 10, 1821.
Virtuoso on the vio-
lin, son of Gerhard
Heinrich Romberg
(born, 1748 ; music
director at Mtinster) ;
api^earetl in public
when only seven years
old ; made a concert
tour with his cousin Bernhard in 1784, and
was engaged for the Concerts Spirituels in
Paris. In 1790-93 he was a member of
the Elector's orchestra in Bonn, and, after
travelling in Italy, spent some time in
Vienna, and in 1797 settled at Hamburg.
Induced by his cousin, then in Paris, he
went there in 1800 to bring out some of his
compositions, but, being unsuccessful, re-
turned to Hamburg, where he remained
until appointed in 1815 court Kapellmeis-
ter in Gotha. The University of Iviel con-
ferred upon him the degree of Doctor.
Works — Operettas : Das graue Ungeheuer,
Bonn, 1790 ; Die Macht der Musik, ib.,
1791 ; Der Rabe, ib., 1792 ; Die Gross-
muth des Seipio, opera ; Die Ruinen von
Paluzzi, do. : Don Mendoza (with Bern-
hard), Paris, 1800 ; 6 symphonies ; 23 vio-
lin concertos ; 33 string quartets ; 11 rondos
and capriccios for violins ; 8 quintets with
flute. Works for chorus and orchestra :
Die Glocke ; Die Harmonie der Sphilreu ;
Ode. For solo and orchestra : Die Kindes-
mijrderin ; Die Macht des Gesauges ; Mo-
nolog der Jungfrau von Orleans ; Der Graf
") . von Habs-
CCt^v*^ ^r»»>^*>r!5i„_-— -'' burg; Selm-
o sucht; Te
Deum ; Psalms ; Dixit ; Magnificat ; Halle-
lujah ; Der Messias ; Selmar und Selma ;
and other vocal music. — Mendel ; Riemann ;
Fetis ; Schilling ; Gerber ; Wasielewski,
Die Violine, 223 ; Dubourg, The Violin, 236 ;
Rochlitz, Fiir Freuude der Toukunst, i.
118 ; Harmouicon (1831), 159.
ROMBERG, BERNHARD, born at Dink-
lage, Oldenburg, Nov. 11, 1767, died in
Hamburg, Aug. 13, 1841. Violoncellist,
son of Anton Romberg, the bassoon-player
(born, 1777), with whom he ajsiJeared in
Paris in his fifteenth year ; he and his
cousin Andreas Romberg were members of
the Elector's band in Bonn in 1790-93, to-
gether with Reicha, Ferdinand Ries, and
Beethoven ; with Andreas he made a con-
cert tour in Italy, Spain, and Portugal.
After spending a short time in Hamburg,
he travelled alone in 1799 in England
and Sixain ; was professor of violoncello at
the Paris Conservatoire in 1801-3 ; became
solo violoncellist in the royal orchestra in
Berlin in 1805. He travelled in 1807-13 ;
was court Kapellmeister in Berlin for the
four years ending 1817 ; and then settled in
Hamburg ; made concert tours in 1822,
1825, and the last in 1839. He did much,
both as a composer and virtuoso, to extend
the capabilities of his instrument. Works
— Operas : Die wiedergefundeue Statue,
EOMEO
Bonn, 1790 ; Der Schiffbrucli, ib., 1791 ;
Don Mentloza (with Andreas), Paris, 1800 ;
Alma ; Ulysses
und Circe, Ber-
lin, 1807 ; Bit-
ter treue, ib.,
1817. Overtures
to Heinrich TV.
and to Phiidra ;
Symplionies ; 9
(I )ncertos for vio-
loncello ; 3 con-
certinos with
orchestra ; A fan-
tasia, with or-
chestra; Bussian melodies for violoncello
and orchestra ; 9 string quartets ; Caprices ;
Polonaises ; 2 trios for strings ; Violoncello
duets and sonatas for violoncello ; Instruc-
tion book for do. (Berlin, 1840). — Mendel ;
Biemann ; Fetis : Gerber ; Schilling ; Har-
mouicon (1831), 159.
BOMEO AND JULIET, overture to
Shakespeare's tragedy, by Tschaikowski,
performed in Munich, March 12, 1876. It
was first given in London, Paris, Vienna,
and in New York bj' the Philharmonic So-
ciety in 1876.— Mus. Wochenblatt (1876),
BO:\IEO ET JULIETTE, grand dra-
matic symphony, with chorus, soli, and
prologue in choral recitative, after Shakes-
peare, text by fimile Deschamps, music by
Hector Berlioz, op. 17, first performed at
the Conservatoire, Paris, Nov. 24, 1839. I.
Introduction : Combats, tumult, iutei'ven-
tion of the Prince ; Prologue : Choral reci-
tative ; strophes for contralto solo ; scher-
zetto (" La reine Mab ") for tenor solo and
male chorus. 11. Borneo alone ; melan-
choly ; concert and ball ; grand fete at the
house of Capulet. III. Calm night ; Capu-
let's garden, still and deserted ; the young
Capulets, coming from the fete, pass by,
singing snatches of the ball-music ; love-
scene. IV. Scherzo: "La reine Mab, ou
la fee des songes." V. Funeral procession
of Juliette ; Bomeo at the tomb of the
Capulets — Invocation, awaking of Juliette,
delirious joy, despair, last anguish, and death
of the two lovers ; Finale : The crowd
rushes to the cemetery, quarrel of the Capu-
lets and Montagus, recitative and air of
Pero Laurence, oath of reconciliation. The
introduction. Parts L, II., and IV., and the
scene of Borneo at the tomb of the Capu-
lets are pui'ely orchestral. The first part of
this work was first given in London under
the composer's direction at the Philhar-
monic Concerts, IMarch 24 and April 28,
1852, and the entire work was first
given in New York by the Sym-
phony Society; and two move-
ments were played by the Phil-
harmonic Society in the season of
1866-67. The score, first published by
Brandus (Paris), was dedicated to Paganini,
who said in one of his letters to Berlioz,
describing the MS. which was sent to him :
"Now all is done; envy has nothing left
but silence." The copy was retouched
and published again in 1848, and a later
edition was revised by the composer in
1857. Published with French and Ger-
man text, and for the pianoforte, by Bieter-
Bieder-mann (Winterthur) ; by Hofmeister
(Leipsic). Arrangement for the j)iano-
forte by Thuodore Bitter ; Second move-
ment, La fete chez Capulet, for the j^iano-
forte for eight hands, by Bichard Pohl
(Klemm, Leipsic) ; Adagio, Scene d'amour,
for the pianoforte for two hands, by Theo-
dore Bitter (Schlager, Berlin). — JuUien, H.
Berlioz, 123 ; JuUien, Berlioz (1888), 132 ;
Eevue et Gaz. mus. de Paris (1879), 130 ;
Signale (1860), 152 ; Neue Zeitschr., xi.
102 ; xii. 31 ; xli. 1011 ; xlii. 17 ; Apthorp,
Berlioz, 51, 205 ; Hanslick, Concertwesen
in Wien, ii. 289 ; Lavoix, Histoire de I'in-
strumentation, 435.
BOMJeO ET JULIETTE, opera in four
248
EOMfiO
acts, text by Cbarles Nuitter, music by Bel-
lini, first represented at the Opera, Paris,
Sept. 7, 1859. This work was a rearrange-
ment of Bellini's I Gapidetli ed i Mouteechi,
iu three acts, Venice, March 12, 1830. The
third act of Vaccaj's Giulietta e Eomeo was
substituted for Bellini's fourth act. Origi-
nal cast : Komeo, Mme Vestvali, who made
her debut ; Juliette, Mme Gueymard ; Te-
bald, M. Gueymard ; Frere Laurent M.
Marie ; and Capulet, M. Coudon. Other
operas on this subject in Italian : By Josef
Gotthild Schwanberg, Brunswick, 1782 ;
by Luigi Mareschalchi, Kome, 1789 ; Giuli-
etta e Eomeo, by Zingarelli, three acts, text
by Giusejjpe Fop2)a, Milan, Jan. 30, 17'JG ;
by Niccolo Vaccaj, three acts, text by Ro-
mani, ib., Oct. 31, 1825, King's Theatre,
Loudon, April 10, 1832 ; Eomeo e Giulietta,
by P. Carlo Guglielmi, about 18 IG ; Eo-
meo, by Manuel Garcia, New York, 182G ;
Romeo e Giulietta, by Filippo Marchetti,
text by Marcello, Teatro Comunale, Trieste,
Oct. 25, 18G5 ; and by Antonio Mercadal,
Mahon, Minorca, March, 1873. Ojjeras in
French : Romeo et Juliette, comedie by
Dalayrac, four acts, text by Monvel, Paris,
July G, 1792 ; by Sigismuud von Eumling,
Schloss Karlsberg, Munich, 1790 ; by Stei-
belt, three acts, text by M. de Segur, Paris,
Sept. 10, 1793 ; Les amants de Vcrone,
five acts, text and music by the Marquis
d'lvry (Richard Yrvid), Paris, Oct. 12, 1878.
Operas iu German : Eomeo und Julie,
Siugspiel, by Georg Benda, three acts,
text by Gotter, Gotlia, 1778 ; burlesque
operetta by Storch, text by J. Forst, Vi-
enna, November, 18G2. In English : Dirge
in Eomeo and Juliet, by Dr. Thomas A.
Ariie, London, 1750. — Clement et Larousse,
592.
EOMEO ET JULIETTE, gi-and opera iu
five acts, text by Barbier and Carre, music
by Gounod, first represented at the Theatre
Lyrique, Paris, April 27, 18G7. The libretto
closely follows Shakespeare. The first act
opens with the ball at Capulet's house ; the
second shows the balcony-scene, with an
episode, the interruption of Gregoire and his
retainers ; the third, the marriage of Eomeo
aud Juliette in Frere Laurent's cell, and
the introduction of a character invented by
the librettists — Stephano, Eomeo's page —
who iu searching for his master provokes a
general quarrel, in which Mercutio and Te-
bald are slain. The fourth act contains a
long duet in Juliette's chamber, and the
wedding-festivities of Juliette and Paris.
The last act is placed iu the tomb of the
Capulets, where Juliette revives from the
effects of the potion, and, finding Eomeo
breathing his last, stabs herself and dies in
his arms. The opera contains much good
writing aud several beautiful numbers, in-
cluding : The song of Queen Mab ; Juliette's
waltz-song ; the air, " Comme un oiseau
captif ; " the page's song, " Guardez bien la
belle ;" and the duet, " Non, ce n'est pas le
jour, ce n'est jxas I'alouette," between Eomeo
and Juliette. Mme Miolan-Carvalho appear-
ed as Juliette, with M. Michot as Eomeo,
in the original cast. The part of Juliette is
a favourite with Adehna Patti, who sang with
Mario as Romeo when this opera was first
represented iu Italian iu London at Covent
Garden, July 11, 18G7. Publislied by Cliou-
dens, p)ianoforte score by H. Solomon (Paris,
18G7) ; Cramer & Co. (London, 18G7) ;
Fiirstner (Berlin). Transcription for the
pianoforte by Liszt. Rhuni et eau en juillet,
a parody on Gounod's oj^era, by 31. E. De-
jazet, text by M. de Jallais, was given at
the Theatre Dejazet, July, 1867.— Clement
et Larousse, 7i3 ; Revue et Gaz. mus. de
Paris (1859), 301 ; Hauslick, Moderne Oper,
207 ; Athenffium (1867), i. 597, GG8, 699 ;
Neue Zeitschr. (18G7), 225.
ROMEO UND JULIA, fantasy for or-
chestra, overture to Shakespeare's "Romeo
and Juliet," by Jolian Severin Svendseu, op.
18. The score, dedicated to G. Sgambati,
of Rome, was published by Breitkopf &
Hilrtel (Leipsic).
ROMEO UND JULIE, overture for or-
chestra, by Woldemar Bargiel, first per-
formed in Rotterdam before 1871. Over-
2-Jll
EOMILDA
ture of the same title by Joachim Raff, given
at the Richter Coucerts, London, June IG,
1884.
ROMILDA, Italian opera in two acts, text
by Rossi, music by Ferdinand Hiller, first
represented iu Milan, Jan. 8, 1839. Pub-
li.shed by Ricordi (Jlilau, 1810). Other ojj-
eras on this subject : By Bartolomeo Cor-
dans, text by Paganicesa, Venice, 1731 ;
by Giuseppe Mosea, Parma, 1812 ; and by
Gavazzini, Milan, June 9, 1815. — Allgem.
mus. Zeitg., xli. 271.
ROMILDA E COSTANZA, Italian opera,
music by Meyerbeer, first represented in
Padua, June 19, 1815. Lippariui, Camjji-
telli, Biauchi, and Mme Pisaroni appeared
iu the original cast. — Allgem. mus. Zeitg.,
six. 612.
RO]\nSCHE LEICHENFEIER (Roman
Funeral Feast), for mixed chorus, soli, and
orchestra, text by Hermann Lingg, music
by Max Bruch, op. 31. Published by
Leuckart (Loipsic, between 18G8 and 1870).
Also with pianoforte accompaniment (ib.).
R0:\1ISCHER TRIU:\IPHGESANG (Ro-
man Song of Triumph), for male chorus
and orchestra, text bj' Hermann Lingg,
music by Max Bruch, op. 19, No. 1. Pub-
lished by Leuckart (Leipsic, between 1868
and 1876). Also with pianoforte accompani-
ment (ib.).
ROJIOLO ED ERSILIA, ItaUan opera
in three acts, text by Metastasio, music by
Johann Adam Hasse, first represented at
lunspruck, in 1765. The theme is the Rape
of the Sabines. Characters represented :
Eomolo, King and founder of Rome ; Ersi-
lia, illustrious princess of the Sabines, to
■whose hand Romolo aspii'es ; Valeria, noble
Roman lady, the promised bride of Acronte,
and abandoned by him ; Ostillo, Roman
patrician, friend of Romolo and lover of
Valeria ; Curzio, Prince of Antemnati, and
father of Ersilia ; Acronte, Prince of Cenina,
enemy of Eomolo, and pretender to the
hand of Ersilia, and chorus of Romans.
Scene in ancient Rome. Same text, opera
by Josef Mysliweczek, Venice, 1773. ]
RONTGEN, JULIUS, born in Leipsic,
May 9, 1855, still living, 1890. Pianist,
pujiil of his father (Engelbert EOntgen,
born in Deventer, Holland, 1829, violin
professor at the Leipsic Conservatorium),
and of Hauptmann, Richter, and Plaidy ; in
1872 studied in Munich under Franz Lach-
ner. In 1873-74 he made a concert tour
with Stockhausen, and settled in Amster-
dam, where he still resides. Works: Sym-
phony ; Concerto for pianoforte ; Serenade
for wind instruments ; Sonatas for violin,
for violoncello, and for pianoforte ; Other
pianoforte music. — Riemann ; Fctis, Sup-
jjk'ment, ii. 430 ; Viotta.
ROOKE, WILLLUI mCHAEL, born
in Dublin, Sept. 29, 1794, died in London,
Oct, 14, 1847. Violinist and pianist, mostly
self-taught, but j^upil of Dr. Cogan in coun-
terpoint. He became a teacher of violin
and counterpoint, and had Balfe as a vioUn
pupil. In 1817 he was appointed chorus-
master and deputy leader at the theatre in
Crow St., Dublin. He removed to England
a few j'ears later, and settled in Loudon as
chorus-master at Drury Lane Theatre and
teacher of singing. Works — Operas: Ami-
lie, or the Love Test, London, 1837 ; Hen-
rique, or the Love Pilgrim, ib., 1839 ; Ca-
gliostro (MS.). Pianoforte music and songs.
— Grove.
ROOT, FREDERICK WOOD.AIAN, born
in Boston, Massachusetts, June 13, 1846,
still living, in Chicago, 1890. Vocal com-
poser, son and pupil of George Frederick
Root ; studied also pianoforte under B. C.
Blodgett, Boston, and pianoforte, harmony,
and composition under William Mason, New
York, and Robert Goldbeck, Chicago ; the
organ under James Flint, New York, and the
voice under Carlo Bassini, New York, and
L. Vaunucciui, Florence (1869-70). He
was a church organist iu Chicago iu 1863-
89, teacher of voice and harmony iu the
Normal Musical Institute in 1870-85, con-
ductor of Mendelssohn Choral Club, 1879-
85, editor of The Song Messenger (Chicago),
1872-76, and examiner iu the American
330
KOOT
College of Musicians, 1889. Works : Be-
yond, song, 1SC8 ; The crimson glow of
sunset fades, duet, 1870 ; The Extract of
Opera, quartet, 1872 ; The Landing of the
Pilgrims, chorus, written for the Beethoven
Society, 1876 ; Te Deum in G, 1880 ; 3
songs for a high voice, 1882 ; Sweet lone,
quartet in canon-form, 1883 ; 2 songs for a
low voice, 1884 ; Hushaby song, 1888 ; and
other songs and part-songs. Ho is author,
also, of several didactic -works and co-editor
of collections of part-nuisic.
ROOT, GEORGE FREDERICK, born
at Sheffield, Mas-
sachusetts, Aug.
30, 1820, still liv-
ing, 1890. Vocal
composer, pupil
in Boston of
George James
Webb. He be-
came in 1839 as-
sistant teacher in
the music school
of A. N. Johnson
and later his part-
ner ; assistant organist and conductor of
music in the Winter Street and Park Street
churches, Boston, until 1844, when he re-
moved to New York, became organist in
the Mercer Street church (Church of the
Strangers), and taught singing in the Rut-
gers Female Institute, Spingler Institute,
Union Theological Seminary, and Institu-
tion for the Blind, and conducted musical
conventions in various cities. In 1850 he
visited Paris, and after a year's study re-
turned home and began composition, his
first large work. The Flower Queen, given
in New York, being very successful. In
1859 he removed to Chicago and became a
member of the music-publishing firm of
Root & Cady, which was dissolved in 1871,
in consequence of losses in the great fire.
Since then he has continued to reside in
Chicago. In 1881 he received the degree
of Mus. Doc. from the University of Chi-
cago : in 188G he made a second visit to
Europe. Works — Cantatas : The Flower
Queen, given in New York, 1851 ; Daniel,
ib., 1852 ; Pilgrim Fathers, ib., 1854 ; Bel-
.shazzar's Feast, ib., 1855 ; The Haymakers,
ib., 1857 ; Song Tournament, 1870 ; and
others. Many songs and part-songs, in-
cluding Hazel Dell (1853), Rosahe, the
Prairie Flower (1855), The Battle Cry of
Freedom (ISCl), Just before the Battle
(18(;3), Tramp, Tramp, Tramp (1S{J4), and
The Vacant Chair (18G5). He has pub-
lished also many books of collections of
church music, including The Sabbath Bell
(185G), Diapason (1860), Triumph (1868),
Glory (1872) ; of collections for choral so-
cieties, schools, and conventions, including
The Silver Lute (1865), The Forest Choir
(1871), The Palace of Song (1879), Chorus
Castle (1880), The Realm of Song (1882),
Pure Delight (1883) ; The Musical Curri-
culum, an instruction book for the piano-
forte, and other didactic pianoforte and or-
gan works.
RORE, CIPRIANO DE, born at Mechlin
in 1516, died at
Parma in 1565.
One of the most
noted composers
of the 16th cen-
tury, and a brilliant
light of the Vene-
tian school. He
went to Venice at
an early age, and
entered Adrian Willaert's music school.
About 1550 he entered the service of Ercole
rV. (not Ercole II., as Fetis, Grove, and
Riemaun have it), Duke of Ferrara, but
went to Antwerp without leave of absence
seven or eight years later, and never re-
turned to Ferrara, as all the attempts he
made to have himself reinstated in his po-
sition there in 1559 failed. Soon after this
he was appointed vice maestro di cappella
at S. Mai-co, Venice, and on Willaert's death,
in 15(53, was appointed his successor as
chief maestro. But he resigned this jDost
in 1564, and in 1565 accepted the position
251
EOSA
of chori prrefectus to Ottaviano Farnese, ' seriem," 7 voc, " llissa a note nere," 5 voc,
Duke of Parma. De Kore was Willaeit's in the Municli Library ; Superb MS. vol-
first great pupil, ami was also one of the ' ume of motets, with miniatures and portrait
first of the " classic " Venetian school to in-
terest himself in the then new and much
frowned down experiments in chromatic
writing which were beginning to disturb
the musical world. But although he pub-
lished five books of " chromatic madrigals,"
it can be seen from these attempts of his
of de Itore by Hans Mielich, copied for
Duke Albert of Bavaria, ib. — Ambros, iii.
514r : Fetis ; Grove ; Riemann.
ROSA, SALVATOR, born at Aranella,
near Naples, June 20, 1615, died in Rome,
March 15, 1G73. Celebrated painter, poet,
and amateur musician, composer of madri-
tliat he was no more able than other musi- gals and cantatas, a complete collection of
cians of his day to make any progress to- ' which, in manuscript, was owned by Dr.
wards discovering the true nature and laws Buruej-. According to some accounts he
of chromatic harmony. Upon the whole, his jjlayed on the lute when veiy young, and
experiments in this direction were of merely was known in Naples as a lute-player much
secondary importance, and he did not allow in demand for serenades. His life was
them to divert him from the more refjutable ■ principally spent in Rome, Naples, and
diatonic couutei-poiut of his school, in which Florence, anol was full of adventure and
he did all his reallv great work. Works : vicissitudes until the time when he became
Two books of madrigals, -4 voc. (Venice,
1542^3; other eds., 1552, 15G9, 1575,
1582) ; Madrigali della fama, 4 voc. (no
date) ; Book III. of madrigals, 5 voc. (Ven-
ice, 1544) ; Books IV. and V. of do. (15G8,
not first editions, as these have been lost) ;
celebrated as a great painter, and his early
struggles heliDed to tinge with bitterness the
poems composed for his music. Burney
speaks of a music book of his that was sold
in Rome in 1770, a collection of cantatas by
Carissimi, Cesti, Luigi, Cavalli, Legreuzi,
Madrigali cromatici, 5 voc, 5 books (1560- [ CapeUine, Pasqualini, and Baudini in which
68) ; Book I. of motets, 4-8 voc. (Venice, I many of the airs are to Salvator Rosa's
do., 4-5 voc. (ib., 1547)
voc. (ib., 1559) ; Motets
1544) ; Book II. of
Book m. of do., 5
in Cipriani de R. et aliorura Authorum mo
tetta, 4 voc. . . . cum 3 lectionibus pro
mortuis, Josejiho Zarlino authore (1563) ;
1 Mass, "Doulce memoyre," in Liber mis-
sarum, 4, 5, 6 voc. (Venice, 1566) ; Fiamme
vaghe e dilcttevoli, 4-5 voc. (15G9) ; Salmi
di vespero con Magnificat a 4 voci, 15'J3 ; i Ame,
/o Pip
Fantasie e ricercari a 3 voci . . .
da cautare e sonare . . . com-
post! da lo eccelleutissimo Adriano
Vuigliart e Cipriano R. suo disce-
polo (1549) ; Madrigals and mo-
1^0.-^
words. Eight of the cantatas had words
and music by Salvator Rosa. Dr. Crotch
published one of the cantatas in his speci-
mens of different kinds of music. — Fctis ;
Burnej', Hist., iv. 155 ; Salfi, Hist. lit.
d'ltalie, xiii. ; Schilling.
ROSAMUND, English opera, text by Ad-
dison, music by Dr. Thomas Augustine
fii'st represented at Lincoln's Inn
Fields, London, March 7, 1733.
Susanna Maria Arne (afterwards Mrs.
Cibber) sang the part of Rosamund,
and her younger brother that of the
page. Other operas on the same
subject — in English : By Sanuiel
Ai-nold, London, 1767 ; The Fair
Rosamond, by John Barnett, four
acts, ib., Feb. 24, 1837. In Italian :
tetsin many collections published by Susato, | Rosamouda d' Inghilterra, by Carlo Cocchi,
Phalesius, and others ; 3 IMS. masses : " Vi- I text by Felice Romani, Venice, Feb. 28,
vat Felix Hercules," 5 voc, " Prrcter rerum ! 1829 ; by Luigi Majocchi, same text, Milan,
ROSAMUNDE
Feb. 12, 1831 ; by Donizetti, same text,
Florence, ISS-t ; by Anselmo Belisario, same
text, Rovigo, 1835 ; Rosamonda, ossia il eas-
tello di Woodstock, by Pietro Tonassi and
Callavo, Venice, 1839 ; Eosmonda d" Ingbil-
teiTa, by Otto Nicolai, Turin, 1838, Trieste,
as Enrico U., April 2G, 1839. In German :
Kiaiig Heinrich II. und Rosamunde, by
Franz Midler, Laybacli, 1870 ; Rosamunde,
by Friedrich Lux, about 1860, not given ;
and Die Rose von Woodstock, by Willielra
Bennewitz, text by Gustav Bouillon, Chem-
nitz, April 21, 187G.
ROSAMUNDE, FURSTIN VON CY-
PERN, romantic drama in four acts, text by
Willielmine von Chczy, music by Schubert,
first represented at the Theater an der
Wieu, Vienna, Dec. 20, 1823. The libretto,
originally intended for an opera, was hur-
ried through in five days, and proved so
faulty that the work was withdrawn from
the stage after two representations. The
libretto, now lost, tells the following story :
Rosamunde, Princess of Cyprus, brought
up a shepherdess, is told of her rank on
coming of age. Fulgentius, who has been
reigning over Cyprus meanwhile, offers her
his hand, which she disdains, and his love
then turns to hatred. He imprisons her,
and sends to her a poisoned letter by the
Prince of Candia, who is in love with
Rosamunde, and who, in order to be near
her, has disguised himself, and entered the
service of Fulgentius. He delivers her a
different letter, tells her the plot, and she
feigns illness. At an opportune time he
hands the poisoned letter back to Ful-
gentius, who dies, leaving Rosamunde free
to marry her lover. Several numbers of
Schubert's MS. were discovered in 1867
by Sir George Grove, in a dusty cupboard
in the house of Dr. Schreider in Vienna.
The incidental music was enthusiastically
received. Its order of performance was :
I. Overture, in D minor ; H. Entr'acte be-
tween Acts I. and H., in B minor ; III. Ballo,
in B minor, and Andante un poco assai, in
G ; IV. Entr'acte between Acts U. and IH.,
in D ; V. Romance for soprano, Der Voll-
mond strahlt, in F minor ; VI. Chorus of
Spirits ; VH. Entr'acte between Acts HI.
and IV., in B-flat ; VIH. Shepherds' Melody ;
IX. Shepherds' Chorus ; X. Huntsmen's
Chorus; XI. Air de ballet, in G. The
overture, performed before the play, was
published by Schubert for the pianoforte
for four hands as Overture to Alfonso und
Estrella, op. 52 (now op. 69 ; Diabelli, Vi-
enna, 1827). The overture in C, known as
the Overture to Rosamunde, op. 26, was
composed originally for the melodrama of
the Zauberharfe, given in Vienna, Aug. 19,
1820, and was published with its present
name and opus number for the pianoforte
for four hands by Schubert in 1828. The
second trio to the Entr'acte No. 7 was
composed in 1816 as a song, Der Leidende.
The songs were published with pianoforte
accompaniment by Sauer & Leidesdorf (Vi-
enna, 1828) ; The Spirit Chorus, by M. J.
Leidesdorf (ib., 1828) ; the entr'actes, over-
ture, and ballet music in full score by
Spina (ib., 1866-G7), who possessed the
MS. of the ballet music. All the numbers
are published by Schreiber (Vienna). The
Romance, by Breitkopf & Hilrtel (Leipsic) ;
by Arnold (Elberf eld) ; Senff (Leipsic) ; and
by Holle (Wolfenbiittel) ; and an arrange-
ment for the violin and pianoforte, bj' Miska
Hauser (Siegel, Lei^jsic) ; for violoncello
and pianoforte, by J. Stansky (Schreiber,
Vienna) ; and for the pianoforte for two
hands, by Stephen Heller (Schloss, Cologne);
by A. Jungmann (Schreiber, Vienna) ; by
F. Spindler (Siegel, Leipsic) ; and by F.
von Osten (Schuberth, Hamburg). Over-
ture for the pianoforte, by Schreiber (Vi-
enna) ; Andre (Offenbach) ; Litolff (Bruns-
wick) ; for four hands, by Peters (Leipsic) ;
Schreiber (Vienna) ; and Holle (Wolfen-
biittel) ; and for eight hands, by F. G. Jan-
sen (Schlesinger, Berlin) ; and by F. M.
Schneeweiss (Schuberth, Leipsic). Entr'-
actes for the pianoforte for two hands, by
Carl Reinecke (Schreiber, Vienna) ; for four
hands, by K. Hiibschmanu (ib.) ; and the
liOSE
ballet music for two and four bands, by J.
Herbeck (Schreiber, Vienna). — Nottebobm,
Scbubert Verzeicbniss, 45 ; Kreissle von
Hellborn, Scbubert (Coleridge), i. 284-89 ;
ii. 326 ; Grove, iii. 161.
EOSE ET COLAS, eomedie in one act,
text by Sedaiue, music by Monsignj% first
represented at tbe Italians, Paris, Marcb 8,
1764. Tbis was one of tbe many parodies
of Le flcvin du village, given at Fontaine-
bleau, Oct. 18, 1752. It belongs to tbe first
period of opcra-comique, and it was from
reading tbe score of tbis woi-k tbat Gretry
discovered bis true vocation. — Notice bis-
torique sur la vie et les ouvrages de Mon-
signy (Firmiu Didot, Paris, 1818).
ROSE IMAIDEN, THE, cantata for cbo-
rus, soli, and orcbestra, music by Frederic H.
Cowen, first performed at St. James's Hall,
London, Nov. 23, 1870. Cbaracters rep-
resented : Rose Blossom (S.), Mile Tietjeus ;
Tbe Gardener's Daugbter (C), Mme Patey ;
Tbe Forester (T.), Mr. Nordblom ; Spring
(B.), Herr Stockbausen. — Atbenseum (1870),
ii. 095.
ROSE OF CASTILE, THE, comic opera
in tbree acts, text by Harris and Falconer,
music b^' Balfe, first represented at tbe
Lyceum Tbeatre, London, Oct. 29, 1857.
Tbe plot, tbe scene of wbicb is laid in
Spain, is an adaptation of Adoljibe Adam's
"Le muletier de Toli'de." Tbe music con-
tains some of Balfe's most successful songs,
tbe buffo numbers being especially good,
and tbe ballads among tbe best written by
any Euglisb composer. Tbe principal airs
include : Tbe cborus, "List to tbe gay Cas-
tanet ; " Manuel's song, " I am a simple
muleteer," sung to tbe accompaniment of
a tambourine and tbe cracking of bis wbip ;
tbe trio, " Wine, wine, tbe magician tbou
art," sung by Don Pedro, Don Sallust, and
Don Florio ; Don Pedro's ballad, " Tbougb
Fortune darkly o'er me frowns ; " tbe bal-
lad, " Tbe Convent cell," beginning " Of
girlbood's bappy days I dream," sung by
tbe Queen; tbe buffo trio "I'm not tbe
Queen, ba, ba ! " and tbe Queen's bravura
air, " Ob, joyous, bappy day ! " Original
cast :
Elvira (Queen) Miss Louisa Pyne.
Manuel Mr. "W. H. Harrison
Carmen Miss Susan Pyne.
Don Pedro Mr. Weiss.
Don Sallust Mr. St. Alban.
Don Florio '-. Mr. Honey.
— Atbenffium (1857), 1302 f Upton, Stand-
ard Operas, 32 ; Kennedy, Balfe,- 247.
ROSE OF SHARON, THE, dramatic
oratorio in four parts, text by Josepb Ben-
nett, founded on tbe Song of Solomon, mu-
sic by Alexander Campbell Mackenzie, first
performed at tbe Norwicb (England) Fes-
tival, under tbe composer's direction, Oct.
10, 1884. Tbe motto of tbe work, wbicb bas
been called tbe best oratorio ever written by
a Britisb composer, is " Love is strong as
deatb, and unconquerable as tbe grave." Sol-
omon tears tbe Rose of Sbarou from tbe Be-
loved, and makes ber tbe favourite woman in
bis barem. Sbe remains true to ber Beloved,
is restored to bim, and returns to tbe vine-
yards of Sulam. Prologue ; I. Separation ;
11. Tenqitation ; HI. Victory ; IV. Reunion ;
V. Epilogue. Cbaracters represented : Tbe
Rose of Sbaron, tbe Sulamite (S.), Miss
Nevada ; a 'Woman (C), Bline Patey; Solo-
mon (Bar.), Mr. Santlcy ; Tbe Beloved (T.),
Ml-. Lloyd; Tbe Elder (B.), Mi-. Tborn-
dike ; and cboruses of Elders, Soldiers,
Priests, Sbepberds, Vine-dressers, Nobles,
and Maidens. Tbis work bas been received
everywbere witb extraordinary eutbusiasm.
It was first given in London by tbe Sacred
Harmonic Society, Nov. 7, 1884 ; at tbe
Crystal Palace, Nov. 22, 1884; in New
York, April 10, 1885 ; in Glasgow, by tbe
Cboral Union, Dec. 8, 1885. — AtbenjBum
(1884), ii. 535, 032; Upton, Standard Ora-
torios, 199.
ROSE PILGERFAHRT, DER (Tbe Pil-
grimage of tbe Rose), cantata for soli,
cborus, and orcbestra, text by Moritz Horn,
music byScbumann, op. 112, first performed
in Diisseldorf, Feb. 5, 1852. Tbe subject
834
EOSE
of the libretto, which is weak, is that of a
young girl whose origin is revealed by a
rose, which never falls fi'om her hand.
Characters represented: Die Rose (S.) ;
Elfenkouigin and Miilleriu (M.-S.) ; Max
(T.) ; and Todtengriiber (B.). The work,
in two i^arts, containing twenty-four num-
bers, was composed in 1851, and was first
written with a pianoforte accompaniment.
It was given in Leipsic, March 2, 1852, and
at a concert of Robert and Clara Schumann
at the Gewandhaus, Leij)sic, March 1-4,
1852. Published by Franz Kistner (Leip-
sic, 1852). Arrangement for the pianoforte
for two and for four hands by A. Horn.
Breitkojif & Hiirtel, )Schumann Werke, Se-
rie ix.. No. 8. — Reissman, Schumann, 185 ;
Grove, iii. ill ; Upton, Standard Cantatas,
321.
ROSE, THE, cantata, text by James
Russell Lowell, music by "William Wallace
Gilchrist, first performed by the New York
Vocal Union, at Chickeriug Hall, New York,
Feb. 8, 1887.
ROSELLEN, HENRI, born in Paris,
Oct. 13, 1811, died there, March 20, 187G.
Pianist, pupil at the Conservatoire of Go-
blin in solfege, of Pradher and Zimmerman
on the pianoforte, of Dourlen in harmony,
of Fc'tis (1830) and Halovy in counterpoint,
and of Berton iu composition (1835). He
studied also the pianoforte under Herz.
In 1827 he won the second prize for piano-
forte, and in 1828 the first in harmony.
He was one of the best known professors
of his instrument in Paris, and a prolific
composer of pianoforte music. His works,
which number fully two hundred, consist
principally of an-augements of popular airs
and transcriptions. His Methode de piano,
op. IIG, and Manuel des piauistes, op. 116a,
are well known. — FOtis ; Riemann ; Men-
del.
ROSENHAIN, JACOB, born in Mann-
heim, Dec. 2, 1813, still living, 1890. Pi-
anist, pupil of Jacob Schmitt, Kalliwoda,
and Schuyder von Wartensee ; played pub-
licly from the age of ten, and liveel some
time in Frankfort, where his first attempt
at dramatic composition was made. He
gave a concert with Paganini at Baden-
Baden in 1830 ; appeared iu Loudon iu
1837, and settled in Paris the same year,
playing often in chamber concerts with such
virtuosos as Alard, Ernst, Joachim, and
Maurin, and establishing a pianoforte school
with J. B. Cramer. He retired later to
Baden-Baden. Works — Oj)eras : Der Be-
such im Irreuhause, Frankfort, 1834 ; Lis-
wenna (not performed) ; Le demon de la
nuit, Paris, 1851 ; Volage et jaloux, Baden-
Baden, 18G3. Three symphonies ; 4 trios for
pianoforte, violin, and violoncello ; 3 string
quartets ; Concerto for pianoforte and or-
chestra ; 2 violoncello sonatas ; Etudes,
characteristic melodies, capriccios, and other
pieces for pianoforte ; Adieu a la mer
(Lamartine), concert scena : Songs. His
brother Eduard (1818-Gl), also a pianist,
pupil of Schnyder von Wartensee, lived
in Frankfort, teaching his instrument, and
did much towards promoting the musical
life of that city. He composed salon pieces
for the pianoforte. — Mendel ; Schilling ;
Fetis.
ROSENMULLER, JOHANN, born in
Electoral Saxony about 1G15, died at Wolfen-
biittel, Brunswick, iu 168G. Pupil at the
Thomasschule in Leipsic, where he was
afterwards adjunct professor. In 1G48 he
was music director and conductor of a
chorus, but, owing to some misdemeanour
against his pupils, was imprisoned in 1655.
Making his escape to Hamburg, he peti-
tioned for pardon, and, meeting with a re-
fusal, went to Italy, where he lived chiefly
at Venice. In 1GG7 he obtained permission
to return, and was appointed Kapellmeister
by the Duke of Brunswick. Works : Kern-
spriiche, mehrentheils aus heiliger Schrift,
mit 3-7 Stimmen (Leipsic, 1648) ; Stu-
deuten-Musik, consisting of pavanes, alle-
mandes, courantes, ballets, and sarabandes,
for 3-5 instruments (ib., 1654) ; XII sonate
da camera a cinque stromenti (Venice,
1667).— Fetis ; Mendel.
ROSES
EOSfiS, JOSfi, boru iu Barcelona, Spaiu,
Feb. 9, 1791, died there, Jau. 2, 185G.
Priest aud composer of church music, j)u-
pil of Francisco Sampere, maestro de capilla
at Barcelona. He was at first organist in
the monastery of San Pablo, then succeeded
his master at Nuestra Dama del Pino, where
he remained thirty years. His church mu-
sic is preserved in the ai-chives of that
church. Among his pujnls were Calvo y
Puig, Rius, Casanovas, and a luimber of
priests who became good musicians. Works :
Messe solennelle de Gloria, for full orches-
tra ; 2 Requiem masses, with instrumental
accompaniment ; Several masses for two
choii's ; Motets, graduals, etc. — Futis, Sup-
plement, ii. 439 ; Meudel, Ergiinz., 400.
EOSETTI (Eoesler), FEANZ ANTON,
born at Leitmeritz, Bohemia, in 1750, died
at Ludwigslust, Mecklenburg, June 30, 1792.
Destined for the priesthood, he studied in
the seminary at Prague, but obtained a
dispensation from the Pope and devoted
himself to music. He became Kapellmeister
to Count Wallersteiu, aud iu 1789 at the
opera in Schwerin. In 1792 lie was sum-
moned to Berlin, by Fricdricli Wilhelm HI.,
to give his new oratorio. Works : Jesus in
Gethsemane, oratorio ; Eequiem, with or-
chestra ; 7 symphonies for orchestra ; 15
do. for various instruments ; Concerto for
flute and orchestra ; do. for clarinet ; do.
for horn ; do. for pianoforte ; Sextet for
strings, flute, and 2 horns ; 9 quartets for
strings ; 9 sonatas for pianoforte and strings.
— Dlabacz ; Fetis ; Mendel.
E0SI£EE de SALENCY, la, comedie-
pastorale in four acts, text by Masson de
Puzay, music by Gretry, first represented
at the Italieus, Paris, Feb. 28, 1774, having
been previously given at Fontainebleau.
The duet, " Colin, quel est mon crime ? " and
the air, " Ma barque legore," were great
favourites. Characters represented : Jean
Gau, Colin, and Cecile. Other operas of
the same title, by Philidor (with Blaise,
Monsigny, and the Baron von Swieten),
text by Favart, Paris, Oct. 25, 17G9 ; by
Louis Joseph Saint-Amans, Brussels, 1783 ;
and by Theodor von Schacht, about 1790 ;
Das Eosenfest, in German, by Ernest Wolf,
text by Hermann after Favart, Weimar,
1771 ; and the Eose of Salency, in English,
by W. Masters Chalmers, about 1870.— Cle-
ment et LiU'ousse, 597 ; Gretry, Essais sur
la musique, i. 256.
EOSIEEES, LES (The Winners of the
Eose), opera-comique in three acts, text by
Thi'aulon, music by Herold, first represented
at the Feydeau, Paris, Jan. 27, 1817. This,
the composer's first dramatic work, is full
of humour aud was received with favour.
It was given in Frankfort-on-the-Maiu as
Das Eosenmiidchen, iu September, 1818.
It was revived at the Thratre Lyrique,
Paris, June 5, 18G0, aud at the Fantaisies-
Parisiennes, Oct. 23, 1866. — Clement et
Larousse, 597.
EOSINE, ou I'epouse abandonnee, opera
in three acts, text by Gersain, music by
Gossec, first represented at the Acadcmie
Roj'ale de Musique, July 14, 1786. Although
the music was well written, this work met
with no success. Other operas of this
title — in Italian : Eosina, l)y Cavalli, text
by Faustini, Venice, 1652 ; by Pacini,
Florence, 1815. In English : by William
Shield, London, 1783 ; German ballet, by
Doppler, about 1870 ; Operetta, by Eichard
Genee, Vienna, Dec. 25, 1881 ; and Eosine
et Zijly, French operetta, by Leblanc, Paris,
1790.— Lajarte, i. 350.
EOSINGEAVE (Eoseingrave), TH01L\S,
born in Dublin about the end of the 17th
century, died in London iu 1750. Organ-
ist, son and pupil of Daniel Eosingrave
(organist at Dublin, 1698-1727) ; then stud-
ied iu Home and returned to England about
1720. He obtained a position in the or-
chestra of the Haymarket Theatre, and in
1725-37 was organist of St. George's Church,
, Hanover Square. Works : Voluntaries and
fugues for organ or harpsichord ; 12 solos
I for the German flute, with a thorough-bass
for the harpsichord ; 8 suites of lessons for
I the harpsichord or spinet ; 6 cantatas with
S56
KOSLER
accompaniments ; Anthems and songs. Ad-
ditional songs to Scarlatti's opera Narcisso,
wbicli lie adapted for the English stage.
IIOSLER, JOSEPH, born at Schemnitz,
Hungary, in 1773, died in Vienna, July
25, 1812. Dramatic composer, instructed
by his father, an amateur musician, then
formed himself by studying scores and theo-
retical works. In 1795 he became music
director of an opera troupe, with which he
travelled in Germany for ten years. Sub-
sequently he was engaged at the court thea-
tre in Vienna. Works — Operas : La sor-
presa, given in Prague ; La pace di Klentsch ;
La jDastorella degli Alpi ; II eustode di se
stesso ; La forza dell' amore, Vienna, 1798 ;
Le due burle, Prague ; Clementine, oder
die Felsen von Ai-ona ; Elisa, Priuzessin
von Bulgarian, Venice, 1807 ; Die Heirath
Jason's ; Die Rache, Prague, 1808 ; Das
Zauberhorn, j)autoraime ; Die Geburt des
Schneiders Wetz-Wetz-Wetz. Cantatas :
II cyclojie ; Marte al tempio della gloria ;
Cantata on the death of Mozart, Prague,
1798 ; Concerto for pianoforte ; Sonatas for
pianoforte and violin ; Quartet for strings,
etc. — Fetis ; Mendel.
EOSS, JOHN, born at Newcastle-upon-
Tyne, England, Oct. 12, 1763, died at
Craigie Park, near Aberdeen, July 28, 1837.
Organist, pupil of Hawden ; became organ-
ist of St. Paul's Church, Aberdeen, in 1783.
He enjoyed a good deal of local fame.
Works : G concertos for pianoforte and or-
chesti'a ; 7 seta of 3 sonatas for pianoforte ;
3 sonatas for do. and flute or violin ; 4 sets
of G waltzes for pianoforte ; Duets for do.;
Ode to Charity, for solo, chorus, and organ ;
6 hymns for 3 voices and organ ; Numerous
songs, etc.
EOSSI, Abbate FEANCESCO, born at
Bari, Italy, about lG-15, canon there in 1G80.
Dramatic and church composer, author of
operas : II Sejano moderno, Venice, 1680 ;
La peua degli occhi. La Corilda, o 1' amor
trionfante della vendetta, ib., 1688 ; Mi-
trane, 1689. He also comjiosed psalms, and
a Eequiem for 5 voices (Venice, 1688). La
■^^''■^.
caduta degli angeli, oratorio, in MS., is jjre-
served by the Filippini at Naj)les. The fine
and well-known scena, "Ah, rendimi," from
the opera Mitraue, gives a high example of
Eossi's power. — Fetis ; Schilling ; Mendel.
EOSSI, LAUEO, born at Macerata, near
Ancona, Italy, Feb.
20, 1812, died at Cre-
mona, May G, 1885.
Dramatic comi^oser,
pupil at the Naples
Conservatorio of
Crescentini, F u r n o ,
andZingarelli. At the
age of eighteen he had
produced two success-
ful operas ; and in 1832 was engaged, at
Donizetti's recommendation, for the Teatro
Valle at Eome. In 1834 he went to Milan,
and brought out La casa disabitata, which
afterwards appeared as I falsi monetari in all
the theatres of Italy. In 1835 he accepted
the position of maestro di cappella and com-
poser for an Italian company going to Mex-
ico, where he remained until 1839, then
went in the same capacity to Havana,
where he married a German singer in 1841,
and with her went to New Orleans in 1842,
and returned to Italy in 1844. Settled at
Jlilan, he took up composition again with
varying success ; was made director of the
Conservatorio in 1850, and twenty years
aftei', on the death of Mercadante, was
called to Naples to occupy the same post
at the Conservatorio of that city, a position
he resigned in 1878. Although well known
in Italy, Eossi's fame did not extend be-
yond the Alps. Works — Operas : Le con-
tesse villane, Teatro Fenice, Naples, 1829 ;
La villana contessa, Teatro Nuovo, ib., 1829 ;
Costanza ed Oringaldo, ib., 1830 ; La casa
in vendita, Scommessa e matrimonio, ib.,
1831 ; Lo sposo al lotto, ib., 1832 ; II
disertore svizzero, Eome, 1832 ; Le fucine
di Bergen, ib., 1833 ; Amelia, Naples, 1834 ;
Leocadia, Blilan, 1835 ; Giovauna Shore,
Mexico, 1836 ; E borgomastro di Schiedam,
Milan, 1844 ; E dottor Bobbolo, Naples,
25T
ROSSI
1845 ; Cellini a Parigi, Turin, 1845 ; La
figlia di Figaro, Vienna, 1846 ; Azema di
Granata, Milan, 1846 ; Bianca Contarini,
ib., 1847 ; H domino nero, Milan, 1849 ;
Le Sabine, ib., 1852 ; L' alcbimista, NajDles,
1853 ; La sirena, Milan, 1855 ; Un zingaro
rivale, Turin, 1867 ; Gli artisti alia fiera,
ib., 1868 ; La contessa di Mons, ib., 1874 ;
Cleopatra, ib., 1876 ; Bjorn, London, 1877 ;
Saul, oratorio, Rome, 1833. Sis fugues for
strings ; 2 sets of vocal exercises ; Cantatas
for special occasions ; Elegy for Bellini, and
one for Mercadante. — FOtis ; do.. Supple-
ment ii., 441 ; Florimo, Ceuni storici, etc. ;
Riemann ; Mendel.
ROSSI, LORENZO, born in Florence in
1760, died (?). Dramatic composer, pupil of
Bartolomeo Felici, and in Naples of Paisiel-
lo ; then, at the Conservatorio di San Ono-
frio, of Cotumacci. Works : Ifigenia in
Aulide, Genoa, about 1798 ; I due fratelli
ridicoli, Turin, about 1790 ; L' Antigono,
Alessandria, about 1795 ; R geloso in ci-
niento, Monza, about 1790 ; Le due cognate
in contesa, Venice, 1796 ; Lo sposo burlato,
Rome, about 1790 ; L' umanita ; Cantata ;
Church music ; Symphonies for 2 violins,
viola, bass, flute, 2 oboes, and 2 horns ; 6
rondos for pianoforte. — Fi'tis ; Mendel.
ROSSI, LUIGI, called II Divine, born in
Naples about the close of the 16th century,
was living in Rome about 1620. One of
the first composers of cantatas. Thirty-five
by him are in the British Museum, Haileian
:\rSS., and 112 in the Library of Christ
Church, Oxford. His works are said to be
equal to Scarlatti's. The Magliabecchiana
Library, Florence, contains a scena, extracted
from an oratorio, Giuseppe, figlio di Gia-
cobbe ; and the library of the Sacred Har-
monic Society, II palazzo incantato, owero
la gueniera amante, in MS. (Rome, 1642).
Gevaert gives two cantatas for a single voice
in " Les gloires d'ltalic." — Grove; Fotis ;
Burney, Hist., iv. 152 ; Gerber ; Schilling ;
Mendel.
ROSSI, LUIGI FELICE, bom at Bran-
dizzo, Piedmont, July 27, 1805, died in
Turin, June 20, 1863. Church composer,
pupil in composition at Naples of Raimondi
and Zingarelli. On his return to Turin he
brought out an opera buffa, Gli avventurieri,
1835, which proving unsuccessful, he de-
voted himself to church music. His masses
were called after the cities for which they
were written. His motets are among
his best comjjositions. He contributed
the musical articles to the Enciclopedia
Popolare, bj- Pomba, and to the Gran Diz-
zionario della Ungua Italiana of Tomaseo,
translated Cherubini's Course of Counter-
point and Fugue, and Reicha's treatise on
comjjosition. Works : 2 solemn masses ;
Masses of Corio, Alessandria, and Crescen-
tino ; Mass alia Palestrina ; Requiem for
male voices, with orchestra ; 3 complete
vesjiers ; Te Deum ; Magnificat ; Motets
and psalms ; Le sette 2)arole di Giesil Cristo
suUa croce. — Futis ; do.. Supplement, ii.
441 ; Riemann ; Mendel.
ROSSI, anCHELANGELO, born in
Rome, where he lived from 1620 untU about
1660. Violinist and organist, pupil of Fres-
cobaldi. Works : Erminia sul Giordano,
opera, Rome, 1625 ; Toccate c correnti
d' intavolatura d' organo e cembalo (Rome,
1657).— Fi'tis ; Mendel.
ROSSINI, GIOACCHINO ANTONIO,
born at Pesaro, in the Romagna, Feb. 29,
1792, died in Paris, Nov. 13, 1868. His
parents were Giuseppe Rossini of Lugo,
and Anna Guidarini of Pesaro, both of
humble rank and position, the father be-
ing trombadore, or town trumiseter, and
inspector of slaughter-houses, and the
mother a baker's daughter with a good
voice and some musical talent, which she
afterwards turned to account as prima
donna buffa at a theatre in Bologna, when
the father had been imprisoned for actively
sympathizing with the French Republican
faction in the political troubles of 1796.
After his discharge from prison, he played
the horn in the bands of the companies in
which his wife sang. The young Gioac-
chino's childhood was thus passed amid
368
ROSSINI
musical surroundings ; his early education
was slight, except that he took lessons on
the harpsichord from one Prinetti, of No-
vara, under whom he continued three years,
until his propensity for making fun of his
teacher brought about a rupture, and he
was aj)prenticed to
a smith. His cha-
grin at this was so
great that ho re-
solved to curb his
talent for joking
for the future, a
thing which, to his
dying day, he
never quite suc-
ceeded in doing,
and began again to
take music lessons from Angelo Tesei, under
whom he studied singing and harmony.
He was soon able to read at sight, lAay
tolerable accompaniments on the pianoforte,
and sing solos acceptably in church. When
ten years old he sang the part of Adolfo in
Pacr's Camilla on the stage, the only time
he ever appeared in public as a dramatic
singer. At the age of thirteen he was
rather noted as an accompanist, and would
at times play the horn by his father's side
in the orchestra ; he might have had good
engagements as a singer if he would have
accepted them, but he persisted in singing
only at church. He attracted the notice of
the Cavaliere Giusti, who became warmly
attached to him, and did much to further
his general artistic culture. After three
years' study under Tesei, he took singing
lessons from Babbini, when, his voice
changing, he had to throw up all his
church engagements, but was enabled to
enter Padre Mattel's counterpoint class at
the Bologna Liceo Communale (Conserva-
torio). Soon afterwards he studied the
violoncello under Cavedagni. He had al-
ready tried his hand at composition, and
was in a fair way to become a complete
master of bis art ; but Mattel's pedantry
disgusted him, and after a few months he
gave up his studies in counterpoint. His
musical schooling was at an end, and thence-
forth he relied upon himself to learn what
best he might in his own way. In this he
set an example which was only too willingly
followed by more than one of his distin-
guished compatriots, and one by which the
subsequent decadence of Italian music is
in part to be explained. Rossini, Donizetti,
Bellini, and Verdi, the greatest musical
geniuses in Italy in the present century,
and consequently the leaders of Italian mu-
sical thought, all broke off their studies
and entered upon a public career when
their musical education was but half-com-
pleted. On dropping his contrapuntal
studies he took up his former business of
accompanist, and also gave lessons, and
undertook the direction of the Bologna Ac-
cademia dei Concordi. He did not wholly
sever his connection with the Liceo, how-
ever, and at the close of his first year his
cantata, 11 pianto d' armonia per la morte
d' Orfeo, won the first prize and was pub-
licly j)erformed, Aug. 8, 1808. His self-
conducted studies at this time were mostly
in Haydn and Mozart, his admiration for
whom won him the nickname of II Tedes-
chino. In 1810, when he was nineteen, he
got his first order for an opera from the
Teatro San Mose in Venice, through the
influence of the Marchese Cavalli ; this
opera, a one-act comic piece, La cambiale
di matrimouio, had a flattering success.
In 1811 he wrote a two-act opera buffa,
Equivoco stravagante, for the Teatro del
Corso at Bologna, which was also a success.
In 1812 he began writing opera after opera
with inconceivable rapidity, now scoring a
success, now making a fiasco, until his
Tancredi placed him upon the pinnacle of
popularity in Venice during the carnival of
1813. But his Sigismondo failed lament-
ably at the Fenice in 1815, and he returned
to Bologna, much disheartened. There he
met the Neapolitan impresario Barbaja,
and accepted his offer of 200 ducats (about
$175) per month, and a small share in
859
Rossmi
the proceeds of the gaming-tables, to as-
sume the musical direction of the San Carlo
and del Fondo Theatres in Naples, and
write one ofiera yearly for each house. In
Naples he was unmistakably successful, in
spite of the opposition of Zingarelli, Paisi-
ello, and their adherents. But on a visit
to Rome, just before Christmas, 1815, his
self-love met with a severe check : Torvaldo
e Dorliska was coldly received at the Teatro
Valle, and Almaviva, ossia 1' inutile pre-
cauzioue (later known as H barbiere di
Si^-iglia, and his unquestioned masterjsiece
in opera bufia) was damned outright at the
Argentina. From 1815 to 1823 he wrote
twenty operas, mostly for Naples, but also
for Venice, Slilan, and Vienna. The slight
success of his Semiramido iu Venice, in 1823,
induced him to go to Loudon, where he
made about .£10,000 in five months by con-
certs and private lessons. In October he
went to Paris, where he settled himself per-
manently, and undertook the musical direc-
tion of the Theatre Italien. But he had no
organizing talent, and the theatre ran down
so in two years that the Vicomte de La-
rochefoucauld deposed him from the posi-
tion, almost at his own request, and obtained
for him two sinecures, the post of Premier
compositeur du roi, and that of Iiispeetcur
general du chant cu France, with an annual
income of 20,000 francs. Rossini's next
move was to remodel some of his earlier
Italian operas to French versions of the
text, for the Acadt'mie Royale de iMusique ;
thus Maometto II. became Lo siege de
Corinthe, Mose in Egitto, Moise, and most
of the music of H viaggio a Reims was
adapted for the new Le comte Ory. He
also began seriously to study Beethoven's
sj'mphonies with Habeneck. His popularity
in Paris was unbounded, as it was indeed
all over Europe. In 1820 he produced his
masterpiece, Guillaume Tell, in which an
almost total change of style is to be noted ;
while still adhering to the accustomed
Italian form of melody-, he here joined to
it a richness and variety in harmony, a
careful treatment of the orchestra, and a
wealth and consistency of dramatic eii'ect
that showed how fruitful had been his
studies in German and French music. Yet,
strange to say, with Guillaume Tell his
career as a composer practically ended. He
was only thirty-seven, and lived to be
seventy-six ; yet he stopped short in his
career at a period
when he could
hardly have reached
even the full de-
velopment of his
jjowers, and dur-
ing the remaining
thirty-nine years of
his life — more than
half of it — pro-
duced nothing more
for the stage, and nothing of importance iu
any form but the Stabat Mater (1832), and
the Petite messe solenuclle (1864). After
the production of Tell he wished to revisit
his father in Bologna, and resigned his oflSce
of Inspector of Singing, but signed a con-
tract with the government of Charles X.
to furnish five operas for the Academic de
Musique in ten years, for the sum of 15,000
francs per opera, the government to give
him a retiring pension of G,000 francs iu
case of its not carrying out its part of the
contract. He then set out for Bologna,
where the news of the revolution of Julj',
1830, came to him. He returned to Paris
in November, but Louis Philippe's govern-
ment repudiated the contract made by its
predecessor, and Rossini could get no re-
dress from the law courts. He stayed on
in Paris, however, to hear Meyerbeer's Les
Huguenots, and after its success, Feb. 29,
183G, he took a silent resolution never to
write anything more for the Academie de
Musique. But if these events explain well
enough Rossini's forming such a resolution,
they are quite inadequate to explain his ad-
hering to it as he did. The momentary
huff at the repudiation of a contract by the
government would have blown over soon
Eossmi
enough in a man of his easy-going disposi-
tion ; and the success of Meyerbeer's Ro-
bert le Diable and Les Huguenots could
hardly have discouraged hiiu, for he must
have felt in his heart that he himself was
the stronger man of the two. There can
be only one j)lausible explanation of Ros-
sini's thirty-nine years of inactivity, and this
is his inveterate and unconquerable laziness.
To a musician of his defective early train-
ing and long want of practice in any but
comparatively simple forms of composition,
the labour of writing a work like Guillaumo
Tell (to which he was doubtless spurred on
by the success of Auber's Muette de Portici)
must have been considerable. After the
triumph of Tell, and the subsequent suc-
cesses of Meyerbeer, he undoubtedly felt
that it would be both foolish and beneath
his artistic dignity to return to his earlier,
simpler Italian style, a style which he must
have foreseen was destined soon to become
obsolete ; and to nerve himself up to a rep-
etition of the effort necessary to produce
works like Tell was too much for his in-
dolence. He preferred to write nothing.
In 1836 he returned to Bologna, where he
interested himself much in the singing de-
partment of the Couservatorio. His father
died in 1830, but it was not until 1843 that
he returned to Paris, to be successfully
operated upon for stone. He went back
to Bologna, however, soon afterwai'ds. In
1817 the jjolitical disturbances in the Ro-
magna drove him to Florence, where he
lived until 1855, when he returned to Paris,
never to leave it again. During the last
few years of his life he amused himself with
writing little pieces for the pianoforte. His
funeral took place on Nov. 21, 1868, at the
Trinitc, and was attended by almost every
resident artist of distinction, besides several
deputations, from Italy. Rossini married
twice : first, Isabella Colbran, the singer,
in 1822 ; then Olympe Pelissier, in 1847.
He was, at his death, Foreign Associate of
the Institut, Grand Officer of the Legion of
Honour, and of the Order of Saint-Mau-
rice et Saint-Lazare, commander of several
foreign orders, and honorary member of
many academies.
Works — I. Operas : La eambiale di ma-
trimonio, Venice, Teatro San Mose, 1810 ;
Equivoco stravagante, Bologna, Teatro del
Corso, 1811 ; Demetrio e Polibio, Rome,
Teatro Valle, 1812 ; L' inganno felice,
Venice, San Mose, Carnival, 1812, and,
as L' inganno fortuuato, Paris, Theatre
Italien, May 13, 1819 ; La scala di seta,
ib., ib.. Carnival, 1812 ; La pietra del
paragone, Milan, La Scala, Sept. 26, 1812 ;
L' occasione fa il ladro, ossia il cambio della
valigia, Venice, San Mose, autumn, 1812 ;
Tuncredi, ib., Teatro Fenice, Feb. 6, 1813,
and in a French rearrangement, by Castil-
Blaze, as Tancrede, Paris, Odeon, 1827 ;
L' iLaliana in Algeri, Venice, San Benedetto,
1813, and Paris, Theatre Italien, Feb. 1,
1817 ; II figlio per azzardo, ossia i due
Bruschini, Venice, San Mosu, 1813, and
with French text, as Bruschiuo, Paris,
Theatre des Bouffes-Parisiens, Dee. 28, 1857 ;
Aureliano in Palmira, Milan, Dec. 26, 1813 ;
H Turco in Italia, ib.. La Scala, Aug. 14, 1814,
and Paris, Theatre Italien, May 23, 1820 ;
Etixabetta, regiua d' lughilterra, Naples,
San Carlo, 1815, and Paris, Theatre Italien,
March 10, 1822 ; Sigismondo, Venice, Fenice,
Carnival, 1815 ; Torvaldo e Dorliska, Rome,
Valle, Dec. 26, 1815; II barbiere di Siviglia,
ib., Ai-gentina, Feb. 5, 1816, and Paris,
Salle Louvois, Oct. 26, 1819, also in French,
as Le barbier de Seville, Odeon, May 6,
1824 ; La gazzetta, Naples, Teatro de' Fio-
rentini, 1816 ; Otello, ib., Teatro del Fondo,
Dec. 4, 1816 ; Paris, Theatre Italien, June
5, 1821, also in French, as Othello, ou le
More de Venise (Castil-Blaze), Lyons, Dec.
1, 1823, and another version (Royer and
Vaoz), Paris, Academic Royale de Musique,
Sept. 2, 1844 ; La Cenerentola, Rome, Teatro
Valle, Carnival, 1817 ; Paris, Theatre Italien,
June 8, 1822 (a French version, Cendrillon,
was published, but not given) ; La gazza
ladra, Milan, La Scala, May 31, 1817, and
Paris, Theatre Italien, Sept. 18, 1821;
ROSTAiS^D
Ai'mida, Naples, San Carlo, 1817 ; Adelaide
di Borgogua (Ottoue, ro d' Italia), liome,
Teatio Argentina, Carnival, 1818 ; Jlosli in
Egitto, Naples, San Carlo, March 5, 1818,
and remodelled, as Moise en Egj'pte, Paris,
Academie Royale de Musique, March 26,
1827 ; Eiceiardo e Zoraide, Naj^les, San
Carlo, 1818, and Paris, Theatre Italien,
May 25, 1824 ; Adiua, ossia il califfo di
Bagdad, Lisbon, 1818 ; Ermione, Naples,
Sin Carlo, Lent, 1819 ; Edoardo e Cristina,
Venice, San Benedetto, Carnival, 1819 ; La
donna del lago, Naples, San Carlo, Oct. 4,
1819, and Paris, Theatre Italien, Sept. 7,
1824, also in a French arrangement, as La
dame du lac (Lemiere de Corvey), Odeou,
Oct. 31, 1825 ; Bianca e FaUero, Milan, La
Scala, Dec. 2G, 1819 ; Maomello 11., Naples,
San Carlo, December, 1820, and remodelled,
as Le siege de Corinthe, Paris, Academie
Royale de Musique, Oct. 9, 182G ; Matilda
di Ciabrano, also as Corrado Cuor di Ferro,
Rome, Teatro Apollo, Feb. 25, 1821, and
Paris, Theatre Itahen, Oct. 15, 1829 ; Zel-
mira, Naples, San Carlo, Feb. 16, 1822,
and Paris, Tlu'atre Italien, March 14, 1826 ;
Semiramide, Venice, Teatro Fenice, Feb. 3,
1823, and Paris, Theatre Italien, Dec. 8,
1825, also in French, as Semiramis, Aca-
demic Royale do Musique, July 4, 1860 ;
II viaggio a Reims, ossia 1' albergo del
giglio d'
19, 1825
augmented version of the preceding), ib.,
Academie Royale de ^Musique, Aug. 20,
1828 ; Guillaume Tell, ib., ib., Aug. 3,
1829 ; Robert Bruce (pasticcio by Nieder-
raeyer from Zelmira, La donna del lago,
Torvaldo e Dorliska, and Bianca e Faliero),
ib., ib., Dec. 30, 1846.
n. Oratorios and cantatas : H pianto d'
armonia per la morte d' Orfeo, Bologna,
Aug. 8, 180S ; Didone abbandonata, ib.,
1810 ; Ciro in Babilonia, Ferrara, Lent,
1810 ; Egle ed Ii-ene, 1814 ; Teti e Peleo,
Naples, 1816 ; Igea, ib., 1819 ; Partenope,
ib.. May 9, 1819 ; La riconoscenza, ib.,
1821 ; II vero omaggio, Verona, during the
Congress of the Allied Powers, 1822 ; L' au-
gurio felice, ib., 1823 ; La sacra alleanza,
ib., 1823 ; II bardo, ib., 1823 ; II ritorno,
Venice, 1823 ; II pianto delle Muse, Lon-
don, 1823 ; I pastori, Naples, 1825 ; II serto
votivo, Bologna, 1829 ; A Napoleon III. et
a son vaillant peuple, Paris, July 1, 18(57.
m. Sacred music : Stabal Mater, Paris,
Salle Herz (incomplete), Oct. 31, 1841, and
(complete), ib., Salle Ventadour, Jan. 7,
1842 ; La Foi, TEsperance et la Charite,
3 choruses for female voices (scored for
orchestra by Balbi), 1844 ; Petite messe
solennelle, 1864 ; Tantum ergo for 3 male
voices and orchestra, Bologna, S. Francesco
dei Minori conveutuali, Nov. 28, 1847 ;
Quoniam, bass solo and orchestra ; O salu-
taris, 4 solo voices.
rV. Miscellaneous vocal music : Gor-
gheggj e solfeggi ; Non posso, o Dio, resis-
tere, cantata ; Oh, quauto son grate, duet ;
Ridiamo, cantiamo, 4 voices ; Alle voci della
gloria, sceua ed aira ; Les soirees musicales,
8 ariettas and 4 duets ; Inno populare for
the accession of Pius IX. ; Dall' Oriente
r astro del giorno, 4 voices ; Cara patiia,
cantata ; Chant des Titans, chorus ; Se
il vuol la luolinara (his first composition) ;
La separazione, song ; about 40 other songs,
etc., published in Milan and Paris.
V. Instrumental music : Le rendez-vousde
oro, Paris, Theatre Italien, June chasse, fanfare for 4 trumpets; 3 marches for
; Le comte Ory (remodelled and
^Jifl
i/-\
the marriage of the Due d'Orleans ; Pas re-
double, for Abdul Medjid ; 5 string quartets.
— H. S. Edwards, Life of Rossini (London,
1869) ; Silvestri, Della vita e delle opere di
G. Rossini (Milan, 1874) ; Zanolini, Biografia
di Gioacchino Rossini (Bologna, 1875) ;
Pougin, Rossini (Paris, 1870) ; Azevedo, G.
Rossini, sa vie et ses oeuvres (Paris, 1865) ;
Struth, Rossini, sein Leben, seine Werke
und Charakterzuge (Leipsic) ; Grove.
ROSTAND, ALEXIS JEAN, born in
Marseilles, Dec. 22, 1844, still hving 1890.
263
EOTA
Composer and writer on music ; destined
for a business career, he was allowed to
cultivate his musical tastes only as an ama-
teur ; studied solfege and pianoforte under
Bignon and Jules Arnoux, and counter-
point and composition under Augusta Mo-
rel at the Conservatoire of Marseilles. He
composed an ojsera at the age of fourteen.
His oratorio Ruth, first composed with an
accompaniment for pianoforte, organ, harp,
violoncello, and double-basses, and per-
formed in i^rivate in 1870, was enlarged
and orchestrated and given in public at
Marseilles in 1872. He has taken an im-
portant part in editing the Journal Musical
of Marseilles, and is one of the collaborators
of the Suppk'ment to Fetis's " Biographic
des Musicieus." Member of Marseilles Acad-
emy, 1874. Works : Les pecheurs de Ca-
taiie, opera, Marseilles, 1858 ; Ruth, orato-
rio, ib., 1872 ; Gloria victis, ballad for soli,
chorus, and orchestra ; Psalm for 4 voices ;
Pianoforte music, and 20 melodies, for voice
and pianoforte. He published L'Art en
province, etc. (Paris, 1874). — Futis, Supple-
ment, ii. 446.
ROTA, ANDREA, born at Bologna about
1753, died there, June, 1597. Church com-
jjoser, choirmaster at San Petronio in his na-
tive city in 1583, pi'evious to which he had
lived in Rome, conducting a music school,
which was well frequented, notwithstanding
its comjjetition with Palestrina and Nanini.
Works : Madrigali a cinque voci, lib. i.
(Venice, 1579) ; do., lib. ii. (ib., 1579) ; Mo-
tetti a 5, 6, 7 voci, hb. i. (ib., 1584) ; do.,
lib. ii. (ib., 1595) ; II primo libro di madri-
gali a 4 voci (ib., 1592) ; Liber primus mis-
sarum quatuor, quinque et sex vocum (ib.,
1595) ; Dixit Dominus, for 8 voices ; Hodie
Christus natus est, motet for 9 voices ; Mag-
nificat for 12 do., in 3 choirs. — Fetis ; Men-
del ; do., Ergilnz., 402.
ROTH, PHILIPP, born in Munich, March
6, 1779, died there after 1858. Dramatic
composer, pupil of the court musician
Schwarz on the flute, violin, violoncello,
and pianoforte, and of Winter in composi-
tion. Having travelled in Germany and
lived for some time in Vienna, he returned
to his native city. Works : Holmara, Mu-
nich, 1809 ; Der Piichter Robert, ib., 1811 ;
Huldigungsfeste ; Der Kampf mit dem
Dracheu ; Prinzessin Eselshaut ; Die Zau-
beriu Sidonie ; Zemire und Azor ; Die zwOlf
schlafendeu Jungfrauen ; Das Abenteuer
im Guadarama Gebirge, Vienna, 1825 ; Das
Staberl voni Freischiitz, ib., 182G ; Con-
certo for flute ; 3 themes varies, for flute,
viohn, viola, and bass. — Fetis ; Mendel.
ROTOLI, AUGUSTO, born in Rome,
Jan. 7, 1847, still living, 1890. Vocal com-
poser, educated at the Ospizio di San
Michele, where he studied singing, piano-
forte, and harmony under Lucchesi. He
became a member of the choir of St. Peter's,
where his fine soprano voice attracted no-
tice, and he was soon in great demand as
solo singer at special musical solemnities,
and became a notable rival in public fa-
vour of Mustafa, the famous castrato. Be-
fore leaving the Ospizio he studied coun-
terpoint under Salesi. At the age of seven-
teen, his voice having changed, he gave up
singing for a while, devoting himself chiefly
to teaching the pianoforte and singing, in
which he soon attained distinction. He
was elected member of the Societa de' Qui-
riti, and founded the Societa corale de' con-
certi sagri, of which he assumed the con-
ductorship, and which is now the leading
choral society in Rome. In 187C he was
appointed singing teacher to the Princess
Margherita, now Queen of Italy. In 1878
he was made director of the Cappella reale
del Sudario, and was invited to London by
Henry Leslie to conduct his choir in two
concerts of old Italian church music at
which several works in the repertory of the
Sixtine Chapel were sung. On his return
to Rome he was chosen by Liszt to con-
duct the orchestra in his E-flat concerto,
played by himself at a concert at his villa
at Tivoli. His reputation as a conductor
was now fully equal to his fame as a teacher,
and his annual concerts of sacred choral
HOTTER
music became a notable feature of the Ro-
man season. He became widelj' known also
as a song writer, his songs achieving great
popularity. In 1885 he went to Boston,
Mass., on invitation of the New England
Conservatory of Music, where he has since
taught singing. In 1878 he was made
chevalier of the Order of the Crown of
Italy by a motu proprio of the King ; he is
also chevalier of the Order of Christ of the
Queen of Portugal, and of the Order of
Saiut-Maurico et Saiut-Lazare. Works :
Salmo elegiaco in morte di Vittorio Ema-
uuele, for baritone solo, chorus, and orches-
tra, Rome, 1878 ; Messa a 4 voci soli, sung
at the funeral of Victor Emanuel in Rome,
1878 (the 5-voice Benedictus in this mass
is still repeatedly sung in Rome) ; Many
songs with pianoforte : Serate d' inverno,
Al tramonto, etc., most of which are Y>ub-
lishcd by Ricordi (Milan).
ROTTER, LUDWKi, born in Vienna,
Sept. C, 1810, still living, 1890. Church
comjjoser, instructed at an early age on the
violin, pianoforte, and organ, afterwards
studied harmony and counterpoint, and be-
gan his musical career bj' teaching. About
1882 he became organist of the parish
church Am Hof, then also at the university
church, and in 1843 professor of harmony,
thorough-bass, and organ at the Vienna
liirchenmusik-Verein. Two years later he
was made choir director in the two afore-
mentioned churches, in 1858 member of
the court chapel, in 1862 second, and in
1867 first court organist, finally in 1870
Vize-Hofkapellmeister. Works: 14 masses ;
2 Requiems ; about 30 graduals ; 26 ofier-
tories ; Te Deum ; Veni sancte ; Regina
coeli ; Adorna thalamum ; Fugues, sonatas,
etc., for pianoforte. — Kuchel, Die kaiserl.
Hof-Musikkapelle, etc. (Vienna, 1869), 114 ;
Wurzbach.
ROUBIN, AM15di':E DE, born in Paris,
April 22, 1822, still living, 1890. Pianist
and organist, pupil of Nicou-Choron and of
Robberechts, then in harmony of Napoleon
Alkan. He devoted himself particularly to
the comjjosition of military music, which
was executed by the pupils of the Gymnase
de Musique Militaire, under Carafa. Af ter-
wai'ds he oi'ganized a military band of 65
men in the departement de I'Eure, where his
estates are situated. Works : La perle de
Frascati, opcra-comique, Rouen, 1859 ; La
chasse du Burgrave, dramatic scene for 7
voices and chorus, 1851 ; Le renegat de
Tanger, cantata, Paris, 1853. — Futis.
ROUCOURT, JEAN BAPTISTE, born
at Brussels, Oct, 28, 1780, died there. May
1, 1849. Church composer, jjupil of Van
Helmont, then in Paris at the Conservatoire
and of Fiocchi. After his return to Brus-
sels, in 1812, he was for a long time the
only singing master of reputation, and
opened at his own risk a schot)l, which was
subveutioued in 1823 by the government as
the Ecole Roj'ale de Musique. He was ap-
l^ointed its directoi', and after its close, in
consequence of the revolution of 1830, was
made in 1832 honorary professor at the
new Conservatoire. Works : Cantata with
orchestra ; 2 Benedictus, for chorus ; Ave
vcruni, for do. ; O salutaris, do. ; Salve
Regina, do. ; Verbum caro, for bass solo
and chorus ; Ecce panis, for tenor ; Ro-
mances, with pianoforte. He also pub-
lished Essai sur la thcorio du chant (Brus-
sels, 1820).— Fetis ; Mendel.
ROUET D'OMPHALE, LE (Omphale's
Spinning-wheel), symphonic poem for or-
chestra, b}' Saint-Sacns, op. 31, first per-
formed at a Concert Populaire, Paris, Jan. 7,
1876. It represents Hercules at the distaff
of the Lydian Queen, and is a naive com-
position, characterized by chaste and dainty
instrumentation. It was first given in Dres-
den in 1876 ; in London, conducted by the
composer, at the Crystal Palace, Dec. 6,
1879 ; and it has been frequently played in
America. Published by Durand, Schoene-
werk & Cie (Paris, 1876-77).
ROUGET DE LISLE, CLAUDE JO-
SEPH, born at Lonsle-Saunier (Jura),
France, May 10, 1760 ; died at Choisy-le-
Roi, near Paris, June 27, 1836. The son
384
KOUSSEALT
of royalist parents, he entered the school
of royal engineers iu Meziures in 1782 ;
became iu 1789 sec-
ond lieutenant, and
in 1790 first lieuten-
ant, at Strasburg,
where he was jwiJ-
ular as a jjoet, vio-
linist, and singer.
Refusing to take the
oath against the
crown, he was depriv-
ed of military rank and
imprisoned, but, after the fall of Robespierre,
re-entered the army, and served in the cam-
paign of La Vendee under General Hoche.
He lived iu Montaigu in poverty until the
second Restoration, when he removed to
Paris. Louis XVIII. gave him a small
pension, which was continued by Louis
Philipj)e, but he was cared for by his friends
Beranger, David d'Augers, and M. and Mine
Vo'iart, in whose house he died. His first
j)atriotic song, written to a favourite air, was
composed at Besan<;on, a few days after the
taking of the Bastile (July 14, 1789), and his
hymn " A la Liberte," set by Ignace Pleyel,
was sung at Strasburg, at the fete of Sept.
25, 1791. There he wrote three dramas,
one of which, " Bayard en Bresse," was rep-
resented without success in Paris, Feb. 21,
1791 ; and also La llarseillaise (1792),
which has given him celebrity. He wrote
the text for Chelard's oj^era of Macbeth,
Paris, June 29, 1827 ; " Un chant du com-
bat," written at Napoleon's order, and sung
at the Opera in January, 1800 ; Henri IV.,
a romance chevaleresque, 1817 ; " Relation
du desastre de Quiberon " (" Meraoires de
tous," vol. ii.) ; a volume of " Essais en vers
et en prose," dedicated to Mehul, and pub-
lished by F. Didot (Paris, 1797) ; and " Cin-
quante chants franyais," with pianoforte
accompaniment (ib., 1825). Both of these
last works are rare. The latter contains
his song, " Roland a Roncevaux " (1792), the
refrain of which, " Mourir pour la patrie,"
was borrowed by the authors of the "Chant
des Girondins," and arranged by Varney
(1848). A portrait of Rouget de Lisle is
contained in a jsamphlet entitletl "Laverite
sur la pateruite de la Marseillaise," by A.
Rouget de Lisle. — Fetis ; do., Suppk'meut,
ii. 449 ; Larousse, xiii. 1440 ; Kastner,
Chants de I'armee ; Grove, ii. 219 ; iii. 179 ;
Mendel ; Viotta, iii. 278.
ROUSSEAU, FREDERIC, born at Ver-
sailles, Jan. 11, 1755, died there after 1812.
Violoncellist, pujnl of several masters, final-
ly of Louis Duport ; having been a mem-
ber of the Opera orchestra from 1787 to
1812, he retired to his native place and
opened a music school, which was much
frequented. He was one of the founders
of the concerts in the rue de Clery. Works :
6 duos concertants for 2 violoncellos ; Pot-
pourri for do. An elder brother (1748-
1821) was violinist at the Opera in 177G-
1812, and published trios and duos for his
instrument. — Fetis ; Mendel.
ROUSSEAU, JEAN JACC^UES, born in
Geneva, Juno 28, 1712, died at Ermenon-
ville, near Paris, July 3, 1778. Dramatic
composer and writer on music ; learned mu-
sic late iu life, and consequently remained
a poor reader and indifi'ereut harmonist,
but exercised a considerable influence on
French music. When twenty-nine years old
he went to Paris, and in 1742 read before
the Academic des Sciences a paper on a new
system of nuisical notation, afterwards pub-
lished as Dissertation sur la musique mo-
derne (Paris, 1743). In 1745 he composed
an opera, Les muses galantes, which was
produced at the house of La Popeliniere.
Not able to gain access to the theatres, he
undertook to write the articles on music for
the Encyclopedie (Diderot and d'Alembert),
a work he accomplished in three months.
They were severely criticised by Rameau,
and Rousseau, who retired shortly after-
wards to Switzerland, corrected and enlarged
2li5
KOUSSEAU
them, and used them in a subsequent work,
Le dictionnaire de la musique (17G8). In
1752 he brought out an opera, Le devin du
village, which was first played in 1752 be-
fore the king at Fontainebleau, then in
Paris, and for more than sixty years (1753-
1828) held a ]Aace on the French stage.
A contest having arisen between the parti-
sans of Pergolesi and those of the French
composers about the respective merits of Ital-
ian and French music, Rousseau pubUshed
his celebrated "Lettre sur la musique fran-
5aise" (1753), which raised a storm of indig-
nation, and to which the members of the
Oji^ra replied by burning him in efSgy, and
forbidding him admission to the theatre,
where Le devin du village was being played.
Grimm, Diderot, and others joined him,
declaring in favour of Italiau music, and the
Guerre des Bouffons, as it was afterwards
called, enlisted on both sides some of the
best writers of the day. Other writings on
music are : Lettre a M. Grimm au snjet des
remarques ajoutes a sa Lettre a Omphale ;
Essai sur I'origine des langues, etc. (Paris,
1753), containing a chapter on harmony ;
Lettre a M. I'Abbe Kaynal au sujet d'un
nouveau mode de musique iuvente par M.
Blainville (1754) ; Lettre a M. Burney sur la
musique, avec des fragments d'observations
sur I'Alceste italieu de M. le chev. Gluck
(1752). Works : Les muses galante.s, opera,
Paris, 17-45 ; Le devin du village, three acts,
Fontainebleau, 1752 ; Pygmalion, scene-
lyrique, Comedie Franyaise, Paris, 1775 ;
Dajihuis ct Chloe (fragment, published in
score, Paris, 1780) ; Les consolations des
miseres de ma vie, ou recueil d'airs, ro-
mances, ct duos (Paris, 1781), a collection
of about 100 pieces of various kinds. — Fe-
tis ; do.. Supplement, ii. 449 ; Grove ;
Labat, Hist, de musique, ii. 230 ; Hogarth,
Mem. of Mus. Drama, ii. 272 ; Burney,
Hist., iv. 615 ; Lajarte, Biblio. mus. de
rOpera, i. 227 ; Mendel ; Harmonicon
(1827), 173, 200.
EOUSSEAU'S DREAM, a favourite aii- in
England in the early part of the present
century. The author of the tune, as well as
its origin, is unknow n. It was first published
under the title " Rousseau's Dream, an Air
with variations for the pianoforte, composed
and dedicated to the Rt. Hon. the Countess
of Delaware by J. B. Cramer " (Chappell,
London, 1812). It was known earlier in a
slightly difTerent form as "Melissa," words
by Charles James, adapted for the piano-
forte, harp, or guitar, by J. Dale (London,
1788). The melody occurs in the panto-
mime in Scene 8 of Le deuin du village, by
Rousseau. The tune, often sung by Ameri-
can college-boys to the words, " Saw my
leg oft"," is given iu Grove. — Grove, iii. 182 ;
iv. 776.
ROVETTA, GIOVANNI, born in Venice
about the end of the IGth century, died
there in August, 1GG8. Church composer,
pujnl of Monteverde while a singer in the
choir of S. Marco. He took orders, and
was a priest in the churches of San Fantino
and of San Silvestro. In 1G27 he became
vice maestro di cappella at S. Marco, and in
1G43 succeeded Monteverde as maestro di
cappella. Works : Ercole in Lidia, opera,
Venice, 1G45 ; Argiope, do. (finished by
Alessandro Leardiui d' Urbiuo), ib., 1G40 ;
Salmi concertati per vespri, etc. (Venice,
1G26) ; Madrigali concertati, etc. (ib., 1627) ;
do. (ib., 1G40) ; do. (ib., 1645) ; Motetti con-
certati, etc., ed una mes.sa concertata (ib.,
1635) ; Salmi a 1-4 voci con una messa,
etc. (ib., 1642); Salmi a 5 e 6 voci (ib.);
do. a 8 voci ; do. (ib., 1644) ; Motetti con-
certati, con litauie (ib., 1647) ; Salmi per i
vespri e compieta a 8 voci, etc. (ib., 1662) ;
Requiem for 2 choirs. His nephew and
pui)il Giovanni Battista Voljie, called II Ro-
vettino, composed the following operas,
given in Venice : Antiope, 1G4'J ; Costanza
di Rosmonda, 1659 ; Gli amori di Apollo e
Leucotea, 1663 ; La Roselina, 1664. — Fetis ;
Mendel.
RO-^TiiAND, ALEXANDER CAMP-
BELL, born iu Trinidad, West Indies, Jan.
1, 182G, still living, 1890. Double-bass
player and violinist, pujjil of his father.
KOXAS
He was a member of the orchestra of the
Queen's Theatre in 1833, and in 1842-4G
of Jullien's band. He mastered several
other instruments, including the organ, pi-
anoforte, trombone, cornet, viola, etc., and in
1846 studied double-bass under Casolani.
In 1847 he became a member of the Royal
Italian Opera, and of the Philharmonic and
Sacred Harmonic Societies, in 1850 was pi-
anoforte accompanist and solo double-bass
player at the National Concerts, and in 1851
double-bass player at her Majesty's Theatre.
He retired to Southampton in 1860, and de-
voted himself to teaching. Works : Psalm
Ixx., for solo, chorus, and orchestra ; Over-
ture for orchestra ; Waltzes and other dance
pieces for orchestra and pianoforte ; Fan-
tasias, etc., for double-bass and jjianoforte ;
Songs ; Tutor for the double-bass. — Grove.
ROXANA. See Alessandro.
ROXAS, EMjMANUELE DE, born atReg-
gio, Calabria, Jan. 1, 1827, still living, 1890.
Dramatic composer, pupil at the Naples
Conservatorio on the oboe, then in singing
and composition pupil of Cresceutini, Ruggi,
etc. He is much esteemed as a singing
master, and has formed eminent artists.
Professor at the Conservatorio, Naples.
Works — Operas : La figlia del scrgente,
1847 ; Gisella, 1852 ; Rita, 1857 ; Le sette
parole di Giesii Cristo, oratorio ; Masses,
songs, etc. — Fetis, Supplement.
ROXELANE, symphony in C, by Haydn,
written about 1777. It is built on the in-
troduction to Haydn's opera, II mondo della
Luna, Eszterhaz, 1777. The allegretto with
variations has for its theme the French ro-
mance, Roxelane, which gives its name to
the symphony. This movement has been
variously arranged for the pianoforte. Pub-
lished by Simrock. — Pohl, Haydn, ii. 282.
ROYER, JOSEPH NICOLAS PAN-
CRACE, born in Burgundy in 1700-5, died
in Paris in January, 1755. Dramatic com-
poser, went about 1725 to Paris, where he
became in 1741 chef d'orchestre at the
Opera, in 1753 inspector, and in 1746 maitre
de musique des enfants de France. He was
afterwards chamber composer to the king,
and in 1747 conducted the Concert Spi-
rituel. Works : Pyrrhus, 1730 ; Zaide,
1739 ; Le pouvoir de I'amour, 1743 ; Alma-
sis, 1750 ; Several books of cantatas ; Cham-
ber music, etc. — Fetis.
ROZE, I'Abbe NICOLAS, born at Le
Bourgneuf (Saune-et-Loire), France, Jan.
17, 1745, died at Saint-Mande, near Paris,
Sept. 30, 1819. Church composer, pupil of
Abbe Rousseau of Dijon, and of Abbo Ho-
met. He was not quite ten years old when
a motet with orchestra of his composition
was executed in the Cathedral of Beaune,
where he was a choir-boy at the age of seven.
After finishing his studies in the seminary
at Autun, he was made in 1707 choirmaster
in his native city, and in 1769 maitre de cha-
pelle at the Cathedral of Angers. Five years
later he obtained the same position at the
Eglise des Innocents in Paris, but resigned
in 1779, and devoted himself to teaching.
In 1807 he became librarian of the Conser-
vatoire. Of his numerous works only the
following were published : Mass for 3 voices
and organ ; Laudate pueri, for 2 voices and
organ ; Vivat in seternam, motet for the
coronation of Napoleon ; Vivat Rex, motet
for 4 voices and orchestra ; Methode de
plain-chant. — Ft'tis ; Mendel.
ROZKOSNY, JOSEF RICHARD, born
in Prague, Sept. 21, 1833, still living, 1890.
Pianist and dramatic composer, pupil of
Jiranek's school of music, and of Friedrich
Kitth In 1855 he made a concert tour
through Austria, Hungary, Italy, etc. His
compositions are very melodious, and dis-
tinguished for skilful treatment of voices
and orchestra. Works — Operas : Ave Ma-
ria ; MikuliiS (St. Nicholas) ; Svatojanske
proudy (St. John's Rapids), standard opera
of the National Theatre, Prague ; ZaviS z
Falkenstejua (Zavisch of Falkensteiu) ; Pyt-
laci (The Poachers) ; Ebba, the Alchemist's
Daughter ; Riibezahl, Prague, Oct. 18, 1889.
Two masses for male voices ; Several over-
tures ; Many pianoforte pieces ; About 200
songs and choruses.
am
EUBENSON
RUBENSON, ALBERT, born iu Stock-
holm, Sweden, in 1826, still living, 1890.
Instrumental and vocal composer, studied
music at Leipsic ; secretary of the musical
society at Stockholm. Works : Eu Natt
bland Fjiillen (A Night in the iMouiitains),
operetta ; Overture to Julius Ciesar ; 2 sym-
phonies ; Suites ; Pianoforte jiieces and
songs.
RUBERT, JOHANN MARTIN, born at
Nuremberg iu 1G15, died at Stralsund in
1680. Organist ; studied music at Hamburg
and Leipsic, and became in IGJtO organist
of St. Nicholas's Church at Stralsund.
Works : Weltliche musikalische Arieu mit 2
bis 3 Stimmen, etc. (Stralsund, 1647) ; Sin-
fonien, Scherzi, Ballete, Allemanten Cou-
ranten und Sarabanden, von 2 Violinen und
Generalbass ((ireifswald, 1650) ; Musika-
lische Seelenerquickung, etc. (Stralsund,
1664).— Fetis ; Mendel.
RUBEZAHL, German oj^era in two acts,
test by J. G. Rhodes, music begun by
Weber in 1804-6, but never finished. The
libretto is founded on a legend of the Rie-
sengebirge. Weber says that he com-
posed music to the greater part of the li-
bretto, but only an overture and three
vocal numbers ai-e preserved, and these do
not show any of Weber's original treatment
or advance in technique. Weber revised
the overture in 1811, and called it Zum
Bcherrscher dcr Geister. I. No. 3, Geister-
Chor (Spirit>chorus), the MS. of which is iu
the possession of F. W. Jidins, was porforniod
at a concert in Mannheim, March 31, 1810 ;
n. No. 7, Recitative and arietta for Kurt
and the Gnomes, MS. also owned by F. W.
Jiihns ; III. No. 10, Quintet for four so-
prani and bass, Prinzessin, Clarchen, Ku-
nigunde, Elsbcth, and Riibezahl, autograph
owned by Max von Weber. These num-
bers have been arranged with pianoforte
accompaniment by F. W. Jiihns, and pub-
lished by Schlesinger (Berlin) ; and the
overture Der Beherrscher dcr Geister, op.
27, by Peters (Leipsic, 1811), and numer-
ous editions for the pianoforte for four
hands. Other operas on this subject — in
Italian : Ruebenzahl, ossia il vero amore,
by Schuster, Dresden, 1789. Li German:
Riibezahl, by Franz Tuczek, text by Biirde,
Breslau, 1801 ; by Abt Vogler, same text,
not given ; by Wenzel Wilhelm Wiirfel, text
by Marsano, Prague, Oct. 7, 1824 ; Der
Berggeist, by Spohr, text by Doring, Cas-
sel, March 24, 1825 ; by Franz Edele, Zii-
rich, 1838 ; by Christiau Gottlieb Miiller,
Altenburg, ]\Iarch 24, 1840 ; by August
Conradi, text by O. Jansen, Stettin, 1847 ;
by Flotow, text by Putlitz, Berlin, Nov. 26,
1853 ; by Oberthur, about 1870 ; Riibezahl's
Brant, by Ed. Raymont, about 1840, not
given ; and Furstin Riibezahl, Weinachts-
spiel, by Conradi, text by Rudolf Gottschall,
Hanover, 1809. — Jiihus, Weber Verzeichniss,
Nos. 44, 45, 46 ; Weber, Weber, i. 99 ; All-
gem, mus. Zeitg., xlii. 315 ; Grove, iv. 411.
RUBINSTEIN, ANTON GREGOR, born
at Wechwotj-uez, Rus-
sian Bessarabia, Nov.
30, 1830, still Hving,
1890. Soon after his
birth his jjarents, who
were Jewish, moved to
Moscow, where his
father set up a pencil
factory. His first mu-
sical instruction was
from his mother, who was a good musician,
but at seven j'ears of age he began to study
the pianoforte under Villoing ; he never had
any other te.acher. Late in 1839 Villoing
took him to Paris, where in 1840 he plaj-ed
before many of the best musical authorities,
among them Liszt, who advised him to go
to Germany to develop his talent. His
teacher then took him on a concert tour
through Holland, England, Scandinavia,
and Germany, and back to Moscow in 1843.
In 1844 his parents took him and his younger
brother Nicolai to Berlin, where, on Meyer-
beer's advice, both brothers studied theory
seriously under Dehn. His father soon re-
turned to Moscow, and in 1846 his serious
illness called the mother and Nicolai back
RUBINSTEIN
to that city. Auton st.ayed on in Berlin,
saving a tour through Hungary with the
flutist Heiudl, and a brief residence in Vi-
enna. The poUtical troubles of 18-48 drove
him home to Russia, and he settled in St.
Petersburg, where he found a powerful pro-
tectress in the Grand Duchess Helen, and
wrote several Russian operas. In 1854:
the Grand Duchess and Count Wielhorski
advised him to return to Germany to study
and make himself known, and furnished
him with funds for the triij. He found
l>ublishers in Germany for many of his
works, and gave concerts as far as Paris
and London, exciting the greatest admira-
tion wherever he appeared. In 1858 he re-
turned to St. Petersburg, and was appointed
court pianist, and then concert director.
In 1859 he undertook the musical direction
of the Russian Music Society, and in 1SG2
founded the St. Petersburg Conservatory,
of which he was director until 1867. From
this year to 1870 he made concert tours
with triumphant success through Eurojae,
and in 1872-73 in the United States. From
18G7 to 1887 he held no official position,
but gave himself u}), for the most part, to
composition. In 1887 he accei^ted once
more the dii-ectorshij) of the Conservatory
in St. Petersburg, on Davidoff's retirement.
Since then, although St. Petersburg has
been his home, he has made several trips to
Germany, France, and England, either to
give concerts or to superintend the produc-
tion of some important work. In 1889 was
celebrated his "jubilee " — the fiftieth anni-
versary of his artistic life — when the Em-
peror gave him an annual pension of 3,000
roubles, the municipalities of St. Peters-
burg and of Peterhof the title of honorary
citizen, and the University of St. Peters-
burg that of honorary doctor. He was
honoured also by many other municipalities
and scientific and musical associations, and
was the recipient of a large number of gifts.
Rubinstein is unquestionably one of the
greatest and most original pianists that ever
lived ; he often plays carelessly, even in pub-
lic, but when at his best he is unsurpassed,
and even in his less fine moments his com-
manding genius makes itself sui'ely felt.
As a composer he stands in the front rank
to-day, and is, moreover, the only contem-
porary composer outside of France and
Italj', excepting Goldmark, whose serious
operas have won any considerable success.
But fine as his talent, or perhaps genius, is,
his works have, for the most part, won more
admiration than respect from musicians ;
his besetting fault is a sad lack of self-criti-
cism, and a certain indolent habit of mind
that prevents him from making the most of
his inspiration. His best known, and prob-
ably his best, works for the concert-room are
the first movement of his Ocean Symphony,
his pianoforte concertos in G major and D
minor, and his pianoforte trio in B-flat.
Works — I. Operas: Z)/??i<7r('Donskoi, Rus-
sian opera, St. Petersburg, 1852 ; Sibirskiye
Ochotnikie (The Siberian Hunters), do., one
act, ib., 1852 ; Foma Douratchok (Toms, the
Fool), do., one act, ib., 1858 ; Mest (The Re-
venge), do., one act, ib., 1858 ; Die Kinder
der Haide, German grand opera, five acts,
Vienna, Feb. 20, 1861 ; Feramors, oder Lalla
Rookh, German lyrical opera, three acts,
Dresden, 1863 ; Der Thicrm zu Babel, Ger-
man sacred opera in three jjarts, op. 80,
KJinigsberg, Feb. 9, 1870 ; Der Damon,
Russian fantastic opera, three acts, St. Pe-
tersburg, Jan. 25, 1875 ; Die ilaldaharr,
German opera, three acts, Berlin, April 17,
1875 ; Das verlorene Paradies, German sa-
cred opera, three parts, Diisseldorf, Nov. 8,
1875 ; iVt>ro, German opera, four acts, Ham-
burg, Nov. 1, 1879 ; Kalashnikofl:' Moskovski
Koupets (Kalashnikofl' the merchant of Mos-
cow), Russian opera, three acts, St. Peters-
burg, March 5, 1880 ; Stdamilh, German
biblical stage j)lay in five tableaux, Ham-
burg, Nov. 8, 1883 ; Unter Rilubern, German
comic opera, one act, ib., Nov. 8, 1883 ; Der
Papagei, do., ib., Nov. 11, 1884 ; Moses, Ger-
man biblical opera in eight tableaux, op.
112 (Senft", 1888) ; La virjne, ballet, 1882-83.
n. Vocal with orchestra : E dunque
EUBINSTEIN
vero ?, seena ed aria for soprano, op. 58 ;
Die Nixe, cantata for contralto and female
chorus, op. G3 ; Der Blorgen, cantata for
male voices, op. Ti ; Hecuba, and Hagar in
der Wiiste, 2 scenas for contralto, op. 92.
III. Songs and part-songs : Over 100
songs with pianoforte, op. 1, 8, 27, 32-3-4,
30, 57, G4, 72, 7G, 78, 83, 101, 105 ; Songs
and Kequiem for Mignon, from Goethe's
Wilbelm Meister, for soli, chorus, and pi-
anoforte, op. 91 ; 18 two part songs, with pi-
anoforte, op. 48, 67 ; 9 four-part songs for
male voices, oj). 31, 61 ; 6 do. for mixed
voices, op. 62.
TN. For orchestra : 6 symphonies. No. 1,
in F, op. AO ; No. 2 {Ocean), in C, op. •42 ;
No. 3, in A, op. 56 ; No. 4 [Dramalische),
in D minoi', op. 95 ; No. 5, in G minor,
op. 107 ; No. 6, in A minor, op. 111. Faust,
musikalisches Charakterbild, op. 68 ; Iwan
rV. der Gi'ausame, do., op. 79 ; Don Quixote,
do., Humoreske, op. 87 ; Triumphal over-
ture, op. 43 ; Concert overtui-e, in B-flat,
op. CO ; La Jiussie, symphonic poem.
V. For solo instruments with orchestra :
Concerto for isiauoforte. No. 1, in E, oj).
25 ; do.. No. 2, in F, op. 35 ; do., No. 3, in
G, op. 45 ; do.. No. 4, in D
minor, oj). 70 ; do.. No. 5,
in E-flat, op. 94 ; Fantasia
for pianoforte, in C, op. 84 ;
Caprice russe for do., op.
102 ; Fantasia e r o i c a for
do., op. 110 ; Concerto for
violin, in G, op. 46 ; Romance and caprice
for do., op. 86 ; Concerto for violoncello.
No. 1, in A minor, op. 65 ; do.. No. 2,
op. 96.
VI. Chamber music : Octet for piano-
forte, viola, violoncello, double-bass, flute,
clarinet, and horn, in D, op. 9 ; Quintet for
pianoforte and wind instruments, in F, op.
55 ; do. for pianoforte and strings, in G
minor, op. 99 ; Quartet for do., in C, op.
66 ; Trios Nos. 1 and 2, for pianoforte, vio-
lin and violoncello, in F and G minor, op.
15 ; do. No. 3, in B-flat, op. 52 ; do. No. 4,
in A, op. 85 ; do., No. 5, in C minor, op.
108 ; 3 pieces for pianoforte and violin, 3
do. for pianoforte and viola, 3 do. for pi-
anoforte and violoncello, op. 11 ; Sonata for
pianoforte and violin, No. 1, in G, op. 13 ;
do. No. 2, in A minor, op. 19 ; do. No. 3, in
B minor, op. 98 ; Sonata for pianoforte and
viola, in F minor, op. 49 ; Sonata for piano-
forte and violoncello, No. 1, in D, op. IS ;
do. No. 2, in G, op. 39 ; Sextet for strings,
in D, op. 97 ; Quintet for do., in F, op. 59 ;
Quartets for do., Nos. 1, 2, and 3, in G, C
minor, and F, op. 17 ; do., Nos. 4, 5, and 6,
in E minor, B-ilat, and D minor, op. 47 ;
do., Nos. 7 and 8, in G minor and E minor,
op. 90 ; do., Nos. 9 and 10, in A-flat and F
minor, op. 106.
Vn. For pianoforte : Sonata No. 1, in E,
op. 12 ; do. No. 2, in C minor, op. 20 ; do.
No. 3, in F, op. 41 ; do. No. 4, in A minor,
ojD. 100 ; Suite, op. 38 ; 31 opus numbers
of pianoforte music in various forms, among
which : Kainenoi-Ostrow, op. 10 ; 6 Preludes,
op. 24 ; 12 fitudes, op. 23, 81 ; Soireci de
St. Pctersbourg (3 books), op. 44 ; Soirees
musicales, op. 109 ; 6 Charaktcrbilder, for
4 hands, op. 50 ; Sonata in D minor, for do.,
op. 89 ; Hal costume, for do., op. 103 ; Fan-
tasia for 2 pianofortes, in F, op. 73 ; Several
small pieces published when Rubinstein was
young, and numbered separately as op. 1-
10. — Riemanu ; Mendel ; Futis, Supplement ;
Grove.
RUBINSTEIN, NICOLAI, born in Mos-
cow in 1835, died in Paris, March 23,
1881. Pianist, brother of Anton, pupil of
Kullak and in composition of Dehn in
Berlin (1844-46) ; founded in 1859 the
EUDDYGORE
Russian Music Society at Moscow, aud in I
1864 the Couservatoi'ium there. As a vir-
tuoso he was consid-
ered equal to his
brother, and appeared
annually in St. Peters-
burg with great suc-
cess. Of his compo-
sitions very few have
become known.
EUDDYGORE, or
the Witch's Curse,
English comic o^Jera in two acts, text by
William S. Gilbert, music by Sir Arthur
Sullivan, first represented at the Savoy
Theatre, London, Jan. 22, 1887. The story
is that of a baron whose ancestor, havinj;
burnt a witch, brought a curse ujjon the
house of Murgatroyd, that each owner of
the estate should commit a daily crime, or
be tortured to death. To escape the loathed
dignity the rightful lord disguises himself
as Robin Oakapplc. There are many ab-
surd situations, including the scene where
the family portraits of the Murgatroyds
step from their frames to torture the last
descendant, Sir Roderick Murgatroyd, for
refusing to commit his daily crime. Char-
acters represented : Sir Despard Murga-
troyd, Sir Roderick Murgatroyd, Richard
Dauntless, Robin Oakaj^ple, Old Adam
Goodheart, Rose Maybud, Dame Ham-
mond, and Mad Margaret. Mr. Rutland
Barrington, Mr. George Grossmith, Miss
Laura Braham, Miss Rosina Brandram, and
Miss Jessie Bond appeared in the original
cast. The opera was first given in New
York at the Fifth Avenue Theatre, Feb. 21,
1887.— Atheufeum (1887), i. 169 ; London
Times (Jan. 2-4, 1887) ; Ki'ehbiel, Review
(1886-87), 115.
RUDER, JOHANN B.APTIST, born at
Oberbiberach, in the Uj^per Palatinate, Ba-
varia, Sept. 13, 1723, died in the monas-
tery of Sj)einhai't, April 7, 1807. Dramatic
and church composer, pupil of Josef Wild,
organist in the monastery of Speiuhart.
He finished his studies in the seminary at
Amberg, and in 1752 entered the Order of
St. Augustine. Works : Twenty-five op-
eras and oratorios ; 19 masses, with orches-
tra ; 30 litanies ; 40 Veni, Sancte Spiritus ;
18 Salve Regina ; 32 symphonies for full
orchestra. — Fetis ; Mendel.
RUDEESDORFF, JOSEPH, born at Am-
sterdam in 1799, died at KOnigsberg in
1866. VioUuist ; appeared in j)ublic at the
age of eight, playing a concerto by Pleyel ;
entered in 1822 the service of Prince Baria-
tinsky at Ivauovskoi, Russia, and in 1825
became Conzertmeister at Hamburg. He
lived in Dublin more than twenty years,
and in 1851 went to Berlin, whore he con-
ducted the orchestra successively at Som-
mer's, at the Kemper Hof, and at Kroll's.
During a period of six years (1851-57) he
conducted 1,300 concerts and played GOO
solos. Works : Polonaise for violin and or-
chestra ; Variations for do. ; do. for violin
with quartet ; Fantaisies, duos, etc., for vio-
lin and pianoforte ; Duos for violins ; Pi-
anoforte pieces ; Guitar music ; Songs, etc.
— Fetis ; Ledebur, Tonktinstl. Lex., 481.
RUDORFF, ERNST (FRIEDRICH
KARL), born in Ber- .s?Jl%r-
lin, Jan. 18, 1840, '"^ '~^ "
still living, 1890.
Pianist, pupil of Bar-
giel aud Clara Schu-
mann, and on the
violin of Louis Ries.
He studied at the
Berlin aud Leijjsic
Universities, aud at-
tended the Leipsic
Conservatorium as a pupil of Moscheles,
Plaidy, and Rietz, until 1861, when he con-
tinued for a year to receive instruction from
Hauptmanu and Reinecke. In 1864 he
went to Hamburg as conductor of a choral
society with Stockhausen, and made concert
tours with him. In 1865 he was appointed
professor at the Conservatorium in Cologne,
and in 1867 founded there the Bach Society.
He became first professor of isianoforte in
the Hi<2h School of Berlin under Joachim in
271
KUFER
1869, and, retaining tbis position, succeeded
Max Bruch as conductor of Stern's Singing
Society in 1880. He is an excellent pianist
and teacher, and in bis compositions com-
bines the sentiment of the romantic school
with the form of the classic masters, his in-
strumental music being the most success-
ful. Works : Overtures to Der blonde Ek-
bert and Otto der Schutz ; Ballad, serenade,
and variations, for orchestra ; Der Aufzug
der Romanze, from Tieck, for solo, chorus,
and orchestra ; Sextet for strings ; Romance
for violoncello and orchestra ; RUckert's
Gesang an die Sterne, for six voices and or-
chestra ; Many songs, and part songs ; Va-
riations, fantasias, duets, and etudes for
pianoforte. — Riemann ; Fetis, Supplement,
ii. 459.
RUE. See Larue.
RUFER, PHILIPPE BARTHOLOME,
born in LiOge, June 7, 18-14, still living,
1890. Organist, son of Philipp Riifer
(born at Rumpenheim, Hesse, 1810, organ-
ist of the Evangelical Church, Liege, fifty
years) ; pupil in 1861-6-1, at the Liege Con-
servatoire, where he won the gold medal
for pianoforte, organ, and composition, and
taught the pianoforte for two year.s. He
then lived at Leipsic in 1867-69, and as
music director at Essen until 1871, when
he went to Berlin ; he was instructor of
pianoforte at Stern's Conservatorium in
1871-72, then at Kullak's until 1875, and
since 1881 has occupied the same position
at Scharwenka's Conservatorium. Works :
Merlin, opera, Berlin, Feb. 28, 1887 ; Sym-
phony in F ; 3 overtures ; String quartets ;
Trio ; 2 suites for pianoforte and violon-
cello ; Sonata for violin ; do. for organ ;
Pianoforte pieces and songs.
RUFFO, VINCENZO, Italian composer of
the 16th century, born in Verona, contem- |
porai-y of Palestrina. He was maestro di
cappella of the Cathedral of Milan, then of
Verona. He is included bv Baini amontr
the famous musicians of the fourth epoch. '
■Works : II primo libro di motetti a 5 voci :
(Venice, 1551 ; ib., and Milan, 1558) ; Messe j
a 5 voci (Venice, 1557, 1565 ; Brescia, 1580) ;
II primo libro di motetti a 6 voci per tutto
r anno (Venice, 1555, 1583) ; II libro primo
di madrigali a 5 voci (ib., 1550, 1552) ; 2d,
3d, and 4th book of do. (ib., 1553-60);
Madrigali cromatici a 6, 7 e 8 voci, con la
gionta di cinque canzoui, etc. (ib., 1554) ;
do. a 5 voci (ib., 1555) ; 3 other books of
madrigali (ib., 1557, 1558, 1560) ; Salmi
soavissimi et devotissimi a 5 voci (ib., 1574,
1579, 1588) ; Magnificat brevi a 5 voci con
li otto falsi bordoni (ib., 1578). — Fetis ;
Gerber ; Schilling ; Riemaun ; Mendel.
RUGARLI, GASPARO, born at Colorno,
near Parma, Italy, in 1767, died in Parma,
Oct. 27, 1799. Organist, pupil of For-
tuuati, and at Bologna of Padre Mattel ;
entered the service of the court of Parma.
W^orks : L' isola disabitata ; Masses and
motets.
RUGGERI (Ruggieri), GIOVANNI MAR-
TINO, Venetian composer of end of 17th
and beginning of 18th century. Works —
Operas : Marianna, 1696 ; Clotikle, 1696 ;
La saggia pazzia di Giuuio Bruto, 1698 ;
Miltiade, 1699 ; Amor per vendetta, 1702 ;
ib-ato in Sparta, 1709 ; Armida abbandonata,
1710 ; L' inganuatore ingaunato, 1710 ; Le
gare di politica e d' amore, 1711 ; Ai-sinoe
vendicata, 1712. Scherzi geniali ridotti a
regola armonica in dieci sonate da camera
a tre, etc. (Venice, 1690) ; Suonate da chiesa
a due violini, etc. (ib., 1697) ; 12 cantate
con e senza violini (ib., 1706). — Fctis ; Men-
del.
RUGGI, FRANCESCO, born in Naples,
Oct. 21, 1767, died there, Jan. 23, 1845.
Dramatic composer, favourite pupil of Fe-
naroU at the Consei-vatorio di Loreto. He
began composing when quite young, and in
1795 was chosen maestro di cappella extra-
ordinary to the city of Naples by the coun-
cil, he having previously brought out two
operas in that city. His next efl'orts in
dramatic comi^osition proving less success-
ful, he devoted himself to church music.
He was celebrated also as a vocal teacher,
and at the death of Giacomo Tritto became
i^
pTHE NEW TORS
PUBUC LIBRARY
MTM, LEfWX
yu B«>1 FOUND»TI«>l<»
EUGGIERO
in 1825 professor of counterpoint and com-
position at tlie Conservatorio. He bad sev-
eral distinguished pupils, among them Bel-
lini and Carafa. He succeeded Zingarelli
as member of the Accademia Borbouica.
Works — Ojieras : La felicita compita, Na-
ples, about 1795 ; L' ombra di Nino, ib. ;
La guerra aperta, Milan, 179C ; II soffi
trippone, ossia i desideri, opera bufifa, ib.,
1804. Giosuc al Giordano, ox'atorio ; Can-
tatas ; Masses with orchestra, or organ ;
Credos, with do. ; Graduals, offertories,
hymns, vespers, with orchestra, or a cap-
pella ; Passion, after St. John, etc. — Fetis ;
Mendel ; Riemann.
EUGGIERO, IL, ovvero 1' eroica grati-
tudine, Italian opera in three acts, text by
Metastasio, music by Johann Adam Hasse,
first represented in Milan, Oct. IG, 1771,
on the marriage of the Archduke Ferdi-
nand and the Princess Beatrice of Modena.
The libretto is on the heroic conduct of
Kuggiero towards his rival Leone, as told
by Ai-iosto. The action takes place on the
banks of the Seine, near Paris. Characters
reiDresented : Carlo Maguo, Emjieror ;
Bradamante, noble female warrior, loved by
Euggiero ; Ruggiero, descendant of Et-
tore, kuight-at-arms, lover of Bradamante ;
Leone, son and successor of Costantino,
Emperor of the East ; Clotilde, royal j)riu-
cess of France, loved by Leone, and friend
to Bradamante ; Ottone, paladin, and con-
fidant of Bradamante and Ruggiero ; pages,
nobles, and guards of Carlo Magno, pages
of Clotilde, and nobles and guards of Le-
one. Other operas on Metastasio's test by
Pietro Guglielmi, Naples, 1769 ; and by
Cavaliere Antonio Gandini, Modena, Oct.
30, 1822. Same subject, Gli avveuimenti
di Ruggiero, by Albinoni, Venice, 1732 ;
Roger de Sicile, French opera in three acts,
text by Henri Montau Berton, test by Guy,
Paris, March 4, 1817 ; and Ruggiero e
Bradamante, Italian opera, by Josef Schus-
ter, Padua, 1779, and Giovanni Paisiello,
Naples, 1785 ; Ruggiero di Sanginetto, by
Michel Sansone, Naples, September, 1859 ;
and Eugiero, by Cosentini, Florence, 1854.
Other Italian operas on the same subject :
La liberazione di Ruggiero dell' isola d'
Alcina, baUet, by Francesca Caccini, test by
Scaracinelli, Florence, 1G25 ; and Ruggero,
by Lancadi, Madrid, 1841.
RUINEN VON ATHEN, DIE (The Ruins
of Athens), overture and eight numbers to
Kotzebue's Nachspiel, or dramatic after-
piece, by Beethoven, op. 113, written for
and first performed at the opening of the
new theatre in Pesth, Feb. 9, 1812. It was
preceded in the programme by KOnig Ste-
phan, op. 117. The first scene is on Mount
Olympus, with Minerva in deep medita-
tion. She must do penance for two thou-
sand years for having permitted Socrates
to die, and she resolves to visit Athens
with Mercury as her guide. The second
scene shows the ruins of Athens. The tem-
ple of Theseus has been converted into a
mosque, where dervishes and Turks enter,
march, and perform their religious rites,
singing praises to Mahomet. Overcome by
these changes, Minerva decides to travel in
foreign lands. In the thii-d scene Minerva
and Mercury, in the garb of pilgrims, enter
Pesth, where a temple of the Muses is to be
erected. Genii draw in a triumphal car,
containing Thalia's statue, while that of
Melpomene is drawn by Thekla, Wallen-
stein, Egmont, Maria Stuart, and other
characters of German tragedy. The nest
scene shows a temple, with altars gayly
decked, where the high-priest receives
Thalia and Melpomene, and Minerva crowns
the bust of the King of Hungary with a
crown of oUve. Overture in G. I. Chorus,
Tochter des milchtigen Zeus, Andante poco
sostenuto ; H. Andante con moto ; IH.
Chorus of Dervishes, Du hast in deines
Aermels Falten, Allegro ma non troppo ;
IV. Marcia alia Turca, Vivace ; V. Allegro
assai ma non troppo ; VI. March from the
overture, Assai moderato, and Chorus, Al-
legretto ma non troppo ; VQ. Bass aria,
Will unser Genius noch einen Wunch ge-
wiihren. Adagio, and Er ist's, wir sind er-
273
EULE
hijrt, Allegro con brio ; VIII. Final chorus,
Heil unserm Kiinige, Allegro con fuoco.
The Marcia alia Turca is founded on the
theme of the variations for the pianoforte,
in D, op. 76, composed in 1810. A rear-
rangement of this work, Die Weihe des
Hauses, was performed with a new over-
ture, op. 124, at the opening of the Joseph-
stadt Theater, Vienna, Oct. 3, 1822. The
Ruinen von Athen was first performed by
the London Philharmonic in 1844 ; by the
New York Oratorio Society in 1877. Sketch-
books of the Kuinen von Athen and of K<">-
nig Stephan are owned by Artaria & Co.
(Vienna). The overture to the Euinen von
Athen was published by Steiner & Co. (Vi-
enna, 1823) ; and the March and Chorus,
No. VI, by Hasliuger (ib., 1822). The entire
work was published by Artaria & Co. (ib.,
1845-4G) ; by Breitkopf & Hilrtel, Beetho-
ven Werke, Serie xx.. No. 207, op. 113.
March and chorus published separately as
op. 114, Serie xx., No. 207a. Various ar-
rangements for the pianoforte, including a
fantasia on the themes for two and for four
hands and also for two pianofortes by Liszt
(Siegel, Leipsic) ; and the Marcia alia Turca
for the pianoforte for two hands by Rubin-
stein (Schott, Mainz). — Thayer, Verzeich-
uiss. No. Ififi ; Lenz, Beethoven, ii.. Part ii.,
116-123 ; Marx, Beethoven, ii. 176 ; Grove ;
Allgem. mus. Zeitg., xiv. 283 ; (1865), 105 ;
Upton, Standard Cantatas, 49 ; Athenrcum
(1870), ii. 728.
RULE BRIT.\NNL\, political hymn of
Great Britain, music by Thomas Augustine
Arne, for the masque of Alfred the Great,
text by Thomson and Mallet, first per-
formed at Cliefden House, Maidenhead, the
residence of Frederick, Prince of Wales,
Aug. 1, 1740, to commemorate the acces-
sion of George I. The masque was repeat-
ed on the following night, and it was after-
wards extended bj- Dr. Ai-ne into an opera,
and first represented at Drury Lane, Lon-
don, for the benefit of Mrs. Arne, March
20, 1745. The Jacobite rebellion occurred
in that year, and in 1746 Handel, referring
to its suppression, in the Occasional Ora-
torio, adaptetl the words, " War shall cease,
welcome Peace," to the tune " Rule Bri-
tannia," quoting Dr. Arne's measures liter-
ally, a proof of the popularity of the air.
The tune was adopted by the Jacobites, who
changed and parodied the words, supposed
to have been written by Thomson. Dr.
Diusdale, who edited a new edition of Mal-
let's Poems in 1851, claims them for Mallet,
but evidence against him is to be found
in the Library of the British Museum.
Southey says the music of this " ode in hon-
our of Great Britain will be the political
hymn of this country as long as she main-
tains her political power." The masque of
Alfred was published by Millar (London,
1740) ; and the score of Rule Britannia was
printed by Dr. Arne at the end of " The
Judgment of Paris, " also represented at Clief-
den in 1740. Many variations have been
written on this air, including five for the pi-
anoforte, in D, by Beethoven (Vienna, 1804).
Breitkopf & Hiirtel, Beethoven Wei'ke, Serie
xix., No. 5. Wagner wrote an overture.
Rule Britannia, in KOnigsberg in 1836, the
score of which was sent to the London Phil-
harmonic Society, but was not performed,
and the MS. is supposed to have been lost.
— Grove, iii. 203 ; Notes and Queries, Sec-
ond Series, iv. 152, 415, 498 ; v. 91, 136.
199, 319.
RULER OF THIS AWFUL HOUR. See
Obei-on.
RUMLER, JAN, Bohemian composer of
the end of the 18th and beginning of the
19th century. About 1780 he was living
at Holovans. Works : Aliman, oder Bona-
parte in Egyjjten, opera, Prague, 1804 ; Die
Walpurgisnacht, do., ib., 1827 ; Quintet
for 2 clarinets, 2 horns, and bassoon ; Trio
for 2 clarinets and bassoon ; do. for piano-
forte, clarinet, and violoncello ; Duos for
flutes ; Sonatas, fantasias, etc., for piano-
forte.— Mendel.
RTOILING, SIGISMUND, Baron VON,
born in Alsace about 1739, died in Munich,
May 7, 1825. Amateur composer ; studied
274
EUMMEL
music in Municli, where he had entered the
Elector's service as a page, and in 1800 be-
came iutendaut of the court music. Works :
Polidor, opera, Karlsberg, 1785 ; Romeo
und Julie, do. ; Symphonies for orchestra ;
3 (juartcts for strings. — Mendel.
RUMMEL, CHRISTIAN (FRANZ LUD-
WIG FRIEDRICH ALEXANDER), born at
Brichsenstadt, Bavaria, Nov. 27, 1787, died
at Wiesbaden, Feb. 13, 1849. Clarinetist,
pianist, and violinist ; studied in Mannheim,
und was influenced by Abt Vogler. In 1806
he became bandmaster of a Nassau regi-
ment, went through the Peninsular cam-
paign, was taken prisoner, released, and
served at the battle of Waterloo. The
Duke of Nassau then intrusted him with
the direction of his court orchestra until
its dissolution in 1811. He appeared as a
pianist in the chief cities of Germany,
Switzerland, and the Netherlands, and was
honoured by the friendship of Beethoven.
Works : Music for military band ; Con-
certos, quintets, and other pieces for clar-
inet ; Sonatas, waltzes, fantasias, and other
compositions for pianoforte ; Method for
do. — Fctis ; do., Supplement, ii. 462 ; Ric-
mann ; Mendel, viii. 464 ; do., Ergiiuz., 405 ;
Schilling.
RUNDNAGEL, CARL, born at Hersfeld,
April 4, 1835, still living, 1890. Violinist
and organist, first instructed by his father,
then pupil of Spohr ; obtained a position in
the orchestra of the Stadttheater at Cologne,
and soon after in the court orchestra at
Cassel, where in 1866 he became court or-
ganist. His compositions for the organ
rank high. — Mendel.
RUNG, HENRIK, born in Copenhagen,
March 3, 1807, died there, Dec. 12, 1871.
Dramatic composer ; was a virtuoso on the
guitar when young, and in 1834 became
double-bass player in the royal orchestra.
He studied three years in Italy, then was a
pupil in singing of Garcia in Paris, and in
1842 became singing master at the court
theatre in Copenhagen. In 1852 he founded
the Caecilia Society. Works : Die Erstiir-
mung von Kopenhagen, opera, 1847 ; Fe-
derigo, do., 1848 ; Die Studenten von Sala-
manca, do., and five other ojieras ; Music to
Hertz's drama, "Svend DyriugsHus," 1837;
Ulla Skalpaa Bal, dramatic ballad for solo
and chorus ; Ballads, romances, etc. — Men-
del ; do., Ergiinz.
RUNGENHAGEN, CARL FRIEDRICH,
born in Berlin,
Sept. 27, 1778, died
there, Dec. 21,
1851. Church
composer, pupil of
Beuda, and much
influenced by his
intercourse with
Zelter, Schneider,
Prince Radziwill,
etc. ; became in
1815 vice-director of the Singakademie,
and in 1833 succeeded Zelter as director.
lu the same year he was elected member of
the Academy, and in 1843 received the
title of professor. Works — Operas : Der
Eremit von Pormentera : Die Fischer an
der Ostsee ; Eulenspiegel ; Ratibor und
Wanda. Oratorios : La morte di Abele ;
Christi Einzug in Jerusalem ; Die heilige
Ciicilia. Many church and festival cantatas ;
Mass for male voices ; Te Deum ; 30 mo-
tets ; 30 four-part songs and chorals ; More
than 100 sacred and 1,000 secular songs,
etc. — Fetis ; Mendel.
RUPPE, CHRISTIAN FRIEDRICH,
born at Salzungen, Saxe-Meiniugen, Aug.
22, 1753, died in Leyden, May 25, 1826.
Pianist, first instructed in his native town,
then at Lej'den, where he frequented the
university ; he settled there, and in 1790
was made music director of the university.
Works : Trio ; Sonatas for pianoforte, and
for do. and violin ; 48 sacred songs for 3
voices with organ ; 24 hymns ; 32 piano-
forte pieces. — Viotta.
RUPPE, FRIEDRICH CHRISTIAN,
born at Salzungen, Saxe-Meiniugen, Feb.
18, 1771, died at Meiningen, Aug. 14, 1834.
Pianist and violinist ; studied at Eisenach,
KUSSALKA
and became violinist and chamber virtuoso
to the Duke of Meiningen. Works : Die
Passion, oratorio ; Das Wunderkind, do. ;
Friedensbote, do. ; Concerto for pianoforte,
with chorus ; Trio for pianoforte, clarinet,
and bassoon ; Sonata for pianoforte and
strings. — Mendel.
EUSSALKA (The Water Nymph), Rus-
sian grand opera, text by Alexander Push-
kin, music by Alexander Dargomyzsk5', first
represented in St. Petersburg, May 4, 185G,
and in Moscow in 1867.
RUSSELL, HENRY, born at Sheemess,
Kent, England,
Dec. 24, 1815,
still li\-ing, 1890.
Vocal composer,
pupil of P. King ;
went to Bologna
in 1825, to study
music at the Con-
servatorio, to New
York in 1833,
and returned to
England in 1840,
when he began to travel as a singer and
composer, attaining great success. In his
particular style he had no rival, and some
of his songs, estimated at more than 800,
have had extraordinary popularity, especi-
ally The Maniac, The Gambler's" Wife, A
life on the ocean wave, I'm afloat, and
Woodman, spare that tree.
RUSSELL, ^ATLLIAM, born in London
in 1777, died there, Nov. 21, 1813. Or-
ganist and pianist, pupil of Cope, Shrub-
sole, and Groombridge, and in 1797 of Dr.
Arnold. He was deputy organist to his fa-
ther at St. Mary's, Aldermaubury, 1789-93 ;
organist to the chajjel in Great Queen's
Street, Lincoln's Inn Fields, in 1794-98 ; of
St. Ann's, Limehouse, in 1798 ; pianist and
comjjoser at Sadler's Wells in 1800, and pi-
anist at Coveut Garden in 1801. Mus. Bac,
Oxford, 1808. Works — Oratorios : Job,
1826 ; The Redemption of Israel. Odes : To
Music ; To the Genius of Handel ; On St.
Cecilia's Day ; To Harmony. Mass for 4
voices ; Services and anthems ; Several glees,
songs, and organ voluntaries, and about 20
pieces of theatre and pantomime music.
— Grove ; Fetis.
RUSSIAN NATIONAL HYMN, composed
by Alexis Lvoff in 1833. This tune, which
possesses none of the characteristics of Rus-
sian music, resembles the Sicilian mariners'
hymn, " 0 sanctissima." Immediately on
its appeai-ance the Emperor of Russia or-
dered it to be performed in concerts and at
the theatres. It was published in St. Pe-
tersburg and Berlin in 1833. It is used
as a motif in Rubinstein's La Hussie, and
Gounod wrote a fantaisie on it. — Engel,
The Study of National Music, 185.
RUSSIE, LA, symphonic poem for gi'and
orchestra, by Anton Rubinstein. I. Mode-
rate ; H. AUemands, Moderato assai ; HI.
Petits-Russiens, Allegro non trop2>o : IV.
Hymne national (A. Lvoff), Moderato. Pub-
li.shed bj' Jurgenson (Moscow, 1882).
RUST, FRIEDRICH WILHELM,
born at WOrlitz, near Dessau, July 6,
1739, died in Dessau, Feb. 28, 1796.
Violinist, pianist, and organist, pupil of
his elder brother, Johanu Ludwig Anton
Rust, who had played the violin in
Johann Sebastian Bach's orchestra in
Leipsic. While attending the University
of Hidle he studied composition, organ,
and pianoforte under Friedemann Bach ;
later, became a i3uj)il of Hiickh and Benda
on the violin, and of Emanuel Bach on
the pianoforte. With Prince Leopold HI.
of Anhalt Dessau he visited Italy in 1765,
and was influenced by Tartini and Pugnani.
On returning to Dessau, in 1766, he became
the centre of its musical life, and owing to
his exertions a theatre was opened in 1774.
In 1775 he was appointed music director
276
RUST
and married his pupil, Heuriette Niedhart,
remaining the rest of his hfe in Dessau with
the exception of brief visits to other German
cities. In his hxst illness he composed a
violin sonata for the E string, auticijjatiug
and even surpassing Paganini, because his
work was to be played also upon the other
strings with transjjosition of the key.
Works : Inkle und Yariko, a duodrama ;
Der blaue Montag, comic opera; Col ma, a
monodrama ; Korylas und Lalage, a pas-
toral ; Music to plaj's and prologues ; Sev-
eral cantatas : Psalm for solo, chorus, and
orchestra ; Trio for flute, violin, and viole
d'amour ; 2 collections of odes and songs ;
7 sonatas for pianoforte ; 3 do. for violin ;
Italian arias ; 24: variations on a song by
Schulz. He left unpublished four dozen
sonatas for pianoforte, several four-hand
sonatas, many sonatas for violin and other
instruments, concertos, variations, fugues,
songs, etc. — Mendel ; Fetis ; Gerber ; Schil-
ling : Riemann.
RUST (Rusti), GIACOMO, born in Rome
in 1741, died about 1787. Pupil of the
Conservatorio della Pieta in Naples and of
Rinaldo da Capua in Rome ; produced his
first ojjera in Venice ; became maestro de
capilla of the Cathedral of Barcelona in 17G7,
but visited Italy again several times. Works
— Operas : La contadina in corte, 17G4 ;
L' idolo ciuese, 1774 ; L' amor bizzarro,
Alessandro nell' Indie, 1775 ; H barone di
Terra Asciutta, II Soerate immaginario, R
Giove, 177G ; I due protetti, 1777 ; Gli
antiquari in Palmira, 1780 ; Artaserse, 1784 ;
II talismano, 1785 ; Berenice, 1786. — Fe-
tis ; Schilling ; Mendel ; Gerber.
RUST, WILHELM, born in Dessau, Aug.
15, 1822, still living, 1890. Pianist and or-
ganist, pupil of his uncle, Wilhelm Karl
Rust, on the pianoforte and organ, and of
F. Schneider in composition. He was mu-
sical instructor in a Hungarian nobleman's
family in 1845-49 ; settled in 1849 in Ber-
lin, where he was a member of the Singa-
kademie in 1849-51, and later of the Bacli-
verein. He played in several concerts and
had many pupils ; became organist of St.
Luke's Church in 18G1 ; and in 18G2-74
was director of the Bach Society founded by
G. Vierliiig. He was appointed royal music
director in 1864 ; received the degree of
doctor of music in 1868 from Marburg Uni-
versity ; became instructor of counterpoint
and composition at Stern's Conservatorium
in 1870 ; and in 1878 went to Leipsic as
organist of the Thomaskirche, and in-
structor at the Conservatorium, and suc-
ceeded E. F. E. Richter as cantor of the
Thomasschule in 1880. Since 1853 he has
been connected with the Deutsche Bachg-e-
sellschaft, and has edited many volumes of
its edition of Bach ; has also edited compo-
sitions by other masters. Works : Sacred
choruses, part-songs for male or mixed
voices, and soli, with orchestra or organ ;
Motets, and other church music ; Caprices,
nocturnes, fantasias, and other compositions
for pianoforte ; Collections of songs. — Men-
del ; Riemann ; Fetis.
RUST, WILHELM KARL, born in Des-
sau, April 29, 1787, died there, April 18,
1855. Pianist and organist, son and pupil
of Friedrich Wilhelm Rust, and while at-
tending Halle University studied tlun'ough-
bass under Turk. He went in 1807 to
Vienna ; Beethoven praised his playing,
and recommended him so highly that he
secured many distinguished pujjils. In 1819
he became organist of the Protestant church
of Vienna, but in 1827 returned to Dessau.
Works : Songs ; Organ preludes ; 3 four-
hand fantasias ; Variations. — Mendel ; Fe-
tia ; Riemann.
RUSZLAN AND LUDMILLA, grand
Russian opera in five acts, text by Alexan-
der Pushkin, music by Glinka, first repre-
sented in St. Petersburg, Nov. 27, 1842.
The scene is laid in the Caucasus in fabu-
lous times, and the music is Asiatic and
oriental in colouring. The overture was
performed at the Crystal Palace, London,
July 4, 1874. Published by Schott (Mainz,
between 1852 and 18G0) ; by Schuberth
(Hamburg, between 1868 and 1876). The
877
EUTA
Circassian IMarcli, from the opera, arranged
for the pianoforte for four bands, b_y Liszt
(Sclmbert, Lei2)sic).
KUTA, anCHELE, born at Caserta in
1827, still living, 1890. Dramatic and
church composer, pujiil at the Naples Con-
servatorio of Lanza on the jjiauoforte, of
Ciniarosa the younger and of Cresceutini
in singing, of Gennaro Parisi in harmony,
and of Francesco Kuggi and Carlo Coiiti in
counterpoint and composition. In 1848 he
joined the volunteers against Austria, and
after the defeat at Novara returned to
Naples, where he wrote several didactic
works, and afterwards took up comjiosi-
tion. Works — Operas : Leonilda, Naples,
1853 ; Diana di Vitry, ib., 1859 ; L' impre-
sario i^er projetto, ib., 1873 ; Imelda, bal-
let. Grand cantata ; 2 masses with orches-
tra ; 3 do. alia Palestrina ; 2 do. for male
voices, with hai-p, harmonium, violin, and
double-bass ; Rccjuiem, for 4 voices and or-
chestra ; Te Dcum ; Several motets ; G al-
bums of vocal melodies ; Songs and part-
songs, and many pianoforte pieces. — Fctis,
Suppk'ment, ii. 4G4.
KUTH, dramatic oratorio, by Frederic
Hymen Cowen, first performed at the Wor-
cester (England) Festival, under the com-
poser's direction, Sept. 8, 1887. Charac^tcrs
represented : Kuth, Mme Albani ; Orpah,
Miss Anna Williams ; Naomi, Miss Hope
Glenn ; Boaz, Mr. Edward Lloyd ; Mr. Wat-
kin Mills, an Elder, and a Reaper. This
oratorio was first given in London at the
Crj-stal Palace, Dec. 17, 1887 ; and first in
America, by the Boylston Club, Boston
(Mass.), March 7, 1888 ; Athenreum (1887),
ii. 380, 871.
RUTH AND NAOin, a scriptural idyl
in two parts, text from the Bible, music by
Leopold Damrosch, first performed by the
Oratorio Society of New York, under the
composer's direction, Feb. 22, 1875. Char-
acters represented : Ruth (S), Miss Harriet
E. Bedloe ; Naomi (C), Miss Anna Drasdil ;
(T), Mi: Alexander Bischofi' ; and Boaz (B),
Ml". Fi'anz Remmertz. The pianoforte score
was published by G. D. Russell k Co. (Bos-
ton, 1875).
RUTH ET BOOZ, oratorio, by Lesueur,
first jierformed in Paris about 1810. Other
oratorios and cantatas on the same subject,
in Italian : Le nozze di Ruth, by Sacchini,
al)0ut 1770 ; Ruth, by Pietro Raimondo,
Naples, about 1834. In French: Ruth at
Booz, by Antoine Elie Elwart, al)out 1850.
In German : Ruth, by Eckert, Berlin, Feb.
7, 1834 ; by Aloys Schmitt, about 1850 ;
Ruth und Boos, by Henry Litoltf, 18C9 ;
Ruth und Booz, by Steinhiluser, 1879 ;
Ruth, cantata for chorus, soli, and piano-
forte, by H. M. Schletterer, op. 50 ; and
biblical scenes, by Le Beau, Munich, March
5, 1883. In English : Ruth, by Felice
Giardini, London, 1772 ; by Samuel Wes-
le}-, ib., 1778 ; Naomi, by Edward Thomas
Chipp, London, about 18G0 ; Ruth, biblical
idyl, by Otto Goldschmidt, Hereford (Eng-
land) Festival, 1867.
RUTH ET NOian, oratorio, by Lesueur,
first performed in Paris about 1810.
RUTINI, FERDINAND, born in Mod-
ena, Italy, in 17G7, died at Terracina, No-
vember, 1827. Dramatic composer, son
and pupU of the following ; became maestro
di cappella at Macerata, later at Terracina.
Works : L'avaro, Rome, 1789 ; II matri-
monio per industria, Florence, 1792 ; II
locandiere deluso, ib., 1794 ; La prova del
dramma serio, ib., 1797 ; Cantatas with or-
chestra.— Fctis.
RUTINI, GIOVANNI MARCO, born in
Florence in 1730, died there in 1797. Dra-
matic composer, jiupil at the Conservatorio
di Sant' Ouofrio, Naples ; travelled in 1754
in Germany, and settled in 1757 at Prague.
After his return to Italy, in 178G, he was at
first maestro di cappella to the Duke of
Modena, then to the Grand Duke of Tus-
cany. Works — Operas : Ezio, Leghorn,
17G4 ; L' Olandese in Italia, Florence, 17G5 ;
Gli sposi in maschera, Modena, 1766 ;
Amor industrioso, 1767 ; Vologeso ; Zulis-
ma, Florence, 1777. Lavinia e Turno, can-
tata (Leipsic, 1756) ; Cantate a voci di
278
RUY
soprano con 4 stromenti (ib., 1758) ; 25
sonate per il cembalo, etc. — Fetis ; Mendel.
RUY BLAS, overture for orchestra, by
Mendelssohn, op. 95, first ijerformed in
Leipsic, March 11, 1839. Mendelssohn was
commissioned to -^vrite a romanza, op. 77,
for a performance of Victor Hugo's " Ruj-
Bias" for the benefit of the Theatrical
Fund, and hearing regret expressed, on de-
livering the coj)y, that he had not composed
an overture, wrote this one in less than
three days. It is dated Leipsic, March 8,
1839, and its composer said that it gave
him " more fun " than anything he had ever
written. Lento in D minor. Allegro molto
in C. Mendelssohn took the M.S. of this
overture to London in 1814, and it was
tried at a Philharmonic rehearsal, but was
not given until May 25, 1849. It was first
perfonned by the New York Philharmonic
in the season of 1854-55. The MS., which
was not printed untU after Mendelssohn's
death (Posthumous Works, No. 24), is in
Buckingham Palace. Breitkopf & Hiirtel,
Mendelssohn Werke, Serie ii.. No. 14.
RUY BLAS, Italian opera in four acts,
text by d'Ormeville, music by Filippo ilar-
chetfi, first represented at La Scala, Milan,
Ajn-il 3, 1SG9. Other operas of the same
title, in Italian : By Poniatowsky, Lucca,
September, 1843 ; by Besanzoni, Piaeenza,
1843. In English: By Howard Glover,
London, Oct. 28, 1861. In German: By
Max Zenger, text by Karl Heigel, Mann-
heim, June 4, 1868 ; Entr'acte music and
overture, by Jacques Strunz, Paris, about
1840. Operas on the same subject : 3[ari-
tana, in English, by Wallace, text by Fitz-
ball, London, Nov. 15, 1845 ; Maria di
Neuemburgo, in Italian, by Chiaramonte,
Bilbao, 1862 ; and Don Cesar de Bazan, in
French, by Massenet, Paris, Nov. 30, 1872.
RYBA, JAKOB JAN, born at Przestitz,
Bohemia, Oct. 26, 1765, died at Roczmittal,
ib., in 1815. Virtuoso on the violin, violon-
cellist, and organist, fii'st instructed by his
father, an organist, afterwards in Prague pu-
pil in composition of Segert. In 1788 he
became rector of the Gymnasium at Rocz-
mittal. Works : 16 solemn masses, with
orchestra ; 24 short masses ; 6 German do. ;
6 pastoral do., with Bohemian text ; 10
short pastoral masses ; 3 requiems ; 30 of-
fertories ; 20 motets ; 2 Veni, Sancte Spiri-
tus ; 5 Te Deum ; 7 Salve Regina ; 2 Alma
Redemptoris ; 6 Regina cceli ; 3 Stabat
IMater ; Vespers ; 6 comic operas and melo-
dramas ; 35 symphonies for orchestra ; Over
400 allemaudes and square dances, for do. ;
38 concertos for various instruments ; 87
sonatas for do. ; 7 quintets ; 72 quartets ;
48 trios ; 56 duos for various instruments ;
35 serenades and nocturnes ; 130 variations ;
German and Bohemian songs. — Fetis ;
Mendel.
SABADINI, Don BERNARDO, born in
Venice, second half of the 17th cen-
turj', died (?). Dramatic composer,
maestro di cappella at the court of Parma.
Works : Furio Camillo, Parma, 1686 ; Didio
Giuliano, Piaeenza, 1687 ; Zenone tiranno,
Parma, 1687 ; II favore degli dei, ib., 1689;
La gloria d' amore, ib., 1690 ; Circe abban-
donata da Ulisse, ib., 1692 ; Talestri inna-
morata tli Alessandro magno, ib., 1693 ;
Eraclea, ib., 1696 ; I disegni della Divina
Sapienza, oratorio, 1698. — Fetis ; do.. Sup-
plement, ii. 357.
SABBATmi, GALEAZZO, born at Pe-
saro, end of the 16th century. Church com-
poser, maestro di cajipella to the Duke del-
la Miraudola. Kircher attributes to him
the invention of a harpsichord on which the
whole science of harmony is easily demon-
strated (IMusurgia, i. 460). Musical works :
Five books of Madrigals (Venice, 1627, 1630,
1636) ; Sacrse laudes musicis, etc. (Antwerp,
1642) ; Sacrarum laudum, lib. i., ii., op. 7
(ib., 1637, 1641) ; Litanie, op. 8 (ib., 1638) ;
Sacri laudi e motetti, op. 9 (Rome, 1640).
He published also Regole facili e brevi per
suonare sopra il basso continuo, etc. (Ven-
ice, 3 editions, 1628, 1644, 1669).— Fetis ;
I Riemann ; Mendel.
ST9
SABINO
SABINO, IPPOLITO, born in Venice (?)
about 154:5, died (?). Nothing is known of
his life. His works are found in the col-
lections of that time, particularly in Har-
monia celeste (Antwei-p, 1592) ; Waelrant's
Sj'mphonia angelica (ib., 1591:) ; and Trionfo
di Dori (Venice, 1596 ; Antwerp, 1596) ;
Gbirlanda de' madrigali (Antwerp, 1601) ;
Madrigali a otto (ib., 1596). Works: 8
books of Madrigals, 5, 6, 7, and 8 voices
(Venice, 1570-89) ; Magnificat, 4 voci (ib.,
1584) ; Cantiones diva Maria?, 4 vocura (ib.,
1685). — Fetis ; Mendel ; Kieiuann.
SABOLY, NICOLAS, born at Monteux,
near Vaucluse, Jan. 30, 1614, died at Avi-
gnon, July 25, 1675. One of the Provencal
musicians whose Noels have been sung in
France for the last two centm-ies ; edu-
cated by the Jesuits ; music-master of the
collegiate church of Saint-Pierre, Avignon ;
subsequently its organist and maitre de
chapelle. He composed at that time in
the vernacular eighty-one Noels, which are
considered j^art of French musical history.
His poems have been set to music by other
musicians, but his own aiTaugementa have
remained the popular favourites. The orig-
inal edition, now extremely rare, is en-
titled : Lei noue do san Pierre, en A^gnon
(Avignon, chez Pierre Orfay), and is com-
posed of sis collections (1669, 1670, 1671,
1672, 1673, 1674). A coi^y is in the Library
of the Arsenal, Paris. It has been often
rejirinted, eleven editions at Avignon (1699
to 1845) ; two editions in Paris (Carpentras,
1803, 1839). Saboly was made in 1658
Bachelier es lettres of the Universitj- of
Avignon. — Fetis, Supplement, ii. 466 ; Men-
del, Ergiinz., 407.
SACCHINI, ANTONIO MARIA GAS-
PARO, born at Pozzuoli, Italy, July 23,
1734, died in Paris, Oct. 7, 1786. Dramatic
composer, son of a poor fisherman. Through
the influence of Durante he was admitted
to the Conservatorio di San Onofrio, Naples,
where be studied the violin under Nicola
Forenza, singing under Gennaro Manna,
and harmony and counterpoint under Du-
rante. His progress was rapid, and an in-
termezzo, Fra Donato, written by him, and
performed by the
pupils of the Con-
servatory, was re-
)l^ ^l^^tesfl ceived with flatter-
/, ^ ^'wallS! ing approbation.
He left the Con-
servatorio in 1756,
a 3'car after Du-
rante's death, and
supported himself
some time by
teaching singing, and composing short
pieces for minor theatres. In 1762 the
success of his first serious ojsera, Semi-
ramide, at the Argentina, Rome, was such
that he was attached to that theatre as com-
poser until 1769. But he wrote operas for
other cities also, and his Alessandro neU'
Indie (1768) made such a furore at Venice
that he was given the directorship of the
Ospedaletto music school there, which post
he held until 1771. During this year he
left Venice for London, where he arrived in
April, 1772, visiting Munich, Stuttgart, and
other German cities on the waj'. His fame
had preceded him, and he was at first oj)-
posed by a powerful clique, which, however,
he soon overcame. His operas II gran' Cid,
Tamerlano, Lucio Vero, Nitteti, and Perseo
had a perfect triumph. But soon the jeal-
ous}' of rivals, intriguing cabals, impaired
health and debt into which his dissolute hab-
its had 2)lunged him, forced him to quit Lon-
don, and in 1782 he went to Paris. His
music was already known there to a certain
extent, as he had produced a translation of
his Isola d' amore (under the title of La
colonic) while on a visit in 1781. In Paris
he was taken up by Joseph H. of Austria,
who presented him to Marie Antoinette.
Under the protection of the Queen, several
of his operas (most of them remodelled ver-
sions of his Italian works) were brought
out, but with no marked success. At last,
in 1785, he finished his CEdipe a Colone
(his masterpiece), which, according to the
SACCHINI
Queen's promise, was to have been the first
opera given at Fontainebleau after the court
had gone there for the next season. But
considerable influence was brought to bear
upon Marie Antoinette from other quar-
ters, and the promise was not kept ; and
Sacchini, seeing that matters were hopeless,
found nothing better to do than to take to
his bed and die, literally of despair. As
soon as he was dead, his works began to
find favour in the eyes of the Paris public,
and they were not long in rising to the
summit of jjopularity. Sacchini was emi-
nently a great melodist ; his style was ex-
tremely pure and of a rare elegance. As
is the case with most Italian composers.
his earlier operas show many signs of that
carelessness which betrays the ra^jidity
with which they were written, but as he
advanced in his career he took more pains.
His orchestration, though very simple, is
masterly. He possessed also considerable
dramatic power, j-et his invention in this
direction was limited, and he was prone to
produce striking effects too constantly by
the same means. His choruses, notably in
his later works, were often surpassingly
fine. The coldness of his reception in Paris
was undoubtedly due to the fact that the
public were still in the heat of the Gluckist
and Piccinnist controversy, so that his
works were unnoticed, rather than con-
demned ; but after CEdipe and some others
of his operas had made their mark, they
held the stage for a long time, Q3dipe be-
ing given as late as 1844. Upon the whole,
Sacchini may be accounted decidedly the
first of the second-class geniuses of his
epoch.
Works — I. Operas : Fra Donato, inter-
mezzo, Naples, Conservatorio di San Ono-
frio, 1756 ; L' Olimpia tradita, ib., Teatro de'
Fiorentini, 1758 ; II copista burlato, Milan,
Teatro Nuovo, 1759 ; I due fratelli beffati,
and, as II gran' Cid, London, 1773, also in
French, as Ghimhie, Fontainebleau, 1783,
and Paris, Academic Eoyale de Musique,
Feb. 9, 1784 ; Eumene, Eome, 17G3 ; An-
dromacca, Florence, 1763 ; L' amor in
campo, Rome, 1764 ; Lucio Vero, Naples,
Teatro San Carlo, Nov. 4, 1764 ; La con-
tadina in corte, Rome, 1765 ; H Creso, Na-
ples, 1765, and London, 1775 ; L' isola d'
Amore, Rome, 1766 ; Olimpiade, Milan,
1767, and in French, as L'Olympiade, on le
triomphe de I'amitie, Paris, Comedie Itali-
enne, Oct. 2, 1777 ; Artaserse, Rome, Teatro
Argentina, 1768 ; Alesmndro nell' Indie,
Venice, 1768, and a second version, Turin,
1770 ; Scipioue in Cartagine, Munich, 1770 ;
Ezio, Naples, about 1770 ; Calirroe, Stutt-
gart, 1770 ; Alessandro Severe, Venice,
1770 ; Adriano in Siria, ib., about 1770 ;
L' eroe cinese, Munich, 1771 ; Nicostrate,
Venice, 1771 ; II finto j)azzo per amore,
Paggio, near Florence, 1771, and in Ger-
man, as Der verstellte Narr aua Liebe,
Vienna, 1779 ; Vologeso, 3 acts, Parma,
1772 ; Armida (e Rinaldo), Milan, 1772,
and remodelled French version, Renaud,
Paris, Academic Royale de Musique, Feb.
28, 1783 ; Tamerlano, London, 1773 ; Anti-
gono, ib., 1773 ; Nitteti, ib., 1774 ; Perseo,
ib., 1774 ; Montezuma, ib., 1775 ; Erifile,
ib., 1776 ; L' amor soldato, ib., 1777 ; Mitri-
date, ib., 1777 ; L' avaro deluso, ib., 1778 ;
II calandrino, ib., 1778 ; Enea e Lavinia,
ib., 1779 ; Dardanus, tragcdie-lyrique, Pari.s,
Academie Royale de Musique, Nov. 30,
1784 ; (Edipe a Colone, ib., ib., Feb. 1,
1787 ; Arvire et Evelina, tragedie-lyrique
(posthumous. Act HI. finished by Rey),
ib., ib., April 30, 1788.
n. Oratorios : Esther, for four voices,
chorus, and orchestra ; San Filippo, for
three voices, two violins, viola, and bass ;
I Maccabei, for five voices, chorus, and or-
chestra ; Jefte, for do. ; Le nozze di Ruth,
opera buffa, Naples, Teatro Nuovo, 1760 ; I for four voices, two violins, alto, and bass ;
due baroni (di Rocca Azzurra), ib., Teatro L' umilta esaltata, for three voices, written
de' Fiorentini, 1762 ; Semiramide, Rome, i for the fete of Santa Anna, Naples, Decem-
Teatro Argentina, 1762 ; Chimena, ib., 1762, | ber, 1764.
381
SACERDOTESSA
m. Church music : Miserere, for five
voices with iustrumeuts ; Kyrie cum gloria,
for four voices with instruments and organ ;
Credo, for four voices and orchestra ; Mass,
for two choruses and two orchestras, Venice,
1770 ; Dixit, for two choruses, violin, viola,
bass, and organ ; do., for four voices, two
violins, viola, and violoncello ; do., for four
voices, two violins, viola, violoncello, and
organ ; Tantum ergo, for four voices and in-
struments ; do., for three voices and instru-
ments ; Five psalms, for five voices ; Lno-
tatus sura, psalm for soprano solo and
chorus ; do., for soprano, alto, and chorus ;
Salve regina, for contralto, two violins,
viola, and bass ; do., for soprano, two vio-
lins, viola, and bass ; and a Christmas can-
tata for three voices.
IV. Instrumental : Sis trios for two vio-
lins and bass, op. 1 ; Six string quartets ;
Sis sonatas for the clavecin and violin, op.
3 ; and six sonatas for the clavecin and
violin, op. 4. One of the sonatas, in F,
^ was published in
v^ I ^'T ^ Meister (Breit-
kopf & Hiirtel) ; two cavatinas in Gevaiirt's
" Gloires d'ltalie ; " and an antiphou for
two voices in Choron's "Journal de Chant."
— Hesmart, Saccluni, Paris, 1787 ; Framcry,
do., in the Journal euoyclopcdique (Dec.
15, 1786) ; JuUien, La cour et I'opera sous
Louis XVI. (Paris, 1878) ; Fotis ; Grove ;
Mendel ; Rieuianu.
SACERDOTESSA D' IR^NnNSUL, LA
(The Priestess of Irmiusul), Italian opera
by Giovanni Pacini, first represented in
Trieste, in 1817. The subject is the same
as that of Bellini's Norma.
SACHS, MELCmOR (ERNST), born at
Mittelsinn, Lower Francouia, Feb. 28, 1843,
still living, 1890. Instrumental and vocal
composer, pupil at the royal school of mu-
sic, Munich, especiall}* of Rheinbei'ger ; be-
came instructor of harmony at the same
institution in 1871, founded and is still
director of the Toukiiustler-Verein, and in
1869-73 conducted there also the Miinner-
gesang-Verein. Works : Das Thai des Es-
pingo. Ballad for chorus with orchestra ;
Symjjhony ; Vaterunser ; Stiindchen for vio-
loncello with orchestra ; Pianoforte music,
and songs.
SACRATI, FRANCESCO PAOLO, born
in Parma, Italy, beginning of the 17th cen-
tury, died in Modena, May 20, 1650. Dra-
matic comjjoser ; became in 1649 maestro di
cappella to the Duke of Modena. Works :
Delia, ossia la sera, sposa del sole, Venice,
1639 ; La finta pazza, ib., 1641 ; Bellero-
fonte, ib., 1642 ; Venere gelosa, ib., 1643 ;
Ulisse errante, Proserjjina rapita, ib., 1644 ;
Semiramide in India, ib., 1648. — Fc'tis ;
Meudel.
SACRIFIZIO D' ABRAMO, IL (Abra-
ham's Sacrifice), sacred opera or oratorio,
by Alessandro Scarlatti, first given in Rome
in 1703. An aria from it, "II mio figlio,"
is published in Burnej''s "History of Music "
(iv. 121). Other sacred operas or oratorios
on the same subject : By Kaiser Leojjold I.,
text by Conte Caldano, Vienna, 1660 ; by
Luca Antonio Predieii, text by Francesca
Manzoni, ib., 1738 ; by Francesco Zopjii
(Zopis), St. Petersburg, about 1767 ; by
Cimarosa, Naples, 1786 ; by Pietro Rai-
mondi, Naples, 1816 ; and by Francesco
Morlacchi, Dresden, 1819. Isaak, by Ziaui,
text bj' Bernardoni, Vienna, 1707 ; Le sacri-
fice d' Abraham, by Cambini, Paris, 1774 ;
by Maria Felice Blangini, Cassel, 1811 ;
Abraham's Opfer, by Peter Josef von Lind-
paintuer, Stuttgart, 1821 ; and Ofiara Abra-
hama, Polish opera, by Jozcf Eisner, War-
saw, 1827.
SAFFO, Italian opera in three acts, text
by Cammarano, music by Giovanni Pacini,
first rejiresented in Naples, Nov. 27, 1840.
The libretto is founded on the story of
Sappho, the Greek poet. Aleandro, high-
priest of Apollo, in love with Saflb, prevents
her marriage with Faone, who marries her
rival. Aleandro leams too late that she is
his own daughter, and Safifo, who wins
honour and glory for her songs, throws
herself into the sea. This work was given
SAFFO
iu Paris at the Theatre Italian, March 15,
1842, with Mme Grisi, Mario, and Tambu-
riui as the chief characters. Operas ou the
same subject : Saftb, by Simon Mayr, text
by Sografi, Venice, 1794 ; by Riario-Sforza,
Florence, 1820 ; by Giovanni Baptista Fer-
rari, Venice, 1841 ; II salto di Leucailc, by
Liiigi Mosca, Naples, 1812 ; Le saut de
Leucade, by Legat de Furcy, about 1790,
not given ; Saplio, by J. P. Egide Martini,
text by the Princess Maria Salm-Dyek,
Paris, 1794 ; by Antoine Eeicha, text by
Emj)is and Cournol, Paris, 1822 ; by Jan
Bernard van Bree, text by Leuuep, Amster-
dam, 1834 ; SapIio, by Gounod, text by
Emile Augier, Paris, 1858 ; and Phaon, by
Piccinni, text by Watelet, Choisy, 1778 ;
Sappho, by Franz August Kaune, about
1820. Ballets : By Paolo Brambilla, text
by Gioja, Milan, 1819 ; Sappho von Myti-
lene, by J. N. Hummel, about 1820. — Cle-
ment et Larousse.
SAFFO, sceua for sojsrano, text by F.
Rizzelli, music by Alberto Randegger, sung
by Mad. Lemmens at the British Orchestral
Society, London, March 31, 1875, English
translation by Campbell Clarke.
SAG' DOCH AN. See Stradella.
SAGITTARIUS. See SchiHz.
SAIN D'AROD, PROSPER, born at Vi-
enne (Isere), France, in 1814, still living,
1890. Church composer, impil of Pacr and
Haluvy ; won the grand prix offered by the
Society of Sta. Cecilia in Rome, in 1841,
for the composition of a solemn mass. Hav-
ing endeavoured, with Danjou, to re-estab-
lish the old school of Choron, he took part,
in 1852, in founding the school of sacred
music, of which Niedermeyer became the
first director. He afterwards travelled in
Italy, and on his return founded about
fifteen maitrises iu various large churches
in the provinces of France. He was maitre
de chapelle of Saiut-Sulpice in 1862-67, and
since then has been inspector of the pro-
vincial maitrises. He is maestro di cap-
pella ad honorem to the Sujireme Pontiff,
and commander of the order of St. Gregory
the Great. Works : Grande messe de
Rome, for soli, chorus, organ, and orches-
tra, 1841 ; Messe de charite ; Mass for 4
male voices and organ ; Te Deum militaire
ii 4 parties et a grande symphonie ; La
Cre-ation, ode-oratorio ; La fin des temps,
do. ; Te Deum en contre-point ; Litanies ;
Regina ca3li ; Ave Maria ; Tautum ergo ;
O Salutaris ; Ode to the memory of Pon-
sard ; Trio for pianoforte and strings ; Vocal
melodies. — Fetis, Supph'meut, ii. 467.
SAINT-AMANS, LOUIS JOSEPH, born
in Marseilles, June 26, 1749, died in Paris
about 1820. Dramatic composer, destined
to become a lawyer, but joined a theatri-
cal company as accompanist, then travelled
in Italy for three years, instructing the
children of a Swiss baron, and in 1769
went to Paris, where he brought out sev-
eral ojjeras with success. In 1778-79 he
conducted the opera at Brussels, and in
1784 was made professor at the then re-
cently established royal school of music in
Paris. Dismissed at the reduction of the
body of teachers in 1802, he retired to
Brest, where he composed principally ora-
torios, cantatas, and chamber music. Works
— Operas : Alvar et Miucia, Paris, Comedie
Italienne, 1770 ; La coquette de village,
ib., 1771 ; Le poirier, ib., 1772 ; Le mede-
ein d'amour, ib., 1773 ; La mort de Didon,
ballet, at court, 1776 ; Daphuis et Themire,
Psyche et I'Amour, pastorals ; L'occasion,
La fausse veuve, La rosiere de Salency,
comic operas, Brussels, 1778-79 ; La fCte
de Flore, Paris, Opera, 1784 ; Le prix de
Tare, at court, 1785 ; Laurence, Paris and
Strasburg, 1790 ; Ninette a la cour, 1791 ;
L'heureux dementi, 1794 ; Aspasie, 1795 ;
Le pauvre homme, La fete de la j)aix, 1797 ;
La tireuse de cartes, 1799 ; L'ile deserte,
1801 ; Chacun a son plan, 1802 ; La fee
Urgele, Brest, 1803. David et Goliath, ora-
torio, Concert Spirituel, 1777 ; Other ora-
torios, cantatas, and church music. — Fe-
tis ; Mendel ; Riemann.
SAINT ANNE'S TUNE, a well-known
tune, written to Psalm xliii., author j)rol>-
SAINT
ably 'William Croft. It is first found in
"A Supplement to a New Version of the
Psalms " (6th ed., 1708), of which Dr. Croft
is thought to have been the editor. The
name was probably suggested by the Parish
of Saint Anne's, Westminster, where Dr.
Croft was organist. The opening phrase
of a seven-part motet by Palestrina (15G9)
is identical with the first few notes of this
tune, and a fugue by Bach, known in Eng-
land as Saint Anne's fugue, opens with the
same phrase. Henry Lawes also uses it
for the beginning of the tunes which he
set to Psalms ix. and cxsx^i. in Sandys'a
"Paraphrase upon the Psalms of David."
Sir Ai'thur Sullivan introduced Saint Anne's
tune in the Te Deum performed at St.
Paul's, London, Feb. 27, 1872, in honour of
the Prince of Wales's recovery ; and he
also harmonized it variously in his air, " The
Sou of God," for contralto with organ
obligato, printed in R. Borthwick's " Sup-
plemental Hymn and Tune Book " (18G8).
—Grove, iii. 212.
S.\rNT ELIZABETH. See Legende von
der Heiligen Elisabeth.
SAINT-GEOKGES, Chevalier DE, born
in Guadeloupe, West Indies, Dec. 25, 1745,
died in Paris, June 12, 1791). Virtuoso on
the violin, pupil of Leclair, and in composi-
tion of Gossec, with whom he founded the
Concert des amateurs ; he was one of the
directors and played the first violin. Works
— Operas : Ernestine, Comc'die Italieuue,
1777 ; La partie de chasse, ib., 1778 ; La
fille gar(;on, ib., 1787 ; 5 concertos for violin
with orchestra ; (! symphonies concertantes
for 2 violins and orchestra ; Sonatas for
violin and bass ; do. en trios for 2 violins
and bass. — Fetis ; Mendel.
SAINT JOHN THE B.iPTIST, oratorio
in two parts, text by Dr. E. G. Monk, from
the Bible, music by George Alexander Mac-
farren, first given at the Bristol (England)
Musical Festival, Oct. 23, 1873, with great
success. Characters represented ; John the
Baptist, Mr. Santley ; Herod Antipas, Mr.
Edward Lloyd ; a NaiTator, Mme Patey ;
Salome, Mme Lemmens. The overture,
which is very dramatic, was performed pre-
viously at the British Orchestral Society's
concert, London, Jan. 23, 1873, at the Lou-
don Philharmonic, July 7, and at the Bir-
mingham Festival, Aug. 27, 1873. Part I.
The Desert ; Part H. Machserus. The epi-
sodes are : John's preaching ; Christ's bap-
tism ; Herod's feast ; and John's execution.
John's Leitmotiv is borrowed from the same
cantus firmus that Mendelssohn used in
his Reformation symphony. The work was
first given in London, by the Sacred Har-
monic Society, March 20, 1874. Published
by Novello, Ewer & Co. (London, 1874).
— Athenieum (1873), ii. 535 ; (1874), i. 435 ;
Upton, Standard Oratorios, 193.
SAINT-LEON, CHARLES VICTOR
ARTHUR, born in Paris in 1815 (April
17, 1817, or in 1821 ?), died there, Dec. 2,
1870. Violinist and dancer, son of the
ballet-master of the royal theatre at Stutt-
gai't. He played at concerts when four-
teen, and in 1838 made a professional tour,
playing his own comjiositions. He married
the dancer Cerrito, was with her in 1847-
49 in Pai'is, where both danced in his
ballets ; afterwards visited Russia, Spain,
and Portugal. Works — Ballets ; La vivan-
dif;re et le postilion, Italy, 1843 ; La fille
de mai-bre, Paris, 1847 ; Le violon du
diable, ib., 1849 ; Stella, ou les contreban-
diers, ib., 1850 ; Paquerette, ib., 1851 ;
Diavoliua, 1863 ; Nemea, ou I'amour venge,
1864 ; La source, 1866 ; Coppelia, ou la
fille aux yens d'email. Op6ras-ballets :
Le lutin de la vallue, Le danseur du roi,
ib., 1853. — Ft'tis, Supplement, iL 469 ;
Mendel, Ergiinz., 408.
S.AnSTT-LUBIN (NAPOLfiON ANTOINE
EUGfiNE), LfiON DE, born, of French
parentage, in Turin, Italy, July 8, 1805,
died in Berlin, Feb. 13, 1850. Violinist ;
appeared in public at the age of nine, then
was instructed for a short time by Polledro
at Dresden, and in 1818 became a pupil of
Spohr at Frankfort. Having travelled in
Germany in 1819, he settled at Vienna, and
SAINT
studied composition. In 1823 be joined
tlie orchestra of the Josephstadt Tlieater,
and in 1824 became second Kapelhneister.
After hearing Paganiui, he took him for a
model, retu-ed to Hungary to devote him-
self to renewed study, and won brilliant
success after his return to Vienna. In
1830 he was called to Berlin as Conzert-
meister at the KOnigstiidter Theater, and
occupied that position until 181:7. Works :
Belisar, melodrama, Vienna ; KOnig Branors
Schwert, opera ; Der Vetter des Doctor
Faust, do. ; Ballets and pantomimes ; Sym-
phony ; 5 concertos for violin ; Octet ; 19
quartets ; Trios for pianoforte and strings ;
etc. — Fi'tis ; Mendel.
SAINT LUD]\IILL.\, oratorio in three
parts, text by Jaroslav Vrichlicky, music by
Antonin Dvorak, first given, under the com-
poser's direction, at the Leeds (England)
Festival, Oct. 15, 188G. The story is of
Ludmilla, patron saint of Bohemia, who
becomes a Christian through the preaching
of Ivan, a missionary. While seeking him
in the forest, accompanied by Svatava, her
attendant, she meets Borivoj, King of Bo-
hemia, who is hunting. He falls in love
with her, and promises to accept Chris-
tianity if she will become his bride. She
gives him her hand, and the work ends
with the baptism of the royal couple and
the rejoicing of their subjects. Mme Al-
baui sang the part of Ludmilla ; Mme Patey,
Svatava ; Mr. Lloyd, Borivoj ; and Mr. Sant-
ley, Ivan. It was first given in London at
Novello's Oratorio Concerts, under Dvoi-ak's
direction, St. James's Hall, Oct. 21, 1886 ;
at the Crystal Palace, Nov. 26, 1886. It
was first sung in the United States by the
Troy (N.Y.) Choral Union, May 9, 1888.
Full and pianoforte score, by K. Weiss,
published by Novello, Ewer & Co. (Lon-
don, 1887) ; and by Leede (Leipsic, 1887).
— Athenffium (1886), ii. 541, 608.
SAINT MARY MAGDALEN, cantata,
text by the Eev. W. J. Sparrow Simpson,
music by John Stainer, first performed at
Gloucester (England), Sept. 5, 1883. This,
the composer's best work, is written in ac-
cordance with the theories of both Schu-
mann and Wagner. The solos were sung
by Miss Anna Williams, Miss Hilda Wilson,
Mr. E. Lloyd, and Mr. F. King. It was
first given in London at the Bow and
Bromley Institute, Oct. 30, 1883.— Athe-
naeum (1883), ii. 313.
SAINT-MEGRIN, comic opera, text by
Dubreuil and Adenis, music by Paul and
Lucieu Hillemacher, represented at the
Theatre de la Monnaie, Brussels, March 3,
1886. The libretto is an adaptation of
Dumas' drama, "Henri HI. et sa cour."
The opera was well received, the instrumen-
tation being especially good.
SAINTON, PROSPER (PHILIPPE CA-
THERINE), born
in Toulouse, France,
June 5, 1813, still
living; 1890. Vio-
linist; destined for
the law, and stud-
ied music first as
an amateur, but in
1832 entered the
Paris Conservatoire
as a pupil of Habeueck, and in 1831 won
the first viohn prize. He was a member of
the orchestra of the Societe des Concerts
du Conservatoire for two years, also of the
Grand Opera. After an extended profes-
sional tour through Italy, Germany, Fin-
land, Sweden, Denmark, and Spain, he was
appointed in 1840 professor of violin at the
Conservatoire, Toulouse. In 1844 he vLsited
England for the first time, playing at the
Philharmonic under the baton of Mendels-
sohn, and in 1845 was appointed professor
at the Royal Academy. He was a constant
leader at the Musical Union, Sacred Har-
monic, the Quartet Association, Monday
Popular, and other concerts, and of the
Philharmonic orchestra in 1846-54. He
was also leader of the orchestra at Covent
Garden in 1847-71, and at Her Majesty's
Theatre in 1871-80; and leader at the
Birmingham Festivals, and at other pro-
SAIN TOX-DO LEY
vincial musical performances. He lias form-
ed many celebrated pupils, among them H.
Weist Hill, F. Amor, and A. C. Mackenzie.
Works : Two concertos for violin and or-
chestra ; Solo de concert, do., op. 16 ;
Rondo mazurka, do., op. 17 ; 3 romances,
violin and pianoforte, op. 18 ; Several airs
■with variations ; Numerous fantasias on op-
eras ; Tarantella, violin and pianoforte, op.
20. — Grove ; Ft'tis ; do., Supplement, ii.
474 ; Hart, The Violin, 313 ; Dubourg,
do., 21.3.
S.ATNTON- DOLBY, CHARLOTTE
HELEN, born
(Dolby) in London,
May 17, 1821, died
there, Feb. 18,
18 8 5. Contralto
singer and com-
poser, pupil of Mrs.
Montague, and at
the Royal Academy
of Music from 1832,
of J. Bennett, Elliott, and Crivelli. Elected
King's scholar in 1837, she remained at the
Academy five years, and was elected honor-
arj' member on leaving. She made her first
appearance at the Philharmonic in 1841,
in a quartet, and in 1842 as a solo singer.
Mendelssohn was delighted with her sing-
ing in oratorio, and obtained her an en-
gagement in 184G at the Gewandhaus Con-
certs, Leipsic, where she appeared with
great success. He dedicated his Six Songs,
op. 57, to her, and wrote the contralto
arias in Elijah for her. She made a con-
cert tour in Holland and France, in 1860,
married M. Prosper Sainton, the violinist,
the same year, and in 1870 retired from
public hfe. In 1872 she opened a vocal
academy, where she trained many excellent
scholars. Works — Cantatas : The Legend
of St. Dorothea, London, 1876 ; The Story
of the Faithful Soul, ib., 1879 ; Thalassa";
Florimel, for female voices, 1885 ; Ballads
and songs. — Grove ; Fctis, Supplement, ii.
474 ; Mendel, Erganz., 40i) : Athenaium
(1885), i. 257.
SAINT PAUL, Mendelssohn. See Paulus.
SAINT PETER, oratorio in two parts,
text bj' Chorley remodelled by Benedict,
music by Sir Julius Benedict, first given
under his direction at the Birmingham
(England) Musical Festival, Sept. 2, 1870.
Mile Tietjeus, Mme Patey, Mr. Cummings,
and Mr. Santley sang the solos. I. The
Divine Call ; The Trial of Faith ; H. The
Denial ; Repentance ; and The Deliverance.
A long and heated discussion regarding the
libretto, between Mr. Chorley and the com-
poser, is in the Athenaeum. Published by
Novello, Ewer & Co. (London). — Athenreum
(1870), ii. 315, 473, 568, 632, 664, 809;
Mus. Wochenblatt (1871), 24.
SAINT PETER, oratorio in two parts,
text selected from the Bible, and music bj'
John K. Paine, op. 20, first given, under the
composer's direction, in Portland, Maine,
in May, 1873. Jlrs. Wetherbee, Miss Ade-
laide Phillipps, Mr. George L. Osgood, and
IMr. Rudolphsen sang the solos. Part I.
The Divine Call ; The Denial and Rei^ent-
ance ; Part H. The Ascension ; Pentecost.
This work was given at the third triennial
f(!stival of the Boston Handel and Haydn
Society, May 9, 1874. Pianoforte score
published by Ditson (Boston, 1872). — Up-
ton, Standard Oratorios, 246.
SAINT-SAENS, (CHARLES) CAMILLE,
born in Paris, Oct.
9, 1835, still living,
18 9 0. Dramatic
composer ; began
taking pianoforte
lessons at the age
of two years and a
half, and from seven
to twelve studied
under Stamaty. He
studied composition
under Maleden, except for one year, when
he attended Halovy's class at the Conserva-
toire. He was admitted as a regular pupil
at the Conservatoire in Benoist's organ
cla.ss, and took the second prize for organ
in 1849, and the first in 1851. In 1853 he
SAINT-SAENS
was appointed organist at the cburcli of
Saiut-Mory, and in 1858 at the Madeleine,
whicli latter j)ost be still holds. In 1852
his first symphony was performed by the
Society Sainte-Cecile with flattering suc-
cess. He failed twice to get the prix de
Eome, in 1852 (?) and 1864 ; but in 18G7
his cantata, Les uoces de Promethoe, for
the opening of the International Exposi-
tion, was crowned, and got him the Legion
of Honour. His first dramatic work, a one-
act piece. La princesse jaune, was almost a
dead failure at the Opura Comique in 1872,
and his Samson et Dalila was hardly more
successful at Weimar, in 1877. Indeed, he
has never won much more than a succus
d'estime in opera. His great reputation
rests almost completely ujjou his j)ianoforte
and chamber music, and his orchestral and
choral works. He has systematically fol-
lowed Liszt's lead in the form of the sym-
phonic 2)oem, as he has that of Berlioz in
orchestration, of whicli he shows himself a
complete master. He is one of the few
Frenchmen who have made a profound
study of Sebastian Bach, and has for some
time been accounted, and jirobably with
justice, the most thorough musician in
France. At one time he evinced pro-
nounced Wagnerian tendencies, but, since
187G, his admiration for the Bayreuth mas-
ter seems to have become much restricted.
W^orks — I. Operas : La princesse jaune, 1
act, op. 30, Paris, Opera Comique, June 12,
1872 ; Le timbre d'argent, i acts, ib.. Theatre
Lyrique, Feb. 23, 1877 ; Samson et Dalila,
3 acts, op. 47, Weimar, Dec. 2, 1877 ;
Julienne Marcel, 4 acts, Lyons, Grand Tbe-
atre, Feb. 8, 1879 ; Henry VIII., Paris, Op-
era, March 5, 1883 ; Proserpine, 4 acts, ib..
Opera Comique, March IG, 1887.
II. Oratorios and cantatas : Ode a Sainte-
Cecile, for solo, chorus, and orchestra ; Les
noces de Promethee, 18G7 ; Cantata for the
centenary of General Hoche, Versailles,
June 24, 1868 (MS.) ; Oratorio de Noel, op.
12 ; Le deluge, op. 45, 1876 ; La h/re et la
harpe, op. 57, Birmingham festival, 1879 ;
Hymne a Victor Hugo, Paris, Trocadero,
March 15, 1884 ; Psalm XIX., for solo,
chorus, and orchestra, London, Sacred Har-
monic Society, Nov. 20, 1885.
HI. Church Music : Messe solennelle,
for 4 voices and orchestra, op. 4 ; Tantum
ergo in E-flat, 8 voices and pianoforte (or
organ), op. 5 ; Requiem for 4 voices, chorus,
orchestra, and organ, op. 54 ; Coeli enar-
rant. Psalm xviii., for soli, chorus, and
orchestra, oj). 42 ; 20 motets for various
voices.
IV. For Orchestra : 5 symphonies : No.
1, in E-flat, op. 2 ; No. 2, in A minor, op.
55 ; No. 3, in C minor, op. 78 ; 2 others,
in F, and in D (MS.). 4 symphonic poems :
Le rowei d'Ompbale, op. 31 ; Phaeton, 0]i. 39 ;
Danse macabre, op. 40 ; To. jeunesse d'Her-
cule, op. 50. 3 suites : No. 1, op. 49 ; No.
2, suite algerienne, oj). 60 ; No. 3, Le carna-
val des animaux. Occident et Orient,
march for military band, op. 25 ; Marcbe
bero'ique, op. 34 ; Une nuit a Lisbonne,
barcarolle, op. 63 ; La jota aragouese, op.
64 ; Overture to Spartacus (1863).
V. For Solo-instruments with orchestra :
4 concertos for pianoforte : No. 1, in D, oj).
17 ; No. 2, in G minor, op. 22 ; No. 3, in
E-flat, op. 29 ; No. 4, in C minor, op. 44.
3 do. for violin : No. 1, in A (MS.) ; No. 2,
in C, op. 58 ; No. 3, in B minor, op. Gl. 1
do. for 'cello, in A minor, op. 33 ; Taren-
telle for flute, clarinet, and orcb., op. 6 ;
Morceau de concert for violin, pianoforte,
and orcb., op. 62 ; Ehapsodie d'Auvergne,
for pianoforte and orcb., oj). 73 ; Introduc-
tion and rondo capriccioso, for violin and
orcb., op. 28.
VI. Chamber Music : Septet for trumpet,
strings, and pianoforte, oj). 65 (the same
is also arranged as a trio by the composer) ;
Quintet for pianoforte and strings, in A
minor, op. 14 ; Wedding-cake, caprice-valse
for do., op. 76 ; Quartet for do., in B-flat,
op. 41 ; Caprice on Danish and Russian
airs, for flute, oboe, clarinet, and pianoforte,
op. 79 ; Serenade for pianoforte, organ,
violin, and viola (or 'cello), op. 15 ; Trio for
2ST
SAINT URSULA
liianoforte and strings, in F, op. 18 ; Ko-
mauce for pianoforte, organ, and violin, op.
27 ; Sonata for pianoforte and violin, in D
minor, op. 75 ; Eomance for do. (or flute),
in D-flat, op. 37 ; Berceuse for do., in B-flat,
op. 38 ; Romance for do., in C, op. 48 ;
Havanaise for do., op. 83 ; Suite for piano-
forte and 'cello, op. IG ; Sonata for do., in
C minor, op. 32 ; Romance for do. (or Lorn),
in F, op. 36 ; Allegro appassionato for do.,
op. 43 ; Romance for do., in D, op. 51.
Vn. Pianoforte and Organ Music: 6
Bagatelles for pianoforte, op. 3 ; 3 Mazur-
kas : in G minor, op. 21 ; in id., op. 24 ; in
B minor, oj). GG ; Gavotte in C minor, o^x
23 ; G I'^tudes, op. 52 ; Allegro appassion-
ato, op. 70 ; Album (G pieces), op. 72 ; Sou-
venir d'ltalie, op. 80 ; 12 Transcriptions
from J. S. Bach ; 3 do. from Beethoven's
quartets ; Many other transcriptions ; Feuil-
let d'Album for pianoforte, 4 hands, op. 81 ;
Variations on a theme by Beethoven, for
two pianofortes, 4 hands, op. 35 ; Polonaise
for do., oj). 77 ; 6 Duets for pianoforte and
harmonium ; 3 Rhapsodies sur des can-
tiques bretouues, for organ, op. 7 ; Bone-
diction uuptiale, for do., oj). 9 ; Elevation
ou communion, for do. ; 2 pieces for har-
monium.
Yill. Vocal ]\Iusic : Scone d'Horace, for
soprano (or baritone) and orch., op. 10 ;
Les soldats de Gedeon, male double
chorus without accompaniment, op. 46 ; 2
choruses from Victor Hugo's L'art d'etre
grand-pere ; Chanson de grand-pere, for
2 female voices. Chanson d'ancetre, for
baritone solo and 4 male voices, op. 53 ; 2
choruses for 4 voices and pianoforte ad lib. ;
Cahne des nuits, Les fleurs et les arbres, op.
68 ; 2 choruses for 4 male voices unaccom-
panied ; Les marins de Kermoi-, Les Titans,
op. 71 ; Saltarelle for 4 equal voices, op.
74 ; La fiancee du timbalier, ballad by
Victor Hugo, with orchestra, op. 82 ; G
melodies persanes, for voices and piano-
forte, op. 26 ; 20 melodies et duos. Saint-
Saens has also published a volume of es-
says. Harmonic et Melodic (Paris, Calmann
L6vy, 1885). — Fetis ; do.. Supplement.
SAINT URSULA, cantata, text by R. E.
Francillon, music by Frederic H. Cowen,
first performed at the Norwich (England)
Festival, Oct. 20, 1881. The libretto is
founded on the legend of Saint Ursula, slain
with her virgin companions by the Huns in
the Cathedral of Cologne. The solos were
sung by Mine Albaui, lime Patey, Mr. E.
Lloyd, and Mr. E. King. This cantata
was given by the Oratorio Society of New
York, Nov. 22, 1883.— Athenseum (1881), ii.
535.
SAISONS, LES, opera-comique in three
acts and four tableaux, text by Jules Bar-
bier and Michel Carre, music by Victor
Masse, first represented at the Opera Co-
mique, Paris, Dec. 22, 1855. The subject
treats of the betrothal of the peasants Si-
monne and Pierre, made during the time of
harvest, broken off during the vintage, and
renewed in winter, and ends with their
marriage in spring. The opera is inter-
spersed with rustic tableaux of beauty and
effect. Original cast : Simonne, Mile Caro-
line Duprez ; Pierre, M. Delaunaj'-Riquier ;
Nicholas, M. Battaille ; Jacques Battu, M.
Couderc ; Thibault, M. Sainte-Foix ; and
Zenobie, Mile Lemercier. Published by
Brandus et Cie (Paris, 1855). — -Revue et
Gaz. mus. de Paris (1855), 406 ; Clement et
Larousse, G02.
S.1K0NTAL.\, German opera in three
acts, text by Johann Philippe Neumann,
music left unfinished by Schubert. The
music, composed in 1820, is completed only
as far as the second act, for Schubert dis-
liked the libretto and abandoned it. The
MS. is owned by HeiT Domba. The plot
is a version of the Indian drama, Ring-
yacuntala, by Kalidasa. Characters rep-
resented : Duschmanta, King of Hindostan
(T.) ; Sakontala (S.) ; Madhawia, court
SAKUNTALA
jester (B.) ; Kanna, a Brahmin (B.) ; Dur-
wasas, brother of Aditi (B.) ; Saregarawa, a
Brahmin ; Gautami, Sakontala's instructor ;
Menaka, a nymph, Sakontala's mother ;
Amusia and Primawada, her comj^anions ;
Aditi, goddess of the day ; Matah, chariot-
driver ; Misraki, a demon ; and choruses of
fishermen, demons, genii, maidens, and
dancers. The fragments have never been
published. Other operas on this subject :
by Wenzel Tomaczek, unfinished ; by Karl
von Perfiill, text by Teiehert, April 10,
1853 ; by Felix von Weingartner, text by
the composer, Weimar, March 23, 1884.
Sacouutala, ballet by Ernest Reyer, text by
Theophile Gautier, Paris, July 28, 1858.
— Kreissle von Hellborn (Coleridge), Schu-
bert, i. 188 ; Neue Zeitschr. (1884), 240.
SAKUNTALA, overture for orchestra to
Kalidasa's drama, by Karl Goldmark, op.
13, first performed by the Philharmonic
Society of Vienna in 1865. It was first
given by the Philharmonic Societj' of New
York in the season of 18G9-70. Full score
and pianoforte arrangement for two and for
four hands, published by Dunkt (Vienna,
18GG). Same title, overture and entr'acts by
Felix von Woyrsch (1885) ; and a Symphon-
ic poem by C. Friedrich. — Neue Zeitschr.
(1860), 209, 218 ; Hanslick, Concertwesen
in Wien, ii. 340.
SAKUNTALA, cantata for soli, chorus,
and orchestra, text by Carl Wittkowsky,
music by Philipp Scharwenka, first given in
Berlin, March 9, 1885. Published by Bote
& Bock (Berhn, 1885).
SALA, NICCOLO, born at a little village
near Benevento, Naples, in 1701, died in
Naples in 1800. Dramatic composer, pupil
at the Conservatorio della Pietil de' Tur-
chini of Fago, Abos, and Leo. He suc-
ceeded Fago as second maestro, and in 1787
Cafaro as director. He lived to be nearly
a hundred, and up to within a short time
of his death was busy with his great work
on fugue, under the title, Eegole del con-
trjippunto prattico (3 vols., Najsles, 1794).
During the French invasion of Naples this
work disappeared, and it was feared the
plates were lost. Choron, who owned an
original copy, re-
printed it in Paris
(1808), but the orig-
inals were finally
discovered intact.
Works — O p e r a s :
Vologeso, Rome,
1737 ; Zenobia, Na-
ples, 1761 ; Merope,
ib., 1769. Giuditta,
oratorio, 1780 ; 3
Prologues for the birthday of the King of
Naples ; !Mass for 4 voices and orchestra ;
Litany, etc. — Fetis ; Florimo, Cenuo Storico,
etc., 562 ; Biog. degl. uomini ill. di Napoli,
vi. ; Schilling ; Eiemann, 794 ; Mendel.
SALAMAN, CHARLES KENSINGTON,
born in London, March
3, 1814, still living,
1890. Pianist, pupil
on the pianoforte of
Charles Neate in
182G-31, and in har-
mony of Dr. William
Crotch and of Eh',
with whom he studied
also the violoncello.
He took pianoforte lessons of Henri Herz
in Paris in 1828, and on his return to
Loudon established himself as a teacher,
player, and composer. In 1833-37 he gave
annual orchestral concerts in London ; in
1838 played in Vienna, Munich, and other
cities on the continent, and resided in Rome
in 1846-48. Member of Royal Society of
Musicians, 1837 ; associate of Philharmonic
Society in 1837-55, when he resigned ;
honorary member of Accademia di Sta.
Cecilia, Rome, 1846. He was one of the
founders of the Musical Society of London
in 1858, aud its secretary until 1865, and
aided in 1874 in establishing the Musical As-
sociation. Works : Cantata for the Shakes-
peare Jubilee at Stratford-upon-Avon, April
30, 1830 ; Psalm Ixxxiv. ; Psalm xxix. ; Over-
ture in D, for orchestra ; Fantasia orches-
SALAMIS
trale, in G minor, do. ; Rondo al capriccio,
pianoforte and orchestra; Grand Funeral
March, in honor of Victor Hugo, orches-
tra and military band, 1885 ; 12 voluntaries
for organ, 1885 ; Pianoforte music : Anthems
and part-songs ; Many songs to words of
Horace, Catullus, Aiiacreon, etc. ; Songs in
English, German, French, Spanish, and
Italian. He has also lectured much on mu-
sical subjects, has published several critical
and historical works, and contributed much
to musical periodicals. — Grove ; Brown ;
Fetis, Supplement, ii. 475.
SALAIMIS, Siegesgesang der Griechen
(Greek Song of Victory), for male chorus,
soli, and orchestra, text by Hermann Lingg,
music by Max Bruch, op. 25. Full and
pianoforte score i^ublished by Leuckart
(Breslau, 18G8) ; also by Siegel (Leipsic).
— Neue Zeitschr. (1868), 211.
SALAMIS, Siegesgesang der Griechen,
for male chorus, soli, and orchestra, text
by Hermann Lingg, music by Friederich
Gernsheim, op. 10. This was sung by the
Apollo Club, Boston, Dec. 4, 1888. Full
and pianoforte score pubhshed by Rieter-
Biedermann (Leipsic and Winterthur, 1868).
—Neue Zeitschr. (1868), 211.
SALARI, FRANCESCO, bom at Ber-
gamo, Italy, in 1751, died there (?). Dra-
matic composer, pupil of Piccinni at Na-
ples, and of Fioroni at Milan. He settled
in Venice in 1777, and after teaching sing-
ing there twenty-eight years returned to
his native city, where he was appointed
professor at the music institute, and second
maestro di cappella at Sta. Maria Maggiore.
Works : Ifigenia in Aulide, Casal-Monfer-
rato, 1776 ; L' amor ramingo, H marchese
carbonaro, Venice, 1776 ; Church music.
—Fetis.
SALAZAR, Don JUAN GARCIA, Span-
ish composer of the 17th century, died at
Zamora (?) in 1710. Church composer,
maestro de capUla of the cathedral at Za-
mora. Although said to have been one of
the most distinguished church composers
of Spain, his Tvorks are scarcely known be-
yond the province in which he lived.
Works — Motets : Hie mihi ; O Rex Glorise ;
Quae est ista ; Vidi speciosam ; Sancta
Maria ; Nativitas tua ; Mater Dei. — Fetis.
SALDONI, Don BALTASAR, born in
Barcelona, Jan. 4, 1807, died, Madrid, 1800.
Dramatic and church composer, fii-st in-
structed at the cathedral school, afterwards
at the maitrise of Santa Maria del Mar, un-
der Andrevi. In 1818-22 he studied at the
music school of the MontseiTat monastery,
the violin, violoncello, bassoon, and flute
under Padre Boeda ; then the organ under
Mateo Ferrer, and counterpoint under
Franjois Qucrault. Becoming favorably
known by several church compositions, he
was elected organist of Santa Maria del
Mar. In 1829 he went to Madrid, and on
the foundation of the Conservatorio in 1830,
was made master of solfeggio and vocaliza-
tion. He went to Paris in order to study
the methods at the Conservatoire, and was
cordially received by Cherubini, Carafa,
Rubini, Bordogni, and by his compatriot
Sor. On his return to Madrid, he was ap-
pointed professor of singing at the Con-
servatorio. Works — Operas : El triunfo
del amor, 1826 ; Saladino e Clotilda, Ma-
drid, 1833 ; Ipermestra, ib., 1838 ; Cleo-
nice, regina di Siria, ib., 1840 ; Boabdil, ul-
timo rey Moro de Granada (not given) ; El
rey y la costurera, zarzuela ; La corte de
Monaco, do., Madrid, 1857 ; Guzman il
Buono (not given) ; Los maridos en las
mascaras, zarzuela, Barcelona, 1864. 2
masses, Rosario, Santo Dios, Stabat Mater,
Miserere, and other church music with or-
chestra and organ ; Many hymns, motets, and
canticles ; Versets, and fugues for organ ;
A mi patria, symphony for orchestra, mili-
tary band, and organ ; 14 morceaux de
srenre for orchestra ; Himno al Dios de las
artes, cantata, ISIadrid Liceo, 1843 ; National
hymn, ib., 1845 ; Marches, choruses, and
songs for 2-4 voices, with orchestra ; An-
dalusian songs ; About 40 songs and part-
songs, and about 30 pieces for piano-
forte. Nuevo metodo de solfeo y de
290
SALE
canto, and a collection of 24 vocalises. He
published also Reseua historica de la Es-
cuela 6 Colegio de Musica de la Virgeu
de Montserrat, in Cataluna, desde 1456
hasta nuestros dias (Madrid, 185G) ; and
Effemerides de musicos espafioles, asi pro-
fesores coino aficionados (Madrid, 1860).
— Fetis ; do., Sui^plument, ii. 476 ; Eie-
mann ; Mendel; do., Ergiiuz., 409.
S.\LE, FRANgOIS, Belgian church com-
poser of the 16th century. Educated iu
Belgium, he settled, when the Netherlands
were distracted by wars, at Hall, Tyrol,
where he was under the patronage of the
Austriiiu Princess Magdalena, iu whose chapel
he served as chori magister under the Ai'ch-
bishop of Salzburg. There he wrote his
motets, which were afterwards published in
the great collection, printed uneler the pat-
ronage of the Dukes of Bavaria, entitled
Patrociuium musices. In 1591 he was called
to Prague to serve in the royal chapel of
Eudolph n., and in 1591-99 he served as
tenor under Philipjae de Monte. After
this date nothing further is known of him.
Other works : Sacrarum cantionum, etc.
(Prague, 1593) ; Trij^artiti operis officiorum
missaliura, etc. (ib. 1594) ; Officiorum mis-
salium quibus iutroitus, etc., liber secuu-
dus (ib. 1594) ; do., liber tertius (ib. 1596).
Patrocinium Musices : In Natalem Domini
Jesu Christi, etc. (Munich, 1598) ; Oratio
ad Sanctam B. V. Mariam, etc., prayers to
the patron saints of Hungary and Bohemia
(Prague, 1598).— Van der Straeten, i. 169 ;
V. 115 ; Riemann ; Mendel.
SALIERI, ANTONIO, born at Legnano,
in the Venetian territory, Aug. 19, 1750,
died in Vienna, May 7, 1825. Dramatic
comj)oser, son of a rich merchant, who
gave him a good education. He studied
the violin under his brother Francesco, a
pupil of Tartini, and the clavecin under
Giuseppe Simoni, organist at the Legnano
Cathedral. About 1765 his father died, af-
ter ruining himself and his family by un-
lucky speculations, and Antonio was left to
his own resources. Being already a good
clavecinist, and having a fine soprano voice,
he went to Venice, where a member of the
Mocenigo family be-
came interested in
him, and had him
placed at the singing-
school of San Marco,
on condition that he
should sing in the
choir on Sundaj's and
festas. Here he stud-
ied harmony under
Giovanni Peschetti,
and singing under Fernando Pacini. In
1766 Giovanni Mocenigo recommended
Salieri to Gassmann, imperial Kapellmeis-
ter at Vienna, who had gone to Venice to
bring out one of his operas, and he went
with him to Vienna, arriving on June 15,
1766. Gassmann's instruction, and the
study of Fux's " Gradus," completed Sali-
eri's musical education. At the same time
he studied German and French, and the
rules of Latin and Italian versification under
a priest, one Pietro Tomasi. Gassmann
was fairly delighted with his pupil, treated
him as one of his own family, and paid all
his expenses, benefits for which Salieri was
by no means ungrateful. In 1770, while
Gassmann was in Rome, bringing out an
opera during the Carnival, Salieri took his
place as conductor, and also wrote his first
comic opera, Le doune letterate, which,
after being approved by Gluek and Calza-
bigi, was successfully brought out at the
Burgtheater. In 1774 Gassmann died, and
Salieri did much for his family, and even
educated two of bis daughters for the lyric
stage. He was appointed court composer,
and on Bonno's death in 1788 was made
court Kapellmeister. In 1776 he became
director of the opera and held the post un-
til 1790, when he resigned in favor of his
pupil. Weigh From 1770 to 1774, inclu-
sive, Salieri wrote nine operas in the Ital-
ian style, the most remai-kable of which was
Ai-mida. But after the production of La
calamita de' cuori in 1774, Gluck's new
291
SALIEEI
dramatic style began to fascinate liim ;
be formed an intimacy •with Gluck, studied
his works vpith enthusiasm, and profited
much by his counsels. A marked change
in his own style was the consequence ;
Salieri's second manner was founded almost
wholly on Gluck, although a certain indi-
vidual melodic~cTiarm still characterized his
music. In 1778 he visited Italy, where he
wi-ote five operas for Rome, Venice, and
Milan, Europa riconosciutu being given at
the opening of the new La Scala opera-
house on Aug. 3, 1778. WTien Gluck re-
turned from Paris to Vienna in 1780, bring-
ing with him the libretto of Les Dana'ides,
of which he had contracted to compose the
music for the Paris Opera, finding that his
health was failing him, he handed over
both libretto and contract to Salieri, with-
out letting the Paris authorities into the
secret. Salieri, although not very familiar
with French, undertook the task. When
the score was done, Gluck wrote to the di-
rector of the Academic Hoyale de Musique
that one of his pupils had " assisted him"
in wi'iting the music, and that he would
also superintend the mounting of the work
in Paris. Salieri ai-rived there with his
score in 1784 ; Les Danaides was first
given a few times at court, and then in
Paris with immense success, the pubUsher
Deslauriers paying 1,200 crowns for the
score, on the condition that tlic authorship
should be attributed to Gluck until the
thirteenth performance. Accordingly it
was only on the morning of that performance
that a letter from Gluck was published,
proclaiming Salieri as the real and sole
composer of the work. Salieri soon re-
turned to Vienna, bringing with him the
libretto of Les Horaces. From the time of
his return to 1785 he produced five operas,
and then returned to Paris with the com-
pleted score of Les Horaces, which was
brought out without success in 1786.
Next year, however, Tarare was received
with boundless enthusiasm. On his return
to Vienna, Salieri remodelled it, and the new
version was given there under the title Axur,
re d' Ormus. In 1801 he went to Trieste
to bring out an opera, composed for the
opening of the new opera-house there. On
June 16, 1816, he celebrated the fiftieth
anniversary of the beginning of his public
cai-eer at Vienna, on which occasion compo-
sitions by several of his pupils were given,
and he was decorated with the gold " Civil-
EhrenmedaiUe." Up to 1818 he continued
to conduct almost every concert of the Ton-
kiiustler-Societilt, of which he was vice-
president. On June 14, 1824, he retired on
a full salary, after fifty }"ears' service at
coiu-t. In 1805 he lost his only son, and in
1807 his wife. Salieri, as a man, was emi-
nently worthy of respect ; he was active,
benevolent and, if quick-tempered, was
easily pacified when angry. He was in the
habit of assisting poor musicians with money
or gratuitous instruction. At his death he
bequeathed fortj--one MS. scores to the
Tonkiinstler-Societiit ; they are now in the
Vienna Hofbibliothek. His relations with
Haydn and Beethoven were of the most cor-
dial kind ; he, however, let his jealousy of
Mozart stand in the way of his treating that
great man with perfect fairness. As a com-
poser, Salieri was distinctly a man of his
o\vn time, and his works did not long out-
live him. But he was a complete master of
his art ; he wrote extremely well for the
voice, and knew how to adapt Gluck's de-
clamatory style to the more independently
musical forms of Italian opera. He was
the great model of all German dramatic
composers during the first quarter of the
nineteenth century.
Works. I. Operas : Le donne letterate,
opera buffa, Vienna, carnival, 1770 ; L' amore
innocente, pastorale, ib., 1770 ; Don Chi-
sciotto alle nozze di Gamazzo, ib., 1771 ;
Ai-mida, 3 acts, ib., 1771 ; La fiera di Ve-
uezia, ib., 1772 ; II barone di Rocca Antica,
ib., 1772 ; La secchia rapita, 3 acts, ib.,
1772 ; La locandiera, 3 acts, ib., June 8,
1773 ; La calamita de' cuori, ib., 1774 ; La
finta scema, ib., 1775 ; Delmita e Daliso,
SALOMAN
ib., 1776 ; Europa riconosciuta, Milan,
1778 ; La scuola de' gelosi, ib., 1779, and
Dresden, 1781 ; La partenza iuaspettata, 2
acts, Rome, 1779, and Mian, April 23,
1786 ; II talismauo (with Giacomo Kusti),
Milan, 1779 ; La dama pastorella, ib., 1780 ;
Der Raucbfangkehrer, 3 acts, Vienna, 1781 ;
Semiramide riconosciuta, Stockholm and
Munich, 1782 ; Les Danaidea, tragedie-
oj5era, 5 acts, Paris, Academie Royale de
Musique, April 26, 1781 ; II ricco d' un
giorno, opera buflfa, Vienna, 1784 ; La
grotta di Trofonio, do., ib., 1785 ; Eraclito
e Democrito, ib., 1785 ; Prima la musica e
poi le parole, 1 act, Schonbrunn, Feb. 7,
and Vienna, Feb. 11, 1786 ; Gli Orazzi, Vi-
enna, 1786, and in French, as Les Horaces,
tragedie-lyrique, 5 acts, Paris, Academie
Roj'ale de Musique, Dec. 17, 1786 ; 7'arare,
Paris, Academie Roj-ale de Musique, June
8, 1787, and in Italian, as Axur, re d' Orraus,
Vienna, 1788 ; Cubla'i, gran Can de' Tartari,
Vienna, 1788 ; II talismano (second ver-
ruses, and orchestra ; Requiem, for four
voices, chorus, and orchestra ; Te Deum,
for four voices, chorus, and orchestra ; Te
Deum, for two choruses ; Te Deum, for
four voices, chorus, and orchestra ; Vespers,
nine numbers written for the dedication of
a church ; 4 graduals ; Offertories, psalms,
motets, etc., for solo voices and choruses.
V. Vocal : About fifty short pieces includ-
ing airs, trios, duos, and choruses with or-
chestral accompaniment ; 28 divertisse-
ments with pianoforte accompaniment
(Weigl, Vienna) ; Scherzi armouici, consist-
ing of twenty-eight canons for three voices
a cappella (ib.) ; 40 canons for four voices ;
12 for two, three, and four voices a ca-
pella ; Many MSS. and a method of singing
Italian verse, for four voices with accompani-
ment of bass (in MS.). VT. Instrumental:
Symphonic concertante for violin, oboe, and
violoncello, 1774 ; Concerto for flute and
oboe, 1774 ; do. for the organ, 1775 ; Sym-
phony, for orchestra, 1776 ; 2 concertos
sion, by Salieri alone), ib., Sept. 10, 1788 ;
H pastor fido, 4 acts, ib., 1789 ; La cifra, j^^.jf
ib., 1789 ; Catilina, ib., 1792 ; II mondo
alia rovescia, ib., 1793 ; L' isola capricciosa,
ib., 1794 ; Palmira, regina di Persia, 2 acts,
ib., 1795 ; II moro, 2 acts, ib., 1796 ; I tre
filosofi (not performed, written in 1797) ;
Fallstaff, ossia le tre burle, ib., 1798 ; Au-
giolina, ossia il matrimouio per susurro,
ib., 1800 ; Cesare in Famagosta, ib., 1800 ;
Annibale in Capua, Trieste, 1801 ; La bella
selvaggia, Vienna, 1802 ; Die Neger, ib.,
1802. II. Oratorios : La passione di Gesti
Christo, 1776 ; Gesii al Hmbo, 1803 ; and
Saul (in fragments). III. Cantatas : La
sconfitta di Borea, 1774 ; II trionfo della
gloria e della virtii, 1774 ; Le jugement
dernier, 1787 ; La riconoscenza, 1796 ; Der
Tyroler Landsturm, 1799 ; La riconoscenza
del Tirolese, 1800 ; L' oracolo, 1803 ; Haps-
burg, 1805. rV. Church music : Mass with
gradual and ofl'ertory for 4-part chorus a
cappella ; do., with orchestra ; 2 masses for
four voices, soli, chorus, and orchestra ;
Mass with gx'adual and offertory, two cho-
r^i-e
O^^^JliJ^>ri
for the pianoforte, 1778 ; Serenade and bal-
let music ; 24 variations for the orchestra
on the theme, Folies d'Espagne. — Mosel,
Ueber das Lebeu und die Werke des Anton
Salieri (Vienna, 1827) ; Jullien, La conr et
I'opera sous Louis XVI. (Paris, 1878) ; Fe-
tis ; do.. Supplement ; Grove ; Mendel ;
Riemann.
SALOMAN, SIEGFRIED, born at Ton-
dern, Schleswig, in 1818, still living, 1890.
Violinist, first instructed by his father, then
by Christian Selmer, Sahlgreen, and several
other masters at Cojjenhagen ; finally pupil
of Lijjinski at Dresden (1841), and in com-
position of Weyse and Siboni at Copen-
hagen, and of Schneider at Dessau. After
his return to Denmark in 1843 he settled
at Coi^enhagen, where he gave lectures on
the theory of music, and composed several
operas. In 1847-50 he travelled in Russia,
Germany, and Holland, where in 1850 he
married the singer Heuriette Nissen, and
293
SALOMON
with her made a great concert tour through
Sweden, Finland, and Russia. Early in
1857 he was again in Germany and lived
in some of the Rhenish cities, Switzerland,
and in 1858-59 at Brussels, after which he
settled at St. Petersburg. Works — Operas :
Tordenskjold in Dynakilen (Tordeuskjold
in Dalecarlia), Copenhagen, 1814 ; Das
Diamantkreuz, ib., 1817 ; Die Herzens-
probe, ib., 1817 ; Das Korps der Rache,
Weimar, 1850, Frankfort and Darmstadt ;
Die Rose der Karjaathen, Moscow, 1868.
Some instrumental music, and songs. —
Fetis ; Mendel ; Riemann.
SALOMON, HECTOR, born at Stras-
burg. May 29, 1838, still living, 1890. Pi-
anist and dramatic composer, at first studied
the violin, then became a pupil on the pi-
anoforte of Froderic Leutz, and at the Paris
Conservatoire of Jonas and Marmontel, and
in harmony of Bazin, and composition of
Halevy. On leaving the Conservatoire he
was accompanist at the Bouffles Parisiens,
and from 18G0 at the Theatre Lyrique ; in
1870 he became second chorus master at
the Grand Opera, where he is now chef de
chant. Works : Fascination, ballet, Bouffes
Pai-isiens, 1850 ; Les dragees de Suzette,
opera-comique. Theatre Lyi-ique, 18G6 ;
L'aumonier du regiment, ib., 1877; Le
gunie de la France, cantata ; Bianca Ca-
l)ello, opera (MS.) ; Les contes d'Hoffmann,
do.; Lubin Dandin, opera-comique (do.) ;
2 symphonies ; Quartet for strings ; So-
nata for pianoforte and violin ; Romances
sans paroles, for do.; About 200 melodies
vocales ; Church music. — Fetis, Supple-
ment, ii. 179.
SAL0:M0N, JOHANN peter, bom in
Bonn, in January, 1715, died in London,
Nov. 28, 1815. Violinist, educated for the
law, but early showed talent for the violin,
and in 1758 was admitted into the orches-
tra of the Elector Clemens August at Bonn.
In 1765 he made a concert tour to Frank-
fort and Berlin ; then was Conzertmeister
and composer to Prince Heinrich of Prussia
at Rheinsberg. He showed his preference
for Haydn's music at this period, and intro-
duced his works at all his concerts. When
the Prince dis-
missed his band,
he went to Paris,
thence to Loudon,
where he made his
first appearance in
1781, and settled
for the rest of his
life, appearing at
concerts as solo and
quartet-player, and
conductor. In 1786 he gave a series of con-
certs at the Hanover Square Rooms, bring-
ing out Mozart's, and Haydn's symphonies.
He was leader also at many other concerts,
the Academy of Ancient Music in 1789, the
Oxford Commemoration, Dublin, and Win-
chester. In 1790 he went to the continent
to engage singers for the Italian opera, and
hearing of Prince Eszterliiizy's death, hur-
ried to Vienna, and carried Haj'dn off in
triumph to England. He produced the
Creation in 1800, although not for the first
time in England. One of his last public
acts was the founding of the Philharmonic
Society, whose first concert he led in the
Argyll Rooms, March 8, 1813. He excelled
in (piartet playing, and Haydn's last quar-
tets were composed especially for him.
Works : Windsor Castle, opera ; The Mar-
riage of Peleus and Thetis, a masque ; 2
violin concertos, arranged for pianoforte,
with full accompaniment ; 6 solos for viohn
(Paris and Loudon) ; Hiskias, oratorio, in
MS., now in the Royal Library, Berlin.
His gi-and chorus in honour of the King's
recovery, performed by the New Musical
Fund in 1789, and repeated at his own
concert, was his one successful vocal piece.
—Grove ; Dubourg, The Viohn, 233 ; Hart,
do., 361; Harmonicon, 1830, 45; Mendel;
Rochlitz, Fiir Freuude der Musik, iii. 187.
SALUT A LA FRANCE. See FUle du
Regiment.
SALUT, DEMEURE CHASTE ET
PURE. See Faust, Gounod.
29-1
SALYATORI
SALVATOm, DOMENICO, born at Mo-
dena, Italy, April 5, 1748, died tbere, Oct.
25, 1774. Church composer, pupil of Gigli,
and at the Conservatorio di San Onofrio,
Naples ; was recalled to Modena as second
maestro di cappella to the court. He com-
posed several grand masses with orchestra.
— Futis ; Mendel.
SALVAYEE, GEEVAIS BERNARD,
born at Toulouse, .**»-w5i,
June 24, 1847, still '^ '
living, 1890. Dra-
matic composer, pu-
pil in Toulouse at
the maitrise of the
cathedral, then at
the Conservatoire
on the j'ianoforte,
violoncello, and in
harmony. Ambroise
Thomas heard him
on one of his tours of inspection, and pro-
cured his admission to the Paris Conserva
toii'e, where he studied the organ under
Benoist, and counterpoint and fugue under
Thomas and Bazin. He took two minor
jwizes in 1866 and 1867, the 2d prize for
organ in 18G7, the first in 1868, the second
grand prix de Rome in 1871, and the 1st
in 1872 for his cantata Calypso. On his
return from Rome in 1874, he produced a
symphonic overture at the Concerts Popu-
laires, and was engaged as chef de chant
at the popular opera of the Chutelet. He
is prominent among the comj^osers of the
younger French school, but is wanting in
inspiration and has no fixed style. Legion
of Honour, 1880. Works — Operas : Le bra-
vo. Theatre Lyrique, Paris, 1877 ; Richard
in., St. Petersburg, 1883 ; Egmont, Opera
Comique, Paris, 1886 ; La dame de Mon-
soreau. Opera, ib., 1888 ; Divertissement,
ballet music for Grisar's Les amours du
diable, Theatre du Chatelet, Paris, 1874;
Le fandango, ballet, OiJera, ib., 1877. Le
Jugement dernier, sacred symphony, two
movements given at the Concerts du Cha-
telet, March 19, 1876 (entire, four move-
ments, as La Resurrection, Dec. 3, 1876,
and again, as La vallee de Josaphat, April
7, 1882) ; Psalm cxiii., for soli, chorus,
and orchestra, 1877 ; Stabat Mater, Con-
servatoire, 1875 ; Les bacchantes, instru-
mental scene ; 5 Italian melodies ; Songs
and pianoforte music. — Fetis, Sujsplement,
ii. 479 ; Grove.
SALVI, MATTEO, born near Bergamo,
Italy, in 1820, died at Rieti, Oct. 18, 1887.
Dramatic composer, pupil of the Liceo
Musicale, Bergamo, where he was made
instructor of pianoforte at the age of eigh-
teen. For four years he acted also as
maestro di cappella, successively, at both
theatres in Bergamo, and in 1842 went to
Vienna to study under Simon Sechter.
Having brought out two operas in Milan,
and temi^orarily been in Berlin with the
prospect of a position as Kapellmeister, he
settled in Vienna, where for several years
he taught singing, and in 1854 began to
win reputation as a conductor. In 1860-
67 he was director of the Imperial Opera,
and in 1876 was called to Bergamo aa
director of the Liceo, to succeed Alessandro
Niui. Works : La prima donna, comic op-
era, Vienna, 1843 ; Lara, opera in three
acts, Milan, 1843 ; I Burgravi, opera, ib.,
1845 ; Caterina Howard, opera, Milan, 1846,
Vienna, 1847 ; Mass, and other church mu-
sic ; Symphonic compositions ; Ariettas, etc.
— Regii, Dizionario biog. ; Wurzbach.
SA^MARA, SPIEO, born in the Island of
Corfu, Greece, Nov. 29, 1861, still living,
1890. Dramatic composer, pupil in Athens
of Eurico Stancampiano (a pupil of Merca-
dante), then at the Paris Conservatoire of
Loo Delibes. His orchestral compositions
and songs soon brought him into rejDute,
and on going to Milan he was commissioned
to write an opera. Works : Flora mirabilis,
opera in three acts, text by Ferdinando
Foutana, given at the Teatro Carcano, Mi-
lan, May 16, 1886, and since at other Italian
theatres and in Corfu with great success ;
Medje, opera, Teatro Costanzi, Rome, Dec.
12, 1888. He is now (1890) at work on
295
SAMMAETINI
another three act opera, to be entitled Lio-
uella, text also by Fontana.
SAMMARTINI (San Martini), GIOVAN-
NI BATTISTA, bom in Milan about the end
of the 17th century, died after 1770. In-
strumental composer, self-educated ; studied
harmony and counterpoint from the works
of the best masters. He was maestro di
cappeUa of a convent church, and organist
of several churches in MUan ; he found pa-
trons in General Pallavicini, the Governor
of Milan, for whom his fifth symphony was
composed (1754) ; in the Count Harrach,
Governor of Austrian Lombardy, who intro-
duced his music to Vienna ; and in Prince
Eszterhuzy and others, who eagerly sought
liis works. He is noteworthy as one of the
forerunners of Haydn in orchestral and
chamber music. He is said to have written
more than two thousand different works,
including masses and other church music,
symphonies, quartets, trios, concertos for
violin, etc. His published works are : 24
symphonies ; 12 trios for 2 violins and
bass ; Nocturnes for flute and violin. — F6-
tis ; Mendel ; Kieraann.
SAMMARTINI, GIUSEPPE, bora in Mi-
lan about the beginning of the 18th cen-
tury, died in London in 1740. Vii'tuoso
on the oboe, brother of the preceding, went
in 1727 to London, where he was first obo-
ist at the Italian opera, and later became
chamber musician to the Prince of Wales.
Works : 8 overtures ; 6 concerti grossi ; (!
concertos for oboe ; 12 sonatas for 2 oboes
and bass ; 6 do. for flute. — Fetis.
SAMMARTINI, PIETRO, ItaUau com-
poser of the 17th century ; lived in Flor-
ence as court musician to the Grandduke
of Tuscany. Works : Motetti a voce sola
(Florence, 1635) ; Salmi brevi a 4 voci con-
certati (Venice, 1644) ; Motetti a 2-5 voci
con le litanie, etc. (ib., 1642) ; do. (ib.,
1643) ; Salmi a otto voci concertati, con
sacri ripieni (ib., 1643). — Fetis.
8AMPIERI, II marchese FR.INCESCO,
born at Bologna, about 1790, died in Paris,
November, 1863. Amateur dramatic com-
poser, member of the Accademia Filar-
monica, lived alternately in Florence and
Bologna until 1848, when he went to Paris.
Works : Oscar e Malvina, Milan, 1816 ;
Valmu-o e Zaida, Naples, 1821 ; La foresta
d' Ostropol, ib., 1822. Several other ojseras
were given at Bologna, Florence, and Fer-
rara. — Fetis.
SAMSON, English oratorio in thi'ee acts,
text by Newburgh Hamilton, from Milton's
"Samson Agonistes," music bj- Handel,
fii'st given at Covent Garden, London, Feb.
18, 1743. Hantlel began this oratorio
immediately after finishing the Messiah.
The autograph score, in Buckingham Pal-
ace, is dated at the end of the first act,
Sept. 29, 1741, at the end of the second
act, Oct. 11, 1741, and at the end of the
chorus, " Glorious hei-o," in the third act,
Oct. 29, 1741. The air "Let the bright
Seraphim," and the chorus, " Let their ce-
lestial concerts," were added a year later,
when the final date, Oct. 12, 1742, was affix-
ed. Among the best numbers of this great
work are : the overture, containing a min-
uet ; the choruses, "Fixed in His everlasting
seat," "O first created beam," and "Let
their celestial concerts ; " the air, " Total
eclipse, no sun, no moon," sung by Samson,
which Handel never heard, after he had be-
come blind, without weeping ; and the au",
" Let the bright Seraphim," composed for
and sung by Signora Avolio at the first per-
formance of this work, accompanied by a
tmmpet obligato, written for and played
by Valentine Snow, a virtuoso of his time.
Characters represented — Israelites : Sam-
son (T.) ; Manoah, Samson's father (B.) ;
Micah, friend to Samson (A.) ; an Israelite
oflScer, and choius of Israelites. Philis-
tines : Dalilah, Samson's wife (S.) ; Harapha,
a giant (B.) ; and chorus of Philistines,
women, and priests of Dagon. At the orig-
inal performance Samson was sung by Mr.
Beard ; Manoah, by Mr. Savage ; Delilah,
by ]\Irs. Clive ; and Micah by ^Vlrs. Gibber.
This work was first performed in Vienna,
revision by J. R Mosel, Oct, 16, 1814 ; in
SAMSON
Berlin, May 5, 1819 ; in Leipsic, April 4,
1830 ; in Paris in 1830 ; revived by the
Sacred Harmonic Society, London, Nov.
11, 1838 ; first in Boston, by the Handel
and Haydn Society, Jan. 26, 1845 ; and by
the Oratorio Society of New York in 1875.
It is said that Handel did not know which
of the two works he preferred, Samson or
the Messiah. The songs from this oratorio,
and the overture, were first jjublished by
Walsh (London, 1743) ; the full score first
by Kandall, by Wright, and by Arnold, edi-
tion by Dr. Kimbault for the Handel So-
ciety (Loudon, 1852) ; and by the Hiindel-
gesellschaft, Breitkopf & Hilrtel (Leipsic,
1861). Other oratorios on this subject : II
Sansone, by Giovanni Paolo Colonna, text
by G. Balbi, Bologna, 1677 ; Sansone ac-
cecato da Filistri, text by SandreUi, Venice,
about 1700 ; and II Sansone, by Francesco
Basilj, Naples, 1824. German : Simson, by
Georg von Pasterwitz, about 1770 ; by Jo-
Lann Heinrich Eolle, about 1790 ; and by
Franz Turzek, Vienna, 1804. French :
Samson, by Lefroid de Mureaux, Paris,
Ajiril, 1774. Operas — German : Simson,
by Christoph Graupner, text by Feind,
Hamburg, 1709 ; by Weuzel Miillei-, Prague,
about 1808 ; and by Joachim Raff, not rep-
resented. French : Samson, by Rameau,
text by Voltaire, represented privately,
Paris, 1730, music afterwards ai-ranged for
Zoroastre ; by Duprez, text by Dumas and
Duprez, Paris, Oct. 1, 1857 ; and Samson
et Dalila by Saint-Saens, Weimar, Dec. 2,
1877 ; and a Spanish drama, Sanson, in
three acts, with music, by Cepeda, about
1875.— Rockstro, Handel, 264 ; Schoelcher,
do., 278 ; Maitland, do., 115 ; Allgem. mus.
Zeitg., xvi. 790, 827 ; xviii. 645, 055 ; xxi.
397 ; sxii. 242 ; xxiv. 719 ; (1865), 170 ;
Ciicilia, xii. 155 ; Neue Zeitschr., x. 110 ;
Athenseum (1859), 326; (1876), i. 401; (1879),
i. 130 ; Upton, Standard Oratorios, 132.
SAMSON ET DALILA, French opera-
biblique in three acts, text by Ferdinand
Lemaire, music by Saint-SaOns, first repre-
sented under the direction of Eduard Las-
sen, at Weimar, Dec. 2, 1877. While Sam-
son is endeavouring to rouse the broken
courage of his soldiers, he is attacked by
Abimelech, satrap of Gaza, and invoking
the God of Israel, kills his enemy. Dalila
resolves upon revenge, and acting on the
advice of the High Priest of Dagon, ap-
peals with her seductive grace to Samson,
who, affected by the whirling dance of the
priestesses, half succumbs. In the next act,
in the valley of Soreck, near her house,
Dalila, commanded by the High Priest to
deliver Samson into the hands of the Philis-
tines, tries to discover the secret of his
strength. Samson at last yields to her ca-
resses and tears, and is next seen shorn of
his locks, while the Israelites reproach him
for having yielded to the love of a woman.
The next scene is in the temple of Dagon,
where a feast is beiug celebrated. While
Dalila and the young Philistine maidens
are dancing, Samson is led in by a child.
The High Priest pours poison into a cup,
which Dalila offers to Samson. He refuses
it and, praying to the God of Israel to send
him his former strength, clasps the pillars,
and the temple falls into ruins amid the
cries of the frenzied crowd. The music is
wi'itten in the modern style and according
to modern theories. The original cast was :
Samson M. Ferenczy.
Dalila Mile von Midler.
High Priest M. Mille.
The opera was given in Brussels under the
dii-ection of the composer, April 6, 1878.
Full score published by Durand, Schcene-
werk & Cie (Paris, 1878). Danse des
prctresses de Dagon, arranged for the piano-
forte by the composer (ib.) ; and Reminis-
cences for the pianoforte by H. Cramer
(ib.). — Clement et Larousse, 943 ; Signale
(1877), 1089 ; Mus. Wochenblatt (1877),
703, 721.
SAMUEL, ADOLPHE, born in Liege,
July 11, 1824, still living, 1890. Composer,
pupil on the pianoforte, at the Liege Con-
servatoire, of M. E. Soubre ; made his first
297
SAXCHEZ
public appearance in 1833 at the concert of
the Societu cl'Emulation. In 1838 he went
to live in Brussels, where, upon the advice
of Fetis, he studied harmony and composi-
tion at the Conservatoire, winning first
prizes in 1842, 1843, and 1844 ; and the
grand prix in 1845. He then spent two
years in Italy and Germany, and studied
under Mendelssohn in Leipsic. After his
return to Brussels, he brought out some
operas, taught music, and contributed ar-
ticles on music to several papers. In 1860
he was appointed professor of harmony at
the Conservatoire, and in 18G5 founded
the concerts populaires, giving the best
works of Bach, Mozart, Beethoven, and
Mendelssohn, until then never played in
Brussels. The work of organizing annual
musical festivals was put in his charge by
the government ; the first of these, given
on a grand scale, took place in Brussels,
1869, with an orchestra of 450 performers,
1,200 i^ersons in the chorus, and with sev-
eral prominent singers. In 1871 he be-
came director of the Conservatoire at Ghent,
which has since reached a high standard of
excellence. Order of Leopold, 1860 ; offi-
cer, 1869. Elected member of the Royal
Academy of Belgium, 1874. Works — Op-
eras : II a rcvi', oijera-comique, 1845 ; Made-
laine, do., Brussels, 1849 ; L'heure de la
retraite, do., 1852 ; Giovanni da Procida,
1848 ; Les deux pn'teudants, 1851 ; Music
to the drama Les gueux, by Potvin, 18G4 ;
La vendetta, cantata, 1845 ; Cantate na-
tionale, 1859 ; Cantatas for other public
occasions ; Chorus for Racine's Esther,
with orchestra ; 3 choi'uses without accom-
paniment, and some church music ; 5 sym-
phonies ; 2 concert overtures ; Roland i
Roncevaux, symiDhouic fragment ; Quartets
for string instruments ; Pianoforte music.
He has also published, Cours d'accompagne-
ment pratique, et de basse chiffree (Brus-
sels). His Patria Belgica, a work on Bel-
gian music and musicians, appeared in a
publication on national music. — Fotis ; do..
Supplement, ii. 480 ; Riemanu ; Mendel.
SANCHEZ-GABANACH, FRANCISCO
DE PAULA, born at Barcelona, Feb. 6,
1845, still living, 1890. Dramatic com-
poser, pupil of Pedro Llorens and Rai-
mondi Gili in solfeggio and on the piano-
forte, and of Gabriel Balart in composition.
Works — O^jeras : Rahabba, given at Bar-
celona, 1867 ; Giusepfie ; Le Ghironde.
Requiem ; 5 overtures, one of which is in
memory of Meyerbeer. — Fctis, Supplement,
ii. 482.
SANCTIS, CESARE DE, born at Albano,
near Rome, in 1830, still living, 1890.
Church composer, pupil of Baiui, and other
masters, in Rome, where he became maes-
tro di cappella at Sta. Maria sopra Minerva,
and of S. Giovanni de' Fiorentiui, and in 1877
j^rofessor of counterpoint at the Liceo Mu-
sicale. In the meanwhile he had also con-
ducted theatre orchestras in Rome, Verona,
and other cities. Works : Requiem for
King Charles Albert, Tuiin, 1872 ; Masses,
fugues, canons ; Concert overture ; Trattato
d' armonia. — Riemaun.
SANDERSON, JAMES, born at Work-
ington, Cumberland, England, in 17G9, died
in London in 1841. Violinist, self-taught ;
leader of theatre orchestra at Newcastle-on-
Tyne, 1787 ; afterwards music director at
the Surrey Theatre, London. Works — Mu-
sic to Dramas : Harlequin in L'eland, 1792 ;
Blackbeard, 1798 ; Cora, 1799 ; Sir Francis
Drake, 1800 ; The Magic Pipe ; More than
150 melodramas, burlettas, and pantomimes.
CoUins's Ode to the Passions, 1789 ; Over-
tures, violin music, and songs.
SANDOmR. See Ernelinde.
SANELLI, GUALTIERO, born in Parma,
Italy, died there (?), Dec. 15, 1861. Dra-
matic composer, was for a time music di-
rector of the Italian theatre in Mexico, but
shortly after 1842 returned to his native
country. Works — Operas : La cantaute,
]\Iilan, 1841 ; I due sergenti, Turin, 1842 ;
Ermingarda, Milan, 1845 ; Luisa Strozzi,
Leghorn, 1847 ; II fornaretto, Parma, 1851 ;
Tradita, Venice, 1852; Camoens, Turin, 1852;
Ottavia, Milan, 1854 ; Gennaro Annese.
298
SAN FILIPPO
SAN FILIPPO DI NEKI, Italian oratorio
in two parts, by Alessaudro Scarlatti, first
performed in Eome in 1718. It is written
for four characters : San Filippo, Faith,
Hope, and Charity, with accompaniment
of violins, viola, violoncello, contra-bass,
and lute. A score of this work was owned
by Fetis.
SANGER5IAN0, LUIGI, born at Arpino,
Caserta, Oct. 14, 1816, still Kving, 1890.
Dramatic composer, pupil in Home of Fi-
lippo Marchetti, and in Naples of Mer-
cadante, Claudio Conti, and Raftaele de
Pantis. Works — O^jeras : Goretta, Milan,
1869 ; Regina e favorita, Naples, 1871 ;
Clelia Olgiato. Psalms, vespers, motets,
etc.; Symphony; Quartets for strings, etc.
— Fetis, Supplement, ii. 483.
SANGERS FLUCH, DES (The Min-
strel's Curse), ballad after Uhland, arranged
by Richard Pohl, music for solo, chorus,
and orchestra by Robert Schumann, op. 139
(Posthumous Works, No. 4), first given at the
Gewandhaus, Leipsic, Feb. 23, 1860. The
work contains fourteen numbers. Charac-
ters rejJresented : KOnigin (S.) ; Erziihlerin
(Narrator), (C.) ; Jiingling (Youth), (T.) ;
Kouig (King), (B.) ; and Harfner (Harper).
The score, dedicated to Johannes Brahms,
was published by Arnold (Elberfeld, 1858).
— Breitkopf & Hiirtel, Schumann Werke,
Serie ix., No. 12 ; U^jton, Standard Cantatas,
322.
SANGERS FLUCH, DES, ballad for
orchestra, by Hans von Biilow, op. 16. The
subject is Uhland's poem of the same title.
Pubhshed by Schlesinger (Berlin, 1860-67).
SANGSTER, WALTER HAY, born in
London in 1835, still living, 1890. Organ-
ist, pupil of E. J. Hopkins, and on the pi-
anoforte, of W. Rea ; studied also in Ber-
lin, 1855. Organist, successively, of several
churches, last of St. Saviour's, Eastbourne.
Mus. Bac, Oxford. Works : The Lord is
my Light, cantata ; The Knight of Elle, do. ;
Anthems, songs, organ and pianoforte music.
SANTA-COLOMA SOUR GET, Mme
EUGENIE DE, born at Bordeaux, Feb. 8,
1827, still living, 1890. Pianist and singer,
first instructed by Mile Dufresne, then in
Paris pupil of Zimmerman and Bertini on
the pianoforte, and at Bordeaux of Colin in
harmony and Arregui in singing. When
scarcely four years old, she played on the
pianoforte an air which she had heard in
the street, and at the .age of seventeen de-
veloped such extraordinary vocal faculties
that, a few years later, Halevy offered to
write a role for her if she would consent to
sing in opera. Works : L'image, opera,
given privately, Paris, 1864 ; Grand trio for
pianoforte and strings ; Vocal melodies, and
pianoforte pieces. — Fetis, Supplement, ii.
484.
SANT' ELENA AL CALVARIO (St. He-
lena at Calvary), ItaUan sacred opera in two
parts, text by Metastasio, music by Caldara;
represented in the imperial chapel, Vienna,
in Holy Week, 1731. Subject, the visit of
Helena, mother of Constantine, to Jerusa-
lem in search of the holy sepulchre and
the cross. Characters represented : Saut'
Elena ; S. Macario, bishop of Jerusalem ;
Draciliano, prefect of Judea ; Eudossia, a
Roman, and Eustazio, a native of Palestine,
Christians.
SANT' ELENA AL CALVARIO, ora-
torio in two parts, text by Metastasio, music
by Leo, written in 1733. It is considered
one of the composer's best works. Other
oratorios on Metastasio's text : by Hasse,
Dresden, 1746 ; by Tozzi, Madrid, 1790 ;
and by Pasquale Anfossi, about 1790.
SANTO SPIRITO CAVALIERE. See
Eienzi.
SANTUCCI, MARCO, born at Camajore,
Tuscany, July 4, 1762, died in Lucca, in
1843. Church composer, pupil of Fenaroli
at the Conservatorio di Loreto, Naples, 1779-
90 ; returned to Lucca, where he became
maestro di cappella, and in 1794 was made
a priest. In 1797 he succeeded Anfossi as
maestro di cappella of S. Giovanni in Late-
rano, Rome, and in 1808 was made canon of
the cathedral at Lucca. Works : 3 masses,
with orchestra ; 2 Credo, do. ; Paraphrase
299
SAFER
of Stabat Mater, do. ; Do. of Dies irse, do. ;
Beatus vir, do. ; Motet for 16 voices (4
choirs) ; Many other motets, psalms, etc. ;
4 symphonies for orchestra ; Sonatas, and
versets for organ. — Fe'tis ; Mendel ; Eie-
mann.
SAFER YORRESTE. See Ballo in Mas-
chera.
SAPHIE, LE (The Sapphire), opera-co-
mique in three acts, text hj de Leuveu,
Michel Carre, and Hadot, music by Folicien
David, first represented at the Opera Co-
mique, Paris, March 8, 1865. The libretto
was suggested by Shakespeai-e's comedy,
" All's well that ends well." — Clement et
Larousse, 604.
SAPHO, opera in three acts, text by
Emile Augier, music by Gounod, first rejj-
resented at the Acadcmie Nationale de Mu-
sique, Paris, April 16, 1851. This was
Gounod's first work for the stage. Scene
in Mytilene, where Sappho, the jjoet, reigns.
The theme is her hopeless love for Phaon,
which causes her to throw herself in despair
from the Leucadian rock into the sea. Ori-
ginal cast :
Sapho Mme Viardot.
Phaon M. Gueymard.
Glyccre Mile Poinsot.
Pytheas M. Bremond.
Alcee M. Maiie.
Pretre M. Aymfes.
The opera, reduced to two acts, was given
at the same place, July 26, 1858. It was
first performed in London in Italian, as
Saffo, at Covent Garden, Aug. 9, 1851, with
Mme Viardot, Castellan, Tamberlik, and
Tamburini. It was revived under Gounod's
direction in Paris, April 2, 1884. — Clement
et Larousse, 604 ; Hauslick, Moderne Oper,
195 ; Athenreum (1851), 436, 882.
SAPIENZA, ANTONIO, born in St. Pe-
tersbui-g, June 18, 1794, died there (?).
Dramatic composer, at first studied music
in his native city, then at Naples under
Tritto, Ziugarelli, and Generali ; in 1831
he returned to St. Petei'sburg as Kapell-
meister to the Czar, and taught singing.
Works — Operas : Rodrigo, Naples, 1823 ;
L' audacia fortunata, opera buft'a, II Tamer-
lano, ib., 1824 ; H Gonzalvo, Milan, about
1830. La fondazione di Partenope, can-
tata, Naples, 1823 ; 2 masses ; motets, etc.
— Fc'tis.
SAPPHIRE NECKLACE, THE, English
opera, test by Chorley, music by Arthur
Sullivan. The undramatic libretto prevent-
ed the representation of the opera, but the
overture, which is still iu MS., has been fre-
quently played at the Crystal Palace, Lon-
don, and elsewhere.
SAPPHO, dramatic scene for sopi-ano
solo and orchestra, by Friedrich Robert
Volkmann, op. 49.
SARA LA BAIGNEUSE (Sara at the
Bath), orientale by Victor Hugo, music by
Berlioz, op. 11, for four male voices, first
performed in Paris, Nov. 6, 1834. It was
afterwai'ds arranged by the composer for
three choruses with orchestra, and for two
voices with pianoforte accompaniment.
The score was dedicated to M. Lecourt and
published by Richault (Paris).
SARASATE (Y NAVASCUES), PABLO
(MARTIN MELI-
TON) DE, born at
Pampeluna, Spain,
March 10, 1844, still
living, 1890. Virtuoso
on the violin, pupil at
the Paris Conserva-
toire from 1856 of
Alard, and in harmony
of Reber. He won in
1857 first prizes in solfege and for violin,
and in 1859 a premier accessit. ■ He soon
gave up his studies in composition to enter
upon a concert career, appearing first in
Paris, the French provinces, and Spain,
where he was received with enthusiasm, and
later visiting nearly every other country in
Europe and North and South America. He
played in London first iu 1874 and again in
1877-78, and in 1885-86. He made a sec-
ond visit to America in 1889 iu company with
300
SAKMIENTO
Eugen d'TUbert, and plaj-ed iu New York and
other cities with great success. His reper-
tory comprises the concertos of Beethoven,
Spohr, Mendelssohn, and Viotti, the works
of the modern French and Belgian schools,
and his own compositions, which display
great technical skill. Max Bruch wrote
for him his second concerto and the Scotch
fantasy, Lalo his concertos and the sym-
phonic espagnole, and Alexander Campbell
Mackenzie a concerto played at the Birming-
ham Festival of 1885. Works : Confidence,
romance, op. 7 ; Souvenir de Domont,
waltz, op. 8 ; Le sommeil, op. 11 ; Mosco-
vienne, oja. 12 ; Mosaique sur Zampa, op.
15 ; Priere et berceuse, ojj. 17 ; Zigeuner-
iceisen for violin and orchestra, op. 20 ;
Spanische Tilnze, violin and pianoforte, six
books, ojj. 26 ; Serenade andalouse, violin
and j)ianoforte, op. 28 ; Fantasias on Don
Giovanni, Faust, Carmen, etc., and on
Spanish, Bohemian, Scottish, and other
airs. — Fctis, Suj)plement, ii. 483 ; Mendel,
Ergiiuz., 412 ; Grove.
SAEinENTO, SALVATOEE, born, of
Spanish parentage, at Palermo, in 1817,
still living, 1890. Dramatic composer, pu-
pil at the Conservatorio, Naples, of Furno,
Zingarelli, and Donizetti. He was in Paris
iu 1852-53, and after his return to Naples
was appointed iu 1854 maestro di cappella
to the king. Works — Operas : Valeria, ossia
la cieca, Naples, 1838 ; Alfonso d' A_ragona,
ib., 1838 ; Kolla, Eloisa, ib., 1841 ; H tra-
mouto del sole, ib., 1842 ; Costauza d' Ara-
gona, ib., 1843 ; Elmira, Parma, 1851 ; Guil-
lery le trompette, Paris, 1852. Le tre ore
deir agonia, cantata ; Requiem ; Many
masses, and other sacred compositions.
— Fetis ; do., Supplement, ii. 485.
SARO, J. HEENRICH, born at Jessen,
Prussian Saxony, Jan. 4, 1827, still living,
1890. Instrumental composer, pupil at
Dammitsch of the town musician Seidel,
then in Berlin of Bohmer and Marx. In
1856 he became Kapellmeister of the 11th
regiment at Breslau, and in 1859 of the
Emperor Franz Guard regiment in Berlin.
In 1867 his band won the victory in the
musical contest of the European military
bands at the Exposition in Paris, and
in 1872 he was called to Boston to parti-
cipate in the Peace Jubilee, winning the
gold medal. He has the title of royal mu-
sic director. Works : Die beiden Berg-
knappen, opera ; Concert overtures ; Sym-
phony ; Quartet for strings ; Many marches,
and other compositions for military band.
— Mendel, Ergiinz., 412 ; Riemann.
SARRI, DOMENICO, born at Terni,
Naples, in 1678, died at Naples (?) after
1741. Dramatic composer, pupil at the
Conservatorio della Pieta, Naples. He left
that institution iu 1697, and was vice maes-
tro di cappella of the Royal Chapel in
1706, maestro in 1713, and as late as 1741.
Works — Operas : Le gare generose fra
Cesare e Pompeo, Naples, 1706 ; Candaule,
re di Lidia, ib., 1706 ; II comando non in-
teso ed ubbidito, I gemelli rivali, ib., 1713 ;
Arsace, La fede ne' tradimenti, ib., 1718;
Alessandro Severe, ib., 1719 ; Ginevra di
Scozia, ib., 1720 ; Partenope, ib., 1722 ;
Didone abbandonata, ib., 1724 ; Siroe, xh
di Persia, Tito Sempronio Gracco, ib.,
1725 ; Artemisia, ib., 1731 ; Berenice, ib.,
1732 ; Rosaura, ib., 1736 ; Achille in Sciro,
ib., 1737; Lucio Vero ; Valdemaro. Ora-
torios : L' opera di amore, sacred melo-
drama, 1702 ; II fonte delle grazie, 1706 ;
L' andata di Gesti al Calvario, 1708 ; Ora-
torio for the feast of S. Gaetano, 1712 ;
Ester reparatrice, 1734. II gran giorno di
Arcadia, cantata, 1716 ; 3 serenades for 3
and 4 voices ; Concerto for strings and
flute. — Fetis ; do.. Supplement, ii. 486 ;
Mendel ; Schilling.
SARRIA, ENRICO, born in Naples, Feb.
19, 1836, still living, 1890. Dramatic com-
poser, pupil on the pianoforte of Raffaele
Gentile Vitale, and in harmony and com-
position of Nicola Fornasini and Giuseppe
Staffa. Works — Operas : Carmosina, Na-
ples, 1853 ; Donna Mauuela, ib., 1856 ; Es-
tella, ib., 1858 ; Babbeo e 1' intrigante, opera
buffa, ib., 1872 ; Guidetta, ib., 1875 ; La
301
SARTI
campana dell' eremitaggio, ib., 1875 ; Gli
equivoci, comic opera, ib., 1878. — Fetis,
Supplement, ii. 486.
SAETI, GIUSEPPE, born at Faenza,
Dee. 1, 1729, died in Berlin, July 28, 1802.
Dramatic composer, son of a jeweller who
played the violin, and gave him early in-
struction on that instrument. He studied
composition either under Vallotti in Padua,
or Padre ^Martini in Bologna, perhaps under
both. From 1718 to April, 1750, he was
organist at the Faenza Cathedral, and in
1751 successfully produced his first opera
in that town. This was followed by other
operas, all more or less successful, until his
H re pastore made in 1753 a furore in Ven-
ice. In the same year Frederik V., of Den-
mark, invited him to Copenhagen to be
■^o.^elmester and siugLug - teacher to the
Crown Prince, and director of the Italian
Opera ; on the closing of the Opera in
1755, he was made Hofcaj^elmester. In
1765 he returned to Italy to engage singers
for the reopening of the Opera ; but the
death of the king in 1766, and of his own
mother in 1767, delayed his return to
Denmark, and it was not until 1768, after
l^roducing five operas in Venice and else-
where, but hardly with his former success,
that he was once more in Copenhagen. He
was high in favor \\'ith Christian VH., and
protected by Struensee and Queen Caroline
Mathilde. In 1770 he was appointed di-
rector of the Court Theatre, but after the
jjolitical changes of 1772 he fell into dis-
favor with the dominant party at court,
and on May 20, 1775, was dismissed and
banished. He had married Camilla Pasi,
with whom he returned to Italy, going to
Venice, where he directed the Conserva-
torio dell' Ospedaletto untU 1779, when
he was successful in a competition held
before the Naples Conservatorio for the
vacant post of maesti-o di cappella at the
MOan cathedral. During this period of
his life many of his greatest works were
wi-itten. In 1781 he accepted the invitation
of Catherine U. of Kussia to St. Petersburg,
passing on his way through Vienna, where
the Emperor Joseph H. treated him with
marked respect, and where he met also Mo-
zart, with whose playing he was delighted,
but whose compositions he criticised se-
verely, from his old-school point of view.
In St. Petersburg he soon brought the
Italian Opera to an unprecedentedly fine
condition, and wrote several notable works
for the Empress's choir. After a while the
intrigues of the singer Todi brought him
into temporary disgrace ; but Prince Po-
temkin gave him a village in the Ukraine,
where he set uj) a singing school. In 1793
he was reinstated at St. Petersburg, and
made director of the Conservatory in Yeka-
terinoslav, which was modelled after the
Italian plan. After the death of his patron-
ess, Catherine H., and her son, Paul I., ill
health forced him in 1802 to return to Italy.
Stopping for a while at Berlin, he became
intimate with the Hofkapellmeister Noel
Mussini, whose son soon man-ied his daugh-
ter. After the wedding he was seized with
gout, and died in a few days. He was bur-
ied in the Hedwigskirche. Sarti is notable
as the last of the really great Italian contra-
puntists, except his own pujiil Cherubini.
His choral works are models of beauty and
perfection of style, and show the completes!
mastery over all technical difiSculties. Very
few of his works have been published, and
all, except his masses, have passed into un-
merited oblivion.
Works. L Operas : Pompeo in Armenia,
Faenza, 1751 ; II r& pastore, Venice, Teatro
San Moso, 1753 ; Medonte, rb d' Epiro,
Florence, 1753 ; Demofoonle, ib., 1753 ;
Olimpiade, ib., about 1755 ; Ciro ricono-
sciuto, Copenhagen, 1756 ; La figlia ricu-
perata, 2 acts, ib., 1757 ; La giardiniera
brillante, ib., 1758 ; Mitridate, Parma,
1765 ; Vologeso, ib., 1765 ; Nitleti, ib.,
1765 ; Ipermnestra, Rome, 1766 ; I contrat-
tempi, Venice, 1767 ; Didone abbandonata,
ib., 1767 ; Semiramide riconosciuta, ib.,
1768 ; I pretendenti delusi, ib., 1768 ; II
calzolajo di Strasburgo, Modena, 1769 ;
SAETOPvIO
Cleomene, ib., 1770 ; Soliman den Anden,
Coj)enbagen, 1770 ; Tronfolget i Sidon, ib.,
1771 ; La demenza di Tito, Padua, 1771 ;
La contadina fedele, ib., 1771 ; I finti eredi,
ib., 1773 ; Aglae, Copenhagen, 1774 ; Le
gelosie villaue, ossia la uotte oscura, Ven-
ice, 1776 ; Farnace, ib., 177G ; L' avaro, ib.,
1777 ; Eppouiua, Turin, 1777, and, as Gi-
ulio Sabino, Venice, 1781 ; Ifigenia in Au-
lide, Venice, 1777 ; II militare bizzarre,
Turin, 1778 ; Gli amanti consolati, ib.,
1779 ; Fra i due litiganti il terzo gode, ib.,
1780 ; Scipione, Venice, 1780 ; Achilla in
Scire, Florence, 1781 ; L' incognito, Bo-
logna, 1781 ; Alessandro e Timoteo, Venice,
1782 ; Le nozze di Dorina, ib., 1782, and
Paris, Sept. 14, 1789 ; Siroe, Turin, 1783 ;
Idahde, Milan, 1783 ; II trionfo della pace,
Mantua, 1783 ; Armida e Einaldo, St.
Petersburg, 1785 ; Olega (in Russian), ib. ?
Theodulo and his sons (do.), ib., about
1790; The fame of the North (do.), ib.,
1794 ; Les Indicus a I'anglaise, ib., 1794.
n. Church music : Te Deum, in which
the composer emjaloyed fireworks and a dis-
charge of cannon to heighten the martial
effect, jjublished with Russian words (St.
Petersburg) ; 4 masses for four voices with
orchestra, one of which was performed in
the Milan cathedral at Easter, 1880 (MSS.
in Milan) ; Cum sancto, for eight voices ;
Kyrie ; Hyum for two soprani, contralto,
two tenors, and bass ; Credo for four voices
with instruments (MS. in the Conservatorio,
Naples) ; Miserere, for four voices, three
violas, and violoncello ; Many hymns ; An-
thems, psalms, and motets for 4, 6, 8, and
12 voices.
in. Six sonatas for pianoforte solo. An
allegro of one of these sonatas is in Pauer's
" Alte Meister " ; a rondo for mezzo so-
prano in Gevaert's "Gloires d'ltalie" ; and
a cavatina, " Giulio Sabiuo,"in the " Gemme
d' Antichita. Sarti wrote a criticism on two
passages in Mozart's string quartets, under
the title, "Esame acustico fatto sopra due
frammenti di Mozart." He invented also an
instrument for counting the vibrations of
sounds, and he fixed 436 vibrations for the
A as the correct pitch for his orchestra.
— P. Scudo, Le chevalier Sarti (Revue des
deux mondes), published by Hachette
(Paris, 1857) ; Fetis ; Grove ; Mendel.
SARTORIO, ANTONIO, born in Venice
about 1620, died there in 1681. Dramatic
composer, at first in service of the Duke of
Brunswick, and in 1676 became vice maes-
tro di cappella at S. Marco, in his native city.
Works — Operas : Erginda, Venice, 1652 ;
Gli amori infruttuosi di Pirro, ib., 1661 ; II
Seleuco, ib.,1666 ; La prosperita di Elio Se-
jano. La caduta di Elio Sejauo, ib., 1667
Erminda, regina de' Longobardi, ib., 1670
Adelaide, Orfeo, 1672 ; Mesenzio, ib., 1673
Antonino e Pompejano, ib., 1677 ; Ercole
sul Termodonte, Anacreonte tiranno, ib.,
1678 ; I due tiranni al soglio, ib., 1679 ;
Flora, ib., 1681. Salmi a otto voci in due
cori, etc. (Venice, 1680).— Fetis.
SATANELLA, or the Powef of Love,
English opera in four acts, text by Harris
and Falconer, music by Balfe, first repre-
sented at Covent Garden, London, Dec. 20,
1858. The libretto is a version of "Le
diable boiteux." Characters represented :
Satanella, Miss Louisa Pyne ; Count Ru-
pert, Mr. Harrison ; Aiimaues, Mr. Weiss ;
Stella, Miss Susan Pyne ; Lelia, Miss Re-
becca Isaacs ; Hortensius, Mr. G. Honey ;
Kari, Ml-. St. Alban ; Vizier, Mi-. W. H.
Payne, and Bracachio, Mr. H. Corri. — Athe-
na3um (1858), ii. 843.
SATTER, GUSTAV, born in Vienna,
Feb. 12, 1832, still living, 1890. Pianist,
son of a physician, who sent him to Paris
to study medicine ; but he devoted his
time to music and studied the pianoforte,
and at last ran away to America to follow
his chosen profession. He travelled through
the United States and Brazil, where he was
well received as a concert player in 1854-
60. On his return to Paris in 1862, he was
warmly commended by Berlioz, and subse-
quently won much applause in Vienna,
where he lived temporarily, then in Dres-
den and Hanover, and after concert tours
SATTLER
through the northern part of Europe, finally
settled at Stockholm. Works : Olanthe, op-
era. Overtures : Lorelei ; Julius Caesar ;
An die Freude. 2 symphonies ; Washing-
ton, symphonic tone-painting ; Quai'tets for
pianoforte and strings ; Trios ; Many piano-
forte pieces ; Songs. — Fetis, Supplement,
ii. 488 ; Eiemann ; Hanslick, Concertwesen
in Wien, ii. 301 ; Wurzbach.
SATTLER, JOHANN HEINRICH FER-
DINAND, bom at QuedUnburg, April 3,
1811, still living, 1890. Organist, pupil of
F. W. Liebau ; was organist at Blanken-
burg in the Hartz in 1838-Gl, and since
then instructor in a seminary in Olden-
burg. Works : Die Sachsentaufe, oratorio ;
Masses, psalms, cantatas ; Motets for male
voices ; Organ and pianoforte music ; Songs ;
Methods for organ, pianoforte, violin, and
choral singing ; Choralbuch ; Treatise on
hiirmony. — Mendel, Ergiinz, 413.
SATURJaLES, LES (The Saturnalia),
opura-bouflfe in three acts, text bj- Albin
Valabregue, music by Louis Lacombe, first
represented at the Theatre des Nouveau-
tus, Paris, Sept. 26, 1887. Mynha, the
daughter of Barbinus, a Roman patrician,
is betrothed to Bomilcar, a Cai-thaginian
nobleman, but loves and is loved by Mar-
cus Livius, secretary of the circus. During
the feast of the Saturnalia, Rosa, Barbinus's
chief cook, takes the place of her mistress
and runs off with Bomilcar, leaving Mj-rrha
free to marry ^larcus Livius. Mile Jeanne
Granier, Jllle Debioge, and Albert Brasseur
appeared in the original cast.
SAUL, oratorio in three acts, by Handel,
first given at the King's Theatre, London,
Jan. IG, 1739. The author of the text is
unknown, though it is supposed to have
been written by Charles Jennens, Thomas
Morell, or Newburgh Hamilton. This, Han-
del's first great oratorio, was composed in
two months and four days. The auto-
graph score, in Buckingham Palace, is
dated July 23, 1738, at the beginning of the
first chorus ; Aug. 8, 1738, at the end of the
second act ; and Sept. 27, 1738, at the end of |
the chorus, " 0 fatal day." The overture, or
sinfonia, with organ ad libitum, is the long-
est of all of Handel's introductions. It is
in four movements : I. Allegro ; IL Lar-
ghetto with organ solo ; HI. Allegro ; IV.
Andante larghetto, Minuet. The first act
describes the exultation of the Israehtes
at their victory over the Philistines ; the
second a story of the passions — the envy
of Saul, the love of Michal, the friendship of
David and Jonathan, and the constancy of
the latter. The third act contains the in-
cantations of the Witch of Endoi', the appa-
rition of Samuel, the Dead March, or dirge,
and David's lament over Saul and Jonathan.
At first Handel intended to combine the
Funeral Anthem of Queen Caroline (Dec.
12, 1737) with the elegy on Saul and Jona-
than, and wrote out the words for it, which
are preserved between fragments of recita-
tive in the original MS. The organ is an
important instrument in this work, although
many of the brilliant passages given to it in
Arnold's score are assigned to the oboe in
the autograph. Characters represented :
Saul (B.), Jonathan (T.), David (A.), Abner
(T.), Merab (S.), Michal (S.), Doeg (B.),
Witch of Endor (T.), Apparition of Samuel
(B.), an Amalekite (T.), Abiathar (B.), High
Priest (T.), and chorus. Mr. Beard, Mrs.
Ame, Siguora Frasi, and SignoraAvolio sang
in this work at different times. Its second
performance took place Jan. 22, 1739, when
it was given with "several new concertos
on the organ." Saul was first given in
Dnbhn, May 25, 1742, first in Germany at
Halle, Jan. 23, 1820 ; by the Singakademie,
Berlin, in 1833, three choruses in Vienna
in 1834, and it was revived by the Sacred
Harmonic Society, London, in 1840, re-
maining one of the standard works of its
repertory. The Dead March in C, which is
universally known, was twice played at the
Handel Commemoration with the overture
on May 26, and with the chorus, " Gird on
thy sword," on June 3, 1784. Saul was first
published by Wood (London, 1739) ; the
songs and aii-s by Walsh (ib., 1739), and
304
SAUL
editions by Ai-nolcl and Randall. Piano-
forte score by J. F. Naue (Hofmeister, Leip-
sic, 1825). Cbrysander's edition for the
Hilndelgesellschaft was publisbed by Breit-
kopf & Hiirtel (Leipsic, 18G2) ; also edition
by Novello (Loudon). — Rockstro, Handel,
215 ; Chrvsander, Handel, iii. 19-59 ; Mait-
land, Handel, lOi ; Allgeni. mus Zeitg., xxii.
189, 537, 553 ; xxv. 490, 8G7 ; Berliner mus.
Zeitg., ii. 407 ; Bitter, Gescbicbte des Orato-
riums, 250-297 ; Jahrbiicher fiir mus. Wis-
senscliaft, i. 408 ; Grove ; Upton, Standard
Oratorios, 125.
SAUL, oratorio, text bj' Moritz Hart-
mann, music by Ferdinand Hiller, first
given at the Niederrbeiuiscbe Musikfeste,
under the composer's direction, Cologne,
1858. Publisbed by Kistner (Leipsic, 1858).
Other oratorios on this subject, in Italian :
L' ultima persecuzione di SauUe contra
Davidde, by Francesco Peli, Modeua, 1708 ;
SauUe, by Lauro Rossi, Rome, 1833 ; by
Zingarelli, ib., 1833. In German : Saul,
oder die Gewalt der Musik, dramatic can-
tata by Johann Heiurich Rolle, about 1780 ;
biblical melodrama, by Iguaz von Seyfried,
text from Caigniez, Vienna, April 7, 1810 ;
and Saul, a pasticcio by Kalkbrenner and
Laehnith from Haydn, Mozart, Cimarosa,
and Paisiello, text by Desprus, Deschamps,
and Morel, Paris, April 7, 1803. Operas, in
Italian : Saulle, by Vaccaj, Naples, March
11, 1829 ; by Carolina Uccelli, text by the
composer, Florence, June 21, 1830 ; by Vin-
ceuzo Colla, Trieste, Dec. 9, 1836 ; by An-
tonio Buzzi, text by Giuliani, Ferrara, May
31, 1843 ; by Giovanni Andrea Speranza,
Florence, April, 1844 ; by Francesco Car-
netti, text by Pulle, Milan, Oct. 7, 1845 ; by
Nicola Coccon, Spello, March, 1884 ; and
Saul, Kiinig in Israel, German opera by von
Miltitz, Dresden, 1833. — Neue Zeitschr.
(1858), 256.
SAURET, Smile, bom at Duu-le-Roi
(Cher), France, May 22, 1852, still living,
1890. Virtuoso on the violin, puj)il of de
Beriot. He began to travel at an early age,
playing in the principal cities of France and
Italy, in Vienna, and London, where be
made bis first appearance at ,\lfred Mellon 's
concerts, Covent Gar-
den, in 18GG. In 1872
he visited the United
States with Strakosch,
and again in 1874-76.
In the latter year be
played in Leipsic at
the Gewandhaus, theu
returned to America,
and in 1877 made
a successful tour
through Austria and
Germany. He visited Holland and reap-
peared in England in 1880, at the Crys-
tal Palace and the Philharmonic. In 1880
-81 he was instructor of the violin at Kul-
lak's Academy, Berlin. "Works : Concerto
for violin and orchestra, in G minor, op.
2(! ; Ballade, legende, and serenade in G,
for solo violin and orchestra ; Caprice de
concert in D ; Scherzo fantastique ; Valse
caprice ; Barcarolle-masurka ; Fantasia on
Spanish airis, op. 27 ; Pensees fugitives, op.
29 ; Romance and tarentelle, op. 31 ; Tran-
scriptions from Mendelssohn, Rubinstein,
Wagner, etc. — Grove ; Rien)ann.
SAUZAY, (CHARLES) EUGENE, born
in Paris, July 14, 1809, still living, 1890. Vio-
linist, first instructed by Vidal, then pupil
at the Conservatoire (1824) of Guerin, Bail-
lot, and Reicha ; won the second violin prize
in 1825 and the first in 1827, when be took
also the second prize for fugue. A few
years later be joined Baillot's quartet, first
as second violin, then as viola, replacing
Vidal and Urban. He married Baillot's
daughter, and remained a member of the
quartet till its dissolution in 1840. He was
first violin to Louis Philippe, and leader of
second violins to Napoleon HI. In 1860
be succeeded Girard as professor at the
Conservatoire. Legion of Honour. Works :
Incidental music to Moliere's "Georges
Dandiu," and "Le Sicilien ; " Fantasias on
opera airs ; Many pieces for violin and pi-
anoforte ; Symphonie rustique for piano-
3G5
SAVETTA
forte (4 bauds) ; Trio for ijiauoforte aud
strings ; Etudes liarmoniques pour violon ;
Songs. He also published : Haydn, Mo-
zart, Beethoveu, etude sur le quatuor (Paris,
1861) ; LV'Cole de raccorapagnement (ib.,
1S69).— Fetis ; do., Supplement, ii. 489;
lliemanu ; Mendel.
SAVETTA, ANTONIO, born at Lodi,
Italy, end of the 16tb century. Church
composer, maestro di cappella of the church
della lucoronata in his native city. Works :
Madrigali a 5-8 voci, etc. (Venice, 1610) ;
Messe a 6 voci (ib., 1616) ; Salmi (ib., 1620) ;
Messe e salmi (ib. 1638) ; Messe a 4-8 voci ;
Messe e salmi a 9 voci (ib., 1639) ; Messe
concertate a 8 voci (ib., 1639) ; Salmi a 5
voci ; Litauie ed antifoue a 8 voci (ib.,
1641) ; Motetti a IG e a 24 voci.— F6tis ;
Mendel.
SAVEZ-VOUS QU'EN JOIGNANT VOS
MAINS. See Huguenots.
SAVJ, ALFONSO, born at Parma, Italy,
Dec. 21, 1773, died (?). Violoncellist, pujiil
of Gasparo Ghiretti ; in 1812 he was ac-
comi^auist at the theatre of Parma. Works :
Sp^'er.-il opero buflfe, given at Parma ; Masses,
vesf)ers, psalms, and other church music ;
Symphonies ; Quartets, trios, aud duos for
strings. — Fetis ; Mendel.
SAVJ, LUIGI, born in Florence, Italy,
early in the 19th century, died there, Jan.
4, 1842. Dramatic composer, known by
the following operas : II Cid, Parma, 1834 ;
Caterina di Cleves, Florence, 1838 ; Adel-
son e Salvina, ib., 1839 ; L' avaro, ossia un
episodic di San Michele, Florence, 1840.
He published also a collection of 12 duos
aud a caprice for violin and bass, and do.
of 3 duos for do. — Fetis.
SAVOJA, PAOLO, born at Gerace, near
Keggio di Calabria, Aug. 17, 1820, still liv-
ing, 1890. Church composer, pupil of Rug-
gi, Donizetti, and Mercadante, at the Conscr-
vatorio, Naples ; he became band-master of
the 3d Swiss regiment, then of the royal
guard at Naples. After the dissolution of
the Neapolitan army in 18.59, he devoted
himself to teaching, and is now director of
the military band of the Teatro San Carlo.
Works : Un maestro di musica ed un poeta,
opera buffa, Naples, 1857 ; Cristiauella
(with other composers), ib. ; M.ass for 3
voices, with orchestra ; do., with military
band ; 3 Tantum ergo ; 2 Stabat Mater ;
Hymns and other church music ; 3 over-
tures for orchestra ; 4 funeral marches for
military band ; 6 marches for do. ; Many
quicksteps, dance music, etc., for do. ; Mel-
ody for horn, with orchestra. — Fetis, Sup-
plement, ii. 490.
S.WONAEOLA, English opera in three
acts, with a prologue, text by Gilbert a
Beckett, music by Charles Villiers Stanford,
first represented at the Stadttheater, Ham-
burg, April 18, 1884. The drama, which
was given with a German translation by
Ernest Frank, is largely founded on his-
torical facts, chiefly from Villari's life of
Savonarola. The action takes place in Fer-
rara in 1475. The opera was well received
and met Avith a genuine success, being given
four times. It was given in London, at
Covent Garden, July 9, 1884. — Atheuseum
(1884), i. 544.
SAWEKTHAL. See Zaverlhal.
SAXE-COBUllG-GOTHA. See Ernd H.
SBORGI, GIUSEPPE ]\L\RIA, born at
Florence, March 30, 1814, still living, 1890.
Dramatic composer, son of Gaetano Sborgi
(born 1769, still living, 1821, professor of
singing and pianoforte) ; pupil of Palafuti
on the i^ianoforte, of Gaetano Giorgetti on
the violoncello, and of Picchianti in com-
position. He was first violoncello of the
orchestra at the Teatro della Pergola, for
forty years, and also a member of the cham-
ber music and chapel of Grandduke Leo-
pold H. Works — Operas : Demofoonte,
Florence, 1836 ; II giorno natalizio, 1837 ;
Ippohta degli Azzi, Ai-ezzo, 1838 ; II tesoro,
Florence, about 1850. Concerto for violon-
cello ; do. for do. and pianoforte. — Fetis,
Supplement, ii. 491.
SCACCHI, MARCO, born in Rome about
the end of the 16th century, died at Gallese,
near Viterbo, before 1685. Contrapuntist of
3U6
SCALETTA
the Roman scliool, pupil of Felice Anerio ; 1 1575) ; II secondo libro delle canzoni na-
kapelmajster to
Warsaw iu IGIS
Gallese. Works
the King of
-48, tben lived
Three books
Poland
retired
at politane (ib..
at of the time :
1577) ; Motets in collections
Passio et resurrectio Domini
of madrigals for 5 voices (Ven-
ice, 1034-37) ; Book of masses
for 4-G voices (ib., 1G38) ; 2
books of motets for 4-5 voices
(ib., 1G40) ; Cantilena quinque
vocibus et lacrimfo sepnlchrales
ad tumulum Johannis Stobaci (ib., 1647) ;
Missa omnium tonorum pro electione l\e-
gis PolonioB Casimiri, for 12 voices (1GG4,
MS. royal library, Berlin). He published
Cribrum musicum ad triticum Syfertinum
(Venice, 1G43), criticising the psalms of
Paul Syfert, organist at Dantzic ; also Breve
discorso sopra la musica moderna (Warsaw,
1G47).— Fi'tis ; Gerber ; Mendel.
SCALETTA, ORAZIO, born at Crema,
Italy, second half of the 16th century, died
at Padua, in 1630. Vocal comi^oser, maes-
tro di cappella of the cathedral at Salo, on
Lake Garda, then (1607) in his native
city, later at Sta. Maria Maggiore in Ber-
gamo, and last at the basilica of S. Antonio
in Padua, where he died of the plague.
Works : Villanello alia romana a 3 voci
(Venice, 1500) ; Madrigali a 6 voci ; Messa
breve de' morti a 4 voci. He published :
Scala della musica (Verona, 1598, and many
later editions) ; Primo scalino della scala di
coutrappunto (Milan, 1622).
SCANDELLI (Scandellus), ANTONIO,
bom in Brescia, Italy, in 1517, died iu
Dresden, Jan. 18, 1580. Virtuoso on the
cornet, was court musician in Dresden
before 1553, became Vize-Kapellmeister in
15G6, and Kapellmeister in 1568. Works :
Epitaph on Moritz, Elector of Saxony, with
a Requiem mass for G voices (Nuremberg,
1558) ; II primo libro delle canzoni napoli-
tane (ib., 15GG, 1572, 1583) ; Neue teutsche
geistliche Liedlein (ib., 1568) ; Cantiones
germanicpo 4 et 5 vocum (ib., 1567, 1579) ;
Newe und lustige weltliche deutsche Lied-
lein (ib., 1570, 1578, 1579) ; Nawe sehOne
ausserlesene geistliche deutsche Lieder(ib.,
^yHy)(o'iAM<y fccun.d ^
'fca^d^iCiA^
C^pe^'iM^i/^ 2
nostri, etc. (1593, MS. library at Grimma) ;
Christus vera languores, motet for G voices,
etc. — Ai'chiv fiir siichsische Geschichte
(Leipsic, 1866) ; Fetis ; Mendel.
SCANDINAVIAN SYMPHONY, in C
minor, by Frederic H. Cowen, first per-
formed at the Crystal Palace, London, Dec.
18, 1880. It is the composer's third sym-
phony, and conveys impressions of the
Northland. I. Allegro moderato ma con
moto ; IL Molto adagio ; III. Scherzo :
Molto vivace quasi presto ; IV. Finale :
Allegro ma non troppo. Allegro molto vi-
vace. Given in 1882 in Liverpool, Brighton,
Birmingham, Edinburgh, Glasgow, Paris,
Aix - la - Chapelle, and other continental
cities, and in Boston, Mass., by the Sym-
phony Orchestra, Jan. 27, 1883. — Athenaium
(1880), ii. 874 ; Upton, Standard Synpho-
nies, 125.
SCARLATTI, H Cavaliere ALESSANDRO,
born at Trapani,
Sicil}', iu 1659, died
in Naples, Oct. 24,
1725. Nothing
definite is known
about his early life
and education. The
stories that he stud-
ied at Parma, and
under Carissimi at
Rome, appear to be
without foundation,
he studied at Palermo, and Villarosa states
that he and his family moved to Naples,
after he had already become famous as
singer, harpist, and clavecinist. The first
authentic news we have of him is that he
Futis conjectures that
807
SCAKLATTI
was in Rome in 1680 (six j-ears after Caris-
simi's death), conducting an opera of liis
own, L' onestii uell' amore, at the palace of
Christina, Queen of Sweden. This points
to the supposition that he must ah-eady
have been well known as a composer.
Cramer's statement that he wrote an opera
for Munich in the same year, has been
abundantly disproved. In 1094 Scarlatti
was maestro di eappella to the Viceroy of
Naples. In 1703 he returned to Rome,
where he was appointed on Dec. 31 assist-
ant maestro di eappella to Antonio Foggia,
at Santa Maria JIaggiore. Not long after
this he became also private maestro di caj)-
pella to Cardinal Ottoboni, and in 1707 he
succeeded Foggia as chief maestro at Santa
Maria Maggiore, but resigned in 1709 to
return to Naples, after having received the
order of the Golden Spur. How soon after
his return to Naples he was made maestro
of the Royal Chapel is not known ; but he
certainly held that jiost in 1717, as is proved
by the title of a MS. pamjihlet of his :
"Discorso di musica sopi-a un caso partico-
lare in arte, del Cav. Sig. Alessandro Scar-
latti, maestro della reale eappella di Napoli,
1717 " (28 pp. folio, with 17 pp. of music).
T''«i pamphlet was written to settle a dis-
puted point in harmonj' which two Sjjanish
musicians had referred to Scarlatti as arbi-
trator. He taught successively at the con-
servatories of San Onofrio, de' Poveri di
Gcsii Cristo, and the Loreto. Among his
pnpils were Logroscino, Hasse, Leo, Feo,
Porpora, and others of less note, but not
Pergolesi, as has wrongly been stated.
Scarlatti was without doubt the greatest
comjioser of his day. Even if the story be
untrue that he was a pupil of Carissimi, he
certainly was a follower of that great man,
and continued his work of combining, as far
as was possible, the principles of the great
Roman contrapuntal school (Palestrina,
Naniui, etc.) with those of the Florentine
Music-Reform (Caccini and Peri). He was
equally noteworthy for the elevation of his
ideas and his consummate mastery over all
the technique of composition. As an orig-
inal and progressive mind, he belongs
mainly to the history of the opera. He may
be regarded as the founder of the Neapoli-
tan school, and if the opera left off its swad-
dling clothes under Monteverde and Cavalli,
it entered upon its vigorous manhood under
Scarlatti. To him we owe the establish-
ment of three of the principal forms of
modern operatic music : the recitativo secco,
the recitativo stromentato, and the aria.
But, although Scarlatti's originality of
genius shows itself most prominently in the
field of opera in the way of establishing new
musical forms, he was a complete master of
every style of composition in vogue in his
day. He was one of the most prolific of
composers, leaving at his death 115 operas
(of which 41 are still extant), over 200
masses, most of which have been lost, a
large amount of other church music, ora-
torios, madrigals, and secular cantatas. Of
liis instrumental compositions but few have
been preserved. He was buried in the St.
Cecilia chapel of the church of Monte Carlo,
at Naples. His portrait, after Solimena, is
in the " Biografia degli Uomini illusfri del
Regno di Napoli."
Works. I. Operas : Diana ed Endimione,
about 1G75 ; L" onesta nell' amore, Rome,
IGSO ; Pompeo, Naples, Jan. 30, 1G84 ; La
Rosaura, about 1690 ; Non tutto il male
vien per nocere, Naples, about 1690 ; Teo-
dora, Rome, 1693 ; Odoacre (with Legrenzi),
Naples, Teatro San Bartolomeo, 1694 ; Pirro
e Demetrio, Naples, 1697 ; II prigioniero
fortunato, ib., 1698, and, as II p. superbo,
1699 ; Eraclea, ib., 1700 ; Gli equivoci nel
serabiante, ib., 1700 ; Olitorio, ib., about
1700 ; Massimo Papirio, ib., about 1700 ;
Lo nozze col nemico, Rome, about 1700 ;
Laodicea e Berenice, Naples, 1701 ; II fi-
glio delle selve, ib., 1702 ; La caduta do' de-
cemviri, ib., 1706 ; Mitridate Eupatore,
Venice, 1707, and Reggio, 1713 ; II trionfo
della liberta, Venice, 1707 ; H Medo, ib,
1708 ; II martirio di Santa Cecilia, opera
seria, 3 acts, Rome, 1709 ; II Teodosio, 3
308
SCAELATTI
acts, Naples, 1709 ; Giro riconosciuto, Rome,
1712; Porseuua (with Lotti), Naples, Tea-
tro San Bartolomeo, 1713 ; Scipione nelle
Spagne, Naples, 1711: ; L' amor generoso,
ib., 1714 ; Ai-miuio, 1714 ; Tigraiie, 3 acts,
Venice, 1715 ; Carlo, vh d' Allemagna, Naples,
1716 ; La virtii trionfanto dell' odio c dell"
amore, ib., 171G ; II trioufo dell' onore
(possibly identical with the foregoing), ib.,
Teatro de' Fiorentini, 1718 ; Telemacco, 3
acts, Rome, 1718 ; Massimo Puppieno,
Naples, 1718 (?) ; Attilio Regolo, Rome,
1719 ; II Cambise, Naples, 1719 ; Tito Sem-
pronio Gracco (sic ; should be Tiberio S.
G.), ib., 1720 ; Turno Aricino, Rome, 1720 ;
La priiicipessa fedele, Rome and Munich,
1721 ; Griselda, Rome, 1721 ; Didvne ab-
bandouata, ib., 1724 ; The date of perform-
ance of the following is not known : La
Merope ; L' Amazzone guerriera ; Amor vo-
lubile e tiranno.
n. Oratorios : I dolori di Maria sempre
Vergine, Rome, 1G93 ; II sacrifizio d' Abra-
mo, ib., 1703 ; II marlirio di Santa Teo-
dosia, ib., 1705 (MS. in the National Library,
Paris) ; La concezzione della beata Vergine ;
La sjjosa de' sagri cantici, for four voices
with instruments, Naples, 1710 (MS. in
the royal chapel, Naples) ; San Filippo del
Neri, Rome, 1718 ; La Vergine addolorata,
for four voices, Naples, 1722 ; Stabat Mater
for soprano and alto with orchestra ; Stabat
Mater for four voices, Rome, 1723 ; Passio
Domini nostri Jesu Christi secundum Jo-
bannem, for contralto, chorus, violin, viola,
and organ.
m. Church music : About 200 masses,
including mass for four voices, in canon
form, with organ ; Mass for four voices in
E ; Mass for live voices with orchestra in
B minor (MS. in the archives of the royal
chapel, Naples) ; Pastoral mass for ten
voices in two choruses, with violin and or-
gan ; Mass for six voices with organ in E-
flat ; Requiem mass for four voices and
organ ; Tu es Petrus, for eight voices in
two choruses, with organ ; Coneerti sacri,
motteti, for 1, 2, 3, and 4 voices, with two
violins, viola, and organ, op. 1 and op. 2
(published by Roger, Amsterdam) ; Motets
for 4, 5, and 6 voices with organ (once in
the Abbate Santini's possession) ; Memento
Domine for four voices ; Psalm for four
voices after Palestrina ; Laudate, psalm for
soprano, contralto, and bass, with violins,
viola, and organ ; Ave Regina coelorum, for
two soprani with organ, composed for the
Church Santa INIaria di Loreto ; Miserere, a
cappella, composed for the pontifical choir
in 1G80.
IV. Secular music : Madrigals for various
voices, one for two soprani and two con-
tralti (in Padre Martini's " Esemplare di
contrajipuuto fugato ") ; Serenata for four
voices for the baptism of the Prince of
Sicily, Monte Cassiano, 1723 ; 2 serenatas
for five voices ; Madrigal for two voices
without instruments ; 14 duets for voices
without instruments ; Many cantatas for one
voice with basso continuo (eight volumes of
these in the Conservatoire, Paris) ; 2 books
of toccatas for clavecin or organ (once in
the Abbate Santini's collection) ; Several
pieces for the clavecin. — Gennaro Grossi,
Biografia degli Uomini illustri del Regno di
Najioli, containing Scarlatti's portrait after
Soliraena (Naples, 1809) ; Marquis de Villa-
rosa, Memorie dei compositori di musica del
regno di Najjoli, 199 ; Fetis ; Grove ; Men-
del ; Riemann.
SCARLATTI, DOMENICO (or, accord-
ing to Quadrio, in his Storia.
d' ogni poesia, vii. 249, Girolamo), born in
Naples (?), 1G83 (according to some authoi'-
ities, 1GS5), died in Naples, 1757. Dra-
matic composer, son of Alessandro Scai-latti
He is said to have studied under Bernardo
Pasquini, but this is improbable ; Pasquini
belonged to the Roman strict contrapuntal
school that adhered to the Palestrina tradi-
tions, and it is hardly likely that a distin-
guished pupil of his should have made his
first mark as an opera composer at the age
of nineteen or twenty. It is far more prob-
809
SCARLATTI
able that Domenico Scarlatti studied un-
der bis father, and then under Gasparini in
Home. In 1704 he
remodelled Polla-
rolo's L'ene for the
(T , l'^ ^^ stage at Naples ;
this, apparently his
first work, was fol-
lowed by several
^^^^Tr^^w ^T^^ original operas,
among which it is in-
teresting to note Am-
leto, as almost the
fii-st musical setting of a libretto taken from
Shakespeare's tragedy. But he was not des-
tined long to follow the career of an opera
composer ; although some of his operas were
highly successful, his great reputation rests
upon his mastery of the harpsichord, and
his compositions for that instrument. In
1708 he was in Venice together with Han-
del, and seems to have accompanied him
through Florence to Rome, where the two
were almost inseparable until Handel's de-
parture. Scarlatti's reputation on the harp-
sichord must have begun pretty early, for
during this visit of Handel to Rome, at
which time Scarlatti was not over twenty-
five, Cardinal Ottoboni pitted him against
the great German as the best representa-
tive o'.V haii)sichorJ playing in Italy. The
result of the match was a draw, as far as
the harpsichord was concerned, but Scar-
latti readily acknowledged Handel's supe-
riority on the organ, the treatment of which
instrument had been little developed in
Italy since the days of Frescobaldi, whereas
in Germany organ playing had made vast
strides. In 1715 Scarlatti succeeded Baj
as maestro di cappella at St. Peter's, for
which choir he wrote considerable church
music. In 1710 he went to London, where
he renewed his close friendship with Han-
del, and in 1721 to Lisbon, where he be-
came a great favourite at court, but grew
homesick eventually, and in 1725 returned
to Naples. In 1729 he w-ent to Spain, on
invitation from the court, and was made
music teacher to the Princess of the Astu-
rias, who had been his pupil in Lisbon.
He went back to Naples again in 1754,
in straitened circumstances, owing to his
passion for gambling. At his death his
family were left in almost absolute destitu-
tion, but were assisted to some extent by
the singer Fariuelli, who had been intimate
with Scarlatti in Madrid. Domenico Scar-
latti may be considered as, to a certain
extent, the father of modern jjianoforte
playing. How much he may have been in-
fluenced by his great French contempo-
rary, Couperiu, is doubtful ; it is certain
that the two men never met, but it is hai-dly
likely that either of the two was wholly ig-
norant of the other's works. But traces of
Scai'latti's method are to be found in the
hai-psichord school of Bach, and almost all
the great pianoforte schools derived there-
from, through Clementi, Mendelssohn, even
down to Liszt. His harpsichord pieces ai'e
invariably short, and he did nothing toward
further developing the elements of the so-
nata form. His great merit, apart from
the intrinsic beauty and solid style of his
writing, was that he knew how to develop a
system of playing and a style of composi-
tion that were firmly based ujion the pecu-
liar character of the harpsichord. Indeed,
he holds as jirominent and important a posi-
tion in the history of harpsichord and pi-
anoforte music as his father does in that of
the Art of Music itself.
Works. I. Operas : Irene (remodelled
version of Pollarolo's opera, Venice, 1G95),
Naples, 1704 ; Some airs in Porpora's Bere-
nice, Rome, 1710 ; La Silvia, ib., private
theatre of Maria Kazimira, Queen Dowager
of Poland, 1710 ; Orlando, ossia la gelosa
pazzia, Rome, 1711 ; Tolomeo e Alessandro,
ossia la corona disprezzata, ib., 1711; Te-
tide in Sciro, ib., 1712 ; Ifigenia in Aulide,
ib., 1713 ; Ifigenia in Tauride, ib., 1713 ;
Amor d' un ombra e gelosia d' ini aura, the-
atre of Maria Kazimira, 1714 ; Narciso,
Rome, 1714, and London, May 30, 1720 ;
Amleto, Rome, Teatro Caijranica, 1715 ;
SCARLATTI
Ottavi.i restituita al trouo, about 1715 ;
Giustino, about 1715.
n. Clavecin works : Esercizi jjer gravi-
cembalo, etc. (Venice, before Aug. 10,
174G) ; Pieces pour clavecin, etc., 2 vols.
(Paris, Mme Boivin, before 1732) ; Collec-
tion of 200 jjieces, edited bj' Czerny (Vi-
enna, Hasliuger, 1839), and recdited by
Mme Farrenc (Paris, Sauer, Girod, n. d.) ;
42 Suites of Lessons (Loudon, Cooke, 1730
-37), this edition was printed under the su-
23ervision of Scarlatti's friend, Roseingrave,
and was tlie basis of the Czerny and Far-
renc collections ; 130 Pieces in Farrenc's
Tresor des Piauistes (Paris, 18G4) ; 60
sonatas (Leipsic, Breitkopf & Hiirtel) ; 18
Pieces arranged in suites by von Biilow (ib.,
Peters). — Futis ; Mendel ; Grove.
SCARLATTI, GIUSEPPE, born iu Na-
ples, in 1712, died iu Vienna, Aug. 17,
1777. Dramatic composer, grandson of
Alessandro Scarlatti. Little is known of
Lis history, but the dates appended to his
operas show that he was in Venice and Na-
ples before 175G, and that he went to Vi-
enna after that date. Works : Pompeo in
Armenia, Rome, 1747 ; Adriano in Siria,
Naples, 1752 ; Ezio, ib., 1754 ; Gli effetti
della grau madre natura, Venice, 1754 ;
Merope, Naples, 1755 ; De gustibus non
est disputandum, Venice, 175G ; Chi tutto
abbraccia nulla stringe, ib., II mercato di
Malmantile, Vienna, 1757 ; L' isola disabita-
ta, ib., 1757 ; Issifile, La serva scaltra, ib.,
1759 ; La clemeuza di Tito, ib., 17G0 ; La
moglie padrona, ib., 17G8. — Fotis ; Schil-
ling ; Mendel ; Harmonicon (1827), 238.
SCENEN AUS DEM SOLDATEN-
LEBEN (Scenes from Soldiers' Life), Fan-
tasiestiicke for orchestra, by Ferdinand
Hiller, op. 14G. I. Rekruten ; II. Auf der
Wacht ; III. Einquartirt ; IV. Auf Pa-
trouille ; V. Bestattuug. Published by
Schott (Mainz, 18G8-76).
SCENES DRAMATIQLTES APRILS
SHAKESPEARE, fifth suite for orchestra,
by Jules Massenet, first performed at the
Concert du Conservatoire, Paris, Jan. 10,
1875. Full score and pianoforte arrange-
ment for four hands, published by Schott
(Mainz, 1875-79).
SCENES HONGROISES (Hungarian
Scenes), second suite for orchestra, bj' Jules
Massenet. I. Entree en forme de danse ;
H. Intermede ; HI. Adieux a la fiancee ;
IV. Cortege, Benediction nuptiale, Sortie de
I'eglise. The score, dedicated to Georges
Bizet, was published by G. Hartmaun
(Paris). Full score and pianoforte arrange-
ment for four hands, published by Schott
(Mainz, 1874-79). Arranged for the piano-
forte by Georges Bizet, and also by Renaud
de Vilbac.
SCfiNES NAPOLITAINES, suite for or-
chestra, by Jules Massenet, first given at an
open air concert in the Champs-Elysees,
Paris, in 1879, and at the Chatelet and
Cirque d'Hiver, Paris, on the same day,
Feb. 8, 1880. L La danse (taroutelle) ;
n. Le cortege ; HI. La fete.
SCENES PITTORESQUES, fourth suite
d'orchestre, by Jules Massenet, first per-
formed at the Chatelet concert, Paris, Nov.
12, 187G. L Marche ; 11 Air do ballet ;
III. Angelus ; IV. Fete boheme. Full score
and piauoforte arrangement for four hands,
published by Schott (Mainz, 187G). Air de
ballet, transcription for the violoncello and
pianoforte (ib.).
SCENES THAT ARE BRIGHTEST.
See Maritana.
SCHACHNER, RUDOLF (JOSEPH),
born in Munich, Dec. 31, 1821, still living,
1890. Pianist, pupil of Prau von Flad and
of Cramer, and iu comp)osition of Caspar
Ett. He appeared first in Vieima with
great success, in 1842, then in Paris, Leip-
sic, and Berlin ; went to London in 1853,
and for many years was greatly esteemed
as a teacher of the pianoforte. Within a
few years he has settled iu Vienna. Works :
Israels Riickkehr von Babylon, oratorio ;
2 Conzertstucke for pianoforte and orches-
tra ; Le regret et nocturne, Salon-pieces
for pianoforte and horn ; Pianoforte music
and songs. — Mendel ; Riemann.
Sll
SCHACK
SCHACK, BENEDIKT (Beiies Cziak),
Oorn at Mirowitz, Bohemia, iu 1758, died in
Munich, Dec. 11, 1826. Dramatic singer
(tenor), and comj)oser, pupil of Frieberth in
Vienna, and in composition of Anton Laube
in Prague ; became KapeUmeister to Prince
Karolath in 1780, then sang on the stages
of Prague, Salzburg, Vienna (1788), Gratz
(1793), and Munich (179G), where he was
pensioned in 1805. In Salzburg he was
on intimate terms with Michael Haydn and
Leopold Mozart, and in Vienna with Josef
Haydn and j'oung Mozart. Works — Ope-
rettas and Singspiele : Der Luftballon,
given at Salzburg ; Lorenz and Suschen,
ib. ; Das Schlaraflfenland ; Don Quichote ;
Der Mundkoch ; Der Krautschneider ; Die
beiden Antone ; Die Wiener Zeitung. 3
oratorios ; 2 funeral cantatas ; 6 masses ;
2 Requiems ; Graduals, and oiTertories ;
Songs. — Lipovsk}', Baj-erisches Mas. Lex.
(Munich, 1811) ;"Wurzbacli.
SCHAD, JOSEPH, born at Steinach,
Bavaria, March 6, 1812, died at Bordeaux,
France, July 4, 1879. Pianist, pupil of
Aloys Schmitt at Frankfort ; made a con-
cert tour in Germany and Switzerland, bo-
came organist and music director at IMorgea,
Canton do Vaud, in 1831, and later professor
at the Conservatoire in Geneva. He settled
at Bordeaux in 1847. Works: Frantzia, bal-
let, Bordeaux, 1864 ; Many fantasias, con-
cert pieces, transcrijitious, waltzes, noc-
turus, etc., for pianoforte. — Futis ; Mendel.
SCHAEKEN, JEAN HUBEKT, born at
Weert, Limburg, Jan. 2, 1832, still living,
1890. Organist, pupil, at the Brussels Con-
servatoire of Tilborgs in harmony, and of
Fetis in counterpoint and fugue ; won the
first prizes in both departments, and set-
tled at Amsterdam to teach. In 1859 he
married a young singer, and two years after
went to Java, visited Batavia, and settled
at Samarang, where he obtained a position
as organist ; returned to Europe in 1868,
and settled at Brussels. Works : jMass for
3 voices and organ ; Te Deum ; O Salutaris ;
24 pieces for organ ; 24 canticles ; 62 vocal
studies ; Melodies with pianoforte. — Fetis,
Supplement, ii. 493.
SCHAFFER, AUGUST, born at Kheins-
berg, Aug. 25, 1814, died in Berlin, Aug.
7, 1879. Dramatic compo.ser, pupil of the
chamber musician Breyer, then at Potsdam
of Koch on the violin, of BOttcher on the
pianoforte, and of Schiirtlich in theory ;
finally, in Berlin, pupil of Mendelssohn
and, on the organ, of Heinrich Birnbach.
He is best known through his humorous
songs and choruses for male voices. Works
— Operas : Enmia von Falkenstein, Berlin,
1839 ; Die Hirtin von Piemont, ib., 1841 ;
Eben recht, ib., 1847 ; Die schOne Gasco-
gnerin, ib., 1852 ; Jose Riccardo, oder der
Spanieriu Portugal, Hanover, 1857 ; Junker
Habakuk, Berlin, 18G1. Many songs, duets,
and choruses. — Fetis ; Ledebur, 494.
SCHAFFER, HEINRICH, born in Cas-
sel, Feb. 20, 1808, died in Hamburg, Nov.
28, 1874. Dramatic singer (tenor), was en-
gaged and a great favourite at the theatres
of Magdeburg, Brunswick, and Hamburg.
He retired from the stage in 1840, when he
married, and devoted himself to composi-
tion. Works : Lob der Einigkeit, cantata,
Hamburg, 1838 ; Symphonies, quartets,
etc. ; Five- and six-jjart choruses for male
voices. — !Mendel.
SCHAFFER, JULIUS, born at Krevese,
near Osterburg, Altmark, Sept. 28, 1823,
still living, 1890. He studied theology and
philosophy at Halle iu 1844-47, but be-
coming acquainted with Robert Franz,
Gade, Schumann, and Mendelssohn, de-
termined to devote himself to nuisic, and in
1850 became the pupil of Dclui in Berlin.
In 1855 ho was appointed nmsic director
at Schwerin, in 1860 succeeded Reinecke
as music director iu the University, and
conductor of the Singakademie in Breslau,
in 1861 was made.roj'al music director, and
in 1878 professor. He received the degree
of Doctor of Music fi'om the University in
1872. Works : Songs ; Choruses ; Songs
without words for pianoforte. He pub-
lished : Zwei Beurtheiler von Dr. R. Franz ;
312
SCIIAFFER
Fr. Chrysauder in seiuen Klavierausziigen
zur fleutschen Hiiudel-Aiisgabe ; E. Franz
in seiuen Bearbeitungeu iilteier Vokahverke.
— Riemann ; Mendel.
SCHAFFER, KARL FRIEDRICH LUD-
WIG, born at Oppelu, Prussian Silesia,
Sept. 12, 174G, died at Breslau, April G,
1817. Amateur pianist, and composer,
studied law at Halle and Leipsic, and after
living a short time at Frankfort, settled at
Breslau as a lawyer and notary. Works :
Walniir und Gortraud, ojiera, Pleiss, An-
halt-Kotben, 1798 ; Der Orkan, ib., 1805.
Requiem for 2 choruses, and orchestra ; 6
concertos for pianoforte, with orchestra; Ser-
enades for 3 instruments. — Fotis ; Mendel.
SCHAFFNER, NICOLAUS ALBERT,
born in Silesia about 1790, died at Bor-
deaux in 1860. Violinist and clarinet
player ; learned early to play on several in-
struments, lived a while at Breslau, then
travelled in Germany. In 1815 he went to
Paris, where he became bandmaster in a
regiment of tlie roynl guard, and in 1817
chef d'orchestre at the Theatre de la Portc-
Saint-Martiu. Li 1821 he went iu the
same capacity to Rouen, and later on to
Bordeaux. Works — Melodramas and pan-
tomimes : Le prince et le soldat ; Daniel,
ou la fosse aux lions ; Azenda'i ; La cabane
de Montainard ; Le marcchal de Villars ;
Le proscrit et la fiancoe ; Le pietit chape-
ron rouge ; Le banc de sable ; Les freres
invisibles, etc. Divertissement militaire a
douze parties ; Suites d'harmonie a quatorze
parties ; Qaatuors concertants, for flute,
clarinet, horn, and bassoon ; 5 quintets for
strings ; Trios for do. ; 6 do. for clarinet, born,
and bassoon ; Duos for clarinets ; do. for vio-
lins ; Air vario for violin and orchestra ; Soli
and airs varies for flute. — Fetis ; Mendel.
SCHALE, CHRISTIAN FRIEDRICH,
born at Brandenburg iu 1713, died iu Ber-
lin, March 2, 1800. Violoncellist, pupil of
Rolle, organist at Brandenburg ; entered the
orchestra of Margrave Heinrich in 1735, and
the service of Friedrich II. in Berlin, in 17-12 ;
became court organist in 1764. Works :
Symjihonies for orchestra ; Concertos for
pianoforte ; Trios and solos for various in-
struments ; Sonatas and polonaises for pi-
anoforte ; 4 collections of preludes for
organ. — Fetis ; Mendel ; Schilling.
SCHALL, CLAUS, born in Copenhagen
about 1760, died there in 1834. Violinist,
appeared in concerts in Germany, France,
and Italy, then became Concertmester in the
royal orchestra at Copenhagen. Works :
L'idole de Ceylan, ballet, Copenhagen,
1780; Siegfried, do., ib., 1802; Le cha-
noine de Milan, opera ; 5 concertos for vio-
lin ; Duos for violins ; Dances for orchestra.
— Ft'tis ; Mendel.
SCHARWENKA, (LUDWIG) PHILIPP.
born at Samter, in Posen,
Feb. 10, 1847, still liv-
ing, 1890. Entered
KuUak's New Academy
in Berlin iu 1865, was
especially a pupil of
Wiierst, and afterwards
studied also under H.
Dorn ; became instruc-
tor of theory and com-
position at Kullak's Academy iu 1870, and
later in his brother's Conservatorium.
Works : Herbstfeier, for chorus, soli, and
orchestra ; Sakuntala, do. ; 2 symi:)honie3
for orchestra ; Liehesnacid, fantasy for do.,
op. 40 ; Serenade for do. ; Polonaises for
do. ; 3 morceaux de concert for violoncello
and pianoforte ; Cavatine for do. ; Romance
and scherzo for violin and pianoforte ; Many
pianoforte pieces ; Songs. — Riemann ; Men-
del ; Fetis, Supplement, ii. 494.
SCHARWENKA, (FRANZ) XAVER,
born at Samter, in Posen, Jan. 6, 1850, still
living, 1890. Brother of Philipp Scharwen-
ka ; followed the same course of instruction,
and under the same teachers, until gradu-
ating from Kullak's Academy in Berlin iu
1868. He remained at the Academy as
teacher of the pianoforte, and first appeared
in public as a pianist at the Siugakademie
in 1869. Iu 1874 he left the Academy, and
has since then played in almost all the jnin-
313
SCIIAUENSEE
cipal cities of Europe. On Oct. 1, 1881, lie
openetl a Conservatorium of liis own in
Berlin. Scharwenka
is a brilliant pianist,
and has made a dis-
tinguished mark as a
composer, especiallj- of
pianoforte and cham-
ber music. His best
known works are his
pianoforte concertos in
B-flat minor (Hanover,
1877, highlj' praised by Liszt) and C minor
(Vienna, Dec. 12, 1880), the former of which
have been much played in this country by
Mme Madeline Schiller.
SCHAUENSEE, (FRANZ JOSEPH
LEONTI) MEYER VON, born at Lucerne,
Aug. 10, 1720, still living at the monastery
of St. Liudgard in 1790. Organist, dra-
matic and church composer ; studied the
organ at a very early age under Miiller, or-
ganist of the Convent of St. Liudgard, Lu-
cerne, whom he afterwards succeeded. In
1731 he went to the Benedictine Abbey of
St. John to finish his studies and, finding
no organ there, learned the harpsichord, vio-
lin, and violoncello ; on leaving that con-
vent ho studied composition, and in 1738
entered the Cistercian Convent at St. Ur-
ban, but soon left it and went to Milan,
where he finished his nmsical studies. In
1741 he enrolled in the Swiss regiment in
the service of the King of Sardinia, be-
came an ofHcer, and was taken prisoner at
Nice during the campaign of 17-12. After
his return to Lucerne he devoted himself
with gi-eat energy to the promotion of mu-
sical life there, and in 1752 took orders
and became organist of the St. Liudgard
capitulary. Works — Ofjerettas : II trionfo
della gloria; II palladio conservato, 1713 ;
Applausi festosi della Sardegua, 1744 ; Die
paruassische Gesandtschaft, Lucerne, 1746 ;
Musikalisches Fried- und Freudenfest, eine
Gutter-Oper, ib., 1751 ; Brutus, ib., 1753 ;
Der verlorene Beutel eines Geizhalses,
comic opera, ib., 1754. Hortus couclusus,
cantata, 1745 ; Mass for 3 choirs, and or-
chestra, 1749 ; Mass for Trinity ; 7 short
masses ; De semine bona, 40 motets for so-
prano and contralto ; Obeliscus musicus,
offertories for 4 voices ; Ecclesia triumjihans
in campo, containing Te Deuin, Tantuni
ergo, Vidi aquam, etc. (1753) ; Cautica doc-
toris, 32 antiphous, 12 Salve Regiua, G Alma
Redeniptoris, G Ave, 8 Regiua cujli, etc.
(Augsburg, 175G) ; Phojbus musicus seu
vesperfe IV. (ib., 1757) ; Many offertories,
vespers, litanies, hymns, etc. ; Pantheon
musicum, 8 concertos for organ (Augsburg,
1757) ; Tabellarius musicus, G symphonies
(ib., 1757) ; Concerti armonici d' organo e
di cembalo, etc. (Nuremberg, 1754) ; Omne
trinum perfectum, cantata for 4 voices, with
instruments ; Par nobile fratrum, do. — Fc-
tis ; Mendel ; Riemann ; Schilling.
SCHAUSPIELDIREKTOR, DER (The
Impresario), Singsj^iel in one act, text by
Stephanie, music by Mozart, first repre-
sented at SchOnbrunu, at a " festival in
honour of the Governor-General of the
Netherlands," Feb. 7, 179G. Frank, an im-
j presai'io, has received permission to open a
theatre in Salzburg. Several actors and
actresses offer their services and are put on
trial. The best numbers are the overture
and the terzet, iu wliich two of the women
(juarrel as to which is the better singer,
and alternately execute rapid and extraor-
dinary phrases. The manager, trying to
make peace, attaches himself to, and op-
poses, first the one, then the other, making
a scene full of contrast and humor. Char-
acters represented :
Frank, an impresario Herr Stephanie.
Eiler, a banker Herr Brockmann.
Buf Ia+ i Herr Lange.
Herz ) ^^^^'■'^ I Herr Weidmann.
Mme Pfeil i r Mme Sacco.
Mme Krone ... [ Ac- J Mme Adamber-
I tresses 1 ger.
Mme Vogelsang J I Mme Stephanie.
Vogelsang Herr Adamberger.
Mme Herz ) ^- \ Mme Lange.
Mme SUberklang ) ^ I MUe CavaUeri.
314
SCIIEIDT
; Cilcilica, xxiv. 148.
boru at Halle,
The entire festival was repeated at the
Karnthuertbor Theater in 179(5, and the
whole of Der Schauspieldirektor was intro-
duced by Goethe into Cimarosa's L' impre-
sario in angustie, given in Weimar, in 1701,
as Theatralische Abenteuer. It was given
three times in Vienna in 1797 ; adapted by
Stegmeyer in 1814:, and revised at the Leo-
poldstiidter Theater in 1845. It was given
at the Bouftes Parisiens, Paris, revised by
Leon Battu and Halevy, May 20, 185G.
Score published by Simrock (Bonn) ; by
Meckel (Mannheim) ; pianoforte score by
Breitkopf & Hiirtel (Leipsic) ; Breitkopf &
Hilrtel, Mozart Werke, Serie v.. No. IG.
— KOchel, Verzeichuiss, No. 48G ; Audre, No.
43 ; Jahn, Mozart, iv. 154 ; do. (Townseud),
iii. 4G ; Nissen, do., ii. 85 ; R Hirsch, Mo-
zarts Schauspieldirektor (Leijjsic, 1859) ;
WienZeitg. (178G),No. 11
SCHEIDT, SA:MUEL,
Prussian Saxony, in
1587, died there,
March 14, 1G54. Or-
ganist, pupil at Am-
sterdam of Pieter
Sweeliuck, became
K ap e 1 hn 0 i s t e r to
Christian Wilhelm,
Margrave of Bran-
denburg, officiating
as organist of the Mo-
ritzkircbe at Halle, to which position lie re-
turned, having in the meanwhile lived sev-
eral years at Hamburg. He was one of the
greatest organists of his time, and the first
who in his compositions treated the choral
artistically, and conformably to the organ.
Works : Cantiones sacrie octo vocum (Ham-
burg, 1620) ; do. 7 vocibus decautaudre (ib.,
pcmkC Oeie^f,
1622) ; Concert! sacri, 2-12 voc, etc. (ib.,
1622) ; Ludi musici, etc. (ib., 1G21, 1622) ;
Tabulatura nova (ib., 1G24) ; Liebliche
Vl;/^^'
Kraft-Bliimlein, etc. (Halle, 1625) ; Newe
geistliche Couzerteu, etc., 4 parts (Leipsic,
1631, 1634, 1635, 1640) ; 70 Symphonien
auf Konzerten-Manier (ib., 1644) ; Tabulatur
Buch, etc. (Gorlitz, 1650, 1653).— Futis ;
Gerber ; Mattheson, Ehrenpforte ; Mendel ;
Reissmann, Musikgesch., ii. 233 ; Riemann ;
Grove, iv. 782.
SCHEIN, JOHANN HERRMANN, born
at G r ii n h a i n, g<~, ,'J%
Saxony, Jan. <:^^0'
29, 1586, died W 2
at Leipsic, Nov.
19, 1630.
Church com-
poser, son of
the Lutheran
pastor at Meis-
sen ; after his
father's death
he was admitted as a choir-boy (soprano)
into the Electoral Chapel at Dresden iu
1599, became an alumnus of the Gymnasium
at Schuljiforte in 1603, then studied at the
University of Leipsic, and in 1613 was made
Hof-Kapellmeister at Weimar. In 1616 he
returned to Leipsic to become cantor at the
Thomasschule. Works : Venus-Ivi-anzlein
oder ueue weltliche Lieder, etc. (Leipsic,
1609) ; Concerte fiir 4 Stimmen (ib., 1612) ;
Cymbalum Sionium, etc. (ib., 1615) ; Ban-
chetto musicale, etc. (ib., 1617) ; Opella)
novae (ib., 1618, 1627) ; Das Te Deuni mit
24 Stimmen (ib., 1618) ; Balletto pastorale
(ib., 1620) ; Musica divina, motets for 8-24
voices (ib., 1620) ; Musica boschereccia,
Waldliedlein, etc., 3 parts (ib., 1621, 1626,
1028) ; Israels Briinnlein, Kraf tspriiche, etc.
(Frankfurt, 1623) ; Madrigali, 5 voc. (1623) ;
Diletti pastorali (1624) ; Villanelle, 3 voc.
(1625) ; Ofiellse novae, 2d part (Leipsic,
1626) ; Studeuten-Schmauss (1626, 1634) ;
Cantional oder Gesangbueh Augsburgischer
Confession, etc. (1627). — Fetis ; Gerber ;
Mattheson, Ehrenpforte ; Mendel ; Riemann.
SCHELBLE, JOHANN NEPOMUK, born
at Hiifingen, in the Black Forest, May 16,
1789, died at Frankfort-on-the-Main, Aug.
315
SCHENK
7, 1837. He began the study of music at
the Monastery of Marcbtlial in 1800-03 ;
then was pupil of Weisse at Donauescbingen,
and of Krebs in Stuttgart. In 1812 be was
court singer and instructor in the Eoyal
Musikinstitut, Stuttgart. He lived in Vi-
enna in 1813, singing and composing, the
friend of Moscbeles, Spobr, and Beetboven.
In 1816 he settled in Frankfort, where,
in 1817, he was director of the musical
Akadeinie and a favourite music teaclier.
He founded there the Ciicilienverein.
Works : Graf Adalbert, opera ; Pianoforte
sonatas ; Cantatas ; Romances ; Quartets,
trios, and duets ; Songs. — Weissmann, J.
N. Scbelble (Frankfort, 1838) ; Hiller, Felix
Mendelssobn-Bai-tboldy, 7 ; Allgem. mus.
Zeitung (1812), 335 ; Mendel ; Grove.
SCHELM! HALT FEST ! See Der
Freisch utz.
SCHENK, JOHANN, born at "Wiener-
Neustadt, Nether Austria, Nov. 30, 17G1,
died In Vienna, Dec. 2'J, 1836. Dramatic
couiposer, studied singing under Tomaselli
while a cboir-boy in his native city ; later
was pupil of Stoll at Baden (1771), and of
Scbneller and Wagenseil in Vienna (1774),
where he began to teach and compose. He
was acquainted with Mozart and Schubert,
and secretly gave lessons in counterpoint
to Beethoven, who was dissatisfied with
Haydn's instruction, but unwilling to leave
his celebrated teacher. He died in needy
circumstances. Works — Operas : Die Wein-
lese, Vienna, 1785 ; Die Weibnacht auf dem
Lande, ib., 1786 ; Im Finstern ist nicht gut
tappen, ib., 1787 ; Das unvermuthete See-
fest, ib., 1789 ; Das Singspiel ohne Titel,
ib., 1790 ; Der Erutekranz, ib., 1791 ; Acb-
met und Almanziue, ib., 1795 ; Der Dorf-
barbier, ib., 1796; Der Bettelstudent, ib.,
1796; Die Jagd,ib., 1797;
Fassbinder. D i e
cantata; Der
1819 ; 6 sympho-
nies ; Mass ; Stabat Ma-
ter ; Music for wind instruments ; Haip con-
certos.— ^Ulgem. Wiener mus. Zeitg. (1842),
1796; Die Jr
^^ 7 :\Iai,do., 181
628 ; (1844), No. 40 ; Gerber ; Riemann ;
Wurzbacb.
SCHERER, SEBASTIAN ANTON, flour-
ished at Xllm, where be was second organist
of the cathedral about 1664. Nothing is
known of his life, but bis published works
show him to have been a musician of merit.
Works: Musica sacra, hoc est missse, psalmi
et motettse, etc. (Ulm, 1655) ; Tabulatura in
cymbalo et organo, etc., 2 books (ib., 1GG4) ;
Sonatas for 2 violins and viola di gamba (ib.,
1680) ; Suites for lute (Augsburg). — Fctis ;
Gerber ; IMendel.
SCHERMERS, FRANgOIS COR-
NEILLE, born at Antwerp, Nov. 11, 1822,
died there, July 2, 1874. Pianist, studied,
and afterwards taught, in his native city.
Works : Le teneur de bvres, opora-comique,
Ghent, 1853 ; La Nativite du Seigneur, can-
tata, 1845 ; 2 overtures ; Motets ; Quartets ;
Choruses a capjjella. — FOtis, Sujiploment, ii.
495.
SCHERZ, LIST, UND RACHE (Fun,
Cunning, and Revenge), Singspiel in four
acts, text b}' Goethe, music by Max Bruch,
op. 1, first represented in Cologne, Jan. 14,
1858. The text was written in 1786-87, set
by Christojjh Kayser, and first represented
in Rome in 1787. Music composed also by
Peter von Winter, Munich, 1790 ; by Ernst
Hoffmann, Posen, 1801 ; and by Christoph
Kienlen, about 1812.
SCHETKY, (JOHANN GEORG) CHRIS-
TOPH, born at Darmstadt, in 1740, died in
Edinburgh, Nov. 30, 1824. VioloncelHst,
pupil of Filtz at Mannheim, and in compo-
sition of Eudeler at Darmstadt, where he
entered the court orchestra. He travelled
a good deal in Germany, settled at Ham-
burg in 1768, went to Loudon in 1770, and
to Edinburgh in 1773. Works: 12 trios
for strings; 6 do. for harjjsicbord and
strings ; 9 duos for violin and violoncello ;
G do. for flutes ; 12 do. for violoncellos ; 12
sonatas for violoncello and bass ; 6 quartets
for strings ; Concertos for violoncello and
orchestra ; Symphonies ; Die Naeht, can-
tata.— Futis ; Gerber ; Mendel ; Schilling.
316
SCllEYEllMANN
SCHEYERMANN, GEORGES, born at
La Verrerie-de-Moutbei'iu6 (Ai-dennes), in
1767, died at Nantes, June 20, 1827. Pia-
nist, pxiijil of Guillaume Hanser at the Abbey
of Lavaldieu ; became organist in the Abbey
of Foncarmont, Normandy, when only fit-
teen, and three years later went to Paris,
where he studied the organ under Sejan. In
1789 he became organist and director of con-
certs at La Rochelle, and in 1801 returned
to Paris, bat remained only eight months,
and settled at Nantes. Works : Le couron-
nemeut de Numa Pompilius, opera, Nantes,
1820 ; Several cantatas, with orchestra ;
Overture for orchestra ; Symphonic con-
certante, for pianoforte and orchestra ; 3
concertos for do.; Trio concertant, for pi-
anoforte, flute, and bassoon ; La bataille
d'Austerlitz, symphonie militaire ; Sonatas
for pianoforte and violin, or flute ; Pastorale
for pianoforte and harp ; Many pianoforte
pieces ; 2 collections of romances. — Fetis.
SCHGR.^TER, JACOB, born (?), died
at Botzen, Tyrol, in 1859. Church com-
poser, studied music at Milan, and became
parish organist at Botzen. Works : Jesus
Leiden und Tod, oratorio ; Music for the
day of Corpus Christi ; Offertories ; Bene-
dicite, etc.
SCHIASSI, GAETANO MARIA, born at
Bologna about the end of the 17tli century.
Violinist and dramatic comjDoser, was cham-
ber virtuoso to the Prince of Harmstad.
Alember of the Accademia filarmonica.
Works — Operas: Zauina finta contessa,
Modena, 1727 ; Amor tra nemici, Bologna,
1732 ; La fede ne' tradimenti, ib., 1732 ;
Alessandro nell' Indie, ib., 1734 ; Demo-
foonte, ib., 1735 ; Didone abbandonata, ib.,
1735 ; 12 concerti a violino principale, vio-
Hni di ripieno, alto viola, violoncello e cem-
balo (Amsterdam). — Futis.
SCHICHT, JOHANN GOTTFRIED,
born at Reichenau, Saxony, Sept. 29, 1753,
died in Leipsic, Feb. IG, 1823. Church
composer, chiefly self-taught ; went to Leip-
sic in ] 770 to study law, but gradually de-
voted himself to music. He was onanist at
succeeded the lat-
of the Gewandhaus
Adam Killer's concerts
ter in 1785 as director
concerts, and took
the place of A. E.
Mfiller in 1810
as cantor of the
Thomasschule.
Works — Orato-
rios : Die Feier
der Christen auf
Golgotha ; Moses
auf Sinai ; Das
Ende des Gorech-
ten ; A m y n t ' s
Freuden fiber die Wiederkehr der Lalage,
cantata ; Preis der Tonkunst, do. ; and other
cantatas ; i Te Deums ; Psalm C ; Choral-
motets : Nach einer Priifung kurzer Tage ;
Herzlich lieb hab ich dich, o Herr ; Jesus
meine Zuversicht ; Veni Sancte Spiritus ;
etc. ; Several masses ; Concerto, sonatas,
and caprices for pianoforte. He published :
Grundregeln der Harmonic (Leipsic, 1812) ;
translated the pianoforte schools of de-
menti and Pleyel, and the singing method of
Pelegriui-Celoni : and edited J. S. Bach's
^^5^^.
motets, also works of Mozart, Haydn, and
others ; compiled Allgemeines Choralbuch.
— Mendel ; Fctis ; Riemann ; Schilling ;
Gerber.
SCHICK, ERNST (JAN CHRISTIAAN),
born at The Hague in 1750, died in Ber-
lin, Dec. 10, 1813. Violinist, pupil of
Kreusser, concertmeester at Amsterdam,
where also he heard Esser and Lolli, and
took them, especially the latter, for a model.
In 1791 he married the singer Margarethe
Luise Hiunel, and in 1793 went to Berlin as
first violinist at the opera, and became royal
Conzertmeister. He published G concertos
for violin with orchestra. — Fetis ; Mendel.
SCHICKHARD, JOHANN CHRISTIAN,
German flutist and oboe player, lived at
Hamburg from the beRinninu' of the 18th
817
SCniCKSALSLIED
century until about 1730. Works : Sona-
tas for flute and basso continue ; do. for
oboe and bass ; do. for 2 flutes and bass ;
do. for 2 oboes and bass ; 12 do. for oboe,
flute, bass, and continue ; 14 do. for do. ;
Collection of minuets for do. ; Concerto
for 2 oboes, 2 violins, bass, and continue ;
Princijjes de la flute, etc. ; Principes du
hautbois, etc. — Fetis ; Mendel.
SCHICKSALSLIED (Song of Destiny),
forclioruaand orchestra, text by Robert Hiil-
derlin, music by BraLms, op. 54, first given
in 1871. Full and pianoforte score pub-
lished by Simrock (Berlin, 1872).
SCHIEDERM.iYR, JOHANN BAPTIST,
born at Pfaft'enmtiuster, Bavaria, June 23,
1779, died at Linz, Upper Austria, Jan. G,
1840. Organist and church composer, pu-
pil of Edmund Iliirtl in singing and of
Stephan Fuchs in harmony, in the Bene-
dictine Abbey at Oberalteich, then (1793)
studied in the seminai-y at Straubing, and
about 1797 became organist in the capitu-
lary of St. Nicholas, near Passau. After the
suppression of monasteries in Bavaria, in
1802, he lived at Passau until 1804, when
he went to Linz, and in 1810 became or-
ganist of the cathedral and the city parish
chui-ch. After 1821 he conducted the Ge-
sellschafts-Conzerte, and for many years he
was also Kapellmeister of the theatre.
Works : 24 masses ; Requiems, offertories,
litanies, graduals, etc., all with orchestra ;
Cantatas ; 2 symphonies ; Trios for strings ;
Sonatas for pianoforte ; Organ music. — All-
gem. Wiener JIus. Zeitg. (1841), No. 73 ;
Wurzbach.
SCHIEFERDECKER, JOHANN CHRIS-
TIAN, died at Liibeck in 1732. Organist
and dramatic composer, was accompanist
at the Ojiera in Hamburg about 1702, and
succeeded Buxtehude as organist of St.
Mary's at Liibeck. Works — Operas : Alari-
cus, Hamburg, 1702 ; Victor (with Matthe-
son and Bronner), 1702 ; Regnerus, ib.,
1703 ; Justinus, ib., 1706. 12 musikalische
Concerte, containing overtures, suites, and
sonatas (Hamburg, 1713). — Fetis ; Mendel.
SCHIMON, ADOLF, born in Vienna,
Feb. 29, 1820, died in Leipsic, June 21,
1887. Pianist, son of the portrait painter
and singer, Ferdinand Schimon, who was
engaged in Munich in 1821. He early
showed musical talent, and at the age of
sixteen became the pupil of Berton and
HaK'vy at the Paris Conservatoire, later vis-
iting Italy to study vocal music. He was
accon]j)anist of the private classes of Bor-
dogui and Baudorali, maestro al cembalo at
Her Majesty's Theatre in London in 1850-
52, and at the Theatre Italien of Paris for
some years later. In 1872 he married in
Florence the singer Anna Regan, and made
concert tours with her ; became vocal in-
structor at the Leipsic Conscrvatorium in
1874, and at the Royal Music School in
Munich in 1877, but returned, in 1880, to
his position at Leipsic. Works : Stradella,
opera, Florence, 1844 ; List um List, comic
opera, Schwerin, 1858 ; Italian, German,
and French songs ; String quartets ; Piano-
forte trio ; Violin sonata ; Sonatas and other
pieces for pianoforte (2 and 4 hands). — Rie-
mann ; Mendel.
SCHINDELMFJSSER, LOUIS, born at
KOnigsberg, Dee. 8, 1811, died at Darm-
stadt, March 30, 18G4. Dramatic com-
posei', pupil of Hostie and of Giihrich.
Leaving Berlin in 1832, he became Kajjell-
meister successively at Salzburg, Innspruck,
and Gratz, and in 1837 at the Konigstiidter
Theater in Berlin ; after nine years passed
in Pesth and several short engagements else-
where, he became Court Kapellmeister at
Darmstadt. Works — Operas : Mathilde ;
Die zehn gliicklichen Tage ; Peter Szi'i-
pary, Pesth, 1839 ; Malvina, ib., 1841 ; Der
Riicher, 1844 ; Melusine, Darmstadt, 18G1.
Bonifacius, oratorio ; Overture to Uriel
Acosta ; Concertante and concerto for clari-
net and orchestra ; Songs ; Pianoforte music.
— Mendel ; Fetis, vii. 4G2 ; Supplement, ii.
495 ; Viotta, iii. 330.
SCHINDLOCKER, PHILIPP, born at
Mons, Hainault, Oct. 25, 1753, died in Vi-
enna, April IG, 1827. Virtuoso on the vio-
SCI UN BLOCKER
loncello, pupil of Himmelbauer in Vieiin.a,
where he became solo violoncellist in the
opera orchestra in 1795, at St. Stei^hen's
ill 1798, and iu the court chapel in 1806,
wlieii he was made imperial chamber mu-
sician. Iu 1811 he retired from service to
teach. Josef Merk was one of his pupils.
Works : Concertos for violoncello and or-
chestra ; Sonatas for violoncello and bass ;
Hondo for do. ; Serenades, variations, etc.,
for violoncello. — KOchel, Die kais. Hof-Mu-
sikcapelle, etc., 94, 97 ; Wurzbach.
SCHINDL< )CKER, WOLFGANG, born
in Vienna in 1789, died (?). Violoncellist,
nephew and pupil of the preceding, played
in public at the age of fifteen, and iu 1807
accepted a call to Wiirzburg as first violou-
cellist and chamber musician. Thence ho
made a concert tour to North America.
Works : 12 pieces for 5 trumpets and
drums ; Serenade for basset-horn, flute,
viola and violoncello ; Trio for oboe, violin
and b.ass ; 12 duos for horns ; Grand duo
for violoncellos ; 3 duos instructifs for do. ;
Fautaisie et polonaise, for flute, with violin,
2 violas, and violoncello. — Fetis ; Wurz-
bach.
SCHIRA, FRANCESCO, born iu Malta,
in the beginning of this century (not Sept.
19, 1815), died iu Loudon, Oct. 15, 1883.
Dramatic composer, jiupil of Francesco
Easily at the Conservatorio in IMilan (1818-
28) ; was engaged as mestre de capella
for the Sau Carlos theatre, Lisbon, in
1833, became professor of singing at the
Conservatorio there, and about 1840 went
to London, where he taught singing and
whither he returned in 1842, after a sojourn
in Paris, to become director of music at the
Princess's Theatre. In 1844-47 lie was en-
gaged iu the same capacity at the Drury
Lane, and again in 1852, after which date
he devoted himself to instruction. Officer
of the Order of the Crowu of Italy. Works :
Elena e Malvina, Milan, 1832 ; I cavalieri di
Valenza, Lisbon, 1837 ; II fanatico per la
musica, ib. ; Kenilworth (1848, not given) ;
Mina, London, 1849 ; Theresa, or the
Orphan of Geneva, ib., 1850 ; Niccolo de'
Lapi, ib., 1863 ; Selvaggia, Naples, 1865 ;
Lia, Venice, 1866 ; The Ear-ring, operetta ;
The Lord of Burleigh, cantata, Birmingham
Festival, 1873 ; Italian melodies, and Eng-
lish songs. — Fetis, Supplement, ii. 495 ;
Grove.
SCHIRA, VINCENZO, born in Madrid,
in the beginning of this centurj', died at
Lisbou, of the cholera, in 1857. Dramatic
composer, brother of the preceding, pupil
at the Milan Conservatorio in 1818-21 ;
went to Lisbon about 1843, to assume the
position of mestre do cai^ella at the Sau
Carlos theatre, formerly occupied by his
brother. Works — Ballets : La sposa di
Messina, Milan, 1826 ; Gli empirici, ib.,
1828 ; Rosmunda, Buondelmonte, ib., 1829 ;
II raja e le bajadere (with Mussi), ib., 1843 ;
and others. — Fetis, Supplement, ii. 496.
SCHLAEGER, HANS, born at Feld-
kirchen. Upper Austria, Dec. 5, 1820, still
living, 1890. Dramatic and church com-
poser, pupil of Grubei', a violinist, in the
capitulary of St. Floriau, where he was a
choir-boy (1832-45), then in Vienna pupil
of Preyer iu composition. In 1851 he be-
came professor of singing at the Academy
of Music, and in 1854-61 was Chormeister
of the Miinnergesang-Vereiu, then accepted
a call to Salzburg as Kapellmeister of the
cathedral, and director of the Mozarteum.
Iu 1867, having married the Countess Olders-
hauseu, he resigned his position as Kapell-
meister and, after living some time at Cann-
stadt, returned iu 1869 to Salzburg. Works
— Operas : Heinrich und Use, Salzburg,
1863 ; Hans Haidekukuk, ib., 1873 ; Die
Prophezeiung ; Doctor und Friseur. Jung
Sigurd, scene from W^ildmeister's Braut-
fahrt, for chorus and orchestra ; 3 masses
with orchestra ; Mass for male voices, with
horns ; Vocal mass ; Graduals, and other
church music ; Choruses for male and
mixed voices ; String quartet, and other
instrumental music. — Engl, Gedenkbuch
der Salzburger Liedertafel (Salzburg, 1872),
293 ; WurzbacL
31'.!
SCIILxVFE
SCHLAFE, MEIN LIEBSTER, alto aria
ill G major, witli accompaniment of flute, 2
oboi cV amore, two oboi da caccia, strings
complete, organ and contiuuo, in Jobann
Sebastian Bacli's cantata, Und ea waren
Hirten in derselben Gegeiid ( Weilinavhts-
Oratorium, Part 11). This aria is com-
monly known as the Cradle Song.
SCHLESINGER, SEBASTL\N BEN-
ZON, born in Germany, Sept, 24, 1837,
still living, 1890. Amateur musician, mer-
chant and German Consul in Boston, Mas-
sachusetts. He studied music both in the
United States and in Europe, and has pub-
lished songs and pianoforte music.
SCHLETTERER, (HANS) MCHEL,
born at Ansbacli, May 29, 1824, still living,
1890. Vocal composer, and writer on music,
pupil of Ott, of Diirrner ou the violin, and
of the organist Theodor Mayer, on the piano-
forte, organ, and in theory ; then at Cassel
pupil of Spolir and Kraushaar, and at Leip-
sic of David and Richter. In 1845-47 he
was instructor in the seminary at Fiusting-
en, Lorraine, in 1847-53 music director at
Zweibrilcken, in 1854-58 at the University
of Heidelberg, and iu 1858 was called to
Augsburg as Kapellmeister of the Protes-
tant Church and vocal instructor of Stet-
ten's Institute. Since 18{)6 he has been
conductor of the Oratorio Society and di-
rector of the music school. Ph.D., Tu-
bingen, 1878. Works — Operettas : Dorn-
rcischen ; Pharaos Tochter ; Der erfiillte
Trauin ; Vatcr Beatus. Cantatas : Lassct
die Kindk'iu zu mir kommen ; Jephthas
Tochter. Osterinorgen, for male chorus
with orchestra ; ThiUmerlied, do. ; Diekirch-
lichen Festzeiten ; Psalms ; 17 books of
choruses a cappclla, for male, female, and
mixed voices ; Songs, duets, etc.; Chorge-
sangschulc for .schools ; do. for male voices ;
method for violin. He has edited and re-
vised many pianoforte scores of classical
works and has published : Geschichte der
geistlichen Dichtung, etc. (1879) ; Zur
Geschichte der dramatischen Musik und
Poesie in Deutschland (1863) ; J. Fr. Eei-
cliardt, seiu Lebeu uud seine Werke (1865) ;
Studieu zur Geschichte der franzOsischen
Musik (1884-85) ; and articles in Count
Waldersee's Sammlung musikalischer Vor-
tnige. — Mendel ; Riemann.
SCHLICK, JOHANN KONRAD, born
probably at Minister, Westphalia, in 1759,
died at Gotha in 1825. Violoncellist, first
in the Bishop's chapel in his native city,
then in the ducal orchestra at Gotha ; won
considerable reputation as a virtuoso, on
his travels. Works : 3 quintets for violin,
violoncello, flute, viola and bass ; 3 sympho-
nies concertautes for violin and violoncello ;
3 sonatas for pianoforte, violin and violon-
cello ; 3 do. for violoncello and bass ; 11 quar-
tets for strings ; Concerto for violoncello ;
Concertos for violin ; 26 soli for violoncello;
Sonatas for mandoline. — Fetis ; Mendel.
SCHLIEBNER, GOTTHOLD AUGUST,
born at Lindenberg, Brandenburg, in 1820,
still living, 18!)0. Pianist and dramatic
composer, pupil of Killitschgy on the pi-
anoforte, and of Marx in composition, at
Berlin, whither he returned iu 1856 from
Stralsund, where he had settled in 1849.
Works — Operas : Student und Bauer, Stral-
sund, 1855 ; Der Lasttriiger ; Der Graf von
Santarem, Leipsic, 1861 ; Rizzio, Prague,
1863 ; Der Liebesring, Basel, 1879. Psalm
xci. for male voices ; Trio for pianoforte
and strings ; Pianoforte pieces and songs.
— Fetis ; ]\Iendel.
SCHLIER, JOHANN EVANGELIST,
born at Salzburg, Oct. 22, 1792, died there,
May 27, 1873. Instrumental and vocal
composer, pupil of Couzertmcister Otter ou
the violin, and of IMichael Haydn iu har-
mony. In 1813 ho went to Munich to study
medicine, but joined a Bavarian marching
regiment and took part in the campaigns
of 1814-15. After the war he remained in
the arm}-, entering the Austrian service,
and in 1820 took part with his regiment in
the expedition to Naples. His health hav-
ing become impaired by the hardships of
military life, he was pensioned in 1826, and
returned to Salzburg, where he devoted
320
,#
'I ll
'' h
SCHLOSSER
himself exclusively to music. Until 1841 he
was Kajiellmeister of the Museums-Gesell-
schaft, and of the Musikiibungs-Vereiu ; he
retired to Ischl iu 1842, but returned after-
wards to his native city. Works : Die Ueber-
schwemmung von Wien, melodrama ; Over-
ture to the tragedy Die Grafeu Oginski ;
Jubel-Ouvertiire ; Several cantatas for fes-
tive occasions ; Gross ist der Herr, hymn ;
Spanische National - Symphonic. Grand
Requiem ; German mass ; do. Requiem ;
do. Libera ; Tantum ergo ; Libera ; Songs
and part-songs. — Allgem. Wiener Mus.
Zeitg. (1842), 472; Biog. Salzburgischer
Tonkiinstler (Salzburg, 1845), 42 ; Engl,
Gedenkbuch der Salzburger Liedertafel
(ib., 1872), 272 ; Wurzbach.
SCHLOSSER, (CARL WILHELM)
ADOLF, born iu
Darmstadt, Feb.
1, 1830, still Uv-
ing, 1890. Pian-
ist, son and pupil
of Ludwig Schlos-
ser ; appeared in
public in Frank-
fort iu 1847, and
after travelling in
Germany, France,
and England, settled iu London to teach
the pianoforte. He is now one of the in-
structors at the Royal Academy of Music.
Works : L'attente, op. 3 ; Impromptu, op.
6 ; Fantasiestiick, op. 7 ; Allegro capricci-
oso, op. 8 ; IdyUe, op. 16 ; Quartet for pi-
anoforte and strings ; Trio for do. ; 24
studies for pianoforte ; Songs, etc.
SCHLOSSER, LUDWIG, born at Darm-
stadt in 1800, died there, Nov. 17 or 18,
1886. Violinist, dramatic composer, aud
musical critic, pupil of Rinck, and in Vi-
enna of Mayseder, Seyfried, and Salieri,
then at the Paris Conservatoire of Ki-eut-
zer and of Lesueur. He became Conzert-
meister, and later Hof-Kapellmeister, at
Darmstadt. Works— Operas : Granada, Vi-
enna, about 1835 ; Das Leben ein Traum,
Darmstadt, 1839 ; Kapitiin Hektoi', oper-
etta, ib., about 1840 ; Benvenuto CelUni,
ib., about 1845 ; Die Jugend Karls H. von
Spanien, ib., 1847 ; Die Jahreszeiten, melo-
drama. Music to Faust ; Ballets ; Entr'-
actes ; Mass ; Overtures and symphonies ;
Concertino for horn and orchestra ; Polo-
naise for violin and orchestra ; Themes
varies for do. ; Quartets for strings ; Piano-
forte and violin music ; Songs and choruses.
— Futis ; do.. Supplement, ii. 497 ; Mendel ;
Riemann : Schilling, Supplement, 383.
SCHLOTTMANN, LOUIS, born in Ber-
lin, Nov. 12, 1826, stiU living, 1890. Pian-
ist, pupil of Taubert aud Dehn ; apj^eared
with success in London and other cities,
and settled in Berlin to teach his mstru-
ment. In 1875 he received the title of
royal music director. Works : Overture to
Romeo und Julia ; ConzertstUck ; Trauer-
marsch, symphonic scene ; Other overtures
and orchestral pieces ; Chamber music, pi-
anoforte pieces, and songs.
SCHMELZER, JOHANN HEINRICH,
born in Austria in 1630, died in Vienna,
June 30, 1680. Chamber musician at the
imperial court in Vienna, then (1655) in
Prague, and in 1679 became Hof-Kapell-
meister to Ferdinand IU. Works : Sacro-
profanus concentus musicus fidium, etc.,
containing 13 sonatas for violin, with vio-
las and trombones, Nuremberg, 1662 ; Arie
l^er il balletto a cavallo, etc., for the wed-
ding of Leopold I. (1667) ; Duodena selec-
tarum sonatarum (Nuremberg, 1669). — Fe-
tis ; Mendel.
SCHMETZER, GEORG, born at Augs-
burg about the middle of the 17th century,
died there in 1694. Church composer,
and writer on music, pupil of KriegsdOr-
fer, whom he succeeded in 1677 as cantor
and music director at St. Ann's Church.
Works : Cantiones sacrse von 2 bis 9 Stim-
men (Augsburg, 1671) ; Sacri concentus
latini et partim germanici, 5, 6, 7, 15, 16,
et 17 vocum et variorum instrumentorum,
etc. (ib., 1689) ; Miserere (ib., 1690) ; Me-
thodus musicalis (ib., 1678) ; Compendium
musicso (ib., 1688).— Fetis ; Mendel.
SCHMID
SCHIMLD (Schmidt), BERNHAED, the
elder, German comiDoser of the IGth cen-
tury. He lived in Strasburg, -where he be-
came organist of St. Thomas's Church in
1560, and of the Cathedral in 1564. Works :
Einer neuen und kiintslichen auff Orgel
uud Instrument Tabulatur Buch, containing
fantasies on motets by Lasso, Croquillon,
Ai-cadelt, and others, besides passamezze,
saltarelli, and gaillards, Strasburg, 1577.
Tabulatur-Buch von allerhand auserlesenen
schiiuen Prailudiis, Toccaten, Motetten, etc.,
von 4-6 Stimmen (ib., 1607). A Beruhard
Schmid, the younger, succeeded the elder as
organist at St. Thomas's. — Fetis ; Mendel.
SCH:MIDT, GUSTAV, bom at Weimar,
Sept. 1, 1816, died at
Darmstadt, Feb. 10-
11, 1882. Dramatic
composer, iDupil of
TOpfer at Jena, where
he studied law at the
university. He lived
at Leipsic in 1840-
41, then w-as Kapell-
meister successively of
the theatres at Briinn,
Wiirzburg, Frankfort,
Wiesbaden, Mainz, and in 1864-76 at
Leipsic, after which he became Hof-Kapell-
meister at Darmstadt. Works — Operas:
Prinz Eugen, Frankfort, 1845 ; Die Weiber
von Weinsberg, ib., 1858 ; La Rt'ole, Bres-
lau, 1863 ; Alibi, about 1860, given iu New
York by the Miinuergesangverein Arion,
Oct. 6, 1888. Choruses for male voices.
— Mendel ; Riemann.
SCHMIDT, HERMANN, born iu Berlin,
March 5, 1810, died there, Oct. 19, 1845.
Flutist, pupil of Gabrielski, and iu com-
position of Bohmer. In 1831 he became
chamber musician in the royal orchestra,
in 1837 court composer, and in 1838 di-
rector of the ballet. Works: Ein Stflnd-
chen im Bade, comic opera, Charlottenburg,
1836 ; Die Doppelflucht, do., Berlin ; Die
verhilnguissvolle Omelette, and other op-
erettas. Ballets : Der Polterabend ; Der
Schweizer Soldat ; Pygmalion ; Der Mar-
quis von Carrabas ; Undine ; Das Rosen-
miidchen, and about 20 others. 72 entr'-
actes, for orchestra ; 3 symphonies for do. ;
Quintet for strings ; 3 quartets for do.;
Concertos, duos, and trios for flute ; Songs
and choruses for male voices. — Fetis ; Men-
del.
SCHjMIDT, JOHANN PHILIPP SA-
MUEL, born at Konigsberg, Prussia, Sept.
8, 1779, died in Berlin, May 9, 1853. Ama-
teur dramatic composer and writer on mu-
sic, pupil of Schulz, Halter, and Richter
on the pianoforte, organ, and in harmony,
and of Schoenebeck iu counterpoint. He
studied law at the university, and in 1798-
99 visited Berlin, Dresden, and Vienna, and
on his return to Konigsberg (via Munich,
Stuttgart, Hanover, Hamburg, etc.) entered
the government service in 1801. Dui-ing
the war troubles of 1806, being temporarily
without position or means, he gave music
lessons and concerts. He arranged many
of Haydn's and Mozart's symphonies, quar-
tets, etc., for the pianoforte, contributed arti-
cles to the Berlin and Leipsic Musikalische
Zeitungen, and for thirty years was musical
reporter to Spener's Gazette. Works — Op-
eras : Der Schlaftrunk, Konigsberg, 1792 ;
Das Dankopfer, 2)rologue, ib., 1796; Eulen-
spiegel, ib., 1806 ; Theodor, ib., 1812 ; Der
bliiide Gartner, oder die bliihende Aloe, ib.,
1813 ; Die Alpenhiitte, ib., 1816 ; Der Kyfif-
hiiuserberg, ib., 1817 ; Das Fischermiid-
cheu, ib., 1818 ; Ein Abend in Madrid, Ber-
Un, 1824; Alfred der Grosse, ib., 1830.
Der Engel auf dem Schlachtfelde, cantata ;
Das heilige Lied, do.; 16 other cantatas ; 9
masses and oratorios ; Symphonies ; Quin-
tets and quartets for strings ; Songs. — Fetis ;
Ledebur, TonkOnst. Lex., 511 ; Schilling.
SCHJHDT, JOSEPH, born at Biicke-
burg, Sept. 26, 1795, died there, March 15,
1865. Violinist, entered the chamber mu-
sic of the Prince of Biickeburg as solo
violinist in 1812, and was in the service of
the Duke of Saxe-Coburg in 1816-17, when
he returned home ; in 1818 he went to
sa
SCUMIEDT
Italy, where he lived first at Milan, then
for two years at Turin, studying composi-
tion under Kiister. Having settled iu Lis
native city, he was made director of music
iu 1840, and Hof-Kapellmeister in 1852.
Works : Die Geburt Jesu, oratorio ; Psalms,
duets, and songs. — Fetis.
SCHJUIEDE, MEIN HAjVBIEK. See
Siegfried.
SCH3IIEDT, SIEGFRIED, born at Suhl,
Saxony, iu 175G, died there iu 1799. In-
strumental and vocal composer, lived at
Leipsic in 178G-9C, as proof-corrector at
Breitkopf & Hartel's. Works : Die Feier
der Christeu bei der Krippe Jesu, oratorio ;
Psalm Ixvii. ; Psalm viii. Cantatas: Nun
keine Thriluen mehr ; Weuu ich, O Schop-
fer ! deiue Macht ; Ascension cantata. Wer
kann dich, grosser Gott, ode ; Hymue au
die Toukunst ; Die Feier des achtzehnten
Jahrhunderts, melodrama ; Gesang am
Grabe der Kouigiu Marie Antoinette ; So-
natas for pianoforte ; Songs. — Fetis ; Schil-
ling.
SCHmTT, ALOYS, born at Erlenbach,
Bavaria, Aug. '2G, 1788, died iu Frankfort-
on-the-Main, July 25, 1866. Pianist, and
renowned teacher of his instrument, son
and pupil of a cantor, aud studied compo-
sition uuder Andre at Offenbach. He
settled in Frankfort as a teacher in 1816 ;
later exercised the same profession in Ber-
lin ; became court organist in Hanover, and
in 1829 returned finally to Frankfort. He
was an eminently successful instructoi', and
bis compositions are in the solid style of
the old school. Woi-ks — Operas : Der Dop-
pelprozess, Hanover, 1825 ; Die Tochter der
Wiiste, ib., 1845. Valeria, Mannheim, 1832 ;
Das Osterfest zu Paderborn, Frankfort-on-
the - Main, 1813 ; Moses, oratorio ; Ruth,
do.; 2 overtures ; Symphony ; 4 concertos
for pianoforte and oi'chestra ; Concertino
for do. ; Variations, rondos, and other com-
positions for do. ; Trios, quartets, sonatas,
rondos, variations, sonatinas, etudes, and
many other pieces for pianoforte ; Songs,
and part-songs. — Henkel, Leben uud Wer-
ken von Dr. Aloys Schmitt (Frankfort, 1873) ;
FOtis ; Riemann ; Schilling.
SCHMITT, GEORG ALOYS, born at
Hanover, Feb. 2, 1827, still living, 1890.
Pianist, son and jjupil of the preceding, and
iu theory pupil of Vollweiler at Heidelberg.
He travelled several j'ears as a virtuoso
through Germany, Belgium, France, and
Algiers, played in London, and after his re-
turn to Germany was Kapellmeister of the
theatres at Aix-la-Chapelle, Wiirzburg, and
other cities. In 1857 he became Hof-
Kapellmeister at Schwerin, where be has
much improved tlie musical conditions, and
especially raised the standard of the opera.
Works : Trilby, opera, Frankfort-on-the-
Maiu, 1845 ; Das Wunderwasser, do.; Mai-
enzauber ; Festspiel ; Music to many
dramas ; Overtures aud other works for or-
chestra ; Trios for pianoforte and strings ;
Quartets for strings ; Pianoforte pieces, and
songs. — Mendel; Riemann.
SCHMITT, HANS, born at Koben, Bo-
hemia, Jan. 14, 1835, still living, 1890.
Pianist, at first studied the oboe at the
Prague Conservatorium iu 184G-50, then
was first oboe player at the Opera in Bucha-
rest until 1855, next at the Burgtheater in
Vienna, later also iu the imperial chapel,
until an iufirmity of the throat obliged him
to abandon his instrument. He then be-
came a pupil of Dachs on the pianoforte,
won the silver medal in 18G2, aud was made
instructor at the Conservatorium. His in-
structive compiositions for the jiiauoforte
are much esteemed. Works : Bruna, opera
(MS.) ; Conzertstuck for violin ; 300 Etiiden
ohue Oktaveuspannung ; Vademecum ; Fun-
dament der Klaviertechnik ; Zirkeliibungen
in Skalen uud Akkorden ; 120 kleiue Stiicke
zum Vortrag ; Charakterstiicke for piano-
forte ; Songs, etc. He wrote a monograph :
Das Pedal des Klaviers (1875). — Riemann.
SCHJIITT, JAKOB (Jacques), born at
Obernburg, Bavaria, Nov. 2, 1803, died in
Hamburg, June, 1853. Pianist, brother of
Aloys Schmitt, settled at Hamburg to teach
his instrument. Works : Alfred der Grosse,
333
SCIIMITT
opera, given at Hamburg about 1840 ; Vari-
ations for pianoforte, with quartet ; 2 so-
natas for pianoforte and violin ; Sonatas,
variations, etudes, etc., for pianoforte ; Me-
thod for do. — Fotis ; Riemann.
SCmnTT, JOSEPH, born in the Rhein-
gau, died at Frankfort-on-the-Main, in
1808. Violinist, was a mouk in the Abbey
at Eberbach, but left it in 1780, resigning
his vows, and went to Holland, where he
established a music trade at Amsterdam,
and married. About 1800 he returned to
Germany aud became Kaj^ellmeister of the
theatre at Frankfort. Works : Sechs Mu-
sikstiicke — 2 symphonies, 2 quartets, and 2
quintets ; Symphonies for ten parts, for or-
chestra ; 3 quartets for pianoforte, flute,
violin, and bass ; 6 do. for flute, violin, viola,
and bass ; Quartets for strings ; Trios for
do. ; G trios for flute, violin, and violoncello ;
Duos for violins ; Several concertos aud
concertinos for various instruments ; Sev-
eral symphonies concertantes. — Fetis; Men-
del ; Schilling.
SCronTT, JOSEF ADAM (Andreas?),
born at ZeU, Francouia, July 29, 17-15, died
at Versbach, about the end of the 18th
century. Organist, pupil of Beyer, became
Cantor and schoolmaster at Versbach.
Works : Concerto for pianoforte and orches-
tra ; Preludes for the organ ; 6 duos for
flutes ; Several short masses ; Requiem ;
Te Deum. He was author also of a treatise
on harmonj', aud of methods for violin aud
the voice. — Fiitis.
SCHmTT, NHvOLAUS, German com-
poser of the 18th century, went to Paris in
1779, and became chef de musique of the
French Guards. He played the flute, clari-
net, bassoon, and other wind instruments,
and after the Revolution was attached to the
orchestras of several theatres. Works : 8
concertos for bassoon and orchestra ; Ital-
ian arias, for 8 wind instniments ; Marches
and quicksteps for twelve parts ; 3 quin-
tets for flute, oboe, claiinet, horn, and bas-
soon ; 3 do. for clarinet, bassoon, 2 violas,
and violoncello ; Quartet for do. ; 3 quar-
tets for bassoon and strings ; Duos for
flutes ; do. for clarinets ; Airs varies for
bassoon ; Divertissements for 2 horns and
bassoon. — Ft'tis ; Mendel.
SCHmTTBAUER, JOHANN ALOYS,
born in Stuttgai't in 1718, died in Carlsruhe,
Oct. 24:, 1809. Church composer, j)upil of
Jommelli, settled at Rastadt, and in 1772
became Hof-Kapellmeister at Carlsruhe.
Works — Operas : Lindor und Ismene, Carls-
ruhe, about 1772 ; Der Schiifer von Arkadien,
ib. ; Eudymion, ib. ; Herkules, ib. Die
Freunde am Grabe des Erlijsers, Easter-
cantata ; Neue Kirchenmelodien mit unter-
gelegtem deutschen Texte ; 4 masses, 2
vesjiers, 4 oi-atorios, 2 Ave Maria, for 4 voices
and orchestra ; 2 solemn masses ; Stabat
Mater ; Symphony for orchestra ; 3 sym-
phonies for eight parts ; Quartet for flute,
violin, viola, aud bass ; 3 quartets for piano-
forte, flute, violin and bass ; Trios for flute,
violin, and bass ; Preludes and conclusions
for the organ ; etc — Fetis ; Mendel ; Schil-
ling.
SCHMUCKE DICH, O LIEBE SEELE
(Adorn thyself, oh dear soul), a choral by
Johann Cruger, contained in the " Praxis
pietatis melica, oder Kirchenmelodien (iber
D. Luthers und Auderer Gesiinge," for four
voices and two instruments (Leipsic, 1G4'.) ;
30th ed., Berlin, 1703).
SCECNABEL, JOSEF IGNAZ, born at
Naumburg-ou-the-Queiss, SUesia, May 24,
17C7, died at Breslau, June IG, 1831.
Church composer, pupil of his father on the
violin and pianoforte. Sudden deafness
obliging him to give up music, ho attended
the Roman Catholic gymnasium at Breslau
in 1779, but upon recovering his hearing
again took up music, while teaching in a
small village near Naumburg, aud trained
an orchestra of young peasants. In 1797
he went to Breslau, and became organist at
St. Clai-a and first violin at St. Vincent's aud
in the theatre orchestra, which he sometimes
conducted. He was Kapellmeister at the
cathedral in 1804 ; was appointed director
of the winter concerts in 180G, and of the
SCHNABEL
Monday and Friday Society in 1810 ; be-
came music director at the University, in-
structor at the Catholic seminary, and in
1812 director of the royal institute for
church music. Works : Three cantatas for
festive occasions ; 10 Masses, graduals, of-
fertories, hymns, vespers, and other church
music ; Mai-ches for military band ; Pieces
for wind instruments ; Concerto for clari-
net ; Quintet for guitar, and string quartet ;
Choruses for male voices, and songs. — Rie-
manu ; Mendel ; Fetis ; Schilling.
SCHNABEL, KARL, born in Breslau,
Nov. 2, 1809, died there. May 11-12, 1881.
Pianist, nephew and pupil of the preced-
ing, having at first worked in the pianoforte
factory established by his father. Works
— Oj^eras : Die Weiber von Weinsberg, ib.,
1856 ; Alma von Geierstein, ib., 1845 ; Pre-
ziosa, Breslau, about 1840 ; Griseldis und
Percival, ib., 1851. Masses, cantatas, offer-
tories, orchestral works, concertos for piano-
forte ; Songs. — Mendel ; Riemann.
SCHNAUBELT, HEINRICH, born at
Eossitz, Moravia, in 1814, died at Salzburg,
Ajjril IG, 1871. Instrumental and vocal
composer, employed for years as a school
teacher in various places, finally as instruc-
tor and violinist in the Dom-Musikverein
and Mozarteum at Salzburg. Works : Bie-
berhof, opera ; Die Rose von Hallwyll, do.,
Salzburg, 1808 ; G masses ; Choruses for
male, and mixed voices ; Pianoforte pieces.
—Engl, Gedeukbuch (Salzburg, 1872), 295 ;
Wurzbach.
SCHNEEWITTCHEN, cantata for female
chorus, soli, and pianoforte accompaniment,
text by Friedrich Ruber, from the German
fairy legend, music by Karl Reinecke, op.
133. Published by Siegel (Leipsic, between
1874 and 1879).
SCHNEIDER, FRANZ, born at Pulkau,
Nether Austria, in 1737, died at Melk, Feb.
5, 1812. Organist, pupil at Melk of Al-
brechtsberger, whom he first assisted, and
succeeded in 17GG as organist of the Abbey,
after having served as Cantor at Pulkau and
Ketz, and in 1757 at POggstaJl. Works :
50 masses ; 15 Requiems ; 53 motets ; 34
graduals ; 12 Utauies ; 27 funeral cantatas ;
Hymns and vespers ; Te Deum ; Salve Re-
gina ; Lamentations, psalms, etc. — Fetis ;
Wurzbach.
SCHNEIDER, GEORG ABRAHAM, born
at Darmstadt, April 19, 1770, died in Ber-
lin, Jan. 19, 1839. Virtuoso on the horn,
instructed on several instruments by the
city musician of Darmstadt, and in theory
pupil of Cantor Portmann, who afterwards
became his father-in-law. He entered first
a Hessian regiment as oboe player, then
the service of the Duke of Mecklenburg at
Schwerin, of Prince Heinrich of Prussia at
Rheinsberg, and finally the royal orchestra
at Berlin, where he established subscription
concerts, and whence he inidertook several
concert tours. In 1814 he went to Reval
as Kapellmeister of the theatre, but re-
turned in 181G, and was made Kai^ell-
meister of the royal opera, and in 1820
music director of the guards. He was
particularly skilful in instrumentation.
Works — Operas : Der Orakelsjiruch ; Au-
cassin vmd Nicolette ; Die Verschworenen ;
Der Traum ; Der Wiihrwolf. Music to 13
ballets, to dramas, melodramas, and vaude-
villes ; Die Geburt Christi, Die Pilgrime
auf Golgotha, oratorios ; Cantatas ; Masses
with orchestra ; 54 entr'actes for orchestra ;
overtures and symphonies for do. ; Con-
certos for horn ; do. for flute, for oboe,
and other instruments ; Quintets, quartets,
trios, etc., for various instruments. — Lede-
bur, Tonkiinstl. Lex., 514 ; Fetis ; Mendel ;
Schilling.
SCHNEIDER, (JOHANN CHRISTIAN)
FRIEDRICH, born at Alt-Waltersdorf, near
Zittau, Jan. 3, 1786, died in Dessau, Nov.
23, 1853. Dramatic and church composer,
son and pupil of the organist, Johann Gott-
lob Schneider (1753-1840) ; began compos-
ing when only eight or ten years old. While
attending the Gymnasium at Zittau, he con-
tinued his musical studies under Cantor
SchiJufelder and the organist Unger; in
1805 went to the university of LeijJsic, and
SCHNEIDER
soon manifested talent as a pianist, organ-
ist, and composer. In 1807 be was ai^point-
ed organist of St.
Paul's, in 1810 Kapell-
meister of Seconda's
opera company, and
in 1812 organist of St.
Thomas's. From
1821 until his death lie
was Hof - Kapellmeis-
ter at Dessau, where
he displayed remarkable activity, training
the court orchestra, forming a gymuasial
choir, bringing the Singakademie into a
flourishing condition, and founding a Lie-
dertafel. In 1829 he established a musical
institute, which lasted until the foundation
of the Leipsic Conservatorium diminished
its prestige, among his pupils being F.
Spiudler, Auscbiitz, and Robert Franz.
He also directed a number of great musi-
cal festivals ; was a doctor of music, and a
member of the Berlin and Stockholm Acad-
emies and other societies. As a composer
he was wonderfully productive, but the
fame of his greater contemporaries has
ovei'sbadowed bis name, and bis works are
now almost forgotten. Works — Oratorios :
Das Weltgericht, 1819 ; Die Todtenfeier,
1821 ; Die Siiudflutb (translated into Eng-
lish as The Deluge), 1823 ; Das verlorene
Paradies, 1824 ; Jesus Geburt, 1825 ; Jesus
der Meister, 1827 ; Pharao, 1828 ; Christus
das Kind, 1829 ; Gideon, 1829 ; Gethsem-
ane und Golgotha, 1838 ; Absalom ; Das
befreite Jerusalem ; Salomonis Tempelbau ;
Bouifacius ; Christus der ErlOser. 14 mass-
es ; a Gloria ; a Te Deum ; 5 hymns ; 13
psalms and motets ; 25 cantatas ; 7 operas ;
23 symphonies ; 23 overtures ; 7 concertos
(y/H^-<t^t^€^
with orchestra ; GO sonatas ; pianoforte
trios and quartets ; 12 rondos ; 400 songs
for male voices ; 200 songs with pianoforte ;
etc. A collective edition of bis pianoforte
works was published in Halberstadt. His
writings are : Elementarbuch der Harmonie
und Tonsetzkunst (1820, English transla-
tion, 1828) ; Vorschule der Musik (1827) ;
Handbuch des Organisten (1829-30, four
parts). — Kempe, Fried. Schneider als
Mensch und Kiiustler (Dessau, 1859, 2d
ed., Berlin, 1804 ; Mendel ; Schilling ; Kie-
maun ; Fetis.
SCHNEIDER, (J OH ANN GEORG)
WILHELM, born at Ratbenau, Prussia,
Oct. 5, 1781, died in Berlin, Oct. 17, 1811.
Pianist, pupil of bis father (an organist),
and in comj^osition of Tiirk at Halle, where
he frequented the university. He settled
in Berlin, to teach, and appeared with suc-
cess as a concert player. In 1803-05
be edited, under the pseudonym of Wer-
den, Musikalisches Taschenbuch. Works:
Grande fantaisie for pianoforte and oi'-
cbestra ; Trio for 3 pianofortes ; Fantasias,
variations, marches, etc., for pianoforte ;
Kommersbuch (1802) ; Songs, etc. — Lede-
bur, 520 ; Fc'tis ; Schilhng.
SCHNEIDER, JOHANN (GOTTLOB),
born at Altgersdorf, near Zittau, Oct. 28,
1789, died in Dresden, April 13, 1864. Or-
ganist, brother of Friedrich Schneider, pu-
pil of his father on several instruments, of
Unger on the organ and in theory, and at
Zittau of Cantor Schonfeld in singing. He
began the study of law at Leipsic University
in 1810 ; succeeded his brother as organist
of the university church in 1811, and was
also vocal instructor at the Rathsfreischule.
He was apjiointed in 1812 organist of the
church of Sts. Peter and Paul at Gorlitz,
where be taught, founded a singing society,
and did much for the musical life of the
place. In 1825 be was called to Dresden as
court organist, and from 1830 was also musi-
cal director of the Dreyssig'sche Singakade-
mie. He made many concert tours, and in
1833 went to London. Among his numer-
ous jjupils were Robert Schumann, Merkel,
Naumauu, Berthold, Jansen, and Nicolai.
He ranked high as an organ virtuoso, Jlen-
delssobn considering him the finest organist
39G
SCimEIDER
in Germany of liis
only some fantasias,
time. He composed [ en at the Opera, 1818 ; Claire et Melctal,
fugues, and preludes ib. ; Zemire et Azor, ib., 1824 ; Les filets de
for the organ, and sacred part-songs.
— Mendel ; Riemann ; Schilling ; Fetis ;
Morley, Modern German Music, i. 320.
SCHNEIDER, (JOHANN) JIJLroS, born
in Berlin, July 6, 1805, died there, April 3,
1885. Pianist and organist, pupil of A. W.
Bach, Tiirrschmidt, and Ludwig Berger on
the pianoforte, of Hausmann on the organ,
and of Bernhard Kleiu in composition. In
1820 he became organist and cantor of the
Friedrichswerder Kirche, where he estab-
lished, in 1852, a liturgical choir ; in 1837
he was made royal music director, in 1851
instructor of organ, singing, and composi-
tion at the royal institute for church music.
He founded a Liedertafel in 1829, a choral
society for mixed voices in 1836, was music
director of the Royal York Lodge from
183G, and conducted the society for classi-
cal chamber music at Potsdam in 1814:-4:7.
Member of Berlin Academy, 1849, senator,
1875. Works : Orlando, opera, given at
Schwerin ; Jery und Biitely, Liederspiel ;
Luther, oratorio, Berlin, Frankfort, Halle ;
Die heilige Nacht, do., Berlin, Halle, Lii-
beck, Liuz ; Cantatas for several festive oc-
casions ; Mass for G voices ; Pater noster
for 12 do. ; Te Deum ; Motets ; 16 canta-
tas ; 10 liturgical psalms ; Psalms for male
voices ; 200 choruses for do. ; Choruses for
do., with military band ; Concerto for in-
anoforte ; Quintet for do., with wind instru-
ments ; Sonatas, variations, etc. ; Preludes,
fugues, and clioi-als, for organ ; Ballads,
etc. — Mendel ; Riemann.
SCHNEITZHCEFFER, JEAN MADE-
LEINE, born at Toulouse, Oct. 13, 1785,
died in Paris, Oct. 1, 1852. Dramatic com-
poser, pupil of Catel at the Conservatoire,
Paris ; he became kettle-drummer at the
Opera, and in the royal chapel in 1815, and
chef de chant at the Opera in 1823. He
was appointed professor of solfege at the
Conservatoire in 1807, was put in charge of
the male chorus class in 1831, and retired
in 1851. "Works — Ballets : Proserpine, giv-
Vulcain, ib., 1826 ; Le Sicilien, ou I'amour
peintre, ib., 1827 ; La Sylphide, ib., 1832 ;
La tempete, ou I'ile des genies, ib., 1831 ;
Sardanapale, opera (unfinished). — Fotis ;
do., Supplement, ii. 499.
SCHNITZER, FRANZ, born at Wurzach,
Wiirtemberg, in 1740, died at Ottobeuren,
Bavaria, in 1785. Monk and organist in
the Benedictine Abbey at Ottobeuren, from
1759. "Works : Eighteen ojierettas ; 6 can-
tatas for festive occasions ; 4 masses ; Alma
Redemptoris, and other church music. — Fe-
tis ; Schilling.
SCHNYDER VON WARTENSEE, XA-
"VER, born at Lucerne, April 18, 1786,
died at Frankfort, Aug. 30, 1868. Instru-
mental and vocal composer, and writer on
music ; was self-taught until 1810, when he
went to Ziirich and then to Vienna, hoping
to become a pupil of Beethoven, but was
obliged to study under Kienlen. Return-
ing to Switzerland, he fought against the
French in 1815 ; taught a short time in
the Pestalozziau institute at Yverdun, and
finally settled in 1817 at Frankfort to teach.
Works : Fortunat mit dem Silckel und
Wunsehhutleiu, fairy-oj)era, 1829 ; Zeit
und Ewigkeit, oratorio ; Cantatas ; Vocal
quartets ; Swiss songs for men's voices ; 2
symphonies ; Pianoforte sonata ; Articles
in the Allgemeine musikalische Zeitung and
Ciicilia. — Mendel ; Riemann ; Schilling ; Fe-
tis.
SCHOBERLECHNER, FR.mZ, born in
Vienna, July 21, 1797, died in Berlin, Jan.
7, 1843. Pianist, pupil of FOrster and
Hummel ; played in public, when ten years
old, Hummel's 2d Concerto in C, which
was composed for him. In 1814 he trav-
elled in Italy and Austria, became maestro
di cajipella to the Duchess of Lucca the
following year, and returned to Vienna in
1820. In 1823 he made a concert tour in
Russia, where he married the singer, Sophie
dair Occa and, after travelling in Italy and
Germany, returned to St. Petersburg, where
837
SCnOBERT
Mme Schoberlechner was engaged in 1827-
30 at the Italian Opera. After a few more
j'ears of wandering, be retired to his villa
near Florence. Works — Operas : I virtuosi
teatrali, Florence, 1816 ; Gli Arabi nelle
Gallie, Lucca, about 1819 ; Der junge Ou-
kel, Vienna, about 1820 ; H barone di Dolz-
heim, St. Petersburg, about 1828 ; Rossane,
Milan, 1839. Eequiem ; Overture for or-
chestra ; Themes varies for pianoforte and
orchestra ; String quartet ; Trio for piano-
forte, violin, and violoncello ; Sonata for
, jiianoforte, and flute or violin. — Wurzbach ;
Riemann ; Mendel ; Fetis.
SCHOBERT (not Schubart), German
comi)oser of the 18th century, born in
Strasburg in 1720, died in Paris, August,
1767. Pianist ; was for a short time or-
ganist at Versailles, and in 1760 became
chamber vii'tuoso to the Prince de Conti.
He died suddenly from eating poison mush-
rooms. Works : 6 concertos for pianoforte ;
G trios symphonies for do., violin, and 2
homs ; Quartets for pianoforte and strings ;
Trios for do. ; Sonatas for pianoforte and
violin ; do., for pianoforte solo. — Fetis ;
Mendel.
SCHOENEFELD, HENRY, born, of Ger-
man parentage,
in iRlwaukee, Wis-
consin, Oct. 4, 1856,
still living, 1890.
Pianist and com-
poser, pupil of his
father (Christian
Friedrich Schoene-
feld, 1815-86, vio-
loncellist, who
studied in Weimar),
and later, in vio-
lin, pianoforte, and harmony, of his brother
Theodor (1840-81, violinist, pujiil of Jo-
achim). When eighteen years old he en-
tered the Leipsic Conservatorium, where
he studied pianoforte under Papperitz, vio-
lin under Friedrich Hermann, musical the-
ory under Richter, composition and instru-
mentation under Carl Reinecke and Leo
Grill, and ensemble and conducting under
Heniy Schradieck. In 1878-79 he studied
composition in Weimar with Eduard Las-
sen. In 1879, after a concert tour through
northern Germanj', he retm-ned to America
and settled in Chicago, where he has con-
ducted several musical societies, is one of
the faculty of the Hershey School of Music,
and is engaged in teaching theory, compo-
sition, and orchestration. Works : Salvum
fac regem, for chorus and orchestra, given
in the Gewandhaus, Leipsic, 1878 ; Alle-
gretto scherzando, for three violins and
viola, ib., 1878 ; Pastorale, sonata for pi-
anoforte and violin, 1879 ; Easter Idyl, can-
tata, for soli, chorus, and orchestra, honor-
able mention at Cincinnati Festival ; Gypsy
melodies, for orchestra ; Suite for string
orchestra ; Overture with Liberty Hymn,
given at the Siingerfest, Milwaukee, 1886 ;
Air, Gavotte, and Musette, given by the
Thomas orchestra, Chicago, 1889 ; Piano-
forte compositions; Songs, etc.
SCHOENFELD, CARL, German flutist,
and chamber musician to the Duke of Meck-
lenbm-g ; was called to Copenhagen in 1842
as Capelmester of the German opera.
Works : Hermann und Dorothea, opera,
Neu-StreUtz, 1832 ; Fridolin ; Several oper-
ettas ; Duos, solos, variations, etc., for flute.
SCHOLTZ, HERRM.INN, born at Bres-
lau, June 9, 1845,
still living, 1890. Pi-
anist, pupil of Brosig,
and of von Billow and
Eheinberger, at the
royal school of music
in Munich, where he
was instructor six
years. In 1875 he
settled at Dresden,
where in 1880 he was
made royal chamber virtuoso. Works :
Concerto for pianoforte ; Trio for do. and
strings ; Sonata, lyiic jjieces, etc., for piano-
forte. — Riemann.
SCHOLZ, BERNHARD E., born at
Mainz, March 30. 1835, still Uving, 1890.
SCIION"
Dramatic composer, pupil of Ernst Pauer on
the pianoforte, and of Dehn in theory ; be-
came instructor at the
royal school of music,
Munich, in 1856, was
Hof - Kapellmeister at
Hanover in 1859-65,
then visited Florence,
and lived in Berlin
until 1871, when he
was called to Breslau
as conductor of the
orchestral society. In
1883 he succeeded Raff as director of Hoch's
Conservatorium at Frankfort, on which oc-
casion the university of Breslau conferred
on him the degree of Ph.D. Shortly after
he was made royal professor. Since ISS-l
he has been also conductor of Eilhl's sing-
ing society. Works — Operas : Carlo Rosa,
Munich, 1858 ; Ziethen'sche Husaren, Bres-
lau, 1869 ; Morgiane, Munich, 1870 ; Golo
(Genovefa), Nuremberg, 1875 ; Der Troni-
peter von Siikkingen, AViesbaden, 1877 ;
Die vornehmen Wirthe, Leipsic, 1883. Das
Siegesfest, for soli, chorus, and orchestra ;
Requiem ; Overture to Goethe's Iphigeuia
auf Tauris ; Im Freien, Conzertstiick in
Form einer Ouvertiire ; Symphony ; Ca-
priccio for pianoforte, with orchestra ; Ca-
priccioso all' Ungarese, for violoncello (or
violin), with orchestra ; Quintet for piano-
forte and strings ; Trio for do. ; Quintet
for strings ; 2 quartets for do. ; Pianoforte
pieces, and songs. — Eiemanu.
SCHON ELLEN (Fair EUeu), cantata for
soli, chorus, ancl orchestra, by Max Bruch,
op. 21, first given in Cologne, Jan. 25, 1870.
The theme is an incident of the defence of
Lucknow during the Sepoy rebellion of
1857, when Sir Henry Lawrence, having
failed to quell the mutiny, was roused to
fresh courage by the Scottish girl, Jessie
Brown, who heard the slogan of the Mac-
Gregors in the distance, and declared that
the Highlanders were coming to the rescue.
In the cantata the characters are changed
to Fair Ellen (S.), and Lord Edward (Bar.).
The work is written for two solo parts and
five short choruses, and the air, " The
Campbells are coming," is introduced into
the finale with effect. Full score published
by Cranz (Bremen, 1870) ; pianoforte score
by Aug. Horn. — Ui^tou, Standard Cantatas,
93 ; Neue Zeitschr., Ixiv. 2.
SCHON, MORITZ, born at Kronau, Mo-
ravia, in 1808, died at Breslau, April 8,
1885. Violinist, pupil of Lubmann at
Drehnau, where he had become chamber
musician to the Princess Lynar at the age
of fifteen, then in Berlin pupil of MOser and .
Hubert Ries, at Brunswick of Karl Midler,
and at Cassel of Sjjohr. After concert tours
in Germany and Holland, he settled at Bres-
lau, where he was Kapellmeister of the thea-
tre in 1835-41, then founded a school for
violin. He has compo.sed duets, etudes,
and other instructive works for the violin.
—Mendel.
SCHON ROTRAUT, German opera, text
by Johanna Balz, music by Edmund
Ki-etschmer, represented at Dresden, Nov.
6, 1887. The libretto is founded on the
legend of King Ringang's daughter. The
opera was well received.
SCHONE MELUSINE, DIE, overture in
F, by Mendelssohn, op. 32, first given in
Dusseldorf in July, 1831. The subject is
the legend of the fair Melusine, the water-
nymph, who became the bride of Count
Lusignan. It was first given in Leipsic,
Nov. 23, 1835 ; in Berlin in 1837 ; and in
New York by the Philharmonic Society in
the season of 181:4^45. Full score and piano-
forte arrangement for four hands, published
by Breitkopf & Hilrtel (Leipsic, 1836) ; for
pianoforte for two hands by Czerny (ib.,
1836). Breitkopf & Hilrtel, Mendelssohn
Werke, Serie ii., No. 5. — Allgem. mu.s. Zeitg.,
xxxviii. 154, 317 ; Neue Zeitschr., v. 7.
SCHONE MULLERIN, DIE (The Beauti-
ful Miller-Maid), a cycle of songs for one
voice with pianoforte accompaniment, by
Schubert, op. 25, on Wilhelm Mailer's
songs " Die schoue Miillerin," contained in
vol. I. of his " Gedichte aus dem hinterlas-
329
SCKONEBECK
seneu Papieren eines reisenden Waldbornis-
ten (Dessau, 1821). The music to these
songs was composed in 1823 and dedicated
to Cai-1 von Schonstein. Heft I. : I. Das Wan-
deru ; IL Wohin ? ; HI. Halt ; IV. Danksa-
gung an den Bach. Heft U. : V. Am Feier-
abend ; VI. Der Neugierige ; ^^I. Unge-
duld ; Vin. Morgengruss : IX. Des Miillers
Bhimen. Heft HI. : X. Thraneuregen ; XI.
Mein ; XH. Pause. Heft IV. : XIH. Mit dem
griiuen Lautenbande ; XIV. Der Jiiger ;
XV. Eifersucht und Stolz ; X\l. Die liebe
Farbe. Heft V. : XVIL Die bOse Farbe ;
XVHI. Trockne Bhimen ; XIX. Der IMiil-
ler uud der Bach ; XX Des Baches Wie-
genlied. Published by Sauer & Leides-
dorf (Vienna, 1824). Schubert wrote an
Introduction and Variations for the piano-
forte on the Theme of " Trockne Blumen,"
in 1824. Transcription by Franz Liszt for
the pianoforte of Das Wanderu ; Der Miiller
und der Bach ; Der Jiiger ; Die bOse Farbe ;
Wohin ?, and Ungeduld, published by
Schreiber (Vienna). — Nottebohm, Verzeich-
niss, 33 ; Kreissle von Hellborn (Coleridge),
Schubert, i. 185 ; Hauslick, Concertwesen in
Wien, ii. 213 ; Waldersee, Sammlung nm-
sikalischer Vortriige, ii. 99.
SCHONEBECK, CUIL SIGISMUND,
born at Lilbl)eu, Brandenburg, Prussia,
Oct. 26, 1758, died in the beginning of the
19th century. Virtuoso on the violoncello,
IjuimI in Dresden of Tricklir ; previously
was Conzertmeister to Count Dohna at
Kozenau, Silesia, in 1787-91 to the Duke of
Curland, at Sagan, and in 1791-93 to Count
Truchsess at Waldenburg, Prussia, then
member of the theatre orchestra at Konigs-
berg. He retired in 1798 to his native place,
and in 1800 made a concert tour in Ger-
many. Works : Der Wunderigel, opera,
Konigsberg, 1778 ; Der Kilster im Stroh,
do. 3 concertos for violoncello ; Concerto
for bassoon ; 3 quartets for flute and
strings ; 3 duos for viola and violoncello ;
3 do. for 2 violoncellos ; Duos concei-tants
for 2 violas. He left in manuscript several
concertos for violoncello ; 2 do. for flute, 2
for clarinet, and one for horn. — Fetis ; Men-
del ; Schilling.
SCHONFELD, HERIIANN, born at Bres-
lau, Jan. 31, 1829, still living, 1890. In-
strumental and vocal composer, pupil of Ju-
lius Seidel ; is royal music director, and
cantor of St. Mary Magdalen's church at
Brcslau. Works ; 4 church cantatas ; Mo-
tets ; Psalms for mixed chorus ; 3 concert
overtures ; Symphony ; Trio for pianoforte
and strings ; Sonata for violin ; Organ mu-
sic, chorals, etc. — Riemaun.
SCHOOLMASTER, THE, symphony for
orchestra, in E-tlat, written by Haydn in
1777. I. Allegro di molto ; II. Adagio ; lU.
Menuetto ; IV. Finale, presto. Published
by Simrock.
' SCHOPFUNG, DIE (The Creation), ora-
torio in three parts, text by Lidley or Lid-
dell, music by Joseph Haydn, fii-st jier-
foi-med iu private at the Sehwartzenberg
Palace, Vienna, April 29, 1798. The li-
bretto, made originally for Handel, was se-
lected from Genesis and Paradise Lost.
Salomon, Haj'du's manager in London, sug-
gested it as a theme for an oratorio, and
the composer took it to Vienna, where
Baron von Swieteu, the Emperor's libra-
rian, translated it into German with addi-
tions and modifications. The music was
written from 1796 to April, 1798. The
first public performance was given at the
Nationaltheater, Vienna, March 19, 1799.
It won an immediate success and was soon
given all over Europe. Haydn's last np-
pcai'ance in public was at a performance of
the Creation, given in Italian under the di-
rection of Salieri, March 27, 1808, in the
University Hall, Vienna. He was received
with a flourish of trumpets and by joyous
shouts, and was so overcome that he broke
down and was obliged to leave at the close
of the first part. First performance in Lon-
don, Covent Garden, March 28, 1800 ; in
Paris, Dec. 24, 1800 ; in Berlin, in 1815 ;
iu Boston, Handel and Haydn Society, Feb.
16, 1819, and by the Oratorio Society of
New York in 1877. Published originally
330
SCIIOPP
in Vienna, 1800, in score, with German and
English words. — Grove, i. 415, 714 ; ii. 551 ;
Townsend, Hajdn, 111 ; Cilciha, x. 52, 241 ;
Allgem. mus. Zeitg., xi. 705 ; Hansliek, Con-
certwesen in Wien, ii. 3 ; Upton, Standard
Oratorios, 162.
SCHOPP (Schoope), JOHA^N, born in
Hamburg, beginning of the 17th century,
died ('?). Violinist, lived at Hamburg un-
til about 1G42, then seems to have settled
at Liiueburg. Works : Neue Paduauen,
Galliarden, Allemanden, etc. (Hamburg,
1G33, 1G40) ; Dreissig deutsche Concerte (ib.,
1644) ; Johann Kistens himmlische Lieder
mit Melodien (Liiueburg, 1644, 1652, 1658) ;
Johann Ristens frommer uud gottseliger
Christen alltilgliche Hausmusik, etc. (ib.,
1G54) ; Philipp von Zesens dichterischen
Jugend- und Liebes-Flammen, etc. (Ham-
burg, 1651) ; Jac. Schwiegers FlCichtige
Feldroson (ib., 1655).— Fetis ; Mendel.
SCHRADIECK, HENRY, born at Ham-
burg, April 29, 1846, still living, 1890.
Violinist, first instructed by his father, then
pupil of Leonard at the Brussels Conserv-
atoire, and at Leipsic (1859-61) of David.
He was Conzertmeister at Bremen in 1863-
64, instructor at the Conservatorium in
Moscow in 1864-68, then Conzertmeister of
the Philharmonic concerts iu Hamburg,
and in 1874-82 of the Gewandhaus orches-
tra in Leipsic, where he also taught at the
Conservatorium, until called to Cincinnati,
in 1883. Works : Quartet for strings ; So-
nata for pianoforte and violin ; Soli for vio-
lin ; Etudes for do. — Mendel ; Riemann.
SCHREYER, CHRISTIAN HEINRICH,
born in Dresden, Dec. 24, 1751, died there,
in 1822. Instrumental and vocal composer,
self-taught, studied theology at Wittenberg
in 1771-76, and after his return to Dres-
den taught music. Works : Two oratorios ;
About 30 cantatas and hymns, with orches-
tra ; More than 300 songs ; 6 symphonies ;
12 marches, and dances ; Sonatas for piano-
forte, etc. — Fetis ; Schilling.
SCHREYER, Pater GREGOR, German
composer of about the middle of the 18th
century. Benedictine monk. Kapellmeister
of the monastery at Andechs, Bavaria.
Works : Missoe VIH. solemues in tertio soe-
culo, etc. (Augsburg, 1756) ; Sacrificium
matutiuum seu Misstc VI. breves, etc. (ib.,
1763) ; Sacrificium vespertinum, etc. (ib.,
1766).— Fotis ; Mendel.
SCHRODER, ALBERT, born at Erms-
lebcu, near Eislebeu, Prussian Saxony,
April 8, 1829, still living, 1890. Organist,
pupil of Rungenhagen and A. W. Bach, in
Berlin ; royal music director at Quedlin-
burg, since 1856. Works : Der Zauber-
riug, opera ; Columbus, cantata for male
chorus ; Songs.
SCHRODER, KARL, born at Endorf, iu
the Harz, May 1, 1823, died there, Feb. 4,
1850. Dramatic composer, pupil of Sie-
beck at Eisleben, and of Marx in Berlin.
Works : Die Walpurgisnacht, and Pizarro,
Oder die Eroberung von Peru, operas, Ber-
lin, 1847. Pianoforte music, and songs.
—Mendel.
SCHRODER, KARL, born at Quedlin-
burg, Prussian Sax-
ony, Dec. 18, 1848,
still living, 1890. Vi-
oloncellist, i^upil of
Drechsler at Dessau ;
became a member of
the court orchestra at
Sondershausen when
only fourteen, organ-
ized a travelling quar-
tet with his father
and two brothers, be-
came first violoncellist iu the court orches-
tra at Brunswick, iu 1873, and in the Ge-
wandhaus orchestra at Leipsic in 1874.
He was instructor also at the Conserva-
torium there, and thence undertook several
concert tours. In 1881 he succeeded Erd-
mannsddrfer as Hof-Kapellmeister at Son-
dershausen, where he founded a Conser-
vatorium. In 1886 he sold it to Adolf
Schultze, then was for one season kapel-
meester of the German opera at Rotterdam,
and since that at the royal opera in Berlin.
331
SCimOTEIi
He has published a concerto, caisrices,
etudes, and a method for violoncello. His
brother Hermann (born at Qaedliuburg,
July 28, 1842), a violinist, established a
musical institute in Berlin, in 1873, and
has composed overtures, string quartets,
and songs. — Mendel ; Riemauu.
SCHROTER, CHRISTOPH GOTTLIEB,
bom at Hohensteiu, Saxony, Aug. 10, 1G99,
died at Nordhausen in November, 1782.
Organist, chorister under Kapellmeister
Schmidt in Dresden ; then Alumnus in the
Ki'euzschule. He began in 1717 the study
of theology in Leipsic, but soon gave it uj)
and became Lotti's copyist in Dresden.
He travelled in Germany, Holland, and
England, in the service of a music-loving
baron imtil 1721, when he wrote and lec-
tured on music at the University of Jena ;
became organist at Minden in 1726, and at
Nordhausen in 1732. Works : Seven sets
of music for the entire church year ; 4 sets
of Passion music ; Die sieben Worte Jesu,
Passion music to his own words ; Music for
weddings, funerals, and festivals, often with
words of his own ; Cantatas and serenades ;
Many concertos, overtures, sj-m^jhonies, and
sonatas for all instruments, but particularly
for pianoforte ; Fugues and choral-preludes
for organ. He was author of Ejnstola gi-a-
tulatoria de Musica Davidica et Salomonica
(Dresden, 171G) ; Deutliche Anweisung zum
Generalbass (Halberstadt, 1772) ; Letzte
Beschiiftiguug niit musikalischen Dingen,
etc. (1782). Critical articles in Mitzler's
Bibliothek, and i\Iarpurg's Kritische Briefe.
— Riemann ; Mendel ; Schilliug ; Fetis ;
Gerber.
SCHROTER, JOH/VNN SAMUEL, born
in Warsaw in 1750, died in London, Nov. 2,
1788. Pianist, made a concert tour in Hol-
land when only seventeen ; in 1774 went
to London, where he was an organist and
teacher, but afterwards became chamber
pianist to the Prince of Wales. Works :
15 concertos for pianoforte ; 3 quintets
for do. and strings ; 8 trios for do. ; 6 so-
natas for pianoforte. His brother Johann
Heinrich (born 1762), a vioUnist, also settled
in London in 1782 ; he published duos for
violin and flute, and for viohn and violon-
cello. His sister Corona (1748-1802) was
a celebrated singer, engaged at Weimar
from 1778.— FOtis ; Mendel ; Schilling.
SCHUBART, (CHRISTIAN FRIED-
RICH) DANIEL, born at Ober-Southeim,
Wiirtemberg, March 24, 1739, died at Stutt-
gart, Oct. 10, 1791. The German poet, who,
dui-ing his imprisonment at Hohenasperg
in 1777-87, not only wrote on music, but
also composed. After his liberation he was
made director of the theatre and court poet,
but his long captivity had broken his con-
stitution and he survived onlj' four years.
Works : Die glucklichen Reisenden, ope-
retta ; Eva's Klage bei des Messias Tod,
melotlrama ; Die Henne, cantata ; Die
Macht der Tonkunst, do. ; Hirtenlied ;
Songs ; Menuet ; Rondo ; Pianoforte pieces.
His Ideen zu einer Aesthetik der Tonkunst,
were published by his son Ludwig (Vienna,
1806). — Schubart's Lebeu und Gesinnungen
(Stuttgart, 1791-99).
SCHUBERT, FERDINAND, born in Vi-
enna, Oct. 18 or 19, 1794, died there, Feb.
26 or 28, 1859. Brother of Franz (Peter)
Schubert ; pupil of his father on the violin,
of his eldest brother Ignaz on the piano-
forte, and of Michael Holzer in singing, on
the organ, and in theory. He was two years
in the Normal School of St. Anna, and as-
sistant in his father's school at Lichtenthal
in 1809 ; was assistant and instructor at the
Orphan House, Vienna, in 1810-20, then for
four years choir-master at Altlerchenfeld,
and was appointed in 1824 instructor, and
in 1851 director, of the Normal School of
St. Anna. In 1834 he became professor of
organ at the Conservatorium. He was en-
tirely devoted to his distinguished brother,
and in his concerts is said to have in-
troduced only the latter's compositions.
Works : Der kleine Schadenfroh, Die Ah-
renleserinn, operas for childi-en, 1825-30; 3
masses ; 3 Requiems ; 2 Regina coeli ; Ger-
man Requiem ; Several Salve Regina ; Mo-
SCHUBERT
tets ; Gradual ; Offertory ; March aud trio ;
Pianoforte music ; 4 Waisenlieder. — All-
gem. Wiener mus. Zeitg. (1842), No. 16 ;
Heindl, Gallerie (Muuicb, 1859), ii. 398 ; N.
Wiener mus. Zeitg. (1859), No. 13 ; Wurz-
bacli.
SCHUBERT, FRANZ, born in Dresden,
July 22, 1808, died there, April 12, 1878.
Violinist, son and jiuj^il of the following,
and pupil of Rottmeier, Haase, and in Paris
(1831-33) of Lafont. In 1837 he was made
Vize-Conzertmeister, in 1847 second, and
in 18G1 first Conzertmeister in the roj-al
orchestra. He retired in 1873. Works:
Fantasia for yiolin with orchestra ; Duo
for i:)ianoforte aud violin ; 2 duos concer-
tants for violin aud violoncello ; 9 etudes
for violin. — Mendel.
SCHUBERT, FRANZ ANTON, born iu
Dresden, July 20, 1768, died there, March
5, 1824. Church composer, entered tlie
electoral orchestra as a double-bass player
in 1786, became Kapellmeister at the Ital-
ian opera in 1807, and was appointed royal
church composer iu 1814. He composed
many works for the Catholic service in the
court chapel, cantatas, songs, etc.- — Mendel.
SCHUBERT, FRANZ (PETER), born
in Vienna, Jan. 31,
1797, died there,
Nov. 19, 1828. The
family came origi-
nally from Zuck-
mantel, in Austrian
Silesia. His gi'and-
father was a peasant
at Neudorf, in Mora-
via, and his father
(born there about
1764) went to Vienna to study, and became
assistant teacher at a school kept by his
brother in the Leopoldstadt in 1784, school-
master iu the Lichtenthal in 1786, aud iu
1817 or 1818 master of the parish school in
the Rossau district. His mother, Elisabeth
Vitz (or Fitz), was a cook iu Vienna. Franz
was the youngest but one of fourteen chil-
dren, of whom nine died in infancy. But,
after his mother's death in 1812, his father
married Anna Klayenbok, by whom he had
five more children, of whom three grew up.
Franz was taught the violin by his father,
and the pianoforte by his eldest brother,
Ignaz ; but he soon outgrew home teaching
and was put under Michael Holzer, choir-
master of the parish, for violin, pianoforte,
organ, singing, and thorough-bass. His
rapid progress, or rather his instinctively
knowing beforehand what was taught him,
was an unceasing delight to his teacher.
He was first sopi-ano in the Lichtenthal
choir before he was eleven, and would also
play violin solos iu church, besides compos-
ing songs or small instrumental pieces at
home. In October, 1808, be was sent to
the preparatory school for singers in the
Hofkaiaelle. There was an orchestra formed
from the boys at the school, in which Schu-
bert rose to the position of first %'iolin ; he
kept up composing, too, by himself, and
gradually in larger and larger forms, until
in 1813 he wrote his first symjihony. He
was now sixteen, and his time at the school
was up ; his standing in music was very
high, but correspondingly low in other de-
partments ; but the Emperor registered a
special decision in his favour, October 21,
assuring him a foundation scholarship if he
would study enough iu vacation to pass an
examination. But this he never did, and his
connection with the school ceased. He
had been the idol of the more mu.sical of
his fellow-scholars, and even after he left
the institution, the school orchestra would
play his compositions. He had already
studied a good deal of Haydn and Mozart,
and some of Beethoven by himself, and
now began to study Gluck's scores and
those of Beethoven's greater works ; but
Mozart remained his ideal for some time.
To avoid military conscription he attended
the Normal School of St. Anna a few
months, to fit himself for teaching the
elementary class in his father's school in
the Lichtenthal. He taught there three
years, during which time he composed,
SCUUBEET
among other things, his first mass (1814),
which so deUghted Salieri, who had inter-
ested himself in him at the school, that he
claimed him as his own pupil, and con-
tinued giving him daily lessons for some
time — lessons which probably did not
amount to much. In the same year he
also wrote his first ojiera, Des Teufels Lust-
schloss. Just before 1815 he made the ac-
quaintance of the poet Mayrhofer, several
of whose poems he set to music. With the
year 1815 began his remarkable and al-
most unintermitteut activity as a composer.
Some idea of his phenomenal fertility at
this period of his life may be formed from
the fact that in 1815 he wrote 195 comi)osi-
tions — mostly songs, but comprising also
four operettas, a grand opera, Adrast, a
symphony, and several other larger works ;
in 181G, 132 compositions, and in 1817,
G9. In 1816 he applied for the post of di-
rector of the new government music school
at Laybach, near Trieste, but his appli-
cation was rejected. In order, however,
that he might give his whole time to com-
position, he gave up teaching at his father's
school, and took rooms in Vienna, in com-
pany with Franz von Schober, a young man
of good birth, whose acquaintance ho had
made in Linz, and who bad come to Vienna
to enter the University. He began to give
a few lessons, but soon gave them uj). He
also made several influential friends, who
were, one and all, anxious to help him ; but,
although naturally very lovable, he was a
true man of the jieople and could never
get on very well in polite society. In 1817
he first heard some of Rossini's operas,
the melodiousness and spirit of which he
much admu-ed. How he managed to live
at this time no one can tell. He lived only
a few months in von Schober's lodgings
(probably at the latter's expense), he had
no money of his own, and made next to
nothing by teaching, or by his composi-
tions. In 1818 he became music teacher
to the family of Count Johanu Eszterhi'izy,
passing the summer at Zelcsz, in Hungary,
and the winter in Vienna, and earned
enough to make a trip through Upper
Austria, in the summer of 1819, with his
friend Vogl, the famous singer. On Feb.
28, 1819, his setting of Goethe's " Schiifer's
Klagelied " was sung at a concert by Jiiger,
the first time a work of his had been given
in public. But through Vogl's influence
the attention of managers was attracted to
him, and on June 14, 1820, his Zwilhngs-
bruder was given at the Kiirnthnerthor
Theater. But Schubert took so little in-
terest in the occasion that he did not even
stay in the theatre to the end of the perform-
ance. On his twenty-fifth birthday (1821)
he received three flattering testimonials :
one from Court Secretary Mosel ; one from
Weigl, Director of the Hofojjer, Salieri, and
von Eichthal ; and one from Moritz, Count
Dictrichstein. Although at this early age
he had written C2G works, he was almost
unknown to the Viennese public, but now
his friends of one accord made a sujireme
effort to push him into jjublic notice ; the
result was the ijublication of his ErlkiJnig,
and eighteen other songs, by Cappi and
Diabelli on commission, before the year
was out. The success of this venture was
such that the commission jilan was dropped
for the future, and Diabelli consented to
assume the whole risk of subsequent jiub-
lications. Early in 1822 ho made the ac-
quaintance of Weber, who had come to
Vienna to arrange for the production of
Euiyanthe ; he already knew Beethoven,
but only slightly, and had hardly spoken
with him. But on April 19, 1822, he pub-
lished a set of variations dedicated to Beet-
hoven, and called with Diabelli to present
a copy to the great man in person. They
found Beethoven and Schindler together,
and the former in very good humor ; but
Beethoven was then so deaf that all con-
versation with him had to be carried on
through paper and pencil, which circum-
stance had such an effect upon Schubert's
bashfulness that, at Beethoven's first re-
mark about something in the variations, he
\
SCHUBERT
^^ ^. ^
SCHUBERT
lost his bead, and rushed from the room
aud house in terror. But Beethoven liked
the variations, and often played them with
his nephew. Both this and the nest year
had their disappointments : his opera Al-
fonso und Estrella was refused every-
where, aud the performance of Eosamunde
at the Theater an der Wien, Dec. 20, 1823,
was but a feeble consolation. In 1824 his
FieiTabras, which was ordered of him by
Barbaja, was returned to him, rejected.
Soon after this blow he left town with the
Eszterhi'izys for six mouths at Zelezs. His
health had not been good, but this sojourn
in the country quite restored him. He now
gave up vocal comijosition almost wholly.
In the sirring of 1825 he and Vogl made a
second pleasure trip through Upper Aus-
tria, he returning to Vienna in the summer,
after his money had given out. By 182G
his songs were in good demand, as well as
some of his pianoforte music, aud, in Vi-
enna at least, he may be said to have en-
joyed a fair popularity, which, however,
hardly consoled him for the almost litter
neglect with which his larger works were
still treated. In the autumn of 1826 he
appUed for the position of Vize-Kapellmei-
ster to the Court, but without success, the
post being giveu to Weigl iu Januaiy, 1827;
and some efforts made to secure for him
the conductorship at the Hoftheater in
Hamburg also failed. On the other hand,
his Gastein-symphony was accepted by the
Musik-Verein, and a sum of money given
him for it, but the work was not performed.
Probst aud Breitkojif & Hiirtel, of Leipsic,
began to make overtures to him about pub-
lishing some of his works, which shows
that his fame was ah-eady passing the
boundaries of Austria. In this year came
Beethoven's last illness ; shortly before his
death, Schindler showed him some fifty or
sixty of Schubert's songs, which filled him
with such admiration that Schubert, hear-
ing of it, made bold to call on him once
more, and was very affectionately received.
Three weeks later, he was one of the torch-
bearers at Beethoven's funeral. In the
autumn he went to Gratz, to spend a few
weeks at the house of a friend, but was
soon back in Vienna again, hard at work
as ever. On March 26, 1828, he gave his
first public concert of compositions by him-
self, which netted 800 Gulden (about S160) ;
but this did not last him long, and he gave
up an intended trip to Styria for lack of
means. His health had been wretched for
some years, but in November, 1828, it
Schubert's Tomb.
took a turn for the worse, aud by the 14 th
he was dangerously ill iu bed, but still kept
on working. The doctors feared nervous
fever, but on the 17th typhus set in, and
he died two days later. The funeral was
on the 21st at the church of St. Joseph in
Margarethen, and he was buried in the
Ortsfriedhof in Wiihring, " three places
higher up than Beethoven." Of all the
really great geniuses in German music
Schubert probably had the most imperfect
SCHUBERT
musical training ; indeed, the very brU-
liaucy of his genius seems to have dazed
all his teachers, for, from old Holzer in
his native parish, to Kuziczka and Salieri
at the Conviktschule, they seemed to con-
tent themselves with giving advice instead
of regular, methodical instruction, and from
first to last he never had any training in
counterpoint at all. It was only three
weeks before his death that he made ar-
rangements to take his first lessons in
counterpoint from Simon Sechter, being
incited thereto by the perusal of some
scores of Handel's, which seem to have
first given him a realizing sense of his own
shortcomings in this particular. As far as
he had mastered the higher forms of com-
position, he was practically his own teacher,
and his mastery over them is thus doubly
wonderful. This lack of contrapimtal train-
ing had for one of its results, that he never
could be brought to associate laborious
work with the process of composition ;
shortly after Beethoven's death his friends
jjrevailed ujjon him to study the various
MS. scores of Fideho, to see by what an
arduous process of self-criticism and correc-
tion this most laborious of all composers
obtained his grandest results ; the study,
however, made an unfavourable impression
upon Schubert, and he declared that he
never could bring himself to work over
music in that waj'. His constant habit of
composing everything in obedience to the
first impulse, often led him to great pro-
lixity, and in some of his larger instru-
mental works he shows himself the most
diffuse of aU the great composers. Had he
been spared to study, as he intended to,
there is no knowing to what splendid
heights he might have risen in every form
of composition ; as it is, his wonderful
genius has shown itself as distinctly epoch-
making only in one form, that of the Lied.
He may be said to have established the
form of the German Lied ; he was the first
great song-writer, and has had only two
successors who have shown themselves fully
worthy and able to follow his lead : Schu-
mann and Robert Franz.
Works — L Dramatic : Des Teufels Lust-
schloss, operetta, 3 acts (written 1814, not
given, MS.) ; Der vierjiihrige Posten, Sing-
spiel, 1 act (1814, not given, MS.) ; Fer-
nando, do., 1 act (1815, not given, MS.) ;
Claudine von Villabella, do., fragment, 3
acts (1815, MS.) ; Der Spiegelritter, oper-
etta, 3 acts (1815, not given, MS.) ; Adrast,
opera fragment (1815, MS.) ; Die Freunde
von Salamanca, Singspiel, 2 acts (1815, not
given, MS.) ; Die Bilrgschaft, opera frag-
ment, 3 acts (1816, MS.) ; Die ZwiUings-
brilde?; farce, 1 act (1819, not given, piano-
forte score, Leipsic, Peters) ; Die Zauber-
harfe, melodrama, 3 acts, Vienna, Aug. 19,
1820 ; Sakontala, opera fragment, 3 acts
(written 1820, MS.) ; Alfonso und Estrella,
opera, 3 acts, op. 69, Weimar, 1854 ; Die
Verschworenen, oder der hausUche Krieg,
operetta, 1 act, Vienna, 1861 ; Fierrabras,
opera, 3 acts, ib., 1861 ; Rosamunde, di-ama
with music, 4 acts, ib., Dec. 20, 1823 ; Der
Graf von Gleichen, opera, 3 acts (1827, MS.
sketch in score) ; Die Salzbergwerke, opera
(MS. sketch in score) ; Der Minnesiinger,
Singspiel (MS.).
n. Cantatas : Cantata for his father's
birthday, 3 male voices and guitar (written
1813, MS.) ; Auf den Sieg der Deutschen,
soprano, 2 violins, and violoncello (1813,
MS.) ; Cantata for his father's birthday, 4
voices and orchestra (1815, MS.) ; Prome-
theus (1816, MS.) ; Cantata for Salieri's ju-
bilee (1816, MS.) ; do. for Spendou (1816,
MS.) ; Auguste jam ccelestium, soprano,
alto, and orch. (1816, MS.) ; Lazarus, frag-
ment, voices, and orch. (Vienna, Spina,
1866) ; Gesang der Geister, 8 male voices
and strings, op. 167 ; Riidiger's Heimkehr,
tenor, chorus, and orch. (Spina) ; Constitu-
tionslied, 4 male voices and orch., op. 157 ;
Morgengesang, do. (Spina) ; Nachtgesang
im Walde, 4 male voices and horns, op.
139 b.
TTT. Sacred Works : 6 Masses : No. I, in
F (pianoforte score, Augener) ; No. 2, in G
337
SCHUBERT
(do., Novello, Peters) ; No. 3, in B-flat, op.
141 (do.) ; No. 4 iu C, op. 48 (do.) ; No. 5,
in A-flat (full and pianoforte scores, Scbrei-
ber) ; No. G, in E-flat (do., Eieter-Bieder-
mann) ; Stabat Mater, 4 voices and orcb.,
in G minor (1815, MS.) ; Salve Eegina, so-
prano and orcL, op. 47 ; Stabat Mater, 4
voices and orck, in F minor (181G, MS.) ;
Antiphons for Palm Sunday, 4 voices and
organ, op. 113 ; Requiem in E-flat (1816,
MS. fragment) ; Tantum ergo, 4 voices and
orch., in C (1816, MS.) ; Magnificat, do., iu
C (1816, MS.) ; Benedictus es, do., in C, op.
150 ; Salve Eegina, do., in F (Haslinger) ;
do., 4 voices and organ, op. 149 ; do., do.
(MS.) ; do., soprano and strings, in A, op.
153 ; Deutsche Messe, 4 voices and wind,
in F (Gotthardt) ; do., in A-flat (Spina) ;
Tantum ergo, 4 voices and orch., op. 45 ;
Herr unser Gott, 8 male voices and wind,
op. 154.
rV. Part songs, A, for mixed voices : Der
Hochzeitsbraten, op. 104 ; 3 for 4 voices and
pianoforte, op. 112 ; Gebet, for do., op.
139 A ; Des Tages Weihe, for do., op. 146 ;
4 for 4 voices and pianoforte, in 9 Ge-
silnge. B, for male voices : 3 for 4 voices
and pianoforte, op. 11 ; 2 for 4 voices, op.
16 ; 4 do., op. 17 ; Der Goudelfahrer, for 5
voices and pianoforte, op. 28 ; 1 for 4 voices
and do., in op. 52 ; 3 for 4 voices, op. 64 ;
1 for 1 and 4 voices, in op. 81 ; Mond-
schein, for 5 voices, op. 102 ; 1 for 4 voices,
in op. 105 ; 1 for 1 and 4 voices, in op. 131 ;
Nachthelle, for do. and pianoforte, op. 134 ;
Scblachtlied, for 8 voices and jnanoforte,
op. 151 ; Triuklied, for 4 voices, op. 155 ;
NachtmusLk, for do., op. 156 ; Im Gegen-
wiirtigen Vergangenes, for do. and piano-
forte, Lieferung 43 ; 1 for 5 voices, in Lief.
45 ; 4 for 4 voices in 9 Gesiinge. C, for
female voices : 1 for 3 voices, in op. 52 ;
Psalm xxiii. for 4 voices, op. 132 ; Gott
in der Natur, for do., op. 133 ; Stiindcben,
for 1 and 4 voices, op. 135 ; 2 for 3 voices,
in Lief. 45 ; 1 for do. in Lief. 41.
V. Songs with pianoforte : Der Erlkonig,
oj^. 1 ; Gretcben am Spinnrade, ojj. 2 ; 22
songs, op. 3-8 (Der Wanderer, op. 4) ; 3
Gesiinge des Harfners aus Wilbelm Meister,
op. 12 ; 22 songs, op. 12-14, 19-24 ; Die
schone Miillerin (20 songs), op. 25 ; Sulei-
kas erster Gesang, op. 31 ; Die Forelle,
op. 32 ; 4 songs, op. 36, 37 ; Der Liedler,
op. 38 ; Sebnsucbt (after Scbiller, second
setting), op. 39 ; Der Einsame, op. 41 ; 2
songs, oj}. 43 ; An die untergebende Sonne,
oj). 44 ; Tantum ergo (see under sacred
works), op. 45 ; Offertorium No. 1 (Totus
in corde), op. 46 ; Do. No. 2 (Salve Eegina),
op. 47 ; 7 Gesiinge aus Walter Scott's Friiu-
lein vom See, op. 52 ; 15 songs, op. 56-60 ;
4 Gesiinge aus "WUhelm Meister, op. 62 ; 3
songs, op. 65 ; Der Wachtelschlag, op. 68 ;
Drang in die Feme, op. 71 ; Auf dem
Wasser zu singeu (Barcarolle), oj). 72 ; Die
Rose, op. 73 ; 15 songs, op. 79-81, 83, 85 ;
Eichard LiJwenberz, op. 86 ; 7 songs, op.
87, 88 ; Winterreise (24 songs), op. 89 ; 5
songs, op. 92, 93 ; 4 Eefrainlieder, op. 95 ;
4 songs, op. 96 ; Glaube, Ho£fnung und
Liebe, op. 97 ; 18 songs, op. 98, 101, 10.5,
106, 108, 109 ; Der Kampf, op. 110 ; 6
songs, op. Ill, 115 ; Die Erwartung, op.
116 ; Der Siinger, op. 117 ; 6 songs, op.
118; Auf dem Strom, op. 119; Viola, op.
123 ; 2 scenes from Lacrimasf, op. 124 ; Ein
Friiulein scbaut, op. 126 ; Der Hirt auf
dem Felsen, op. 129 ; Das Echo, op. 130 ;
3 songs, op. 131 ; Offertorium No. 3 (Salvo
Eegina), ojj. 153 ; Liederkranz (5 songs),
op. 165 ; 12 songs, op. 172, 173 ; Schwanen-
(jemng (14 songs) ; Nacbgelassene musika-
liscbe Dichtungen, in 50 Liefeningen (140
songs, among tbem : Die Nacbt, Lf. i. ;
Loda's Gespenst, Lf. iii.; Der Tod Oscars,
Lf. V. ; Elysium, Lf. vi. ; Die Biirgscbaft,
Lf. viii. ; 9 Geistlicbe Lieder, Lf. x. ; Der
Taucber, Lf. xii. ; Waldesnacbt, Lf. xvi. ;
Der Winterabend, Lf. xxvi. ; Einsamkeit
(Mayrbofer), Lf. xxxii.; Epistel von M. von
Collin, Lf. slvi. ; 4 Lieder ; 6 Lieder ; 40
Lieder ; 5 canti.
VI. For Orchestra : 10 symphonies : No.
1, in D ; No. 2, in B-flat ; No. 3, in D ; No.
4, iu C minor ( Tragische) ; No. 5, in B-flat ;
SCHUBEKT
No. 6, in C ; No. 7, in E ; No. 8, in B mi-
nor (unfinished) ; No. 9, in ? (MS. score
lost) ; No. 10, in C. 7 Overtures : No. 1, in
D ; No. 2, in C (Im italieniscben Stj'l), oj).
170 ; No. 3, in B-flat ; No. 4, in D ; No. 5,
in D (Im italieniscben Styl) ; No. 6, in C
(Im italienisclien Styl), op. 170. 5 Minuets
for strings and 2 horns ; 6 Deutsche Tilnze
for do. ; Eondo for violin and orchestra, in
A ; Concerto for do., in D.
Vn. Chamber Music : Octet for strings,
in F, op. 1G6 ; do. for wind ; Quintet for
pianoforte and strings, in A, op. 114 ; do.
for 2 violins, viola and 2 violonceUi, in C,
op. 1G3 ; Quintet-overture for strings ; 20
string quartets: No. 1, in? ; Nos. 2, 6, 11,
12, in B-flat ; Nos. 3, 5, in C ; Nos. 4, 8, 9,
in D ; Nos. 7, 16, op. 125, No. 1, in E-flat ;
Nos. 10, 15, in C minor ; No. 13, in G mi-
nor ; No. 14, in F ; No. 17, in E, op. 25,
No. 2 ; No. 18, in A minor ; No. 19, in D
minor ; No. 20, in G. 2 Pianoforte trios :
No. 1, in B-flat, op. 99 ; No. 2, in E-flat, op.
1G3 ; Sonata for pianoforte, violin, and vio-
loncello ; 2 Trios for strings ; Eondo bril-
liant for violin and pianoforte, in B minor,
oji. 70 ; 3 Sonatinas for do., in D, A minor,
and G minor, op. 137 ; Phantasie for do.,
in C, op. 159 ; Sonata for do., in A, op.
162 ; Polonaises for do. ; Nocturne for vio-
loncello and pianoforte, in E-flat, op. 148 ;
Introduction and variations for flute and
pianoforte, in E minor, op. 160.
Vni For Pianoforte : A, 2 Hands : 21 So-
natas : Nos. 1, 2, in E ; Nos. 3, 5, 13, in F ;
Nos. 4, 12, in C ; No. 6, in E minor ; No.
7, op. 147, in B ; Nos. 8, op. 164, 14, op.
143, 17, op. 42, in A minor ; No. 9, op. 162,
in E-flat ; No. 10, in F minor ; No. 11, in
A-flat ; No. 18, op. 53, in D ; No. 19, op.
120, in A ; No. 20 (fantasia), op. 78, in G ;
No. 21, in C minor (Diabelli) ; No. 22, in
A (ib.) ; No. 23, in B-flat (ib.). Variations
on a French air, in E minor, op. 10 ; do. on
a waltz by DiabeUi, in C minor (Diabelli) ;
do. on Herold's Marie, in C, op. 82 ; do. on
E, in F, and in A minor, on a theme by
Hiittenbrenner (MB.) ; 4 Deutsche, 18 orig-
inale Tilnze, op. 9 ; 12 ^fecossaises, 3 Deutsche,
26 Landler, op. 18 ; 8 Deutsche, 2 Liindler,
1 Ecossaise, op. 33 ; 1 Galopjj, 8 f]cossaises,
op. 49 ; 34 Valses sentimentales, op. 50 ;
Griitzer Galoppe (Haslinger) ; G Polonaises,
op. 61 ; Hommage aux belles Viennoises
(2 ]5cossaises, 15 Walzer), op. 67 ; 10 Valses
nobles, op. 77 ; 12 Griitzer Walzer, op. 91 ;
1 Deutsch, op. 172 ; March in E (Artaria) ;
Adagio and rondo, in E, op. 145 ; Phan-
tasie in C, op. 15 ; 4 Impromptus, op. 90 ;
6Momens musicaux, op. 94 ; 4 Impromptus,
op. 142 ; 2 Scherzos in B-flat (Gotthard) ;
Allegretto in C minor (ib.) ; Allegro in E-
flat minor (Rieter-Biedermaun) ; Allegretto
in E-flat (ib.) ; 5 Klavierstiicke, in E, E, C,
A, and E (Klemm) ; 1 do. (Artaria) ; An-
dante (MS.) ; Adagio in G (do.). Wanderer-
Fantasie, in C, op. 15 ; B. For four Hands :
3 sonatas : No. 15, op. 30, in B-flat ; No.
16, op. 40, in C ; No. 24, in E minor
(MS.). Variations in A-flat, op. 35; 2
Waltzes in E-flat and C, op. 33 ; 4 Polo-
naises, op. 75 ; Trauer-Marsch for the Em-
jjeror Alexander, op. 55 ; Marche heroique,
op. 66 ; 3 do., in B minor, C and D, op. 27 ;
G grandes marches, op. 40 ; 3 marches mili-
taires, op. 51 ; 2 overtures in F, oji. 34 ;
Divertissement a I'hongroise, in G minor,
op. 54 ; Lebenssttirme, allegro caracteris-
tique, in A minor, op. 144 ; Fugue in E
minor, op. 152 ; Grand rondeau in A, op.
107 ; Divertissement in E minor, oj^. 63 ;
Phantasie in F minor, op. 103 ; Notre ami-
tie, rondo in D, op. 138 ; 4 Liindler (Gott-
hard) ; Kiudermarsch in G (ib.) ; 3 Phan-
tasien (MS.). A complete edition of Schu-
bert's works, begun in 1884, is now pub-
lishing by Breitkopf & Hilrtel, in Leipsic.
Up to 1890 there have appeared : Series I.,
8 symphonies in 2 vols.; Series H., 10 Over-
tures, etc.; Series VII., quintets, quartets,
and trios, in 2 vols.; Series "Vlli., 8 rondos,
sonatas, etc., for pianoforte and one instru-
ment ; Series IX., 38 comiiositions for pi-
anoforte, 4-hands, in 3 vols.; Series X., 15
sonatas for pianoforte solo ; Series XI.,
Miscellaneous works for do.; Series XIH., 7
SCHUBERT
Masses, in 2 vols. ; Series XTV'., 21 small
church compositions ; Series XV., Dramatic
works (Des Teufels Lustschloss ; Der yier-
jilhrige Posten ; Fernando ; Die Freunde
concertante, for oboe and bassoon ; 6 duos
fii^..^.^«^'t^^**->-^
von Salamanca; Fierrabras). — Themati-
sches Verzeichniss der im Druck erschie-
nenen Werke von Franz Schubert (Vienna,
Diabelli, 1852) ; Do., herausgegeben vou
G. Nottebohm (ib., Schreiber, 1874) ; Grove,
iii. 319, and iv. 78G ; Heinrich Kreissle von
Hellborn, Franz Schubert, eiue biogra-
phische Skizze (Vienna, Gerold, 1865) ; The
same in English by A. D. Coleridge (Lon-
don, Longman, 1809) ; A. Reissmann, Franz
Schubert, sein Leben und seine AVerke
(Berlin, 1873) ; A. Niggli, in Samml. musik.
Vortrage, No. 15 ; H. Barbedette, F. Schu-
bert, sa vie, ses ceuvrcs, son temps (Paris,
Heugel, 1866) ; Mme A. Audley, Franz
Schubert, sa vie et ses oeuvres (ib., Didier,
1871) ; Wurzbach ; Mendel.
SCHUBERT, JOHANN FRIEDRICH,
born at Rudolstadt, Dec. 17, 1770, died at
Cologne, in October, 1811. Violinist, pupil
of Hesse atFrankenhausen, of Hausmann at
Sondershausen, and of Hauk in Stettin,
where he was music director and composer
to Dubblin's company, in 1798. He held
similar positions at Glogau in 1801, and at
Ballenstiidt three years later. Works : Die
nilchtliche Erscheinung, oijera, Stettin,
1798 ; Concerto for violin ; Symphonic
for violins ; 24 pieces for pianoforte ; Neue
Singschule, etc. (Leipsic, 1804). — Fetis;
Gerber ; Schilling.
SCHUBERT, JOSEPH, born at
arnsdorf, Bohemia, in 1757, died
Dresden, in 1812. Violinist, lirst
y i/v fi instructed by his father, who was
V cantor at Warnsdorf, then pupil, iu
Prague, of Abt Fischer in counter-
point, and in Berlin of Kohn on the
violin. In 1779-88 he was chamber
musician to the Margrave of Schwedt,
then became first violinist in the
royal orchestra at Dresden. "Works
— Operas : Rosalia, Der Gasthof zu
Genua, Die Landplagen, oder daa
blaue Ungeheuer, Schwedt, 1780 ;
Die Entzauberung, ib., 1781 ; 15
masses ; Several symphonies ; Con-
certo for organ ; 15 concertos for violin ; 3
do. for -t-iola ; 3 do. for violoncello ; 9 do.
for flute ; 2 do. for oboe ; 10 do. for bas-
soon ; 3 do. for clarinet ; 3 do. for horn ;
double concerto for flute and violin ; do. for
2 flutes ; G duos for violin ; G do. for flute
and violin ; 3 sonatas for pianoforte with
violin ; G do. for pianoforte ; 6 do. for violin ;
2 do. for flute ; Many suites, for 9 wind in-
struments ; Several Parthieu, for 11 wind
instruments ; Pianoforte music, and songs.
— Dlabacz ; Fetis ; Gerber ; Schilling.
SCHUBERT, LOUIS, born at Dessau,
Jan. 27, 1828, still living, 1890. Violinist,
went to St. Petersburg when seventeen,
thence to Kiinigsberg as Conzertmeister at
the Stadttheater, which post he held six years.
He lived at KOnigsberg, teaching and giving
concerts, until 1862, when he settled at Dres-
den, where he is esteemed as a singing teacher.
Works : Faustina Hasse, oder das Concert
auf dem Konigstein, opera, Altenburg, 1879 ;
Operettas : Aus Sibirien, Kiinigsberg, 1850 ;
Das Rosenmiidchen, ib., 1861 ; Die Wahr-
sagerin, Dresden, 1864 ; Wer ist der Erbe ?
ib., 1865 ; Vor der Hochzeit, Cassel, 1880.
Gesangschule in Liedern, op. 18 ; Lieder-
Cyclus, op. 23, 24. — Mendel ; Riemann.
SCHUBERTH
SCHIIBERTH, KARL, born at Magde-
burg, Feb. 25, 1811, died at Zurich, July
22, 1863. Virtuoso on the violoncello, son
and jjujiil of Gottlob Schuberth (virtuoso on
the oboe and clarinet, and pianist, 1778-
1846), and on the violoncello pupil of Hesse
at Magdeburg and Dotzauer in Dresden.
Made his first concert tour in 1828 ; was
first violoncello at the Stadt-Theater, Mag-
deburg, then travelled in Germany, Belgium,
and Holland, besides going to London and
Paris, in 1833-35. In the latter year he
was ajjpointed solo violoncellist to the Czar ;
remained in St. Petersburg twenty years
as musical director at the university, con-
ductor of the court orchestra, and inspector
of the imperial dramatic college. "Works :
Two concertos for violoncello and orchestra ;
Fantasias, variations, etc., for do. ; Octet, 3
quintets, and 4 quartets for strings ; Sonata
for violoncello. — Grove, iii. 383 ; Eiemann,
830 ; Mendel, is. 167 ; Fc'tis, vii. 517 ; Schil-
ling, Supplement, 392 ; Viotta, iii. 352.
SCHUBERTH, LUD^VIG, born at ]\Iag-
deburg, April 18, 1806, died in St. Peter.s-
burg in June, 1850. Violoncellist, sou and
pupil of Gottlob Schuberth, studied under
Carl Maria von Weber ; was director of the
Stadt-Theater in his native town, when only
sixteen years old, subsequently Hof-Kapell-
meister at Oldenburg, Kapellmeister at
Riga, Konigsberg (1835), and of the Ger-
man Opera in St. Petersburg in 1845.
Works : Operas, and symj>honies, in manu-
script ; 2 quartets for pianoforte and strings ;
2 do. for strings ; Sonatas for jnanoforte.
— Fotis ; Schilling, Supplement, 392.
SCHUCH, ERNST, born at Gratz, Styria,
Nov. 23, 1848, still living, 1890. Violinist,
pupil of Eduard Stolz, and in Vienna of
Dessoff ; became music director at Lobe's
theatre, Breslau, in 1867, then at Wiirzburg,
Gratz, and Basel, conducted Pollini's Ital-
ian opera in 1872, and in the same year was
made music director, and in 1873 Hof-Ka-
peUmeister at Dresden. He has composed
two overtures, and some songs. — Mendel ;
Riemann.
SCHUHBAUER, LUCAS, born at Licht-
feld, Bavaria, Dec. 25, 1753, died in Mu-
nich after 1812. Amateur composer, stud-
ied music at the convent of Zweifalten and
the seminary in Augsburg. After taking
the course of medicine at the university of
Ingolstadt, he settled in Munich as a physi-
cian, and in 1791 was made by the Elector
councillor and court physician. Works:
Die Dorfdeputirten, opera ; Die treuen
Kuhler, do. ; The 107th psalm, with orches-
tra ; Concertos and sonatas for pianoforte ;
Church music. — Fetis.
SCHULDIGKEIT DES ERSTEN GE-
BOTES, DIE (The Obligation of the First
and Greatest Commandment), oratorio in
three parts, text bj' J. A. W. (supposed to
have been Johauu Adam Wieland), first part
set to music by Mozart ; second part by
Johann IMichael Haydn, Hof-Conzertmeis-
ter ; and third part by Anton Cajetan Adl-
gasser, court composer and organist. The
work was first performed in the University
of Salzburg, March 12, 1767, and repeated,
Ajn-il 2, 1767. It is said that it was written
at the instance of the Archbishop of Salz-
burg, who was incredulous regarding the
wonderful boy, Mozart, aged ten, and or-
dered him to be shut u]) alone for a week,
during which time he was to compose an
oratorio for which the archbishop would
furnish the text. The theme was " that
there is no more dangerous state for the
soul than lukewarmness in the work of sal-
vation." The oratorio describes how the
lukewarm Christian is stirred by the Chris-
tian Sj^irit, aided by Divine Mercy and Jus-
tice, until his will surrenders to right judg-
ment. Scene : A beautiful country with a
garden and little wood. Characters repre-
sented :
A lukewarm, but afterwards zealous Chris-
tian (T.). Herr Josef Meisner.
The Christian Spirit (T.).
Herr Anton Franz Spitzeder.
The Spirit of the Worid (T.).
Fraulein Marie Anna Tesemayrin.
SCHULnOFF
Divine Mercy (S.).
Friluleiu Marie Magdalena Lippen.
Divine Justice (S.).
Fraulein Marie Anna Braunhoferin.
The second aria for the tenor was again
used by Mozart in bis first opera, La fiuta
semplicc, tlie only instance where he has
borrowed from himself. A short cantata,
entitled "Grabmusik," for two voices, a
duet between the Soul and an Angel (Ko-
chel. No. 42), was also composed for the
Leut of 17G7. The title of the original
score is in Leopold Mozart's autograph. It
was bought by the Prince Consort from
Andre's Collection and given to the Koyal
Library of Windsor Castle. It was first
published by Johann Josef Mayrs (Salz-
burg, 17C7). Breitliopf & Hilrtel, Mozart
Werke, Serie v., No. 1. — KOchel, Verzeich-
niss. No. 35 ; Jahn, Mozart, i. 71 ; do.
(Townsend), L 51 ; Andre, Verzeichniss,
No. 1 ; Gehriug, Mozart, 2G ; Allgem. mus.
Zeitg. {18G5), 125.
SCHULHOFF, JULIUS, born in Prague,
Aug. 2, 1825. Vir-
tuoso on the piano-
forte, pupil of Kisch
and Tedesco, and in
counterpoint of To-
maschek ; went to
Paris in 1842, apjjear-
ing in concerts at
Weimar, Dresden, and
Leipsic on his way ;
after playing before
and being commended by Chopin, he ven-
tured to go before the public in Paris and
was well received. This success was fol-
J^ J^
lowed by an extended tour through France,
Austria, England, Spain, and Russia, in
1849-53 ; he returned to Paris the follow-
ing year. Later he spent most of his time
in Dresden and Paris, composing and teach-
ing. Works : Twelve etudes ; Impromptus ;
Caprices ; Mazurkas ; Waltzes ; Sonata.
— Dalibof, Casopis pro hudbu, etc. (Prague,
1862), v. 242 ; lUustr. Zeitg. (1850), No. 384 ;
Wurzbach ; Kiemann ; Mendel ; Fetis.
SCHULTESIUS, JOHANN PAUL, born
at Fechheim, Saxe-Coburg, Sept. 14, 1748,
died at Leghorn, in 1816. Amateur pian-
ist and organist, first instructed in music at
the college of Coburg, where he studied
theology, then pupil on the organ of Kehl,
at Erlangen, during his course at the uni-
versity. In 1773 he accepted the minister's
puljjit of the Protestant Dutch and Ger-
man colony at Leghorn. Member of the
Italian academy of sciences and arts, 1807.
Works : Two quartets for pianoforte and
strings ; 8 variations on an Andantino, for
do. ; 12 do. on the air of Malbrook, for do. ;
7 sonatas for pianoforte with violin ; Varia-
tions on a theme of Pleyel, for do. ; Alle-
gretto, with 12 variations for pianoforte,
violin, and violoncello ; etc. He published
IMemoria sopra la musica di chiesa (Leg-
hoTO, 1810).— Fetis.
SCHULTZE, ADOLF, born at Schwerin,
Nov. 3, 1853, still living, 1890. Pianist,
pupil at KuUak's academy in Berlin, 1872-
75, remained there as instructor of piano-
forte until 1886, when he succeeded Karl
Schroder as Hof-Kapellmeister, and direc-
tor of the Conservatorium at Sonders-
hausen. Of his compositions for orchestra
and for pianoforte, including a concerto,
only a few have been published. — Riemaun.
SCHULZ, ADOLF, born in Berlin, July
7, 1817, died there, March 16, 1884. Vio-
linist, pupil of BOhmer and Neithardt, en-
tered the orchestra of the royal opera in
Berlin, in 1846. Works : Music to the
Hippolytus of Euripides, Berlin, 1851 ;
Symphony for orchestra ; Sonata for jsiano-
forte.
SCHULZ, AUGUST, born at Brunswick,
June 15, 1837, still living, 1890. Violinist,
pupil of Zinkeiseu, Leibrock, and Meves,
and at Hanover of Joachim, was for a short
S4S
SCHITLZ
time CoDzertmeister at Detmold, then was
called to Brunswick in the same capacitj-,
and as symphony director of the ducal or-
chestra. His quartets for male voices are
very popular. — Mendel ; Riemann.
SCHULZ, JOHANN ABRAHAM
PETER, born at
Liiueburg, March
30, 1747, died at
Schwedt, June 10,
1800. Dramatic
composer, puj)il of
Schmiigel and Kiin
berger. In 18G8-73
he travelled in
France, Italy, and
Germany as instruc-
tor of the Polish princess Sapieha, and on
his return to Berhn became very popular
as a teacher. He was director at the French
theatre in 1776-87, later at the private
theatre of the Crown Princess, and in
1780-87 Kapellmeister to Prince Heinrich
at Rheinsberg. Having been Hof-Capel-
mester at Coisenhagen in 1787-94, he re-
turned to Germany in very poor health the
following year. His songs were popular in
Germany for years, and are still sung to
some extent. Works — Operas : La foe
Urgele, Rheinsberg, 1782 ; Clarisse, oder
das unbekaunte Dienstmiidchen, ib., 1783 ;
Minona, oder die drei Augelsachseu, Ham-
burg, 1786 ; Le barbier de Seville, Rheins-
berg, 1786 ; Aline, Konigin von Golkonda,
Copenhagen, 1789 ; Hostgildet, ib., 1790 ;
ludtoget, ib. ; Peders Bryllup, ib. ; Offer
af Nympherue, prologue, ib., 1781 ; Mu-
sic to Racine's Athalie, and to Goethe's
GiJtz von Berlichingen. Johannes und
Maria, oratorio ; Christi Tod, do. ; Passion
Cantata ; Te Deum ; Hymne an Gott ; Lob-
gesang zur Feier des Geburtstags des
KOnigs ; Gesiinge am Klavier (Berlin, 1779) ;
Lieder im Volkston (ib., 1782) ; Uzens
lyrische Gedichte religiosen luhalts (Ham-
burg, 1784) ; Religiose Oden und Lieder
aus den besten deutschen Dichtern (ib.,
1786) ; 6 Stiicke, a sonata, Musikalische
Belustigung, Musikalische badinage, Mu-
sikaUscher Lustball, for pianoforte ; Chan-
sons italiennes (Berlin, 1782) ; Danish
songs. He wrote articles for Sulzer's Theo-
rie der schonen Ktinste and for Kirnberger's
Wahre Grandsiitze zum Gebrauch der Har-
monic ; Entwurf einer neuen und leichtver-
stiindlichen Musiktabulatur, etc. (Berlin,
J. a. /^ ^.
1786) ; Gedanken fiber den Eiufluss der
Musik auf die Bildung eines Volks (Copen-
hagen, 1790). — Mendel ; Fetis ; Riemann ;
Schilling ; Gerber ; Lindner, Gesch. des
deutschen Liedes, 125.
SCHULZ, JOHANN PHILIPP CHRIS-
TIAN, born at Langensalza, Thuringia,
Sept. 1, 1773, died in Leipsic, Jan. 30,
1827. Instrumental composer, pupil of
Engler and of Schicht in Leipsic, whither
he had gone at the age of ten to study at the
Thomasschule and the university. From
1800 he conducted the opera performances
of Seconda's troupe, and in 1810 became
director of the Gewandhaus concerts.
Works : Overtures to Faust, and to the Jung-
frau von Orleans ; Other overtures, ballets,
marches, choruses, for Seconda's theatre ;
Domine Salvum fac regem, for 4 voices
and wind instruments : Songs, and part-
songs. — Fctis ; Riemann ; Schilling.
SCHULZ, OTTO CARL FRIEDRICH
WILHELIM, born at Gortz, Brandenburg,
March 25, 1805, still living, 1890. Organ-
ist, 23upil of Klein and of Zelter in Berlin ;
royal music director at Prenzlau. He has
composed operas, church music, songs, and
pianoforte pieces, and published several
theoretical works.
SCHULZ-BEUTHEN, HEINRICH, born
at Beuthen, Ujjper Silesia, June 19, 1838,
still living, 1890. Instrumental and vocal
composer, pupil at the Conservatorium at
Leipsic, and of Riedel ; lived for many years
at Ziirich, and is now instructor of piano-
forte at the Conservatorium in Dresden.
343
SCHULZ
Works : Fridolin, operetta, Breslau, 1862 ;
AscheubrOdel (Der Zauberschlaf), Ziiiich,
1879 ; Krimbilde, for chorus, soli, and or-
chestra ; Harald, do. (male chorus) ; Befrei-
ungsgesang der Verbannteu Israels, do. ;
Church music, for chorus and orchestra ;
Eonder-Sinfonie ; Choruses for male voices ;
Songs, and pianoforte pieces. — Mendel ;
Riemann.
SCHULZ-SCHWERIN, CARL, born at
Schwerin, Jan. 3, 1845, still living, 1890.
Pianist, pupil of von Billow, Gej'er, "Will-
mers, Stern, and "Weitzmann at Stern's
Couservatorium, Berlin, in 18G2-65 ; went
to Southern Russia in 1871, and on his re-
turn in 1873 became instructor at the Cou-
servatorium in Stettin. Several years later
he was conductor of the music society at
Stargard, and in 1885 settled in Berlin.
He is court pianist to the Grandduke of
Mecklenburg. Works : Overtui-es to Tasso,
and to Die Braut von Messina ; Ouverture
triomphale ; Symphony ; Sanctus, Osanna,
Benedictus, Ave Maria, for chorus, soli, and
orchestra ; Pianoforte music, etc. — Mendel ;
Riemann.
SCHroiANN, CLARA (JOSEPHINE),
born (Wieck) in Leip-
sic, Sept. 13, 1819,
still living, 1890. Pi-
anist, daughter and
pupil of Friedrich
Wieck, afterwards
pupil of Mieksch in
singing, of Priuz on
the violin, and of
Weinlig, Kupsch, and
She began studying
the pianoforte in her fifth year. Her father's
method aimed at gradual and thorough de-
velopment, instead of making an infant phe-
nomenon of her. At the age of nine years
she made her first public appearance in a
concert, given by Frl. Perthaler, Oct. 20,
1828. Her father's house was a place of
meeting for musicians, so that she lived in a
congenial atmosphere, and was particularly
influenced by Paganini's visit to Leipsic in
Dorn in composition
1829. She played for the first time in a
Gewandhaus concert in 1830 ; later her
father took her upon a small concert tour
to Weimar, Cassel, and Frankfort. From
1832 she played in many concerts in Leip-
sic and other cities, passing the winter of
1836 in Vienna, where the exercise of her
talents earned her the title of chamber
virtuoso. In 1839 she visited Paris, where
her success was complete. She was married
to Robert Schumann, Sept. 12, 1810. With
her husband she made a tour to Hamburg
in 1842, went alone to Copenhagen, and the
same year they were together in Vienna.
They lived in Dresden in 1844-50, mean-
while visiting St. Petersburg and Vienna.
She was entu-ely devoted to her husband
dui-ing the trials and sufferings of his last
years ; shortly before his death in 1856 she
visited England professionally, and after
she had become a widow she lived for sev-
eral years in Berlin with her mother, who
was married to the musician Adolf Bargiel.
She moved to Wiesbaden in 1863, and to
sup2)ort her family had to take up the life
of a virtuoso again, her tours taking her to
England repeatedly. In 1878 she settled in
Frankfort as professor at Hoch's Conserva-
toiium. As a pianist her rank is of the
highest. She combines feminine grace with
masculine energy, clearly understands and
faithfully interprets the meaning of the
composer, and while she is equally at home
in the works of Bach, Mozart, Beethoven,
Mendelssohn, and Chopin, her rendering of
Schumann is most celebrated. Her com-
positions are earnest and thoughtful, and
the later ones give evidence of Schumann's
influence. W^orks : Concerto for pianoforte ;
Trio for do. and strings ; 3 romances for vio-
lin ; 4 polonaises ; Caprices in waltz form ;
Variations ; Soirees musicales ; 10 charac-
teristic pieces ; Souvenir de Vienne ; Im-
promptu ; Romantic waltzes ; 2 scherzos ; 3
344
SCHUMANN
romances ; 3 preludes and fugues ; 4 fugi-
tive pieces, etc.; Cadenzas to Beethoven's
concertos in C minor and G ; Songs. — F6-
tis ; Riemann ; Wasielewski, Life of Robert
Schumann, 260 ; Schumann, Music and Mu-
sicians, 2G1 ; Liszt, Gesammelte Schriften,
187 ; Mus. Wocheublatt, ix. 530 ; ii. IGG,
181 ; Hansliek, Concertwesen in "Wien, i.
332 ; ii. 103, 164, 390.
SCHUMANN, GUSTAV, born at Holden-
stedt, Prussian Saxonj', March 15, 1815,
died in Berlin, Aug. 16, 1889. Pianist in
Berlin, where he was popular as a teacher
of his instrument, for which he composed
about fifty estimable works.
SCHUlVLys^N, ROBERT (ALEXANTDER),
born at Zwickau, in
Saxony, June 8, 1810,
died at Endenich,
near Bonn, July 29,
1856. Hisfatherwas
Friedrich August
Gottlob Schumann, a
bookseller; his
mother, Johanna
Christiana Schnabel,
daughter of a Raths-
Robert was the young-
est son, and gave evidence of musical talent
even in early childhood ; but his bent for
music was encouraged by his father only,
his mother being strongly opposed to it.
He took pianoforte lessons first from J. G.
Kuntzsch, organist at the Marienkirche,
who soon prophesied great things of him.
Indeed the boy began to try his hand at
composition before he was seven. About
1817-18 his father tried to have him study
under C. M. von Weber, who seemed in-
clined to take him in charge ; but noth-
ing ever came of it. In 1820 he en-
tered the Zwickau Gymnasium, remaining
there until Easter, 1828. During the later
part of his school days a strong taste for
poetry developed itself, his favourite authors
being Schulze, Franz von Sonnenberg, and
especially Byron and Richter ; Goethe
seems to have interested him little at this
chirurgus in Zeitz.
period. He even wrote verses himself, and
set them to music. The death of his father,
in 1826, bereft him of his only encourage-
ment to continue the study of music, and
on March 29, 1828, he entered the Leipsic
University as Studiosus Juris. Here he
passed a year, studying law without much
regularity, and then spent another year at
the University of Heidelberg. During his
stay in Leipsic he made the acquaintance
of Friedrich Wieck, of whom he took some
Ijianoforte lessons, and of Dr. Carus, a warm
music-lover, at whose house he met Marsch-
ner and other noted musicians. But it was
not until 1830 that he persuaded his mother
to let him devote himself professionally to
music ; in the autumn he returned to Leipsic
Schumann's Birthplace.
and began a course of i^ianoforte study
under Wieck, besides studying composition
under Heiurich Dorn ; but assiduously as
he worked at the keyboard, he could not
be brought to study composition with the
same regularity. He was now twenty, too
far matured in mind to submit willingly to
the drudgery of elementarj' work in coun-
terpoint, and perhaps too inexj^erienced to
appreciate how indispensable this drudgery
would be to him. The result was that, with
all Dorn's teaching, he was virtually almost
self-educated in music ; indeed it was sev-
eral years later, after his marriage and after
he had made a certain mark as a composei-,
that a friend, calling one evening, found
him and his wife "studying Chei'ubiui's
Counterpoint for the first time." His regu-
S45
SCHUMANN
lar application to the pianoforte, however,
bore good fruit rapidlj', until he perma-
nently lamed the fourth linger of his right
hand by a fooHsh experiment in practis-
ing, and the career of pianoforte virtuoso
was closed to him forever. lu 1834
he, together with Julius Knorr, Louis
Schunke, and Wieck, founded the Neue
Zeitschrift f iir Musik, which he edited alone
from 1835 to 1844. In 1838 he moved the
headquarters of the paper to Vienna, in
hope of better pecuniary support ; but the
rr,^ >
W<A:
Schumann's Grave.
move was a failure, and in 1839 he returned
to Leipsic. In 1840 the University of Jena
gave him the degree of Ph.D., and in the
same year he married Clara Josephine,
TVieck's eldest daughter, although the
father was strongly ojiposed to the match.
Hitherto he had written only for the piano-
forte, but now he began to pour forth book
after book of songs. When the Leipsic
Conservatorium was founded by Mendels-
sohn, in 1843, Schumann joined the staff of
instructors as teacher of score reading ;
but he soon found the work irksome, and,
after accompanying his wife on a concert
tour to Eussia, he moved, in 1844, to Dres-
den, where he was made conductor of the
Liedertafel in 1847, and founded the Ghor-
gesangverein in 1848. In 1850 he went to
Dusseldorf to succeed Ferdinand Hiller as
city music director. But a disease of the
brain, which had declared itself as far back
as 1833, and had become even threatening
in 1845, made it almost impossible for him
to conduct efficiently ; and, after his col-
leag-ue, Tausch, had done more and more of
his work for him, he was forced in 1853 to
resign his post. He became actually insane
on Feb. G, 1854, when he threw himself into
the Rhine, but was fortunately saved from
drowning and sent to Dr. Kicharz's asylum,
at Endenich. Here he passed the last two
years of his life, his insanity continuing, with
but few lucid intervals, to the end. He was
buried in the churchyard opposite the Ster-
uenthor, in Bonn ; in 1880 a monument, by
A. Donndorf, was erected over his grave,
and in 1889 a statue was erected at Zwickau.
Schumann's influence ujion the world of
music can scarcely be overrated ; he exer-
cised it both as composer and critic. In
this latter capacity he was probably unique ;
hardly another man can be found in the
history of musical criticism who combined
the qualities he did. Of an ardent, roman-
tic temperament, he was ever anxious to
welcome and appreciate new phases of
genius and new developments in mu.sic ; all
pedantry was especially abhorrent to him.
And to this liberal, progressive spirit he
added the soundest musical culture, based
upon a profound study of Bach, and the
fullest appreciation of the value of what is
eternal in the older, more classic forms of
composition, and the works of the classic
masters. Few critics have been able to
look at their subject from so many points of
view as he ; his criticisms in the Neue Zeit-
schrift appeared over various fanciful sig-
natures, Florestan, Eusebius, Meister Raro,
each one of them indicating a special point
of view from which he regarded the work
criticised. As a composer he exercised the
34S
SCHUMANN
S47
SCHUMANN"
strongest influence over subsequent compo-
sition of any man of Lis time ; one may
almost say that the ■whole of present Ger-
man music derives mainly from him. The
Mendelssohn influence was ejjhemeral in
comparison.
"Works. I., For solo, chorus, and orches-
tra : Das Paradies uud die Peri, cantata in
3 parts, op. 50 ; Advenllied, by RUckert, op.
71 ; Abschiedslied, op. 84: ; Requiem for
llignon, op. 98 b ; Nachtlied, by Hebbel,
op, 108 ; Der Hose Pilgerfahrt, cantata, op.
112 ; Der KOnigssohn, ballad by Uhland,
op. IIG ; Des Siingers Fluch, ballad after
Uhland, op. 139 ; Vom Pagen und der Ko-
nigstochter, 4 ballads by Geibel, op. 140 ;
Das GlUck von Edenhall, ballad by Uhland,
op. 143 ; Neujahr.slied, by EUckert, op.
144 ; Mass, op. 147 ; Requiem, oj). 148 ;
Sceuen aus Goethe's Faust (no opus-num-
ber).
n., For unaccompanied chorus : G Four-
jsart songs for male voices, op. 33 ; 5 songs
by Biu'ns for mixed chorus, op. 55 ; 4 songs
for do., op. 59 ; 3 songs for male chorus,
op. 62 ; 7 Ritoruelle by Riickert for male
voices, in canon, op. G5 ; 5 Ilomauzen und
Balladen for chorus, oj). G7 ; G Romances
for female voices (pianoforte ad lib.), op.
69 ; 5 Romanzen und Balladen, for chorus,
op. 75 ; 6 Romances for female voices (pi-
anoforte ad lib.), op. 91 ; Motet, Yerzweifle
nicht, by Riickert, for male double chorus
(organ ad lib.), op. 93 ; 5 Jagdlieder, for
male chorus (4 horns ad lib.), op. 137; 4
songs for double chorus, op. 141 ; 5 Ro-
manzen uud Balladen, for chorus, op. 145 ;
5 do., op. 146.
in.. Dramatic Works and Melodramas :
Genoveva, opera, 4 acts, op. 81, Leipsic,
June 25, 1850 ; Music to Byron's Manfred,
op. 115 ; SchOn Hedwig, ballad by Hebbel,
for declamation with pianoforte, op. 106 ;
Ballade vom Haideknaben, do., for do., op.
122, No. 1 ; Die Fliichtlinge, ballad by
Shelley, for do., op. 122, No. 2.
rV^., For solo voices with pianoforte : 3
poems by Geibel (No. 1 for 2 sopranos, No.
2 for 3 do.. No. 3 for small chorus, with tri-
angle and tambourine ad lib.), oj). 29 ; 4
duets for soisrauo and tenor, op. 34 ; 3
two-part songs, op. 43 ; Spanisches Lieder-
spiel, for single and several voices (S., A., T.,
B.), op. 74 ; 4 duets for soprano and tenor,
op. 78 ; Minnespiel, from Riickert 's Liebes-
friihling, for single and several voices, op.
101 ; Mildcheulieder, by Elisabeth Kul-
mann, for 2 sopranos, op. 103 ; 3 songs for
3 female voices, op. 114 ; Spauische Liebes-
lieder, 10 songs for single and several
voices, with 4-hand accompaniment, op.
138 ; 221 songs and ballads for a single
voice, ojj. 24 [Liederkreis), 25 {Myrlhen), 27,
30, 31, 35, 36, 37 {LiebetfrilhUng), 39 {Lie-
derkreis), 40, 42 [Frauenliebe und Leben), 45,
48 (Dichlerliebe), 53, 57 (Belsazar, ballad by
Heine), G4, 77, 79 (Album fiir die Jugeud),
83, 87 (Der Handschuh, baUad by SchiUer),
89, 90, 95, 96, 98a (Songs from "Wilhelm
Meister), 104, 107, 117 {Hmarenlieder), 119
{Waldlieder), 125, 135, 142, Der deutsche
Rhein (no opus-number).
v.. For orchestra : 4 symphonies : No. 1,
in B-flat, op. 38 ; No. 2, in C, op. 61 ; No.
3, in E-flat (Rheinische Sinfonie, or Cologne
sj'mphouy), op. 97 ; No. 4, in D minor, op.
120 ; Ouverlure, Scherzo und Finale, op.
52 ; Overture to Schiller's Braut von Mes-
sina, op. 100 ; Fest-Ouvertiire with chorus
on the Rliciuweiulied, op. 123 ; Overture to
Shakespeare's Julius Csesar, op. 128 ; do. to
Goethe's Hermann und Dorothea, op. 136.
\T., For solo instruments with orchestra :
Concerto for pianoforte, in A minor, op.
54 ; Concerlstilck for 4 horns, op. 86 ; In-
troduction and Allegro appassionato, for
pianoforte, op. 92 ; Concertstuck for do., in
G, oj). 92 ; Concerto for violoncello, op. 129 ;
Phantasie for violin, op. 131 ; Concert- Alle-
gro, with Introduction, for pianoforte, iu D
minor, op. 134.
Vn., Chamber Music : Quintet for pi-
anoforte and strings, in E-flat, op. 44 ;
Quartet fordo., in E-flat, op. 47 ; 3 quartets
for strings, in A minor, F, and A, op. 41 ;
Trio for pianoforte and strings, No. 1, iu D
348
SCHUMANN
miuor, op. 63 ; do., No. 2, iu F, op. 80 ; do.
No. 3, iu G minor, 02). 110 ; 4 Phautasie-
stiicke for pianoforte, violiu and violoncello,
op. 88 ; Adagio and allegro for pianoforte
and born, op. 70 ; 3 Fantasiestiicke for pi-
anoforte and clarinet, op. 73 ; 3 Romances
for pianoforte and oboe, op. di ; 5 Stucke
im Volkston, for pianoforte and violoncello,
op. 102 ; Sonata for pianoforte and violin,
No. 1, in A minor, op. 105 ; do. No. 2, in
D minor, op. 121 ; 4 Mdrchenhilder for pi-
anoforte and viola, op. 113 ; 4 ildrchener-
zdhlungen for pianoforte and claa-inet, op.
132.
VIII., For Pianoforte : Variations on tbe
name Abegg, op. 1 ; Papillons, op. 2 ; Stud-
ies after Paganini's caprices, op. 3 ; Inter-
mezzi, op. 4 ; Impromptus on a tbeme by
Clara Wieck, op. 5 ; David sbfnidlertilnze, oj).
6 ; Toccata, op. 7 ; Allegro, op. 8 ; Carna-
val, op. 9 ; 6 studies on Paganini's caprices,
op. 10 ; Sonata No. 1, in F-sbarp minor,
op. 11 ; Fantasiestiicke (2 books), op. 12 ;
^/lurfes sympboniques, op. 13 ; Sonata No. 2,
in F minor, op. 14 ; 13 Kinderscenen, op. 15 ;
Krelderiana, op. 16 ; Fautasie in C, op. 17 ;
Araheske, op. 18 ; Blumenstiick, op. 19 ; IIu-
moreske, op. 20 ; Novellelten (four books),
op. 21 ; Sonata No. 3, in G minor (Concert
sans orcbestre), op. 22 ; Nachtsliicke, op.
23 ; Faschingsschivank aus Wien, op. 2G ; 3
Eomanzen, op. 28 ; Scberzo, gigue, Eo-
manze and Fugbette, op. 32 ; Album fiir
die Jugeud, op. 68 ; 4 fugues, op. 72 ; 4
marcbes, op. 76 ; Wcddscenen, oj). 82 ; Bunte
Bliltter, op. 99 ; 3 Fantasiestiicke, op. Ill ;
3 sonatas for tbe young, op. 118 ; Album-
bldtler, op. 124 ; 7 Pieces in fugbetta form,
op. 126 ; Gesdnge der Friibe, op. 133 ;
Scberzo originally in tbe sonata op. 14,
Postbumous work No. 12 ; Presto passio-
nato, original finale of tbe sonata op. 22,
P.W. No. 13 ; Accompaniments to J. S.
Bacb's suites and sonatas for violin solo. —
For 4 bands : Bilder aus Osten, op. 66 ; 12
vierbilndige Clavierstiicke fur. kleine uud
grosse Kinder, op. 85 ; Ballscenen, op. 109 ;
EinderbaU, op. 130. — For pedal pianoforte
(or organ) : 6 Studies in canon form, op
56 ; Skizzeu fiir den Pedallliigel, op. 58 ;
6 Fugues on tbe name B.\ch, op. 60. — For
2 pianofortes, 4 bauds : Andante and varia-
tions in B-flat, op. 46.
IX., Literary Works : Gesammelte Scbrif-
teu tiber Musik und Musiker (Leipsic,
1875), translated by Fanny Raymond Eitter
(London, 1877). — Aug. Eeissmann, Robert
Scbumann's Leben und Werke (Berbn, Gut-
tentag, 1865), translated by A. L. Alger
(London, 1886) ; Josef W. von Wasielewski,
Robert Scbumann, eine Biograpbie (Dres-
den, Kunze, 1858, and Bonn, Strauss, 1880),
translated by A.
L. Alger (Bos-
ton, 1871) ; Am-
bros, Robert '^f, '^A'^Ot^cL.^
Scbumanns / "-t-v*,
Tage uud Werke, in Cultorbistorisebe Bilder
aus dem Musikleben der Gegenwart (Leip-
sic, Mattbes, 1860), 51 ; Leonce Mesnard,
Un successeur de Beetboven, etc. (Paris,
Saudoz et Fiscbbacber, 1876) ; Grove ;
Jilendel.
SCHUNKE, KARL, born at Magdeburg
in 1801, died in Paris, Dec. 16, 1839. Pi-
anist, sou and pupil of tbe born virtuoso
Micbael Scbunke, and studied fuiiber
under Ries, witb wbom be went to Eng-
land. In 1828 be settled iu Paris, played
in concerts and taugbt, was ajjpointed pian-
ist to tbe queen in 1835, and decorated witb
tbe Legion of Honour. Despairing of re-
covering from an attack of j^aralysis, be
killed bimself by jumping from a window.
Works : About 60 variations, fantasias,
dances, and otber compositions, mostly
very ligbt iu style. — Futis ; Ricmanu ;
Schilling.
SCHUNKE, LOUIS, born iu Cassel, Dec.
21, 1810, died iu Leipsic, Dec. 7, 1834.
Pianist, son and pupil of tbe born virtuoso
Gottfried Scbunke ; could play wben only
ten years old tbe concertos of Mozart and
Hummel. In 1821 bis fatber took bim on
a concert tour to Darmstadt, Cassel, Han-
over, and Leipsic, and iu 1824 be visited
349
SCHUPPANZIGII
Munich and Vienna. Then he finished his
musical studies in Paris under Kalkbrenner
and Reicha, and after visiting Stuttgart,
Vienna, Prague, and Dresden, took up his
residence, in 1833, at Leijasic, where, until
his premature death, he was very intimate
with Schumann, and was one of the found-
ers of the Neue Zeitschrift fiir Music. He
was an excellent plaj'er, and his compo-
sitions were very promising. Works :
Grand sonata ; Caprices ; Divertissement ;
Variations on Schubert's Valse funebre ;
Eondo ; etc. — Fotis ; Mendel ; Riemann ;
Schilling ; Schumann, Music and Musicians,
131.
SCHUPPANZIGH, IGN.YZ, born in Vi-
enna in 177G, died there, May 2, 1830.
Violinist, established and conducted for
several years the morning concerts in the
Augarten ; then was a member of Prince
Rasumoffsky's private quartet, where all of
Beethoven's new compositions were first
tried, under the master's own supervision.
After 1816, when this famous quartet was
disbanded, he travelled in Germany, Po-
land, and Russia, giving quartet-soir<''es
with great success, and after his return to
Vienna in 1823, continued them there until
his death. In 182-4 he joined the court or-
chestra, and in 1825 was made director of
the Opera. Works : Solo brillant, for vio-
lin with quartet ; Variations on a Russian
theme, for do. ; 9 variations for 2 violins.
— Wurzbach ; Schilling ; Hanslick, Gesch.
des Concertwesens, 70, 229.
SCHURER, JOHANN GEORG (reaUy
ADAM), born at Raudnitz, Bohemia, about
1732, died in Dresden, Feb. 16, 1786.
Church and dramatic composer, entered
the service of the Elector-King at Dresden,
in 1748. Works — Operas : Galatea, pas-
torale, Dresden, 1746 ; Astrea, ib., 1746 ;
Ercole, ib., 1747 ; Calandro, ib., 1748 ;
Doris, German Singspiel, 1747 ; 3 oratorios ;
5 cantatas ; 40 masses ; 3 Requiems ; 140
jjsalms ; 15 litanies ; 3 Te Deum ; 6 Mis-
erere ; 75 hymns, etc. — Mendel ; Riemann ;
Wurzbach.
SCHUSTER, JOSEPH, born in Dresden,
Aug. 11, 1748, died there, July 24, 1812.
Dramatic composer,
pupil of Schiirer,
went to Italy in
17 6 5, returned to
Dresden in 17 69,
and was made cham-
ber and court com-
poser in 1772. Two
years later he again
visited Italy, to study
under Padre Martini
at Bologna, was made honorary maestro di
cappeUa by the King of Naples, and re-
turned in 1776 ; after a third journey to
Italy in 1778-81, he lived permanently at
Dresden, and in 1787 was appointed Court
Kapellmeister, conducting alternately with
Naumann, Schiirer, and Seydelmann, in
the chapel and at the opera. Works — Op-
eras : La fedelta in amore, Dresden, about
1770 ; L' idolo cinese, ib., 1774 ; Didone
abbandonata, Naples, 1776 ; Demofoonte,
Forli, 1776 ; L' amore artigiano, Venice,
1776 ; La schiava liberata, Dresden, 1777 ;
Der alchimist, operetta, ib., 1777 ; La Di-
done (new music), Venice, 1779 ; Ruggiero
e Bradamante, Padua, 1779 ; Creso in Me-
dia, Najiles, 1779 ; Le bon ton, opera buffa,
Venice ; Amore e Psiclie, Naples, 1780 ;
L' isola disabitata, ib., 1781 ; II marito indo-
lente, Dresden, 1782 ; E pazzo per forza,
ib., 1784 ; Lo spirito di contradizione, ib.,
1785 ; Gli avari in trappola, ib., 1787 ; Rii-
bezahl, ossia il vero amore, ib., 1789 ; II
servo padrone, ib., 1793 ; Osmanno, dey
d' Algeri, ib., 1800 ; Der gleichgiiUige Elie-
mann ; Doktor Murner ; Sieg der Liebe
iiber die Zauberei ; Das Laternenfest. Ora-
torios: The Passion, Dresden, 1778 ; Esther,
Venice, 1781 ; Mose riconosciuto, Dresden,
1786 ; Betulia liberata, ib., 1787 ; Gioas, rb
di Giuda, ib., 1803 ; Mass ; Confitebimur,
Psalm Ixxiv. ; Te Deum ; Symphonies ; 6
SCIIUTT
quartets for strings ; Concerto for piano-
forte ; do. for 2 pianofortes ; etc. — Fetis ;
Gerber ; Mendel ; Riemaun ; Schilling.
SCHUTT, EDUAED, born in St. Peters-
burg, Oct. 22, 1856, still living, 1890. Pi-
anist, i^upil of Petersen and of Stein at the
Conservatorium in St. Petersburg, and in
1876-78 pupil at the Conservatorium at
Leipsic. He is now conductor of the
Akademischer Wagner-Verein in Vienna.
Works : Concerto for jiianoforte ; Serenade
for string orchestra ; Variations for 2 piano-
fortes ; Transcriptions ; Songs, etc.
SCHtJTZ (Latinized, Sagittarius), HEIN-
EICH, born at KOs-
tritz. Saxony, Oct. 8,
1585, died in Dres-
den, Nov. 6, 1672.
When thirteen years
old, he was admitted
as chorister into the
chapel of Moritz,
Landgrave of Hesse-
Cassel, where he got
a good musical edu-
cation and as thorough a general educa-
tion as was consistent with the times. In
1607 he entered the University of Marburg,
to study law, but in 1609 went to Venice,
at the Landgrave's expense, to comjjlete his
musical education under Giovanni Gabrieb,
with whom he remained until the com-
poser's death in 1612. During these three
years in Venice Schiitz not only worked
hard at strict counterpoint with his teacher,
but extended his studies to embrace the
newer forms of composition with which the
Florentine school was just then making no
little stir in the musical world. It is highly
probable that Schiitz i^ursued his studies
in Caccini's Nuove Musiche and other such
things without his master's knowledge, for
Gabrieli was not the man to have counte-
nanced a pupil of his having to do with
forbidden fruit of that sort. At all events,
Schiitz did not allow his admiration for
the new school to interfere with his regular
contrapuntal studies under Gabrieli. On
his return to Germany he began to renew
his legal studies, until the Landgrave inter-
fered, and he definitely adoj)ted music as a
profession. In 1615 he was made Kapell-
meister to the Elector of Saxony, at Dres-
den, and continued to hold the office, with
but few and brief interruptions, for the rest
of his life. After writing some important
sacred works, he was commissioned by the
Elector, in 1627, to set to music Oi^itz's
translation of Rinueciui's Dafne. This was
the first German opera, and, although the
music has been since lost, it was almost
surely in the stile rappresentativo of Cac-
cini and Peri. After this attempt, however,
Schiitz returned to sacred composition, and
only once more wrote anything for the
stage, a ballet with recitative and dialogue,
in 1638. In 1629 he made a second visit
to Venice, where he found musical taste
much changed, owing to Monteverd's influ-
ence. In 1631 Saxony was distracted by
the Thirty Years' War, and in 1633 Schiitz,
although still retaining his title of Electoral
Kapellmeister, was forced to quit Dresden.
Up to 1641 he lived at the courts of Chris-
tian IV. in Copenhagen, of Duke Georg of
Brunswick, and of some other princes. Re-
turning to Dresden in that year, he entered
upon the task of reorganizing the Electoral
Kapelle, but without marked success until
1615—47, so small were the musical resources
at his disposal. His ijosition became even
more difficult when Bontempi came from
Berlin to share his Kapellmeistership with
him. Bontempi was a far more thorough-
going partisan of the new school than
Schiitz, and the relations between the two
were often very strained. Schiitz sent in
his resignation more than once, but it was
never accepted. His repeated quarrels with
Bontempi seem to have affected his whole
relation to the new school, or, perhaps, he
saw in Bontempi an example of the danger
of the new school's trying to cut itself
wholly loose from the old ; for in the com-
positions of the latter part of Schtitz's life
we find a more and more striking lack of
351
SCHUTZ
that dramatic, emotional element -wliicli was
introduced into music by the Florentine
reformers, and a more and more decided
return to the contrapuntal forms of his
master, Gabrieli. But Schutz's real strength
■was that he combined in himself the chief
merits of both schools to a degree that
we find them ixnited in Italy in his day
in only one man — Giacomo Carissimi.
Schiitz was to Germany what Carissimi was
to Italy, and more, too ; he stood at the
beginning of a period of musical evolution
in which the structural and emotional ele-
ments in music were developed harmo-
niously and in due mutual proportion.
And, as Carissimi was, in Italy, the true
father of the oratorio, so also was Schiitz, in
Germany, the father of that form of the
Passion-music which we find in its complete
development in the works of Sebastian
Bach. Works : H primo libro de' madri-
gali, etc. (Venice, IGll) ; 3 pioces d'occasion,
called Concerte (Dresden, 1618) ; Psalmen
Davids sammt etliche Moteten und Con-
certen mit 8 and mehr stimmen
mit beigefiigtem basso continuo, etc. (ib.,
1619) ; Psalm cxxxiii., 8 voc. with continuo,
for his brother's wedding (ib., 1619) ; Syn-
charma musicum tribus choris, etc., for the
restoration of peace in Silesia (Vratislaw,
1621) ; Histoiia der fi-ohlichen und sieg-
reichen Auferstehung uusers einigen ErlO-
sers und Seligmachers Jesu Christi, etc.
(Dresden, 16'23) ; Elegy on the death of So-
2)hia, Duchess of Saxony (Freiberg, 1623) ;
Cantiones saerse, 4 voc, cum basso ad orga-
num, 41 pieces (ib., 162.')) ; De vitre fugaci-
tate, 5 voc. and continuo (ib., 1625) ; Psal-
men Davids, in teutschen Eeimen gebracht
durch D. Cornelium Beckern ... 4
voc. (ib., 1628 ; Giistrow, 1640 ; Dresden,
1661) ; SymphoniiE sacrse . . . variis
vocibus ac instrumentis accomodatfe, a 3, 4,
5, 6 (Venice, 1629) ; Dass is je gevrisslich
wahr, motet 6 voc, in memory of Johann
Hermann Schein (Dresden, 1631) ; Erster
Theil kleiner geistlichen Concerten, 1-4
voc and continuo (Leijasic, 1636) ; Musika-
lische Exequien, 3 pieces, 6, 8, and more
voc. (Dresden, 1636) ; Anderer Theil kleiner
geistlichen Concerten, 1-5 voc. and con-
tinuo (ib., 1639) ; Sj-mphoniarum sacrarum
secunda pars (ib., 1647) ; Musicalia ad cho-
rum sacrum, 5-7 voc. (ib., 1648) ; Symph.
sacr. tertia pars (ib., 1650) ; Canticum B.
Simeonis, two settings, 6 voc; 12 geistliche
Gesilnge, 4 voc. (ib., 1657) ; Historia der
Freudeu- und Gnadenreichen Geburt Got-
tes und Marien Sohnes, Jesu Christi, etc.
(ib., 1664, incomplete) ; Die sieben "Worte
uusers liebeu Erlijsers und Seligmachers
Jesu Christi, etc. (MS. parts in the Cassel
Library ; published in score, edited by Carl
Riedel, Leipsic, 1873) ; Historia des Leidens
und Sterbeus unsers HeiTns Jesu Christi :
A, Nach dem Evangelisten St. Matthseus ; b,
Nach ... St. Marcus ; c, Nach, . . .
St. Lucas ; d, Nach ... St. Johannes
(a MS. of an older form of the Johannes-
Passion is dated 1665 ; A MS. copy of all
four Passions together, made by J. Z. Grun-
dig in 1690, is in the Leipsic Stadt-BibHo-
thek) ; Several motets and concerted pieces
(see Eitner, Monatsschrift fiir Musik-Ge-
schichte, xviii., 62, 67-70). The following
have been lost : Daphne, ojaera, Torgau,
1627 ; Ballet with dialogue and recitative,
for the marriage of Johann Georg 11., of
Saxony, 1638. [Another ballet, Von Zusam-
menkunft und Wirkung VIL Planeten, of
which a MS. exists, is ascribed to Schiitz
by Eitner, but its authenticity is doubtful. ]
The publication of a complete edition of
Schtitz's works in score, edited by Friedrich
Chryaander and Philipp Spitta, was begun
/^ijT^
by Breitkopf & Hiirtel, in Leip-
sic, on Oct. 8, 1885 ; seven vol-
umes have appeared : Vol. I.
Historia der . . . Aufersteh-
ung . . . Jesu Christi ; 4 Passions ;
Die siebcu Worte, etc. ; the incomplete His-
354
SCIIUTZE
toria der . . . Geburt . . . Jesu
Cliristi ; tlie older form of tlie Joliaunes-
Passion. Vols. IL and III : Psalms and
motets of 1G19. Vol. IV. Cantioues sacrre
of 1G25. Vol. V. Symphonise sacrse, Part
L, 1629. Vol. VI. GeistUche Concerts, of
1G3G and 1G39. Vol. VH. Symphonic sa-
crfe, Part U., 1617.— Grove, iv. 45, 787;
Fetis ; Mendel.
SCHUTZE, ALFKED EDUAED, born
iu Hamburg, May 8, 1817, died iu Berlin,
April 13, 1877. Pianist, impil of Eder and
Guntrum, and in composition of Elkami).
In 1836 he went to Ploen, Holstein, where
he was much sought as a teacher, con-
ducted a choral society, and in IS'42 found-
ed the Liedertafel. He then lived, similar-
ly occuf)ied, at Christiania, in 1843— 45, and
settled in Berlin, where he became vocal
instructor at the Friedrich Wilhelm'sches
Pro-Gymnasium in 1858, and received the
title of royal music director, in 1874:. Of
his numerous compositions, in almost every
branch, only few have been published.
—Mendel.
SCHWAB, FRANgOIS MAEIE LOUIS,
born iu Strasburg, April 18, 1829, died
there, Sept. G, 1882. Dramatic composer
and musical critic, pui^il of Edouard Hausser
on the j'ianoforte, and of Philipjje Hoerter
in harmony ; he was conductor of the Union
Musicale at Strasburg, iu 1871-74, and later
musical editor of the Journal d'Alsace.
Works — Operas : La nuit tous les chats
sont giis, Strasburg, 1858 ; Les amours de
Sylvio, Baden, 1861 ; Les deux consulta-
tions, Strasburg, 18G7. Mass with full or-
chestra, ib., 1859 ; Benedictus, O Salutaris,
and other church music ; Grande fantaisie,
for clarinet ; Solo for saxophone ; Concerto
for violoncello ; Cantabile for do. ; Les
voix de la lyre, cantata, Strasburg, 18G3 ;
Le dernier chant de Corinne, scene for so-
prano, with orchestra ; Vocal melodies ;
Choruses for male voices, etc. — Fetis, Sup-
plement, ii. 505.
SCHWALM, ROBERT, born at Erfurt,
Dec. 6, 1845, still living, 1890. Instru-
mental and vocal composer, pupil of Pflug-
haupt, and at the Conservatorium at Leip-
sic ; was conductor in 1870-75 of several
musical societies at Elbing, and now Uves
in the same capacity at Konigsberg.
Works : Frauenlob, opera, Leipsic, 1885 ;
Serenade for orchestra ; Many choruses for
male voices ; Pianoforte music.
SCHWANBERG, J OH ANN GOTT-
FRIED, born at Wolfeubiittel, Dec. 28,
1740, died at Brunswick, March 29, 1804.
Dramatic composer, pupil of Latilla and
of Saratelli in Venice, where he received
also the advice of Hasse, and took him for
his model. After his return he was ap-
pointed Hof-Kapellmeister to the Duke of
Brunswick. Works — Opei'as : Adriauo iu
Siria, Solimanno, Brunswick, 1762 ; Ezio,
ib., 1763 ; Talestri ; Didone abbaudonata ;
Issifile, 176G ; Zenobia ; II Parnasso accu-
sato e difeso ; Antigono ; Romeo e Giulia,
Olymjjiade, 1782 ; II trioufo della costanza,
about 1794: ; Der Ausspruch des Apollo, dra-
matic prologue, 1794 ; 2 cantatas ; Concertos
for pianoforte ; do. for violin ; Sonatas for
pianoforte. — Fetis ; Mendel ; Schilling.
SCHWANENGESANG (The Swans
Song), fourteen songs for one voice with
jiianoforte accompaniment, written by Schu-
bert iu 1828. The words are by Heine
and Rellstab. Those of the latter were
originally among the papers of Beethoven,
and fell into Schubert's hands through
Schindler. This has been exaggerated into
an idea that Beethoven exjjressed a wish
that Schubert should set them. Schubert's
i\IS., formerly in jjossession of Frau Has-
liuger (Vienna), is dated " Ueberreicht den
13 Jenner, 1829." Nos. L to XIH. were
composed iu August, 1828, and No. XTV.,
supposed to be Schubert's last song, in
October, 1828. Part i. I. Liebesbotschaft
(Rellstab) ; H. Kriegers Ahnuug (do.) ; HI.
Friihlingssehnsucht (do.) ; IV. Stiindchen
(do.) ; V. Aufenthalt (do.) ; VI. In der
Feme (do.). Part ii. VII. Abschied (do.) ;
VHI. Der Atlas (Heine) ; IX. Ihr Bild (do.);
X. Das Fischermiidcheu (do.) ; XL Die
353
SCHWEGLEE
Stadt (do.) ; Xn. Am Meer (do.) ; Xm.
Der Doijpelgiingcr (do.) ; XIV. Die Tau-
benpost (J. G. Seidl). First published by
Hasliuger (Vienna, 1828), also by Breitkopf
& Hiirtel (Leijisic), by Peters (ib.) ; by Senff
(ib.) ; by Litolff (Brunswick) ; and by Scbu-
berth (Hamburg). There are many arrange-
ments for various voices, for violin and piano-
forte, for violoncello and pianoforte, for vio-
lin, violoncello and pianoforte, for voice and
guitar, and as part-songs ; also various ar-
rangements for the pianoforte solo, includ-
ing Liszt's transcription for two hands (Has-
linger, Vienna ; Schlesinger, Berhu). Am
Meer and Der Doi^pelganger, with orches-
tration by Theodore Thomas, were sung by
Emil Fischer at the New York Philharmonic
concert, Nov. 17, 1888. — Nottebohm, Ver-
zeichniss, 234 ; Kreissle von Hellboru (Cole-
ridge), Schubert, 133, 191 ; Eellstab, Aus
meinemLeben (Berlin, 18G1); Grove, iii. 3J;9.
SCHWEGLER, JOHANN DAVID, born
at Endersbach, Wiirtemberg, Jan. 7, 1759,
died in Stuttgart in 1817. Virtuoso on the
oboe, educated at the military academy,
but embraced music, and entered the or-
chestra of the Duke of Wiirtembertr.
Works : 16 concertos for oboe ; 4 symj)ho-
uies concertantes, for do. ; 6 quartets, 6
trios, duos, 12 soli, for do. ; Concertos,
duos, and soli, for horn, clarinet, and flute ;
4 quartets for 2 flutes and 2 horns ; Duos
for flutes ; Pieces for wind instruments ;
Songs. — Fotis ; Schilling.
SCHWEITZER, ANTON, born at Co-
burg in 1737, died at
Gotha, Nov. 23, 1787.
Dramatic composer,
jjupil of Kleinkuecht
at Bayreuth, was then
for a time music di-
rector at Hildburg-
hausen, spent three
years in Italy, and in
1772 became Kapell-
meister to the Duke
of Saxe-Weimar ; afterwards he occupied
the same position at the court of Gotha.
Works : Alceste, Leipsic, 1774, and ou most
of the stages of Germany ; Elysium, Kimigs-
berg, 1774; Die Dorfgala, 1777; Derlustige
Schuster, operetta ; Apollo unter deu Hir-
teu, prologue ; Die Stufen des menschlichen
Alters, do. ; Das Fest der Thalia, do. ; Au-
rora ; Die Wahl des Herkules ; Walmirund
Gertraud ; Erwin und Elmire ; Polyxeua ;
Pygmalion, monodrama ; Rosamunde ; Die
Waffen des AchiUes, ballet ; Die Amazone,
do.; Music to comedies and tragedies, etc.
— Futis ; Mendel ; Schilling.
SCHWEXIvE (Schwencke), CHRIS-
TLiXr FRIEDRICH GOTTLIEB, born at
Wachenhausen, Hartz, Aug. 30, 1767, died in
Hamburg, Oct. 27, 1822. Instrumental and
vocal composer, pupil of Marpurg and Kirn-
berger ; then studied at the universities of
Leipsic and Hallo, and, when only twenty-
two years old, succeeded Philijip Emanuel
Bach as cantor and music-director at the
Katherineukirche, Hamburg. He contrib-
uted many articles to the Leipsic Allge-
meine musikalische Zeituug. Works — Can-
tatas : Oster-Cantate, Michaelis-Cantate,
Lobgesang auf die Harmonic, Geburtstags-
Cantate, 1789 ; Um Erdeu waudeln Monde,
ode by Klopstock, Passions-Cantate, Trauer-
Cantate auf den Tod Joseph H., Weih-
nachts-Cantate, 1790 ; Geburtstags-Cautate,
1791. Oratorium auf die Wahl Leopold H.,
1790 ; Die Feier der Natur, oratorio, 1792 ;
Other cantatas for special occasions ; Pater
noster, psalm ; Der Frohsinn ; Motets, and
many other compositions for the church ;
6 fugues for organ ; 3 sonatas for violin
and pianoforte. — Fetis ; Mendel ; Schilling.
SCHWENIiE, FRIEDRICH GOTTLIEB,
born in Hamburg, Dec. 15, 1823, still liv-
ing, 1890. Organist and pianist, son and
pupil of the following, appeared in con-
certs at an early age, and in 1855 in organ
concerts in Paris. He succeeded his father
at the Nicolaikirche, in 1852. Works : 3
fantasias, for organ, trumpet, trombone,
and kettle-drums ; Sacred songs for female
chorus, with organ ; Many choral-preludes,
and Bongs.
3M
SCHWENKE
gQflWENKE, JOHANN FKIEDRICH,
born ^^ Hamburg, Af)ril 30, 1792, died
there ^^P^- ^8, 1852. Organist, violon-
cellist' ^^'^ clarinet player, son and pnpil
of rjii^'istian Scbwenke, and on the violon-
cello i'^'Pil of Prell and Bernhard Romberg.
In 18*^^ ^® devoted himself, almost exclu
sivelyi
to the organ, and in 1829 became
Qj.^jjjjist of the Nicolaikirche at Hamburg.
Work'^ : More than 300 preludes and eou-
j^gj^ns for the organ ; About 1,000 chorals,
jjg^j.jjjjjnized ; 73 Russian folk songs, do. ;
Canta!'^' ^^^^ organ ; Septet for 5 violon-
celli ^''^^^' ^^'^ kettle-drums ; Many ar-
j.j^jj„gjnent3 for pianoforte, of works by
Snohr' Beethoven, Mozart, and others.
Tfi '.fis ; Mendel ; Schilling.
gQjIWENKE, KARL, born in Hamburg,
March '^' ^'^^'^' ^^^'^ (')• Pianist, son and
pupil °^ Christian Schwenke, began to
travel extensively at the age of seventeen,
j^pjjjgyiug success in the north of Europe,
and i'^ Vienna and Paris. He lived last
at Nu'^^''^"''^' ^^^^' Vienna. A jxirt of his
j^g^jgirs appeared in the Hamburger
]jQj,j,g?pondent, 1881-8.5. Works : Solemn
mass g'^s'i ^^ Paris ; Sonatas for violin
and Ti'i''iiioforte ; do. for jjianoforte ; Fan-
tasias ^*'°'' ^°^' ^°' — ^^^^^ ' Riemann ; Schil-
ling.
gQj^IWINDEL (Schwindl), FREDERHv,
yjQj,jj -n Amsterdam in 1710, died in Carls-
ruhe "^"S' ^^' ^^^^- Instrumental com-
poser •^i^®'! '^^ Tl^e Hague about 1770, then
at Ger'®^'^' '^^l^^i'® ^'■^ established a music
school ' ^'^^^^ ^* Miihlhausen, and in 1785
at LaiT^''^'^'^^' ■"■l'6ii<"3 he went to Carlsruhe.
Work^ ■ ^^ symphonies for orchestra ; 6
quarte*'^ for strings ; 1 trios for pianoforte
and st^'^'^S's ! ^ trios for flute and strings ;
12 dur"^ ^'-'^ violins ; G do. for violin and
violonr^^^® ; G do. for violin and viola ; G
do fof" fl'i''^^- 111 manuscriiit : Concertos
for thr ^^^^ ' ^ French operas ; 2 German
Q .g|.tas. — Fetis ; Mendel ; Schilling.
SCI?' fiTIENNE, born in Bordeaux,
Francf' ^^ l^GG, died in Paris, Feb. 21,
179G Violinist, at first in the theati'e or-
chestra at Toulouse, he became in 1788
first violin at the Grand Theatre in Mar-
seilles, where he married the famous singer
Juhe Crcicy (1768-1807). In 1791 he was
called to Paris to conduct the orchestra of
the Theatre MoHere, but left in 1792 to
enter the orchestra of the Theatre Feydeau.
Works — Operas : La France regeneree, Le
roveil de Camaillaka, Paris, 1791 ; Le sopha,
ib., 1792 ; Isidore et Montrose, Lisia, Tam-
bourin de Provence, ib., 1793. — Fetis ; Men-
del.
SCIPIONE, Italian opera in three acts,
test by Paolo Rolli, music by Handel, first
represented at the King's Theatre, London,
March 12, 1726. The autograph, in Buck-
ingham Palace, is dated March 2, 172G.
Original cast: Scijsione (A.), Signor Baldi ;
Lucejo, Prince of the Celtiberi (S.), Senesino ;
C. Lelio, Roman general (T.), Signor Boro-
sini ; Ernaudo, King of the Balearic Isles, and
father of Berenice (B.), Signor Baldi ; Bere-
nice, prisoner (S.), Signora Cuzzoni ; Armi-
ra, prisoner (A.), Signora Costantini ; and
Rosalba, mother of Berenice (A.), Signora
Dotti. The opera was revived in 1730,
when the part of Scijjione was changed to
tenor, and those of Lelio and Armira to
alto. The march, performed after the
overture, has been played for many years
by the band of the British Grenadier
Guards at parade, under the name of the
"Royal Guards March." It was intro-
duced into Gay's opera, " Polly," as a
chorus to the words " Brave boys, pre-
pare." The score was i)ublished simultane-
ously by Walsh, Cluer, and Meares (Lon-
don, 1730). Chrysander's edition for the
Hiindelgesellschaft, published by Breitkopf
& Hilrtel (Leipsic, 1877). Other ojjeras on
this subject, in Italian : Scipione Africano,
by Cavalli, text by Minato, Venice, 1661 ;
music revised by Viviani, 1678 ; by Fran-
cesco Bianchi, Naples, 1787 ; by Albertini,
Rome, 1789 ; I gloriosi presaggi di Scipione
Africano, by Attilio Ariosti, text by Donato
Cupeda, Vienna, 1701 ; La conquista della
Spagna di Scipione il Giovaue, by Marc.
355
SCIROLI
Ant. Bononciui, text by Don Paolo del
Nera, Vienna, 1707 ; ScijDioiie Afrieano il
Maggiore, serenata by Pasquini, music by
Porsile, Vienna, Oct. 1, 1730 ; and by An-
tonio Caldara, ib., Nov. 4, 1735 ; Scipione
nelle Spagne, Zeno's text, set by Pollarolo,
Venice, 1712 ; by Alessandro Scarlatti, Na-
ples, 1711: ; by Antonio Caldara, Vienna,
Nov. 4, 1722 ; by Tommaso Albinoni, Ve-
nice, 1724 ; by Giovanni Ferandini, Munich,
1732 ; by Baldassare Galuppi, Venice, 174G ;
Scipione, by Ai"aja and Sarti, St. Peters-
burg, 1739 ; by Giordani, Ferrara, 1788 ;
L' eroismo di Scipione, by David Perez,
Palermo, 1741 ; La clemeuza di Scipione,
by Johann Christian Bach, London, 17G5 ;
Scipione il Giovane, by Predieri, text by
Bertolotti, Venice, 1731 ; Scipione dor-
mente, composer unknown, ^Munich, 1755 ;
Scipione in Cartagine, by Baldassare Ga-
luppi, London, 1742 ; by Antonio Locchiui,
Padua, about 1770 ; by Sacchini, text by
Giunti, Munich, 1770 ; by Luigi Caruso,
1781 ; by Domenico Ccrcia, Naples, 1801 ;
by Mercadante, Rome, 1821 ; La caduta
della Nuova Cartagine, text by Sografi, mu-
sic by Farinelli, Venice, 1803. Operas in
German : Der grossmiithige Scijaio Afrikanus,
by Sigismund Cousser, text by Fideler,
Hamburg, 1G04 ; by Karl Heinrich Graun,
same text, Brunswick, 1731 ; and Scijjio
vor Karthago, by Kuecht, about 1800, not
given. In French : Scipion, by Mehul,
1795, not given, and Scipion a Carthage,
bj' J. N. A. Lefroid de Mereaux, about
1795, not given. See II Sogno di Scipione.
— Chrysander, Handel, ii. 140 ; Burney, iv.
303.
SCIROLI, GREGORIO, born in Naples
about 1725, died at Palermo, date not known.
Dramatic composer, pupil of the Conserva-
torio della Pieta de' Turchini, Naples, after-
wards professor of liarmony at the Con-
servatorio de' Figliuoli Dispersi, Palermo.
Works : Ulisse errante, Palermo, 1749 ;
Achille in Sciro, Merope, Naples, 1751 ; Li
nnamorate correvate (in Neapolitan dialect),
ib., 1752 ; La finta pastorella (?), ib., 1755 ;
Alessandro nell" Indie, Bologna, 1774 ; 6
trios for 2 violins and bass ; Concerto for
the flute, -with violin and bass. — Fotis.
SCOLiVRI, GIOSEFFO, born in Venetia
(atVicenza?), about 1720, died (?). Dramatic
composer, distinguished for novelty of ideas
and the grace of his melodies. Works
— Operas : Pandolfo, Venice, 1745 ; La fata
maravigliosa, ib., 174G ; L' Olimpiade, 1747 ;
H vello d' oro, 1749 ; Chi tutto abbraccia,
nulla stringe, 1753 ; La casciua, Statira,
1756 ; La conversazione, Artaserse, Alessan-
dro nell' Indie, 1758 ; II ciarlatano, 1759 ;
La buona figliuola maritata, 17G2 ; Cajo
Mario, Milan, about 17G3 ; Tanierlauo, ib.,
17G4 ; La famiglia in scompiglio, Dresden,
about 1765 ; La donna stravagante. La schi-
ava riconosciuta, Venice, 17GG ; R finto ca-
valiere. Symphony ; Concerto for violin.
— Fetis ; Schilling.
SCOTCH SYMPHONY, in A minor, by
Mendelssohn, op. 5G, first performed at the
Gewandhaus, Leipsic, March 3, 1842. This,
the composer's third published symphony,
was suggested by his visit to Scotland in
1829. The theme of the introduction was
written at Holyrood in that year, and the
work was sketched out in Italy in 1831, and
finished in Germany in January, 1842. I.
Introduction : Allegro agitato ; H. Scherzo :
Allegro vivace ; HI. Adagio cantabile ; TV.
Allegro guerriero. Finale : Maestoso. It
was first given at the London Philhai-monic
under Mendelssohn's direction, June 13,
1842, and first by the New York Philhar-
monic in the season of 1845-4G. The score,
dedicated to Queen Victoria, was published
by Breitkopf & Hiirtel (Leipsic, 1851). Do.,
Mendelssohn Werke, Serie i.. No. 3. — Grove,
ii. 2G4 ; iii. 437 ; Upton, Standard Sympho-
nies, 178.
SE AL LABBRO IVHO NON CREDI,
aria for tenor with orchestra, in G minor,
text from Metastasio's Artaserse, music by
Mozart, composed for Anton Raaff in Man-
heim, Feb. 27, 1778. Breitkopf & Hiirtel,
Mozart Werke, Serie vL, No. 18. — Kochel,
i Verzeichuiss, No. 295 ; Andre, No. 124.
358
SEBASTIANI
SEBASTIANI, JOHANN, born at Weimar
in 1622, died (?). Clmrch composer, stud-
ied sevei'al years in Italy, and in 1650 went
to Konigsberg, wbei'e in 16G1 be was made
Kapellmeister to tbe Elector of Branden-
burg. Works : Das Leyden und Sterben
unseres Herrn und Heylandes Jesu Cbristi,
passion for 5 voices and 6 instruments, witb
basso contiuuo (1672) ; Geistlicbe uud welt-
liche Lieder in Melodien gesetzt (1675).
—Mendel.
SeBOK, KAEEL, born at Brandeis-on-
the-Elbe, Bobemia, July 18 (Aug. 13?),
1813, still living, 1890. Dramatic com-
poser, pupil of Mildner at tbe Conservato-
rium, and of Kittl, in Prague ; was in tbe
service of a Polisb nobleman at Warsaw in
1861-63, tben Kapellmeister at tbe tbeatre
in Erfurt, and iu 1864 at tbe National Op-
era in Prague. In 1867-68 be travelled in
Germany, and in 1871 became military Ka-
pellmeister in Vienna. Works — Oj^eras
(Czecb) : Tbe Templars in Moravia, Prague,
1864 ; Drabomira, ib., 1867 ; Tbe Hussite's
Bride, ib., 1868 ; Blauka, ib, 1870 ; Tbe
frustrated Wedding, 1878. Festival can-
tata, Prague, 1868 ; Tbe May Nigbt, can-
tata ; Sympbonies ; Overtures ; Quintet for
strings ; Quartet for do. ; Sonatas, fantasias,
etc, for pianoforte ; Cboruses, and songs.
— W^urzbacb.
SECHTEK, SIMON, born at Friedberg,
Bobemia, Oct. 11, 1788, died in Vienna, Sept.
10, 1867. Contrapuntist, first instructed
by Jobannes Maxandt, regeus cbori iu bis
native town, but studied mostly at borne
■witb little belp from teacbers ; be went to
Vienna in 1804, and became tbe pupil of
Kozelucb and Hartmann. In 1810 be was
made instructor of pianoforte and singing
in tbe Institute for tbe Blind, wbere be
composed for bis pupils and gave concerts
witb tbem. He became in 1824 assistant
court organist, and in 1825 court organist.
His reputation as a teacber of bamiony and
counterpoint was so great tbat even Scbu-
bert, sbortly before bis deatb, tbougbt of
taking lessons from bim. In 1850 be was
appointed professor of comj)osition at tbe
Vienna Conservatorium. Among bis pupils
were tbe Princes Czartoryski, Preyer, Bruck-
ner, Nottebobm, Otto Bacb, Rosa Kastner,
Benoni, Vieuxtemps, Pauer, and Tbalberg.
He was extremely industrious, and never let
a day pass witbout writing at least a fugue,
but after working all bis life, bis easy good
nature was tbe cause of bis losing everytbing
and dying poor. His compositions sbow
bim to bave been one of tbe most learned
contrapuntists of tbe century. Works :
Many fugues, bymns, preludes, and otbev
j)ieces for organ ; Masses, graduals, offer-
tories, oratorios, cantatas, and otber cburcb
music ; 2 string quartets ; Fugue in memoi-y
of Scbubert ; Contrapuntal studies ; Fugues,
canons, sonatas, variations, and otber music
for pianoforte ; Songs ; Ali Hitscb-Hatscb,
burlesque ojaera, performed in 1844, and
many otber compositions, mostly unpub-
lished. He publisbed also a Tborougb-
Bass Scbool, and issued a new edition of
Marpurg's Abbaudlung von der Fuge. His
greatest tbeoretical treatise is. Die Grund-
siitze der musikaliscbeu Composition (Leij)-
sic, 1853-54, 3 vols). — Wurzbacb ; Schil-
ling ; Riemann ; Fv tis.
SE DOLCE M' ERA GIA, alto aria of
Floridante, in C minor, witb accompani-
ment of strings complete (senza cembalo),
iu Handel's Floridante, Act HI., Scene 4.
Publisbed also sejoarately, witb tbe accom-
paniment transcribed by Otto Dresel (Leip-
sic, Breitkopf & Hiirtel).
SEE, THE CONQU'RING HERO
COMES, cborus in G major in Handel's
Joshua, Act HI., Scene 2. Tbe first verse
is sung by a tbree-part "Cborus of Youths "
(2 S. and A.), with accompaniment of two
boi'ns and "oi'gano tasto solo, senza bassi ; "
tbe second verse, by a two-part " Chorus of
Virgins " (2 S.), with accompaniment of
two flutes and organ ; tbe third verse by the
357
SEEGEET
full four-part cliorus, with accompaniment
of two horns, two flutes, two oboes, strings
complete, and contiuuo. Handel introduced
this chorus in the third act of Judas Macca-
bseus, when he remodelled this oi'atorio in
1751.
SEEGERT. See Seger.
SEELEWIG, Das geistliche Waldgedicht
oder Freudenspiel, genannt, Singspiel in
three acts, text by Georg Philipp HarsdOrf-
fer, music by Sigismund Gottlieb Staden,
first represented at Nuremberg in 1614.
This is the oldest known German musical
drama. Characters represented : Seelewig
(S.), Sinnigunda (S.), and Herzigilda (S.),
nymphs and shepherdesses ; Gwissulda, a
matron (A.) ; Kiinsteliug (A.) ; Ehrelob (T.),
and Keichimut (T.), shepherds ; and Triige-
walt (B.), a satyr. The accompaniment con-
sists of thi'ee violins, three flutes, three
shawms, and one horn. Copies of the first
edition, published in Nuremberg in IGll,
are in the KOnigliche Bibliothek, BerUn, in
the Gymnasial-Bibliothek, Fraukfort-ou-the-
Main ; and in the Marienkirche, Elbing.
A new edition with j^ianoforte score, by
Robert Eitner, was published by Trautwein
(Berlin, 1881). — HarsdOrfier, Fraueuzim-
mergespriichspiele (Nuremberg, IGll) ;
Monatshefte ftir Mus. Gesch., xiii. 53 ; Eeiss-
mann, Allgem. Gesch. d. Mus., ii. 159.
SEELING, HANUS, born in Prague iu
1829, died there. May 2G, 1862. Pianist,
went to Italy iu 1852, first aj^peared there
iu public, and after a visit to the East in
1856, resided there until 1859, leaving it
only for concert trips. After a sojourn in
Southern Tyrol, he went to Paris, whither
he returned in 1861, after a visit to Ger-
many. His compositions belong to the
class of refined pianoforte literature. — Bo-
hemia (Prague, 1862), 1259 ; Wurzbach.
SEGER (Seegert, Seege, Zekert), JO-
SEPH (FERDINAND NORBERT), born at
Repin, near Melnik, Bohemia, Mai'ch 21,
1716, died in Prague, April 22, 1782. Or-
ganist, pupil of Bohuslav Cernohorsk^, a
Franciscan friar ; became second violinist at
St. Martin's, where he succeeded Johann
Zach as organist, at the same time occupy-
ing the position of first violin at the Tein-
kirche. He was appointed organist of the
latter in 1711, and later of the Kreuzherren-
kirche. One of the most celebrated organ
players of his time, he formed many dis-
tingviished pupils. Joseph H., who was
delighted by his playing on his visit to
Prague in 1781, appointed him organist
of the court chapel in Vienna several months
later, but when the nomination reached
Prague he had just died. Of his numerous
compositions, consisting of masses, motets,
litanies, psalms, etc., only 8 toccatas and
fugues for organ, and preludes for do.,
were published. — Dalibor (Prague, 1862), v.
No. 17 ; Fotis ; Mendel ; Wurzbach.
SEHET, JESUS HAT DIE HAND, aria
iu E-flat major for the alto of Coro I., with
accompaniment of two oboi di caccia, organ,
and continuo, interrupted at intervals by
exclamations from Coro H., accompanied by
two oboes, strings complete, organ, and con-
tinuo, in Johann Sebastian Bach's Pasnion
nach Matthaus, Part H., No. 70.
SEHLING, JOSEPH ANTONIN, born
at Teising, Bohemia, about 1680, died in
Prague, Sept. 9, 1756. Chui-ch composer,
studied in Prague, entered the service of
Count iMorzin, and afterwards became regens
chori at the Barnabite church in Prague.
Works : Filius prodigus, oratoi-io ; Masses,
Requiems, offertories, etc. Two Latin op-
eras, of which Constantinus was given at the
Jesuits' College, in 1751, and the second at
the coronation of Maria Theresa as Queen
of Bohemia. — Gerber ; Wurzbach.
SEHNSUCHT-WALZER (Waltz of Long-
ing), a waltz known also as " Lo Desir,"
often attributed to Beethoven. It was com-
piled from a Trauer-Walzer, written by
Schubert in 1816, and published in 1821
as No. 2 of the " Original-Tiinze," op. 9,
and from Himinel's Favorit-Walzer. This
waltz was published under Beethoven's
name by Schott (Mainz, 1826).
SEID MEINER WONNE. SeeStradella.
SEIDEL
SEIDEL, FKIEDRICH LUDWIG, born
at Treueubrietzen, Brandenburg, Prussia,
June 1, 1765, died at Charlottenburg, May
6, 1831. Dramatic and church composer,
pupil in Berlin of Benda ; he accompanied
Keichardt to Paris and London, and after
his return settled in Berlin, to teach the
pianoforte. In 1792 he became organist of
the Marienkirche, in 1801 assistant con-
ductor at the National-Theater, in 1808
music director of the royal orchestra, and
in 1822 Hof-Kapellmeister. Works— Op-
eras : Jery und Biltely ; Hero und Leander,
melodrama ; Der Dorfbarbier, Berlin, 1817 ;
Die Abeuteuer des Ritters Don Quixote,
dramatic burlesque (with others), ib., 1811 ;
Lila, ib., 1818 ; Nebukadnezar, about 1820,
not given ; Houorina, about 1820, do. Mu-
sic to ballets, and to many dramas, etc. ;
Die Unsterblichkeit, oratorio, 1797 ; Masses,
motets ; Hymns, and psalms, for soli,
chorus, and orchestra ; Pianoforte music,
Songs. — Fc'tis ; Ledebur, Tonktinstl. Lex.,
542 ; Mendel.
SEIDELMANN, EUGEN, born at Ren-
gersdorf, near Glatz, Silesia, April 12, 1806,
died at Breslau, July 31, 1864. Dramatic
and church composer, went to Breslau in
1826, to study theology, assumed in 1828
the direction of the Akademische Gesang-
verein, and in 1830 became Kapellmeister
of the theatre. Works : Virgiuie, given at
Breslau, 1839 ; Das Fest zu Kenilworth, ib.,
1843 ; Music to several dramas ; 2 masses,
with orchestra ; Requiem ; Stabat Mater ;
Offertories, and graduals ; Songs. His wife,
Marie Dickmann (born at Elbiug, 1817), a
dramatic singer, married him in 1841, and
left the stage in 1845.— Fetis.
SEIFRIZ, MAX, born at Rottweil, Wiir-
temberg, Oct. 9, 1827, died in Stuttgart,
Dec. 20, 1885. Violinist, pupil of Tuglichs-
beck, became solo violin in the orchestra of
Prince Hohenzollern, atHechingen, in 1841,
at the Stadttheater of Zurich in 1849, and
Hof-Kapellmeister to his former master, at
Lowenberg, in 1854. After the prince's
death in 1869, be settled in Stuttgart.
Works : Overture and entr'actes to Schil-
ler's " Jungfrau von Orleans ; " Symphony ;
Ariadne auf Naxos, concert-cantata ; Cho-
ruses for male, and mixed voices. — Mendel ;
Riemann.
SEX GETREU BIS IN DEN TOD, tenor
cavatina with violoncello obligato, in C
major, in Mendelssohn's Paulus, Part 11.,
No. 40.
I SEILER, JOSEF, born at Liigde, near
Pyrmont, Jan. 15, 1823, died at Miinster,
Westphalia, May 29, 1877. Organist and
church composer, pu^jil of Johanu Schneider
and Reissiger, in Dresden ; he was organ-
ist in his native place until 1859, then at
the Moritzkirche, Miinster. His masses and
other numerous compositions for the church
remain in manuscript. He contributed
many articles to music periodicals. — Men-
del ; Riemann.
SEISS, ISIDOR (WILHELM), born in
Dresden, Dec. 23, 1840, still living, 1890.
Pianist, pupil of Wieck and Julius Otto in
Dresden, and of Hauptmann in Leipsic ;
after several concert tours, he became in-
structor at the Conservatorium in Cologne,
about 1868, and received the title of pro-
fessor in 1878. Works : Feierliche Szene
und Marsch, for orchestra ; Adagio for vio-
loncello, with orchestra ; Sonatinas, toc-
cata, preludes, and other pieces for piano-
forte ; Transcriptions, and arrangements of
Haydn's quartets, Beethoven's Danses alle-
mandes, etc. — Riemann.
SEI STILLE DEM HERRN, alto aria of
the angel, in C major, in Mendelssohn's
Elias, Part H., No. 31.
SEIXAS, JOSE ANTONIO CARLOS
DE, born at Coimbra, Portugal, June 11,
1704, died at Lisbon, Aug. 25, 1742. Or-
ganist of the Basilica at Lisbon, knight of
the order of Christ. Works : Ten masses
for 4-8 voices with orchestra ; Te Doum
for 4 choirs ; Motets for 2-4 voices ; Toc-
catas for organ.— Vasconcellos.
SEJAN, NICOLAS, born in Paris, March
19, 1745, died there, March IG, 1819. Vir-
tuoso on the organ, pupil of his uncle, Nico-
359
SfiLAM
las Gilles Forqueray (1702-Gl), and iu har-
mony of tlie Abbe Boruier (died 1764). He
became organist of Saiut-Andre-des-Arts in
1760, at Notre Dame in 1772, with Daquin,
Couperin, and Balbiitre, at Saint-Sulpice in
1783, and of the royal chapel iu 1789, when
he was also appointed professor at the Ecole
Royale de Chant. During the revolution
he lost his positions, but in 1807 was made
organist of the figlise des Invalides, and iu
1814 again of the royal chapel. Works :
Three trios for pianoforte and strings ; 6
sonatas for violiu and pianoforte ; Fugues et
Noels, for organ or pianoforte ; Kecueil de
rondeaux et airs, for pianoforte. His son
and pupil, Louis (178G-1849), succeeded
him as organist at the Invalides, and in
1819 at the royal chapel. He published
sonatas for jaianoforte, nocturnes for do. and
horn, and for flute, other jjianoforte music,
and nine sets of romances. — Fetis ; Mendel.
SfiL.\M, LE, ode-syiuphouique in four
parts, text by Theophile Gautier, music by
Ernest Reyer, first performed in Paris, Ai)ril
5, 1850. It is an oriental symphony on the
model of David's Le desert.
SELIGIMANN, HIPPOLYTE PROS-
PER, born in Paris, July 28, 1817, died at
Monte Carlo, near Monaco, Feb. 4-5, 1882.
Virtuoso on the violoncello, pupil of Nor-
bliu, and in harmony of Halevy, at the Con-
servatoire (1829-38) ; won the second prize
for violoncello iu 1834, and the first in 1836.
He travelled extensively, 1841-45 iu south-
ern France, 1843 in Italj*, 1847 in Spain
and Algiers, and later iu Belgium and Ger-
many. He published numerous divertis-
sements, fantaisies, caprices, etc., ou op-
eratic themes, 6 etudes caracteristiques, and
2 Albums of songs. — Fetis.
SELLE, THOMAS, bom at ZiJrbig, Sax-
ony, March 23, 1599, died in Hamburg,
July 2, 1663. Contrapuntist, was at first
rector at Wesselbiiren, Schleswig, and in
1624 at Heide ; became cantor at Itzelioe
in 1636, and city cantor, canon, and music
director at the Katharinenlcirche, Hamburg,
in 1641. Works : Coucertatio Castalidum
(Hamburg, 1624) ; Deliciic pastorum Ai'ca-
di;c (ib., 1624) ; Hagiodecamelydria (ib.,
1631) ; Monoj)honia harmonica latina (ib.,
1633) ; Concentus 2 voc. ad bassum con-
tinuum (ib., 1634) ; Decas prima amorum
musicalium (ib., 1635) ; Concentuum tri-
vocalium, etc. (ib., 1635) ; Concentuum
latino-sacrorum, etc. (ib., 1646, 1651) ;
Johann Ristens Sabbathische Seelenlust
(Liiueburg, 1651) ; Do., Musikalische Fest-
andachten (ib., 1655). In MS. : Teutsche
geistliche Concerten, Madrigalien und Mo-
tetten mit 3-16 Stimmen, in the library at
Hamburg. — Fetis ; Gerber ; Mendel ; Rie-
mann.
SELLNER, JOSEF, born at Landau,
Bavaria, March 13, 1787, died in Vienna,
]\Iay 17, 1843. Virtuoso on the oboe, at
first learned to play the flute, and ajjpeared
in public at the age of eight ; entered when
fifteen an Austrian cavahy regiment as
trumpeter, and took part in the campaign
of 1805. He studied also the violin, horn,
and clarinet. In 1808 he left the army,
went to Prague to study, then conducted
the pi-ivate orchestra of a Hungarian noble-
man uutil 1813, when he became first oboist
in the theatre orchestra at Prague, under
Karl Maria von Weber. He now studied
composition under Tomaczek, often played
iu concerts, and on his way to Italy, in
1817, appeared iu Vienna with such bril-
liant success, that he was appointed first
oboist at the imperial opera. In 1822
he became also a member of the court
chapel, and professor at the Conserva-
torium. Works : Concerto for oboe with
orchestra ; 3 concertinos for do. ; Introduc-
tion et polonaise, do. ; Variations, do. ; Con-
certo for 2 oboes ; Movement of concerto
for oboe and clarinet ; Quartet for oboe
and strings ; Terzet for 3 flutes. Theore-
tisch-praktische Oboen-Schule (Vienna), also
translated into French, and still considered
the best. — Fetis ; Mendel ; N. Necrol. der
D. (1843), i. 461 ; Schilling.
SEMET, THEOPHILE (.IIME :6mILE),
born at Lille, Sept. 6, 1824, died at Corbeil,
SEMIRAMIDE
April 15, 1888. Dramatic composer, stud-
ied the violoncello, and under Pierre Bau-
mann harmony, at the local Conservatoire,
then pupil of Halevy in composition, at the
Paris Conservatoire. He remained in Paris,
teaching music, and in 1851 became kettle-
drummer iu the orchestra of the Optra.
Chevalier of the Legion of Honour. Works :
Les nuits d'Espagne, Thc-atre Lyrique,
1857 ; La demoiselle d'honneur, ib., 1857 ;
Gil-Bias, ib., 1860 ; Ondine, ib., 18G3 ; La
petite Fadette, Opera Comique, 1869. La
fete de Napoleon IH., cantata, Opera,
1862 ; Airs de ballets for Les pirates de la
Savane, Theatre de la Gaite, 1867.— Fetis,
Supplement, ii. 510 ; Mendel, Ergiiuz., 433.
SEMIKAIMIDE, Italian opera in two acts,
text by Kossi, music by Kossini, first repre-
sented at the Teatro della Fenice, Venice,
Feb. 3, 1823. The libretto is founded on
Voltaire's tragedj', " Semiramis." The scene
is placed iu Babylon, where Nino, the king,
has been murdered by his queen, Semira-
mide, whose accomplice was Assur, a prince
in love with her, and an aspirant to the
throne. Ai'saee, supposed to be a Scythian,
but in reality Ninia, the son of Semiramide,
who has been reared by the high priest,
Oroe, returns victorious from the wars. The
Queen is inspired with love and declares
that she will marry him, although he is be-
trothed to Azemia, a royal princess. Ter-
rible omens are seen, and the tomb of Nino
opens, and his ghost appears to announce
that Arsace shall reign, and to command
him to avenge hia death upon the enemy
who shall visit the tomb. In the meantime
the high priest has revealed to Arsace the
mystery of his birth, and he has imparted
this to the Queen. At midnight Assur de-
scends into the tomb to murder Arsace,
and the Queen follows to guard her son,
who, hearing footsteps, plunges his dagger
into the breast of his mother, supposing
her to be Assur. She dies in the arms of
her son, Assur is borne away to punish-
ment, and Arsace is proclaimed King of
Babylon. The opera, one of Kossini's best.
and the last he wrote for Italy, was consid-
ered heavy by the Venetians, and the theme
of the Carnival of Venice, introduced into
the duet, "Ebbene! a te ferisci," between
Semiramide and Arsace, for their special
benefit, failed to please. The best num-
bers are : the overture, the trio " Lii dal
Gauge," sung by Idreno, Assur, and Oroe ;
" Di tanti regi," a quartet ; the duet " Bella
immago degli dei," between Assur and Ai'sa-
ce ; Semiramide's aria "Bel raggio ;" her
duet with Arsace, " Serbami ognor si fido? ; "
Arsace 's aria with chorus, " Ah ! tu gelar mi
Josephine Mainvielle-Fodor.
fai ; " his duet with Semiramide, " Giorno
d' oiTore," one of the strongest numbers of
the opera; Semiramide's prayer, "Ah mio
pregar;" and the final terzet, " L'usato
ardir," for Semiramide, Arsace, and Assur.
Original cast :
Semiramide (S.) Mme Rossini-Colbran.
Arsace (A.) Mme Mariani.
Idreno (T.) Mr. Sinclair.
Assur (B.) Sig. Galli.
Oroe (13.) Sig. Mariani.
Mmes Rossini-Colbran, Pasta, Giulia Grisi,
Viardot, Sophie Cruvelli, Mainvielle-Fodor,
Bosio, Tietjens, and Adelina Patti have
361
SEMIEAMIDE
acliieved fame in the role of Semiramide.
That of Ai'sace, one of the most telling con-
tralto parts ever written, was a favourite with
Mmes Pisaroni, BrambiUa, Alboui, Trebelli,
and Malibran, who also sang fSemiramide.
It has been sung also with great success by
Mme Scalchi. The opera was first given iu
Vienna in 1823 ; iu Milan in 1824 ; iu "Wei-
mar in 1825 ; in Dresden in 1826 ; and in
Berlin and Leipsic in 1830. It was first
Sofia Scatchi, as Arsace.
sung in Paris Dec. 9, 1825, with Mme
Maiuvielle-Fodor as Scmii-amis, and at the
Acadcmie Eoyale de Musique, in a French
translation by Mt'ry, July 4, 18G0 ; first in
London at the King's Theatre, July 15,
1824, with Mme Pasta as Semii-amide ;
j\Ime Vestris, Ai-sace ; Garcia, Idi-euo ; and
Remorini, Assur. It was first sung in
New York, April 21), 1835, with Signorina
Clementina Fanti as Semiramide. Other
operas on the same subject, in Italian :
Semiramide iu India, by Francesco Paolo
Sacrati, test by Bisaccioui, Venice, 1648 ;
Semiramide, by Marc Antonio Cesti, text by
Giovanni Audrea Mouiglia, Vienna, 1G67 ;
by Pietro Audrea Ziaui, same text, Venice,
1670 ; by Aldovraudini, text by Zeno, Genoa,
1701 ; by Cai-lo Francesco Pollarolo, same
text, Venice, 1714 ; by Vivaldi, text by Sil-
vani, Mantua, 1732 ; by Francesco Araja, St.
Petersburg, 1738 ; by David Perez, Rome,
1750 ; by Carl Heinrich Graun, text by
Friedrich 11., iu Italian by Tagliazucchi,
Berlin, March, 1754 ; by Leoi^old Mozart,
about 1760, not given ; by Sacchini, Rome,
1762 ; by Pietro Guglielmi, Naples, 1766 ;
by Paisiello, Rome, 1773 ; by Prati, Flor-
ence, 1785 ; hj Giovanni Ausani, ib., 1791 ;
by Gyrowetz, his first opera, London, 1793;
by Friedrich Heinrich Himmel, Naples, Jan.
12, 1795, Berlin, 1797 ; by Cimarosa, Na-
ples and Vienna, 1799 ; La morte di Semi-
ramide, by Giovanni Battista Borghi, text by
Sografi, Milan, Feb. 9, 1791 ; by Sebastiauo
Nasohni, Rome, 1792 ; and by Portogallo,
Lisbon, 1802. Ai-sace e Semiramide, by
Greece, text by Eossi, Venice, 1804 ; and
Semiramis, a pasticcio by Handel, London,
1733. In French : by Audre Destouches,
text by Roy, Acadumie Royale de Musique,
Paris, Dec. 4, 1718 ; by Catel, text by Desri-
aux, after Voltau-e, Opera, Paris, May 3,
1802. In German : Semiramis, by Strungk,
Hamburg, 1683 ; and by Josef Emmert,
Wiirzbui-g, about 1760. Iu Spanish : Semi-
ramis, by Manuel Garcia, Mexico, 1828 ; and
music to Voltau-e 's play by Agricola, Berlin,
about 1770.— Edwards, Rossini, 233 ; Es-
cudier, 164 ; Hanslick, Moderne Oper, 113 ;
Queens of Song, ii. 15, 142, 412; Har-
mouicou (1823), 125 ; (1824), 162, 167 ;
Revue et gaz. mus. de Paris (1856), 73 ;
Lajarte, ii. 228 ; Allgera. mus. Zeitg., xxv.
234, 651 ; xxvi. 509 ; xxvii. 657 ; xxviii. 85 ;
Clement et Larousse, 616 ; Athenaeum
(1878), ii. 90; Upton, Standard Operas,
198.
SEmRAmDE RICONOSCIUTA, Ital-
ian opera iu three acts, text by Metastasio,
music by Gluck, first represented at a birth-
SENAILLi;
day fute of Maria Theresa, Vienna, May 14,
1748. The scene of the opera is Babylon.
Original cast :
Semiramide (A.) Vittoria Tesi.
Mirteo (T.) Angelo Amorevoli.
Ircano (S.) Ventura Eoccobetti.
Scitalce (S.) Angelo Monticelli.
Tamu'i (A.) Girolama Giacometti.
Sibari (S.) Marianna Galeotti.
Other operas on Metastasio's text : by Le-
onai'do da Vinci, Kome, 1723 ; by Porpora,
ib., 1729, Brescia, 1735 ; by Bernardo Ali-
prandi, Munich, 1740 ; by Johann Adam
Hasse, Dresden, Jan. 11, 1747 ; by Jommel-
li, Piacenza, 1752 ; by Cocchi, Venice, 1753,
London, 1771 ; by Maufredini, Moscow,
1760 ; by Bernasconi, Munich, Jan. 7, 17G5 ;
by Traetta, Parma, 1765 ; by Sarti, Venice,
1768 ; by Salieri, Stockholm and Munich,
1782 ; by Michele Mortellari, Milan, 1785 ;
and by Meyerbeer, Turin, 1819. — Marx,
Gluck und die Oper, i. 158 ; Reissmauu,
Gluck, 41 ; Schmid, Bitter von Gluck,
40 ; Bitter, Eeform der Oper durch Gluck,
197.
SEMPEE GEIDI. See II Barhiere di Si-
■viglia.
SENAILL]^, JEAN BAPTISTE, born in
Paris, Nov. 23, 1687, died there, April 29,
1730. Virtuoso on the violin, pupil of
Queversin and of Baptiste Anet ; was soon
considered the best violinist in France, but
went to Italy to study. He played in the
theatre orchestra at Modena for one season,
and in 1719 returned to Paris, where he
entered the private orchestra of the Due
d'Orleans. He published five books of son-
atas for violin. — Fetis.
SENFL (Senffl, Senfel), LUDWIG, born
at Basel-Augst, near Basel, about the end
of the 15th century, died in Munich about
1555. ContraiKintist, pupil of Heinrich
Isaak in Vienna, where he was choir boy in
the court ehai^el of Maximilian I ; was
Kapellmeister at the Bavarian court in Mu-
nich about 1525-50. He was probably the
greatest German composer of the 16th cen-
tury, and his music was much valued by
Luther, who had his motets sung in prefer-
ence to those of
any other master.
Works : 5 Saluta-
tiones Domini nos-
tri Hiesu Christi
(Nuremberg, 1526) ;
Magnificat 8 tono-
rum (ib., 1537) ;
Melodise in o d a s
Horatii et quaxlam
alia carmiimm ge-
nera (ib., 1557) ;
with Paulus Hofhaimer, Harmonise poetictc
(ib., 1539). Among collections containing
his songs are, Liber selectarum cantionum
(Augsburg, 1520) ; Heinrich Finck's SchOno
auserlesene Lieder (Nuremberg, 1536) ;
Salbliuger's Concentus 4-8 voc. (ib., 1545) ;
Ott's Liedersammlung von 1554 (ib.) ; G.
Forster's Ausbund schOner deutscher Lied-
lein (ib., 1556-65) ; G. Ehaw's Officia pas-
chalia (Wittenberg, 1539) ; Symphonise
jucundae (1542) ; Bicinia (1545) ; Novum
opus musicum (Nuremberg, 1538) ; Montan-
Neuber's Diphona amoena et florida (ib.,
1549) ; Kriestein's Selectissima) nee non
familiarissimai cantiones (1540) ; Petrejus'
Grosse Psalmensammluug (Nuremberg,
1538-42) ; Montau-Neuber's Psalmensamm-
lung (1553) ; Magnum opus musicum, by
the same. In manuscrii^t are 7 masses, mo-
tets, hymns, sequences ; Lieder. — Mendel ;
Eiemann ; Fotis ; Schilling ; Gerber ; Wiu-
terfeld, Kirchengesang, i. 168 ; Dommer,
Handbuch, 185 ; Ambros, Gesch., iii. 404 ;
Reissmann, ii. 62.
SENNACHEEIB, oratorio by George
Benjamin Arnold, first performed at Glou-
cester (England) Festival, Sept. 5, 1883.
The composer conducted, and the solos
were sung by Mile Avigliana, Mr. Newth,
and Mr. F. King.— Athenseum (1883), ii.
314.
SE NON
SE NON m VUOL AjMAK, soprano aria
of Asteria, in E minor, with accompaniment
of two oboes and strings complete, in Han-
del's Tamerlano, Act I., Scene 5. Published
also separately, with the accompaniment
filled out by Robert Franz (Leij^sic, Kist-
ner).
SENSATIONS DOUCES, M^LANCO-
LIQUES ET DOULOUREUSES (Sweet,
melancholy, and sad sensations), sis songs
with accompaniment for pianoforte or harj),
text bj' G. L., music by Spontini, wi-itten in
1805-6. L and 11. Sentiments d'amour ;
in. and rV. Regrets d' absence ; V. and
VI. Plaintes sur la tombe. Published by
Spontini (Paris).
SERBAMI OGNOR SI FIDO ? See Se-
mir amide.
SERING, FRIEDRICH WILHELM,
born at Farsteuwalde, Brandenburg, Prus-
sia, Nov. 2G, 1822, still living, 1890. Vocal
composer, studied in Berlin, became in
1851 instructor in the seminaries at KOpe-
nick and Franzburg, in 1855 music director
of the seminary at Barby, and in 1871 prin-
cipal instructor in the seminary at Stras-
burg, where he founded a German singing
society. Works : Christi Einzug in Jeru-
salem, oratorio ; Psalm Issii., for mixed
chorus ; Hymn, for do. ; Herr, leite mich,
motet for do. ; Choruses for male voices,
and songs. — Ledebur, 5i7 ; Mendel.
SERMENT, LE, ou les faux monnayeurs
(The Oath, or the Counterfeiters), French
opera in three acts, text by Scribe and
Mazores, music by Auber, first represented
at the Academic Royale de Musique, Paris,
Oct. 1, 1832. The story is of an innkeeper
in a small village, who prefers a brigand for
son-in-law to a young farmer, who is loved
by his daughter, and who is united to her
at the end. The opera w-as not a success.
One air, " Des I'enfance les mumes chaines,"
was a triumph for Mme Cinti-Damoreau,
and was long a great song with young
artists. Original cast : Marie, Mme Cinti-
Damoreau ; Edmond, M. Adolphe Nourrit ; ;
Le capitaiue Jean, M. Dabadie ; Maitre |
Audio], M. Derivis. The score was pub-
lished by Troupeuas (Paris). — Clement et
Larousse, G19.
SERMENT D' AMOUR, LE (Love's
Vow), op(jra-comique, in three acts, text
by Maurice Ordouueau, music by Edmond
Audran, first rej)resented at the Theatre
des Nouveautes, Paris, in February, 1886.
The music is written in imitation of Offen-
bach and Lecocq.
SERjnSY, CLAUDE DE, French com-
poser of the 16th century, generally called
Claudin in the collections of that time.
Very little is known of his history, although
lie occupied a prominent position. From
the exchequer kept in the reign of Francois
I. it is apjiarent that he was sous-maitre
and first singer of the Royal Chapel (1532).
After the death of Francois I. he became
maitre de chapelle to Henri II. (1547), and
after that king's violent death in 1559 no
more mention is found of Sermisy. He is
supijosed to have died about 1560. His
comijositions had been printed in collec-
tions with those of other celebrated mu-
sicians as early as 1528. Nicolas Duchemin
printed a collection of his masses, in 1568,
and styles him maitre de chapelle to the
king, and canon of the Sainte-Cliapelle, so
that it is possible that he may have lived as
late as that date. His chansons and motets
aijpear in the French collections of Attain-
gnant (Paris, 1528-34), in Berg und Neu-
ber's Thesaurus musicus (Nui-emberg, 1564),
Petreius' Modulationes (ib., 1538), Kries-
stein'sSelectissimae . . . Can tiones (Augs-
burg, 1540), and Cantiones (ib., 1545),
Rhaw's Bicinia gallica (Wittenberg, 1545),
Gardano's Canzoni francesi (Venice, 1564),
and Motetti del frutto (ib., 1549). His
separately printed works seem to have been
only Missa) tres quatuor vocum (Paris, 1583).
— Fetis ; Mendel ; Schilling ; Gerber.
SEROF. See Syerof.
SERPETTE, (HENRI CHARLES AN-
TOINE) GASTON, born at Nantes, Nov. 4,
1846, still living, 1890. Dramatic com-
poser, pupil at the Conservatoire of Am-
364
SEREAO
broise Thomas. After competing
cessfully for two years for the
Rome, he fiually won
it in 1871 for his can-
tata, Jeanne d'Arc,
which was given at
the Opera in the
same year. This
work gave promise
of something better,
but his early success
in light opura bouffe
has kept him at work
in the same popular vein. "Works : La
brauche cassoe, three acts, Bouffes Parisiens,
Jan. 23, ISTi ; Le manoir de Pic-Tordu, ib.,
1875 ; Le moulin du Vert-Galant, ib., 187G ;
La petite muette, ib., 1877 ; La nuit de Saint-
Germain, Brussels, 1880 ; Madame le Dia-
ble, Paris, 1882 ; Fanfreluche, Le chateau de
Tire-Larigot, ib., 188i ; Le chaperon rouge,
ib., 1885 ; Adam et five, ib., 188G ; La
gamine de Paris, La Lycaenne, ib., 1887.
— Fetis, Supplement, ii. 514 ; Larousse,
Supplement, 1214.
SERRAO, PAOLO, born at Filadelfia,
Calabria, in 1830, still living, 1890. Dra-
matic and church composer, pupil at the
Conservatorio in Naples, of Francesco Lanza
on the pianoforte, of Gennaro Parisi in
harmony, and of Carlo Conti and Merca-
daute in composition. At the outbreak of
the revolution in 1848, he enlisted as a vol-
unteer in the national guard of Naples, and
after the defeat of the insurrection had to
keep in hiding several months, before he
could re-enter the Conservatorio to continue
his studies, which were finished in 1852. He
is professor of counterpoint at the Conserva-
torio, and maestro di cappella at the Teatro
San Carlo. Works — Operas : L' impostore
(1852) ; Dionora de' Bardi ; Giambattista
Pergolesi, Naples, 1857 ; La duchessa di
Guisa, ib., 1865 ; II fighuol prodigo, ib.,
18G8 ; Gli Ortonesi in Scio, oratorio, Ortona,
1859 ; Hymn to Vittorio Emmauuele H., for
2 choruses and orchestra, Naples, 1871 ;
Mass for 4 voices and orchestra ; Magnificat,
do. ; Te Deum, do. ; Le tre ore d' agonia,
do. ; Motets, with organ or orchestra ; Re-
quiem for Mercadante's funeral ; Omaggio a
Mercadante, funeral symphony ; Overture
for orchestra ; Morceaux de genre and fanta-
sias for pianoforte ; Songs. — Fetis, Sup-
plement, ii. 515 ; Mendel, Ergiinz., 435.
SERSE (Xerxes), Italian opera in three
acts, text from an old drama, music by
Handel, first represented at the King's
Theatre, Loudon, April 15, 1738. The
autograph, in Buckingham Palace, is dated
at the beginning of the first act, 25 (or 26)
Dec, 1727, at the end of the second act,
Jan. 25, 1738; and at the end of the opera,
Feb. 6, 1738. It contains several fine num-
bers, and Handel's first attempts at comic
scenes. Characters represented : Serse,
king of Persia (S.) ; Arsamene, his brother,
and lover of Romilda (S.) ; Amastre, Prin-
cess, loved by Serse (A.) ; Romilda, daughter
of Ai'iodate (S.) ; Atalauta, daughter of
Ai'iodate (S.) ; Ariodate, captain of the
army (B.) ; and Elviro, servant to Arsa-
mene (B.). The piart of Serse was sung by
Caffarelli (Gaetano Majorano) ; Romilda,
by La Francesina (Mme Elizabeth Duparc) ;
and Ai-iodate, by Montaguana. The opera
was first published by "Walsh (Loudon).
Hiindelgesellschaft, Breitkopf & Hilrtel
(Leipsic, 1884). Other operas on this sub-
ject in Italian, by Francesco Cavalli, text by
Miuato, Venice, 1654, Bologna, 1657, Paris,
1660 ; L' iucoronazione di Serse by Tosi,
Venice, 1691 ; Serse, by Giovanni Battista
Bononeini, Rome, 1694 ; II ritorno di Serse
by Marcos Portugal, Florence and Bologna,
1795 ; in London as Aa-gemide e Serse, Jan.
25, 1806 ; and Der miichtige Monarch der
Perser, Xerxes in Abydos, by FOrtsch, text
by Postel from the Italian, Hamburg, 1689.
— Chrysander, Handel, ii. 448 ; Burney, iv.
423 ; do.. Commemoration, 24 ; Mainwar-
ing, Memoirs, 125.
SERVAIS, ADRIEN FRANCOIS, born
at Hal, near Brussels, June 6, 1807, died
there, Nov. 26, 1866. Virtuoso on the vio-
loncello, first instructed by his father, an
865
SERVA
able musician, afterwards by Van der
Plancken, a violinist, and on the violon-
cello pupil of Platel at
the Brussels Conserva-
toire. He rose rajjidly
to the front rank, was
for three years a mem-
ber of the theatre or-
chestra, and on the ad-
vice of Fetis went to
Paris, to make his de-
but as a concert player.
Having won a brilliant success, he visited
England in 1835, played at the Philhar-
monic, returned home to study another year,
and during that period formed the style by
which he was afterwards known. He went
again to Paris in 1836, and for the next
twelve years travelled in the principal
countries of Europe, and even to Siberia.
He made three sejjarate journeys to Rus-
sia, and married at SL Petersburg in 1842.
He was appointed professor at the Con-
servatoire of Brussels in 1848, and has
formed many distinguished jjujjils. Vio-
loncelhst to the king ; Officer of the order
of Leopold. Works : Three concertos ; 16
fantasias for violoncello and orchestra ; 6
etudes for violoncello and pianoforte (with
Gregoire) ; 14 duos for do. ; 3 duets for
violin and ^ioloncello (with Luonai'd) ; Duet
for do. (with Vieuxtemps). — Futis ; do..
Supplement, ii. 515 ; Kiemann ; Mendel.
SERVA P.YDRONA, LA (The Servant-
Mistress), Italian intermezzo in two acts, text
by Jacopo Atigiolo NelU, music by Pergo-
lesi, first rej)resented at the Teati-o San
Bartolomeo, Naples, in 1731. This, a mas-
terpiece which still retains its charm, served
as the foundation of eveiy Italian comic op-
era written until the time of Rossini.
Much of its success is due to the well- writ-
ten and humorous libretto, in which there
are but three persons, Uberto, an old bach-
elor, who grumbles at and afterwards mai*-
ries his servant-maid, Serpina, and her fel-
low-servant, Vespone, a mute figure. The
opera is little more than a duet between
Serpina and Uberto, the former provoking
the testy impatience of her master, and
finally bewitching him by her gi-aceful non-
chalance and charm. The orchestra is
merely a string quartet. The Serva Pad-
rona was first given in Paris at the Thea-
tre Italien, Oct. 4, 1746 ; at the Academie
Royale de Musique, with an overture by
Paganelli, Aug. 1, 1752, and with Signor
Manelli as Uberto, Signora Anna Tonelli
as Serpina, and Signor Cossini as Ves-
pone. A French translation by Baurans
was represented at the Theatre Italien,
Paris, Aug. 14, 1754, sung by Rochard and
Mme Favart. It was first given in Dresden
as a Zwischeuspiel in Hasse's Demetrio,
Feb. 8, 1740 ; in London at the Haymar-
ket, in 1759 ; in Stockholm at court as
Pigan Husbondfru, translation by R. En-
vallsohn ; in Bremen, as Das Dienstraiidchen
des Geschiifts, March 19, 1810 ; in Ber-
lin, as Die gebieterische Magd, arranged
for the stage by Herklots, and sung by
Herr Gern and Mme Euuike. The Serva
padrona was revived at the Opera Comique,
Paris, in April, 1889. The original score
was published by Lachevardiere (Paris) ;
and an edition in French was published by
Leduc. The score was revised by Gevaert
in 1862. Other Italian operas of the same
title : by Geronimo Abos, Naples, about
1744 ; by Giovanni Paisiello, Naples, 17G9 ;
by Eugeuio Tancioui, Turin, 1869 ; and II
servo padrone, by Josef Schuster, text by
Mazzola, Dresden, 1792 ; by Niccolo Piccinni,
Venice, 1793 ; Stefano Pavesi, Bologna,
1809 ; and by Pietro Generali, Turin, 1814.
— Mars, Gluck und die Oper, i. 84 ; Wal-
dersee, Sammlung musikalischer Vortrilge,
ii. 150, 159 ; Neue Zeitschr., Ivii. 211, 223,
231 ; Iviii. 119, 131 ; AUgem. mus. Zeitg.,
iii. 822 ; Grove.
SERVEL, EDMOND, born at Clermont-
de-l'Herault, France, Jan. 4, 1829, died at
Montpellier, in 1881. Dramatic composer,
became first violinist in the theatre orches-
tra at Montpelher when fifteen, entered a
regiment three years after, and became
3G6
SERVIO
bandmaster, and on leaving the service,
settled in his native place. Works : Le
camp de Maastricht ; Le roman d'une veuve ;
Les Lucioles ; Simonne ; Une aventure sous
la ligue, all given at Moutpellier. Several
cantatas ; Fantasias for pianoforte, or vio-
lin ; Romances. — Fetis, Su^splement, ii.
51G.
SERVIO TULLIO, Italian opera, test by
Ventura Terzago, music by Steftani, first
rej)reseuted at the court of Munich in Jan-
uary, 1G8G, during the wedding festivities
of the Elector Maximilian Emanuel and the
Archduchess Maria Antouia, daughter of
Leopold I. of Austria. The ballets, text by
Rodier, music by Dardespiu, were danced
by twelve lords and ladies of the court in
brilliant costumes from Paris. — Grove, iii.
694.
SERWACZYNSKI, STANISLAW, born
at Lublin, Poland, in 1781, died at Lem-
berg, Galicia, Nov. 30, 1859. Virtuoso on
the violin, first instructed by his father,
who was choir director a't the cathedral of
Lublin, then by Count Guadagni, lieuten-
ant-colonel in the Austrian huzzars, who was
an excellent violinist. He then began to
travel as a virtuoso, visited several cities of
Poland, and Austria, and in 1832 Venice,
where he was comjjared even to Paganini.
In Vienna he was for some time first violin-
ist at the Theater an der Wien, became
Kapellmeister of the theatre at Pesth in
1837, and in 1840 at Lemberg, where he
assumed also the direction of the choir in
the Dominican church. Henri Wieniawski
was among his pupils. Works : Kulig Kra-
kowski, divertissement ; Music to the Polish
farce Thadeusz Chwalibog ; Introduction et
variations brillantes, on a theme by Rossini,
for violin and orchestra ; do. on a Hungar-
ian theme, with quintet ; Polonaise bril-
laute, do. ; Polonaises and Kolomyjky, for
violin and pianoforte. — Sowinski ; Wurz-
bach ; Mendel.
SESOSTRATE, Italian opera, by Johann
Adam Hasse, first represented in Naples in
1726. The success of this work was enor-
mous, and established the fame of its com-
poser to such a degree that all the theatres
of Italy wished to have him at the head of
their orchestras.
SE TECO VIVE IL COR, duet in A ma-
jor, for soprano and alto (Radamisto and
Zenobia), with accompianimeut of 2 oboes
and strings complete, in Handel's Radamisto,
Act n.. Scene 12. Published also separ-
ately, with additional accompaniments by
Robert Franz (Leipsic, Kistner).
SE TUTTI I MALI MEI, aria for so-
prano with orchestra, in E-flat, text from
Metastasio's Demo/oonte, music by Mozart,
composed in Rome in 1770. Breitkopf &
Hiirtel, Mozart Werke, Serie vi., No. 8.
— KOchel, Verzeichniss, No. 83.
SEUFZER, THRANEN, soprano aria in
C minor, with accompaniment of oboe, or-
gan, and continuo, in Johann Sebastian
Bach's cantata, Teh hatte viel Bekiimmer-
niss.
SE UN' ISTANTE, ALL' OFFERTA
D' UN SOGLIO. See Elisa e Claudio.
SEVEN LAST WORDS. See Sieben
letzten Worte am Kreuz.
SE VUOL BALLARE, twelve variations
for the jjianoforte and violin, in F, from
the theme in Figaro's Hochzeit (Le nozze di
Figaro), by Beethoven, dedicated to Eleo-
nore von Breuning, and published by Ar-
taria & Co. (Vienna, 1793). Breitkopf &
Hiirtel, Beethoven Werke, Serie xii.. No.
12. — Thayer, Verzeichniss, No. 30.
SEYDELMANN, FRANZ, born in Dres-
den, Oct. 8, 1748, died there, Oct. 23, 1806.
Dramatic and church composer, sou and
pupil of a member of the Dresden court or-
chestra, and j)upil of Kapellmeister Webei",
and Naumauu. In company with the latter
and Schuster, he went to Italy in 1765, at
government expense ; returned in 1770 to
Dresden, where he was made court church
composer, and conducted the music of the
Hofkirche alternately with Schiirer, Nau-
mann, and Schuster ; with the latter, he
was also accompanist at the Italian opera,
and in 1787 was appointed Kapellmeister.
sm
SEYFERT
He was an industrious composer, but most
of his works remained in manuscript.
Works — Operas : Der lahme Husai-, 1775 ;
Arsene, 1779 ; II capriccio corretto, 1783 ;
La villanella di Jlisuia, 1784 ; II mostro,
ossia da gratitudiue amore, 178G ; II Turco
in Italia, 1788 ; Amor per oro, 1790 ; La
serva scaltra, 1792. Oratorios : La Betulia
liberata, 1774 ; Gioas, re di Giuda, 1776 ;
La morte d' Abele, 1801 ; 36 masses ; 37
offertories ; 15 vespers ; 12 litanies ; 40
psalms ; 1 Requiem ; 2 hymns, and mucli
other church music ; 2 cantatas, H primo
amore, and Circe ; Songs ; Vocal duets ; So-
natas for pianoforte and other instruments,
and other music, nearly all preserved in the
roj'al music collections of Dresden. — Men-
del ; Riemann ; Gerber ; Schilling ; Fetis.
SEYFERT, JOHANN CASPAR, born at
Augsburg in 1697, died there, May 26,
1767. Violinist and lute playei', first in-
structed by music director Kriluter, then in
Dresden pupil of Pisendel on the violin and
in composition. After his return to Augs-
bui-g, he succeeded in 1743 Kriluter as can-
tor and music director. He composed sev-
eral oratorios, besides other excellent church
music, symphonies, and chamber music.
— Fetis ; Gerber ; Schilling.
SEYFERT, J0H.1XN GOTTFRIED,
bom at Augsburg in 1731, died there,
Dec. 12, 1772. Son and pupil of the pre-
ceding, and at Bayreuth pupU of Leit-
dorfer ; he then went to Berlin, where the
hearing of Graun's works and his inter-
course with Emanuel Bach formed his style,
and in Vienna studied under "Wagenseil.
On his father's death he was summoned to
Augsburg, to succeed him. Works : Pas-
sious-Oratorium ; Oster-Oratorium ; Der
Sterbetag Jesu, cantata ; Der von Gott
Deutschland geschenkte Friede, do. ; 21
symphonies for orchestra ; Concertos for
violin ; 6 trios for strings ; 6 sonatas for
pianoforte, with violin and violoncello.
— Ft'tis ; Gerber ; Schilling.
SEYFFARTH, JOH.\NN GABRIEL,
born at Reisdorf, near Weimar, in 1711,
died in Berlin, April 9, 1796. Violinist,
pupil at Zerbst of Haeck on the violin, and
of Fasch, the elder, in composition, became
violinist in the orchestra of Prince Heinrich
of Prussia, at Rheiusberg, and afterwards
chamber musician in the opera orchestra
of Friedrich H. He was entrusted with
the comjjosition of the ballet music, and be-
sides that wrote symphonies for orchestra,
concertos, and double concertos for violin,
quartets, trios, and soli, for do. — Futis ;
Gerber ; Schilling.
SEYFRIED, IGNAZ XAVER, Ritter
VON, born in Vienna, Aug. 15, 1776, died
there, Aug. 27, 1841. Dramatic composer
and writer on music, pupil of !Mozart and
Kozeluch on the ijiauoforte ; after his father
had consented to his giving up law for mu-
sic, he studied composition under Albrechts-
berger and Winter. He became Kapell-
meister at Schikaneder's Theater in 1797,
and continued to hold the same position in
the new Theater an der Wien until 1825,
when he devoted himself to teaching, com-
posing, and writing upon music. He was
a friend of Beethoven and a member of
many academies and musical societies. His
music, of which he wrote much, lacks origi-
nality. His pupils were numerous, and ho
wrote for several musical journals. Works
— Operas : Der LOwenbrunnen, 1797 ; Der
FeenkOuig, 1798 ; Der Wundermann am
Rheiufall, 1799 ; Die Druiden, 1801 ; Cyras,
1803 ; Die Ehemiiuner nach der Mode,
1804 ; Die Samuiterinuen, 1806 ; Alamar
der Maure, Idas und Uarpissa, 1807 ; Bertha
von Werdenberg, 1809 ; Saul, KOnig in
Israel, a Biblical drama, Die rothe und die
weisse Rose, 1810 ; Er hiilt wahrhaftig Wort,
1815 ; Abraham, 1817, Die Makkabiier,
1818 ; Noah, 1819, BibHcal dramas ; Oberou,
Kijnig der Elfen, ballet, 1820 ; Ahasver, a
dramatic legend (the music arranged from
Mozart's chamber compositions), 1823. He
wrote 26 operas, 20 operettas, 5 biblical
dramas, 24 melodramas, more than 200
separate pieces for operas and plays ; and
his church music includes 13 masses, 4
^y ij-isrvAttj
>, LCNVX
OUNDATlaw»
SEY
Eequiems, 17 graduals, and 18 ofifertories.
He comjjosed also cantatas, choruses, and
much other vocal and instrumental music,
besides arranging many pieces by other
composers. He edited Albrechtsberger's
complete works, Preindl's theoretical writ-
ings, and Beethoven's studies in counter-
point. — Wurzbach ; Schilling ; Mendel ;
Fetis ; Neuer N. Nekrol. der D., xix.
804.
SEY GETREU BIS IN DEN TOD (Be
thou faithful unto Death), tenor aria in
Mendelssohn's oratorio, Paulus (St. Paul),
Part H.
SFOLGORO DIVINO EAGGIO. See
Poliuto.
SGAMBATI, GIOVANNI, born in Rome,
May 28, 1843, still living, 1890. Pianist,
pupil of Barberi, Natalucci, and Aldega ;
from the age of sis often played in pub-
lic, sang contralto solos in church, and
conducted small orchestras. He was on the
point of going to Germany, to study his
favorite composers, when Liszt's arrival in
Rome gave him the ojiportunity to study
under that gi-eat master. He then began
giving orchestral concerts, producing the
works of the German composers, many of
which were then heard for the first time in
Rome. In 1869 he visited Germany with
Liszt, and during this journey heard Wag-
ner's music for the first time, in Munich.
He founded a free pianoforte class in the
Accademia di Sta. Ceciha, Rome, in 1869,
became professor of pianoforte and, in 1877,
one of the directors. In 1882 he made
his first visit to England, performing hia
own works at the Philharmonic, and his
symphony at the Crystal Palace concerts.
Order of the Crown of Italy, 1881. In 1886
he was elected a coiTesponding member of
the French Institut, to take the place of
Liszt. In 1887 he conducted his second
symphony and played his first quintet at
the Cologne Tonkiinstler-Versammlung.
Works : Album of 5 songs, op. 1 ; Album of
10 songs, op. 2 ; Notturno for pianoforte,
op. 3 ; Quintet for pianoforte and strings.
in F minor, oj). 4 ; Quintet, do., in G minor,
op. 5 ; Prelude and fugue in E minor, op.
6. The old hymn Ut quteant lasis is intro-
duced in this ; 2 Etudes for pianoforte, op.
10 ; Fogli volanti, op. 12 ; Gavotte, op. 14 ;
Concerto in G minor for pianoforte, op. 15 ;
Symphony in D, op. 16, 1881 ; 2d Sym-
phony, 1887 ; Overture for full orchestra to
Cassa's Cola di Rienzi (1867) ; Festival over-
ture ; Quartet for strings, in D-flat ; Suite
for pianoforte, op. 21. — Grove; Fetis, Sup-
plement, ii. 516 ; Riemann.
SHAKESPEARE, WILLIAM, born at
Croydon, June 16, 1849, still living, 1890.
Pianist and tenor singer, became organist,
when only thirteen, of the church where
he had been a choir-boy. In 1862-65 he
studied harmony and counterpoint un-
der Molique ; and after that master's
death, having gained the King's Scholar-
ship at the Royal Academy of Music, he
continued his studies there for five years
under Sir W. Sterndale Bennett. While
there he produced and performed, at the
students' concerts, a pianoforte sonata,
a pianoforte trio, a caprice for pianoforte
and orchestra, and a pianoforte concerto,
and attracted notice as a solo player.
Elected Mendelssohn Scholar in 1871,
for composition and f)ianoforte playing,
he entered the Conservatorium at Leip-
sic, and studied under Carl Reinecke.
Thence he was sent by the Mendelssohn
Scholarship Committee, to study singing
under Lamperti in Milan, in 1872-75. In
1875 he returned to England, entered on
the career of a concert and oratorio singer,
and was appointed in 1878 professor of
singing, and in 1880 conductor of concerts,
at the Royal Academy of Music. His com-
positions show the influence of Schumann
and Bennett. Works : Symphony for or-
chestra, Leipsic, Gewandhaus, 1872 ; Over-
ture, Ciystal Palace, 1874 ; Concerto for
pianoforte and orchestra, Brighton Fes-
tival, 1879 ; Capriccio for do. ; Trio for
pianoforte and strings ; 2 quartets for
strings ; etc. — Grove ; Riemann
369
SHALL
SHALL I IN MAMRES FERTILE
PLAINS, bass aria of Caleb, in E-flat major,
■with accompaniment of strings complete,
leading immediately to the chorus, "For all
these mercies we will sing," in Handel's
Joshua, Act m., Scene 1.
SHAW, JAMES, born at Leeds, England,
in 18^2, stm living, 1890. Organist, pupil
of R. Burton ; organist of St. John's chapel,
Edinburgh, afterwards of St. Paul's, and in
1862-G3 conductor there of the Choral
Union ; later, organist and choii-master of
Parish church, Hampstead ; and of the
Collegiate chapel of St. John, Clapham.
Works : 2 Evening services ; Communion
service ; Anthems ; Pianoforte music, and
songs.
SHELLEY, HARRY ROWE, bom in
New Haven, Connecticut, June 8, 1858,
still living, 1890. Organist, first instructed
by Gustav J. Stoeckel, Yale College, then
for seven years pupil of Dudley Buck in
organ and composition. He was organist
of the First Church, New Haven, in 1878-
81, of the Church of the Pilgrims, Brooklyn,
1881-84, of Plymouth Church, ib., 1884,
until death of Henry Ward Beecher, and
since 1887 of the Chui-ch of the Pilgi-ims.
He visited Europe in 1881. Works : Leila,
opera (MS.) ; The Crusaders, symphonic
poem ; Francesca da Rimini, dramatic over-
ture ; Dances and suites for orchestra ;
Pianoforte pieces ; Organ music ; Songs,
part-songs, church anthems, etc. He has
published also The Modern Organist, a
collection from works of modern organists,
with original arrangements (Schu-mer, New
York).
SH:fiRIF, LE (The Sheriff), opera-co-
mique in three acts, text by Scribe, music
by Haluvy, first represented at the Opera
Comique, Paris, Sept. 2, 1839. The theme
is taken from one of Balzac's novels. The
Sheriff Turner, who jjrotects others, cannot
guard his own house in London. Every
day some article of value disappears. He
suspects the young sailor Edgar, who lives
in an apartment below, and who is be-
trothed to bis daughter. She defends her
lover, and, at last, it is discovered that the
robber is the sheriff himself, who is a
somnambulist. The opera was much ad-
mired at the time of its representation.
Mme Damoreau, Mile Rossi, Roger, Moreau-
Sainti, and Henri appeared in the original
cast. — Clement et Larousse, 622 ; Allgem.
mus. Zeitg., sli. 824.
SHERWOOD, EDGAR HARMON, born
r7>.^ at Lyons, New
York, Jan. 29, 1845,
still living, 1890.
Pianist, mostly self-
taught ; began in
18G1 to study med-
icine, but enlisted
in 1862 in an in-
fantry regiment
and served imtil
the close of the
civil war, when he chose music as a profes-
sion. After living successively in Dans-
ville, New York, and Chicago, he settled in
Rochester as a pianist and teacher. His
compositions number more than one hun-
dred. Works : The Nun and the Fountain,
descriptive fantasia ; Grand minuet in A-
flat ; 2 polonaises in B-flat, and A minor ;
Footsteps in the Snow ; Flight of the Star-
lings, mazurka ; Souvenir de Montmoreuci,
and other pianoforte pieces ; Songs, and
part-songs.
SHERWOOD, WILLLA.5I H.VLL, born
at Lyons, New
York, Jan. 31,
1854, still living,
1890. Pianist, son
and pupil of L. H.
Sherwood (princi-
l^al of the Lyons
Musical Academy) ;
appeared in con-
certs when only ten
years old. In 1871,
after brief instruc-
tion from William Mason, he went to Ber-
lin, where he studied under Theodor Kul-
870
SHIELD
lak, Carl Friedricli Weitzmaun, and Rich-
ard Wiierst ; at Stuttgart for six months
under C. Doppler, and later iu Berlin
under Deppe, and in Leipsic under Rich-
ter. During his five years in Europe he
played successfully at concerts in Berlin,
Hamburg, Weimar, and other cities. In
1876 he returned to the United States,
played in Philadelphia at the Centennial
Exhibition, and in New York, Boston, Chi-
cago, and other cities, and in the autumn
of that year settled in Boston, where he be-
came connected with the New England Con-
servatory of Music. Later he established
himself in New York as a teacher, devoting
himself principally to professional musi-
cians. In 1889 he removed to Chicago to
assume the direction of the pianoforte de-
jjartmeut of the Conservatory of Music
there. Mr. Sherwood has played and lec-
tured in most of the large cities of the
United States, and has done much for the
encouragement of American music. He is
a member of the American College of Mu-
sicians, and one of the examiners in the
pianoforte department. In 1887 he mar-
ried second Miss Estelle F. Abrams, of Mo-
nongahela City, Penn., also a j)ianist and
one of his best pupils. Works : Pianoforte
pieces, op. 1, 2, 3, 4 (Behr, Berlin) ; Suite
of five pieces, op. 5 (Schirmer, New York) ;
2 Mazurkas, op. G (Ditson, Boston) ; Scher-
zo in E major, ojj. 7 (id.) ; Romanza ap-
l^assionata, op. 8 ; Scherzo caprice, op. 9 ;
Gipsy Dance ; The Coy Maiden ; Allegro
patetico, and other pianoforte pieces.
SHIELD, WILLIAM, born at Shallwell,
Durham, in 17-18, died in London, Jan. 25,
1829. Dramatic composer, son and pupil
of a singing master, on whose death he was
apprenticed to a boat - builder at North
Shields, but was allowed by his employer to
pursue his musical studies ; he studied
thorough-bass under Charles Avison, and
occasionally played the violin at music meet-
ings. When he made music his profession,
he led the subscription concerts at New-
castle, afterwards removed to Scarborough,
and became leader at the theatre and at con-
certs. He was engaged as second violin at
the Italian Opera
in London in 1772,
and promoted in
1773 to the post of
principal viola,
which he held eigh-
teen years. He
produced his first
dramatic work. The
Flitch of Bacon, in
1778, and soon
after was engaged as composer to Covent
Garden Theatre, a position he held until
1791, when he resigned to visit France and
Italy. On his return in 1792, he was re-
engaged at Covent Garden till 1797, and
in 1807 gave up all connection with the
theatre. In 1817 he was appointed Master
of the King's Music. He was the most
original English composer since Purcell.
Works — Operas, music to dramas, etc. :
Lord Mayor's Day, 1782 ; The Poor Sol-
dier, Rosina, Harlequin, Friar Bacon, 1783 ;
Robin Hood, The Noble Peasant, Fontaine-
bleau, and the Magic Cavern, 1781 ; Love
in a Camf), The Nunnery, The Choleric Fa-
thers, Omai, 1785 ; Richard Coeur de Lion,
The Enchanted Castle, 1786 ; The Farmer,
1787; The Highland Reel, Marian, The
Prophet, Aladdin, 1788 ; The Crusade, The
Picture of Paris, 1790; The Woodman,
Oscar and Malvina (with William Reeve),
1791 ; Hartford Bridge, Harlequin's Mur
seum, 1792 ; The Deaf Lover, Sprigs of
Laurel, and The Midnight Wanderers,
1793 ; Arrived at Portsmouth, Netley Ab-
bey, and the Travellers in Switzerland,
1791 ; The Mysteries of the Castle, 1795 ;
Abroad and at Home, Lock and Key, 1796 ;
The Italian Villagers, Wicklow Gold Mines,
1797 ; The Farmer, 1798 ; Two Faces un-
der a Hood, 1807 ; Collection of Favourite
Songs, to which is added a duet for two
violins ; Collection of Canzonets, and an
Elegy ; A Cento, consisting of ballads,
1 rounds, glees, etc. ; Six trios for two vio-
371
SIBONI
lins and bass, and Six duos for 2 Violins.
— Grove ; Fotis ; Hogarth, Mem. of Mus.
Drama, ii. 441 ; Schilling ; Riemann, 854 ;
Mendel ; Harmonicon (1829), 49.
SIBONI, ERIK (ANTON WALDEilAR),
born in Co^Jenhagen, Aug. 26, 1828, still
living, 1890. Pianist, son of the tenor
singer Giuseppe Siboni (1780-1839, director
of the opera and the Conservatorium at Co-
penhagen), pupil of J. P. Hartmann, then
at Leipsic (1847) of Moscheles and Haupt-
mann. After taking part in the Schleswig-
Holstein campaign of 1848, he became a pu-
pil of Seehter in Vienna, 1851-53, and then
settled in Copenhagen. In 18G4 he became
organist and professor of the pianoforte
at the musical academy at SorO. Works :
The Flight of Charles II., opera, Copen-
hagen, 1861 ; Loreley, not given ; Psalm
cxl., for chorus and orchestra ; Stabat
Mater, do. ; Murtenschlacht, do. ; Erstiir-
mung von Copenhagen, do. ; "Wellenspiel, do. ;
2 symphonies ; Tragische-Ouvertiire ; Con-
cert overture ; Concerto for pianoforte ;
Quartet for do. and strings ; Quartets for
strings ; Sonatas for violin and for violon-
cello ; Preludes for organ ; Pianoforte mu-
sic.— Riemann.
sicili.\:n m.\jriner's hyimn, the.
See O sanctissima.
SICILIAN VESPERS. See VSpres Sici-
liennes.
SIEBEN LETZTEN WORTE All
KREUZ, DIE (The Seven Words of Jesus
on the Cross), a cantata by Haydn. It was
composed in 1785 at the request of a canon
of Cadiz, for the service in the cathedral
during Passion week. Originally it was an
instrumental work consisting of seven ada-
gio movements. It was first given in this
form in Vienna, March 26, 1787 ; in Bonn,
March 28, 1787 ; in Breslau in 1788 ; in
BerUn, March 23, 1793; and in London,
under the title of " La Passione Instru-
mentale," at a concert for Haydn's benefit.
May 30, 1791 ; and it was repeated on June
10, at the benefit concert of the boy violin-
ist, F. Clement, then ten years of age. The
score was published by Artaria & Co. as
op. 47 (Vienna, 1787) ; arranged by Haydn
as a quartet, op. 48 (ib.) ; and for the pi-
anoforte, op. 49 (ib.). Subsequently Haydn
introduced solos and choruses to the bibli-
cal text, arranged in German by the Baron
von Swieten, and in Italian by Carpani.
The work was first given in Passau in 1794,
on Haydn's return from England ; and in
Eisenstadt, Oct. 27, 1797, when Therese
Gassmann sang the sojirano solos. It was
considered by the musicians of Haydn's
time one of his best productions, and he
frequently said that he preferred it to his
other works. It begins with an adagio for
full orchestra, and contains a largo for wind
instruments between the first and second
parts. Each of the seven words is an-
nounced in simple choral form, followed
by a chorus. I. Patience ; IL The Peni-
tent Forgiven ; IH. The Mourners ; IV.
Desolation ; V. The Bitter Cup ; VI. Com-
plete Obedience ; VU. The Great Obla-
tion. It was fiu'st performed in Vienna by
the Akademie Tonkiiustler-Societat, under
Haydn's direction, April 1 and 2, 1798 ;
also in December, 1803, April, 1806, and
March, 1809 ; Brunswick, Leipsic, and Ber-
lin in 1802 ; Naples, in 1805 ; and Cologne
in 1815. Full score first published by
Breitkopf & Hiirtel (Leipsic, 1801) ; by
Simrock (Berlin) ; by Peters (Leipsic) ; and
by Trautwein (Berlin, 1842).— Pohl, Haydn,
ii. 214-220, 341-44 ; Townsend, Haydn,
93 : Allgem. mus. Zeitg., iii. 498 ; iv. 501 ;
X. 487 ; xiii. 433 ; xxix. 308 ; xliv. 543 ;
Mozart imd Haydn in London, ii. 130.
SIEBEN SCHLAFER, DIE (The Seven
Sleepers), oratorio in three parts, text by
Ludwig Giesebrecht, music by Carl Loewe,
composed for the Crown Prince of Prus-
sia, Friedrich Wilhelm, and first given
by the Singakademie, Berlin, Dec. 19,
1833. The story is the legend of the
seven sleepers. Characters represented :
Antipater (T.) ; Honoria (S.) ; Bishop Mai-
tinus (B.) ; Sleepers: Maximian (B.), Con-
stantin (T.), Johannes (A.), Malchus (S.),
SIEBEN
Serapion (S.), Dionysius, aud Martinian ;
and chorus of Romans, warriors, shepherds,
aud women. Herr Mantius sang the part
of Antipater at the original performance,
Mme Decker, Honoria, and Herr Leuz,
Malchus. Full aud pianoforte score pub-
lished by Schott (Mainz, 183G).— Allgem.
mus. Zeitg., xxxiv. 33, 91 ; xxxviii. 161 ;
Neue Zeitsch., vii. 117, 122.
SIEBEN TODStJNDEN, DIE (The Seven
Deadly Sins), cantata in three jxirts, text by
Robert Hamerliug, music by Adalbert von
Goldschmidt, first performed in Vienna iu
1873. It was given in London iu 1876,
when Tietjens sang the soj^rano solo j^arts.
SIEG, CHARLES VICTOR, boru at
Tiirkheim, Alsace, Aug. 8, 1827, still liv-
ing, 1890. Organist, son of the pianist
Constant Sieg, pupil of Benoist and Am-
broise Thomas at the Paris Conservatoire,
where he obtained, in 1863, the second prize
for organ. Works : An opera-comique (MS.) ;
Ivanhoe, cantata. Opera, 18G1: ; Pianoforte
music. — Fetis, Supplement, ii. 518.
SlTiGEDE CORINTHE, LE (L'Assedio di
Coriuto), tragedie-lyrique iu three acts, text
by Balocchi and Soumet, music by Rossini,
first represented at the Academie Royale de
Musique, Paris, Oct. 9, 1826. This opera
is an alteration of Maometlo secondo, but
Rossini rewrote the principal airs, cut out
much of the Italian fioriture, aud composed
several new numbers, including the over-
ture, the finale to the first act, the ballet mu-
sic, the chorus "Divin prophete," the finale
to the second act, aud the " Benediction des
drapeaux." Mahomet is besieging Corinth,
which the Greeks under their leader, Cleo-
m6nes, defend with sjsirit. Neocles, a Greek
soldier, loves Pamyra, daughter of Clco-
mcues, and prejaarations are making for
their nuptials ; but Pamyra loves Almanzor,
whose vows she received in Athens, and who
is none other than Mahomet. She is given
by her father a dagger, with instructions to
.thrust it into her breast if the enemy should
conquer. Mahomet enters the city and has
Cleomeues tbrovm into a dungeon. Pamyi-a
discovers that Mahomet is her old lover.
Neocles is brought iu in chains, aud his life
is saved by Pamyra. Mahomet renews his
vows, but Pamyra declares that she will re-
main true to the cause of the Greeks. The
third act is iu the tombs at Corinth, where
Neocles, who has escaped, hides. Here
Pamyra is united to him by the high-priest,
Hieros. The Greeks assemble, and the Turks
close them in, Pamyra kills herself with the
dagger, and the opera ends with the specta-
cle of Corinth iu flames. Original cast :
Mahomet M. Derivis.
Hieros M. Prevot.
Neoclt;s M. Adolphe Nourrit.
Cleomenes M. Louis Nourrit.
Pamyra Mile Ciuti.
This was the first ojsera that Rossini sold to
a music publishei-. First published by Trou-
penas (Paris). — Lajarte, ii. 123 ; Clement et
Larousse, 623 ; Grove, iii. 171, 4i)2; Edwards,
Rossini, 296 ; Escudier, Rossini, 187 ; Vie de
Rossini par un dilettante, 166 ; Harmonicon
(1826), 125 ; Allgem. mus. Zeitg., xxxi. 248.
SIEGERT, GOTTLOB, born at Ernsdorf,
Silesia, May 6, 1789, died at Breslau, June
23, 1868. Church composer, was admitted
to the choir of St. Bernard's at Breslau, as a
soprano singer, in 1802, aud became cantor
in 1812. He founded there a choral society
for church music. Works : Two cantatas ;
Masses ; Te Deum, and other church music ;
Dreistimmige Choral-Melodien ; Several sets
of part-songs for schools. — Fetis ; Schilling.
SIEGFRIED, music-drama in three acts,
by Richard Wagner, first represented at
Bayi-euth, Aug. 16, 1876. The third drama
in Der Ring des Nibelungen. The original
cast was as follows :
Der Wanderer (Wo tan) Franz Betz.
Siegfried Georg Unger.
Alberich Carl Hill.
Mime Carl Schlosser.
Fafner Franz von Reichenberg.
Briinnhilde Amalie Friedrich-Materna.
Erda Luise Jaide.
Stimme eines Waldvogels. . .Lilli Lehmann.
373
SIEGFEIED
After fleeing from Wotan's wrath (at the
end of Die WaJkUre), SieglinJe betakes
herself, with the shattered fragments of
Siegmund's sword Nothung, to tlie forest
"toward the East," as Briinnhilde had com-
Georg Unger, as Siegfried.
manded. Here she is found, half dead
from fatigue and exposure, by the dwarf
Mime, in whose hut she dies iu giving birth
to the boy Siegfried. Mime, intent upon
recovering the Nibelungen Treasure and
the Ring from Fafner (see Das Ilheingold),
brings up the boy in utter ignorance of his
parentage, in hopes that he may aid him iu
the recovery. Siegfried grows apace, but
feels an unconquerable antipathy to bis
foster-father, and refuses to learn the trade
of blacksmith which j\Iime tries hard to
teach him. All that prevents his running
away is Mime's repeated promises to make
him a sword suitable to his strength. But
in this IMime cannot succeed, for the young
Siegfried breaks every sword to shivers as
fast as it is made ; neither can Mime suc-
ceed in welding together the broken pieces
of Siegmund's sword Nothung, his posses-
sion of which he has kept a secret from
Siegfried. One day, while Siegfried is off
in the woods, "Wotan enters the hut, iu the
disguise of a Wanderer, and craves leave to
rest by Mime's fireside. Mime warns him
off rudely, but at last consents to a wager,
that the Wanderer shall answer three ques-
tions aright, or else forfeit his head. The
Wanderer wins the wager easily, and then
claims the right to ask Mime thi-ee ques-
tions, under the same conditions as before.
Mime answers the first two questions, but
comes to grief on the third, which is :
" Who shall forge the sword Nothung
anew ? " The Wanderer laughingly tells
him that he may keep his head for the
present, but that "Only he who has never
known fear shall forge Nothung anew,"
and goes his way out into the forest.
Mime now sees that his secrecy regarding
Nothung can be of no avail, but that he
must give the broken pieces to Siegfried,
for he is the one who has never kuown fear.
As soon as Siegfried returns. Mime accord-
ingly gives him the fragments, telling him
they were his father's. Siegfried, seeing
the fineness and strength of the steel, pro-
ceeds forthwith to file them to shavings,
melt them iu the fire, cast the steel iu a
mould, and then to forge and temper the
sword afresh. When finished, he finds it
to be at last a weapon worthy of his mettle,
for he cleaves the anvil asunder with it,
from top to bottom, at a blow. In the sec-
ond act Mime leads Siegfried up to the front
of the cave in which Fafner, in the shape of
a huge dragon, guards the Ring, the Tarn-
helm, and the Nibelungen Treasure. Here
he leaves him a while. Siegfried's ear is
caught by a bird singing in the brandies
overhead, and tries to imitate the song on a
reed pipe he cuts for himself ; finding this a
failure, he plays a merry tune on his horn. ■
This awakens the dragon Fafner, who comes
forth from his cave ; a combat ensues, in
874
SIEGFRIED
which Siegfried kills Fafner. Some of the
dragon's blood has got on his finger, and,
after licking it off with his tongue, he finds
that it has given him the faculty of under-
standing the language of animals. The
Forest Bird tells him of the magic power
of the Ring and the Tarnhelm, and also warns
him that, now that he has won both from
Fafuer, Mime means treacherously to take
his life. Siegfried puts the Ring ujjon his
finger, and hangs the Tarnhelm to his belt.
Mime returns, congratulating the young
hero, but Siegfried soon satisfies himself of
Lilli Lehmann, as Brunnhilde.
the truth of the Bird's prediction, and cuts
the dwarf down with a stroke of his sword.
The Bird then sings to Siegfried of a beau-
tiful maiden who lies asleep on the top of a
mountain, guarded by a raging fire. Sieg-
fried goes off following the Bird's flight.
The third act opens on the way to the
Briinnhildenstein. The Wanderer summons
uj) the goddess Erda, but she cannot lift
the veil of the future for him, for she has
given all her wisdom to Brunnhilde. Sieg-
fried comes his way, and the Wanderer
tries to stop him, holding out his sj^ear to
bar his passage ; but Siegfried hews the
spear in twain with the sword Nothung.
Wotan's power over the young hero is now
gone ; Siegfried makes bis way unhindered
through the fire, finds the sleeping Briinn-
hilde, wakes her with a kiss, and the curtain
falls upon the raptures of the first love of
the j'oung Volsung and the whilom Valkyr.
The most noteworthy passages in the music
are Siegfried's song while plying the bel-
lows at the forge : " Nothung ! Nothung !
neidliches Schwert;" his sword -forging
Bong : " Schmiede, mein Hammer, ein
starkes Schwert," which develoj)s into the
first finale ; the orchestral music depicting
the murmuring of the forest (Waldweben)
in the second act ; and the whole scene be-
tween Siegfried and Brtlnnhilde in Act III.
This last, from Briinnhilde's awaking :
"Heil dir, Sonne ! Heil dir. Tag!", to her
episode : " Ewig war ich, ewig bin ich,"
and the final stretto : " Sie ist mir ewig, ist
mir immer ! " in which five separate Leit-
motivs are worked out simultaneously in
the orchestra, in double counterpoint, is
one of the most stupendous scenes ever
written by Wagner. Siegfried was first
given in America at the Metro23olitau Opera
House, New York, Nov. 9, 1887, with Max
Alvary as Siegfried and Lilli Lehmann as
Brunnhilde.— Krehbiel, Review (1887-88),
17 ; Hans von Wolzogen, in Samml. musik.
Vortriige, I. 59. For other bibliography,
see Ring des Nibelungen.
SIEGFRIED-IDYLL, poem for orchestra,
wi'itten by Wagner in 1871. It is a piece of
family music, composed to commemorate
the idyllic life led by the composer in his
villa at Triebschen, near Lucerne, during
the composition of the Ring des Nibelungen.
The name does not refer to the second part
375
SIEHE
of the trilogy, although several themes from
the love scene between Siegfried and Briinn-
hilde are introduced, but to Wagner's in-
fant son, Siegfried, who was born during
the composition of that work. It was first
performed on the morning of Frau Wag-
ner's birthday, on the stairway in Wagner's
vUla. The small orchestra, collected from
Ziirich and Lucerne, had been drilled by
Hans Kichter, who played the trumpet, while
Wagner conducted. The work, which bears
on its title-page a jjoem dedicating it to Frau
Cosima Wagner, is scored for strings, one
flute, one oboe, two clarinets, one bassoon,
two horns, and one trumpet, which has but
thirteen measures. It was given in Mann-
heim in 1871, and in Meiningen in 1877.
The autograph score, in possession of Hans
Eichter, was published by Schott (Mainz,
1878). It was played by the New York
Symphony Society, Feb. 16, 1889.— Pohl,
Wagner, 316; Mus. Wochenblatt (1877),
245, (1880), 311 ; Neue Zeitschr. (1877), No.
22.
SIEGFRIED'S RHEZN-FAHET. See
GoUerddmmerung.
SIEHE, DER HtFTER ISRAELS, choi-us
in D major, in Mendelssohn's Elias, Part IL,
No. 29.
SIERING, MORITZ, born at Miigeln,
Saxony, July 14, 1821, still living, 1890.
Instrumental composer, pupil of Anacker
at Freiberg, and of Karl Ferdinand Becker
at Leipsic, finally studied singing imder
Maunstein in Dresden, where he settled to
teach music. Works : Der Bravo von Vene-
dig, opera ; 2 octets for wind instruments ;
Quintet for pianoforte, oboe, clarinet, horn,
and bassoon ; do. for strings, oboe, and
flute ; do. for pianoforte and strings ; 2
trios for do. ; Sonata for 2 pianofortes ;
Several collections of songs. — Mendel.
SIE WERDEN AUS SABA ALLE KOM-
MEN, cantata Festo Eijiphanias, for soli
and chorus, with accompaniment of two
horns, two flutes, two oboi da caccia, strings
complete, and continue, by Johann Sebas-
tian Bach (Bachgesellschaft, No. 65) ; pub-
lished with additional accompaniments by
Robert Franz, in full and pianoforte score
(Leipsic, Leuckart). An organ accompani-
ment by Franz, to be used in connection
with Bach's original score, is also pub-
lished separately. — Julius Schaefl'er, Sebas-
tian Bach's Cantata : " Sie werden aus Saba
Alle Kommen " in den Ausgaben von Robert
Franz und dem Leipziger Bach-Verein (Leip-
sic, Leuckart, 1877) ; Sjsitta, ii. 210.
SIP ACE, Italian ojiera in three acts, text
by Metastasio, music by Porpora, first rep-
resented in Venice in 1720. Characters
represented : Siface, King of Numidia ;
Yiriate, Princess of Lusitauia ; Erminio,
general of Siface's army and lover of Is-
mene ; Ismene, daughter of Orcano ; Or-
cano, father of Ismene ; and Libanio, Si-
face's confidant. The scene is in Rusconia,
the capital of Numidia. Other Italian op-
eras on Metastasio's text : by Francesco Feo,
Naples, 1723 ; by Leonardo da Vinci, ib.,
1731 ; by Leonardo Leo, Bologna, 1737 ;
by Gluck, Milan, 1743 ; by Domenico Fis-
chictti, Naples, 1761 ; by Johann Cluistian
Bach, London, about 1771 ; and Siface e
Sofonisbe, by Antonio Leal-Moreira, Lis-
bon, Sept. 5, 1783 ; by Pietro Guglielmi,
Naples, 1802.
SIGISMONDI (Sigismondo), GIUSEPPE,
born at Najjles, Nov. 13, 1739, died there.
May 10, 182G. At first a lawyer, he culti-
vated music only as an amateur, but studied
singing under Giuseppe Geremia of Ca-
tania, and Genuaro Capone, and afterwards
devoted himself to teaching it. In 1808 he
was made librarian of the reorganized Con-
servatorio. Works : Endimione, opera, Vi-
enna, about 1767 ; L' Assunzione della
Vergine, oratorio ; Santa Anna, do. ; San
Giuseppe, do. ; San Giovanni di Dio, do. ;
Cantatas ; Sonatas for organ ; Toccatas for
pianoforte ; Solfeggi for soprano ; Esercizio
di canto. — Fc'tis.
SIGISMONDO, Italian opera seria, text
by Foppa, music by Rossini, first rep-
resented at the Teatro della Fenice, Venice,
during the cai-nival of 1815. MarcoUni,
376
SIGISMUNDO
Manfredini, BiancLi, GalH, and Paccini ap-
l^eared in the origiual cast. The opera was
a failure, but several of its best numbers
were remodelled for later operas.
SIGISMUNDO D' INDIA, born at Pa-
lermo, in the second half of the 16th cen-
tury, was living in Venice in 1G30. Ama-
teur composer and poet, Knight of St.
Mark, and gentleman to Prince Maurice,
Cardinal of Savoy. Works : Le musiche
da cantare, etc. (Milan, 1G09) ; II primo
libro delle villanelle (Venice, 1610) ; Ma-
drigali a cinque voci (Venice, 1611) ; Le mu-
siche del Cavaliere Sigismundo d' India
(ib., 1623) ; II primo libro di madrigali a
cinque voci (Rome, 162J;) ; L' ottavo libro
de' madrigali (Rome, 1624) ; Motetti a piti
voci (ib., 1627).— Futis ; Mendel.
SIGURD, French grand opera in four
acts, text by Camille de Locle and Alfred
Blau, music by Ernest Reyer, first rei>
resented at the Theatre de la Monnaie,
Brussels, Jan. 7, 188J:, with M. Jourdain as
Sigurd. The text is from Norse legends
and the Nibelungenlied, but the theme is
treated merely from a dramatic standi3oint,
and not as a mythical and philosophical
allegory. The origin of Sigurd (Siegfried)
is not described, nor is the Nibeluugen
hoard mentioned. Hilda, whose life is
saved by Sigurd, is the Gudrun of the
Norse legends and the Ki-iemhild of the
Nibelungenlied. She loves Sigurd, and
on his arrival at her brother's court gives
him a love-potion, prepared by her foster-
mother, Uta. Sigurd then undertakes to
win the sleeping Brunhilda, of whom he
has no pirevious knowledge, for Gunther.
Brunhilda, believing that Gunther has
awakened her, accepts him for her hus-
band, but as she is about to place Hilda's
hand in that of Sigurd, she feels a mys-
terious bond between Sigurd and herself,
and he renounces Hilda. Sigurd's death
is brought about according to the Norse
version, and Brunhilda dies at the same
moment. The opera ends with their apo-
theosis. Ballets are introduced, one of
weird terror and fascination, in the magic-
fire scene ; the other in the nuptial fes-
tivities of Brunhilda and Gunther, and
of Sigurd and Hilda. The opera was given
in Loudon in Italian, in July, 1884, with
the following cast : Sigurd, M. Jourdain ;
Brunhilda, Mme Albani ; Hilda, Mme
Fursch-Madi ; Gunther, M. Devoyod ; Ha-
gen, Signor de Reszku ; and the high-
priest, M. Soulacroix. A scene from Si-
gurd was sung by Mme Fursch-Madi at the
Philharmonic Society's Concert, New York,
Dec. 8, 1888.— Athena3um (1884), ii. 89;
Krehbiel, Review (1888-89), 38.
SIGURD SLEaiBE, overture to BjOrn-
son's drama of, in C, by Johann Severin
Svendsen, op. 8, fir.st performed at a Eu-
terpe concert, Leipsic, in 1871, with great
success. It was given at a musical festival
in Cassel in 1872. Published by E. W.
Fritzsch (Leipsic, 1872) ; Pianoforte score,
four hands, by A. Reckendorf (ib., 1873).
— Mus. Wochenblatt (1872), 458.
SIGUR JORSALFUR, music to BjOrn-
son's drama of, by Edvard Grieg, op. 22.
SIKORSia, JOZEF, born at Warsaw in
1815, still living (?), 1890. Instrumental
and vocal composer and writer on music,
IDupil of Stefani in singing, and of Jawurek
on the pianoforte ; studied harmony and
composition from the famous work of Marx.
He soon became a distinguished writer on
music, and hi 1857 founded, and until 1863
edited, " Ruch muzyczny," a Polish musical
periodical. Works : Several Polish masses,
with organ ; Radosc, cantata with orches-
tra ; Dzwon (The Bell, after Schiller), in
melodramatic form ; Alpuhara (The Aljjine
horn), for soli and chorus ; Pianoforte
pieces, and songs ; Method for pianoforte,
and Vocal method. — Fetis ; Mendel ; So-
wiriski.
SI LA RIGUEUR. See La Juive.
SI, LA STANCHEZZA. See II Trovatore.
SILAS, EDUARD, born in Amsterdam,
Aug. 22, 1827, still living, 1890. Pian-
ist and organist, pupil of Neher, court
musician at Mannheim, then of Kalk-
377
SILCHER
brenner, in Paris (1842), and at the Con-
servatoire of Benoist on the org.an, and
Halevy in composi-
tion ; first prize for
organ La 1849. He
went to England in
1850, was first heard
in Liverpool at a
Philharmonic C o n -
cert, made his dobut
in London at the
Musical Union un-
der Ella, in the same
year, has since been established in London
as a teacher, and is organist of the Catholic
Chapel at Ivingston-on-Thames, and instruc-
tor of harmony at the Guildhall School of
Music. Works : Nitocris, opera ; Love's
Dilemma, commedietta ; Joash, oratorio,
Norwich Festival, 1863 ; Music to the drama
Fanchette ; Kyrie eleison, for 4 voices and
orchestra ; ]\Iass (prize gold medal, Brus-
sels, 18GG) ; Ave venim, Tantum ergo, Ave
Eegina, O Salutaris, Magnificat, with organ
and orchestra ; 3 symphonies ; 3 overtures ;
3 concertos for i^ianoforte ; Fantasia for
pianoforte and orchestra. Crystal Palace,
1865 ; Elegy, for do., ib., 1873 ; Nonet
for string and wind instruments ; 2 quin-
tets ; Quartets for pianoforte and strings ;
4 trios for do., etc. ; Organ, and pianoforte
music, and songs. — Grove ; Fctis, Supple-
ment, ii. 519 ; Eiemann.
SILCHER, FRIEDRICH, born at
Schnaith, Wiirtemberg, June 27, 1789, died
at Tubingen, Aug. 26, 1860. Vocal composer,
pupil of his father and of Auberlen, organ-
ist at Fellbach, near Stuttgart ; after a short
time spent at Schorndorf and Ludwigsburg,
he lived in Stuttgart, teaching music, and
in 1817 was appointed music director at
the University of Tiibingen, where he re-
ceived the honoi'ary degi-ee of doctor in
1852. He was a great promoter of Ger-
man folk-song, especially through his Samm-
lung deutscher Volkslieder. Works : Six
hj-mns, for four voices ; Wiirtembergisches
Choralbuch, for thi-ee voices ; 2 canons ; G
German songs for four male voices ; 12
German songs for four male voices ; Hymns
for Sundays and festival days, foui- voices ;
Swabian, Thuringian, and Franconian folk
songs ; Many songs for one and two voices,
including Ich weiss nicht was soil es bedeu-
ten ; Anncheu von Tharau, Zu Strassburg
auf der Schanz ; Morgen muss ich fort
von hier. He also pubUshed : Harmonie-
und Kompositiouslehre (Tubingen, 1851).
— KOstlin, Fr. Silcher (Stuttgart, 1877) ;
Mendel ; Eiemann ; Fctis ; do.. Supple-
ment, ii. 519 ; Viotta, iii. 383.
Sn^ENCE, SILENCE, THE LADY
MOON. See Bohemian Girl.
STL EST SUE TEEEE. See Domino
noii:
SUiliX, Italian opera in three acts, by
Handel. This, the shortest of Handel's
operas, is supposed to have been written
in England in 1714. The author of the
test is unknown, and no record of a per-
formance has been discovered. Chrysander
suggests that it was intended for a pri-
vate representation at Burlington House.
Characters rej^resented : Silla (A.) ; Mc-
tella, his wife (S.) ; Lepido (S.) ; Flavia,
his wife (S.) ; Claudio (A.) ; Celia (S.) ; H
Dio (B.). Scene laid in Eome. Much
of the music, with more or less alteration,
was transfeiTcd to Handel's next ojDera,
Amadigi di Gallia, May 25, 1715. Sixty-
two pages of the original score, in Han-
del's autograph, is contained in the second
volume of "Songs and Sketches," in the
collection in Buckingham Palace, which
includes a conducting score without the
overture. A copy, owned by Sir John Haw-
kins, is in the Bi'itish Museum. A faulty
copy was made by an incompetent person
about 1780. The score was first pub-
lished by the Hiindelgesellschaft, Breitkopf
& Hiirtel (Leipsic, 1875). Other ItaUan op-
eras on this subject : Silla, by Giovanni
Domenico Freschi, Venice, 1683 ; by Karl
Heinrich Graun, text by Friedrich H. Ital-
ian translation by Tagliazucchi, Berlin,
Oct. 13, 1753 ; Silla dittatore, by Leonardo
SILVA
da Vinci, Naples, 1722 ; Lucio Silla, by
Mozart, text by Gamera, Milan, Dec. 26,
1772 ; by Jobaun Christian Bacli, Mann-
heim, 1744: ; by Pasquale Anfossi, Venice,
1744 ; and Sylla, in French, by Thcobalde
Gatti, text by Duchts Paris, Sept. 16, 1701.
— Chrysauder, Handel, ii. 415 ; Kockstro,
Handel, 89 ; Bitter, Keform der Oper durch
Gluck, 129.
SILVA (Sylva, Sylvanus), ANDREAS
DE, born in the second part of the 15th
century. Church comjjoser, of whose his-
tory nothing is known. He is mentioned in
a treatise by Sebastian Virchung, organist of
Bamberg, jninted at Basel in IGll. Only
two copies of the book exist, one in the
Imperial Library, Vienna, another in the
Royal Library, Berlin. His compositions
are found in the following collections : Mo-
tetti della Corona, lib. i. (1514); Motetti
del Frutto, lib. i. (Venice, 1539) ; Select,
necnon familiar, cantiones (1540) ; Psalmo-
rum selector., vol. 2 (Nuremberg, 1539) ; At-
taingnant's Viginte musicales (1534) ; Lib.
duodecimus, ditto (1535) ; Motetti del Fi-
ore, lib. i. (1532) ; Select. Sacrar. cantionum
(Louvain, 1569). — Fetis ; Labat, Hist, de la
Mus., i. 343 ; Riemann ; Mendel.
SILVA, DAVID POLL DA, born at Saiut-
Esj)rit, near Bayonne, France, March 28,
1834, died at Clermont (Oise), Jlay 9, 1875.
Instrumental and vocal composer, first in-
structed by his mother and grandmother,
who had been pupils of the best masters
in Paris ; then studied composition under
Fuuck, at Bordeaux, where his family had
settled. In 1854 he went to Paris, and was
urged by Haluvy to enter the Conserva-
toire, but his failing sight decided him to
renounce this opportunity. When he af-
terwards became totally blind, his mother
wrote his compositions down from his
dictation. He was one of the most pro-
lific and original composers of this epoch.
Works : La wivre, grand opera ; Gunem,
ou la favorite du calife, opera-comique ;
L'avalanche, do.; Un, deux, trois serpents,
opera-bouife ; La Sulamite, ballet ; Judith,
oratorio ; Mo'ise au Mont Sinai, do. ; Clovis,
ode-symphonie ; Cantata in E-flat ; Les
noces de Promethoe, cantata ; Stabat Mater,
for chorus, soli, and orchestra (prize, Bor-
deaux, 1871) ; 2 symphonies (do., 1866) ;
Charlemagne, ouverture-symphonie ; Ri-
chard en Palestine, suite for orchestra ; La
marche des Francs, Barcarolles, La danse
moresque, all for orchestra ; Septet for pi-
anoforte and strings ; Quintet for do. ;
Quartet for do. ; Trio for do.; Sonata for
pianoforte and violin ; Scene romantique,
for do.; 2 romances sans paroles, do.; Suite
for pianoforte and violoncello ; 2 duos for
do.; La Franyaise, cantata with soli and
chorus ; Les guerriers de Lucifer, scone-
ballade, for chorus and orchestra ; Les
bateliers canadiens, for do.; Les elfes, do.
(female voices) ; 9 choruses, with orchestra ;
La vague, allegory for soprano, with chorus
and orchestra ; La valse, melody for tenor
and orchestra ; J'aspire a toi, for tenor,
hoi'n, and violoncello ; Choruses for male and
mixed voices, a cappella ; Pianoforte music ;
Songs. — Fctis ; do., Supplement, ii. 519.
SILVANI, GIUSEPPE ANTONIO,
church composer of the school of Bologna,
where he was maestro di cappella at San
Stefano in 1720. Works : Litanie concer-
tate, etc. (Bologna) ; Inni sacri per tutto 1'
anno (ib., 1702) ; do. (1705) ; Sacri respon-
sori della settimana sauta (ib., 1704) ; Tro
misse solenni (ib., 1705) ; Stabat Mater,
Benedictus, etc. (ib., 1706) ; Messe a quat-
tro voci (ib., 1709) ; Motetti a otto voci
pieni, etc. (ib., 1711) ; Motetti con le quat-
tro antifone della B. V. ; Motetti a 2 e 3 voci
(ib., 1716) ; Sacri lamentazioni della setti-
mana santa (ib., 1720) ; Quattro messe a 4
voci (ib., 1720) ; Secoudo libro della litanie
deUa B. V. (ib., 1725) ; Cantate morali e
spirituali (ib., 1727). He left in manuscript
4 masses, with organ, and 3 solemn masses,
with orchestra. — Fctis ; Mendel.
SI, MINACCIA, E VINTA, alto aria of
Melo, in E minor, with accompaniment of
violins in unison, and bass, in Handel's
Sosarme, Act I., Scene 6. Published also
.379
SIMONE
separately with the accomisauiment filled
out by Robert Franz (Leipsic, Kistner).
SIMON, JEAN HENRI, bora at Ant-
werp in April, 1783, died there, Feb. 10,
1861. Violinist, first instructed at the mai-
trise de Saint-Jacques, Antwerp, then in
Paris pupil of La Houssaye and Rode on
the violin, of Gossec, Catel, and Lesueur in
composition. He was scarcely eight years
old when he conducted a mass with orches-
tra, by Kraft. On his return to Antwerp
he soon attained a distinguished position as
■vdrtuoso, composer, and teacher of his in-
strument. Among bis pupils were Meerts,
Jaussens, and Vieuxtemj)s. Works : Judith,
ou le siege de Bcthulie, oratorio ; Cantatas ;
Motets ; La voix du soir, overture ; 7 con-
certos for violin ; Airs varies and fantaisies
for do.; Trio for 2 violins and bass; Cho-
ruses.— Fetis, Suppli'ment, ii. 524.
SIMONE BOCCANEGRA, Itahan opera
in three acts, with prologue, text by Piave,
music by Verdi, first represented in Venice,
March 12, 1856. A dull libretto caused its
failure. The scene is laid in Genoa in the
15th centui-y. Simone Boccanegra having
been made doge, refuses the hand of his
daughter to one of his sujiporters, by whom
he is finally jjoisoned. The libretto was
altered by Arrigo Boito, and the music by
Verdi, and the opera was revived with suc-
cess in Milan, April 12, 1881. Liszt pub-
lished Reminiscences of Simone Boccane-
gra, for the pianoforte.
SBIONELLI, MiVTTEO, born in Rome,
about the middle of the
17th century, died (?).
Church composer, pn-
pil of Gregorio Allegri
and of Orazio Benevoli ;
was received into the
choir of the Pontifical
Chapel in 1662, and
was afterwai-ds maestro
di cappeUa of several
churches in Rome. The
elegant simplicity of his style won him the
soi-uame of the Palestrina of the 17th cen-
tury. He left in manuscript many masses,
motets, and psalms, mostly in the archives
of the Pontifical Chapel, where several of
them are still performed. His most distin-
guished pupil was Corelli. — Fetis ; Mendel.
SI MOSTRA LA SORTE, aria for tenor
with orchestra, in D, composed by Mozart
in Salzburg, May 19, 1775. Breitkopf &
Hiirtel, Mozart "Werke, Serie VI., No. 11.
— Kochel, Verzeichuiss, No. 209 ; Jahn,
Mozart, i. 418.
SIMPLICIUS, operetta, text by Victor
Leon, music bj' Johauu Strauss, first repre-
sented at the Theater an der Wien, Vienna,
Dec. 17, 1887. It was conducted by the
composer, and was received with great ap-
plause.
SIMPSON, CHRISTOPHER. See
Sympson.
SIND BLITZE, SIND DONNER, double
chorus in E minor, with double orchestra,
organ, and continuo, following immediately
after the duet So ist mein Jesus nun gefan-
geu, in Johann Sebastian Bach's Passion
nach Matthiius, Part I., No. 33. It is
commonly known as the "Lightning" or
" Thunder " chorus.
SINFONIAEROICA (Heroic Symphony),
for orchestra, in E-flat, by Beethoven, op.
55, first performed in the house of Prince
Lobkowitz, Vienna, in 1805. This, the com-
poser's third symi)hony, was begun in 1802,
and finished in 1805. The full title is
" Sinfouia Eroica, composta per festeggiare
il sovvenire di un grand' uomo, dedicata,"
etc. (composed to celebrate the memory of
a gi-eat man). The first MS. copy, prepared
for the French legation in Vienna, was
inscribed with the name of Napoleon Bona-
parte, whose career Beethoven had watched
with interest and admiration ; but when he
heard that Napoleon had accepted the title
of Emperor, he tore off the title-page.
Beethoven never referred to this circum-
stance until the news of Bonaparte's death
at St. Helena was received, when he said :
"I have akeady composed the proper mu-
sic for that catastroiihe," referring to the
880
SINFONIA
Funeral March. Many sketches are extant
showing how Beethoven's ideas developed
and crystallized into a work of the high-
est beauty and grandeur. I. Allegro con
brio ; II. Marcia f unebre : Adagio assai ; III.
Scherzo and trio : Allegi'o vivace ; IV. Fi-
nale : Allegi-o molto. This symphony was
first given by the Philharmonic Society,
New York, Feb. 18, 1843. The original
score, dedicated to Prince Lobkowitz, is
iu the Public Library, Vienna. It was first
published by the Bureau of Ai-ts and In-
dustry (Vienna, 180G) ; afterwards by Has-
Unger (Vienna) ; Sina-ock (Bonn) ; Launay
(Paris) ; and Breitkopf & Hilrtel, Beethoven
Werke, Serie I., No. 3. Arranged as a
nonet by Ebers (Richter, St. Petersburg) ;
for viohn, viola, and violoncello ; for piano-
forte, violin, viola, and violoncello ; for pi-
anoforte, flute, and violoncello ; and for
flute, violin, and violoncello, by Hummel ;
for pianoforte for eight hands, by Hofl-
mann ; for four hands, by A. E. MiiUer,
and by Czerny ; and for two hands by
Liszt, Hummel, Kalkbrenner, and Winkler.
Marcia funebre for two pianofortes, and
for pianoforte and organ, by Neukomm ;
for j^ianoforte and physharmonica ; and for
the pianoforte for two hands by Lickl ; for
pianoforte for two hands by E. Pauer (Au-
gener & Co., London). — Lenz, Beethoven,
I. part ii. 285 ; Lenz, Beethoven et ses
trois styles, ii. 130, 232 ; Marx, Beethoven,
i. 243, 286 ; Thayer, do., ii. 244 ; iii. 437 ;
Nohl, do., ii. 176 ; Thayer, Verzeichniss,
No. 115 ; Elterlein, Beethoven Symphonien,
35 ; Nottebohm, Skizzenbuch von Beet-
hoven an der Jahre 1803-6, 76 ; Grove, iv.
24 ; Wagner, Ges. Schriften, ix. 83 ; Ber-
lioz, Voyage musical en Allemagne, i. 280 ;
Berlioz, A travers chants, 22 ; Oulibicheft"
Beethoven, 180 ; Allgem. mus. Zeitg., vii.
321, 501 ; ix. 321, 497 ; x. 320 ; xvi. 811 ;
Neue Zeitschr., xxx. 16 ; xxxviii. 16, 38 ;
Revue et gaz. mus. de Paris (1857), 53, 97 ;
Upton, Standard Symphonies, 44.
SINFONIA PASTORALE (Pastoral Sym-
phony), iu F, by Beethoven, op. 68, first
performed in Vienna, Dec. 22, 1808. This,
the composer's sixth symphony, was written
iu 1808, in the meadows near Heiligen-
stadt. It is an idyllic tone-picture of a
landscape, but more expressive of sensa-
tions than of actual descrijition, as was
Beethoven's preface, " Mehr Ausdruck der
Empfindung als Malerei," placed before
the programme for its first performance.
I. Allegro ma non troppo (The cheerful im-
pressions excited on arriving in the country) ;
n. Andante molto moto (By the brook) ;
in. Allegro (Peasant's merrymaking), and
Allegro (Thunder-storm); IV. Allegretto
(The shepherd's song ; glad and thankful
feelings after the storn:). This symphony
was played, and the idea expressed iu the
music was illustrated by pantomime with
tableaux, by the Kiinstler Liedertafel, Diis-
seldorf, March 14 and 16, 1874. The origi-
nal score, dedicated to Prince Lobkowitz
and Count Rasumoffskj-, and now iu the pos-
session of Baron Hiiyssen van Kattendyke,
was published by Breitkopf & Hiirtel (Leip-
sic, 1809) ; do., Beethoven Werke, Serie 1,
No. 6. The symphony is arranged as a string
quintet by Fischer ; for the pianoforte, flute,
viohn, and violoncello, by Hummel ; for the
violin and violoncello, by Belke ; for the pi-
anoforte and violin, by Peters ; for the jnano-
forte for four hands, by Watts, Czerny, and
Mockwitz ; for two pianofortes, by Eber-
wein ; and for the pianoforte, by Hummel,
Kalkbrenner, and Liszt. — Thayer, Verzeich-
niss, No. 141 ; do., Beethoven, iii. 57 ; Nohl,
do., ii. 241 ; Marx, do., ii. 190 ; Lenz, do.,
ii., part i. 95 ; do., Beethoven et ses trois
styles, ii. 142 ; Elterlein, Beethoven Sym-
phonien, 52 ; Nottebohm, Skizzenbuch von
Beethoven an der Jahre 1803, 155 ; Oulibi-
chefi", Beethoven, 219 ; Berlioz, A travers
chants, 38 ; Neue Zeitschr., xxx. 65 ; Iviii.
80 ; Allgem. mus. Zeitg., xi. 267, 433 ; xii.
241 ; xvii. 693 ; xlii. 1044 ; Mus. Wochen-
blatt (1874), 238 ; Grove, iv. 26 ; Upton,
Standard Symphonies, 65.
SINFONIE mT SCHLUSSCHOR (Ninth,
or Choral Symphony), for orchestra, soli,
SINFONIE
and cborus, in D minor, by Beethoven, op.
125, fii-st performed at the Kilrnthnerthor
Theater, Vienna, May 7, 1824. This, the
most colossal of all symphonies, was written
in 1823. The form and the theme of the
chorus bear a strong resemblance to the
pianoforte Fantanie mit Chor, in C minor,
op. 80, written in 1808 ; and Beethoven
describes this symphony as being in the
style of the former work, but on a far larger
scale. For thirty years Beethoven cherished
the idea of setting Schiller's Ode to Joy,
"An die Freude." Sketches for musical
themes to this poem are found as eai-ly as
1811, among the sketches for the seventh
and eighth symphonies, and again in 1822
with those for the overture iu C, op. 124,
and the Mass iu D. The Namensfeier over-
ture, op. 115, suggests the theme finally
chosen for Schiller's ode, which at one time
Beethoven thought of setting as a chorus
preceded by an overture. In 1822 Beet-
hoven received from the Philharmonic So-
ciety of London an offer of £50 for a MS.
symphony. He accepted the commission,
completed the ninth symphony in 1824, and
sent the MS. to Loudon, where it was first
performed, under Sir George Smart's direc-
tion, by the Philharmonic Society, March
21, 1825. Beethoven was too deaf to con-
duct the orchestra when the work was first
given in Vienna iu 1824, but he stood by
the side of Umlauf, the conductor, and
indicated the tempi of the different move-
ments. The symphony was received with
extraordinary enthusiasm. A circumstance
which realized the master's affliction, ap-
pealed to the symj)athy of the audience, for
standing with his face to the orchestra, he
did not know of the tumult of applause
until Friiuleiu Ungher, who sang the con-
tralto solos, called his attention to the en-
thusiastic audience. Beethoven has not
used all of Schiller's words, nor employed
them in their regular order. Their selec-
tion and arrangement appear to have
troubled him exceedingly, and also the
manner of connecting the vocal and instru-
mental divisions. A. Instrumental : I Alle-
gro ma non trojipo, uu poco maestoso ; IL
Scherzo, molto vivace ; Trio, presto ; TTT,
Adagio molto e cautabile ; IV. Eecitative,
Presto ; Allegro ma non troppo, etc. ; V.
Allegro assai. B. Vocal : I. Recitative
(Bass) ; H Quartet and chorus ; Allegro
assai ; HI. Tenor solo and chorus : Allegro
assai vivace, alia marcia ; IV. Chorus :
Andante maestoso ; V. Chorus : Allegro
energico sem^jre ben mareato ; YL. Quar-
tet and chorus : Allegro ma non tauto ;
\TI. Chorus : Prestissimo. The first move-
ment is a fine example of Beethoven's last
period ; the second, his grandest typical
scherzo ; the third, the gi'eatest specimen
of orchestral treatment of the theme with
variations ; and the fourth, a connecting
link to the choral division, iu which the
voices, accomj)anied by a full complement
of instrumental forces, cany the sentiment
of the poem to the highest point of exulta-
tion. The sketch-books, in the Eoyal Lib-
rary, Berhn, contain many themes for the
Ode to Joy, accompanied by such expi-es-
sions as " No, this recalls oiu- desperation ; "
" Oh no, not this : it is something pleasanter
that I want ; " and " Ha ! this is it. I have
found it at last," at the side of the theme
chosen. This symphony was first given in
Frankfort-on-the-Main in 1825 ; at the Nie-
der-Iiheiuische Musikfeste, Aix-la-Chaiielle,
June, 1825 ; in Leipsic in 182G ; in Berlin
iu 1830 ; in Paris in 1837 ; in Dresden in
1838 ; by the New York Philharmonic in
the season of 1845-4G ; and by the Handel
and Haydn Society of Boston, April 2,
1853. The original MS., dedicated to
King Friedrich Wilhelm HI. of Prussia, is
in the Royal Library of Berlin. The score
was fii'st pubUshed by Schott (Mainz and
Paris, 1824) ; Breitkopf & Hiirtel, Beet-
hoven "Werke, Serie L, No. 9. Arranged
for two pianofortes by Franz Liszt ; for
four hands by Czerny, Selmar Bagge, and
Markull ; and for two hands by Kalk-
brenner, Markull ; Chorus arranged by
Esser ; and a pianoforte score by Rink.
singelEe
— Thayer, Verzeichniss, No. 238 ; Lenz,
Beethoveu, ii. Part ji., 1G8 ; do., Beethoven
et ses trois styles, ii. 184, 234 ; Mai-x, Beet-
hoven, ii. 302-333 ; Nohl, do., iii. 368-
442 ; Schindler, do., 139, 165 ; Elterlein,
Beethoven Symphonieu, 69 ; "Wagner, Ges.
Schi-iften, ii. 65-84 ; ix. 277 ; BerUoz, A
travers chants, 52 ; Hoffmann, Programm
zu Beethoven's neunter Sinfonie (Berlin,
1870) ; Neue Zeitschr., sxx. 109 ; xxxvii.
143 ; Ixviii ; 178, 257, 295, 308, 316 ; Ber-
liner mus. Zeitg., iii. 373 ; Ciicilia, viii.
231 ; xiv. 315 ; Allgem. mus. Zeitg., xxvi.
440 ; xxviii. 853 ; xlix. 489, 505 ; Eevue
et gaz. mus. de Paris (1837-38), 96 ; Mus.
Wochenblatt (1872), 545, 561, 593, 657,
689, 703, 751, 783, 815 ; Grove, i. 206 ; iv.
217 ; Upton, Standard Symphonies, 83.
SmGELfiE, JEAN BAPTISTE, born in
Brussels, Sept. 25, 1812, died at Ostend,
Sept. 29, 1875. Violinist, first instructed
by his elder brother Charles (1809-67),
then puj)il of Wcry at the Koyal School of
Music, Brussels, where he won the first
prize in 1829. Having for several years
played in the orchestras of two minor the-
atres, and of the Oj^era Comique, in Paris,
he returned to Brussels and became one of
the first violins at the Tht'atre Koyal, and
in 1839 first solo violin. Afterwards he
was for a short time chef d'orchestre at the
theatre in Marseilles, and in 1852 was ap-
pointed to a similar position at Ghent, later
still at Antwerj), and, after his return to
Brussels, at the Theatre de la Monnaie.
Works : Arsone, ou la baguette magique,
ballet (with Sor), Brussels, 1845 ; 2 con-
certos for violin ; Overtures ; Fantasias on
o^Jeratic themes, etc. — Fctis ; do., Sujiplu-
ment, ii. 521.
SINGER, EDMUND, born at Dotis, Hun-
gary, Oct. 14, 1831 (Oct. 18, 1830?), still
living, 1890. Virtuoso on the violin, first
instructed in Pesth by Ellinger, then pupil
of Ridley Kohne, and in Vienna of Josef
Bohm, finally at the Conservatoire in Paris,
where he appeared in concerts with gi'eat
success. In 1846-48 he was solo violin at
the theatre in Pesth, then travelled success-
fully in Germany until 1853, when he be-
came Conzert-
meister and cham-
ber virtuoso at
Weimar. Since
1861 he has held
a similar position
at Stuttgart,
where he is also
professor at the //'
Conservato r i u m ,
and enjoys high
reputation as a
teacher. W^orks :
Morceaux de salon, airs
varies, nocturnes, fantasias on operatic
themes ; Transcrijitious of Field's Noc-
turnes, duos (with Billow), etc. — Mendel ;
Reich, Ehrentempel (Pesth, 1856), 43.
SINGER, OTTO, born at Sora, near Meis-
sen, July 26, 1833, still living, 1890. He
studied in 1845-51 at the Ki-euzschule,
Dresden, and in 1851-55 at the Leipsic
Conservatorium ; became later a pupil of
Liszt. In 1860 he settled in Dresden as
teacher and virtuoso, and in 1867 went to
New York in a similar capacity. In 1873 he
removed to Cincinnati, and became, in 1878,
an instructor in the College of Music, in
which he is now i^rofessor of the pianoforte
and of theory. Works : The Landing of the
Pilgrim Fathers, cantata, Cincinnati, 1876 ;
Festival Ode, do., ib., 1878 ; 2 concertos
for f)ianoforte and orchestra ; Several sym-
j)honies ; Symphonic fantasia ; Violin sona-
ta ; Pianoforte sonata, and other pianoforte
music. — Mendel ; Riemann.
SINGER, PETER, born at Hiiselgehr,
Tyrol, July 18, 1810, died at Salzburg, Jan.
25-26, 1882. Franciscan monk, organist,
pianist, church composer, and instrument
builder ; son of a bell-founder, and entirely
self-taught. He invented and constructed
a remarkable sort of orchestrion, which he
called Pansymphonikon, and discovered a
new system of harmony. A monument was
erected to his memory at Salzburg in 1883.
Works : 101 masses ; 600 offertories ; About
383
SINICO
30 litanies ; Graduals ; Many songs to the
Blessed Virgin ; Pianoforte music. He
pubHsbed : Cantus cboralis in provincia
Tirolensi consuetus (Salzburg, 1862) ; 2
Marienlieder ; 2 Tantum ergo, etc. ; Me-
tapbysiscbe Blicke in die Tonwelt, nebst
einem dadurcb veranlassten neuen Sys-
tem der Tonwissenscbaft (Munich, 1847.
— Biogr. Salzburgiscber Toukiinstler (Salz-
burg, 1845), 47 ; Engel, Gedenkbucb (Salz-
burg, 1872), 290 ; Staffler, Das deutsche
Tii-ol, etc. (Inuspruck, 1847), i. 320 ; Wurz-
bach ; Zeitschrift f (ir Deutscblands Musik-
vereiue (Carlsruhe, 1S44), ui. 260.
SESTICO, FEANCESCO, born at Trieste,
Dec. 12, 1810, died there, Aug. 18, 1865.
Vocal composer and pojjular instructor of
choral singing, pupil of Andreuzzi, an or-
ganist, then of FarineUi ; at the age of
twenty-two he became director of the PhU-
harmonic-dramatic Society of Trieste, and in
1843 maestro di ca^jpella in the Jesuits' con-
vent. On his application the municipality
of Trieste erected a singing-school for 80
children, which was placed under his direc-
tion, and there, and soon in two additional
schools for children and artisans of both
sexes, he established courses for choral sing-
ing, after the method of Wilhem, with bril-
liant success, performing even oratorios and
masses. Works: I virtuosi di Bai-ceUona,
opera, Trieste, 1841 ; Rosmuuda, Zaira, op-
eras (unfinished) ; Music to Somma's trag-
edy Parisina ; Masses, motets, hymns for
the service in the Jesuits' chapel ; Many
choruses, sacred and profane, for his
schools. — Fotis, Supplement, ii. 522.
SINICO, GIUSEPPE, born at Trieste,
Feb. 10, 1836, still living, 1890. Dramatic
composer, son and pupil of the preceding,
whom he at first aided in his instructive
labors. Works : I moschettieri, Trieste,
1859 ; Aurora di Nevers, ib., 1861 ; Mari-
nella, ib., 1S62. He published : Brevo me-
todo teoretico-pratico di canto elementare,
etc. — Fc'tis, Supploment, ii. 523.
SIR£NE, la (The Siren), opera-comique
in three acts, text by Scribe, music by Au-
ber, first represented at the Opera Comique,
Paris, March 26, 1844. The Ubretto is the
story of Marco Tempesta, a bandit, whose
sister, Zerbina, plays the part of a siren in
alluring victims to his ambuscade, where he
Gustave Hippolite Roger.
robs them mercUessly. Mile Louise La-
voye sang the part of the Siren, and Roger
that of Marco Tempesta in the original cast,
which included Henri, Audran, Ricquier,
and MUe Pruvost. This opera was given in
Berlin, translation by L. ReUstab, Oct. 15,
1844. Published by Breitkopf & Hiirtel
(Leipsic, 1844). — Clement et Larousse, 626;
Allgem. mus. Zeitg., xlvi. 425.
SIEMEN (Syrmen), MADDALENA
LOMBARDINI DE, born in Venice in 1735,
died towards the close of the century. Vio-
linist and composer, pupil at the Conserva-
torio dei Mendicanti, Venice, and of Tartini
in Padua. She travelled in Italy with bril-
liant success, being spoken of as a rival to
Nardini ; married Luigi de Sirmen, a vio-
linist and maestro di cappella at Bergamo,
with whom she went in 1761 to Paris and
played at the Concerts Spirituels. In 1768
she went to London, but in 1774 accepted
an engagement to sing in small parts in
opera. In 1782 she was concert singer at
the court of Saxony in Dresden. Works :
884
SIROE
Six trios foi* 2 violins and yioloncello (Am-
sterdam) ; 7 concertos for violin. — Fe'tis ;
Schilling ; Mendel.
SIROE, Italian opera in three acts, text
by Metastasio arranged by Nicolo Haym,
music by Handel, first represented at the
King's Theatre, London, Feb. 17, 1728.
The autograph score, in Buckingham Palace,
is signed " Fine dell' opera, London, Feb.
5, 1728." Original cast : Co.sroe, King of
Persia, lover of Laodice (B.), SignorBoschi ;
Siroe, his eldest son, lover of Emira (S.),
Signor Senesino ; Medarse, son of Cosroe
(A.), Signor Baldi ; Emira, Princess of Cam-
baja, disguised as a man under the name of
Idaspe, in love with Siroe (S.), Signora
Faustina ; Laodice, sister of Arasse, general
of the Persian army and friend of Siroe,
and in love with Siroe (S.), Signora Cuzzoni.
Scene in the city of Seleucia. First pub-
lished by Cluer (London) ; Hilndelgesell-
scliaft, Breitkopf & Hiirtel (Leipsic, 1878).
Other Italian operas on Metastasio's text :
by Leonardo da Vinci, Venice, 1726 ; by
Domenico Sarri, Naples, 1726 ; by Antonio
Bioni, Breslau, 1731 ; by Johanu Adam
Hasse, Vienna, 1733, London, Nov. 23,
1736, Dresden, Aug. 31, 1763 ; by Antonio
Vivaldi, Ancona, 1738 ; by Wagenseil, Mil-
an, about 1745 ; by Cocchi, Najjles, 1750 ;
by Gennaro Manna, Venice, 1753 ; by Gio-
vanni Battista Lampugnaui, London, 1755 ;
by David Perez, Lisbon, 1756 ; by Pic-
cinni, Naples, 1759 ; by Hermann Friedrich
Raupach, St. Petersburg, 1760 ; by Giar-
dini, London, 1764 ; by Buroni, Prague,
1765 ; by Pietro Guglielmi, Naples, 1765 ;
by Traetta, Munich, 1767 ; by Baldassare
Galuppi, about 1775 ; by Giuseppe Sarti,
Turin, 1783 ; and by Carlo Ubaldi, Turin,
about 1810.— Chrysander, Handel, ii. 179 ;
Burney, iv. 330, 400 ; Gervinus, Gesiinge
aus Hiindel's Oi^ern und Oratorien, vii.
155.
SIROTTI, FRANCESCO, born at Reggio,
Italy, middle of the 18th century, died (?).
Dramatic and church composer, was cham-
ber virtuoso to the Duchess of Modena, and
afterwards maestro di cappella at the cathe-
dral of his native city. Works : Zenobia,
given at Modena, 1783 ; II Pimmaglione,
Milan, 1793 ; Aristodemo, cantata, Reggio,
1811 ; Masses, motets, vespers, and other
church nuisic. — Fi'tis.
SIR ROGER DE COVERLY, a popular
dance-tune of England, from which Addi-
son took the name for his " Sir Roger de
Coverly," in the "Spectator." It is prob-
ably of north-country origin. The name of
its author and the date of its composition
are unknown. The title is said to have
been derived from the Calverley family
of the Yorkshii-e town of Calverley. Ralph
Thoresby's MS. account of this family de-
scribes Roger as " a person of renowned
hospitality, since at this day the obsolete
tune of Roger a Calverley is referred to him,
who, according to the custom of those
times, kept his minstrells." The tune is
called variously: "Old Roger of Coverly
for evermore, a Lancashire Hornpipe ;"
" Roger of Coverly " ; " Roger a Coverly " in
Gay's opera of Polly; "Roger de Cover-
ly" in Robin Hood; and "Sir Roger de
Coverly " in Fielding's Tom Jones (1769).
A song with the burden, " O brave Roger
de Coverly," is contained in " Pills to purge
melancholy." The first known mention of
this tune is in a pamphlet printed in 1548
(in the British Museum), giving an account
of a quarrel between Sir Hugh Calverley
and Mr. John Griffiths, in the county of
Chester, in which reference is made to a
tune called " Roger of Caulveley." The
editor of the Skene MS. claims the tune as
Scotch on the authority of a MS. dated
1706, and saj's that north of the Tweed it
is known as " The Mautman comes on Mon-
day." According to Dr. Edward F. Rim-
bault, the earliest printed version occurs in
John Playford's " Division Violin, contain-
ing a choice collection of Divisions to a
Ground for the Treble violin. Being the
first Musick of the kind ever published "
(Loudon, 1685). It is also in Playford's
["Dancing-Master" (1695). The tune ia
385
SITT
known in Virginia as " My Aunt Margery,"
and the dance, which is an old-fashioned
contredause, as the " Virginia Eeel."
— Chappell, Music of the Olden Time, ii.
534 ; Grove, iii. 519 ; Notes and Queries,
First Series, i. 118, 3G8 ; v. 467 ; vi. 37 ;
Thii-d Series, ii. 286, 358, 495 ; iii. 54.
SITT, HANS (HanuS), born in Prague,
Sept. 21, 1850, stiU living, 1890. Violinist,
pupil of Bennewitz, Mildner, Kittl, and
Krej6f at the Couservatorium in Prague ;
became Conzertmeister at Breslau in 1867,
■was Kapellmeister at the theatres in Breslau
and Prague in 1870-73, at Chemnitz in
1873-80, then conductor of a private or-
chestra at Nice untU its dissolution, when
he established popular concerts at Leipsic.
In 1883 he became instructor at the Cou-
servatorium, member of Brodsky's quartet,
and in 1885 succeeded von Herzogeuberg as
conductor of the Bachverein. Works : Two
concertos for violin ; Pianoforte pieces ;
Songs. — Riemann.
SrVORI, ERNESTO CAMILLO, born iu
Genoa, Oct. 25, 1815,
still living, 1890. Vir-
tuoso on the violin,
first instructed at the
age of five by a mu-
sician named Rcs-
tano, then pupil of
Costa, an artist of the
classical school, and
of Paganini, who had
heai'd him on his re-
turn to Genoa, and who composed for him
a concertino and sis sonatas with viola,
violoncello, and guitar. Sivori took Pa-
ganini's style as his guide, and excelled in
rendering that great virtuoso's compositions.
In 1827 he went to Paris, played at several
concerts, and astonished his hearers by his
skill with his left hand. He was also in
England near this time, and on his retui-n to
Genoa began a serious course of training
and studied composition under Sen-a. In
1839 he began a concert tour through It-
aly, Germany, and Russia, was in Brus-
sels in 1841, and iu 1843 in Paris, where
he played at the Conservatoire concerts,
and received a grande mudaille d'honueur.
His rare talent for chamber music was then
felt, he playing the music of Haydn, Mo-
zart, and Beethoven at all his concerts.
He went to England again, and in 184G
to the United States, Mexico, and various
parts of South America; after an absence of
eight years he retui-ned to Genoa, and in an
unfortunate business investment lost all his
accumulated savings, and had to -begin a
new course of concerts in the principal cities
of Europe. He visited England the third
time in 1853, playing also in Ireland and in
Scotland, and went to Switzerland, Ger-
many, Holland, Portugal, etc. He was in
Paris in 1862, and plaj'ed at a concert
given by Count Walewski for a public
benefit, where he had to play immediately
after Alard, then a popular favourite, and
awakened the greatest enthusiasm by his
rendering of Paganini's concerto in B-flat.
Order of SS. Maurice et Lazare, Italy,
1855 ; Order of Charles IH. of Spain,
1856 ; Chevalier of the Order of Christ,
Portugal, 1856. Works : Two concertos
for violin and orchestra ; Fantaisie-caprice,
for do. (or jjianoforte) ; Neapolitan taran-
tella for do.; Fleurs de Naples, grande
fantaisio, for do. ; 2 duos concertants for
pianoforte and violin ; 3 romances sans
paroles, for do. ; Les folies espagnoles ;
Cai-naval de Cuba ; Carnaval de Chili ;
Carnaval amcricain ; Souvenir de Norma,
with quartet ; Duet for violin and double-
bass (with Bottesini) ; Fantasias, varia-
tions on operatic themes, etc. — Fetis ; La-
rousse ; Hart, The Violin, 271.
SliROUP (Skraup), FEANTI^EK, born
at Vosic, near Pardubitz, Bohemia, June 7,
1801, died in Rotterdam, Feb. G, 1862.
Dramatic composer, pupil of Rollert at
KOniggriitz, then studied law in Prague,
but also pianoforte and singing, and took up
music as a profession, when offered, in 1827,
the position of second Kapellmeister at the
Stilndisches Theater. He was appointed
SKROUP
first Kapellmeister in 1837, conducted the
music for the Jewish service iu Prague in
1835-40, was director of the Sophieu Aka-
demie in 1858-GO, and went to Rotterdam
in 1860, as kajselmeester of the German
opera. He was the iirst to write Czech
operas, and many of his melodies have
become national songs. As a conductor he
stood in the foremost rank, and it was he
who introduced to the public of Prague,
Wagner's Tannhiluser, Lohengrin, and
Der fliegende Hollander. Works — Operas :
Drateuik (The Wire-drawer), Prague, 182G ;
Oldfich a Bo2ena (Ulric and Beatrice), ib.,
1828 ; Der Prinz und die Schlange, fairy
opera, ib., 1829 ; FidlovaSka (The Shoe-
makers' Festival), ib., 1834 ; Libusin snatek
(Libussa's Wedding), ib., 1835 ; Die Geister-
braut, ib., 1836 ; Drahomira, ib., 1848 ;
Der Meergeuse, ib., 1851 ; Columbus. Mu-
sic to several dramas ; 2 masses ; offer-
tories, and graduals ; Overtures ; Fest-
Marsch ; 4 quartets for strings ; 3 trios for
pianoforte and strings ; German and Czech
songs.— Bohemia (Prague, 1857), No. 288;
(1862), No. 34 ; Dalibor (Prague, 1862),
Nos. 6-8 ; Mendel ; Wurzbach.
SKROUP (Skraup), JAN NEPOMUK,
born at Vosic, Sept. 15, 1811, died in
Prague, Nov. 18, 18G5. Dramatic and
church composer, brother of Franti§ek, be-
came in 1836 chorus master at the Stilnd-
isches Theater, and iu 1840—46 was second
Kapellmeister. He then conducted the
Czech opera iu StOger's new theatre, was
also music director at the Sophien-Akade-
mie in 1844-40, regens chori at the Kreuz-
herren-Kirche in 1838-45, and became
Kapellmeister at the cathedral in 1845, and
professor of singing at the theological sem-
inary in 1846. Works — Operas : La fiancee
du gnome, 1836 ; Svedove v PraXe (The
Swedes in Prague), 1867 ; Vineta, 1870.
Gradualia a oflfertoria, etc. ; Manuale pro
sacris functionibus, etc. ; Missa pro populo ;
Musica sacra pro populo ; Hymn in honour
of Pope Pius IX. ; Rorate ; Fest-Ouvertiire ;
Menuet ; German and Czech songs. — Bo-
hemia (Prague, 1861), No. 296 ; Slovnik
naucny (ib., 1859), ix. 62 ; Wurzbach.
SKUHEESKt, FEANTISEK ZDENKO,
born at Opoczno, Bohemia, July 31, 1830,
still living, 1890. Organist and dramatic
composer, pupil of Pietsch and Kittl at the
organists' school in Prague, where he studied
medicine ; sent to Vienna in 1850 to finish
his medical studies, he gave them up against
his father's wish, and accepted a position
as musical instructor in Count Hardegg's
family. After his father had become recon-
ciled to this step, he returned to Prague,
and in 1854 was called to Innspruck to con-
duet the Musikverein until 1866, when he
succeeded Krejfii as director of the organ-
ists' school in Prague. In 1868 he became
also choir director at St. Castulus, and soon
after director of the court chapel. Works
— Operas : Samo (1854), not given ; Der
Liebesring, Innsjiruck, 1861 ; Vladimir,
Lora, ib., 1861-66 ; Der Eekrut, Prague,
1866 ; Tod des KOnigs Wenzel ; Jaroslav
von Sternberg. 20 masses ; Symphonies ;
Overtures ; Songs. He jjublished also Mu-
sikalische Formenlehre (1879) ; Komposi-
tionslehre (1881) ; Die Orgel und ihre
Struktur (1882) ; Theoretisch-praktische
Orgelschule (1882) ; Harmonielehre (1885).
— Svetozor (Prague, 1869), 119 ; Wurz-
bach; Mendel, Ergiinz., 439 ; Eiemann.
SLAVISCHE TANZE (Slavic Dances) for
full orchestra by Antonin Dvorak, op. 46,
and op. 72. I. op. 46. i. Presto ; ii. Alle-
gretto grazioso ; iii. Allegretto scherzando ;
iv. Tempo di menuetto ; v. Allegro vivace ;
vi. Poco allegro ; vii. Allegro assai ; viii.
Presto. H. op. 72. i. Molto vivace ; ii.
Allegretto grazioso ; iii. Allegro ; iv. Alle-
gretto grazioso ; v. Poco adagio ; vi. Mo-
derato quasi menuetto ; vii. Allegro vivace ;
viii. Grazioso e lento, ma non troppo, quasi
tempo di valse. Full score published by
Simrock (Berlin) ; pianoforte arrangement
for two hands by Robert Keller (ib.).
SLAWIK (Slawjk, Slavic), JOSEF, born
at Jiuec, near Pribram, Bohemia, March
26, 1806, died in Pesth, May 30, 1833.
387
SLAWlK
Virtuoso on the violin, pupil of his father,
then of Pisis at the Conservatorium in
Prague ; went in 1825 to Vienna, where
he gave his first concert the year follow-
ing, with signal success. On Paganini's
arrival in Vienna in 1828, he took him for
his model, and followed him to Paris. In
1829 he entered the orchestra of the im-
l^erial opera in Vienna, and was suddenly
cut off by an acute typhoid fever in 1833,
when on the point of undertaking a concert
tour through HungaiT. Works: Four con-
certos for violin; Double concerto for 2
viohns ; Potpourri, with quartet ; Phan-
tasie, do. ; Impromptu ; Variations ; Rondo ;
Quartet for strings. — Mlgem. Theat. Zeitg.
(Vienna, 1833), No. IGO ; Hanslick, Con-
certweseu, 241 ; "Wurzbach.
SLAWiK, RUDOLF, born at Horovic,
Bohemia, April 29, 1823, still living (?),
1890. Violinist, brother of the preceding,
followed the same course of instruction ;
entered the theatre orchestra in Prague in
1839, then gave concerts in several cities of
Bohemia and Hungary, and became oi'ches-
tra leader at Pesth. In 1844 ho went to
Russia, was at first instructor in a noble-
man's family, then in Moscow first viohnist
in the theatre orchestra, and afterwards
Vize-KapeUmeister there ; at the same time
he became organist and choir-master at SS.
Peter and Paul's. Works : Des Heilands
erste Stunde, cantata ; Symphony ; 2 over-
tures ; Music to the drama Johann Palm,
and to the ballet Maler und Modistiu ;
Mass ; Quartets for strings ; Fantasias for
violin ; Czech, Polish, French, and Geiman
songs. — Slovuik naucny (Prague, 1872),
viii. 526 ; Wurzbach.
SLEEPER AWAKENED, THE, sere-
nata, text by John Oxenford, music by
George Alexander Macfarreu, first per-
formed at a National Concert, Her Maj-
esty's Theatre, London, in November, 1850.
The story is from the Arabian Nights. Mile
Angri, Mr. Sims Reeves, and Mr. Bodda
sang in the original cast. The score was
published by Cramer, Beale &; Co. (Lon-
don, 1851).— Athenffium (1850), 1225;
(1851), 25.
SLEEPERS, WAKE! A VOICE IS
CALLING. See Wachet auf! ruft uns die
Stimme.
SLEEPING BKAUTY, THE, cantata,
text by Francis Hueffer, music by Frederic
Hymen Cowen, first performed at the Bir-
mingham (England) Festival, Aug. 25,
1885. The story is that of the old German
fairy legend, " DornrOschen." Characters
represented : The Princess (the Sleeping
Beauty) (S.), Mrs. Hutchinson ; the Prince
(T.), Mr. Lloyd ; the Wicked Fay (A.), Mme
Trebelli ; and the King (B.), Mr. F. King.
The music is dainty and the Leitmotiv is
frequently employed. The cantata was first
given in Loudon at the Crystal Palace, Dec.
19, 1885 ; in Paris, as " La belle au bois
dormant," translation by Miss Augusta
Holmes, and first in America by the Boyls-
ton Club, Boston, lilarch 3, 188G.— Athe-
nreum (1SS5), ii. 280, 850 ; Upton, Standard
Cantatas, 129.
SLOMAN, ROBERT, born at Gloucester,
England, contemporary. Organist, pupil of
Arnott, Wesley, and C. Lucas ; private or-
ganist to the Earl of Powis, 1852 ; organist,
successively, of Parish Church, Welshpool,
St. Martin's, Scarborough (1869), West Dul-
wich, London (1871). Mus. Bac, Oxford,
1861 ; Mus. Doc, ib., 1867. Works : Sup-
phcatiou and Praise, sacred cantata ; An-
thems ; Part-songs and songs ; Pianoforte
music.
SLOPER, FREDERICK (E. H. ? ) LIND-
SAY, born in London, June 14, 182G, died
July 3, 1887. Pianist, pupil of Moscheles,
at Frankfort of A, Schmitt, at Heidelberg
of VoUweiler, and in Paris of Rousselot.
Works : Czartoryska, 3 mazurkas for piano-
forte ; Henriette, valse, do. ; Serenade and
canzonetta, do.; Studies, transcriptions, etc.,
for do.; Sonata for pianoforte and violin ;
Songs.
SMART, Sir GEORGE (THOJIAS), born
in London, May 10, 1776, died there, Feb.
23, 1867. Organist, pupil of Dupuis, and
3S8
SMAET
in composition of Arnold. The son of a
double-bass player lie bad received bis
early musical education as chorister of the
Chapel Royal under Dr. Ayrtou. In 1791
he was appointed organist of St. James's
Chapel, Hampstead Road, violinist at Salo-
mon's Concerts, and commenced practice as
a teacher of the barjjsichord and singing.
He soon showed an aptitude for conducting
musical performances, and was knighted in
Dublin in 1811, after having successfully con-
ducted a series of concerts. Chosen one of
the original members of the Philharmonic
Society in 1813, he conducted most of its con-
certs between that date and 1844 ; conducted
the Lenten oratorios from 1813 to 1825, and
the City Concerts established in 1818 by
Baron Heath. In 1822 he was appointed
one of the organists
of the Chapel Royal
ia the jslace of Ivny-
vett, and went in 1824
to Germany with
Charles Kemble, to
engage Weber to
compose an opera
for Covent Garden.
In 1 8 3 G he intro-
d u c e d M e n d e 1 s -
sohn's St. Paul to England, at the Liver-
pool Festival. He was ajipointed one of
the composers to the Chapel Eoj'al on the
death of Attwood in 1838. He conducted
all the principal provincial festivals of his
time, and the music at the coronations
of William IV. and of Victoria. He edited
Orlando Gibbons's Madrigals for the Musi-
cal Antiquarian Society, and the Dettingen
Te Deum for the Handel Society. Weber
died at his house in London. Works :
Collection of anthems ; do. of glees and
canons (18G3) ; Two of his glees. The Squir-
rel, and The Butterfly's Ball, were very
pojiular. — Grove ; Futis, Supplement, ii.
524; Mendel, Ergiinz., 439 ; Riemann.
SMART, HENRY, born in London, Oct.
26, 1813, died there, July G, 1879. Organ-
ist, son and pujjil of Henry Smart (violin-
ist, 1778-1823, brother of George Thomas),
and pupil of W. H. Kearns, but was chiefly
self-taught. He was
organist of the parish
church of Black-
boiu'ne, Lancashire,
in 1831-3G, and while
there, comjwsed his
first important work,
an anthem for the
tercentenary of the
Reformation in 1835.
He became organist
at St. Philip's Church, Loudon, in 1836, of
St. Luke's, Old Street, in 1844, of St. Pan-
eras in 18G4. He became blind in 1SG4, and
had to dictate his compositions. As a com-
poser of i:)art-songs he was particularly suc-
cessful. He was an accomplished mechanic,
and as a designer of organs was often em-
ployed ; those at Leeds and Glasgow may
be named as specimens of his powers in this
line. He edited Handel's Italian duets, and
two trios for the Handel Society. Works :
Bertha, or the Gnome of Hartzberg, opera,
London, 18G4 ; Undine, do. (unfinished) ;
Surrender of Calais, do. Cantatas : The
Bride of Duukerrou, Birmingham Festival,
18G4 ; King Rene's Daughter, The Fisher-
maidens, both for female voices, 1871 ; Jacob,
sacred cantata, Glasgow Choral Union, 1873 ;
Morning and Evening Sei-vices ; Anthems ;
Part-songs, and songs ; Organ pieces, many
published in the Organist's Quarterly Jour-
nah His last composition, just before his
death, was a Postlude in E-flat for the
organ. — Grove ; Barrett, English Church
Comj)osers, 172 ; F6tis, Suj^plement, ii.
525.
SMETANA, BEDRICH (Friedrich), born
at Leitomischl, Bohemia, March 2, 1824,
died in Prague, May 12, 1884. Virtuoso
on the pianoforte, and dramatic composer,
pupil of Ikavec at Neuhaus, and of Proksch
in Prague ; opened a music school in Prague
in 1848 ; married the pianist KateHna Ko-
l;ir, and in 185G became director of the Phil-
harmonic Society in Gothenburg, Sweden.
SMITH
He made a concert tour in Germany and
Sweden in 1861 ; was appointed Kapell-
meister of the National-Theater in Prague
in 1866, retaining the position until 1874,
■when his loss of hearing obUged him to
resign. Besides being a thoroughly national
Czech composer, and as such occupying
a prominent position, he was also an enthu-
siastic adherent of the Berlioz-Liszt- Wagner
school. "Works — Bohemian Operas : Bran-
iboiFi V 6ech;ich (The Brandenburgers in
Bohemia), Prague, Jan. 5, 1865 ; Prodand
nevSsta (Married for Money), ib.. May 30,
1866; Dalibor, ib.. May 16, 1868 ^Dv-g
vdovy (Two "Widows), ib., March 28, 1874 ;
Hubi&ka (The Kiss), ib., autumn, 1876 ;
Tajemstvi (The Secret), ib., 1878 ; Libussa,
ib., June 11, 1881 ; The DevH's Wall, ib.,
Oct. 15, 1882. Lustspiel-Ouvertiire ; Sym-
phonic poems ; Wallenstein's Lager ; Rich-
ard in. ; Hakon Jarl ; Mast (My Country),
in six movements ; Carnival of Prague ; A
Festival March for the 300th Shakespeare
jubilee ; 2 string quartets ; Trio for piano-
forte and strings ; Choi'uses ; National Bo-
hemian dances, and many other pieces for
pianoforte. — Dalibor (Prague, 1863), No.
24 ; Wurzbach ; Eiemann ; Fctis, Supple-
ment, ii. 525.
SIMrra, ALICE JIARY (Mrs. Meadows
.T.^^ WTiite), born in London,
May 19, 1839, died
there, Dec. 4, 1884.
Dramatic composer, pu-
pil of Sir W. Sterndale
Bennett and of Sir
George M a c f a r r e n ;
elected associate of the
Philharmonic Soci e t y,
1867. Married to Fred-
erick Meadows White,
Q. C, Jan, 2, 1867. Works : Ode to the
North-East Wind, cantata for chorus and
orchestra. Musical Artists' Society, 1878,
Hackney Choral Association, 1880 ; Col-
lins's Ode to the Passions, cantata for soli,
chorus, and orchesti-a, Hereford Festival,
1882 ; Kingsley's Song of the Little Bal-
tung, cantata for men's voices with orchestra,
Lombard Musical Association, 1883 ; King-
sley's The Red King, 1884 ; Quartet, in B-flat,
for pianoforte, violin, viola, and violoncello,
1861 ; Trio, for pianoforte, violin, and violon-
cello, 1862 ; Quartet, in B-flat, for strings,
1862 ; Symphony, in C minor, 1863 ; Quar-
tet, in D, for pianoforte, violin, viola, and vio-
loncello, 1864 ; Overtm-e, Endymion, 1864,
rewritten. Crystal Palace Concerts, 1871 ;
Introduction, L' Allegro, for pianoforte and
orchestra, 1865 ; Rlidesheim, or Gisela,
cantata for soli and chorus, with small
orchestra, 1865 ; Overture, Lalla Rookh,
1865 ; Quartet, for strings, 1870 ; Concerto,
for clarinet and orchestra, Norwich Festi-
val, 1872 ; Overture to Longfellow's Masque
of Pandora, 1878 ; Overture to Jason, or
the Argonauts and Sirens, 1879 ; 2 inter-
mezzi from the Masque of Pandora, 1879 ;
Songs ; Duets ; Part-songs ; Pianoforte mu-
sic.
SmTH, JOHN CHRISTOPHER (orig-
inally Johann Christoph Schmidt), born
at Anspach in 1712, died at Bath, Eng-
land, Oct. 3, 1795. Organist and dramatic
composer, pupil of Pepuseh, Rozingrave,
and Handel, whose amanuensis he became
when that master lost his eyesight. His
father, a school-day friend of Handel's, had
gone to England with the latter, and there
acted as his treasurer. Young Smith trav-
elled on the continent, from 1745 to 1748,
and was appointed organist of the Found-
Ung Hospital chapel in 1750. All of Handel's
latest compositions were dictated to him ;
he played the organ at his oratorio perfor-
mances, and continued these after the mas-
ter's death, until 1774, when he retired to
Bath. Handel bequeathed to him all his
original MS. scores, his harpsichord, his
bust by Roubiliac, and his portrait by Den-
ner, all of which he in turn presented to
George HI. Works — Operas : Teraminta,
London, 1732 ; Ulysses, 1733 ; Rosalinda,
1739 ; Dario, 1746 ; Issipile, 1746 ; The
Fairies, 1754 ; The Tempest, 1756 ; Medea ;
n Giro riconosciuto ; The Enchanter, 1760.
SMITH
/^f^^.
He
Oratorios : The Ltiraentatiou of David, or
The Death of Saul and Jonathan, 1738 ;
Paradise Lost, 1758 ; Rebecca ; Judith ;
Jehosaphat ; The Redemption ; The Sea-
sons ; Nabal (compiled from Handel), 1764 ;
Gideon (do.), 17G9 ; Daphne, pastoral ;
Thamesis, cantata ; Isis and Proteus, do.
— Fetis ; Gerber ; Grove ; Mendel ; Rie-
mann ; Schilling.
SjVHTH, JOHN STAFFORD, bom at
Gloucester, Eng-
land, in 1750, died
in Loudon, Sept.
20, 1836. Organ-
ist and vocal com-
jjoser, best known
for his glees ; pu- ■^
pil of his father,
Martin Smith, who
was organist of
Gloucester Cathe-
dral from 17 4 3
to 1782 ; subse-
quently pupil of Dr. Boyce in London,
was chorister of the Chapel Royal under
Dr. Nares ; appointed gentleman of the
Chapel Royal, Dec. 16, 1781. After acting
many years as dej)uty, ho became lay vicar
of "Westminster Abbey iu 1785, installed,
1786, was appointed one of the organists of
the Chapel Royal, to succeed Dr. Arnold,
in 1802, and was master of the children in
1805-17. He won many prizes from the
Catch Club, for his glees, 1773-80. He
rendered great assistance to Sir John Haw-
kins in the production of his History, not
only by reducing ancient compositions to
modern notation, but by the loan of valua-
ble early MSS. from his extensive and curi-
ous library, which unfortunately was dis-
persed after his death. He had used many
of these valuable MSS. for his collection of
English Songs in Score, for three and four
voices, composed about the year 1500, taken
from MSS. of the same age (London, 1779).
In 1812 he produced his interesting work,
Musica Antiqua. He is also remembered
as the instructor of John Goss. Works :
Five collections of glees, containing all his
prize glees ; Collection of songs of various
kinds (London, 1785) ; Twelve chants com-
I^osed for the use of the choirs of the
Church of England ; Anthems composed
for the choir service of the Church of Eng-
land (1793). Fourteen glees, 11 catches, 4
canons, 2 rounds, an ode, a madrigal, and a
motet by him are given iu Warren's collec-
tions.— Grove ; Barrett, Church Composers,
147 ; Harmonicon (1833), 186 ; Ritter, Mu-
sic in England, 16.
SJHTH, MONTAGUE, born in Norwich,
England, July, 1843, still living, 1890. Or-
ganist of Glasgow University, and of St. Silas
Episcopal church. Professor of harmony,
Queen Margaret College, Glasgow ; conduc-
tor of University Choral Society. Works :
The KiUabag Shootings, opera ; Blessed is
the Man, cantata ; By the Waters of Baby-
lon, do. ; Concert overture, Gloucester Fes-
tival, 1877 ; Songs, part-songs ; Instrumen-
tal music.
SMITH, ROBERT ARCHIBALD, born
at Reading, England, Nov. 16, 1780, died in
Edinburgh, Jan. 3, 1829. Vocal comjsoser,
one of the best of his time in Scotland. He
was the son of a Paisley silk weaver, and
early showed great ajjtitude for music ; at
ten he could play the violin, and in 1807
was appointed leader of the psalmody of
the Abbey Church, Paisley. While there,
he made the acquaintance of Robert Tanna-
hill, the poet, and set to music many of
his fine lyrics, of which Jessie, the Flow'r
o' Dunblane (1808), at once became popu-
lar. He published the Scottish Minstrel
(G vols., 1820-24), which contained several
hundred of the best Scottish songs, not a
few of them his own. In 1823 he obtained
the leadership of the jasalmody at St.
George's Church, Edinburgh, and pub-
lished the Irish Minstrel, followed in 1826
by an Introduction to Singing ; and in 1827
by Select Melodies of all Nations. He
brought out Sacred Harmony of the Church
of Scotland in 1828. Works : Anthems
and other pieces, mostly written for the
391
SMITH
boys of George Heriot's Hospital ; Songs,
and duets. — Grove.
SinTH, SYDNEY, born at Dorchester,
England, July 14,
1839, died March 3,
1889. Pianist, pu-
pil of his parents,
and in Leipsic on
the pianoforte of
Moscheles and Plai-
dy, on the violoncello
of Griitzmacher, in
harmony and coun-
terpoint of Haupt-
mann, Richter, and
Papperitz, and in composition of Eietz.
In 1858 he returned to England, and in the
following year settled in London. Works :
La harpe colienne ; Le jet d'eau ; The
Spinning Wheel ; Tarantellas, and many
other morceaux de salon, for pianoforte ;
Many arrangements from popular operas.
— Grove ; Fotis, Supplement, ii. 526.
SMITH, WILSON GEORGE, born at
Elyria, Ohio, Aug.
19^ 1855, still liv-
ing, 1890. Pian-
ist, pupil in Cin-
cinnati of Otto
Singer ; went in
1880 to Berlin and
studied piano-
forte with Xaver
Scharwenka, Os-
car Raif, and Mo-
ritz Moszkowski,
and theory and
composition with Ferdinand Kiel, Philipp
Scharwenka, and Franz Neumann. On his
return to America, in 1882, he settled as
teacher and composer in Cleveland, where
he has since i-esided. Works : Serenade in
B-flat, op. 15 ; Homage fi Grieg, op. 18 ;
Swedish Dance, op. 23 ; Gavotte and Ma-
zurka, op. 25 ; Pensue d'amour, op. 27 ;
Humoresque, op. 28 ; Second Gavotte and
Scherzo tarantelle, op. 34, and other piano-
forte music ; Songs, etc.
SNEGORUTCHIiA (Snowdrop), inci-
dental music to the drama of, by Tschai-
kowski. Same title, Russian opera in three
acts, text by Ostrovsk}', music by Nico-
lai Andreyevich Rimsky - Korsakoff, St.
Petersburg, March, 1882 ; and Schneewitt^
chen, cantata for female chorus and soli
with pianoforte, by Karl Reinecke, about
1875.
SNEL, JOSEPH FR.\NgOIS, born in
Brussels, July 30, 1793, died at Eockelberg,
near Brussels, March 10, 1861. Violinist,
was first a chorister at the Church of Saint-
Nicolas, Brussels, where he gave early evi-
dence of musical talent ; then pupil of Van
der Plancken, and later at the Paris Con-
servatoire (1811-13) of Baillot, and in
hanuouy of Dourlen. While in Paris he
was first violinist at the Vaudeville. He re-
turned to Brussels in 1813, and subse-
quently was solo violinist at the Grand
Theatre, and often jjlayed at concerts as a
virtuoso. In 1818 he founded with Mees
a school known as I'Acadcmie de Musique
et de Chant ; was professor of violin at the
Athunee, and first violin to Guillaume lier.
He was made director of the School of In-
struction for martial music after having
composed an elementary work for the use
of the anny bands (1828) ; received the title
of Inspector General of the music schools
for army music in 1829, became chef d'or-
chestre at the Grand Theatre in 1830, con-
ductor of the Societe de la Grande Har-
monic in 1831, maitre de chapelle at the
chui-ch of SS. Michel et Gudule in 1835,
and chef de musique of the Civic Guard in
1837. Orders of Leopold and of the Oaken
Crown ; IMember of the Royal Academy of
Brussels, and in 1847, member of its jury
for the grand concours. As a teacher he
formed many noted pupils, among others
Joseph Ai-tot and Theodore Haumann.
Works — Ballets : Frisac, ou la double noce,
Brussels, 1825 ; Le page inconstant, ib.,
1825 ; Le cinq juillet (with Hanssens, the
younger), ib., 1825 ; Pourceaugnac, ib.,
1826 ; Les enchantements de Polichinelle,
392
SOBOLEWSKI
ib., 1829 ; Les barrictides, ib., 1830. Music
for several melodramas ; Duos for violin and
pianoforte ; Violin concerto composed for
Joseph Artot ; Grandes marches funebres a
27 j^arties for military band ; Caprice and
variations for do. ; Many f antaisies and pot-
pourris on pojjular operas for do.; Sym-
jjUonie coucertante for orchestra ; Concer-
tino for clarinet and orchestra ; 2 concertos,
for do. ; Fautaisie, for do. ; Grand cantata
for solos, choruses, and orchestra, for the
opening of the Societe de la Grande Har-
monie (Brussels, 1842), etc. Nearly all of
his church music is in MS. Among the
published pieces are : Tantuni ergo and
Genitori for 4 voices, violoncellos, double-
bass, etc., and organ ; a Eequiem mass in
plain-chaunt, 4 voices, organ, and double-
bass (Brussels).- — Fotis ; Hart, The Violin,
319 ; Eiemann ; Mendel.
SOBOLEWSKI (Sobolewsky), EDUAED,
born at KOnigsberg, Oct. 1, 1808, died in
St. Louis, Missouri, May 23, 1872. Dra-
matic composer, pupil of Weber in Dres-
den, became Kajsellmeister of the theatre
in his native city, but resigned in 1836, to
devote himself entirely to a singing society
founded by him. In 1847 he resumed his
former position, occui^ied a similar one in
Bremen in 1854-58, and went to St. Louis
in 1859, where he conducted the Philhar-
monic Society. Works — Operas : Imogen,
KOnigsberg, 1833 ; Velleda, ib., 183G ; Sal-
vator Eosa, ib., 1848 ; Comala, W^eimar.
Johannes der Tilufer, oratorio, KOnigsberg,
1845 ; Der Erloser, do., ib. ; Himmel und
Erde, a mystery, Leipsie, 1845 ; Siid und
Nord, symphony, ib., 1845 ; Another sym-
phony ; Cantatas with orchestra ; Hymns ;
Choruses for male voices. — Fetis ; Mendel.
SODEEMAN, AUGUST JOHAN, born at
Stockholm, July 17, 1832, died there, Feb.
10, 1876. Instrumental and vocal com-
poser, pupil of Eichter and Hauptmann at
the Conservatorium, Leipsie, in 1857-58 ;
was appointed chorus master at the Stora-
Theater, Stockholm, in 1860, and Kapell-
milstare in 1862. Member of the Swedish
Academy of Music. He is one of the most
original Swedish composers, and although
a Protestant, his principal work is a solemn
mass for soli, chorus, and orchestra. W^orks
— Operettas : Hinondes forsta Liirspan
(The Devil's first Eudiments of Learning),
Stockholm, 1856 ; Briillopet pa Ulfasa (The
Wedding at Ulfasa) ; Eegina von Emmer-
itz. Music to Schiller's Jungfrau von Or-
leans ; Concert overture ; Circassian dance ;
Sacred songs with organ ; Terzets for male
voices ; Songs to the poetry of Bellman,
etc. — Grove ; Fetis, Supplement, ii. 527 ;
Eiemann ; Mendel.
SODI (Sody), C.YELO, born in Eome in
1715, died in Paris, September, 1788. Vir-
tuoso on the mandolin, went to Paris in
1749, and entered the orchestra of the Co-
medie Italienne, where he appeared also in
several plays as a mandolinist. He was
pensioned in 1765, became blind, and died
in poverty. Works : Baiocco e Serpilla, a
parody, Paris, 1755 ; Le charlatan, opera-
comique ; Lea troqueurs, comedy ; Cocagne,
divertissement, 1760. His younger brother
Pietro, a harpist, went to Paris in 1743, and
entered the opera orchestra. He died in
1764.— Fc'tis.
SOFFI, PASQUALE, born at Lucca in
1732, died there in 1810. Church com-
poser and organist, in which capacity he
formed many pupils at the seminary of
San Giovanni. His conapositions for Holy
Week are performed in his native city to this
day. Works : San Tommaso, oratorio ; 21
masses with full orchestra (1761-1807) ;
Masses, vespers, motets, etc., for 3-4 voices,
for Holy Week. — Fotis, Supplement, ii.
528 ; Mendel, Ergilnz., 440.
SOFFEIVA NEL PIANTO. See Lucia
di Lammermoor.
SOFONISBE, Italian opera, text by Sil-
vani, after Corneille, music by Leo, first
represented at the Teatro San Bartolomeo,
Naples, in 1719. Other Italian ojjeras :
Sofouisba, by Caldara, test by Silvani, after
Corneille, Venice, 1708 ; by Predieri, about
1725 ; by Jommelli, text by Zanetti, Eome,
SOFTLY
1742 ; byBaldassare Galuppi, Lucca, 1744 ;
by Tommaso Traetta, text by Verazi, Par-
ma, 17G1 ; by Matteo Veuto, Naples, 1762 ;
bj' Buroui, text by Zanetti, Venice, 1764 ;
by Theresia d' Aguesi, same text, Naples,
1771 ; by Paer, same text, Bologua, 1796 ;
Dresden, 1808 ; by Marcos Portugal, text
by Comiwgno, Lisbon, 1803 ; by Federici,
text by Zanetti, Tui-in, 1805 ; by Luigi Pe-
trali, text by Marcello, Milan, Feb. 6, 1844 ;
Sopbonisbe, in German, by Georg Gebel, text
by Kleist, Kudolstadt, 1753 ; Melodrama,
by Christian Gottlieb Neefe, Leipsic, 1782 ;
Sopbonisbe, in Freucli, by Manuel Garcia,
text by Jouy, about 1820, not given. — Bit-
ter, Reform der Oper durcb Gluck, 177.
SOFTLY SWEET IN LYDIAN MEAS-
URE, soprano aria in D major, with accom-
jjaniment of violoncello solo and bass, in
Handel's Alexander's Feast, Part L, No. 8.
Published also separately, with the accom-
paniment filled out by Otto Dresel (Leijjsic,
Breitkopf & Hih-tel).
SOGNER, PASQUALE, born at Naples
in 1793, died at Nola in 1839. Pianist, son
and pupil of Tommaso Sogner (many j-ears
settled at Leghorn as maestro di cappeUa
of a church, and professor of singing) ; be-
came accompanist at the court theatre in
Leghorn at the age of nineteen, and iu 1813
returned to Naples. He possessed much
original talent, but dissolute habits de-
stroyed his faculties to such a degree as
to make him lose, in later years, even the
consciousness of his musical talent. Works
— Operas : Amore per finzione ; Due con-
sigli di guerra iu un gioruo ; Quattro pri-
gionieri ed un ciarlatano ; Gueriuo agli
alberi del sole ; Margherita di Fiandra ;
Generosita e vendetta, Naples, 1824 ; La
cena aUe montagne russe, ib., 1832. Con-
certo for pianoforte and orchestra ; 3 duos
for pianoforte and violoncello ; Sonatas for
pianoforte. — Fetis ; IMendel.
SOGNO DI SCIPIONE, XL (Scipio's
Dream), Italian operetta in one act, text
by Metastasio, music by Mozart, composed
in 1772 for the festival iu honour of Hiero-
nymus, the newly elected Archbishop of
Salzburg, and was probably represented in
May, 1772. The text is taken from Cicero's
" Somnium Scipionis," and Metastasio has
also used the myth of Silius Italicus, who
iu his " Puniea " makes Vu'tus and Volup-
tas appear to Scipio, that he may choose be-
tween vice and virtue. Metastasio changes
the names to Costanza and Fortuua in his
allegorical poem, which was first given with
music by Luca Antonio Predieri, Vienna,
on the birthday of Chai-les VL, who had
just suffered defeat in Italy. Scipio, asleep
iu the palace of Masiuissa, has a vision of
Costanza and Fortuna, who require him to
choose which of the two shall be his guide
through life. He begs time for considera-
tion, and his ancestors then appear. Scipio
Africanus tells him of the immortality of
the soul, but refuses to aid him in the de-
cision, and Emilius Paulus, his father, warns
him of the vanity of earthly things. Scipio
wishes to join his ancestors, but they teU
him that he is destined to save Rome and
to win through his great deeds the reward
of immortality. Scipio resolves to follow
Costanza, and as the threatening Fortuna
disappears a storm arises. Scijjio awakes,
but declares that he will abide by Costanza.
The music of this ojaera is less spontaneous
than in any other of Mozart's compositions,
and shows plainly that it was written to or-
der. The overture (KOchel, Verzeichniss,
No. 101) has been arranged for independent
performance. The autograph score, orig-
inally owned by Andre, has been published
by Breitkopf k Hilrtel, IMozart Werke, Serie
v.. No. 7. Other operas on Metastasio's
text. Christian Nichelmann, Berlin, March
27, 1746 ; and by Lucas Xavier dos Santos,
Lisbon, 1768. — Kochel, Verzeichniss, No.
126 ; Andre, do., 34 ; Jahn, Mozart, i. 227,
314 ; do. (Townsend), i. 139, 190.
SO IHR mCH VON GANZEM HER-
ZEN, tenor aria of Obadja, in E-flat major,
in Mendelssohn's Elias, Part I., No. 4.
SOIR, LE (Evening), symphony in G,
by Haydn, supposed to have been writ-
394
SOIREES
ten in 1767. It belongs to the group of
sympbouies including Le Matin and Le
Midi. It was numbered in Haydn's cata-
logue as No. 3. I. Allegro molto ; II. An-
dante ; III. Menuet ; IV. Finale, presto.
— Pohl, Haydn, i. 288.
SOmfiES A SAINT PETERSBOUEG, G
pieces for pianoforte solo, in three books,
by Anton Rubinstein, op. i-i. I. Romanze ;
II. Scherzo ; IH. Preghiera ; IV. Imi^romp-
tu ; V. Nocturne ; VI. Appassionato. Pub-
lished by Kahnt (Leipsic, ISGO). — Neue
Zeitschr. (18G0), i. 101.
SOIREES DE VIENNE (Evenings in
Vienna), valses-caprices for the pianoforte
for two hands, by Liszt. This is an ar-
rangement of Schubert's original waltzes. L
Allegretto maliucouico ; II. Poco allegro ;
ni. Allegro vivace ; IV. Andautino a ca-
priccio, Allegretto con intimo seutimento ; V.
Moderato ; VI. Allegro ; VII. Allegro sjiiri-
toso ; Vm. Allegro con brio ; IX. Preludio
a cainiccio, Andante con sentimento, Sehn-
suchts-oder Trauerwalzer. Published by
Schreiber (Vienna).
SOIREES MUSIC ALES (Musical Even-
ings), a collection of eight Italian ariettas
and four duets, translated into French by
Crevel de Charlemagne, with pianoforte ac-
companiment, music by Rossini. I. La pro-
messa, canzonetta ; II. II rimprovero, do. ;
III. La partenza, do. ; IV. L' orgia, arietta ;
V. L' invito, bolero ; VI. La pastorella dell'
Alpi, tyrolese ; VII. La gita in gondola,
barcarola ; Vin. La danza, tarantella ; IX.
La regata veneziana, notturno ; X. La pesca,
do. ; XI. La serenata, do ; Xll. Li marinari,
duetto. Published by Troupenas (Paris,
1831) ; German translation by Professor G.
Friederich (Schott, Mainz, 183G). Tran-
scription for the pianoforte by Liszt, pub-
lished by Schott (Mainz, 1838). Same title,
nine morceaux for the pianoforte by Ru-
binstein, op. 109, published by Senff (Leip-
sic, 1885) ; also jjianoforte for four hands.
— Allgem. mus. Zeitg., xl. 79G ; Escudier,
Rossini, 231.
SOIS IMMOBILE. See Guillaitme Tell.
SO 1ST MEIN JESUS NUN GEFANG-
EN, duet in E minor, with chorus, in Jo-
hann Sebastian Bach's Passion nach Mat-
thilus, Part I., No. 33. The solo voices are
the soprano and alto of Coro I, accom-
panied by two flutes, two oboes, and vio-
lins and violas in unison ; these are inter-
rupted by short exclamations from Coro
II., accompanied by two flutes, two oboes,
strings complete, organ, and continue. This
duet leads immediately to the chorus, Sind
BHtze, sind Douner.
SOJKA, MATEJ, born at Vilimov, near
Czaslau, Bohemia, Feb. 12, 1740, died there,
March 13, 1817. Organist and church com-
poser, pupil of Bach in Leipsic, and of Josef
Seger in Prague ; he soon acquired reputa-
tion as one of the greatest virtuosi on his
instrument, and received many offers of
lucrative positions, but gi-atitude towards
his patron. Count Caretto-Milesimo, who
had taken care of his entire education, im-
pelled him to remain in that nobleman's
household, in bis native place, where he
played the organ and taught music. His
compositions, comjjrising 300 works, rank
high as si^ecimens of contrapuntal per-
fection, clearness of ideas, and devotional
feeling, in the style of Bach. Works : 40
solemn masses, mostly a capi^ella in fugued
style ; 2 Requiem ; 8 litanies ; 2 Te Deum ;
over 100 ofl'ertories, graduals, INIagnificats,
etc. ; Preludes and fugues for the organ.
— Dalibor (Prague, 18G2), Nos. 13, 14 ;
Dlabacz ; Slovnik nau^ny (Prague, 1859),
viii. 763 ; Mendel ; Wurzhach.
SOKOL, JOSEPH, born at Bi-ezno, near
Buntzlau, Bohemia, Jan. 27, 1821, died in St.
Petersburg, Aug. 9, 1858. Virtuoso on the
violin, jnipil at the Conservatorium in
Prague ; composed an overture when only
fourteen, and an opera two years later. In
1839 he went as orchestra leader to Vilna,
thence in 1841 to St. Petersburg, where he
married, and became first violin in Herr-
mann's, and afterwards in Strauss's orches-
tra. At Vilna he began to drink to ex-
cess, and dissipation ultimately destroyed
395
SOLA
bis remarkable talent for composition.
Works : Lear, opera ; 2 overtures ; Sym-
phony ; Adagio polonais, for violin ; Eondo,
do. ; Variations, do. ; Songs. — Ambros, Das
Conserv. in Prag (Prague, 1858), 79 ; Dali-
bor (ib., 1858), No. C; Mendel; Wurz-
bacb.
SOLA, CHARLES MICHEL ALEXIS,
bom in Turin, Italy, Jvine 6, 1786, died in
London (?). Flute and guitar player, pupil
of Pipino and Vondano, having previously
studied the violin under Puguani. After
serving for four years in a French regiment
of infantry, he settled in 1809 at Geneva,
and studied composition under Dominique
Bideau, formerly violoncellist at the Como-
die Italienne in Paris. In 1817 he removed
to London. Works : Le tribunal, opera,
Geneva, 1816 ; 2 concertos for flute and or-
chestra ; Quartet for pianoforte, flute, clari-
net, and violoncello or bassoon ; do., for
flute, clarinet, horn, and bassoon ; do. for
flute and strings ; Grand trio for pianoforte,
harp, and viola ; Trios for flute, violin, and
bass ; Many pieces for guitar and flute ;
French romances ; English and Italian
songs. — Fetis ; Mendel.
SOLA, FUKTRA, AL TEMPIO. See
Norma.
SOLDATS DE GfiofiON, LES (The
Soldiers of Gideon), double chorus for
men's voices, without accomjsaniment, by
Saint-Saens, op. 46. Published by Durand,
Schoenewerk & Cie (Pai-is, between 1874
and 1879).
SOLERA, TEJHSTOCLE, born in INIilan,
Dec. 25, 1819, died there, April 21, 1878.
Dramatic comf)oscr and librettist, made
himself first known as a poet when only
eighteen and, while obtaining but moderate
success as a composer, soon acquired great
reputation through his libretti, not only
for his own operas, but those of Verdi, Vil-
lani, Pouchielli, and others. During his
last years he went to Egypt and was for a
time director of police to the Ivhedive, but
tiring of his duties returned to Italy, where
he led a Bohemian life which soon brought
him to poverty. Works : Ildegonda, IMilan,
1840 ; n contadino d" Agliate, ib., 1842,
and as La fanciulla di Castel Gaudolfo,
Brescia, 1843 ; Genio e sventura, Padua,
1843 ; La sorella di Pelagic. — Fetis, Sup-
plement, ii. 528.
SOLERE, ETIENNE, born at Mont-
louis (Indre-et-Lou'e), France, April 4, 1753,
died in Paris in 1817. Clarinet player, pupil
of Michel Yost, having previously served for
twelve years in the band of a regiment of
infantry ; then entered the service of the Due
d'Orleans, after whose death he became fii'st
clai'inet in the royal orchestra, and on the
foundation of the Conservatoire was ap-
pointed professor of his instrument. In
1804 he became a member of the imperial
orchestra, and on the death of Chelard, the
elder, succeeded him as second clarinet at
the Ojjura. Works : 7 concertos for clari-
net ; Symphonies concertantes for 2 clari-
nets ; Duos for do. ; Fantaisies for clarinet
and pianoforte ; Airs varies ; 75 suites
for military band, marches, quicksteps, etc.
— Fetis ; Mendel.
SOLlfi (properly Soulier), JEAN
PIERRE, born in Nimes in 1775, died
in Paris, Aug. 6, 1812. Dramatic sing-
er and composer, son of a violoncellist ;
first learned the violoncello, and received
a good musical education at the maitrise of
the Cathedral ; afterwards gave singing les-
sons, and was a violoncellist in the orchestras
of cities in the south of France. He made
his debut as a tenor bj' replacing a sick
singer at Avignon in 1778, and thenceforth
adopted the dramatic stage. His success
in the provinces tempted him to go to
Paris, in 1782, where be sang at the Come-
die Italienne, but failed and returned to
Nancy ; then sang at Lyons for three years.
He went again to Paris in 1787, and was
engaged at the Opera Comique, singing
with indift'erent success for two years, until
called upon to replace Clairval in 1789,
when he won unanimous applause. He im-
proved his style by studying that of the
newly an-ived Italian singers at the Theatre
SOLITAIRE
de Monsieur. His voice having meanwhile
gradually changed to a pleasing baritone, a
voice not heard until then at the Opera
Comique, several composers wrote parts
expressly for him, with which his name be-
came identified. In 1790 he began to com-
pose for the stage and won success with
airs written for the opera, Les fous de Mo-
dine. "Works — Operas : Jeau et Genevieve,
1792 ; La moisson, 1793 ; Le plaisir et la
gloire, 1794 ; Le jockei, 1795 ; Le secret.
La soubrette, Azeliue, 1796 ; La femme de
quarante-ciuq aus, 1797 ; La rivale d'elle-
meme, 1798 ; Le chapitre second, L'incerti-
tude materuelle, 1799 ; La pluie et le beau
temps, Una matinee de Voltaire, ou la
famille Galas a Paris, Oui, ou le double
rendez-vous, Plutarque, 1800 ; Quatre maris
pour un, Le petit Jacquot, 1801 ; Henriette
et Verseuil, L'epoux genureux, L'oncle et
le neveu, 1803 ; Les deux oucles, Le malade
par amoui', 1804 ; Chacuu son tour, 1805 ;
Le diable a quatre, 180G ; L'ope'ra de vil-
lage, L'amante sans le savoir, 1807 ; Anna,
Le hussard noir, Mademoiselle de Guise,
1808 ; La victime des arts, Les munestrels,
1811.— Fetis ; do.. Supplement, ii. 528 ;
Gerber ; Mendel ; Riemauu.
SOLITAIEE, LE (The Solitary One),
opera-comique in three acts, text by Pla-
nard, music by Michele Carafa, first repre-
sented at the Theatre Feydeau, Paris, Aug.
17, 1822. The libretto was taken from
the romance of the vicomte d'Arlincourt.
The opera was given in 1823 at Frankfort-
on-the-Main, as " Der Eiusiedler," and in
1824 in St. Petersburg. It was revived at
the Theatre Lyrique, Paris, in December,
1855. The score was published by Schott
(Mainz, 1824).— Clement et Larousse, G29 ;
Revue et gaz. mus. de Paris (1855), 390.
SOLIVA, CARLO EVASIO, born at Casal-
Monferrato, Piedmont, in 1792, died in Paris,
Dec. 20, 1853. Dramatic comjjoser, pupil
of Asioli and Federici at the Milan Couser-
vatorio ; was called in 1821 to Warsaw, as
professor of singing at the Conservatorium,
and went thence in 1832 to St. Petersburg.
Until 1834 he acted as Kapellmeister there,
and until 1840 as professor of singing at
the imperial theatre-school. He returned
to Italy in 1841, and afterwards settled in
Paris. Works : II trioufo di Berenice, La
testa di bronzo, Milan, 1816 ; Le ziugare
deir Asturia, ib., 1817 ; Giulia e Sesto
Pompeo, ib., 1818 ; Elena e Malvino, 1824 ;
Psalms cxii. and cxsviii., with orchestra ;
Te Deum, Veui Creator, Ave Maria, Pater
noster, Salve, De profundis ; 2 trios for
pianoforte and strings ; Grande polonaise ;
Vocal method. — Fetis ; do., Supplement, ii.
529 ; Mendel.
SOLL ICH DICH. See ZaubeiflOte.
SOL NASCENTE, aria for soprano, with
orchestra, in G, music by Mozart, comj^osed
as a licenza, to be introduced at the end of
an opera, about 1769. Breitkopf & Hilrtel,
Mozart Werke, Serie vi., No. 4. — KOchel,
Verzeichniss, No. 70 ; Jahn, i. 414.
SOLNITZ, ANTON WILLEM, born at
Leyden iu 1722, died at Amsterdam in 1758.
Instrumental composer of distinction, but
was addicted to strong liquors, and is said
to have composed only when intoxicated.
He spent the greater part of his life at Am-
sterdam. Works : Six trios for 2 flutes or
violins, and bass ; 12 quartets for strings ;
12 pieces for 2 clarinets and 2 horns. — Fe-
tis ; Mendel.
SOLOMON, EDWARD, English dramatic
composer, contemporary, known by the fol-
lowing pojjular
operas and oper-
ettas: Billee Tay-
f^ "'^ j^' lor, 1880 ; Claude
Duval, Quito an
Adventure, 1881 ;
Lord Bateman, or
Picotee's Pledge,
Through the Look-
ing-jrlass, farce,
The Vicar of Bray,
1882; Paul and Virginia, 1883; Polly,
1884 ; Pocahontas, 1885.
SOLOMON, oratorio in three acts, text
by Thomas Morell, music by Handel, first
89T
SOMBRE
performed at Covent Garden, London,
March 17, 1749. The score, iu Bucking-
ham Palace, is dated at the beginning May
5, 17-18, afterwards inscribed "50 minutes,
Fine della Parte prima, May 23, 1718 ; vol-
lig May 2G, 1748 ; " and the last date, which
confirms the date of Handel's birth, is " 40
minutes G. F. Handel, June 13, 1748, setatis
63 vollig geendiget." This is one of the
composer's great oratorios, and the gran-
deur of its double choruses is excelled only
by those of Israel in Egypt. Characters
represented : Solomon (A.) ; Zadok, the
High Priest (T.) ; A Levite (B.) ; Pharaoh's
Daughter (S.) ; Nicaule, Queen of Sheba
(S.) ; First Harlot (S.) ; Second Harlot
(S.) ; and choruses of Priests and Israel-
ites. The oratorio was given only twice in
1749 and twice again iu 1769. It was given
in Vienna, Dec. 22 and 23, 1825, with the
continuo filled out by J. F. Mosel ; in
Berhn in December, 1832 ; and in Leipsic
in March, 1837. Solomon was re^^ved by
the Sacred Harmonic Society, London, iu
1845, and it has frequently been performed
at the great festivals in England. It was
first sung iu Boston by the Handel and
Haydn Society, Nov. 18, 1855. Tlie score
was first published by "Walsh (London) ;
by Simrock (Bonn, 1830) ; pianoforte score
by Xaver Gleichauf (ib.) ; by Goulding &
D'Almaine, pianoforte or organ score, by
J. Addison (London, 1828) ; and by Novello
& Co. (London) ; Htindelgesellschaft, Breit-
kopf & Hib'tel (Leipsic, 18G7). Italian ora-
torios on this subject : by Jacopo Melani,
Bologna, 1G8G ; II giudicio di Salomoue, by
Ziani, Venice, 1697, Vienna, 1700 ; by Ignaz
Holzbauer, Mannheim, 1775 ; L' esaltazione
di Salomone, by Porsile, text by Maddali,
Vienna, March 6, 1727 ; by Zanetti, Flor-
ence, Dec. 3, 1775. In German : Salomo-
nis Tempelbau, by Schneider, 1836 ; Salo-
mo, by K. E. Hering, and KiJnig Salomo,
by Ludwig Meinardus, about 1860. Le
jugement de Salomon, French melodrama,
by Quaisain, Paris, 1802. Operas : II giu-
dizio di Salomone, by Marc Antonio Ziani,
Venice, 1697 ; L' errore di Salomone, by
Fr. Maria Veracini, London, 1745 ; Salomo,
by Iteiuhard Keiser, text by Hunold (Me-
nantes), Hamburg, 1703 ; Der Spruch des
Salomonis, by Peter Bitter, ib., 1817. See
also Die Kdnigin von Saba, and La Seine
de Saba.— Eockstro, Handel, 289; Schcel-
cher, do., 310 ; Allgem. mus. Zeitg., xxviii.
69 ; xxxii. 165 ; xxxv. 23 ; xxxix. 226 ; Har-
monicon (1828), 86.
S0:MBRE FORfiT. See Guillaume Tell.
SOMETIMES LET GORGEOUS TRA-
GEDY, alto aria of II Pensieroso, in F-
sharp minor, with accompaniment of strings
complete, in Handel's L' Allegro, il Pensie-
roso, ed il Moderato, Part H., No. 29.
SOMIS, GIOVANNI BATTISTA, bom
in Piedmont iu 1676, died at Turin, Aug.
14, 1763. Violinist, pupil of Corelli in
Rome, and of Vivaldi iu Venice ; appointed
solo violin to the King and leader of the
royal band on his return to Turin, a posi-
tion he held till his death. He occiipics a
prominent place in the history of violin
playing, and forms the connecting link
between the classical schools of Italy and
France, and will always be celebrated as the
teacher of Giardini, Pugnani, Chabran, and
Leclau'. The only one of his compositions
recorded is Opera prima di senate a vio-
lino e violoncello o cembalo (Rome, 1722).
His brother Lorenzo was also an eminent
violinist. — Fctis, Supplement, ii. 529 ; Hart,
The Violin, 223 ; Dubourg, The Violin, 61 ;
Regli, Storia del violino in Piemonte (Turin,
1863).
SOMMERNACHTSTRAUM (Midsummer
Night's Dream), overture and incidental
music to Shakespeare's drama, by Mendels-
sohn, op. 21, and op. 61. A. The overture
in E, op. 21, which is dated Berlin, Aug. 6,
1826, was first given in the Mendelssohns'
Garten-Haus, Berlin, in 1826. The first
public performance took place at Stettin in
February, 1827. This work, which marks
almost the beginning of Mendelssohn's
career, was written when he was only sev-
enteen, and is one of the gi-eatest examples
398
SOMMI
of early mature genius iu the history of iiiu-
sic. The strength ami solidity underlying
the delicate grace and poetic lightness, and
the dainty orchestration, place it among the
finest overtures ever written. All of its
themes were introduced into the incidental
music, com230sed seventeen years later, with
which it was combined, without alteration,
as a prelude. Mendelssohn took the score
to England, where it was first played at the
Argyll Kooms, London, June 2J:, 1S2I3, and
on returning from the concert the original
MS. was left in a cab and lost. The over-
ture was first given by the London Phil-
harmonic iu 1830 ; in Munich in 1S31 ;
Berlin in 1833 ; Vienna iu 1833 ; Leipsic,
Feb. 21, 1833 ; and by the New York PhU-
harmonic, April 22, 1843. The score was
published by Breitkopf & Hartel (Leipsic,
1832) ; by Cramer, Addison, and Beale (ib.,
1832) ; for the pianoforte for four hands by
the comi^oser (Breitkopf & Hilrtel, Leipsic,
1833) ; and for the pianoforte for two hands,
by F. Mockwitz (ib., 1833). B. The inci-
dental music, oj). Gl, was composed in
1843, at the reqviest of the King of Prussia,
and first j^erformed with scenery at the
New Palace, Potsdam, Oct. 14, 1843. L
Scherzo; 11. Fairy march ; III. "For spot-
ted snakes," for two soprani and chorus ;
IV. Melodrama ; V. Intermezzo ; VI. Melo-
drama ; Vn. Nocturne ; \TII. Andante ;
IX. Wedding march ; X. Allegro com-
modo ; XI. Bergomask dance ; XII. Finale.
The entire composition was first given in
Berlin, Oct. 18, 1843 ; in Leipsic, Dec. 30,
1843 ; iu Weimar, April 8, 1843 ; in Dres-
den, Feb. 3, 1848 ; at the Philharmonic,
London, under the composer's direction,
May 27, 1844 ; and first by the New York
Philharmonic in the season of 1849-50.
The score was first published by Breitkopf
& Hiirtel (Leipsic, 1844) ; pianoforte score
for four hands by Mendelssohn (ib.) ; edi-
tion by Novello (London), Breitkopf &
Hartel, Mendelssohn Werke, Serie xv.. No.
117. Operas on Shakespeare's play : The
Fairy Queen, by Henry Purcell (London,
1692) ; The Fairies' Fugitive, by Busby (ib.,
1803) ; Midsummer Night's Dream, by
Henry R. Bishop (ib., 181G) ; by Hermann
Berens, same text, in Swedish, Stockholm,
1856 ; and Le rove d'uue nuit d'ete, Fi-ench
operetta in one act, by Oft'enbach (Paris,
1855). — Hcnsel, The Mendelssohn Family
(Klingemaun), i. 130 ; ii. 215 ; Eeissmann,
do., 67, 279 ; Eockstro, do., 30, 89 ; Liszt,
Ges. Schriften, iii. 37 ; Schumann, do., ii.
357, Enghsh ed., ii. 278 ; Neue Zeitschr., xx.
6 ; Allgem. mus. Zeitg., sxxiv. 57, 863 ;
XXXV. 201 ; xlv. 770 ; xlvi. 9, 614 ; Le
Menestrel (1880-81), 59 ; Grove, ii. 259,
282, 328 ; Athenaeum (1844), 866 ; Upton,
Standard Symphonies, 293.
SO]\IMI DEI, soprano arioso of Polissena,
iu E minor, with accompaniment of violins
in unison, and bass, in Handel's Eadamisto,
Act I, Scene 1. Published also separately,
with the accompaniment filled out by
Robert Franz (Leipsic, Kistner).
SON AND STRANGER. See Heimkehr
aus der Fremde.
SONATA APPASSIONATA (Impassioned
Sonata), for the pianoforte, in F minor, by
Beethoven, op. 57, composed iu 1804-5.
The title was not given by Beethoven, who
uses the word appassionata only twice, iu
the Sonatas for the pianoforte, op. 106 and
op. 111. The composition may be taken to
describe strong emotions and the struggle
of life against fate. When asked for a key
to its meaning and to that of the sonata in
D minor, op. 31, No. 2, Beethoven rei^lied :
"Read Shakespeare's 'Tempest.'" I. Al-
legro assai ; H. Andante con moto ; HI.
Allegro ma nou troppo. Sketches for this
sonata are in the Leonore Sketch-book,
owned by Paul Mendelssohn. The sonata
ajjpassionata was dedicated to Count Bruns-
wick, and published at the Bureau des arts
et de I'industrie de Schreyvogel (Vienna,
1807). The Sonata has been scored for or-
chestra by Frederic de Deobisch (Moscow) ;
arranged for the pianoforte four hands by
Cranz ; for the pianoforte, two violins, viola,
and violoncello, by Prince Kastriot Scander-
SONATE
berg, and the Andante cou moto movement
with words "An die Nacbt," for soprano,
or tenor, by Silcher. Breitkopf & Hiu-tel,
Beetlioven Werke, Serie xvi.. No. 23.
— Thayer, Verzeichniss, No. 119 ; Lenz,
Beethoven, ii. part I. 4 ; do., Beethoven et
ses trois styles, i. 264 ; ii. 135 ; Marx, Beet-
lioven, ii. 2, 26-34 ; do., Anleitung zum
Vortrag Beethoven 'sober Klavierwerke, 132 ;
Elterleiu, Beethovens Clavier-Sonaten, 94 ;
do. (Hill), 83 ; Allgem. mus. Zeitg., is. 433 ;
Neue Zeits. (1861), ii. 32.
SONATE CAEACT15RISTIQUE. See
Lebewohl, Das, etc.
SONATE fiCOSSAISE (Scottish Sonata),
fantasia for the ]3ianoforte, in F-sharji
minor, by Mendelssohn, op. 28, dated Ber-
lin, Jan. 29, 1833. I. Con moto agitato ; II.
Allegro con moto ; III. Presto. The work,
dedicated to Ignaz IMoscheles, was published
by Breitkopf & Hiirtel, Mendelssohn Werke,
Serie xi.. No. 56.
SONATE FUR DAS HAMMERKLA-
\^ER (Sonata for the pianoforte), Beetho-
ven's own title for his sonata for the piano-
forte in B-flat, op. 106, composed in 1818.
This is the greatest sonata ever written for
the pianoforte, and it bears the same rela-
tion to Beethoven's sonatas that the Ninth
Symphony does to his symphonies. It was
written during the most unhappy period of
Beethoven's life, and it shows the pressure
of outward circumstances upon a strong
nature struggling against fate. I. Allegro ;
IL Scherzo, assai vivace ; HI. Adagio sos-
tenuto ; IV. Largo, Allegro risoluto (fuga
a tre voci, con alcune licenze). The work,
dedicated to the Erzherzog Rudolph von
Oesterreich, was first published by Artaria
& Co. (Vienna, 1819), by Breitkopf & Hiir-
tel (Leipsic, 1820), and do., Beethoven
Werke, Serie xvi.. No. 152. Arranged by
Ebers for four hands (Bote & Bock, Berlin) ;
for two pianofortes by A. Syeroff ; for string
quartet by Prince Kastriot Scanderberg ;
and the theme from the Adagio for one
voice with pianoforte by Hiibner, on the
words " Das Grab ist tief und stille." — Thay-
er, Verzeichniss, No. 215 ; Sohiudler,
Beethoven, i. 269 ; Marx, do., i. 160 ; ii.
261, 265 ; Nohl, do., iii. 116 ; Lenz, do., ii.
pai't n. 30 ; do., Beethoven et ses trois
styles, ii. 17 ; Marx, Anleitung zum Vortrag
Beethoven'scher Klavierwerke, 148 ; Elter-
lein, Beethovens Sonaten, 113 ; Grove, iii.
574.
SONATE PASTOR.VLE (Pastoral So-
nata), for the pianoforte, in D, by Beetho-
ven, op. 28, composed in 1801. Its charac-
ter is idyllic and pastoral. The name was
given to the sonata by the publishers,
not by Beethoven. It is one of the best
works of his second period, and was written
about the same time as the Moonlight So-
nata, op. 27, No. 2. I. Allegro ; H. An-
dante ; in. Scherzo ; IV. Rondo. The au-
tograph, dedicated to Joseph, Edlen von
Sonnenfels, and in the possession of Johann
Kaffka, was first jjublished by the Bureau
d'arts et d'industrie (Vienna, 1802) ; also by
Haslinger (ib., 1802). It was arranged as a
string trio by ITber ; as a string quartet, by
Ferdinand Eies and by Bierey. Breitkopf
& Hiirtel, Beethoven Werke, Serie xvi.. No.
15. — Lenz, Beethoven, I. Part ii. 86 ; do.,
Beethoven et ses trois styles, i. 239 ; Marx,
Beethoven, i. 185, 287 ; do., Anleitung zum
Vortrag Beethoven'scher Klavierwerke, 118 ;
Elterlein, Beethovens Sonaten, 74 ; Allgem.
mus. Zeitg., v. 189.
SONATE PATHETIQUE, for the piauo-
forte, in C minor, by Beethoven, op. 13,
first published by Josejjh Eder (Vienna,
1799). I. Grave, Allegro ; H. Adagio can-
tabile ; III. Rondo : Allegro. Jlr. Notte-
bohm has recently discovered in one of
Beethoven's sketch-books that the last
movement was originally written for strings,
and he suggests that ho may have intended
it for the finale of the string trio in C
minor, op. 9, No. 3. The sonata was dedi-
cated to Prince Karl Lichnowsky. It was
published by Hofmeister (Leipsic, 1800) ;
by Breitkopf & Hartel (ib., 1835). It was
scored for orchestra by J. P. Schmidt, and
performed in Berlin in 1837 ; also by DOr-
40O
SON"
stedt, and given in St. Petersburg, March 14,
1853. Pianoforte arrangement for four
Lands, for string quartet and quintet, and
for nonet for wind instruments. Breitkopf
& Hiirtel, Beethoven Werke, Serie xvi.. No.
8. — Thayer, Verzeichniss, No. G4 ; Lenz,
Beethoven, I. i. 133 ; do., Beethoven et ses
trois styles, i. 184 ; Marx, Beethoven, i.
176 ; do., Anleitung zum Vortrag Beet-
hoven'scher Klavierwerke, 107 ; OuHbicheff,
Beethoven, 127 ; Elterlein, Beethovens
Sonaten, 58 ; do. (Hill), 54 ; Allgem. mus.
Zeitg., iii. 373.
SON CONFUSA PASTOKELLA, alto
aria of Erissena, in D major, with ac-
companiment of traversa and strings com-
plete, in Handel's Poro, Act HI., Scene 10.
Published also se^sarately, with the ac-
companiment filled out by Robert Franz
(Leipsic, Kistner).
SONGE D'HEEODE, LE. See Enfance
du Christ.
SONGE D'UNE NUIT B'tTt, LE (A
Midsummer Night's Dream), French opura-
comique in three acts, text by Rosier and de
Leuven, music by Ambroise Thomas, first
represented at the Opera Comique, Paris,
April 20, 1850. The libretto has no rela-
tion to Shakespeare's comedy. Characters :
Queen Elizabeth, Olivia, Latimer, Falstaflf,
Shakespeare, and others. Queen Elizabeth
and her companion, Olivia, sejsarated from
the royal suite, take refuge in a tavern, where
they find Shakesjjeare revelling with Sir
John Falstaff and his followers. The Queen
rebukes Shakespeare, who believes her to
be a noblewoman, but does not know her
rank, and he continues to carouse. She
orders Falstaflf to transport him to the
grounds of the palace, and on awaking he
fights a duel with Latimer, OUvia's lover,
who believes Shakespeare to be enamoured
of her. The latter, thinking he has killed
Latimer, tries to drown himself, but is cap-
tured and brought before the Queen, who
pardons him, and promises to regard the cir-
cumstance as a midsummer night's dream.
Bataille, Couderc, Boulo, and Mmea Le-
febvre, and Grimm, appeared in the original
cast. Illness prevented Mme Ugalde from
#— H :; ■.
«'f.*
.<JUPJJjO -^OjW
V ^
Delphine Ugalde, as Queen Elizabeth.
taking the part of Queen Elizabeth, but
subsequently she sang this role with suc-
cess.— Clement et Larousse, 630.
SONG OF PEOraSE, cantata for so-
prano solo, chorus, and orchestra, text by
Woodberry, music by John Knowles Paine,
op. 43, composed for and first performed at
the Cincinnati Musical Festival in May,
1888. The solo was sung by Mme Lilli
Lehmann, and the work conducted by
Theodore Thomas.
SONG OF THE VHUNG, short cantata
for baritone solo, chorus, and orchestra,
by George W. Chadwick, first performed in
Boston in 1881. First given in New York
by the Orpheus Glee Club, Chickering
Hall, Dec. 2, 1886. Same title, cantata by
George E. Whiting, published by Schirmer
(New York).
SONGS WITHOUT WORDS. See Lie-
der ohne Worte.
401
SONNAMBULA
SON LO SPIRITO. See Mefistofele.
SONNAMBULA, LA (The ' Somnambu-
list), Italian opera in two acts, text by Ro-
mani, music by Bellini, first represented in
aiilan, March 6, 1831, with the following
cast:
Amina (S.) Mme Pasta.
Elvino (T.) Sig. Rubini.
Rodolfo (Bar.) Sig. Mariano.
Lisa (C.) Mme Toccaui.
The story is from a ballad and vaudeville
by Scribe. The action takes place in a
village of Switzerland, where preparations
are making for the marriage of Amina,
ward of the miller's wife, and Elvino, a
landholder. Rodolfo, lord of the village,
arrives incognito to look after his estate,
and puts up at the inn kept by Lisa, who
is in love with Elvino. Amina, who is a
somnambulist, enters his room in her sleep,
and is seen by Lisa and Rodolfo. They
leave the room, Rodolfo to save her from
suspicion, Lisa to inform Elvino in malice
of what has occurred. Elvino and a crowd
of villagers rush to the inn, where Elvino
denounces Amina, who is awakened by the
tumult, and offers his hand to Lisa. In
the last act Amina is seen walking in her
sleep. She steps from the window of the
mUl, crosses a frail bridge, which bends
beneath her weight, descends a path to the
ground, and walks into the arms of Elvino,
who, convinced of her innocence, marries
her at once. Lisa's handkerchief, found in
Rodolfo's room, shows that she is tbo faith-
less one. The piinciiwl numbers are :
Amina's arias, " Come per me sereno " and
"Sovi-a il sen la man' mi posa ; " Rodolfo's
aria, "Vi rawiso ; " the duet, "O mio
dolor," between Amina and Elvino ; and
Amina's "Ah! non credea," followed by
her song of joy, " Ah ! non giunge,"
which closes the opera. The second finale,
"D'un pensiero, d'un accento," for quintet
and chorus, is one of Bellini's finest inspi-
rations. It is to be noticed that much of
the music in the part of Elvino, written es-
pecially for Rubini's high counter-tenor
voice, is transposed to a lower key in the
published pianoforte scores. Thus the air
"Ah ! perche non posso odiarti," originally
written and sung in D, is published in B-flat.
The part of Amina has been sung with suc-
cess by Malibran, Pasta, Caradori-Allan, Jen-
ny Lind, Persiani, Albani, Gerster, and Ade-
lina Patti. The opera was first represented
in London at the King's Theatre, July 28,
Maria Catarina Caradori-AIIan.
1831, with Mme Pasta as Amina. It was
first given in Pai'is, Oct. 28, 1831 ; in Lon-
don, in English, with Malibran as Amina,
May 1, 1833 ; and first in New York, May
1:1, 1842. Edition by Natalia Macfarren
(Novello & Co., London, 1872). Grande
fantaisie de concert for the pianoforte on
themes from this opera by Liszt (Schu-
berth, Leipsic) ; and melange by RafT for
the pianoforte. Other operas on this sub-
ject in Italian : La sonnambula, by Paiir,
Venice, 1797 ; II sonnambulo, by Luigi
Piccinni, Stockholm, 1797 ; by Michele Ca-
rafa, text by Romani, Milan, Dec. 26, 1829 ;
by Miro, Lisbon, 1833 ; by Carlo Valentini,
Lucca, Jan. 22, 1831: ; by Giuseppe Gerli,
402
SONNLEITimER
Milan, 1844. La somnambule, Frencli bal-
let in two acts, by Herokl, Paris, 1827 ; and
a Spanish opera, El sonambulo, by J. Emilio
Arrieta, Madrid, Oct, 11, 1856.— Clement
et Larousse, 631 ; Edwards, Hist. Opera,
ii. 250 ; Harmouicon (1831), 110, 228 ; All-
gem, mus. Zeitg., xxxiii. 324, 851 ; Athe-
nceum (1872), i. 280 ; Upton, Standard Op-
eras, 52.
SONNEZ, CORS ET MUSETTES. See
Dame blanche.
SONNEZ, MES CLOCHES GEN-
TILLES ! See Garillonneur de Bruges.
SONNLEITHNEE, CHRLSTOPH, born
at Szegedin, Hungarj', May 28, 1734, died
iu Vienna, Dec. 25, 1786. Instrumental and
church comjjoser, pupil of Pirk, who also
had instructed the Emperor Joseph H. ; that
monarch afterwards conceived a special lik-
ing for Sonnleithner's chamber music, and
had his quartets played to him regularly.
By profession he was a lawyer, distinguished
as such, and also as a writer on jurispru-
dence. Works : Masses, Requiems, gradu-
als, offertories, and other church music ;
Sj'mphonies, concertos, 36 quartets, com-
posed for Josejjh H., trios, etc. Only 3
quartets for strings were published (Vienna,
1803).— Wurzbach.
SONNTAGSKIND, DAS, German opera,
text by Bulthaupt, music by Albert Die-
trich, representetl at the Stadttheater, Bre-
men, March 21, 1886. Well received ; the
last act is particulaily effective.
SON PELLEGRmO, soprano aria of
Lucejo, in A major, with accompaniment of
strings complete, in Handel's Scipione, Act
ni.. Scene 7. Published also separately,
with the accompaniment filled out by Otto
Dresel (Leipsic, Breitkopf & Hiirtel).
SONST UND JETZT (Then and Now),
concertino for the violin, in A minor, by
Spohr, op. 110, No. 3. PubHshed by Mec-
chetti (Vienna).
SON VERGIN VEZZOSA. See Puri-
tani di Scozia.
SOR (Sors), FERNANDO, born in Ma-
drid, Feb. 14, 1778, died in Paris, July 8,
1839. Virtuoso on the guitar, instructed in
composition by a monk ; went afterwards
to Madrid, where he composed symphonies
and quartets, and after the war, in which
he had served as captain in the army, was
obliged to take refuge iu France, with the
partisans of Joseph Bonaparte. W^hile in
Paris, he was much encouraged by Mchul,
Cherubini, and Breton to resume his art,
went to London, and later to Moscow,
whence he went again to Paris, and finally
settled there in 1828, having once more
tried his fortune in London. Works : Te-
lemacco, opera, Barcelona, 1798 ; La foire
de Smyrne, opera-comique, London. Bal-
lets : Le seigneur gt'nereux ; L'amant i^ein-
tre ; Cendrillon ; Hercule et Omphale ; Le
dormeur oveiUo ; La belle Arscne, fairy op-
era. Funeral march for the obsequies of
Czar Alexander I. ; Symphonies ; Quartets ;
Divertissements, fantaisies, etc., for guitar ;
Grande mcthode for do. — Fctis ; do.. Sup-
plement, ii. 531 ; Mendel ; Schilling, Sup-
plement.
SORCERER, THE, English comic opera
in two acts, text by Gilbert, music by Sul-
livan, first represented at the Royalty The-
atre, London, Nov. 17, 1877. Original cast :
The Sorcerer, Mr. George Grossmith ; Lady
Saugazure, Mrs. Howard Paul ; Aline, Miss
Alice May ; Alexis, Mr. Bentham ; The Bar-
onet, Mr. Temple ; and Constance, Miss G.
Warwick. The Sorcerer was first given in
New York, Feb, 21, 1879. The pianoforte
score was first published by Metzler & Co.
(London, 1877). — Athenaeum (1877), ii.
671.
SORCIER, LE (The Sorcerer), comedie
iu two acts, text by Poinsinet, music by
Philidor, first repiresented at the Theatre
Italien, Paris, Jan. 2, 1764. The opera,
originally sung by Geraizer, Barnolt, Mme
Decroix, and Mme BoneUi, was very suc-
cessful. It was revived at the Fantaisies
Parisiennes, Feb. 9, 1867. — Clement et La-
rousse, 633.
SORGE, GEORG ANDREAS, born at
Mellenbach, Schwarzburg, March 30, 1703,
403
SOEIANO
died at Lobenstein, April 4, 1778. Organ-
ist, pupil of Waltber and Tischer ; became
court organist at Lobenstein wben nineteen
years old, and remained in the same position
until bis death. He is more distinguished
as a didactic writer. Works : Six sonatas
for pianoforte ; 24 preludes ; Klavieriibung,
in 6 nach italienischem Gusto gesetzten So-
uatiuen ; Woblgewiirzte Klangspeisen in 6
Partien ; Organ sonatas ; 24 preludes ; 6
sj'mphonies for pianoforte ; 12 minuets for
do. and vioUn ; Toccata per omnem circu-
lum xxiv. modoruni ; Duos for 2 flutes. In
MS. : Music (cantatas and motets) for the
church year ; Cantatas ; Pianoforte and organ
music. His writings ai'e : Genealogia alle-
gorica intervallorum octavse diatonico-chi'O-
maticPB (Hof, 1741) ; Anweisung zur Stim-
mung uud Temperatur in einem Gespriich
(Hamburg, 1744) ; Vorgemach der musika-
liscbeu Komposition (Lobenstein, 1745-47) ;
Gespriich von der Priitoriauischen, Priutzis-
chen, "SVerkmeisteriscben, Neidharditschen,
Niedtischen uud SUbermanniscben Tem-
peratur, wie audi vom neuen System Tele-
mauus (ib., 1748) ; Ausfiihrliche und deut-
liche Auweisuug zur Eational-Rechnung
(ib., 1749) ; Griindbehe Untersucbuug, ob
die Schroterischon Klaviertemperaturen vor
gleichschwebend passieren kOnnen oder
nicht (1754) ; Zuverliissige Anweisung Kla-
viere und Orgeln gehurig zu temperieren
und zu stimmen (1758) ; Verbesserter mu-
sikaliscber Zirkel ; Compendium harmoni-
cum (Berlin, 17G0) ; Kurze Erkliirung des
Canonis harmonici (1763) ; Die Natur des
Orgelklangs (Hof, 1771) ; Der in der Ee-
chen und Messkunst woblerfabrene Orgel-
baumeister (Lobenstein, 1773) ; Anmerkung-
en liber Quanzens Dis- und Es-Klapi^e ;
Anmerkungen iiber HUler's Intervallensys-
tem ; Anleitung zur Fantasia. — Eiemann ;
Fetis ; Mendel ; Schilling ; Gerber ; Mat-
theson, Ehren-Pforte, 337.
SORL\NO (Suriano, Suriani), FEAN-
CESCO, bom in Eome in 1549, died there
in January, 1620. Church composer, first
instructed by Annibale Zoilo, and Barto-
lomeo Eoy, while in the choir of San Gio-
vanni in Laterano, at the age of fifteen ;
afterwards pupil of Moutanari, of Nauiui,
and lastly of Palestrina, one of whose most
remarkable scholars he was. Maestro di
cappella at S. Ludovico dei Francesi in
1581 ; of Sta. Maria Maggiore in 1587 ;
head of the choir of St. Peter's in 1603.
He composed a great deal of church music
while occupj'ing these several jiositions, but
will be longest remembered for having ar-
ranged Palestrina's Missa Papae Marcelli
for 8 voices. "Works : First book of Madri-
gali a 5 voci (Rome and Venice, 1581) ; Sec-
ond book do. (Eome, 1592) ; 2 books do. a
4 voci (ibid., 1601, 1602) ; Book of masses,
for 4, 5, and 6 voices (Eome, 1609) ; Col-
j lection of 110 canons on Ave maris stella
(Eome, 1610) ; 2 books of motets (Venice,
1614, 1616) ; ViUanelle a tre voci (Venice,
1617). His last work was a Magnificat and
Passionea4, with his portrait (Rome, 1619).
The Passion, a Magnificat, and 5 Antiphous
are included in Proske's Musica Divina, vols,
iii. and iv. ; 2 Masses are in Selectus novus.
A complete list of his works is given in
Eiesewetter's Baiui (p. 233). — Fctis ; Men-
del ; Eiemann ; Ambros, Gesch., IV. 80.
SOEI-AXO-FUEETES, Don M.ARIANO,
born at Mureia in 1817, died in Madrid in
April, 1880. Dramatic comijoser and writer
on music ; son of a musician who wished him
to adopt the army as a profession, but he
resigned, and founded a musical paper, en-
titled Iberia musical y literaria (1841), the
first publication of the kind in Spain. On
its failure he devoted himself to a long-
cherished plan of establishing a national
opera, and composed zarzuelas which were
favourably received. He became professor at
the Madrid Consei-vatorio in 1843 ; director
of the Lyceums at Cordova, Seville, and
Cadiz in 1844 ; conductor of the opera at
Seville, Cadiz, and in 1852 at Barcelona,
where be founded the Gaceta Musical in
1860. Chevalier of the Order of Charles
HI. ; of the military order, first class, of St.
Ferdinand ; great gold medal of the Span-
SOSARME
ish Institute ; member of several Spanish
literary and scientific societies. Works
— Zarzuelas: Geromala castafiera; Elvento-
rillo tie Alfaraclie ; La feria de Santo-Pouee ;
A Belen van los zagales ; El tio cariancho,
op6ra-comique, Seville ; La fabrica de taba-
cos de Sevilla, ib. ; Lola la Gaditana. A Sta-
bat Mater, and a Requiem for Cordova. Lit-
erary works : Musica Arabe-Espafiola (Barce-
lona, 1853) ; Historia de la musica espauola
desde la venida de los Fenicios liasta el aflo
de 1850 (ib., and Madrid, 1855-59) ; Memo-
ria sobre las sociedades corales en Espana ;
Espaua artistiea y industrial en la exposicion
de 18G7.— Fetis ; Mendel ; Riemaun.
SO EIEF DER LENZ IN DEN WALD.
See Meistersinger von Niirnberg.
SOSARME, Italian ojjera in three acts,
text by Matteo Noris, music by Handel,
first represented at the King's Theatre,
Loudon, Feb. 4, 1732. The libretto, orig-
inally entitled Alfonso Primo, was first set
by Pollarolo, and given at the Teatro San
Salvatore, Venice, in 1G94. Handel changed
the names of all the dramatis jjersonie. The
score, in Buckingham Palace, is dated,
Feb. 4, 1732. The opera was very success-
ful. Original cast : Sosarme, King of Me-
dia (C), Signor Seuesino ; Haliarte, King
of Lidia (T.), Signor Pinacci ; Erenice, wife
of Haliarte (A.), SignoraBaguolesi ; Elmira,
daughter of Haliarte, betrothed to Sosarme
(S.), Signora Strada ; Argoue, son of Hali-
arte (A.) ; Melo, illegitimate son of Haliarte
(A.), Signor Bertolli ; and Altomaro, coun-
sellor of Haliarte (B.), Signor Montagnand.
This opera contains some interesting num-
bers. Sosarme's aria " Cuor di madre " is
accompanied by a solo for the violin, written
for Castrucchi, and Elmira's aria " Rendi il
sereno," was sung by Mr. Harrison at the
Handel Commemoration, May 27, 1784.
Long afterwards it was j)opular as "Lord,
remember David." The score was pub-
lished by Walsh (London) ; edition for the
Hiindelgesellschaft, by Breitkopf & Hilrtel
(Leipsic, 1880). — Chrysander, Handel, ii.
251 ; Burney, iv. 35G.
SO SCHNELL EIN RAUSCHEND
WASSER, tenor aria in C major, with ac-
companiment of flute solo, violin solo, and
continuo, in Johann Sebastian Bach's can-
tata, Ach wie fliichtig, ach wie nichtig.
SOTO, FRANCISCO, born at Langa,
Si3ain, in 1534, died in Rome, Sept. 25,
1G19. Church composer, collector, and
editor of church music. He entered the
college of the Pontifical Chapel, June 8,
15G2, was a friend of S. Filippo Neri, and
assumed the direction of the music of the
Oratorj-, founded by him. He himself
founded the first Carmelite convent in
Rome. He was highly esteemed by Sixtus
v., and was consulted by him as to the
appointments to the chapel. He published
the 3d book of Laudi Spirituali, composed
for the Oratory by Palestrina, and other
masters (Rome, 1588) ; later he published
the first three books, under the title : Libro
delle laudi spirituali, etc., e con 1' aggiunta
di molte laudi nuove (Rome, 1589), which
would indicate that many new ones were
added, but the comjjosers' names are not
given. Fetis says that Soto's well-known
modesty shrunk from indicating those of
his own composition. Fiuallj' : II quarto
libro delle laudi sjiirituali (Rome, 1591).
—Fetis ; Schilling ; Mendel.
•SOTTERRANEO, XL. See Camilla.
SOUBRE, I^TIENNE JOSEPH, born at
Liege, Dec. 30, 1813, died there, Sept. 8,
1871. Instrumental and vocal composer,
pupil at the Liege Conservatoire of Jalhaut
on the pianoforte, and of Daussoigne-Mebul
in harmony and counterjioint, for which he
won the first prizes, and in 1841 the com-
petition firize instituted by the government.
Having travelled in Italy and Germany, and
spent about six months in Paris, he settled
at first at Liege, then at Brussels ; in the
former city he conducted a male singing
society in 1838-44, in the latter the Reu-
nion Lyrique, and for several years also the
Societe Philharmonique. In 1862 he suc-
ceeded Daussoigne-Mehul as director of the
Conservatoire at Liege. Works : Isoline,
405
SOUND
ou les chaperons blancs, opera, Brussels,
1855 ; Symphonie triompliale, ib., 1854 ;
Sardanapale, cantata, Liege, 1841 ; Cantata
for the 25th anniversary of Leopold I., ib.,
1856 ; Requiem, with orchestra ; Stabat
Matei", do. ; Ave verum, do. ; Ecce panis,
with organ ; 12 sacred choruses for female
voices ; G hymns for 2 soprani ; Hymne a
Godefroid de Bouillon, for male chorus and
orchestra, Antwerp, 1850, and many other
choruses for male voices ; Cantatas, over-
tures, symphonies, etc. — Vieuxtemps, Not.
biogr. (Brussels, 1872) ; Fetis ; Mendel.
SOUND .\N ALARM, tenor aria of Judas,
in D major, accompanied in the first and
second parts by a continuo, and in the re-
peat of the first part by three trumpets,
drums, two oboes, strings complete, and
continue, in Handel's Judas Maccaba^us,
Act n. This air leads immediately to the
chorus. We hear, we hear the pleasing,
dreadful call.
SOUND THE LOUD TDIBREL, a song
long popular in England. The air is taken
from one of Charles Avison's instrumental
concertos.
SOUSSMANN, HEINRICH, bom in Ber-
hn, Jan. 25, 1796, died in St. Petersburg in
May, 1848. Virtuoso ou the flute, at fii-st
instructed on the violin bj' his father, but
after hearing Schrdck practised incessantly
on a simple flute until he became SchrOck's
pupil. He took part in the wars of inde-
pendence in 1813-14, serving in two regi-
ments, and was wounded in the chest at
la Belle-Alliance, so that he could only grad-
ually resume the use of his instrument.
In 1822 he became first flute at the im-
perial opera in St. Petersburg. Works :
Concertino for flute and orchestra ; 3 quar-
tets for flutes ; Th6me varie for flute, with
quartet ; Potpoun-i, for do. ; Trio concer-
tant for 2 flutes and pianoforte ; Duos con-
certants for 2 flutes ; Grande fantaisie for
flute and pianoforte ; Serenade, for do. ;
Etudes, and other instructive compositions ;
Method for flute ; Do. for trumpet. — Fetis ;
Mendel ; Schilling.
SOUS VOTRE BANNI^RE. See Pro-
phele.
SOUVENHIS DU JEUNE AGE. See
Pre aux Clercs.
SOVRA XL SEN. See Sommmbida.
SOWINSKI, WOJCIECH (ALBERT),
born at Ladj-zyn, Ukraine, in 1803, died in
Paris, March 5, 1880. Pianist, pupil in Vi-
enna of Czeruy and Leidesdorf, and in com-
position of Seyfried ; was much influenced
by his intercourse with Hummel, Mo-
scheles, Schubert, and Stadler, then visited
Italy, and in 1830 settled iu Paris, to teach
his instrument and to jilay in concerts. In
1842 he appeared in Loudon. He j'ublished
a biographical dictionary of Polish and Sla-
vic musicians (Paris, 1857). Works : Le-
nore, lyric drama ; Le modole, opera-com-
ique ; Saint-Adalbert, oratorio ; 2 masses ; 6
motets, and other church music ; 2 sym-
phonies ; 3 overtures ; Concerto for piano-
forte and orchestra ; Variations de concert,
for do. ; Air des legions polonaises, for do.
and voices ; Grand rondo for pianoforte and
quartet ; Grande polonaise, for do. ; Trio for
pianoforte and strings ; Variations, fantai-
sies, morceaux de salon, etc., for pianoforte ;
12 grandes etudes, for do. ; 24 preludes and
exercises, in all keys, for do. — Fetis ; MeudeL
SPANISCHES LIEDERSPIEL, cycle of
songs, for different voices with pianoforte
accomjjaniment, text by Geibel, from Sj)an-
ish romances and folk-songs, music by Schu-
mann, op. 74, composed in 1849. I. Erste
Begegnung, for soprano and alto ; H. In-
termezzo, for tenor and bass ; HI. Liebes-
gram, for soprano and alto ; IV. In der
Nacht, for soprano and tenor ; V. Es ist
verrathcn, for soprano, alto, tenor, and
bass ; VI. Melancholic, for soprano ; VII.
Gestiindniss, for tenor ; Vill. Botschaft, for
soprano and alto ; IX. Ich bin geliebt, for
soprano, alto, tenor, and bass. Anhang :
Der Contrabandiste, for baritone. Pub-
lished by Kistner (Leipsic, 1849). Breit-
kopf & Hiirtel, Serie x.. No. 8. Arranged
for pianoforte for two and for four hands
by S. Jadassohn.
406
SPANISCHE
SPANISCHE TANZE (Spanish Dances),
for the violin with pianoforte accompani-
ment, by Pablo de Sarasate. Part I., op.
21, dedicated to Joseph Joachim : 1. Mala-
guefia ; 2. Habanera. Part II., op. 22, dedi-
cated to Mme Norman Neruda : 1. Eomanza
Andaluza ; 2. Jota Navarra. Part HI., op.
23, dedicated to Hugo Herrmann : 1. Pla-
yera; 2. Zapateado. Part IV., op. 26, dedi-
cated to Leopold Auer. Part V., op. 28,
dedicated to the composer's sister, Fran-
cisca Sarasate de Mena : 1. Serenata ; 2.
Andaluza. Part VI., op. 29, dedicated to
Signorina Teresina Tua, El canto del rui-
senor (Song of the Nightingale). Part VH.,
op. 30, dedicated to M. Marsick, Bolero.
Published by Simrock (Berlin) ; aiTanged
for pianoforte by Theodor Kirchner (Sim-
rock, Berlin, 1880).
SPARK, WILLIAM, born in Exeter, Eng-
land, Oct. 28, 1825, stiU Hving, 1890. Or-
ganist, first a chorister at Exeter Cathedral,
then articled in 183J:, for five years, to Dr.
S. Sebastian Wesley, with whom he went to
Leeds in 1842, and became deputy organist
of the Parish Church ; he was then organist,
successively, of Chapeltown, and St. Paul's,
Leeds, at Tiverton, Devon, Daventry, North-
ampton ; and on Wesley's removal to Win-
chester, aj^pointed to St. George's, Leeds,
1850, where he still remains. In 1851 he
founded the Leeds Madrigal and Motet
Society, subsequently the People's Concerts.
He was elected borough organist, when the
famous organ in the new Town Hall was
erected, and holds organ recitals twice a week.
Mus. Doc, Dublin, 1861. He started the
Organist's Quarterly Journal in 1869, and
the Practical Choir-master in 1881. Works :
Trust and Triumph, cantata ; Ode to Labor,
do. ; Anthems, services, glees, and songs ;
Organ music. — Grove ; Riemann.
SPARRY, JOSEF, born at Gratz, Styria,
April 28, 1715, died at Kremsmiinster,
Upper Austria, April 5, 1767. Benedictine
monk and church composer, pupil of Leo-
nardo Leo in Naples and of Girolamo Chiti
in Rome. After visiting Venice, he returned
in 1742 to the monastery at KremsmUnster,
which he had entered in 1736, and where
he was ordained priest in 1743 ; and con-
ducted the music there twenty years from
1747. Among his compositions, preserved
in the monastery of Kremsmiinster are : 38
antiphons. Advent, and Lenten songs ; Arias
for special occasions ; Pange lingua ; Bac-
chanaliorum finis, a musical jest. — Wurz-
bach.
SPARTACUS, overture for orchestra, by
Saint-Sacns. This work gained a prize from
the Societc Sainte-Cecile, Bordeaux. Pub-
lished by Duraud, Schoenewerk, & Cie
(Paris).
SPATH, ANDREAS, born at Eossach,
near Coburg, Oct. 9, 1792, died at Gotha,
May, 1876. Dramatic and church com-
poser, pupil of Grumlich at Coburg, and in
1816 of Riotti in Vienna ; had entered the
orchestra of the Prince of Coburg in 1810,
was afterwards for eleven years organist at
Morges, Switzerland, and in 1833 became
music director and city organist at Neu-
chatel ; later he was made Hof -Kapell-
meister at Coburg. W^orks — Oj)eras : Ida
von Rosenau, Coburg, 1821 ; Elise, ib.,
1833 ; Der Astrolog, ib., 1837 ; Omar und
Sultana, ib., 1842 ; Several ballets. Orato-
rios : Die Auferstehung ; Petrus ; Judas
Iscariot. Mass for four voices with wind
instruments ; Cantatas ; Psalms ; Te Deum ;
Symphonie concertante for two clarinets
and orchestra ; Pieces for wind instni-
ments ; Airs varies for violin and clar-
inet, with orchestra or quartet ; Nonetto
for string and wind instruments ; Quar-
tets for strings ; Many fantaisies, and varia-
tions for pianoforte. — Fetis ; Mendel ; Schil-
ling.
SPECH, JANOS (Johaun), born at Pres-
burg, Hungary, July 6, 1768, died in Vienna,
date not known. Instrumental and vocal
composer, studied law and entered in 1792
the government service at Buda, but soon
devoted himself entirely to music, and went
to Vienna to teach, while studying compo-
sition. In 1804 he became Kapellmeister
407
SrECTRE'S
at the theatre in Pesth, and in 1816 went
to Paris, whence he returned after a few
years to Vienna, where he was Uving after
1830. Works : Two operas ; Oratorio ;
Missa a cappella ; 3 funeral cantatas ; Many
overtures ; Quartets for strings ; 2 sonatas
for pianoforte, viohn, and violoncello ; 3
fugues for 3 violins, viola, and violoncello ;
2 trios for pianoforte and strings ; Sonatas,
fugues, etc., for pianoforte ; Many vocal
compositions. — Wurzbach.
SPECTRE'S BRIDE, THE, cantata for
chorus, soli, and orchestra, text by Kai-el
Jorimir Erben, music by Dvofak, composed
for and first given at the Birmingham (Eng-
land) Festival, Aug. 27, 1885. The subject
is the Czech version of the legend related
in Btirger's ballad, " Lenore." This differs
from the German story. The maiden is
first seen moui-ning the death of her parents
and praying to the Virgin for the return of
her lover, who comes and bids her go with
him. On their weird midnight walk to the
churchyard he compels her to throw away,
one by one, her prayer-book, chaplet, and
cross. He leaps over the wall, and she
promises to follow ; but taking fright, en-
ters a small house, which proves to be a
charnel-house, where ghosts and sj^ectres
are dancing, and corpses are lying. She
prays to the Virgin, the cock crows, and
she is saved as morning breaks. The mu-
sic is weU written and interesting. It con-
tains energetic rhythms, and realistic musi-
cal symbols, which give character to the
melodies. The narrative element is given
to the chonis and baritone solo. The work
was well received. The composer con-
ducted, and the solos were sung by Mme
Albani, Joseph ]Maas, and Charles Santley.
It was first given in America by the Arion
Club, Providence, Nov. 18, 1885 ; and by
the Philharmonic Society, Brooklyn, March
20, 1886. Raff's Lenore Symphony is on
Biirger's version of this legend. — Athenaeum
(1885), u. 311 ; Neue Zeitschr. (1886), 25 ;
Krehbiel, Review (1885-86), 172 ; Upton,
Standard Cantatas, 136.
SPEIDEL, ^TLHELM, born at Ulm,
Bavaria, Sept. 3, 1826, still living, 1890.
Pianist, first instructed by his father (Kon-
rad Speidel, singer and conductor of the
Ulmer Liederkranz, died in 1880), then at
Munich pupil of Wanner and Wilhelm
Kuhe on the pianoforte, and of Ignaz Lach-
ner in composition. He settled in Munich,
and appeared with great success as a virtu-
oso in many cities of Germany. In 185-1
he became music director at Ulm, and in
1857 went to Stuttgart as conductor of the
Liederkranz, and was one of the founders
of the Conservatorium, at which he taught
until 1874. He then established a piano-
forte school of his own, but, on the death of
Lebert, re-entered the staff of the Conserva-
torium, with which he united his own school.
Works : OuvertCue und Intermezzo zu KOnig
Helge ; Spirit chorus from Faust, for male
chorus with orchestra ; Wikinger Ausfahrt,
for tenor solo with male chorus and orches-
tra ; Volkers Schwanenlied, for male chorus ;
Other choruses for do.; Trios for pianoforte
and strings; Sonata for violoncello ; do. for
violin ; 2 sonatas, and many other pieces
for pianoforte ; Songs. — Mendel ; Riemann.
SPENGEL, JULIUS (HEINRICH), born
in Hamburg, June 12, 1853, still hving,
1890. Instrumental and vocal composer,
pupil of Voigt on the pianoforte and in
theory, and of H. E. Kayser on the violin ;
then at the Cologne Conservatorium, 1867-
68, of Rudorff and von KOnigsliiw, and in
Berlin of Rudoi-ff, Joachim, Kiel, and Adolf
Schulze. He then returned to Hamburg
and studied counterijoint under Grildener,
and the organ under Ai'mbrust. He became
conductor of the Ciicilien-Verein in 1878,
vocal instructor at the teachers' seminary in
1884, and organist of St. Gertrude's Church
in 1886. Works : Symphony in D minor ;
Quintet for pianoforte and strings ; Sonata
for violoncello ; Choruses and songs. — Eie-
mann.
SPENSER, WILLARD, born of Ameri-
can parentage, at CooiDerstown, New York,
July 7, 1856, still hvmg, 1890. Dramatic
SPEEA
composer, mostly self tauglit. He began to
compose at au early age and published
waltzes, galops,
romances, etc.,
many of which
were popular. In
1880-81 he wrote
"The Little Ty-
coon," a comic
operetta on a Jap-
anese theme, and
in 1882 copyright-
ed and published
the complete
score, of which
35,000 copies have been sold. It was first
■given at the late Temjsle Theatre, Philadel-
phia, Jan. 4, 1886, and first in New York,
at the Standard Theatre, March 29, 1886.
It has since been played in the principal
cities of the United States with great suc-
cess, having had, up to June, 1889, 1,427
representations. Mi'. Spenser is now (1890)
engaged upon a new opera.
SPERA, SI, mo CARO BENE, soprano
aria of Alceste, in F minor, with accompa-
niment of violins in unison, and bass, writ-
ten by Handel for Faustina Hasse, to be
sung in Act I. of his Admeto. Published
also separately, with the accompaniment
filled out by Robert Franz (Leipsic, Kist-
ner).
SPERAI VICINO IL LIDO, aria for so-
prano with orchestra, in F, text from Me-
tastasio's Demofoonte, music by Mozart,
composed in 1781. Breitkopf & Hiirtel,
Mozart Werke, Serie vi.. No. 20. — KOchel,
Verzeichniss, No. 368 ; Andru, do., No. 176 ;
Jahn, Mozart, iii. 203.
SPERANZA, GIOVANNI ANTONIO,
born at Mantua, Lombardy, in 1812, died at
Milan in 1850. Dramatic composer, pupil
of the Conservatorio San Pietro a Majella,
Naples ; became insane at Milan. Works :
Gianni di Parigi, Naj)les, 1836 ; I due Fi-
garo, Parma, 1840 ; L' Aretino, Turin, 1840 ;
II postiglione di Lonjumeau, ib., 1842 ; Saul,
Florence, 1844 ; Amor a suon di tamburro,
Naples, 1845 ; II mantello, Turin, 1846 ; L'
alloggio miUtare, oj)era buffa ; Java, do.
— Fetis ; do.. Supplement, ii. 53.5.
SPEYER (Speier), WILHELM, born in
Frankfort, June 21, 1790, died there, April
5, 1878. Violinist, pupil of Nenniuger,
Friinzl, and Paul Thierrot, and in composi-
tion of Andre and Vollweiler ; after study-
ing at the university of Heidelbei-g, he
travelled, and received instruction in Paris
from Baillot. On returning to Germany
he became a merchant, lived at Offenbach
and Frankfoi't, and devoted his leisure to
composition. He was an intimate friend
of the Mendelssohn family. Works : Three
quartets and a quintet for strings ; Duets
for two violins, and violin and flute ; Part-
songs for men's voices ; Many songs. — Schil-
ling ; Mendel ; Fetis.
SPIEGELRITTER, DER, Singspiel in
three acts, text by Kotzebue, music by Schu-
bert, composed in 1815. Prince Almador,
son of the King of Dummistan, sets forth
ou an adventui'e, accompanied by Schmurzo,
the jester. The magician, Burrudusasussi,
gives him a blue shield, bearing the words
Der Tugend treu, which turns white on the
approach of danger. The music was written
in 1815, but only fragments have been dis-
covered. These are : an air for the King,
" Der Sonnestrahl ist warm " ; a quintet for
Schmurzo and the ladies of the court ; an
air for the Prince, " Ach es ist schOu, fremde
Lande zu sehen ; " a duet for the King and
Queen, "Wohl ist nur halbe Freude;" a
concerted number with chorus, " Ein Sinn-
bild auf dem blanken SchUd ; " an air for
the Prince, " Schweigt, haltet graues Haar
in Ehren ; " an air for the magician, with
chorus, " So nimm, du junger Held, den
Spiegel im blauen Feld," and the fragment
of a song for the Prince. The MSS. are in
the possession of the Vienna Musikverein.
Nothing more is known of the work. Other
operas on this libretto by Ignaz Walter,
Mannheim, 1793 ; by Maschek, Prague,
March 7, 1794 ; by Agthe, Ballenstildt,
1795 ; by Johann Karl Mainberger, Nurem-
409
SPIESS
berg, 1796 ; aud by Hinze, Waldenburg,
1797. — Kreissle von Hellborn (Coleridge),
Schubert, i. 76.
SPIESS, MEINEAD, bom probably in
Bavaria, about the end of the 17th century,
was still living in 1774. Prior of the mon-
astery of Yrsel, Suabia, aud church com-
poser, pupil of Giuseppe Antonio Bernabei.
Works : Antiphonarium Marianum, con-
tinens 26 Autiphouis, etc., for soprano aud
contralto, with 2 violins and organ (Kemp-
ten, 1713) ; Cithara Davidis noviter ani-
mata, vesper-psalms for 4 voices, and strings,
with organ (Constance, 1717) ; Philomela
ecclesiastica, motets for solo voices, and 2
violins with organ (Augsburg, 1718) ; Cul-
tus latrieutico-musicus, 6 masses and 2 Re-
quiems, for 4 voices, string instruments,
and organ (Constance, 1719) ; Laus Dei
in Sanctis ejus, ofifertoria for do. (Mindel-
heim, 1723) ; Hyperdulia musica, litanies,
for do. (Augsburg, 1726) ; 12 sonatas for 2
violins, double-bass, and organ (ib., 1734) ;
Tractatus musicus compositorio practicus,
etc. (ib., 1745).— Fetis ; Mendel ; Gerber.
SPINDLER, FRANZ STANISLAUS,
born at Augsbui-g, Bavaria, in 1759, died
at Strasburg, Sept. 8, 1819. Dramatic
singer and composer, made his debut in
1782, was engaged at Innspruck in 1787,
at Breslau in 1795, and in Vienna in 1797.
He afterwards became Kapellmeister of the
cathedral at Strasburg. Works : Kaiu und
Abel, melodrama ; Balders Tod, oj)era ; Die
Liebe in der Ukraine, comic opera ; Pir-
amus und Thisbe, melodrama ; Der Wan-
dersmann, ojieretta ; Reus vor der That,
do. ; Freitags-Reisen, do. ; Amor und graue
Haare, do., Briinn, 1791 ; Die vier Vormiin-
der, Breslau, 1795 ; Music to Achmed und
Zenide.— Fetis ; Mendel.
SPINDLER, FRITZ, born at Wurzbach,
near Lobenstein, Nov. 24, 1817, still living,
1890. Pianist, son of a watch-maker and
amateur musician, pupil of cantor Wilhelm
Joch, on the pianoforte, organ, and -violin ;
later i-enounced the study of theology for
music, and in 1835 became the pupil of
Friedrich Schneider in Dessau. He set-
tled in 1841, in Dresden, to teach the pi-
anoforte and has
since been an ex-
ceedingly produc-
tive and popular
composer. Works:
More than 300, in-
cluding : 2 sym-
phonies ; Unpub-
lished oriental
symphony ; Con-
certo for piano-
forte and orchestra ; String quartet ; Piano-
forte quartet ; 4 pianoforte trios ; 30 sona-
tinas for two hands, and 12 sonatinas for
four hands ; Many brilliant pianoforte
pieces. — Mendel ; Fetis ; do.. Supplement,
ii. 535.
SPOFFORTH, REGINALD, born at
Southwell, Nottingham, England, in 1768,
died at Kensington, London, Sept. 8, 1827.
Glee composer, pupil of his uncle, Thomas
Spofforth, organist of Exeter Cathedral, and
of Benjamin Cooke. In 1793 he won two
prizes from the Glee Club for his glees :
See ! smihng from the rosy East, and
Where are those hours? He published
about 1799, a set of glees, one of which. Hail
smding morn, at once caught the public
ear and is still popular. A number of his
MS. glees were published after his death
by W. Hawes. The following are some of
his best : How calm the evening ; Kingcup,
daffodil, and rose ; While the madly raging
nations ; The spring, the pleasant spring ;
Come bounteous May ; Health to my dear.
— Grove ; Harraonicon (1833), 186.
SPOHR, LOUIS, born at Brunswick,
April 5, 1784, died at Cassel, Nov. 22, 1859.
Two years after his birth, his father, a phy-
sician, moved to Seesen. Louis soon gave
such convincing signs of extraordinary tal-
ent that his parents, both of whom were mu-
sical, decided that he should be educated to
follow music as a profession. He was sent
to Brunswick to study under Maucourt, an
excellent violinist in the Brunswick orches-
410
SPOIIR
tra, and made such rapid progress that in
1796 he played a concerto of bis own com-
position before the court. The Duke of
Bi'unswick took an interest in him, and in
1798 he joined the orchestra. In 1801 he
began to take lessons of Franz Eck, then
the most noted violinist in Germany, and
next year he received a pension from the
Duke, to enable him to accompany Eck to
Russia. After eighteen months passed at
Moscow, he returned to Brunswick, and
continued his studies until 1804, when he
undertook a professional trip through Sax-
ony and Prussia on his own account. His
success was immense, and in 1805 he ac-
cepted the post of court Conzertmeister at
Gotha. Soon afterwards he man-ied Doro-
thea Scheidler, then the most famous harp-
ist in Germany. In 1807 he made a second
concert tour, in which his success, especi-
ally at Vienna, was such that his reputation
as a violinist became European. In 1813
he became Kapellmeister at the Theater an
der Wien, for which he wrote his opera,
Faust. This, however, was not given, and
it was probably disappointment at this that
caused Spohr to resign his post in 1817.
He immediately went to Italy with his wife,
giving concerts with much eclat in Milan,
Venice (where he played a sinfonia con-
certante of his own
with Paganini),
Florence, Rome,
and Naples. On
his return to Ger-
many, via Switzer-
land, in 1818, he
was made Kapell-
meister at Frank-
fort - on - the - Main.
In 1819 he visited
Paris and London,
his success, especially in the latter city,
serving to swell his already great reputation
in Germany. In 1822 he settled in Cassel,
where he was appointed Kapellmeister, and
which remained his home until his death.
For a long time he continued to exercise a
strong influence upon German music, being
recognized as one of the best conductors.
He was in great demand for musical fes-
tivals, as Ferdinand Hiller was afterwards,
and conducted the following : Halberstadt,
1828, 1835 ; Nordhausen, 1829 ; Norwich
(England), 1839 ; Aix-la-Chapelle, 1840 ;
Lucerne, 1841 ; Brunswick, 1844 ; Bonn
(for the inauguration of the Beethoven
statue), 1845 ; Manchester, 1845, etc. In
1852 he was called to London to superintend
the mounting of his Faust. His first wife
died in 1834 ; his second wife was a pian-
ist of some note.
Works — I. Oratorios and Cantatas : Das
jiingste Gericht, Erfurt, Jan. 1, 1812 ; Die
letzten Dinge, Cassel, March 24, 182G ; Des
Heilands letzte Stunden, ib., April 17, 1835 ;
Der Fall Babylons, ib., April 9, 1841 ; Das
befreite Deutschland, dramatic cantata, MS.
n. Operas : Die Priifung (written 1806,
not given) ; Alruna (written 1808, id.) ; Die
Eulenkonigin (written 1808, id.) ; Der
Zweikampf mit der Geliebten, Hamburg,
November, 1811 ; Faml, op. 60, Frankfort,
1818 ; Zemire und Azor, ib., AjJril 4, 1819 ;
Jessonda, op. 63, Cassel, July 28, 1823 ;
Der Berggeist, ojj. 73, ib., March 24,
1825 ; Pietro von Albauo, op. 76, ib., Oct.
13, 1827 ; Der Alchymist, ib., July 28,
1830 ; Die Kreutzfahrer, ib., Jan. 1, 1845.
HI. Church Music : Mass for 5 solo voices
and 2 5-part choruses, op. 54 ; 3 Psalms
for double chorus and soli, op. 85 ; Hymn
to St. Cecilia, chorus and soprano solo, op.
97 ; Psalm xxiv., for chorus, soli, and piano-
forte, op. 97a ; Hymn, " Gott, du bist
gross," for chorus, soli, and orchestra, op.
98 ; Vater unser (Klopstock), op. 104 ; Do.
(Mahlmann), no opus number ; Psalm
cxxviii., for chorus, soli, and organ, op.
122 ; Psalm Ixxxiv. (Milton), for chorus,
soli, and orchestra, op. 134.
rV. For orchestra : 9 Symphonies : No.
1, in E-flat, op. 20 ; No. 2, in D minor, op.
49 ; No. 3, in C minor, op. 78 ; No. 4, Die
Weihe der Tune, in F, op. 86 ; No. 5, in
C minor (the Fantasia, op. 99, is used as
411
SPOHR
412
SPOHE
the first movement), op. 102 ; No. 6, His-
torical symphony, in G, op. 116 ; No. 7,
Irdisches und GOttliches im Menscheulebeu,
for 2 orchestras, in C, op. 121 ; No. 8,'in G
minor, op. 137 ; No. 9, Die vier Jahreszeiten,
in B minor, op. 143. 8 Overtures : No. 1,
in C minor, op. 12 ; No. 2, to Die Priifung,
in D, op. 15a ; No. 3, to Alruna, in E-flat,
op. 21 ; To 3Iachelh, in B minor, o]). 75 ;
Fantasia on Raupach's Tochter der Luft,
in the form of a concert-overture, in C
minor, op. 99 ; Im erusten Styl, in D, op.
12G ; To Das befreite Deutschland ; To Der
Matrose. Notturno for wind and Jani-
tscharen-Musik, in C, op. 34 ; Erinnerung
an Marienbad, waltzes, in A minor, o-p. 89.
V. For solo instruments with orchestra :
Quartet concerto, for 2 violins, viola, and
violoncello, with orchestra, op. 131 ; Con-
certante No. 1, for 2 violins with orchestra,
in A minor, op. 48 ; Do., No. 2, for do.,
op. 88 ; Potpourri on Jessonda, for violin,
and violoncello, with orchestra, in A-flat,
op. 64. 15 Concertos for violin ; No. 1,
in A minor, op. 1 ; No. 2, in D minor,
op. 2 ; No. 3, in C minor, op. 7 ; No. 4,
in B minor, op. 10 ; No. 5, in E-flat, oj).
17 ; No. 6, in G minor, op. 28 ; No. 7,
in E minor, op. 38 ; No. 8, " In modo
d' una scena cantante," in A minor, oj). 47 ;
No. 9, in D minor, o\i. 55 ; No. 10, in A
minor, op. 62 ; No. 11, in G, op. 70 ; No.
12 (Concertino No. 1), in A minor, op. 79;
No. 13 (Concertino No. 2), in E, op. 92 ;
No. 14 (Concertino No. 3), " Sonst und
jetzt," in A minor, op. 110 ; No. 15, in E
minor, op. 128. Grande Polonaise, for
violin and orchestra, in A minor, op. 40 ;
Potpourri on Jessonda, for do., in A minor,
op. 66. 2 Concertos for clarinet : No. 1,
in C minor, op. 26 ; No. 2, iu E-flat, op.
57.
VI. Chamber-music : Nonet for violin,
viola, violoncello, double-bass, flute, oboe,
clarinet, bassoon, and horn, in F, op. 31 ;
Octet for violin, 2 violas, violoncello, clar-
inet, 2 horns, and double-bass, in E, op.
32 ; 4 double-quartets for strings : No. 1, in ,
D minor, op. 65 ; No. 2, in E-flat, op. 77 ;
No. 3, in E minor, op. 87 ; No. 4, in B-flat,
op. 136 ; Septet for pianoforte, flute, clar-
inet, horn, bassoon, viohn, and violoncello,
op. 147 ; Sextet for strings, in C, op. 140 ;
7 quintets for strings : Nos. 1 and 2, iu E-
flat and G, op. 33 ; No. 3, in B minor, op.
69 ; No. 4, in G minor, op. 91 ; No. 5, in G
minor, op. 106 ; No. 6, iu E minor, op. 129 ;
No. 7, in G minor, op. 144 ; Quintet for pi-
anoforte, flute, clarinet, horn, and bassoon^
in C minor, op. 52 ; The same arranged for
pianoforte and strings, op. 53 ; Quintet for
do., op. 130 ; 34 quartets for strings : Nos.
1, 2, in C and G, op. 4 ; No. 3 (quatuor
brillant), in D minor, op. 11 ; Nos. 4, 5, in
C and A, op. 15 ; No. 6, in G minor, op. 27 ;
Nos. 7-9, in E-flat, C minor, and F minor,
op. 29 ; No. 10, in A, op. 30 ; No. 11 (qua-
tuor brillant), in E, op. 43 ; Nos. 12-14, in
C, E minor, and F minor, op. 45 ; No. 15
(quatuor brillant), iu B minor, op. 61 ; Nos.
16-18, iu E-flat, A minor, and G, ojj. 58 ;
No. 19 (quatuor brillant), in A, o]}. 68 ;
Nos. 20-22, in A minor, B-flat, and D mi-
nor, op. 74 ; Nos. 23-25, in E, G, and A
minor, op. 82 ; No. 26 (quatuor brillant), in
E-flat, op. 83 ; Nos. 27-29, in D minor, B-
flat, and A minor, of). 84 ; No. 30 (quatuor
briUant), in A minor, op. 93 ; No. 31, in A,
op. 132 ; No. 32, in C, op. 141 ; No. 33, in
G, op. 146 ; No. 34, in E-flat, op. 152 ; Pot-
poun-i No. 1, on airs by Dalayrae, for vio-
lin, with accompaniment of 2d violin, viola,
and bass, op. 5 ; Do. No. 2, on themes by
Mozart, in B-flat, for do., op. 22 ; Do. No.
3, on themes by Mozart, for violin, with ac-
companiment of quartet, flute, oboe, clar-
inet, 2 bassoons, 2 horns, in G, op. 23 ; Do.
No. 4, on themes by Mozart, for violin, with
accompaniment of 2d violin, viola, and bass,
in B, op. 24 ; Variations No. 1, for do., in
D, op. 6 ; Do. No. 2, for do., in A minor,
op. 8 ; 5 trios for pianoforte, violin, and
violoncello : No. 1 (concertant), in E minor,
op. 119 ; No. 2 (concertant), in F, op. 123 ;
No. 3 (concertant), in A minor, op. 124 ;
No. 4, in B-flat, op. 133 ; No. 5, in G minor,
413
SrOJ^IlOLTZ
op. 142 ; 14 duos concertants, for 2 violins,
op. 3, 9, 39 (D minor, E-flat, E), 67 (A mi-
nor, D, G minor), 148 (F), 150 (D), 153 (C) ;
Grand duo, for violin and viola, op. 13 ;
Sonata for pianoforte (or harp) and violin,
in B, op. 16 ; 3 duos concertants for piano-
forte and violin : No. 1, in G minor, op. 95 ;
No. 2, in F, op. 96 ; No. 3, in E, op. 112 ;
Introduction and rondo, for do., in E, op.
46 ; Grand rondo for do., op. 51 ; Eondo
alia spagnuola, for do., iu C, op. Ill ;
" Elegisch und humoristich ; " G duettinos
for do., op. 127 ; G Salonstucke for do., op.
135 ; 6 do. for do., of). 145 ; Potpourri for
do. (after op. 24), op. 42 ; Do. on airs from
Die Zauberflute, iu F-sbarp minor, op. 50 ;
Do. on airs fi-om Das unterbrocbene Opfer-
fest, op. 56 ; Fantasia for do., on airs from
Der Alcbymist, op. 117 ; Do. for do. (or
barj) and viobu), on airs by Handel and
Abt Vogler, op. 118; 3 sonates concertantes
for harp and violin : in E-flat, op. 113 ; in
E-flat, op. 114 ; in A-flat, op. 115 ; 36 violin
studies by FioriUo, with 2d violin part added ;
Violinscbule ; Sonata for pianoforte solo, in
A-flat, op. 125 ; Eondoletto for do., in G, op.
149 ; Potpourri for clarinet, in F, op. 80 ;
Fantasia and variations for do., iu B-flat,
op. 81 ; Fantasia for barp, in A-flat, op. 35 ;
Variations for do., in F, op. 36.
\'n. Songs and Part-songs : Scena and
aria for soprano, witb orchestra, op. 71 ;
Basa air fi-om Das befreite Deutscbland,
q^^h<r-^^^^^~^
with do.; Song fi-om the play Der Matrose,
with do.; 53 songs 'with pianoforte, in 9
books, op. 25, 37, 41, 72, 94, 101, 103 (with
clai-inet obligate), 105, 139 ; 6 songs for
baritone, with violin obligato, op. 154 ; An
sie am Clavier, ^,^ /^
sonatinaforpiano- C<^e-W^
forte and voice ; 3 ^ ~-^
duets for soprano and tenor, op. 107 ; 3 do.
for 2 soprani, op. 108 ; 12 4-part songs for
male voices, op. 44, 90 ; 12 do. for mixed
voices, op. 120, 151 ; Many songs published
in various collections. Many of Spohr's
works are stUl in MS. — Louis Spohr's
Selbstbiographie (Cassel, "Wigand, 1860-
61 ; English translation, London, 1865) ;
A. Malibran, Louis Spohr, sein Leben und
Wirken (Frankfort, Sauerlander, 1860) ;
— Grove ; Fetis ; do.. Supplement ; Mendel.
SPONHOLTZ, ADOLF HEINKICH,
bom at Rostock, Mecklenburg, March 12,
1803, died there in 1851. Organist and
pianist, attracted attention by his playing in
concerts, when a mere boy, but was obliged
to study theology, and had already preached
often when he suddenly devoted himself
entii'ely to music. He became organist of
St. Mary's in his native city. Works : Sym-
phonies, and other compositions for orches-
tra ; Motets ; Pianoforte music ; Songs.
— Schilling, Supplement, 405.
SPONTINI, GASPAEO (LUIGI PACI-
FICO), conte di
S a n t' Andrea,
born at Majolati,
in the Marches of
Ancona, Nov. 14,
1774, died there,
Jan. 24, 1851.
His parents were
peasants, and
three of his broth-
ers entered the
priesthood, for
which he him-
self was also destined. His bent for
music showed itself early, but met with
no encouragement, and he ran away from
his uncle's house in Jesi, whither he had been
sent to be educated, to that of another rel-
ative in Monte San Yito, who had him take
music lessons from one Quintiliani. But
the uncle at Jesi was soon prevailed upon
to take him back and have him taught by
local musicians. In 1791 he entered the
Conservatorio della Pieta de' Turchini in
Naples, where he studied counterpoint and
composition under Sala and Tritto, and
singing under Tarantino, or, according to
%\§l//fe-'^^
414
SPONTINI
Florimo, Salieri. In 1796 he left the Con-
servatorio secretly to write his first opera, I
puntigli delle doune, for the Argentina, in
Rome ; the result was so successful that, on
his return to the Conservatorio, Picciuni
took him under his own care, and gave him
instruction in dramatic composition. After
writing several operas for Rome, Florence,
and Naples, he was called in 1800 to the
court at Palermo, but soon left there for
Marseilles and, in 1803, for Paris, where
he began with giving music lessons. His
Finta filosofa had a moderate success at
the Italiens, but his next opera, La petite
maison, was hissed off the stage. In the
same year, 1804, the tide of fortune turned,
and Jouy gave him his rejected Hbretto of
La vestale to set to music for the Opera.
But, before entering upon so important a
task, Spontini first wrote Milton for the Fey-
deau, a work in which a decided change
from his earlier light Italian style is notice-
able. He was appointed chamber-composer
to the Empress Josephine, and his favor at
court was further increased by his cantata,
L' eccelsa gara, in honour of the battle of
Austerlitz. In 1807 La vestale was brought
out at the Opera, after much opposition and
delay, occasioned in part by the difiiculty
Sijontini experienced in writing in the more
elaborate and highly dramatic style of the
French lyric tragedy. The work was a
splendid success, and jjlaced him at once
upon the pinnacle of fame. Equally suc-
cessful was his Fernand Cortez in 1809.
Shortly after its production, he married the
daughter of Jean Baptiste l]rard. In 1810
he was made director of the Theatre des
Italiens, where, among other works, he
brought out Mozart's Don Giovanni in its
original shape for the first time in Paris.
Pecuniary difficulties brought about his
dismissal in 1812, and in 1814 Louis XVin.
appointed him his court composer, with a
pension of 2,000 francs. Some occasional
operas, written to glorify the Restoration,
were followed in 1819 by Olympie, which,
however, only had a succes d'estime.
Shortly before its production, Sjiontini had
accepted the offer of the post of court com-
poser and general music director from
Friedrich WUhelm IH., of Prussia, and in
the spring of 1820 he moved to Berlin,
where he began a brilliant career with some
superb performances of Cortez. But, with
all the admiration his genius excited, and
in spite of his recognized ability as a con-
ductoi', it gradually became evident that
there were traits in his character which un-
fitted him for his post. He was immeasur-
ably fond of power, and both incautious
and overbearing in his exercise of it ; he
came continually into conflict with other
officials, from whom he would brook no
opposition, and his ill-concealed jealousy of
Weber served to arouse considerable pop-
ular feeling against him. At length, in
1841, he was dismissed from his post, al-
though allowed to retain the title and the
salary. In 1842 he returned to Paris, where
he passed most of the remainder of his life
in leisurely retirement, for he never could
bring himself to comijose after the blow his
self-love had received in Berlin. He died
in his native town, on a trip he had taken to
Italy for his health. During the last few
years of his life he suffered much from hy-
pochondria, deafness, and loss of memory.
He was given the degree of Doctor by the
University of Halle, and elected to the
Berlin Academy in 18.33, and the French
Academic in 1839 ; was Knight of the
Prussian Order of Merit and many other
orders ; and in 1844 was raised by the Pope
to the rank and title of Conte di Sant' An-
drea. Spontini may be looked upon as the
greatest figure in the history of French
tragic opera, between Gluck and Meyerbeer.
The practical labour of composition gave
him much trouble ; he wrote with almost
unexampled slowness and difficulty, and
was a poor score-reader. He has been
charged with a lack of poetic imaginative-
ness, but in melodic invention and dramatic
power he has had few superiors. His
handling of the orchestra is original, and
SPOXTOKE
his orchestration notable for its generally
sombre colouring.
Works — I. Operas : I puntigli delle don-
ne, Eome, Teatro Argentina, 1796 ; L' erois-
mo ridicolo, Rome, 1797 ; H finto pittore,
ib., 1798 ; Teseo riconosciuto, Florence,
1798 ; L' isola disabitata, ib., 1798 ; Chi piii
guarda meno vede, ib., 1798 ; Berenice, Na-
ples, 1798 ; La fuga in maschera, ib., 1799 ;
L' amore segreto, ib., 1799 ; La finta filo-
sofa, ib., 1799 ; I quadri parlanti, Palermo,
1800; Sofronia e Olindo, ib., 1800; Gli
Elisi delusi, ib., 1800 ; Gli amanti in ci-
mento, ossia U geloso audace, Eome, 1801 ;
La principessa d' Amalfi, Venice, 1802 ; Le
metamorfosi di Pasquale, ib., 1802 ; La pe-
tite maison, Paris, Opora Comique, May,
12, 1804 ; Milton, ib., ib., Nov. 27, 1804 ;
Julie, ou le pot de fleurs, ib., ib., March
12, 1805 ; La vestale, ib., Acadumie Imp(j-
riale de Musique, Dec. 11, 1807 ; Fernand
Cortez, ou la conqucte du Mexique, ib., ib.,
Nov. 28, 1809, and in a remodelled version.
May 28, 1817 ; Pelage, ou le roi et la paix,
ib., ib., Aug. 23, 1814 ; Les dieux rivaux,
ou les fC'tes de Cythore (with Berton, Kreut-
zer, and Persuis), ib., ib., June 21, 1816 ;
Olympie, ib., ib., Dec. 20, 1819 ; Kurmahal,
Oder das Roseuiest zu Kaschmir, Berlin,
May 27, 1822 ; Alcidor (MS.), ib., May 23,
1825 ; Agnes von Hohenstaufen, Act I., ib..
May 28, 1827, the whole opera, June 12,
1829, and in a remodelled version, Dec. 6,
1837 ; Das verlorene Paradies (unfinished
MS., written 1838-40).
n. other works : L' eccelsa gara, cantata,
Paris, Feb. 8, 1806 ; Sensations douces, me-
lancohques et douloureuses, 6 songs with
harp (Paris, 1805-09) ; Prussian national
^/^ianM'-'/U^
hymn, " Wo ist das Volk," Berlin, Oct. 18,
1818 (Schlesinger) ; Lalla Eukh, Festspiel
with tableaux vivants, ib., at court, Jan. 27,
1821 ; Hymn for the coronation of Emperor
Nicholas of Russia, ib., Dec. 18, 1826 ; Gott
segne den KOnig, cantata, HaUe Musical
Festival, 1829 ; Domine salvum fac regem,
12 voc. with organ, trumpets, violoncelli,
and double-basses, Berlin, Oct. 15, 1840 ;
French, ItaUan, and German songs with
pianoforte. — Grove, iii. 665 ; Louis de Lo-
mt'uie, M. Sf)ontini, par un homme de rien
(Paris, 1841) ; E. M. Oettinger, Spontini
(Leipsic, 1843) ; Elogio ... da G.
Iguazio Montanari (Ancona, 1851) ; Eaoul-
Rochette, Notice historique sur la vie et les
ouvrages de M. Spontini (Paris, 1852) ; Fe-
tis ; do.. Supplement ; Wagner, Erinnerun-
gen an Spontini, Ges. Schrifft. und Dicht.,
V. 116.
SPONTONE, BARTOLOMEO, born iu
Bologna, about 1529, died (?) Madi-igal
composer, studied counteii^oint under Nicolo
Mantovani, afterwards in Rome under Jaco-
po da Ponte, and Morales. On his return to
Bologna he became a singer at S. Petronio
in 1551, and was maestro di cappeUa of that
church in 1577-83. He held the same posi-
tion at the cathedral of Verona in 1588.
Works : Three sets of madrigals for 4 and
for 5 voices (Venice, 1558, 1507, 1583) ; 1
book of masses (Venice, 1588). His compo-
sitions are found in the following collections
of madrigals : I dolci Frutti (Venice, 1570) ;
Musica di XTTT autori illustri (ib., 1576) ;
E primo fiore della Ghirlanda musicale (ib.,
1577) ; H Lauro secco (ib., 1577); II Gaudio
(ib., 1556) ; Spoglia amorosa (ib., 1592) ;
De' floridi virtuosi d' Itaha (ib., 1586) ;
Symphonica Angelica (Waelrant, Antwei-p,
1594) ; MadrigaU pastoral! (ib., 1604).
Cipriano di Rore printed a Dialogo a 7 by
him in 1568. A fine 4-part madrigal. The
Joyous Birds, is given by Hullah in Part
Music. — Fetis, Supplement, ii. 537 ; Gas-
pari, Memorie risguardanti la storia dell'
arte musicale in Bologna al xvi. secolo.
SPOSA DEI SAGRI CANTICI, LA, ora-
torio by Alessandro Scarlatti, first per-
formed in Naples iu 1710.
416
'f
THg NEW YO}{K ,
'DBLIC USHARY
SPOSO
SPOSO DELUSO, LO (The Delu.TeJ
Bridegroom), ossia la rivalita di tro doimo
per un solo amaute, Italian opera buffa in
two acts, music by Mozart, written in 1784.
The author of the libretto is unknown,
and Mozart's work was left unfinished.
It is supposed to be composed for the
text set by Cavaliere Palo, and given in
Padua in 1787. The test-book bears the
names in Mozart's handwriting of the
singers expected to appear in the original
cast. These are : Bocconio, a wealthy and
foolish man, Signor Benucci ; Eugenia, a
noble Eoman woman, betrothed to Boc-
conio, but formerly to Don Asdrubale, whom
she still loves, Signora Fischer ; Don Asdru-
bale, an officer of Tuscany and lover of
Eugenia, Signor Mandini ; Bettina, niece
of Bocconio, enamoured of Don Asdrubale,
Signora Cavalieri ; Pulclierio, a woman-
hater, and a friend of Bocconio, Signor
Bussani ; Gervasio, Eugenia's tutor, Signor
Pugnetti ; and Metilde, virtuoso of singing
and dancing, enamoured of Don Asdrubale,
Signora Teyber. The opera opens with
preparations for the wedding of Bocconio
with Eugenia. His friends jeer at him, and
while he is defending himself the bride is
announced. Pulcherio endeavours to estab-
lish more regard between the betrothed
couple, calling Eugenia's attention to Boc-
conio's amiability and his to Eugenia's
beauty. Don Asdrubale, Eugenia's former
lover, whom she believes to have fallen in
battle, comes to greet the bride. He is on
bis way to Rome to wed her, and is startled
to find that she is about to marry another.
The unfinished work ends here with a ter-
zet, expressing the confusion and embar-
rassment of Eugenia, Bocconio, and Don
Asdrubale. The autograph is in the pos-
session of Andre, Oirenbach-on-the-Main,
who has j)ublished a pianoforte score
(Offenbach, 1855). Breitkopf & Hiirtel,
Mozart Werke, Serie v., No. 38 (Supple-
ment). — KiJchel, Verzeichniss, No. 430 ;
Jahn, Mozart, iv. 172 ; do. (Townsend),
iii. 59.
SPRING SYMPHONY, in A, by John
Knowles Paine, op. 34, first performed in
Cambridge, Massachusetts, March, 1880.
It is the composer's second symphony, and
was written in 1879-80. I. Introduction.
Adagio sosteuuto (The Departure of Win-
ter) ; Allegro ma non troppo (The Awaken-
ing of Nature) ; II. Scherzo, Allegro (May
Night Fantasy) ; HI. Adagio (A Romance
of Spring-time) ; IV. Allegro giojoso (The
Glory of Nature). It was conducted by
the composer at a Brooklyn (N. Y.) Phil-
harmonic Concert, 1883 ; and in Boston,
1884. Full score and pianoforte arrange-
ment for four hands published by Schmidt
& Cranz (Hamburg). — Upton, Standard
Symphonies, 201.
SPRUCHE (Proverbs or Sentences), sung
in the Berlin Cathedral after the reading
of the Epistle ; set for that church by
Mendelssohn, op. 79. They are for eight-
part chorus. I. Weihnachten (Christmas),
Allegro moderato (1845) ; II. Am Neujahrs-
tage (New Year's Day), Andante (1843);
in. Am Himmelfahrtstage (Ascension Day),
Allegro maestoso e moderato (1845) ; TV.
In der Passionszeit (Passion Week), Adagio
(1845) ; V. Im Advent (Advent), Andante
(1846) ; Am Charfreitage (Good Friday),
Sostenuto e grave (1844). Posthumous
Work No. 7. Breitkopf & Hiirtel, Men-
delssohn W^erke, Serie xiv.. No. 109.
STABAT ]\L\TER (The Lamentation of
the Blessed Virgin Mary), a sequence sung
in the Roman Catholic Church between the
Epistle and the Gospel at High Mass on
the Friday of Passion Week, and the third
Sunday in September. It is also sung in
the Sistine Chapel as an Offertorium on the
Thursday in Holy Week. The poem, one
of the finest examples of mediaeval Latin,
was written by Jacobus de Benedictis
towards the end of the 13th century.
Several readings of it are extant, and there
are four versions of its plain-chaunt melody :
two in the first Mode (in the Ratisbon edi-
tions of the Gradual and the Vesperal) ;
one in the fourth Mode (in the MechUn
ta
STABAT
Office-Books), and one that was sung iu
the 15tli centurj' to a Melody known as
" Comma feme " iu the thirteenth Mode.
The earliest setting of the Stabat Mater is
by Josquin Despros, one of the most in-
genious works of this composer. It is
written in the thirteenth Mode transposed.
The cautus firmus is sung by the tenor, ac-
companied in elaborate counterpoint by four
other voices. This was sung by the Gluck
Society, London, May 24, ISSl. It was
first printed in Petrucci's "Motetti della
Corona," Lib. iii., No. 6 (Fossombrone,
1519) ; and published by Choron (Paris).
Palestrina left two settings of the Stabat
Mater : one for a double-chorus of eight
voices, which has been sung for many years
in the Sistuie Chapel on the Thursday of
Holy Week. This was first j^riuted in
Burney's "La Musica della Settimana San-
ta ; " by Choron (Paris) ; in Alfieri's " Eac-
colta di Musica Sacra " (vol. vi., Eome,
18-45) ; by Breitkopf & Hilrtel, Palestrina
Werke (vol. vii.), and revised edition with in-
troduction of solo voices, by Richard Wag-
ner (1877). The other, for twelve voices
in three choirs, which Ambros accords
to Felice Anerio on the authority of an
entry in the catalogue of the Altaemps-
Ottoboni collection in the libraiy of the
Collegio Romano, is proved to be by Pales-
trina, and was first printed in Alfieri's
"Raccolta di Musica Sacra " (vol. vii., Rome,
184G) ; also by Breitkopf & Hartel, Pales-
trina Werke, vol. vii. Astorga's Stabat
Mater, for four voices with orchestra, was
probably composed for the Society of An-
tient Musick of London, and it was per-
formed at Oxford in 1713. Copies of the
score are in the British Museum and the
libraries of Berlin and Vienna. Haupt-
mann considered this Stabat Mater su-
perior to Pergolesi's. The score was pub-
lished by Breitkopf & Hilrtel (Leipsic,
1879) ; by Peters (ib.) ; and an edition
with additional accompaniments, l)y Robert
Franz (Leuckart, Breslau). Pergolesi's Sta-
bat Mater, for soprano and contralto with
accompaniment of two violins, viola, bass,
and organ, was written at the request of the
Confraternity of San Luigi di Palazzo of
Naples. It was Pergolesi's last work, and
one of his most widely known compositions.
It was published by Bonjour (Paris) ; by
Porro (ib.) ; au edition with Paisiello's ad-
dition of wind instruments (ib.) ; five differ-
ent editions with pianoforte accompaniment
(ib.) ; by Cai'naud (Lyons) ; two German edi-
tions with German words, one iu full score
by Schwickert (Leipsic) ; the other with pi-
anoforte, by Christiani (Hamburg) ; edition
with instrumentation by A. Lvoff (Schlesing-
er, St. Petersburg, 1834 ; Berlin, 1840) ; and
an edition by Hullah (London). Hiller
adapted Klopstock's Passion to the music
of this work arranged for four voices, with
addition of flutes and oboes. Steffaui wrote
a fine Stabat Mater for two soprani, two
tenors, one alto, and one bass, with ac-
companiment of two violins, three violas,
bass, and organ, which he presented to the
Academy of Antient Musick, London, in
1724, on his election as honorary president
for life. A Stabat Mater in C minor, by
Clari, is iu the Royal Librarj' of Copen-
hagen, and was published in Kovello's edi-
tion of the Fitzwilliam MSS. of Cambridge.
Other important settings of the Stabat
Mater include one for two voices, and one
for four voices, by Alessandro Scarlatti
(Rome, 1713) ; one by Haydn, for four
voices and orchestra, composed about 1771.
Published by Breitkopf & Hartel (Leipsic,
1831) ; pianoforte arrangement by C. Zuleh-
ner (Simrock, Bonn, 1831) ; one by Padre
Vito (1783) ; one for three voices, by Pietro
Raimondi ; one by Gesualdo Lanza ; one
by Angelo Inzenga ; and one by the Che-
valier Neukomm. Rossini's Stabat Mater,
for soli, chorus, and orchestra, first per-
formed in public at the Salle Ventadour,
Paris, Jan. 7, 1842, with Grisi, Albertazzi,
Mario, and Tamburini, is his most cele-
brated sacred composition. It was written
in 1832 at the request of his friend Aguado,
who wished him to compose a sacred work
418
STABILE
for the Spanisli minister, Don Valera. Ros-
sini became ill, and Tadolini wrote the last
four numbers of this composition, which
was dedicated to Valera with a stipulation
that it should remain in his j)ossession.
After Valera's death, his heirs sold the MS.
to a publisher in Paris. Eossini then
claimed the copj'right, and gained his suit
at law. He composed four new numbers
to rejilace those by Tadolini, and sold the
work to Troupenas for G0,000 francs. Ros-
sini's Stabat Mater has been censured as
being too operatic in style for church mu-
sic, but it is, nevertheless, one of the most
popular of short sacred comisositions, ow-
ing to its melody and graceful tioriture.
It was first sung in the salon of Henri
Herz, in Paris, Oct. 31, 18il. Theodore
Labarre played the pianoforte accompani-
ment, and the solos were sung by Mme
Viardot-Garcia, Mme Labarre, Alexis Du-
pont, and Geraldy, under the direction of
M. Girard. It was first given in Berlin and
London in 1842 ; in Rome in 1843 ; by
the Handel and Haydn Society, Boston,
Feb. 2G, 1843 ; first in New York in 1848,
and by the Oratorio Society of New York
in 1878. The duet " Quis est homo " was
sung by Patti and Alboni, at Rossini's
funeral in the Church of tlie Trinity, Paris,
Nov. 21, 1808. The score was pubHshed
by Schott (Jlainz, 1842) ; by Ricordi (Mil-
an, 1843) ; and by Novello (London). The
last setting of importance is by Autonin
Dvorak, for soli, chorus, and orchestra, first
performed by the London Musical Soci-
ety, March, 1883. It was written in 1875,
and its merit recognized by Brahms and
Joachim, the latter of whom secured its
performance in London. It was subse-
quently given at the Worcester and Here-
ford (Festivals).— Grove, ii. G87 ; iii. 083,
699 ; Pohl, Haydn, ii. 05 ; Chrysander,
Handel, i. 130 ; Ambros, v. 01 ; Waldersee,
Mus. Vortriige, ii. 100 ; Edwards, Rossini,
332 ; Escudier, do., 253 ; Allgem. mus.
Zeitg., i. 204 ; xxsiii. 105 ; xxxiv. 409 ;
xxxvi. 5 ; xlii. 783 ; sliv. 281 ; Athenaeum
(1883), i. 353 ; Upton, Standard Oratorios,
90, 253.
STABILE, ANNIBALE, born in the first
half of the IGth century, died in Rome,
probably in 1595. Church composer, pupil
of Palestrina, became maestro di cappella
at S. Giovanni in Laterano, in 1575, at the
church of the German college, and at S.
Apollinaris in 1576, and at Santa Maria
Maggiore in 1592. Works: Three books
of motets, for 5-8 voices (Venice, 1584,
1585, 1589) ; 3 books of madrigals, for 5
voices (ib., 1572, 1584, 1585) ; 2 books of
Sacrpe modulationes, for 5-8 voices (ib.,
1580) ; Litanies for 4 voices (ib., 1592) ;
other works in Gardano's Dolci affetti
(1568), and Trionfo di Dori (1590), in Pha-
lese's Lauro verde (Antwerp, 1591), Har-
monia celeste (ib., 1593), and Paradiso
musicale (ib., 1590). — Fe-tis ; Mendel ; Rie-
mann.
STABINGHER (properly Stabinger),
]\LA.TTIA, born in Germany, about 1750,
died in Venice, about 1815. Virtuoso on
the flute, appeared in Paris, in 1775, went
to Milan in 1778, to Florence in 1784, and
afterwards settled in Venice. Works — Bal-
lets : Calipso abbaudouata, Milan, 1779 ; La
sconfitta delle Amazzoni, Le avventure d'
Ircana, ib. ; La morte d' Arrigo, Bologna,
1784 ; L' astuzia di Bettina, opera bufi'a,
Florence, 1784. 6 quatuors concertants for
flute and strings (Venice, 1792) ; Sextuora
concertants for do. and 2 horns (ib., 1792) ;
12 duos for flutes ; 6 sonatas for 2 flutes
and bass. — Fetis ; Mendel.
STADE, HEINRICH BEENHARD, born
at Ettischleben, near Ai-nstadt, Schwarz-
burg-Sondershausen, May 2, 1816, died at
Arnstadt, May 29, 1882. Organist, made
concert tours in Germany and won aji-
plause especially for his playing of Bach's
works ; he became city cantor and organist
at Arnstadt, and deserves well for the re-
storation of the organ in St. Boniface's
there, on which Bach had played during
his first office in 1703-7. Works : Sonata,
and other detached pieces for organ ; Der
419
STADE
woLlvorbereitete Organist, ein Priiludien-
Choral- iind Postludienbucb, 2 jjarts (Son-
dersbausen). — Meudel ; Riemann.
STADE, (FRIEDRICH) WILHELM,
born at Halle in 1817, still Hving, 1890.
Organist, pupil of Scbneider at Dessau ;
was for a time Kapellmeister of Beetb-
mann's dramatic company, Avbicb played
alternately at Halle and Dessau, tben be-
came music director at tbe University of
Jena, and in 18G0 Court organist, and
Kapellmeister at Altenburg. Works : Fes-
tival cantatas ; Overture to Scbiller's Braut
von ^lessina ; Sympbonies ; Psalms ; Or-
gan and pianoforte music ; Songs. — Men-
del ; Eiemann.
STADEN, JOHANN, born at Nurem-
berg, about
1579, died
tbere, buried
Nov. 15, 1G34.
Organist, at
first in Bay-
reutb at the
court of tbe
margrave Chris-
tian, then lived
at Kulmbach until IGIO, tben at Bayreuth,
and in IGIG returned to his native citj',
where lie became organist at St. Lorenz,
and in 1C20 at St. Sebaldus. Works : Ncwe
teutsche Lieder, nach Art der Villauellen,
etc. (Nuremberg, IGOG) ; Newe teutsche
geistliche Gesiinge, etc. (ib., 1G09) ; Newe
teutsche Lieder, sanipt etlichen Gulliarden,
etc. (ib., 1609) ; Venus-Krantzleiu newer
musikalischer Gesiing, etc. (Jena, 1610) ;
Fragment eines Festgesanges (Nuremberg,
1615) ; HarmouiiB sacra3 pro festis prrcci-
puis totius anni, etc. (ib., IGlG) ; Newe
Pavanen, Galliarden, etc. (ib., 1G18) ; Mag-
nificat (with Valentin Dretzl) for new year's
day (ib., 1620) ; Harmoniarum sacrarum
continuatio (ib., 1621) ; Plausus Noricus
(ib., 1622) ; Drei cbristlichc Bet-Gesilng,
etc. (ib., 1622) ; Harmonicie meditationes
animiB (ib., 1622) ; Haus-Musik geistlicher
Gesiing, etc. (ib., 1G23, 1624, 1628 (3),
1646) ; Kircben-Musik geistlicher Gesiing
und Psalmen, 2 parts (ib., 1G25, 1626) ;
Opusculum novum von Pavanen, etc. (ib.,
1625) ; Prima vox barmoniaj novae sacra-
rum cantionum, etc. (ib., 1628) ; Musical-
ischer Freuden- und Audacbtswecker (ib.,
1630) ; Hertzentrosts-Musica geistlicher
Meditationen (ib., 1630) ; Hertzens Andach-
ten geistlicher Gesiinglein (ib., 1631) ;
Harmonife vai'iatse sacrarum cantionum (ib.,
1632) ; Geistlicher Musikklang, etc. (ib.,
1633) ; Johannis Staden operum musicorum
posthumorum (ib., 1643). — Mouatshefte f.
Musik-Gescb., xv. 101, 107, 119.
STADEN, SIGISMUND GOTTLIEB
(Theoi^hilus), born at Nuremberg in 1607,
died there in 1655. Organist, son and pu-
pil of the preceding, whom he succeeded in
office at St. Sebaldus. Ho is the composer
of the oldest extant German musical drama.
Works : Das geistliche Waldgedicht oder
Freudenspiel, geuannt Seelewig, Nuremberg,
1644 ; Scclen-Musik trostreicher Lieder
(Nuremberg, 1644) ; Der sieben Tugenden
Planeten-Tone oder Stimmen, ein Aufzug
(ib., 1645) ; Unterscbiedlicher Poeten mu-
sikalische Friedensgesiluge (ib., 1651). Ho
also edited Hassler's Kircbengesiinge, Psal-
men und geistliche Lieder, auf die gemei-
neu Melodeyeu, vermebrt mit 18 Liedern
von Job. Staden, S. G. Staden und zwei
Unbekannten (ib., 1637). — HarsdOrffer,
Frauenzimmergespriicbspiele (Nuremberg,
1644) ; Monatshefte f. Musik-Gescb., xiii.
53 ; Reissmann, AUgem. Gescb. d. Mus.,
ii. 159.
ST.VDLER, Abt MAXIMILLVN, born at
Melk, Nether Austria, Aug. 7, 1748, died
in Vienna, Nov. 8, 1833. Church com-
poser and writer on music, chorister in the
monastery of Lilienfeld, when ten j-eara
old ; studied in the Jesuit College at Vi-
enna, where he was organist. In 1766 he
entered the Benedictine Abbey at Melk,
was ordained jsriest in 1772, and became
professor of theology in 1775 ; was ap-
pointed abbot of Lilienfeld in 1786, and of
Kremsmiinster in 1789. He then lived at
4i0
STADLMAYER
Linz, 1701-9G, then in Vienna, and after
officiating as parish priest at Alt-Lerchen-
feld in 1803-10, and at BOhmisch-Kraut
in 1810-16, returned to Vienna. Mozart
and Haydn were among Lis musical friends,
and, at the request of the former's widow,
he put that composers musical bequest
in order. Works : Music to Collin's tragedy
Polyxena, Vienna, 1811 ; Die Befreiung
von Jerusalem, ib., 1816, Ziirich, 1829 ;
Seladon, cantata (about 1766) ; Funeral
cantata, 1767 ; Das Gewitter, cantata ; Die
Friihlingsfeier, do., Vienna, 1816 ; Missa
solemuis, with full orchestra ; Requiem,
do. ; Psalm cxi., do. ; Gott, hymn with
do. ; Offertories, and graduals, with do. ;
Other masses, Requiems, Te Deuni, etc.,
with organ ; Sonatas and fugues, for piano-
forte and organ ; Concerto for violoncello ;
3 quartets for strings; 6 trios for do., etc.
He jjublished : Vertheidigung der Echtheit
des Mozart'schen Requiems (Vienna, 1826),
and Nachtrag to do. (ib., 1827), — Futis ;
Mendel ; N. Necrol. der D. (1833), 736 ;
Oesterr. Revue (Vienna, 1SG4), iv. 173, 185,
187, 192 ; V. 1.51 ; Pietznigg, Mittlioilungen
aus Wien (Vienna, 1833), 114, 150 ; Schill-
ing ; Wurzbach.
STADLMAYER (Stadlmair, Stadelmey-
er), JOHANN, born at Frcising, Bavaria,
about 15G0, died at Innspruck (?), after 1646.
Church composer, at first in the service of
Archduke Maximilian of Austria, at Gratz,
Styria, then Kapellmeister to Emperor Ru-
dolph n. in Prague, and later to the Arch-
duchess Claudia, Grand Duchess of Tuscany,
at Innspruck. Works : Missre octo vocum
(Prague, 1593) ; do. (Augsburg, 1596) ; do.,
with continuo (ib., 1610) ; Sacrum Beatis-
simse Virginis Marire canticum (Munich,
1603) ; Super Magnificat symphoniaj varise
(Innsbruck, 1614) ; Musica super cantum
gregorianum seu missre sex vocum, with
continuo (Augsburg, 1612) ; Missic concer-
tatffi, 10 et 12 vocum in 2 chori distributiie
(ib., 1616) ; Hymni vespertini cum 5 voc.
et instrumentis (ib., 1617) ; Apparatus mu-
sicus sacrarum cantionem, 6-24 voc. ot
instrumentis (ib., 1619) ; Miserere mei
Deus, 4-8 voc. (ib., 1621) ; Odro sacra3 Jesu
Christo, etc., a quinque vocibus (Innspruck,
1638) ; Salmi a due e tre voci con due vio-
lini o cornetti (ib., 1640) ; Missjc breves a 4
cum una pro defunctis et alia 5 voc. con-
certatfc (ib., 1641, 1660) ; Psalmi vespertini
omnes cum Magnificat, etc. ; Psalmi integri
a quatuor vocibus, etc. (ib., 1641) ; Psalmis
L. Davidis modis musicis compositus, 4-8
vocibus, etc. (ib., 1646).— Fetis ; Mendel;
Riemaun.
STADTFELDT, (CHRISTIAN JOSEPH
FRANZ) ALEX.ANDER, born at Wies-
baden, April 27, 182G, died at Brussels,
Nov. 4, 1853. Pianist, son of a military
band-master ; played in concerts at the age
of nine. Oa receiving a stipend from the
King of Belgium he became a pupil at the
Brussels Conservatoire, won first prizes
for pianoforte and harmony, and studied
counterpoint under Feti.s, winning in 1849
the grand prix for comjjosition. He then
went to Paris, and was preparing to bring
out a grand opera, when ill health com-
pelled his return to Brussels. Works —
Operas : Abu Hassan, about 1850 ; Hamlet,
given at Darmstadt, 1857, and at Weimar,
1882 ; L'illusion ; La Pedrina, not given ;
Le dernier jour de Marino Faliero, lyric
scene ; La vendetta, cantata ; Le souge du
jeune Scij)ion, do. ; La decouverte de
I'AmcJrique, overture ; Concert overture ; 4
symphonies ; 2 concertinos for jjianoforte
and orchestra ; Hymn for chorus and or-
chestra ; Mass with orchestra ; Te Deum,
do. ; Other church music, with organ ;
Quartet for strings ; Trio for pianoforte,
oboe, and bassoon ; Choruses for male
voices. — Fotis ; Mendel.
STAFFA, n barone GIUSEPPE, born at
Naples in December, 1807, died there, May
18, 1877. Amateur dramatic composer,
pupil of Franceso Ruggi and of Giacomo
Tritto. Member of the Naples Academy,
president of its musical section. Works —
Operas : Priarao alia tenda di Achille,
Naples, 1828 ; Francesca da Rimini, ib..
421
STAHLKNECHT
1831 ; Un matrimoDio per ragione, ib.,
1835 ; La battaglia di Navarrino, ib., 1837 ;
La zingara, ib., 1845 ; II merciajuolo am-
bulante, ib., '18-16 ; Alceste, ib., 1851. Mass
for chorus and orchestra. Treatise on har-
mony ; do. on composition. — Futis, Supple-
ment, ii. 539.
STAHLKNECHT, ADOLF, born at War-
saw, June 18, 1813, died in Berlin, June 24,
1887. Violinist, pupil of Luge at Breslau,
and of Miiblenbruck and Saint-Lubin in
Berlin, made extensive concert tours with
his brother Julius, and in 1844 established
trio evenings with him and the pianist
Steifensand, whose place was taken later
by Loschhorn. Works : Casimir, Kunig
von Polen, opera ; 2 masses ; 2 psalms ;
Liturgical songs for the Berlin cathedral
choir ; 7 symphonies ; 36 entr'actes ; Quin-
tets ; 25 quartets ; 5 trios ; Fugues ; Songs.
His brother Julius (born at Posen, March
17, 1817), is a violoncellist, pupil of Drews
and Wranitzky in Berlin, where he is royal
Couzertmeister and solo violoncellist. He
has composed several concert pieces for his
instrument. — Mendel.
STiUNER, Sir JOHN, born in London,
June f), 1840, still
living, 1890. Organ-
ist and composer ;
was a chorister boy
in St. Paul's Cathe-
dral in 1847-56, and
while there stud-
ied harmony under
William Bayley and
counterjjoint under
Charles Steggall;
later was a pupil at
St. Sepulchre's of George Cooper in organ
playing. In 1854 he became oi-ganist and
choir-master of St. Benedict and St. Peter,
Paul's Wharf, and in 1856 organist at St.
Michael's College, Tenbury ; in 1859 he
matriculated at Christ Church, Oxford, and
in 1860 went to Magdalen College, Oxford,
where he succeeded Blyth as organist, and
shortly afterward succeeded Stephen Elvey
as organist to the university. In 1872 he
succeeded Sir John Goss as organist of St.
Paul's Cathedral, London, which position
he resigned in 1888 on account of failing
eyesight ; and in 1889 he was elected pro-
fessor of music at Oxford. He is also a
member of the Royal Academy of Music, a
fellow of the Tonic Sol-fa Association, an
examiner for degrees for several universi-
ties, an ex-principal of the National Train-
ing School, organist of the Albert Hall, and
since 1882 has been government inspector
of music in elementary schools in succession
to Dr. Hullah. B.A., Oxford, 1863 ; Mus.
Doc, ib., 1865 ; M.A., ib., 1866 ; Legion of
Honour, 1880 ; Hon. Mus. Doc, Durham,
1885; Knighted, 1888. Works: Gideon,
oratorio ; The Crucifixion, do., 1887 ; The
Daughter of Jairus, cantata, Worcester Fes-
tival, 1878 ; Saint Mary Magdalen, cantata,
Gloucester Festival, 1883 ; Church Services
in E-flat, A, and D ; Communion Service ;
Magnificat and Nunc dimittis, in A ; An-
thems, and other church music ; Organ mu-
sic. He is author also of popular manuals
on Harmony, Composition, The Organ, and
other didactic works. — Grove ; Brown ; Fe-
tis. Supplement, ii. 540 ; Mendel ; Riemann.
STAINLEIN-SAALEINSTEIN, Le comte
LOUIS CHARLES GEORGES COIU
NEILLE DE, born in Hungary, July 3,
1819, died at Angleur-lez-Liege, Belgium,
Nov. 22, 1867. Amateur violoncellist, ap-
peared with success in concerts in Ger-
many and France, and in 1857 gave cham-
ber music soirees in Paris with Sivori,
Casimir Ney, Van Gelder, and Ernst Lii-
beck, in which he introduced, of his own
compositions, two quartets for strings, a
trio for pianoforte and strings, and a sonata
for violoncello and pianoforte. — Futis, Sup-
plement, ii. 540.
STAMATY, CAmLLE M.VBIE, born in
Rome, March 23, 1811, died in Paris, April
19, 1870. Pianist, pupil of Fessy and
Kalkbrenner in Paris, where he made his
debut in public in 1835, and devoted him-
self to teaching his instrument ; in 1836 he
4sa
STAMITZ
went to Leipsic, intending to remain some
time, allied himself with Mendelssohn and
Schumann, studying composition under the
former ; but homesickness and the entreaties
of his pupils induced him to return to Paris
in January, 1837. He was the master of
Gottschalk and of Saint-SaOns. Works :
Concerto for pianoforte and orchestra ;
Trio for pianoforte, violin, and violoncello ;
iStudes concertantes, 2 books ; 2 sonatas,
fantaisies, variations, etudes, etc., for piano-
forte.— Fetis ; Mendel.
STAmTZ, ANTON, born at Mannheim
in 1753, died probably in Paris, date not
known (1820 ?). Violinist, sou of the fol-
lowing, accompanied his elder brother,
Karl, to Paris in 1770, and seems to have
remained there. Works : Twelve quartets
for strings ; 6 trios for do. ; Violin con-
certo ; G duos for violin and violoncello ; 6
trios for flute and strings ; Nocturnes, or
airs varies for violin and violoncello ; 6
duets for violin and flute ; 3 concertos for
harpsichord ; Concertos for violoncello and
other instruments. — Fetis ; Eiemann ; Ger-
ber ; Schilling.
STAMITZ, JOHANN KARL, born at
Deutsch-Brod, Bohemia, in 1719, died at
Mannheim in 1761. Violinist, entirely self-
taught ; in 17-15 he was appointed Conzert-
meister and director of chamber music at
the court of the Elector at Mannheim.
Coming before Haydn in time, his com-
positions were noteworthy in their day, and
he was the founder of the so-called Mann-
heim school, whose traditions were after-
wards transplanted to Munich. Works :
Six sonatas for harpsichord and violin ; 12
sonatas for violin and bass ; 12 symphonies ;
G viohn concertos ; 6 trios for two violins
and bass ; Exercises imitating violin duets.
In MS. : 21 violin concertos,' 11 symphonies,
9 violin solos, 2 concertos and many sona-
tas for the harpsichord. — Dlabacz ; Wurz-
bach ; Mendel ; Gerber ; Schilling ; Fetis.
STAMITZ, KARL, born in Mannheim,
May 7, 1746, died in Jena in 1801. Viohn-
ist, son and pupil of the preceding, studied
later under Cannabich. He entered the
Mannheim orchestra in 1767 ; went to
Paris in 1770, and was in the service of
the Due de Noailles until 1785. He then
gave concerts in Germany and Austria,
lived some time at Nuremberg, was in the
service of Prince Hohenlohe in 1787, direct-
ed the amateur concerts at Cassel in 1789-
90, was settled in St. Petersburg several
years, and became director of the academic
concerts at Jena in 1800. Jean Paul Rich-
ter has immortalized him and his viola d'a-
more in "Hesperus." W^orks : Der ver-
liebte Vormund, comic opera, Frankfort ;
Dardanus, grand opera, St. Petersburg ; 10
symphonies ; 4 symphonies for two violins ;
Concerto for pianoforte ; 7 concertos for
violin ; Duos, trios, and quartets for strings,
etc. — Mendel ; Eiemann ; Fetis ; Gerber ;
Schilling.
STANFORD, CHARLES VILLIERS,
born in Dublin, Ire-
land, Sept. 30, 1852,
still living, 1890. Dra-
matic composer, son
of John Stanford, ex-
aminer in the court
of chancery, Dublin,
who was an enthusias-
tic amateur ; pupil in
composition of Arthur
O'Leary and Sir Rob-
ert Stewart. He ma-
triculated at Queen's College, Cambridge,
as choral scholar, and in 1873 succeeded
Dr. J. L. Hopkins as organist of Trinity
College ; was graduated in 1874 with clas-
sical honours and became conductor of the
University Musical Society. In 1874-76
he studied at Leipsic under Eeinecke, and
in Berlin under Kiel. He received the de-
gree of M.A. from Cambridge in 1877, and
was elected professor of composition and
orchestral playing at the Royal College of
Music, London ; Hon. Mus. Doc, Oxford,
1883 ; Director of the Philharmonic Society,
1884 ; Conductor of the Bach Choir, 1885.
Works — Operas : The Veiled Prophet of
483
STANKOVIC
Khorassau, text by Squier from " Lalla
Eookli," German version by Kapellmeister
Frank, Hanover, Feb. G, 1881 ; The Can-
terbury Pilgrims, cantata in three acts,
Drury Lane, Loudon, April 28, 1884; Sa-
vonarola, opera in three acts and a pro-
logue, Hamburg, April 18, 1884. The
2'Jtree Holy Children, oratorio, Birmingham
Festival, 1885 ; The Resurrection, cantata,
poem by Klopstock, for tenor solo, chorus,
and orchestra, Cambridge, 1875 ; Psalm
xlvi. for soli, chorus, and orchestra, Cam-
bridge, 1877 ; Overture, Songs, and Entr'-
actes to Tennyson's drama " Queen Mary,"
Manchester, 1880 ; Elegiac Ode, Nor-
wich Festival, 1884; ; Choruses and in-
cidental music to the Eumenides of ^s-
chylus, Cambridge, 1885 ; The Reveiuje
(Tennyson), ballad for chorus and orchestra,
Leeds Festival, 188G ; Symphony for or-
chestra, No. 1, in B-flat, 1879 ; Do., No. 2,
Irish, in F minor, 1887 ; Do., No. 3, in F,
1889 ; Elegiac Symphony for orchestra, in
D minor, Cambridge, 1882, Gloucester Fes-
tival, 1883 ; Festival overture for orchestra,
Gloucester Festival, 1877 ; Serenade for
orchestra, in five movements, Birmingham
Festival, 1882 ; Queen of the Seas, concert
overture, for the tercentenary of the de-
feat of the Armada, Dec. 12, 1888 ; Sonata
for pianoforte and violoncello, op. 9 ; Do.
for pianoforte and violin, op. 11 ; 3 Inter-
mezzi for pianoforte and violin, clarinet, or
violoncello, op. 13 ; Quartet for pianoforte
and strings, in F, 1879 ; Quintet for piano-
forte and strings ; Concerto for violoncello
and orchestra ; Suite in D, for violin and
orchestra, 1889 ; Courante, Sarabande, and
Gavotte for pianoforte, op. 2 ; Toccata for
pianoforte, op. 3 ; Pianoforte sonata, in
D-flat, 1884 ; Morning, Communion, and
Evening Service, in B-flat, op. 10 ; Festival
Evening Service in A, for chonis, orchestra,
and organ, 1880 ; Awake, my heart, choral
hymn, Klopstock, op. 16 ; Songs from
George Eliot's "Spanish Gypsy," op. 1 ; 6
Songs of Heine, No. 1., op. 4 ; Do., No. 2,
op. 7 ; 6 Songs, op. 14 ; Fifty Irish Melo-
dies, arranged and edited, 1883 ; Carmen
sfcculare (Tennyson), for soprano solo and
chorus, for the Queen's JubUee, 1887, and
other works. — Grove ; Eiemann.
STANK0\l6, CORNEL, born at Buda,
Hungai-y, Aug. 21, 1831, died there (or in
Vienna), April 17, 18G5. Vocal composer,
pupil in Vienna, of Willmers on the piano-
forte, and of Sechter in composition ; col-
lected the original melodies of Servian folk
songs, sacred and profane, and also the
ancient Slovenic orthodox ritual songs, in
three books. "Works : Srbske pjesme, 54
national songs, with pianoforte ; Srbske
narodno pjesme, 30 folk songs for chorus,
with pianoforte ; Bugarski Kadril (Bul-
garian quadrille) ; Bulgaren-Polka ; Serben-
Quadrille ; Masses, National dances, etc.
— Slovnik uau6ny (Prague, 1872), viii. 967 ;
Wurzbach.
STANLEY, ALBERT AUGUSTUS, born
at Manville, Rhode Island, May 25, 1851,
still living, 1890. Organist, pupil at the
Leipsic Conservatorium, in 1871-75, of
Weuzel, Papperitz, Paul, and Ernst Fried-
rich Ricliter. On his return to America he
gave organ recitals in various cities, and
settled in Providence, where he is organist
of Grace Church. In 1886 he was presi-
dent of the Music Teachers National As-
sociation. Works : City of Freedom, ode
for soli, chorus, and organ, op. 9 ; Psalm
of Victory, soli, chorus, and organ ; Suite
for violin and pianoforte ; Songs and part-
songs ; Organ music.
STANLEY, JOHN, born in London, Jan.
17, 1713, died there.
May 19, 1786. Organ-
ist, blind from infancj-,
pupil of Reading and
Greene, became organ-
ist of All Hallows in
1724, of St. Andrews,
Holborn, in 1726, of
f'UVllr ' Temple Church in 1734,
- • "- '^ and of the Chapel Roy-
al in 1782. Mus. Bac, Oxford, 1729. He
was esteemed by Haudel, some of whose
481
STAEK
musical bequests be inberited, and after tbe
deatb, in 1774, of Jobn Cbiistopber Smitb,
be associated bimself witb Tbomas Linley
in continuing tbe oratorio performances.
Works — Oratorios : Jej)btbab, 1757 ; Zimri,
1760 ; Ai-cadia, or tbe Sbepberd's Wedding,
17G1 ; Tbe Fall of Egypt, 1774. 12 canta-
tas for voice, barpsicbord, and violin ; 3 do.
and 3 songs for voice and instruments ; G
concertos for 7 instruments ; G do. for 6 in-
struments ; 8 sonatas for flute and continue ;
8 soli for flute. — Grove ; Eiemann.
STARCK, INGEBORG. See Bronsart.
STARK, FRIEDRICH THEOPHIL, born
at Waldeuburg, Silesia, Aug. 20, 1742, died
tbere, May 20, 1807. Organist and cantor
at Waldenburg. Works — Oratorios : Die
Gedankeu uud Empfiudungen beim Kreuze
Jesu auf Golgotba ; Die Pbarisi'ier ; Die
Passion. Collection de IGO fugues et pre-
ludes pour I'orgue (Mainz, 1792). — Fetis ;
Mendel.
STAEK, HIBIPHEEY JOHN, born in
England, May 22, 1854, still living, 1S90.
Organi.st and cboir-master of Holy Trinity
Cburcb, London, 1875. One of tbe founders
of Trinity College, London ; Mus. Bac, Ox-
ford, 1875. Works : Festival setting of
Magnificat and Nunc dimittis ; Evening
Service witb orcbestra ; Antbems ; Organ
music ; Songs.
STAEK, LUD'WIG, born in Municb,
June 19, 1831, died in Stuttgart, Mareb
22, 1884. He studied pbilosoi^by at tbe
university of bis native city, and composi-
tion under Ignaz and Franz Lacbner.
After a sbort residence in Paris in 185G, be
founded tbe Conservatoriura at Stuttgart,
witb Lebert, Laibliu, Bracbmann, Faisst,
and otbers, and for many years was one of
its most prominent teacbers. He also
founded and long directed tbe Gesangve-
rein. He visited Weimar in 1861 and Italy
in 1873 ; received tbe title of royal professor
in 18G8, and a doctor's degree in 1873.
Works : Songs and cboruses ; Pianoforte
and instrumental music ; Grosse Klavier-
scbule (witb Lebert) ; Otber instructive
works and various collections of classical
compositions. — Eiemann ; Mendel.
STARKE, FRIEDRICH, born at Elster-
werda, Prussian Saxony, in 1774, died at
DObling, near Vienna, Dec. 18, 1835.
Horn player, pupil of tbe town musician
Gorner at Grossenbeim, wbere be learned
all tbe string and wind instruments ; stud-
ied tbeory from tbe works of Turk, Kirn-
berger, and Marpurg, and travelled two
years as Kapellmeister of a circus troupe.
He next played at tbe tbeatre in Salzburg,
was for two years pianoforte teacber at
Wels, tben took part iu tbe campaigns in
Switzerland and on tbe Ebiue, as Kapell-
meister of a regiment, and after tbe war
studied composition under Albrecbtsberger
in Vienna. Wben bis regiment was or-
dered to Eussia, be took a temj)orary leave
of absence, obtained a jjosition in tbe opera
orcbestra, retaining it wben, later on, be
resumed bis former duties as military Ka-
pellmeister, and was pensioned in botb
capacities, retiring to Dobling. Works :
Die Sclilacbt bei Leipzig, Tongemillde,
1816 ; Marcbes for military band ; Many
dances for orcbestra ; Variations and jjots-
pourris for various instruments ; Quartet
for pianoforte, flute, violin, and violoncello ;
do. for jjianoforte and strings ; Sonata for
pianoforte, born, and violoncello ; Many
pieces for pianoforte ; 3 masses, witb or-
cbestra ; Oflertory, Tantum ergo, etc., witb
do. Wiener Pianoforte-Scbule (1819-20).
— Fetis ; Scbilling.
STAR-SPANGLED BANNEE, THE, an
American national song. It was written
by Francis Scott Key (1780-1843), on tbe
frigate Surprise, during tbe bombardment
of Fort McHenry by tbe Britisb in 1814.
Key bad gone to release a friend captured
by tbe enemy, but was not permitted to
return to Baltimore. He witnessed tbe en-
gagement all nigbt, and at dawn, wben be
saw tbat tbe " Star-Spangled Banner " was
still floating from tbe ramparts, wrote the
verses, wbicb, on bis arrival in Baltimore, be
bad printed under tbe dii'ection tbat tbey
425
STAR
should be sung to the tune of " Anacreou
in Heaven." The song was first sung in a
tavern near the Holiday Street Theatre,
Baltimore, by Ferdinand Durang. The
tune of "Anacreon in Heaven" was com-
posed by John Stafford Smith between 1770
and 1775, to words by Ralph Tomlinson,
president of the Anacreonic Society, which
hekl its meetings at the Crown and Anchor
Tavern in the Strand, London. This tune
was published by Longman & Broderip
(London) ; and in the fifth book of "Can-
zonets, Catches, Canons, and Glees, si^right-
ly and plaintive," by John Stafford Smith.
Key's song was first printed by Captain
Benjamin Eades (Baltimore). It is con-
tained also in Key's poems, printed with an
introduction by Roger B. Taney (New
York, 1857). — Notes and Queries, Third
Series, vi. 429 ; Fourth Series, xi. 50.
STAR-SPANGLED BANNER, THE,
concert variations for the organ on, by
Dudley Buck, op. 23. Published by Schir-
mer (New York). Concert variations for the
organ, in C, by John Knowles Paine, op. 3b.
STARZER,' JOSEPH, born in Austria in
1727 (?), died in Vienna, April 22, 1787 (?),
or in 1793 (?). Violinist, seems to have
passed the greater part of his life in Vien-
na, but nothing is known of his musical
training, or the position he held ; probably
he was in the orchestra, or Kapellmeister
at one of the theatres. In 1762 he went as
Conzertmeister to St. Petersburg, but re-
turned to Vienna in 17G8 or 1770. He
enjoyed great reputation as a composer of
ballet music. Works — Ballets : Die drei
Piichter ; Die Wildschutzen ; Adelheid von
Ponthieu ; Die Horatier ; Ballo delle cinque
sultane ; II giudizio di Paride ; Diana ed
Endimione ; Roger e Bradamaute ; Li pas-
tori di Tempe ; Parodie de Medee ; Aga-
memnon ; Die Belagerung von Wien ; Le
Cid ; Paride ; Montezuma ; Thesee en
Crete ; Les moissonneurs ; Les muses. La
passione di Jesu Cristo, oratorio ; Sym-
phonies, and soli for various instruments.
— Fetis ; Schilling ; Wurzbach.
STASNY, LUDWIG (Ludek), born in
Prague, Feb. 26, 1823, died at Frankfort-
on-the-Main, Oct. 30, 1883. Instrumental
composer, pupil at the Couservatoriuni in
Prague, was baud-master of an Austrian
regiment in 1846-68, and in 1871 became
Kapellmeister in the Palmeugarten at
Frankfort. He is especially known through
his popular dances, and his orchestral ar-
rangements from Wagner's later operas.
An opera, Die beiden Goldschmiede, was
given at Mainz, 1879. — Riemann.
feTASTNt (Stiasny), JAN, born in Bo-
hemia about 1774, died (?). Violoncel-
list, and one of the most remarkable com-
posers for his instrument, about whose
life nothing is known beyond the not well-
confirmed fact that he was a member of
the orchestra at Frankfort. His composi-
tions were well known and highly esteemed
in France and England. Works : Twelve
duetti concertanti ; Concertino, for quar-
tet ; Trio for violoncello ; Divertissement,
for do. with violin and bass ; Air et varia-
tions avec rondo ; do. avec andante ; 2
sonatas ; 12 petites pieces ; 12 pieces faci-
les.— Dalibor (Prague, 1860), No. 8 ; Wm-z-
bach.
STEFANI, JAN, born in Prague in 1746,
died at Warsaw (?) in 1826, or 1831, or
Feb. 23, 1829 (?). Viohuist, first instructed
in the school of the Benedictines in Prague,
then studied in Italy ; is said to have be-
longed afterwai'ds to the imijerial orches-
tra in Vienna. In 1771 he went to War-
saw to conduct the music of King Stanis-
iaw August of Poland. Works — Operas :
Krakowiald i Gorali, Warsaw, 1794 ;
Wdzi^czni poddani (The grateful subjects),
ib., 1796 ; Drzewo zaczarowane (The en-
chanted Tree), ib., 1797 ; Frozyna, ib.,
1806 ; Rotmistrz (Captain) Gorezki, ib.,
1807 ; Polka (The Polish Maiden), 1807 ;
Stary mysliwy (The old Huntsman), Papi-
rius, ib., 1808. Masses ; Many polonaises
for orchestra. — Dalibor (Prague, 1863), Nos.
33, 34 ; Slovnik nauinj' (ib., 1859), viiL
1002 ; Sowinski ; Wm-zbach.
426
STEFANI
STEFANI, JOZEF, born at Warsaw,
May 10, 1802, died (?). Dramatic and
church composer, son of the preceding,
pupil of Eisner at the Conservatorium in
Warsaw ; as a boy he sang in the chorus of
the ojiera, then played the viola in the or-
chestra, and later on conducted the ballet
music. Works : Lekcye botaniczne (Botany
lesson), comic ojiera ; Piorau, operetta ;
ballets : A^joUo and Midas ; Dyabel rozko-
chany ; Okre^ne ; Wesele w Ojcowie ; Mu-
sic to melodramas ; Cantata ; 13 masses ;
Requiem for male voices ; Te Deum, Bene-
dictus, etc. ; Polonaises for orchestra, and
Polish songs. — Fotis ; Mendel ; SowiAski.
STEFFANI, AGOSTINO, born at Castel
Franco, Venetia, in 1G55, died atFrankfort-
on-the-Maiu in 1730. Nothing is known
of his parentage. He probably entered
one of the Venice conservatories at an early
age, and certainly became a boy chorister
at San Marco, where Count Tattenbach was
so delighted with his voice that he took
him to Munich, where he was educated at
the expense of the Elector Ferdinand Maria,
studying the organ under Johann Kaspar
vonKerl, and soon becoming Hof- andKam-
mermusikus. In 1G73 he went to Rome to
comi^lete his musical education, and there
began to compose industriously-. Next
summer he returned to Munich with Ercole
Bemabei, who succeeded Kerl, although it
is improbable that he had studied under
him while in Rome. Almost immediately
after his return, he published his 8-voice
Psalmodia vespertina, which established his
reputation ; indeed, Padre Martini made
extracts from it for examples in his Saggio
di Contrapijunto. In 1675 he was ap-
pointed court organist, and in 1680 was
ordained a priest, with the title of Abbate
di Lejising. In 1681 he began to compose
for the stage, having before written only
for the church ; about this time, too, he
was made director of the Elector's chamber
music. But high as he was in the Elector's
favour, and large as his ai^pointments were,
he left Munich on Beruabei's death in 1C87,
on finding that Bernabei's son succeeded
his father as Hof-Kapellmeister, thus de-
stroying all hope of further promotion for
himself. He went to Hanover, where he
was cordially received, and soon became
intimate with the Duchess Sophia, Leibnitz,
and Ortensio Mauro, the composer. The
new Opera House was dedicated in 1689,
with Henrico Leone, an opera by both
Mauro and Stefifani. In 1692 Steit'ani was
sent as envoy extraordinary to the Ger-
man Courts to overcome the objections
made to the Emjjeror's raising the younger
branch of the house of Bruuswick-LCme-
burg to the ninth Electorate, and was so
successful that Innocent XI. was prevailed
upon to make him Bishop (in partibus) of
Spiga, in Anatolia. In 1698 ho was sent
as ambassador to Brussels. The Elector
Ernst August dying the same year, Stefl'ani
entered the service of the Elector Palatine
at Diisseldorf, where he became privy coun-
cillor and papal protonotarius for North
Germany. Henceforth his time was de-
voted to diplomacy far more than to music.
In 1729 he went once more to Italj', where
he became intimate with Cardinal Ottoboni.
Stefl'ani was one of Handel's greatest fore-
runners in opera, and was one of the finest
contraj)untists of all time. It was undoubt-
edly only the superior genius of Handel
and Bach that could have overshadowed a
reputation so brilliant as his was during his
lifetime. Works — I. Operas : Marco Aure-
lio, Munich, 1681 ; II Solone, ib., 1685 ;
Audacia e rispetto, prerogativo d' amore,
disputate in Campo di Marte, ib., 1685 ;
Servio Tullio, ib., January, 1686 ; Alaricu il
Baltha, cioe 1' audace, re dei Gothi, ib.,
Jan. 18, 1687 ; Niobe, regiua di Tebe, ib.,
1688 ; Enrico detto il Leone, Hanover,
1689 ; La lotta di Alcide con Achelos, ib.,
1689 ; La superbia d' Alessandro, ib., 1691 ;
Orlando generoso, ib., 1691 ; Le rivali con-
cordi, ib., 1692 ; La libertd contenta, ib.,
1693 ; I trionfi del fato, o le glorie d' Enea,
ib., 1695, and in German, as Das miichtigo
Geschick bei Lavinia uud Dido, Hamburg,
427
STEFFENS
1699 ; Baccanali, Hanover, 1695 ; Briseide,
ib., 1696 ; Alcibiade (in GermaD), Ham-
burg, 1696 ; Atalauta (do.), ib., 1698 ; Ai-mi-
nio, Diisseldorf, 1707 ; Tassilone, ib., 1709 ;
Enea, ossia amor vien dal destiuo, Hauover,
1709. The following are doubtful : II zelo
di Leonato, Hanover, 1691 ; Der siegende
Alcides, Hamburg, 1696.
II. Other works : Laudate pueri, 9 voc.
in 2 choruses (autograph MS. in the Fitz-
william Museum, Cambridge, dated Novem-
ber, 1673) ; Laudate Dominum, a 8 canti
coucertati in 2 cori (do., Dec. 30, 1673) ;
Tribuamua Domino, 8 voc. in 2 choruses
(do., 1673); Sperate in Deo, 5 voc. (do.,
1674) ; Beatus vir, 3 voc, with 2 violins and
bass (do., no date) ; Psalmodia vesisertina
volaus 8 plenis vocibus couciuenda, etc.
(Munich, 1674) ; Sacer Janus Quadrifrons
3 vocibus vel duabus qualibet pra;termissa
modulaudus (ib., 1685) ; Sonate da camera
a 2 violini, alto e continue (ib., 1679) ;
Duetti da camera a soprano e contralto con
il basso continue (very famous indeed) (ib.,
1683) ; Quanto certezza habbia da suoi
principii la musica, etc. (Amsterdam, 1695) ;
German translations of do. by Andreas
Royal Academy of Music, where he became
professor of harmony and organ in 1851.
He was organist successively of Christ
Chapel (1847), Christ Church (1855), and
Lincoln's Inn (1865). Mus. Bac. and Mus.
Doc, Cambridge, 1851. "Woi-ks : Rejoice
in the Lord, sacred cantata ; Church Ser-
vices ; Anthems ; Hymns, carols, etc.
STEGJIAXN, K.\RL DAVID, born at
Dresden in 1751, died at Bonn, May 27,
1826. Dramatic comjsoser, pupil of the
organist Zillich, and in composition of Ho-
milius. He was an excellent pianist, but
went on the stage as a tenor singer, ai^pear-
ing first at Breslau in 1772, and was en-
gaged at Hamburg in 1778-1811, then left
the stage and settled at Bonn. Works —
Operas : Der Kaufmann von Smyrna, Kij-
nigsberg, 1773 ; Das redende Gemiilde, ib.,
1774 ; Die Rekruten auf dem Lande, Mit-
tau, 1775 ; Apollo unter den Hirten, Ham-
burg, about 1779 ; Clarisse, ib., 1781 ; Mac-
beth, ib., 1784 ; Erwin und Elmire, ib.,
about 1785 ; Philemon und Baucis, Gotha,
1777 ; Die herrschaftliche Kiiche, Dautzig,
1775 ; Heinrich der LiJwe, Fraukfort-on-
the-Main, 1792. Many overtures, and inci-
^-^?c fut^^(9
Werckmeister (Quedlinburg, 1699), and
Jean Laurent Albrecht (Miihlhausen, 1760).
—Grove, iii. 693 ; Hawkins, iv. 287, 291 ;
Bumey, iii. 534.
STEFFENS, JULIUS, born at Stargard,
Pomerania, July 12, 1831, died at Wies-
baden, IMai-ch 4, 1882. Virtuoso on the
violoncello, pupil of Moritz Ganz in Berlin,
and of Karl Schuberth in St. Petersbm-g,
where he was for many years a member of
the imperial orchestra. He travelled exten-
sively with Jaell and Vieuxtemps. Works :
Two concertos for violoncello and orches-
tra ; Soli, etc., for violoncello. — Riemann.
STEGGALL, CHARLES, born in Lon-
don, June 3, 1826, still living, 1890. Or-
ganist, pupil of Sterndale Bennett at the
dental music to dramas ; Ballets ; 3 char-
acteristic overtures for orchestra ; 12
symphonies for do. ; 2 symphonies concer-
tantes ; Symphonie concertante for 2 pi-
anofortes, violin, and orchestra ; Te Deum
with orchestra ; 2 concertos for pianoforte ;
Concerto for violin ; do. for clarinet ; do.
for trumpet ; Quartet for strings ; Trio for
do. ; 6 trios for pianoforte and strings ;
Pianoforte music ; Choruses and songs.
— Fctis ; Mendel ; Schilling.
STEGMAYER (Stegmayr, Stegmeyer),
FERDINAND, born in Vienna, Aug. 25,
1803, died there. May 6, 1863. Pianist
and violinist, pupil of Triebeusee, Riotte,
and Seyfried ; became correpetitor at the
theatre in Linz in 1819, then at the Kiirnth-
STEIBELT
nerthor Theater in Vienna, and in 1825
music director at the KOuigstildter Theater
in Berlin. In 1829-30 he was Kapellmeis-
ter of Eockel's German opera troupe in
Paris, then at the theatre in Leii^sic in 1831
-32, in Bremen in 1839^0, in Prague in
1843-46, and returned to Vienna, where he
taught music for two years, then conducted
the opera in the Josephstiidter Theater,
and soon after was elected Chormeister of
the Miinnergesang-Verein. In 1853-57 he
was instructor of dramatic and choral sing-
ing at the Conservatorium, and in 1858
founded the Singakademie, with Dr. Au-
gust Schmidt. He was then for a year Ka-
jiellmeister at the opera house, and finally
at the Carltheater. Works : Festival over-
ture ; Mass, and other church music ; Sev-
eral cantatas ; Quartets for string and wind
instruments ; Duos for 2 homs and guitars ;
12 German dances ; Ruf zur Freude, collec-
tion of waltzes ; Choruses and songs.— Fe-
tis ; Wurzbach.
STEIBELT, DANIEL, born in BerHn in
17G5, died in St. Pe-
tersburg, Sejit. 20,
1823. Pianist, pupil
of Kiruberger. Hia
career as a composer
and virtuoso began
in 1789, when he
gave concerts in Sas-
ony and Hanover.
Thence he went to
Mannheim, and in
the beginning of
1790 arrived in Paris, where for a time he
shared with Hermann pojwilar favour.
They competed in a sonata for pianoforte.
La Coquette, composed for Marie Antoin-
ette, each contributing a movement, but
Steibelt's style carried off the palm, and he
was soon installed as the reigning virtuoso.
He next tried the stage in 1793, and be-
came a popular teacher, having as pupils
some of the most eminent women of the
time, INIlle de Beauharuais, afterwards
Queen of Holland, and others. He injm-ed
his reputation by a dishonest transaction
with the publisher Boyer, who had pro-
cured him much powerful patronage and
had otherwise befriended him. He was
glad to leave Paris for London, where he
made his first api^earance at Saloman's
Benefit Concert in 1797 ; in that year he
wrote also his celebrated pianoforte con-
certo in E, L'orage, which became as gen-
erally popular as a drawing-room piece as
the famous Battle of Prague. His nest
work was an English opera. He visited
Germany in 1799, going to Hamburg and
Dresden, where he was enthusiastically re-
ceived, and to Prague, Berlin, and Vienna ;
in this last place he was rash enough to chal-
lenge Beethoven, his reputation as a rival of
Beethoven's having preceded him. Beet-
hoven's victory was of so decided a nature
that Steibelt refused to meet him again, and
soon returned to the more congenial atmos-
phere of Paris. He took with him the score
of Haydn's Creation, then unknown in Paris,
and it was performed with Steibelt presid-
ing at the i>ianoforte, at the Opera on
Christmas Eve, 1800, and was overwhelm-
ingly successful ; but the old scandals be-
ing revived, he soon after left Paris again
for London, where he became exceedingly
I^opular as a pianist and as a teacher in
fashionable circles. In 1805 he returned to
Paris, but pressed hard by his old creditors,
he suddenly started for St. Petersburg in
October, 1808, stopjsing to give concerts at
Frankfort, Leipsic, Breslau, and Warsaw.
He was appointed in 1810, director of the
French opera in St. Petersburg to succeed
Boieldieu, and maitre de chapeUe to the
emperor. Works — Oj^eras : Komco et Ju-
liette, Paris, 1793 ; Albert and Adelaide,
Loudon, 1798 ; La princesse de Babylone,
given in St. Petersburg ; Cendrillon, ib. ;
Sargines, ib.; Le jugement de Midas (un-
finished). Ballets : Le retour de Zephii-e,
Paris, 1802 ; Le jugement du berger Paris,
London, 1804 ; La belle laitiere, ou Blanche,
reine de Castille, ib., 1805 ; La fete de I'em-
pereur, St. Petersburg, 1809 ; Der blode
429
STEINBACn
Bitter, ib., before 1812 ; La fete de Mars,
intermezzo, Paris, 1806. Ouverture en
sympbonie, for orchestra; ^Yaltzes for do.;
Concerto for barj) and do. ; Pot-j)ourri ; 8
concertos for pianoforte and orchestra ;
Quintets, quartets, trios, for pianoforte and
strings ; Many sonatas for do. ; Sonatas,
fantasias, rondos, variations, etc., for piano-
forte.— Fetis ; Grove ; Mendel ; Riemann ;
Schilling.
STEESTBACH, EJHL, bom at Lengen-
riedeu, Baden, Nov. 14, 1849, still living,
1890. Instrumental comjioser, pupil of the
Leipsic Consei-vatorium in 18G7-69, and
conductor of the city orchestra in jMainz,
since 1877 ; has composed orchestra and
chamber music, and songs. His brother
and pupil Fritz (born at Griinsfcld, Baden,
June 17, 1855), pupil also at the Leipsic
Consei'vatoriura, was second Kapellmeister
at ]\Iainz in 1880-8G, and since then Hof-
Kapellmeister at Meiningen. He has com-
posed a sextet, sonata for violoncello, and
songs. — Riemann.
STEINERNE HERZ, DAS (The Stony
Heart), German romantic opera in four
acts, text b^' J. V. Widmann, from a story
by Hauflf, music by Ignaz Briill, first rep-
resented at the Deutsches Landestheater,
Prague, Dec. 19, 1888.
STEINFELD, ALBERT JACOB, born in
Hamburg, June 4, 1741, died there in 1824.
Pianist, became organist at Ai'changel in
17G5, lived afterwards one year in St. Peters-
burg and, having returned to his native
city, became organist in 1776 at Bergedorf.
Works : Six quartets for 2 clarinets, and 2
horns ; Duos for flutes ; 6 soli for flute ;
Sonatas for pianoforte ; Sonatinas, rondos,
etc., for do. ; Odes for voice and pianoforte.
— Fetis ; Mendel.
STEINKUHLER, EIHL, born atDiissel-
dorf. May 12, 1824, died at Ghent, Nov.
22, 1872. Pianist and violinist, first in-
structed by his father, appeared in public
at the age of ten, and made a concert tour
through the Rhine countries. On his re-
turn he was much influenced bv Mendels-
V
sohn's arrival at Diisseldorf, and in 1841
went to Frankfort and studied five years
under Aloys Schmitt. After a visit to Paris,
I he settled at Lille, whence he removed to
Ghent in 1870. Works : Die Alpenhiitte,
opera ; Cesario, do., Diisseldorf, 1848 ; 3
symjshonies ; Concert overtures ; Trio for
pianoforte and strings ; Pieces for piano-
forte and violoncello ; Choruses for male
voices ; Songs. — Fetis ; Mendel.
STEPHENS, CHARLES EDWARD,
born in London,
March 18, 1821, still
living, 1890. Pian-
ist, pupil of Cipriani
Potter on the piano-
forte, of I. A. Hamil-
ton in h a r m o n y,
counterpoint, a n d
composition, and of
Henry Blagrove on
the violin. He was
organist successively
of St. Mark's, Myddleton Square, 1843 ;
Trinity Church, Paddington, 1846 ; St.
John's, Hampstead, 1856 ; St. Mark's, St.
John's Wood, 1862-63 ; St. Clement Dane's,
1864-69 ; St. Saviour's, Paddington, 1872-
75 ; Associate of the Philharmonic Society,
1850, member, 1857 ; has been repeatedly
chosen director. Fellow of the College of
organists, 1865 ; Hon. member of Royal
Academy of Music, 1870 ; licentiate, honoris
causa, Trinity College, London, 1877. He
won the prize of Henry Lester's choir for
his part-song. Come, fill ye right merrily
(1858), and first and second prizes. Trinity
College, for the best string quartet (1879).
Works : Trio for pianoforte and strings ;
quartet for do. ; Symphony ; Several con-
cert overtures, among which No. 4, a Dream
of Happiness, Crystal Palace, 1875. Many
works for pianoforte and organ ; Vocal mu-
sic, comprising anthems and services, songs,
ballads, part-songs, etc. — Grove ; Fetis,
Supplement, ii. 545.
STERKEL, Abt JOHANN FRANZ
X^VVER, born in Wurzburg, Dec. 3, 1750,
480
STERN
died in Mainz, Oct. 12, 1817. lustnimental
aud vocal comiioser, pupil of Kette aud
Weissmandel, organists at Wurzburg ; at-
tended the university in his native town ;
became vicar aud organist at Neumiinster ;
and iu 1778 was appointed chaplain and
organist to the Elector of Mainz, with
whom he travelled through Italy. Eeturn-
ing to Germany, he was advanced to a cau-
onry, and iu 1793 became Kapellmeister to
the Elector. He received a similar apjJoint-
ment in 1807 at Eatisbou, where he founded
a singing-school. The young Beethoven
went to hear him jjlay, and he complimented
the youth on some variations recently pub-
lished. Works : Ten symphonies ; Quintet
for strings ; 6 trios for do.; 6 duos for do.;
2 overtures ; Sonatas for violin aud piano-
forte ; C concertos for pianoforte ; Rondos
and fantasias for do. ; 10 collections of Lie-
der ; 3 do. of Italian canzonets ; 2 do. of
Italian duets and arias ; An opera, Farnace ;
4 masses. — Fetis ; Schilling ; Gerber.
STERN, GEORG FRIEDRICH THEO-
PHIL, born in Strasburg, July 24, 1803,
died there, December, 188G. Organist,
pupil of Schmutz and Conrad Berg, became
organist at St. Peter's when only sixteen,
then lived for a few years at Carlsruhe,
teaching music, and iu 1830 returned to
Strasburg, where he resumed his former
position, and iu 1841 became organist at
the New Temple (Protestant). Works :
Sacred cantatas for soli aud chorus ; 7 col-
lections of organ music ; Pianoforte pieces ;
Songs. — Fetis ; Mendel.
STERNBERG, CONSTANTIN IVANO-
VITCH, Edler VON, born iu St. Peters-
burg, Russia, July 9, 1852, still living,
1890. Instrumental and vocal composer,
pupil at the Leipsic Conservatorium, in
18(55-07, of Moscheles on the pianoforte,
of Richter iu theory, and of Hauptmaun in
composition, and at the Akademie der Ton-
kunst, Berlin, in 1873-75, of Kullak on the
pianoforte. Between these periods he con-
ducted light oj)era aud later grand opera at
several German theatres (Leipsic, Wiirz-
; burg, Kissingen, and Dresden), and lastly
served as conductor at the Court Opera,
Mecklenburg. In
1875-78 he organ-
ized for the Grand-
Duke of Mecklenburg
an academy for music
study, and was pian-
ist to his court ; in
1878-80 he travelled
with Mme Desiree
Artot through nearly
all Europe and much / ' ^
of Asia, aud iu 1880 went to America. Af-
ter concert tours with "Wilhelmj, and after-
wards with Minnie Hauk, throughout the
United States, he settled iu 18SG iu Atlanta,
Georgia, as director of the College of Mu-
sic connected with the Atlanta Female In-
stitute, where he still resides. Mi-, von Stern-
berg has been brought into close connection
in the past with Liszt, Rubinstein, the
brothers Schwarweuka, Moszkowski, and
other prominent musicians ; has had sym-
phonies, pianoforte and other compositions
dedicated to him, aud has received several
foreign decorations. Works : More than
150 pieces for pianoforte, published iu Ger-
many by Bote & Bock and J. Hanauer, and
in the United States by Schirmer, Schu-
berth, Prochazka, aud Ditson ; Violin and
violoncello music ; Organ music ; Songs,
part-songs, etc.
STEUERLEIN, J OH ANN, born at
Schmalkalden, Hesse, July 5, 1546, died at
Meiuingen, May 5, 1G13. Amateur com-
poser and imperial poet-laureate ; at first
secretary at W'asungeu, in 1580 secre-
tary of the chancery at Meiuingen, and
in 1604 m.ayor of that city. Works : Can-
tiones lateiuisch und deutsch, etc. (Nurem-
berg, 1571) ; Christlicher Morgen- und
Abendsegen, etc. (ib., 1573) ; xxiv. W^elt-
liehe Gesaeng, etc. (Erfurt, 1574) ; Teutsche
Passion (ib., 1576) ; Cantiones quatuor et
quinque vocum (Nuremberg, 1578) ; Epi-
thalamia (ib., 1587) ; xxvii. uewe geistliche
Gesaeng (Erfurt, 1588) ; Der 150. Psalm :
431
STEVENIEES
Laudate Dominum, etc. (ib., 1588) ; Der
117. Psalm (ib., 1599); Cbristlicbe Gesiing-
lein an S. Gregory, etc. (Jena, 1G04), Das
teutscbe Benedicite und Gratias, etc. — Fe-
tis ; Mendel.
STEUEKMANN, LASS' DIE WACHT.
See Fliegende Hollander.
STEVENIEES, JACQUES, boruatLuge
in 1817, still Hviug, 1890. Violinist, pupil
of Wery and of Meerts at tbe Conserva-
toire of Brussels, wbere be obtained the
first jjrize in 1838. Having travelled
tbrougb Holland in 1842, be played in tbe
principal cities of Germany, tbeu visited
Denmark, Sweden, and Eussia. In 1845
be was in Paris and London, and in 1847
travelled tbrougb tbe Ebine provinces. In
1848 be returned to Brussels, and in 1854
was ai^pointed professor of classical piano-
forte music at tbe Conservatoire. Works :
Les satires de Boileau, comic opera, Brus-
sels, about 1850 ; Le marecbal ferrant, do.,
ib., 18G2 ; Otber comic operas ; La sirone,
concertino for violin and orchestra or piano-
forte ; L:i priorc, sacred melody for violin
and quartet ; Fantaisies and morceaux de
salon, for violin and jiianoforte, etc. — Fetis.
STE\^NS, EICHARD JOHN SAMUEL,
born in London in 1757, died tbere, Sept.
23, 1837. English glee composer ; edu-
cated in St. Paul's Cathedral choir under
Eichard Savage ; obtained jDrizcs from tbe
Catch Club for bis glees : " See what hor-
rid tcmi^ests rise" (1782), and "It was a
lover and bis lass " (1786). Appointed or-
ganist of the Temple Church and of the
Charter House in 178G ; professor of Mu-
sic at Gresham College in 1801. He edited
Sacred Music for one, two, three, and four
voices, from the works of the most es-
teemed composers, Italian and Euglish (3
vols.). Works : Three sets of glees, and
some songs. Nine of his glees and catches
are included in Warren's collections. He
set several of Shakespeare's songs, "Ye
spotted snakes," "Blow, blow thou winter
wind," "Sigh no more, ladies." — Grove;
Harmonicon (1833), 186.
STEVENSON, Sir JOHN ANDREW,
bom in Dublin about 1762, died at Meath,
Sept. 14, 1833.
Organist and bass
singer, pupil of Dr.
Muii^by ; chorister
of St. Patrick's and
Christ Church
Cathedrals, Dublin,
1773-79. Subse-
quently vicar choral
of both. Member
of Trinity College,
Dublin. Mus. Doc, Dublin, 1791. Knight-
ed, 1803. Works : New music to O'Keefe's
farces, Tbe Sou-in-Law, and Tbe Agreeable
Surprise. Operas : The Contract, 1783 ;
Love in a Blaze, 1800 ; Tbe Patriot ; Tbe
Burning of Moscow. Thanksgiving, ora-
torio ; Morning and Evening Services and
Anthems, 2 vols. (1825). He is best known
by bis collection of Irish Melodies with words
written by Moore and by his prize glees :
Alone on tbe sea-beaten rock (1797), Borne
on you blaze (1812). — Grove ; Fetis ; Men-
del.
STEWAET, Sir EOBEET PEESCOTT,
born in Dublin, Dec. 16, 1825, still living,
1890. Organist, educated as a chorister of
Christ Church Cathedral, Dublin, appointed
organist there at the age of eighteen, organ-
ist of Trinity College, Dublin, in 1844, and
conductor of the University of Dublin Choral
Society in 1846. Mus. Doc, 1851. Vicar-
choral of St. Patrick's Cathedral in 1852.
Ho rej)resented Ireland at the Peace Ju-
bilee, Boston, in 1872, and was knighted
by Earl Spencer on bis return. In 1873
he Avas appointed conductor of tbe Dublin
Philharmonic Society. He took six prizes
for his glees and part-songs, among which
are : The Dream (1871) ; The Nightingale
(1848) ; Earth, fling off thy wintry wildness
(1855). His more important woi-ks in-
clude : Ode for the ojsening of the Cork
Exhibition, 1852 ; Ode on Shakespeare,
Birmingham Festival, 1870 ; 2 cantatas ; A
Winter's Night Wake, The Eve of St. John ;
483
STICH
Service in G ; Anthems ; Church Hymnal.
— Grove.
STIA.SNY. See kastny.
STICH, JAN VACLAV (Johann Wenzel)
(Italian, Giovanni Punto), born at Zchuzicz,
near Czaslau, Bohemia, in 1748, died in
Prague, Feb. 16, 1803. Virtuoso on the horn,
j)upil of Josef Matiegka in Prague, of Ssin-
del'arz iu Munich, and of Hampel and Han-
dek iu Dresden ; on his return to Prague, he
remained there for three years with his pa-
tron. Count Thun, theumadea series of con-
cert tours thi'ough Germany, Hungary, Italy,
where he italianized his name, under which
he rapidly won the reputation of the foremost
virtuoso on his instrument, continuing his
travels through Sjiain, England, the Nether-
lands, and France. In 1781 he entered the
service of the Prince Bishop of Wiirzburg,
and in 1782 went to Paris as chamber mu-
sician to the Comte d'Artois (afterwards
Charles X.). During the Reign of Terror he
was chef d'orchestre of a small vaudeville
theatre, and in 1799 returned to Germany ;
in Vienna he enchanted Beethoven, who
wrote a sonata for him, and played it with
him at a concert, April 11, 1800. In the
following year he visited Prague after an
absence of thirty-three years, and in 1802
allied himself with Dussek, who had just
gone to Prague, and with whom he planned
to return to Paris, when he was overtaken
by a fatal malady. He was one of the
greatest artists on his instrument, and also
a good violinist. Works : Fourteen con-
certos for horn, and orchestra ; Hymne u
la liberte, with orchestra ; Sextet for horn,
clarinet, bassoon, and strings ; Quintet for
horn, flute, and strings ; 24 quartets for
horn and strings ; 20 trios for horn ; many
duos for do. ; Trios and duos for string in-
struments ; Etudes for horn ; Method for
horn (Paris, 1798).— Fetis ; Mendel ; Rie-
mann ; Schilling ; Wurzbach.
STIEHL, HEINRICH (FRANZ DA-
NIEL), born at Liibeck, Aug. 5, 1829, died
at Revel, May 1, 1886. Organist, pupil of
Lobe, and in Leipsic of Moscheles, Gade,
and Hauptmann. Became organist of St.
Peter's and director of the Singakademie in
St. Petersburg in 1853, lived in Vienna in
1867, visited London iu 1872-73, and was in
Belfast in 1874-77, as conductor at the Phil-
harmonic Society ; he founded there the
Cecilia Society ; returned to London, and
iu 1880 went to Revel, Russia, as organist,
and conductor of a musical society. Works :
Jery und Biltely, operetta ; Der Schatz-
griiber, do. ; Ouverture triomphale ; The
Vision, for orchestra ; 3 trios for pianoforte
and strings ; Quartet for strings ; Sonata
for pianoforte and violoncello ; Schueewitt-
chen, a pantomimic intermezzo ; Nocturnes,
Valse caiorice, Lieder ohne Worte, and
more than 160 other pieces for pianoforte.
— Grove ; Riemann ; Fctis, Supplement,
ii. 546.
STILLE AMARE, contralto arioso of
Tolomeo, in B-flat minor, with accompani-
ment of strings complete, in Handel's Tolo-
meo, Act HI., Scene 4. Published also
separately, with the accompaniment trans-
cribed by Robert Franz (Leipsic, Kistner).
STIRLING, ELIZABETH (Mrs. Freder-
ick Albert Bridge), born at Greenwich,
England, Feb. 26, 1819, still Hviug, 1890.
Organist, pupil of W. B. Wilson and Ed-
ward Holmes, and in harmony of J. A.
Hamilton and Sir G. A. Macfarreu. Organ-
ist of All Saints, Poplar, 1839-58, then at
St. Andrew's, Undershaft, 1858-80. She
was married to F. A. Bridge, conductor
and lecturer. May 16, 1803. Works : Pedal
fugues and slow movements for organ ; Ar-
rangements from Handel, Bach, and Mo-
zart ; About 50 songs and part-songs. In
1856 she submitted an exercise. Psalm
cxxx., for five voices and orchestra, for the
degree of Mus. Bac, Oxford ; but although
accepted, it was not performed, owing to
the want of power to grant a degree to a
woman. — Grove.
STOBAUS, johann, born at Graudenz,
July 6, 1580, died at KOnigsberg, Sept. 11,
1646. Church composer, pupil of Johann
Eccard at Kouigsberg, where he frequented
433
STOLTZER
iv^ university, and in 1601 entered the elec-
I r's chapel as bass singer ; in 1602 he be-
came cantor of the
cathedral, and in
1627 electoral
Kapellmeister.
Works : Cantiones
sacrse (Frankfort,
1624) ; Motets for
5 voices (Dantzic,
1634) ; Preussische
Festlieder, for 5-8
^j^icea (with Eccard, 1642, 1644) ; Many
-j^ngs for special occasions. — Mendel ; Rie-
^ann.
STOLTZER, THO]tL\S, born at Schweid-
_itz, Silesia, about 1490, died at Buda,
^ungai-y, Aug. 29, 1526. Contrapuntist,
•Lpcame Kapellmeister to King Louis of
Hungary ; was one of the most distin-
uished German musicians of the 16th cen-
ijiry. His works are scattered in the fol-
1 jwing collections of the time : Graphiius's
xlovum et iusigne opus (Nuremberg, 1537) :
p'etrejus'sPsalmorum selectorum (ib., 1538-
g9) ; Rhau's Symphonie jucundse (Witten-
vierg, 1538), Yesperai-uiu precum officia (ib.,
^540), Sacrorum hymnorum (ib., 1542),
jJicinia gallica, etc. (ib., 1543) ; and Ott's
jlundert und fiinfzehen guter newer Lied-
lein (Nuremberg, 1544). — Fetis ; Mendel.
STOLZENBERG, CHRISTOPH, born at
■yVertheim, Sasonj-, Feb. 21, 1690, died at
jlatisbou about 1760. Church composer,
jupil of Cantor Deinl at Nuremberg, be-
jame cantor at Salzbach in 1711, and at
jlatisbon in 1714. Works : Three complete
J
/ear books of church music ; 15 festival can-
iataa ; Several hundred detached sacred
compositions, Gei-man and Latin ; Con-
certos for vai'ious instruments. — Gerber ;
(Schilling.
STOLZL (Stoelzel), GOTTFRIED HEDT-
RICH, born at Grimstudtl, Saxony, Jan. 30,
1690, died at Gotha, Nov. 27, 1749. Dra-
matic and chui-ch composer, pupil of Cantor
•Dmlauf at Schneeberg, and of Melchior
Hofmann in Leipsic ; settled at Breslau
i^ik
to teach, and in 1713 went to Italy, where
he made the acquaintance of all the famous
musicians in Venice, Florence, and Rome.
After his return via Innspruck, he spent
some time in Prague, and in 1717 at Bay-
reuth ; entered the service of the Count of
Gera in 1719, but only sis months later
went as Hof-Kapellmeister to Gotha. Works
— Operas : Narcissus, Breslau, 1711 ; Va-
leria, Artemisia, Orion, Naumburg, 1712 ;
Venus und Adonis, Prague, 1714 ; Acis und
Galathea, ib., 1715 ; Das durch die Liebe
besiegte Gliick, ib., 1716 ; Diomedes, Baj-
reuth, 1717 ; Der Musenberg, Gotha, 1723 ;
Rosen und Dornen, jjastoral ; 12 other op-
eras and operettas ; 14 oratorios ; 8 double
year books of cantatas and motets ; Masses ;
16 serenades ; More than 80 pieces of table-
music ; Overtures, symj)honies, concertos
for various instruments, etc. — Futis ; Ger-
ber ; Mendel ; Riemann ; Schilling.
STOR, liARL, born at Stolberg, in the
Hartz, June 29, 1814,
died at Weimar, Jan.
17, 1889. Violinist,
pupil of Taubert at
Halle, and of Gotze
and Lobe at Weimar,
where he became court
musician in 1827, and
in 1857 Hof-Kapell-
meister, which post a
disease of the eyes com-
pelled him to resign. He appeared with
success in concerts at Dresden in 1838, at
Leipsic and Berlin in 1840, at St. Peters-
burg, whither he went with Dreyschock, at
Jena, etc. Works : Die Flucht, opera,
Weimar, 1843 ; Ballets ; Tonbilder zu
Schiller's Lied von der Glocke, for orches-
tra ; Ritterliche Ouvertiire ; Iiu Thiiringer
Lande, concert overture : Stilndchen, Con-
zertstiick for violoncello with orchestra ;
Choruses for male voices ; Songs, etc.
— Mendel ; Schilling.
STORAGE, STEPHEN, born in London,
Jan. 4, 1763, died there, March 25, 1796.
Dramatic composer, pupil of his father,
434
STORCII
Stefano Storace, an eminent Italian contra-
bassist who settled in England. At the
age of ten Stephen played the most diffi-
cult violin music by Tartini and Giaidiui,
and at twelve entered the Conservatorio di
San Onofrio, Naples, where he studied harp-
sichord, violin, and composition. After
visiting the principal cities of Italy and
Vienna, where he produced two operas with
his sister, Anna Seliua Storace, a celebrated
soprano singer, he returned to England in
1787, and devoted himself to composition.
He was almost the first English composer
who introduced into his works the modern
finale, in which the business of the scene is
carried on by concerted music. Works : Gli
sposi malcontenti, Vienna, 1785 ; Gli equi-
voci, ib., 1786 ; The Doctor and the Apothe-
cary, La cameriera astuta, opera buffa, Lon-
don, 1788 ; The Haunted Tower, ib., 1789 ;
No Song, no Supper, ib., 1790 ; The Siege of
Belgrade, The Cave of Trophonius, ib., 1791 ;
The Pirates (the finale of which is consid-
ered his masterpiece). Dido, Queen of Car-
thage, ib., 1792 ; The Prize, musical enter-
tainment. My Grandmother, musical farce,
ib., 1793 ; Lodoiska, musical romance (with
adajitations from Cherubini and Kreutzer),
The Glorious First of June, The Cherokee,
comic opera, ib., 1794 ; The Tliree and the
Deuce, musical drama, ib., 1795 ; Mahmoud,
or the Prince of Persia, ib., 1796 ; Music
to Coleman's Iron Chest, 1796. Quintets
and a sextet for strings and flute ; Sona-
tas for harpsichord ; Songs. — Grove ; Fetis ;
Hogarth, Memoirs of Mus. Drama, ii. 442 ;
Mendel, ix. 466 ; Harmonicon (1828), 1.
STOKCH, ANTON, born in Vienna, Dec.
25, 1843, died there, April 19, 1873. Dra-
matic composer, son and puj^il of the fol-
lowing, became KaiDellmeister at the Joseph-
stildter Theater, and was engaged in the same
capacity at the theatres of Olmiitz, Moravia,
Esseg, Slavonia, and Wiener-Neustadt, then
again in Vienna at the StramiDfer Theater,
and in Gratz, Styria. Works— Operettas,
Liederspiele, and music to popular plays :
Die Juugfer Taut' ; Feine Leute ; Was ein
Weib kann ; Die Musikanten ; Neue freie
Zeit ; Ein Nachtstiindchen ; Der Riiuber
Mohr ; KOnigiu Chignon, and many others.
Potpourris on ojjeratic themes ; Dance mu-
sic ; Choruses for male voices ; Songs.
— W^urzbach.
STOKCH, A. M., born in Vienna, Dec.
22, 1813, died there, Dec. 31, 1887. Vio-
linist and dramatic composer, pupil of
Michael Eckel, and at the Conservatorium
of Georg Hellmesberger and Bohm, also
private pupil of Franz Clement and May-
seder, and in composition of Kessler and
Seyfried. On the death of his master, Clem-
ent, he succeeded him as solo violin and or-
chestra director at the Theater an der Wien,
and after a number of years became Kapell-
meister at the Carl Theater, later at the
Josephstadter Theater. In 1843-51 he was
Chormeister of the Miinnergesang-Verein,
and in 1854-68 director of the Musikverein
at Linz, whence he returned to his former
position at the Josephstiidter Theater in Vi-
enna ; then was again at the Carl Theater,
and later at the Strampfer Theater. In
1864 he was elected Chormeister of the
Austrian Siingerbund. His choruses and
quartets for male voices, and his songs, are
extremely popular. Works : Amaranth,
lyric ojjera ; Die Zaubergaben, comic ojiera.
Operettas : Der Schneider von Kabul, oder
das Festkleid ; Prinz Taugenichts ; Romeo
und Julie ; Die W^erbung ; Van Dyck ; Das
Orakel, ballet ; Harlekiu in der Blumen-
welt, do. ; Auitta, do. ; Music to many
di-amas, character plays, and farces ; 3
masses ; Te Deum ; Oifertories ; Gospels,
and chorals ; Overtures and entr'actes,
marches, and dance music ; More than 1,000
choruses and songs. — Allgem. Wiener Mus.
Zeitg. (1846), Nos. 69 and 70 ; Wurzbach.
STORM, THE, chorus by Haydn, on
Peter Pindar's words, "Hark, the wild up-
roar of the waves," first performed in Lon-
don, March 26, 1791.
STORY OF SATID, THE, cantata for
soli, chorus, and orchestra, text by Joseph
Bennett, music by Alexander Campbell Mae-
STRADELLA
kenzie, first given at Leeds, England, Oct.
13, 1886. The libretto is founded on Edwin
Ai-uold's "Pearls of the Faith." Charac-
ters represented : Sayid, an Arab chief ;
Sawa, a Hindoo prince ; Ilmas, daughter of
Sawa ; a watchman ; and a horseman. Sayid
who, at the head of an Arab baud, is invad-
ing Sawa's land, is defeated, captured, and
sentenced to death. Sawa recognizes Sayid
as his rescuer at a former time, and offers
to grant him any request save that of life.
Saj'id begs that he may visit his father, and
Ilmas, daughter of Sawa, offers herself as
his hostage. During Sayid's absence Siiwa
announces that the gods have demanded
that the hostage must be sacrificed. Ilmas,
arrayed in bridal robes, is led to execution,
but at the last moment Sayid returns. He
presents himself to Suwa and bids Umas
farewell, when Sawa, relenting, bids Sayid
live, and the happiness of the lovers is in-
ferred from the invocation of the chorus,
"Love the Conqueror," which closes the
work. The solos were sung by Mme Albaui,
Umas ; Barton McGuckin, Sayid ; and Mr.
Watkin Mills, Sawa.— Athenaeum (188G), ii.
508 ; Upton, Standard Cantatas, 233.
STRADELLA, ALESSANDRO. The
place anil date of his birth and death are
unknown. The generally accepted story is
that he was born either in Naples or Ven-
ice about 1G45, and that he was murdered
in Genoa about 1G70. The story of his
murder is taken from Bonnet-Bourdelot'a
Histoire de la musique et de sea effets
(Paris, 1715) ; but the account is too im-
probable for credence, and many details in
it have been proved to be false. The date
of Stradella's death is more probably about
1681. No musician has ever been made
the subject of more unwarranted romancing
than he ; and it is curious that none of the
stories told about him are supported by
even the faintest direct or circumstantial
evidence, what evidence there is pointing
almost without exception to their being un-
true. In fact, nothing is known of his life,
except that he was in Genoa shortly before
his death, a cantata of his, " H barcheggio,"
written for the wedding of Carlo Spinola
and Paola Brignole, of that city, bearing
the date July 6, 1681. His name appears
on the lists of no Itahau Conservatorio ; all
that is positively known of him is that he
was generally famous as a composer, and
that he had relations of some sort with the
Contarini family in Venice. Whether Or-
tensia Contarini was his pupil and mistress,
and afterwards his wife, or not, is, however,
verj' doubtful. It is significant of the cloud
that hangs over this indubitably great man's
history, that the composition which has been
most universally associated with his name,
the aria di chiesa, " Pieti, Signore," is al-
most certainly not by him. The author-
ship of this favorite air is a well-kept secret,
but there is considerable evidence to show
that it was written as a practical joke on
the musical public by Fotis, Niedermeyer,
Rossini, or Francesco Rossi. The airs, " O
del mio dolce ardor," and " Se i miei sos-
piri," both attributed to Stradella, are
equally spurious. Works : San Giovanni
Battista, oratorio, 5 voc. with instruments ;
Susanna, do., 1G81 ; Corispero, opera, Ven-
ice, about 1GG5 ; Orazio Code sul ponte,
do., Ferrara, about 1G6G ; Trespolo tutore,
do., Venice, 1667 ; La forza del amore pa-
terno, do., Genoa, 1678 ; H barcheggio,
cantata, Genoa, 1681 ; 6 oratorios, 11
dramas, and 131 other compositions in the
hbrary at Modena ; Canti a voce sola, in
the library of San Marco, Venice ; 1 motet
2 voc, and 8 cantatas 1 and 2 voc. in
Christchurch Library, Oxford ; Medea, can-
tata, in the British Museum ; II Nerone,
do., ib.; 2 MS. cantatas, 2 ariettas, and a
duet, in the Harleian Library ; 8 madrigals,
3 duets, and a sonata for 2 violins and bass
(all in MSS.) in the Add. MSS.— Grove, iii.
721 ; Fetis ; Catelani, Delle opere di A.
Stradella esistenti nell' Archivio Musicale
della R. Biblioteca Palatina di Modena
(Modena, 1866).
STRADELLA, French lyric drama, text
by Deschamps and Pacini, music by Flo-
436
STRAIGHT
tow, first represented at the Theatre du
Palais-Royal, Paris, in February, 1837 ;
then recomposed as a grand opera and pro-
duced at Hamburg, Dec. 25, 1844. The
libretto is founded on the generally re-
ceived, though probably apocryphal, story
of Alessandro Stradella, the musician. Pub-
lished by Bohme (Hamburg, 1845). Other
operas on this subject : in French, by Louis
Niedermeyer, text by Deschamps and Pa-
cini, Paris, March 3, 1837. In Italian : by
Schimon, text by Cempini, Florence, 184G ;
by Viuceuzo Moscuzza, text by Querela,
Naples, July, 1850 ; by Giuseppe Sinico,
Lugo, 18G3 ; and H cantore di Venezia, by
Virginio de' Marchi, Florence, April 3, 1866,
and as Stradella, Nice, March, 1869. — Revue
et Gaz. mus. de Paris (1836-37), 79 ; Neue
Zeitschr., xxii. 201, 209.
STRAIGHT MINE EYE HATH
CAUGHT, soprano aria of L' Allegro, in G
major, with accompaniment of 2 violins and
bass, in Handel's L' Allegro, il Pensieroso,
ed il Moderato, Part I, No. 24.
STRAKOSCH, MORITZ, born at Lem-
berg, Galicia, in 1830, died in Paris, Oct. 9,
1887. Pianist, pupil in Vienna of Simon
Sechter in composition, made concert tours
through Italy, Spain, France, and England,
and in 1845 went to Amei-ica, where he
lived principally in New York until 1860,
teaching, and jslaying in concerts. He is
now remembered chiefly as the instructor
of Adeliua Patti, his sister-in-law, whom he
accompanied for a time on her travels.
Works : Sardanapal, opera, about 18G0
(MS.) ; Giovanna di Najjoli, do., given in
New York ; Many pieces de salon, and other
music for jjianoforte.
STRANIERA, LA (The Stranger), opera
in two acts, text by Romani, music by Bel-
lini, first represented in Milan, Feb. 14,
1829. The libretto is founded on a ro-
mance by the vicomte d'Arlincomi. There
is no overture. Original cast : Leopold de
Valdebourg, Tamburini ; Ai'thur, Reina ;
Adelaide, INIlle Unger ; Isoletta, Mme La-
lande. The opera was first given in Leip-
sic in 1831 ; in Berlin and Vienna in 1832 ;
in Paris in 1833 ; in London, at the King's
Theatre, June 23, 1832. Published by Has-
linger (Vienna, 1832) ; by Breitkopf & Har-
tel (Leipsic, 1833). — Clement et Larousse,
640 ; Harmonicou (1829), 104 ; Allgem. mus.
Zeitg., xxxi. 298 ; xxxv. 165.
STRATONICE, opera-heroique, in one
act, text by Hofl'mann, music by Mohul,
first represented at the Feydeau, Paris,
May 3, 1792 ; at the Academic Royale de
Musique, Paris, March 30, 1821, with reci-
tatives by Daussoigne, nejjhew of the com-
poser. Cast at the Opera, Paris, March 30,
1821 : Stratonice, Mile Grassari ; Suleucus,
M. Nom-rit ; Antiochus, M. Lefeuillade ;
Erasistrate, M. Lais. The opera was given
in Berlin, translation by C. Herklots, with
Mme Schulz, Herr Eunike, Stumer, and
Blume, in August, 1815. Same subject,
Stratonice, Italian o23era by Leonardo da
Vinci, Naples, 1720.
STRATTON, GEORGE -WTLUAM, born
at West Swanzey, New Hampshire, Aug. 1,
1830, still living, 1890. He began to study
music when seven years old, learning the
clarinet and leading a small band, in 1839-
42, as a youthful prodigy. In 1848 he be-
gan to study harmony, the organ, and the
2)ianoforte in Manchester, New Hampshire,
under Rev. W. H. Cudworth ; in 1850-51
studied harmony and composition under
August Ki'eissmann, a pujiil of Mendels-
sohn, and in 1856-57 couuterj^oint, fugue,
and composition under L. P. Homer, of
Boston. From 1850 to 1866 he lived in
Manchester as a teacher, organist, and con-
ductor ; in 1866 he established himself iu
Boston as an importer and wholesale dealer
in musical merchandise ; in 1871 he went
to Europe, and since then has 6j)ent much
time abroad, chiefly in Germany and Italy.
In 1885 he erected in his native town a
building for a free library and ai't gallery,
which he has filled with books, pictures,
and music gathered abroad. Works : The
Buccaneer, grand opera in three acts, 1858 ;
The Fairy Grotto, school operetta, 1859 ;
437
STRAUSS
Lail.a, do., 1860 ; Genevieve, do., 1869 ;
The Fairy Grotto, do. (second setting),
1872 ; Concert overtures, Nos. 1, 2, 3, 4 ;
More than 200 pieces of pianoforte music ;
Songs, part-songs, etc.
STRAUSS, EDUARD, born in Vienna,
Mai-ch 15, 1835, still
living, 189 0. The
/ ^^^ youngest son of Jo-
/^ ^^B hanu Strauss, the
elder, after whose
death he devoted
himself to music ;
learned the hai-p, and
studied composition
under Preyer. He
made his first appear-
ance as a conductor
in 1862, took the place of his brother Jo-
liann in St. Petersburg in 18G5, and in
1870 was appointed conductor of the court
balls in Vienna. He has given concerts
with his orchestra in the leading cities of
Germany, and is still the popular conductor
in the city of which his family has long
been a characteristic musical feature.
Works : About 200 waltzes, dances, and
other popular compositions. — Wurzbach ;
Mendel, Ergiinz., 445 ; Futis, Sujiplument,
ii. 550.
STRAUSS, JOHiCra, the elder, born in
Vienna, March
14, 1804, died
there, Sept. 25,
1849. He was
the son of an
innkeeper, and
earl y showed
musical talent,
but his parents
thought best to
apprentice him
to a book-bind-
er, from whom he ran away. A friend found
him, took him back to his parents, and per-
suaded them to give their consent to his
becoming a musician. Then he studied
the violin under Polyscbansky, and theory
under Seyfried. His violin teacher pro-
cured him opportunities of playing the
viola in quartets in private houses, and
at the age of fifteen he joined Pamer's
orchestra at the dancing hall called the
Sperl. In 1823 he joined Lanner and
the Drahanek brothers, the quartet play-
ing in different public houses, Strauss hav-
ing also to pass around the plate for con-
tributions. He acted as deputy conductor
for Lanner until 1825, when they sep-
ai-ated. Next year he was at the head of
an orchestra of fourteen in the hall of the
Schwan ; then was engaged for a hotel
in the DObling suburb ; and later, at the
garden concerts of the Zwei Tauben, pro-
duced his Opus 1, Tiiuberl-'Walzer. After
conducting concerts at the halls Zur Ket-
tenbriicke in 1828-29, he was engaged
for the Sperl in 1830-36. His reputa-
tion and engagements increased so rapidly
that his orchestra soon numbered about
200, from which he selected a company
capable of executing the most difficult mu-
sic. In 1834 he was made Kapellmeister
of the 1st Vienna BiU'ger-Regiment, and
next year the musical direction of the court
balls and festivals was intrusted to him.
As his fame was fast becoming European,
the idea of making concert tours occurred
to him. He visited Pesth in 1833, Berlin,
Leipsic, and Dresden in 1834, West Ger-
many in 1835, and North Germany, Hol-
land, and Belgium in 1836. Then he made
a contract with 28 of his orchestra for the
year 1837-38 ; played with great success in
Paris, though Musard and Dufresne were
his rivals, with the former of whom he
joined forces for a time ; gave concerts in
France and Belgium, and in the chief cities
of Great Britain, whence he returned to
Vienna in an almost dying condition. His
reappearance at the Sperl excited much en-
thusiasm, and in 1840 he began conduct-
ing at the Imperial Volksgarten. After
short tours in 1841 and 1844, he visited
North Germany in 1845, was remarkably
successful in Berlin, and on returning to
~^
STRAUSS
Vienna was formally appointed conductor
of the court balls. lu 184:6 he travelled iu
Silesia, and next year was in Berlin again
and in Hamburg. The Vienna revolution
of 1848 found expression in the titles of
some of his pieces, but as marching threat-
ened to usurp the place of dancing, he was
more in sympathy with the old regime.
This gave rise to some unjileasant demon-
strations, when in 1849 he gave concerts in
many German cities on his way to Brussels
and England. He appeared in London and
other English cities with gi'eat success, and
returned to Vienna iu July of 1849. Li a
few weeks he was taken sick with the scar-
let fever, and never recovered. He was
small and neat iu personal appearance, with
a singularly shaped head, and he was seen
at his best with a violin in his hand. Often
he was called the Waltz King, and he was
certainly one of the most popular musicians
that ever lived. He raised dance music to
a higher level, and as a conductor cultivated
also classical music. Works : 251 in num-
ber, consisting of 152 waltzes, 24 galops, G
cotillons and contredanses, 13 polkas, 32
quadrilles, 18 marches, and 6 pot-pourris.
The Kettenbriicken, Gabrielen, Taglioni,
STRAUSS, JOHANN, the younger, bom
in Vienna, Oct. 25, 1825, stiU living, 1890.
Son of Johann
Victoria, Ciicilien, Elektrische Funken, and
Douau-Lieder, were among his most famous
waltzes. — Wurzbach ; Mendel ; Schilling ;
Futis ; Scheyrer, Johann Strauss's musika-
lische Wanderung durch das Leben (Vi-
enna, 1851) ; Hanslick, Concertwesen in
Wien, i. 364 ; ii. 13.
the elder ; as the
father wanted
none of his sons
to take up music,
he attended the
gymnasium and
Polytechnic In-
stitute, and then
became a bank
clerk. His moth-
er, meanwhile,
had secretly
allowed him to have a violin teacher, and
had sent him to Drechsler for composition
lessons, so that he wrote a waltz at the age
of twelve. Unable to bear his father's com-
pulsion, he appeared in 1844 as a conductor
at Dommayer's Casino in Hietzing, plaj'-
ing his own and his father's music. On
the death of his father in 1849, he united the
two orchestras, played in Warsaw and the
chief cities of Germany, and engaged from
1855 to conduct the summer concerts at
the Petropaulowski Park in St. Petersburg
for ten years. In 18G2 he married the
singer, Henriette Treffz, and
soon began to give up the com-
jjositiou of dance music for that
of opera. He was made con-
ductor of the court balls in Vi-
enna in 1863, but later resigned
the position. He has visited
Paris, London, Boston, New
York, and the principal cities
of Italy. Soon after the death
of his first wife, he mamed in
1878 another singer, Angelica
Dittrich. Many decorations
and honours have been bestowed upon him.
His waltzes are immensely popular, one
of them. An der schonen, blauen Donau,
being almost a national air with the Vien-
nese, and his operettas rival iu popularity
those of Offenbach and Lecocq. Works —
Ojjerettas : Indigo und die vierzig Eiiuber,
u^
439
STRAUSS
1871 ; Der Karneval in Eom, 1873 ; Die
Fledermaus, 1874 ; Cagliostro, 1875 ; Prinz
Metbusalem, 1877 ; La Tsigane (remodelled
from Die Fledermaus), Paris, 1877 ; Blinde-
kuh, 1878 ; Das Spitzentuch der KOnigin,
1880 ; Der luslige Krieg, 1881 ; Eine Nacbt
in Venedig, 1883 ; Der Zigeuncrbaron, 1885 ;
Simj)licius, 1887. About 400 waltzes, pol-
kas, quadrilles, and otber dances. — Ambros,
Bunte Blatter, ii. 42 ; Illustr. Zeitg. (1878),
No. 1840 ; N. illustr. Zeitg. (1873), i. No. 9 ;
Wurzbacb ; Riemann ; Fotis, Supplement,
ii. 549 ; Hanslick, Die moderne Oper, 333.
STRAUSS, JOSEPH, born in Vienna,
Aug. 25, 1827, died
tbere, July 22, 1870.
Second son of Jobann
Strauss ; owing to
bis fatber's unwil-
lingness to make a
musician of bim, be
became an nrcbitect,
but piirsucd tbe
study of music in
secret, and during
tbe illness of bis
brotber Jobann, in 1853, conducted for bim.
Tben be formed an orcbestra of bis own, and
gave concerts and composed industriously,
tbougb big bealtb bad always been del-
icate and seemed to grow worse from ex-
ertion. In 1870 be went to Warsaw against
tbe advice of bis friends ; tbe abuse of some
Russian officers, enraged by bis refusal to
play for tbeir drunken orgies, caused a
severe illness, and bis wife succeeded in
getting bim to Vienna only to die witbin a
few days. Works : 283 in number, com-
prising waltzes, polkas, and otber exceed-
ingly popular dance music. He made also
about 300 arrangements for orcbestra.
— Wurzbacb ; Mendel, Erganz., 445 ; Fetis,
Supplement, ii. 550.
STRAUSS, JOSEPH, born at BrUnn in
1793, died at Carlsrube, Dec. 1, 18G6. Vio-
linist, pupil of bis fatber, and in Vienna of
Blumentbal, Urbani, and Scbuppanzigb,
and in composition of Josef Teyber, and
Albrecbtsberger. He appeared witb success
in concerts, and in 1810 was engaged as
solo violin at tbe tbeatre in Pestb. In
1813 be went as Kapellmeister toTemes-
var, and in 1814 to Hermannstadt, to
conduct tbe German opera. Called to
bis native city in 1817, be acted tbere for a
short time as Kapellmeister, tben undertook
a concert tour tbrougb Germany, and in 1822
accepted a call to organize German opera at
Strasbiu-g, whence he went as Conzert-
meister to Mannheim, and tbere was soon
after entrusted temporarily witb the func-
tions of Kapellmeister. His briUiant suc-
cess as a conductor of opera led to his im-
mediate appointment as court music di-
rector at Carlsrube, which post be fiUed
more than forty years. In 1840 he con-
ducted the German opera in London, and
on bis return thence, the music festival at
Speyer. He was j)cnsioned in 18G5. Works
I —Operas : Faust's Leben und Thaten, Her-
mannstadt, 1815 ; Die SObne des Waldes,
ib., 1816 ; Armiodan, Carlsrube, 183G ;
Zelide, ib., 1837 ; Berthold der Ziihringer,
ib., 1838 ; Die Schlittenfahrt nach Nowgo-
rod, 1846, ib.; Der Wubrwolf, ib., 1840, and
Vienna (over fifty times). Music to tbe
drama Die Belagerung Wiens ; do. to Auf-
fenberg's Der Lowe von Kurdistan ; Ju-
dith, oratorio ; Das Lob Gottes, cantata ;
Huldigungs-Cantate ; 2 masses ; Te Deum ;
Graduals and offertories ; 2 symphonies ;
Concerto for violin and orcbestra ; Varia-
tions brillantes for do.; Sextet for harp
and wind instruments ; Quartet for strings ;
Potpourris for violin, witb trio ; 12 varia-
[ tions for violin, and duo ; Soli for violin ;
Songs. — Fetis ; Mendel ; Wurzbacb.
STRAUSS, RICHARD, born in Munich,
June 11, 1864, still living, 1890. Instru-
mental composer, pupil of W. Meyer, was
made court music director at Meiuingen in
440
STRAVAGANZE
1885, at Munich in 1886, and went to Wei-
mar in 1889 as second Kapellmeister at the
court theatre. Works : Two symphonies ;
Aus Ilalien, symphonic poem ; Wanderers
Sturmlied, for chorus with orchestra ; Sere-
nade for 13 wind instruments ; Concerto
for violin ; do. for horn ; Quartet for piano-
forte and strings ; Sonata for violoncello.
— Eiemann.
STRAVAGANZE DEL CONTE, LE, Ital-
ian opera by Cimarosa, first represented at
the Teatro Fiorentiui, Naples, in 1772.
STREGHE, LE (Witches' Dance), a set
of variations for the violin, with orchestral
accompaniment, by Paganini. The original
MS. claims the air as original, but it is sup-
posed to have been taken from the ballet,
" II noce di Benevento." The variations
are enormously difficult and present pecu-
liar combinations of harmonics and pizzi-
cato, which, when played by Paganini, al-
ways created extraordinary enthusiasm.
— Fetis, Paganini (English ed.), 86.
STREIT ZWISCHEN MCHAEL UND
DEJI TEUFEL, DER (The Combat between
Michael and the Devil), oratorio, text from
Revelations (xii. 7-12), music for double
chorus, orchestra, and organ, by Johann
Christoph Bach, performed at Leipsic and
Hamburg. The original score is in the
Berlin Library.
STREIT ZWISCHEN PHCEBUS UND
PAN, DER (Contest between Phoebus and
Pan), cantata for six voices, with accompani-
ment of three trombones, drums, two flutes,
two oboes, two violins, viola, and continue,
text by Picander, music by Johann Sebas-
tian Bach, first given at the summer meet-
ing of the Musical Society, Leipsic, in 1731.
The text is founded on the Greek myth
of the contest of Marsyas, the Phrygian
flute-player, with Apollo. Marsyas is here
supplanted by Pan, who tries his skill with
Apollo, and, instead of Marsyas it is Midas
who is flayed alive for preferring Pan's mu-
sic to that of Apollo. The Lydiau Mountain
god, Timolus, is introduced as arbitrator
of the dispute, and also Momus, the god
of mirth, and Mercury. Bach's intention in
this work was to describe the two styles of
music, and to make a contrast between the
opera and the light school of music prevail-
ing at that period, and his own compositions
of solidity, strength, and skill, which had
been severely criticised. He portrays him-
self in the aria in B minor. The character
of Midas is thought to be a satire on Jo-
hann Adolj^h Scheibe, one of Bach's adverse
critics. The cantata was published by the
Bachgesellschaft, Year XI. (1861).— Spitta,
Bach, ii. 473, 740 ; do. (Bell), ii. 642-48 ;
iii. 258 ; Dehu, S. W., J. S. Bach als Pole-
miker (Westermann's Magazine, Oct. 1856) ;
Lindner, E. 0.,ZurTonkunst (Berlin, 1864) ;
Baumgart, Dr. E., Ueber den Streit zwischen
Phcebus uud Pan (Breslau, 1873.)
STRIDE LA VAMPA. See Trovatore.
STRIGGIO, ALESSANDRO, born in
Mantua, Italj-, about 1535, died there after
1584. Organist and lute player, and one of
the first composers of intermezzi ; lived at
first at the court of Cosimo de' Medici, in
Florence, and afterwards became maestro di
cappella at the court of JNIantua. Works —
Intermezzi : L' amico fido, 1565 ; Psyche ;
Festival music for the Florentine court,
1569 ; do. (with Strozzi, Caccini, and Me-
rulo), 1579 ; 3 books of madrigals for 6
voices (Venice, 1566-68) ; Book of madri-
gals for 5 voices (ib., 1560) ; II cicalamento
delle donne al bucato, e la caccia, etc. (ib.,
1584) ; Di Hettore Vidue e d' altri, etc., mad-
rigali a 5 e 6 voci (ib., 1566) ; Madrigals in
various collections of the times. — Fetis ;
Mendel ; Riemann.
STRONG, GEORGE TEMPLETON,
born in New York, about 1855, still living,
1890. Instrumental and vocal composer,
studied in Germany, where he still resides.
His name frequently occurs in German con-
cert programmes, and be has published
about forty compositions, chiefly through
Kistner, Leipsic. Works : Five Charak-
terstiicke for pianoforte, op. 6 ; In Tirol, 9
Charakterstticke for do., op. 7 ; Suite for
do., in C minor, op. 8 ; Gestrebt-Gewon-
441
STEUCK
nen-Gescbeitert, march for orchestra with ' entr'acte music is entitled : I,
vioUn obligate, op. 12 ; Undine, symphonic fruhr ; " II. " Der Ball ; " III
poem for orchestra, op. 14 ; Klilnge aus
dem Harzgebirge, 7 Charakterstiicke for pi-
anoforte for four hands, op. 17 ; Drei Baga-
tellen for do., op. 21 ; Ballade, in G minor,
for pianoforte, op. 22 ; Eomanze, in G, for
violin and pianoforte, op. 23 ; 3 Character-
"Der Au-
Die Dorfs-
chenke." The other music includes a March,
a Benediction, and a Polonaise. Ai'ranged
for the pianoforte by Theodor Kullak and C.
Klage (Schlesinger, Berlin, 1847). — Allgem.
mus. Zeitg., xlviii. 795, 811 ; Neue Zeitschr.,
xxvi. 215, 219 ; Mendel, Meyerbeer, 53 ;
stiicke, for pianoforte, op. 24 ; "\Yie ein fah- Hanslick, Concertwesen in Wien, ii. 387.
render Hornist sich ein Land erblies, for
soli and male chonis with orchestra, op. 26 ;
3 Sinfonische Idyllen, for pianoforte four
hands, op. 29 ; Die verlassene Miihle, for solo
and male chorus with orchestra, op. 30 ;
Erziihlungen, 5 pieces for pianoforte, op.
31 ; 3 Gesiiuge, for mezzo-soprano with pi-
anoforte, op. 32 ; Zweite Ballade, in G mi-
nor, for pianoforte, oj). 34 ; In den Bergen,
symphony ; Tonstiick, for English-horn and
organ, given at the Festival of the General
Association of German Musicians, Carls-
ruhe, 1885.
STRUCK, JOHANN BAPTIST, called
Batistin, bom of German parents in Flor-
ence, about 1680, died in Paris, Dec. 9, 1755.
Dramatic composer, went as violoncellist to
Paris, where he and Labbe were the first to
play the violoncello in the orchestra ; he
was a great favourite with Louis XTV'., who
accorded him two pensions. Works — Op-
eras : Mt'leagi-e, Paris, 1709 ; Manto la fee,
ib., 1711 ; Polydore, ib., 1720. Many bal-
lets for the court festivals at Versailles ; 4
books of cantatas (1706, 1708, 1711, 1714) ;
Collection of airs (Paris, 1709).— Fetis.
STEUENSEE, overture and incidental
music, by Me^'erbeer, to the five-act drama
of his brother, ^Michael Beer, written for the
Princess of Prussia, and
first performed in Ber-
lin, Sept. 19, 1846. This
is Meyerbeer's only
work in this style, and
it contains some of his
best music. The over-
ture, one of his most successful instrumental Doris, Die drei TiJchter des Cecrops, ib.,
compositions, was first performed by the j 1680 ; David, oder der kimigliche Sklave,
London Philharmonic Society in 1848. The 1 ib. ; Theseus, Semiramis, Florette, ib..
STRUNGK (Strunck), NIKOLAUS
ADAM, bom at Celle, Hanover, in 1640,
died in Leipsic, Sept. 23, 1700. Virtuoso
on the violin and dramatic composer, son
and pupil of Delphin Strungk (organist,
1601-94), whom he assisted at the organ
when only twelve years old ; then pupil at
Liibeck of Schnittelbach on the violin. In
1660 he became first violinist in the ducal
orchestra at Brunswick, then at Celle,
whence he made a concert trip to Vi-
enna, and later at Hanover. In 1678 he
went as music director to Hamburg, then
became chamber organist to the Duke
of Hanover, who conferred on him a can-
onry, and with whom he visited Italy, in
Rome winning the admu'atiou of Corelli.
On his return he played again in Vien-
na before the emperor, and about 1685
was called to Dresden as Vize-Kapell-
meistei', and in 1694 succeeded Bernhardt
as Hof-KapeUmeister. In the same year he
established an Italian opera at Leipsic, dur-
ing the fair, and settled there permanently
in 1696, resigning his post in Dresden.
Works — Operas : Der glUckseUg steigende
Sejanus, Der ungliickselig fallende Sejanus,
Hamburg, 1678 ; Die liebreiche, durch
Tugend und Schonheit erhohete Esther,
Q.^.rem.'y^
m
STEUNZ
1683 ; Alceste, Leipsic, 1693 ; Chloris ;
Atalanta ; Rosalinde, ib., 1695 ; Jupiter und
Alkmene, Phokas, Pyrrhus, ib., 1696 ; De-
metrius, Orion, Zeiiobia, ib., 1697; Circe,
Berenice, Alexander, Scipio und Hannibal,
ib., 1698 ; Agrippina, Ixion, Erecbtlieus, ib.
— Fctis ; Gerber ; Mendel ; Schilling.
STRUNZ, JACOB, born at Pappenheim,
Bavaria, in 1783, died in Munich, after
1849. Instrumental and vocal composer,
pupil of Metzger and Peter von Winter in
Munich, where he obtained a position in
the ro3-al orchestra at the age of fourteen.
After a short time lie left Munich, travelled
through Germany, Holland, and England,
giving concerts, and in 1800 became band-
master of a French regiment, with which
he made the campaign in Italy ; stationed
after its conclusion at Antwerjj, he took his
leave and settled there, having become a
great favourite with the public. About
1808 he went to Paris, where he taught and
compiosed, and in 1823 accepted the post of
Inspecteur des subsistances militaires dur-
ing the war in Spain. On the conclusion
of peace, he lived for a time at Barcelona,
then travelled for seven years through
Spain, Greece, Asia, Egypt, and the Baleaiic
Isles, and returned to Paris in 1831. About
to retire from public life, he lost his entire
fortune through a failure, and had recourse
to arranging operatic music for wind instru-
ments. He comjjosed, in 1831, two ballets
for the opening of the Theatre Nautique,
and soon after was despatched to Germany,
to engage a German opera troupe for that
theatre, which, however, had to close its
doors before his return. He afterwards
held an inferior position at the Opera Co-
mique, and on the opening of the Theatre
de la Renaissance became its music director.
In 1819 he had retired to Munich. Works :
Bouffarelli, ou le prevot de Milan, opera-
comique, Brussels, about 1806 ; Les courses
de Newmarket, do., Paris, 1818 ; Les
nymphes des eaus, ballet, Guillaume Tell,
do., ib., 1831 ; Music to Victor Hugo's
" Ruy Bias ; " Cantata Leroique, Antwerp,
1807 ; Messe solennelle ; 4 concertos for
flute ; 3 do. for violoncello ; Concerto for
horn ; Several fantasias for do. ; Sextet
for 2 clarinets and 4 string instruments ;
Quintets for Hute and strings ; Quartets for
strings ; Duos for flutes ; French i-omances,
with pianoforte. — Fetis ; Schilling, Supple-
ment, 411.
STUJIPF, JOHANN CHRISTIAN, died
at Frankfort, in 1801. Virtuoso on the bas-
soon, lived in Paris in 1785, then was a
member of the orchestra at Altona until
1798, when he became Repetitor at the
Stadttheater in Frankfort. Works : About
60 entr'actes for orchestra ; Pieces for 2
clarinets, 2 horns, and 2 bassoons ; Con-
certo for flute ; 4 concertos for bassoon ;
Quartet for bassoon and strings ; Duos for
bassoons ; do. for clarinets ; do. for violin
and violoncello ; do. for violoncellos ; Duos
and trios for violins. — Fetis ; Mendel.
STTJNTZ, JOSEPH HART:MANN, born
at Ailesheim, near Basel, July 25, 1793,
died in Munich, June 18, 1859. Dramatic
composer, pupil of Peter von Winter in
Munich, where he became Chormeister at
the opera in 1823, Kapellmeister in 1824,
and succeeded his master as Hof-Kapell-
meister in 1826. Works — Operas : L<a rap-
presaglia, Milan, 1819, and, as Schloss Lo-
wiiiski, Vienna, 1826 ; Costantino, Venice,
1820 ; Elvira e Lucindo, Milan, 1821 ; Ai--
gene ed Almira, Tiirin, 1822 ; Heinrich IV.
zu Ivry, Munich, 1823 ; Caribald, ib., 1824 ;
Rosa, Munich, 1845 ; Adasman und Balsora,
ballet, ib., 1831. Several masses with or-
chestra ; do. with organ ; Motets, offerto-
ries, etc. ; Stabat Mater, Vienna, 1822 ; 2
cantatas ; 2 overtures ; Symphonies ; Quar-
tet for strings ; Choruses for male voices ;
Nocturnes for 2 voices. — Fetis ; Mendel.
STURM, DER, overture to Shakespeare's
Tempest, by Georg Vierliug, op. 6. Pub-
lished by Trautwein (Berlin). Overture,
same title and subject, by Taubert, ojj. 134.
— Mus. Wochenblatt (1877), 719.
STURM, DER, fantasia on "The Tem-
pest," for orchestra, by Peter Utitsch Tschai-
443
SUBTLE
kowsky, op. 18, first given at the Symphony
Concert, St. Petersburg, Dec. 4, 1874.
SUBTLE LOVE, WITH FANCY VIEW-
ING, soprano aria of Cleopatra, in A major,
with accompaniment of violins in unison,
and bass, in Handel's Alexander Balus, Act
I., Scene 3. Published also sejiarately, with
the accompaniment filled out by Otto Dresel
(Leipsic, Breitkopf & Hiirtel).
SUCH, EDWIN CHARLES, born in Lon-
don, Aug. 11, 1840, still living, 1890. In-
strumental and vocal composer, pupil of Fer-
dinand Hiller at Cologne. Mus. Bac, Cam-
bridge, 1877. Works : Narcissus and Echo,
di'amatic cantata ; The Water-sprite, can-
tata ; Psalm xlvi., for solo, chorus, and or-
chestra ; Anthems, part-songs, and songs ;
Pianoforte pieces.
SUCHER, JOSEPH, born at DObor, Ei-
senburg, Hungary, Nov. 23, 1844, still liv-
ing, 1890. He studied singing and the
violin in Vienna, and became a chou'-boy in
the coui't chapel in 1854 ; began the study
of law, but gave it up for music, and stud-
ied theory under Sechter. Then he became
Vize-Chormeister of the academic Gesang-
verein, Solo-Correpetitor of the Court
Opera, and later conductor of the newly
opened Comic Opera. In 1S7G he went to
Leipsic as conductor of the Stadttheater,
and next year married the singer, Rosa Has-
selbeck. They settled in Hamburg iu 1879,
and visited England in 1882. Both are
good interpreters of Wagner. Works :
Waldfriiulein, cantata ; Overtures ; Masses ;
Songs. — Wurzbach ; Mendel ; Fetis, Sup-
plement, ii. 551 ; Mus. Wochenblatt, x. 3,
20.
SUDDS, WILLIAM F , born in Lon-
don, England, March 5, 1843, still living,
1890. Instrumental and vocal composer,
self-instructed on the violin, guitar, flute,
cornet, and violoncello. His parents re-
moved to the United States when he was
seven years old, and settled on a farm at
Gouverneur, New York. He enlisted as a
soldier soon after the outbreak of the civil
war, and received his first music lessons from
a French professor in New Orleans in 1864,
while convalescent in an army hosj^ital. Iu
1873 he entered the Boston Conservatory
of Music, where he studied the organ under
Eugene Thayer, and the violin and compo-
sition under Julius Eichberg. He is now a
music dealer and teacher, and organist of
the Fii'st Baptist Chiu'ch at Gouverneur.
Works : Sextet, morceau caracteristique
for strings, op. 15G, written for the New
York Philharmonic Societj-, 1887 ; More
than 100 pieces of pianoforte music ; Songs
and part-songs ; Several collections, origi-
nal and selected ; Didactic works and
Schools for pianoforte and reed organ.
SU ! DEL NILO. See Aida.
SUE\TJS, FELICIANUS, guardian of the
Caj)uchin convent at Strasburg, in 1G50,
afterwards music director of a monastery
at Iunsj)ruck, where he still was in IGGl.
Works : Cithara patientis Jobi versa in luc-
tum, motets for 3 voices, 2 violins, and basso
continue (Strasburg, 1G47) ; Magniticat seu
vaticinium Dei Parentis, etc. (Inspruck,
1G51) ; Psalmi vespertini (ib., 1G51) ; Fasci-
culus musieus sacrorum concentuum (ib.,
1G5G) ; Litania B. M. Virginia Lauretana;
(ib., IGGl) ; Motetti a 2-5 voci con violini ;
Sacra Eremus piarum cantiouum, etc. ; Tuba
sacra, seu concerti a 1-3 voci ; Magnificat a
3 voci. — Fetis ; Mendel.
SUHNOPFER DES NEUEN BUNDES,
DAS (The Sin-offering of the New Covenant),
oratorio, by Carl Loewe, written between
1848 and I'SGO.
SUITE ALGfiRIENNE (Algerian Suite),
consisting of a Prelude, Rhapsodic mau-
resque, Reverie du soir, and Marche mili-
taire fran9aise, by Saint-Saons. Published
by Durand, Schcenewerk et Cie (Paris).
SUITE ARLfiSIENNE, suite for orches-
tra by Georges Bizet, compiled from his in-
cidental music to Alphonse Daudet's drama,
" L'Arlesienne." I. Prelude ; H. Minuetto ;
HI. Adagietto ; IV. Carillon. Published
by Choudens (Paris).
SUITE CREOLE, for orchestra, by J. A.
Brockhoven, first performed at the Music
4M
SUITE
Teachers' National Association, Boston,
Massachusetts, June 30, and July 2, 1886.
SUITE IN UNGARISCHER WEISE, for
orchestra, in F, by Joachim Raff, op. 194. I.
Ouvertiire, An der Grenze, Adagio ; 11. Triiu-
merei, Auf der Puszta, Larghetto ; III. Bei
eiuem Aufzug der Honvtid, Quasi marcia ; IV.
Volkslied mit Variatioueu, Adagio ; V. Vor
der Czarda, Larghetto, and Finale, Vivace.
SULAjVIITH, cantata for soli, chorus, and
orchestra, text from the Bible, music by
Dr. Leopold Damrosch, first performed by
the Oratorio Society of New York, April 22,
1882. The solos were sung by Miss Sims
and Mr. A. L. King. The score, dedicated
to the Oratorio Society of New York, pub-
Hshed by G. Schirmer (New York, 1882).
SULAjMITH, cantata for soli, chorus, and
orchestra, text by Julius Rodenberg, music
by Rubinstein, first given in Hamburg, Nov.
8, 1883. Published by PoUni (Hamburg,
1885). Die vergntigte Sehusucht der sehn-
enden Sulamith, oratorio by M. C. Wiede-
burg, Hamburg, 1718 ; and Sulamith og
Salomon, Danish cantata, by Johann Peder
Emil Hartmann, about 1850.
SULLIVAN, Sir ARTHUR SEYMOUR,
born in London,
May 13, 1842, still
living, 1890. Dra-
matic composer,
chorister in Chapel
Royal under Hel-
more, then pupil at
the Royal Academy
of Music, 185G-58,
of Goss and Bennett,
and at the Leipsic
Conservatorium, 1858-61, of Plaidy, Mo-
scheles, Richter, Rietz, and Hauptmann. Af-
ter his return to London, he be-
came organist of St. Michael's
Church, Chester Squai'e, and in
1867-71 conducted the music at
St. Peter's, Onslow Gardens. In
1874-76 he was musical adviser
to the Royal Aquarium Company, and I Necklace (MS.) ; In Memoriam, Norwich
organized and himself conducted its ad- 1 Festival, 1866 ; Marmion, 1867 ; Ouvertura
mirable band ; for the seasons of 1878-79
he conducted the Promenade Concerts at
Covent Garden, and for those of 1875-77
the Glasgow Festivals, and in 1880 and
1883 the Leeds Festivals. He was prin-
cipal of the National Training School at
South Kensington, in 1876-81, and since
1880 has been a member of the Council
of the Royal College of Music. In 1878
he acted as British Commissioner for music
at the International Exhibition in Paris,
when he was decorated with the Legion
of Honour, and in 1883 he was knighted.
Honorary Mus. Doc, Cambridge, 1876 ;
do., Oxford, 1879. Order of Saxe-Coburg-
Gotha. Works — Operas and operettas :
The Saj)phire Necklace (not given) ; Cox
and Box, The Contrabandista, 1867 ; Thes-
pia, 1871 ; Trial by Jury, The Zoo, 1875 ;
The Sorcerer, 1877 ; H. M. S. Pinafore,
1878 ; The Pirates of Penzance, 1880 ; Pa-
tience, 1881 ; lolanthe, 1882 ; Princess Ida,
1884 ; The Mikado, or the Town of Titipu,
1885 ; Ruddygore, or the Witch's Curse,
1887 ; The Yeomen of the Guard, 1888 ;
The Gondoliers, or The King of Barataria,
1889. L'ile enchantee, ballet, 1864. Ora-
torios : The Prodigal Son, Worcester Festi-
val, 1869 ; The Light of the World, Bir-
mingham Festival, 1873 ; The Martyr of
Autioch, Leeds Festival, 1880. Cantatas :
Kenilworth, Birmingham, 1864 ; On Shore
and Sea, London, 1871 ; The Golden Le-
gend, Leeds Festival, 1886, Worcester,
Mass., 1889. Music to "The Tempest,"
Crystal Palace, 1862 ; to " The 3Ierchant of
Venice," 1871 ; to " The Merry Wives of
Windsor," 1874 ; to " Henry VIH.," 1878 ;
Overture and incidental music to "Mac-
beth," 1888. Overtures : The Sapphire
4^
SULZER
di Ballo, 1869. Procession March, 1863 ;
Symphony in E, Crystal Palace, 1866 ; 2 Te
Deum ; Anthems, and many hymn tunes ; I
wish to tune, ode for baritone vrith orches-
tra ; Part-songs, and songs. — Grove ; FtJtis,
Supjjlcment, ii. 551.
SULZER, JULIUS, born in Vienna,
about 1837, still living, 1890. Son and pu-
pil of the following, and pupil of Sechter,
then studied in Italy under several masters,
and was maestro concertatore at various
theatres there. About 1862 he travelled
through Europe and Asia, played at Con-
stantinople before the sultau in 1864, was
in Prague in 1865, and became Kapellmeis-
ter of the Italian opera at Bucharest in 1867,
and Court Kapellmeister to the Prince of
Eoumauia in 1868. During the carnival of
1870 he conducted the opera at the court the-
atre in Turin, then visited Milan, appeared in
concerts there, and in 1871 at Malta. Since
1875 he has been Kapellmeister at the Hof-
Bui-gtheater in Vienna. Works : Johanna
von Neapel, opera, Prague, 1865 ; Held
Michael, do., Bucharest, 1870 ; Symphonic
tone-painting ; Preghiera for horn and in-
anoforte ; Pianoforte music, and songs.
— Wurzbach.
SULZER, SALOMON, born at Hohe-
nems, in Vorarlberg, March 30, 1804, still
living, 1890. Vocal composer, pupil in
Switzerland of Lippmann, with whom he
travelled through France ; became cantor in
his native village, when only sixteen j-ears
old, and in 1825 at the synagogue in Vi-
enna, where he studied composition under
Seyfried. In 1844-47 he was professor of
singing at the Conservatorium. He re-
ceived the gold medal for science and art,
and in 1868 the Order of Franz Joseph ;
also various other medals. His great ser-
vices to Jewish music consist in the reduc-
tion to rhythm and harmony of the old
religious melodies. Among his friends he
numbered Meyerbeer, Schubert, Schumann,
Paganini, Thalberg, Liszt, and many others,
and in 1866 he was presented with a silver
laurel from the artists of Vienna. Works :
Schir Zion, a collection of Jewish hymns ;
Dudaim, songs for school and home ;
Psalms, and secular songs. — Wurzbach ;
Mendel ; Hanslick, Concertwesen in Wien,
ii. 400.
SmiER IS ICUMEN IN (Summer has
come in), rota or round for six voices, four
of which sing the rota, while two others
sing the accompaniment called " pes." This
composition, on illuminated vellum, pre-
served in the collection of Harleian MSS.,
British Museum, one of the oldest existing
specimens of part-writing, is believed to
date from the 13tli centui-y. Mr. W^illiam
W. Chappell, who has investigated the ques-
tion minutely, thinks that it was composed
by John of Forusete, a monk in the Abbey
of Reading, and that it was written in 1226
(certainly not later than 1236). Sumer is
icumen in is, therefore, the earliest known
example of medi;cval music to which a date
can be assigned, and it defines the fact that
the early English school is, at least, a cen-
tury and a half older than the first Flemish
school (1370-1430), so long considered the
earliest school of polyphonic music. The
MS., in perfect preservation, corresponds
exactly with the handwriting of the early
part of the 13th century. The structure of
the rota gives fui-ther evidence of the an-
tiquity of the English school, for it shows
clearly that music had made great progress
before the system of notation had been ap-
pUed. Dr. Rimbault shows that the song
is founded on the old ecclesiastical litany
chant, "Pater de ccslisDeus." The flowing
melody and the rhythm resemble the Folk-
song, evolved from remote antiquity. The
mixed character of the part-writing has
puzzled musical antiquaries. It includes
passages of rude discant, strict counter-
Ijoint, progressions which belong to the time
of Palestrina, and constant violation of car-
dinal rules, such as the formation of con-
secutive fifths. No explanation has been
made of the two distinct systems of part-
writing, separated by the lapse of two or
three centuries, which occur in this work
446
SUPERBIA
In the MS., the notes, signature, and EngHsh
words are black ; the lines of the stave, the
cross indicating the entrance of the second
voice, the Latin words, directions for sing-
ing, and the second initial letter are blue ;
and the first and third initial letters are red.
— Grove, iii. 268, 7G5 ; iv. 1 ; Catalogue of
the Harleian MSS., i. 978 ; Chappell, Popu-
lar Music of the Oldeu Time, i. 21 ; Burney,
ii. 93 ; Hawkins, i. 408 ; Coussemaker, L'Art
harmonique aux XIL et XIII. siecles, 144-
150 ; Eitter, Music in England, 22 ; Met-
calfe, the Bounds, Catches, and Canons of
England.
SUJIM' UND BRUMM'. See Fliegende
Hollander.
SUONI LA TROMBA. See Puritani.
SUPERBIA D' ALESSANDRO, LA (Alex-
ander's Pride), Italian opera, text by Mauro,
music by Steflfani, dated, in the conducting
score, 1691. It contains many songs with
obligato instrumental parts, and one song
with cembalo solo.
SUPPE, FRANZ VON (Francesco Eze-
c h i e 1 e Ermenegildo,
Cavaliere Supp6-De-
melli), born at Spalato,
Dalmatia, April 18,
1820, still living, 1890.
Dramatic composer ;
first studied the flute,
and, sent by his father
to study philosophy at
the university of Padua,
continued his musical education under
Cigala and Ferari, and is said to have re-
ceived some suggestions from Donizetti.
He became the pupil of Sechter and Sey-
fried in Vienna ; was Kapellmeister at the
Josephstadter Theater there, then at Pi'es-
burg, at Baden, and again in Vienna, at the
Theater an der Wien, until 1862, and at
the Carl-Theater since 1865. Works —
Comic operas and Operettas : Der Apfel,
Zara, 1834 ; Das Miidchen vom Lande, Vi-
enna, 1847 ; Paragraph 3, ib., 1858 ; Das
Pensionat, ib., 1860 ; Die Kartenschlagerin,
Zehn Madchen und kein Mann, ib., 1862 ;
-<i^/:\ji
Flotte Bursche, ib., 1863 ; Das Corps der
Rache, Pique-Dame, Franz Schubert, ib.,
1864 ; Die schOne Galatea, ib., 1865 ; Leichte
Cavallerie, Freigeister, ib., 1866 ; Banditen-
streiche, ib., 1867 ; Die Frau Meisterin,
Tautalusqualen, ib., 1868 ; Isabella, ib.,
1869 ; Cannebas, ib., 1870 ; Die Prinzessin
von Dragant, Prague, 1870 ; Fatinitza, Vi-
enna, 1876 ; Der Teufel auf Erden, ib.,
1878 ; Boccaccio, ib., 1879 ; Donna Juanita,
ib., 1880 ; Der Gaskogner, ib., 1881 ; Herz-
bliittchen, ib., 1882 ; Die Afrikareise, ib.,
1883 ; Des Matrosen Heimkehr, Hamburg,
1885 ; Bellman, Vienna, 1887 ; Die Jagd
nach dem Gliick, ib., 1888. Music to many
farces, vaudevilles, etc. Missa dalmatica ;
Requiem ; Symphony ; Overtures, includ-
ing Dichtcr und Bauer ; Quartets ; Songs.
— Wurzbach ; Fctis, Supplement, ii. 553.
SUPPLIANT, A GENOUX. See FMe
du Regiment.
SURCOUF, comic opera, music by Ro-
bert Planquette, represented at the Folies-
Dramatiques, Paris, Oct. 6, 1887. Surcouf
was a pirate, a celebrity of Saint-Malo, Brit-
tanj'. The opera was a success.
SUE MES GENOUX, FILS DU SO-
LEIL. See Africaine.
SURPRISE SYMPHONY (Mit dem Pau-
kenschlag), in G, by Haydn, written in
1791. The second movement in C is the
one which gave the name Surprise to
the symphony. It is based on a simple
phrase, which begins pianissimo and ends
with the unexpected crash of the entire or-
chestra and a sharp blow on the kettledrums
(Paukenschlag). I. Adagio cantabile. Vi-
vace assai ; H. Andante ; IH. Menuetto, Alle-
gro molto ; IV. Finale, Allegro di molto.
Salomon Set, No. 3 ; Breitkopf & Hiirtel,
No. 6. — Upton, Standard Symphonies, 157.
SUSANNA, oratorio in three acts, author
of text unknown, music by Handel, first
given at Covent Garden, London, in 1749.
This work, composed when Handel was
sixty-three years of age, is dated, at the be-
ginning, July 11, 1748 ; at the end of the
first part, July 21, 1748 ; at the end of the
447
StSSMAYER
second, August 2l8t; at the end of the thirtl,
August 9th ; and the final date, Aug. 24,
17i8. It was given four times at Covent
Garden in 1749, and revived there in March,
1759. The work is more in the character
of a serious opera than an oratorio. The
choruses do not rank with Handel's great-
est, but this composition contains some of
his best solos, and is remarkable for its
melody and the beauty of its instrumental
accompaniments. Characters represented :
Susanna (S.); Joachim, her husband (A) ;
Chelsias, her father (B.); Daniel (T.); First
Elder (T.) ; Second Elder (B.) ; and a Judge
(B.). Susanna is persecuted by two Elders,
but remains true to her husband Joachim.
Her aria, " If guiltless blood be your in-
tent," has been frequently sung as a bravura
air at musical festivals, and her song, " Ask
if yon damask rose " was long popular. It
was sung in the opera " Love in a Village "
(1762), to the words " Let rakes and Uber-
tines." This oratorio was sung in London
in 187G, under the direction of Mr. H. "Weist
Hill, with additional accompaniments by Mr.
Halberstadt. The score, in Buckingham
Palace, was first published by Walsh (Lon-
don) ; Htlndel-Gesellschaft, Breitkopf &
Hiirtel (Leipsic, 1858). — Rockstro, Handel,
290 ; Athenaum (187C), i. 508.
SUSSMAYER, FRANZ XAVER, born at
Steyer, Upper Austria, in 1766, died in Vi-
enna, Sept. 17, 1803. Dramatic composer,
pupO of Georg Pasterwitz, in the Benedic-
tine monastery of Kremsmiinster ; then
pupil of Mozart and Salieri in Vienna. He
became Kajjellmeister at the National-The-
ater in 1792, and second Kapellmeister at
the court opera in 1791:. He was the in-
timate friend of Mozart, and received from
the great composer's lips directions for com-
pleting the unfinished Requiem. Works :
Moses, oder der Auszug aus Egypten, opera,
Vienna, 1792. Operettas : Die schiJne Schus-
terin, ib. ; L' incanto superato, ib., 1793 ;
Der Spiegel aus Arkadien, ib., 1794 ; Die
neuen Arkadier ; Der Tiirke in Neapel,
Prague, 1794 ; Die edle Rache, Vienna,
'nil/'
1795 ; I due Gobbi (with Paer), London,
179G ; Die FreiwOligeu, Vienna, 1790 ; Der
Wildfang, ib., 1798 ; Der Marktschreier,
ib., 1799 ; Soliman H., ib., 1799 ; Die Jagd ;
Gulnare, ib., 1800 ; Phasma, ib., 1801 ;
Liebe macht kurzen Process (with others),
ib., 1801. Cantatas : Der Retter in Gefahr ;
Ai-iadne a Nassos ; Der Kampf f iir den
Frieden ; Cantate auf die Ankunft des Erz-
herzogs Karl. Church music. — Wurzbach ;
Mendel ; Fetis ; SchilUng ; Gerber.
SVENDSEN, JOHAN (SEVERIN), born
at Christiania, Norway,
Sept. 30, 1840, still
Uving, 1890. Violin-
ist, son of a military
band-master; wrote
his first composition
for the violin at the
age of eleven. He en-
listed in the army at
fifteen as a member of
the band, first as clai*-
inetist, became band-master, jilayed then
as flutist, at the same time perfecting him-
self on the violin. Having left the army
in 1861, he played for a time in the orches-
tra of the theatre, then travelled through
Sweden and North Germany, and two years
after was presented with a liberal stipend
by the king, Karl XV., which enabled him
to perfect himself as a violinist. Soon
after, having been attacked by paralysis in
the hand, he gave up the bow for composi-
tion, went in 1803 to Leipsic, where his
works were already known, and entered the
finishing class in the Conservatorium, studj--
ing under Hauptmanu, David, Richter, and
Reinecke. He received the honorary grand
medal of the Academy before leaving Leij)-
sic in 1867, travelled in Denmark, Scotland,
and Norway, and in 1868 went to Paris,
playing in Musard's orchestra and at the
Oduon, and became intimate with de Bcriot,
Vieuxtemps, and Li'onard. He returned
to Leipsic in 1870, conducted the Euterpe
concerts in 1871-72, and the concerts of
the Music Association at Christiania in
4i8
SWAN
1872-77, aucl hail several decorations con-
ferred on him by the king. In 1877 he
revisited Leipsic, went to Munich, and
spent the winter iu Eoiue ; visited London
in the summer of 1878, then was in Paris
tUl 1880, when he returned to liis former
post at Christiania. In 1883 he was ap-
pointed court Capelmester at Copenhagen.
Works : Quartet for strings, in A minor, op.
1 ; Quartets for men's voices, oj). 2 ; Octet
for strings in A minor, op. 3 ; Symphony
in D, op. 4 ; Quintet for strings in C, op.
5 ; Concerto for violin and orchestra in A,
op. 6 ; Do. for violoncello and orchestra in
D minor, op. 7 ; Ouverture in C, to BjiJrn-
sou's drama of Sigurd Slembe, op. 8 ; Le car-
naval a, Paris, for orchestra, op. 9 ; Marche
fuuobre for Charles XV., op. 10 ; Zorahayde,
legend for orchestra, op. 11 ; Polonaise
for do., op. 12; Coronation march for Oscar
n., op. 13 ; Marriage cantata for chorus and
orchestra, op. 14 ; Sym23hony No. 2, in
B-Hat, op. 15 ; Carnaval des artistes nor-
vegiens, op. 16 ; Norivegische Rhapsodien
for orchestra, op. 17, 19, 21, and 22 ; Over-
ture to Borneo und Julia, op. 18 ; Scandi-
navian airs, arranged for string quartet, op.
20 ; Five songs, French and German, oj). 23 ;
Four do., French and Norwegian, op. 24 ;
Romance by Popper, arranged for violon-
cello and pianoforte, op. 25 ; Romance for
violin and orchestra, iu G., op. 26 ; Arrange-
ments for orchestra of pianoforte works by
Bach, Schubert, and Schumann ; do. of
Norwegian, Swedish, and Icelandic folk-
songs. — ■ Grove ; Futis, Supplement, ii.
555 ; Eiemann ; Mus. Wochenblatt, ii. 214,
230.
SWALLOW DUET. See llignon.
SWAN, TIMOTHY, born at Worcester,
Massachusetts, July 23, 1758, died at North-
field, Mass., July 23, 1842. He began to
teach music early, lived at Grotou in 1774,
and at Northfield in 1775, and was probably
one of the editors of Federal Harmony, pub-
lished about 1795. He published also The
New England Harmony (Northampton,
1801), and the Songster's Museum (1803).
Among the best known of his psalm tunes
are Ocean, Poland, China, and Powual.
SWEELINCK, JAN PIETER, born
Amsterdam, be-
tween Ajiril and
October, 15G2, died
there, Oct. 16,
1621. Organist,
pupil of Jakob
Buyck, pastor of
the Old Church, at
Amsterdam. It has
been said that he
studied in Venice under Zarlino and Ga-
brieli, but this idea j^robably arose from his
having made a close study of Zarlino, and
from having translated his Istituzioni har-
moniche. He was appointed organist in
his father's place, between 1577 and 1581,
and was for a generation considered the
glory of Amsterdam. The greatest of the
Dutch poets, Voudel, wrote his epitaph and
surnamed him the Phcenix of music. He
was a famous player of the clavicymbel, and
taught, among other pupils, Christina van
Erp, the celebrated lutenist. He was the
founder of a school of organists, and his in-
fluence was felt throughout northern Ger-
many, nearly all the leading organists of
the next generation having been his schol-
ars. His pujjil Scheidemann handed down
the tradition to Reinecke, and it found its
consummation in Sebastian Bach. His or-
gan pieces present the first known example
of an independent use of the pedal.
Works : His vocal music, the only kind
published during his lifetime, includes, be-
sides occasional canons, marriage songs,
etc., his chansons franyaises, 3 j)arts (Ant-
wei-p, 1592-94) ; Rimes fraujaises et ita-
liennes (Leyden, 1612) ; and the great col-
lections of sacred music on which, with his
organ music, his fame chiefly rests. These
are the Pseaumes mis en musique, for 4^8
voices, several editions (Leyden, Amster-
dam, Berlin) ; Cantiones Saci'se (Antwerp,
1619). A Regina Creli from the latter, 3
Chansons, 8 Psalms iu 6 parts, have been
449
SWEET
lately reprinted in organ score by tbe Asso-
ciation for tbe History of Dutch Music,
jxarts I., Vn. and VL (Utrecht and Amster-
dam, 18G9-77). Seven of his organ works
also have been jjublished for the first time
by this Association. — Tiedeman, J. P. Swee-
liuck (Amsterdam, 187G) ; Futis ; Eiemann ;
Mendel ; Gerber ; Viotta ; Grove.
SWEET BIED, THAT SHUN'ST, so-
prano scena of II Pensieroso, in D major,
with accompaniment of traversiere and
strings complete, in Handel's L' Allegro, il
Pensieroso, ed il Moderato, Part I., No. 17.
S'^'ERT. See De Swert.
SYBARITES, LES, ou les surprises de
I'amour, ballet in one act, text by Mar-
moutel, music by Eameau, first represented
at the Academic Royale de Musique, Paris,
July 12, 1757.
SYEKOFF (Serow), ALEXAXDEE
NIKOLAYEYITCH,
born in St. Peters-
burg, May 11, 1820,
died there, Jan. 20
(Feb. 1), 1871. Dra-
matic composer, con-
sidered in Russia sec-
ond to Glinka only.
His musical gifts de-
veloped early, but as
his father wished him to follow the law as a
profession he had no musical instruction
except from an aged female relative, and
later from Carl Schuberth on the violon-
cello. On leaving school he devoted all
his spare time to studying the theoretical
works of Albrechtsberger, Kirnberger, and
others, writing for his own use long criti-
cisms on their works, which laid a good
foundation for his position later as a
musical critic and writer. It was not till
1850, after holding an appointment in the
Crimea, that he forsook the law for music
and came before the public, first as a critic
and editor, and in 1863 as a dramatic com-
poser. The Czar pensioned him, and there-
after he became known as a purely national
composer. He instituted, in 1865, at the
Conservatory of Moscow, lectures on mu-
sical history, and at the University of St.
Petersburg gave lectures on the theory of
music and dramatic composition in 1859
and 18GJ:, and at the Artists' Club there, in
1870, on the development of opera. In
1885 a monument to his memory was erect-
ed in St. Petersburg. Works : Yudit (Ju-
dith), grand opera in five acts, St. Peters-
burg, May 16, 1863 ; Rognyeda, do., ib.,
Oct. 27, 1865 ; TarasBulba, do. (unfinished,
text taken from Gogol's epic), 1866 ; Kuz-
nyets Wakula (Wakula the Smith), do. (un-
finished), 1867 ; Wrazyia siela (The power
of the enemy), do. (5th act finished by Solo-
vieff), ib., 1871 ; Ave Maria, written for
<^'
AdelinaPatti, 1868 ; Stabat Mator, for three
female voices ; Music to Schiller's Song of
the Bell ; Songs, etc. — Fetis, Supplement,
ii. 511 ; Eiemann ; Mendel.
SYLPHIDE, LA, ballet in two acts, text
by Adolphe Nourrit, music by Schneitz-
hoefler, first represented at the Opera,
Paris, March 12, 1832. The part of La
Sylj)hide was one of Mile Taglioni's greatest,
and she was the first to dance it in Paris
and in Loudon, where it was given at Co-
vent Gai-deu, July 26, 1832. Thackeray
mentions this ballet in " Pendennis."
SYLVAIN, comcdie in one act, text by
Slarmontel, music by Grotiy, first rep-
resented at the Italiens, Paris, Feb. 19,
1770. This is one of Grutry's best works,
and it was quite as successful as Lucile.
The baritone Cailleau sang the part of
Sylvain, and 'Mile Clairon that of his wife,
Helone, in the original cast. — Clement et
Larousse, 64-1 ; Gretry, Essais sur la mu-
sique, 177.
SYLVANA (Silvana), romantic German
opera in three acts, text by Franz Karl
Hiemer, music by Carl Maria von Weber,
first represented at Frankfort-on-the-Maiu,
Sept. 16, 1810. This opera, which, with
its mediseval romanticism, belongs to tbe
'4G0
SYLVESTEE
middle group of "Weber's dramatic composi-
tions, was the j)recursor of Euryatilhe. The
music is characteristic of Weber, and the
orchestra illustrates and follows the action
and pantomime as in Wagner's musical
dramas. The overture and several themes
were taken from Weber's earlier opera
Das Waldmildchen, in two acts, text by
the Eitter von Stainsburg, and first rep-
resented at Freiburg, Nov. 24, 1800. Or-
iginal cast : Sylvana (S.), Mile Carohne
Brandt ; Mechtilde (S.), Mile Lang ; Klara
(S.), Mile Isermann ; Rudolf (T.), Hen-
Mohrhardt; Albert (T.), Herr Hill; Adel-
hai-dt (B.), Herr Berthold ; Krips(B.), Herr
Lux ; Fust (B.), Herr Leissring ; Kurt (B.),
Herr KrOnner. It was first given in Berlin,
July 10, 1812; in Dresden in 1815; in
Leipsicin 1818 ; and in London, at the Sur-
rey Theatre, Sept. 2, 1828. It was revived
at the Stadttheater, Leijasic, March 27, 1885,
revision of the text by Ernst Pasque, of
the music by Ferdinand Langer ; and it
was given at Ea-oll's Theater, Berlin, July,
1889. Several additions were made to the
music, including the Auflbrderung zum
Tanz, and parts of the pianoforte sonata in
A-flat. Two editions of the i^ianoforte score,
arranged by Weber, were i^ublished by
Schlesinger (Berlin). — Jiihns, Weber Ver-
zeicbuiss, No. 87 ; Weber, Weber, i. 153, 215,
345, 364, 462 ; Allgem. mus. Zeitg., xiv.
532, 572, 581 ; xv. 239 ; xxx. 517 ; Grove,
iv. 412 ; Cilcilia, viii. 271 ; Signale (1885),
385.
SYLVESTEE, FEANgOIS XAVIER,
born at Lacoste (Vaucluse) in 1793, died at
Aix (Bouches-du-Ehone), July 27, 1856.
Church composer, first instructed at Ca-
vaiUon by one Derive, then entered the
army, and became sous-chef de musique.
On the downfall of the Empire, he was mar-
ried at Laiu-is, and there studied under
Garnier, ex-oboe player at the Opera. He
lived afterwards at Forcalquier, then settled
at Aix, where in 1829 he assumed the direc-
tion of the maitrise of the Metroijolitan
church. Works : Four masses for soli.
chorus, and orchestra ; Psalms ex., cxi.,
and cxii., for do. ; Cantatas ; Motets ; Cant-
icles, etc. — Fetis, Supplement, ii. 557.
SYLVIE, ou la nymphe de Diane, ballet
in three acts and five tableaux, text by
Jules Barbier and L. Merante, music by
Leo Delibes, first represented at the Ojiura,
Paris, June 14, 1876. The scene is in the
woodlands, where nymphs, dryads, fauns,
and satyrs sport. Characters represented :
Sylvie, Diane, Cupidon, Thalie, Terpsichore,
Aminte, Orion, nymphs, satyrs, fauns, dry-
ads, peasants, and shepherds. The music,
which is fanciful and delicate, has been
frequently played at concerts iu this order :
I. Prelude, Les chasseresses ; U. Inter-
mezzo et Valse lente ; HI. Pizzicati ; IV.
Cortege de Bacchus. The ballet was given
in German as Sylvia, die Nymphe der
Diana, Vienna, Oct. 25, 1877 ; and first in
New York by the American Opera Com-
pany, Academy of Music, March 24, 1S8G.
— Hanslick, Mus. Statiouen, 96 ; Mus. Wo-
chenblatt (1877), 641 ; Signale (1877), 1025 ;
Lajarte, ii. 248.
SYMPHONIC FANTASIA, "Spring of
Life and Love," for orchestra, by Franz
Xavier Arens, first given at the Musical
Union, St. Louis, in the season of 1887-88.
SYiyiPHONIE ESPAGNOLE (Spanish
Symphony), for violin and orchestra, by
ISdouard Lalo, op. 21. I. Allegro non
troppo ; n. Scherzando, Allegro molto ;
HI. Intermezzo, Allegretto non troppo ;
rV. Andante ; V. Eondo, Allegro.
SYMPHONIE FANTASTIQUE. See
Episode de la vie d'un artiste.
SYMPHONIE FUNfiBEE ET TEIOM-
PHALE (Funeral and Triumphal Sym-
phony), symphony in three parts, for mil-
itary band, music by Berlioz, op. 15. Com-
posed for the translation of the remains of
the victims of July and the inauguration of
the Bastille Column, and first performed in
the open air, Paris, July 28, 1840, after-
wards at the Concerts-Vivienne, Aug. 6-14,
1840. The score was dedicated to the Due
d'Orleans, and published by Maurice Schle-
«l
SYMPHONIE
singer (Paris). Published with string or-
chestra and chorus ad libitum, text by An-
thony Deschamps. — Jullieu, Berlioz (1888),
5G, G4 75.
STAIPHONIE LfiGENDAIEE, with cho-
rus, music by Benjamin Godard, first given
at the Chutelet concerts, Paris, Dec. 19,
1886.
SYMPHONIE TRAGIQUE, in C minor,
by Asger Hamerik, op. 32, first performed
in Baltimore, Maryland, April 18, 1885.
I. Grave ; II. Andante penitente ; HI. Al-
legro marcato ; IV. Adagio. The score,
dedicated to Ludwig II. of Bavaria, was
published by Andre (OOfenb.ich-ou-the-
Main, 188G). Transcription for pianoforte
by the composer.
SYMPHONIES (Sinfonie), fifteen short
pianoforte pieces, in three real parts, writ-
ten by Johann Sebastian Bach in 1720
or 1723, as a course of instruction for his
son, Wilhelm Friedemann. Their form is
founded on that of the Italian instrumental
tiios, as developed by Corelli, Albiuoni, and
Vivaldi. They follow the Invoilions, and
with these compositions exhibit a wonderful
variety of double and ti'iple counterpoint.
There are three autogi-aphs of these com-
positions : One, Friedemann Bach's copy,
in which the Inventions are separated from
the Symphonies ; one, in which each Inven-
tion is followed by a Symphony written in
the same key ; and one, in which the In-
ventions and Symphonies are arranged ac-
cording to the ascending order of the
scale. — Spitta, Bach, i. 072 ; do. (Bell), ii.
58.
SYMPHONIE ZU DANTE'S DIVINA
COMMEDIA, .symphony for orchestra, with
soprano and alto chorus, by Franz Liszt.
I. Inferno (Lento) ; H. Purgatorio (Andante
con moto quasi allegretto) ; III. Magnificat
(L* istesso tempo). The chorus chauuts the
Magnificat in the old classic style in the
finale, for which the composer wrote two
endings, one in which the strains die away
as if heard in the distance, the other in ex-
ultant Hallelujahs. The score, dedicated
to Richard Wagner, was published by Breit-
kopf & Hilrtel (Leipsic, 1858). — Pohl, Liszt,
238 ; Neue Zeitschr. (1860), ii. 193, 201,
213, 221 ; Upton, Standard Symphonies,
175.
SYMPHONISCHE DICHTUNGEN
(Symphonic Poems), a title chosen by Liszt
for twelve orchestral compositions. I. Ge
qu'on entend sur la montagne (1856) ; H.
Tasso, Lamento e trionfo (1854) ; III. Les
Preludes (1854) ; IV. Orpheus (1854) ; V.
Prometheus (1850) ; YL. Jllazeppa (1854) ;
Vn. Fedllange (1856) ; VUL Herocde fu-
UL'bre ; IX. Ilungaria (1856) ; X. Hamlet
(1859) ; XI. Hunnenschlacht (1857 - 58) ;
Xn. Die Ideale (1857). Scores published
by Breitkopf & Hiirtel (Leipsic).— Neue
Zeitschr. (1863), i. 77, 85, 93.
SYMPSON (Simpson), CHRISTOPHER,
born in England
about 1010, died at
Turnstile (Hol-
born ?), about 1670.
Virtuoso on the
viola da gamba,
seiTcd in the army
raised by the Duke
of Newcastle in sup-
port of Charles I.,
and afterwards was
patronized by Sir Robert Bolles, a Leices-
tershire baronet, whose son he taught the
viol. "Works : The Division-Violist, or an
Introduction to the Playing upon a Ground
(London, 1659, 1667, 1712) ; A Compen-
dium of Practical Music (ib., 1665, 1667,
and several other editions up to 1760) ; Ai-t
of Discant, or Composing Musik in Parts,
by Dr. Thomas Campian, with annotations
thereon by Christoj)her Sympson (ib., 1655).
— Grove ; Fetis ; Mendel.
SZAMOTULSKI, WACLAW (Venceslaus
Samotuliensis), born at Szamotuly, Poland,
in the 10th century, studied at the College
of Lukzanki, Posen, then at the University
of Cracow ; was afterwards appointed music
director to King Zygmunt August. His
compositions were universally admired,
SZCZEPANOWSKI
thougli be died when scarcely forty-tliree
years of age. Works : The Lamentations
of Jeremiah ; Alleluia ; Christe qui lux es
et dies, motet for -l voices ; Beatus vir, do. ;
Psalm Ixxxv., to Polish words ; The Psalm
xiv., do. ; Evening Prayer for ■! voices ;
Polish songs, for do. — Fttis, Supplement,
ii. 557 ; Sowinski.
SZCZEPANOWSia, STANISLAW, born
at Cracow, in 1814, still Hving (?), 1890.
Virtuoso on the guitar, pupil of Horecki at
Edinburgh, whither he went at an early
age, and of Fernando Sor iu Paris ; he re-
turned to Edinbiu-gh, where he gave his
first concert in 1839, then made a brilliant
tour through Scotland and England, and
ajjjjeared in Paris, where he won the ap-
plause of Chopin, Kalkbrenner, Liszt, etc.
After new travels iu Europe, he went to
Loudon, where he married an English-
woman, was naturalized, and from time to
time undertook concert tours to nearly all
the princijjal cities of Europe. He was a
master also on the violoncello, and sometimes
jjlayed that instrument iu his concerts.
Works : Phantasy on an English song ; La
jota aragonesa ; Introduction et variations
on a theme by Sor, for the left hand only ;
Les difiScultc'S de la guitare ; Souvenir do
Varsovie, potpourri militaire ; Variations sur
un air polonais ; Duo comique sur le Car-
naval de Venise ; Mazureks originales ;
Quatre mazureks ; Many others. — Fetis,
Supplement, ii. 558 ; Sowinski ; Wurz-
bach.
SZfiKELY, IMEE, boru at Matyfalva,
Hungary, May 8, 1823, still living, 1890.
Pianist, appeared with success in Paris and
London, where he repeatedly took up his
abode, at Hamburg, and other cities of
Germany, and in 1852 settled at Pesth,
where he is much esteemed as a teach-
er. Works : Pieces symphoniques, for
orchestra ; Ensembles for string instru-
ments ; Concertos for pianoforte ; Fantai-
sies, etudes, and many morceaux de salon,
for do. — Fetis, Supplement, ii. 559 ; Wurz-
bach.
TABLEAU PARL.\NT, LE (The Talking
Picture), comedie in one act, text by
Anseaume, music by Gretry, first rep-
resented at the Italiens, Paris, Sept. 20,
1769. The work, which contains many
pleasing airs, was composed in two months.
Mme Laruette sang the part of Colombine,
and M. Clairval that of Pierrot, at the first
performance. — Clement et Larousse, 645 ;
Gretry, Essais sur la musique, i. 181.
TACEA LA NOTTE PLACID A. See D
Trovatore.
TACETE, OHBlii;, TACETE, duet for
soprano and bass, in E-flat major. No. X.
of the Chambcr-Daetii, by Handel (Hilndel-
gesellschaft, 32 B). Published also separa-
tely, with the accompaniment filled out by
Robert Franz (Leipsic, Kistuer).
TADOLIXI, GIOVANNI, born in Bolo-
gna in 1793, died there, Nov. 29, 1872.
Dramatic composer, pupil in composition
of Mattel, and iu singing of Babini ; ap-
pointed by Spoutiui iu 1811 accompanist
and chorus-master at the Theatre des Ita-
liens, Paris, retaining the post until 1814,
when he returned to Italy. He was about
twenty years old when he wrote his first
opera ; iu 1830 he returned to Paris with
his wife, Eugenia Savorini (born at Forli,
1809), a well-known soprano singer, and re-
sumed his functions at the Theatre Italien,
but in 1839 went back to Bologna. Works
—Operas : La fata Alcina, Venice, 1815 ;
La ijrincipessa di Navarra, Bologna, 1816 ;
II credulo del u so,
Rome, 1817; Tamer-
lano, Bologna, 1818 ; II
finto molinaro, Rome,
1820 ; Moctar, gran
visir di Adrianopoli,
Milan, 1824 ; Mitridate,
Venice, 1826 ; Alman-
zor, Trieste, 1827. Can-
tatas, romances, and canzonette ; Trio for
pianoforte, oboe, and bassoon ; Rondo for
pianoforte and flute. — Fetis ; Mendel.
TA FILLE EN CE MOMENT. See La
Juive.
453
TAG
TAG, CHRISTIAN GOTTHILF, born at
Bayerfekl, Saxony, in 1735, died at Nieder-
zwOnitz, July 19, 1811. Church composer,
studied at the Kreuzschule in Dresden ;
cantor at Hohenstein for fifty-three years.
Works in MS. : 72 church cantatas for the
Sundays and Feastdays of the entire year ;
11 masses and hymns ; 46 motets ; 20
Christmas ai'ias ; 6 Passion arias ; G8 Gre-
goriusarien ; 20 wedding songs with clar-
inets, horns, oboes, and bassoons ; 22 choral-
preludes for organ ; 3 rondos for do. ; 4
symphonies for do. ; Symphony for orches-
tra ; Quartet for strings. Published works :
6 choral preludes with Trio and Allabreve
(Leipsic, 1783) ; Lieder, 4 collections (ib.,
1783, 1785, 1793, 1798) ; 70 variations on
an Andantino, for pianoforte (ib., 1785) ; 12
preludes, and a symphony for organ (ib.,
1795) ; Der Glaube, melody with organ,
(ib., 1793) ; Urians Eeise urn die AVelt und
Urians Nachricht von der Aufkliirung (ib.,
1797) ; Naumann, eiu Todtenopfer (Berlin,
1803) ; Melodie zum Vateruuser, etc. (Penig,
1803) ; WOrlitz, eine Ode (Berlin, 1803).
— Fc'tis ; Mendel ; Schilling.
TAGESZEITEN, Die (The Four Divi-
sions of the Day), four movements for cho-
rus, pianoforte, and orchestra, by Raflf, op.
209.
TAGLICHSBECK, THO:\Li.S, born at
Ansbach, Bavaria, Dec. 31, 1799, died at
Baden-Badeu, Oct. 5, 1867. Violinist, pu-
pil of EoveUi and in composition of Gratz
in Munich ; became violinist in the theatre
orchestra there in 1817, and later Kapell-
meister. After travelling in Germany, Hol-
land, and Denmark, he was Kapellmeister
to the Prince of Hohenzollern-Hechingen
in 1827-48 ; was conductor of the theatre
orchestra in Strasburg, settled at Lowen-
berg, Silesia, in 1852, and spent the rest of
his life in Dresden and Baden-Baden.
Works : Weber's Bild, opera, Munich, 1823 ;
2 symphonies ; Concerto militaire, for vio-
lin and orchestra ; Concertino for do. ; Vari-
ations for do. ; Polonaise for do. ; Mass with
orchestra ; Trio for pianoforte and strings ;
Duos for violins ; Sonatas, fantasias, varia-
tions, and other music for the violin ; Quar-
tets for mixed voices, with wind instru-
ments ; Quartets for male voices ; Songs.
— Futis ; Mendel ; Eiemaun ; Schilling.
TAGLIETTI, GIULIO, born at Brescia
about 1660, died (?). Instrumental com-
poser ; was professor about 1700 at the
Collegio Nobile di S. Antonio in his native
city. Works : Sonate da camera a tre (Bo-
logna, 1697) ; Sei concerti a quattro e sin-
fonie a tre (Venice, 1696) ; Arie da suonare
col violoncello e spinetto, etc.; Concerti o
capricci a quattro (Venice, 1699) ; Sonate
da camera a tre ; Pensieri musicali ad uso
d' arie cantabili, etc. (Venice, 1709) ; Con-
certi a 4 violiui, etc.; Sonate a violino e
basso; Sonate da camera a 2 violini, etc.;
Arie ad uso delle cantabili, etc. ; Concerti a
quattro con suoi rinforzi ; Pensieri da
camera a 2 noliui e basso.— Fctis ; Mendel.
TAGLIETTI, LUIGI, lived at Brescia
about the end of the 17th century. Instru-
mental composer, probably a brother of the
preceding. Works : Sonate per violino e
violoncello, etc. (Venice) ; Concertini e jjre-
ludi, etc. ; Concerti a quattro e sinfonie a tre ;
Sonate a violino e basso ; Sonata da camera
a tre ; Arie ad uso delle cantabili, etc. ; Pen-
sieri da camera a tre. — Fctis ; Mendel.
TAGLIONI, FEEDIN.VNDO, born at
Naples, Sept. 14, 1810, still living, 1890.
Dramatic and church comi^oser, and didac-
tic writer, son of the famous choregrapher
Salvatore TagUoni ; pupil, at Lucca, of Mas-
similiano Quilici on the pianoforte, and of
Domenico Quilici in harmony and counter-
point ; then, at Naples, whither he returned
in 1828, pupil of Eaimondi and Count Gal-
lenberg. He devoted himself to teaching
singing, and formed many distinguished
pupils. In 1842-49 he was maestro di cap-
pella of the Keale Santa Casa di Lanciano,
and also of the theatre there, then maestro
concertatore at the Teatro San Carlo in
Naples until 1852, when he fled to escape
punishment for some political offence. Af-
ter obtaining pardon, he became editor of
464
TALE
the Gazzetta musicale. Li 1856 be intro-
duced, the first ill Italj', historic-classical
concerts, for which he wrote the commen-
taries ; he was also the first in Italy to
occupy himself with the instruction of cho-
ral singing, and founded the first school for
it, in Naples, in 18G5. Member of several
academies. Order of SS. Maurice et
Lazare. Works : II Gualderano, opera,
Naples, 1838 ; I due mariti, do., ib., 1839 ;
Maria, oratorio ; 2 Miserere, with orchestra ;
Te Deum, do., and many other church com-
positions. He published many biograjDh-
ical and critical articles. — Ft'tis, Supple-
ment, ii. 561 ; Mendel, Ergilnz., 451 ; Rie-
mann.
TAUS. OF THE VIKING, cantata for
chorus, soli, and orchestra, test from Long-
fellow's " Skeleton in Armor," music by
George E. Whiting. Dedicated to Allen A.
Brown, of Boston, and published by Schir-
mer (New York, 1875).
TALEXY, ADRIEN, born in France
about 1821, died in Paris, February, 1881.
Pianist and dramatic composer, devoted
himself early to teaching, which he resumed
after a not very successful attempt iu 18G0
to manage an opera troupe iu London.
Works— Operettas : Un gar9on de cabinet,
Paris, 1872 ; La fete des lauterues, ib.,
1872 ; Le bouton perdu, ib., 1874 ; Le se-
cret de Rose, ib., 1875 ; Le garjon malgre
lui, ib., 1877 ; Quand on manque le coche,
ib., 1878. About 150 compositions for pi-
anoforte.— Fetis, Supplement, ii. 561.
TALISMANO, IL (The Tahsman), Italian
opera in three acts, text by Arthur Mattlie-
son, translation by Zaffira, music by Balfe,
first represented at Drury Lane, London,
June 11, 1874. This, Balfe's last opera,
was written in English as The Knight of
the Leopard and was so composed, but the
title was changed when it was given in
Italian. The libretto is from Sir Walter
Scott's romance of the same title. The
score, left unfinished by Balfe, was com-
pleted by Sir George Alexander Macfar-
ren. Original cast : Richard Coeur de
Lion, Signer Rota ; Sir Kenneth, Knight
of the Leopard, Signor Campanini ; Emir
Sheerkohf, Signor Campobello ; Nectabano,
slave to Queen Berengaria, Signor Cata-
lini ; H barone de Vaux, a follower of
Richard, Signor Rinaldini ; II duca d' Aus-
tria, Signor Casaboni ; II re di Francia,
Signor Costa ; Berengaria, Queen of Eng-
land, Mile Marie Roze ; Edith Plantagenet,
Mme Christine Nilsson ; Knights, ladies of
the court, soldiers, pages, and Saracens. It
was given at Her Majesty's Theatre, Lon-
don, July 6, 1878, under the direction of
Sir Michael Costa, who revised the score.
— AthenEeum (1874), i. 802 ; (1878), ii. 58.
TALLYS (Talys, Tallis), THOMAS, born
about 1510-20, died iu London, Nov. 23,
1585. Organist and contrapuntist of great
distinction, supposed i^upil of Thomas Mul-
liuer in the choir of St. Paul's Cathedral,
whence he is thought to have been removed
to the choir of the Chapel Royal ; but there
is no evidence to support either statement.
He was organist of Waltham Abbey until
its dissolution in 1540 ; was appointed
Gentleman of the Chapel Royal, about
1542, serving under Henry VIII., Edward
VI., and Queens Mary and Elizabeth, con-
forming outwardly to the various forms of
worship which these successive rulers im-
posed. Together with William Byrd ho
obtained, Jan. 21, 1575-76, letters patent
giving the exclusive right of printing music,
and of ruled music pajser, for twenty-one
years, the first of the kind. The first work
printed under the patent was their own
Cantiones (1575), containing 34 motets,
16 by Tallys and 18 by Byrd. The work
is a beautiful specimen of early English
musical typogi'aphy, each voice part be-
ing printed separately. It was about this
time that Tallys composed his remark-
able song of forty ^jarts, originally set to
Latin words, adapted to English about
1630. It has been said that the greater
part of his music was set to Latin words,
but the harmonies to the Responses, the
setting of the Canticle, the Creed, and the
466
tamerla:xo
Gloria for tlie Comiuuniou Service, were
set solely to English. Works : Cautioiies
quae ab argumento Sacrse vocautur, quinque
et sex partium (London, 1575) ; The Preces,
Chaunts, Te Deum, Benedictus, Responses,
etc. (Church of England Service), first
pi'inted iu Barnard's collection, 1641, and
since reprinted many times by Novello,
Rimbault, Jebb, and others ; Spem iu alium
non habui, motet for 40 parts — 8 choruses
of 5 voices each ; The order of the daily
Service of the United Church of England
and Ireland, ed. by John Bishop (Loudon,
1843) ; Many anthems, prayers, and litanies.
Manuscripts are in Christ Church Library,
Oxford, Music School, ib., Library of Eoyal
College of Music, iu the British Museum,
Fitzwilliam Museum, Cambridge, Peter-
house, il)., and iu the Library of Rev. Sir
F. A. Gore Ouselcy. — Grove ; Barrett, Eng-
lish Church Composers, 20 ; Burney, Hist. ,
iil 172-182 ; Hawkins, Hist., iii. 258 ;
Fetis ; Hai-monicon (1826), 43 ; Ambros,
Gesch., iii. 452 ; Mendel ; Gerber ; Schil-
ling.
TA^IERL.^NO, Italian opera in three acts,
text by Nicolo Haym, music by Handel,
first represented at the King's Theatre,
London, Oct. 31, 1724. The autograph, in
Buckingham Palace, is dated July 3-23,
1724. Scene in Prusia, capital of Bitinia.
Original cast : Tamerlano, Emperor of
Tartary (A.), Signor Paccini ; Bajazete, Em-
peror of Turkej', taken jjrisoner by Tamer-
lano (T.), Signor Borosini ; Asteria, daugh-
ter of Bajazete, in love with Andronico (S.),
Siguora Cuzzoni ; Andronico, Greek prince
and confederate of Tamerlano (C), Signor
Senesino ; Irene, princess of Trabisonda,
betrothed to Tamerlano (S.), Signora Anna
Dotti ; Leone, confidant of Tamerlano and of
'xindronico (B.), Signor Boschi ; and Zaida,
confidant of Astoria (silent chai'acter). The
overture was played at the Handel Commem-
oration, June 3, 1784. The score, dedicated
to the Duke of Rutland, was published by
Cluer (London, 1725) ; Hiindelgesellschaft,
Breitkopf & Hilrtel (Leipsic, 1870). Other
operas on the same subject, in Italian : H
gran Tamerlano, by Ziani, text by Piovene
(?), Venice, 1G89 ; by Pratolino, Florence,
1706 ; Tamerlano, by Gasparini, text by
Piovene, Venice, 1716, as Bajasette, ib.,
1719 ; by Chelleri, same text, Treviso,
1720 ; by Leonardo Leo, same text, revised
by Stampiglia, Naples, 1722 ; by Giovanni
Antonio Niui, Turin, 1728 ; by Giovanni
Porta, Florence, 1730 ; by Porpora, Dresden,
1730 ; by Vivaldi, Verona, 1735 ; by Scolari,
Milan, about 1764 ; by Pietro Guglielnii,
Naples, 1765 ; bj' Sacchini, London, 1773 ;
by Mysliweczek, about 1780 ; by Pacr,
Milan, 1796 ; by Simon MajT, text by Ro-
manelli, Milan, 1812 ; by Tadolini, Bologna,
1818 ; by Michele Carafa, for Naples, 1822,
but not given ; by Sajjieuza, ib., 1824. In
French : by Reichart, for Paris, 1786, not
given ; by Peter von Winter, text by Slorel,
Paris, 1802. In English : Tamerlau and
Bajazet, ballet by Henry Rowley Bishop,
London, 1806 ; Timour the Tartar, by
Matthew lung, Loudon, 1811. In Ger-
man : Timur, melodrama by Ignaz von
Seyfried, Vienna, 1822. El gran Tanierlan
de Persia, Spanish opera, by Caballero,
text by Santero and Cabiedes, Madrid,
1882.— Chrysander, Hiludel, ii. 124 ; Rock-
stro, 140 ; Burney, iv. 297 ; do.. Com-
memoration, 97 ; Bitter, Reform der Oper
durch Gluck, 59 ; Matthesou, Critica Mu-
sica, ii. 29 ; Gervinius, Gesiinge aus Hiin-
dels Operu und Oratorieu, vii. 143.
TANCREDI, Italian ojjera seria in two
acts, text by Rossi after Voltaire, music by
Rossini, first represented at the Teatro della
Fenice, Venice, Feb. 6, 1813. This opera,
written when the composer was but twenty-
two, was received with enthusiasm, and be-
came very popular. The original cast in-
«S6
TANDELN
cludeil Mine Malauotte, Mine Manfrediui,
Siguor Todrau, Signer Bianclii, and Signer
Luciano. To appease Mme Malauotte, who
was not satisfied with her first aria, Rossini
composed a new cavatiua, " Di tauti pal-
Ijiti." From the story of its having been
composed while Eossiui was waiting for
his dish of rice at dinner, the Italians gave
it the name, "Aria dei risi." A phrase
in the duo, " Palesa almeu," is said to have
been borrowed from Paer's Agnese, and the
allegro of the duo, " Si tu sol crude!, " from
Sabina Hetnefetter.
Pai'r's Sofronisba. Pasta, who took the part
of Tancredi at the first representation in Paris
and London, frequently sang " Di tanti pal-
piti " in concerts. Mme Pisaroni, Malibran,
Viardot-Garcia, and Johanna Wagner, were
successful in the title-role ; and Mme Sontag
was brilliant as Araenaide, which she sang
to Malibran 's Tancredi in 1829. Tancredi
was first given in Vienna, Dec. 17, 1816 ; in
Berlin, Jan. 5, 1818 ; in Paris in 182G ; in
London in 1831 ; in Dresden in 1836 ; and
in Leipsic in 1839. It was first given
in New York Dec. 31, 1825, with the fol-
lowing cast : Tancredi, Signorina Garcia ;
Amenaide, Mme Barbiere ; Argivio, Signor
Garcia ; Orbazzano, Signor Angrisani ; and
Ruggiero, Siguor Crevelli. The overture
for the pianoforte for four hands, by Peters
(Leipsic, 1819). Other operas on this sub-
ject, in Italian : II combattimento di Tancre-
di e Clorinda, by Monteverde, Venice, 1624 ;
Tancredi, by Bertoni, Turin, Dec. 26, 1778 ;
by Luigi Baglioni, Stuttgart, 1778 ; by
Ignaz Holzbauer, Mannheim, 1782 ; by Pa-
vesi, text by Romanelli, Milan, Jan. 18,
1812 ; and by Garcia, New York, about
1826 ; Tancredi al sepolcro di Clorinda,
by Zingarelli, Naples, 1805. In French :
Tancrode, by Andre Campra, text by Dan-
chet, Paris, Nov. 7, 1702 ; by Appell, Gas-
sel, about 1789 ; by Langle, about 1800,
not given ; Tancrede et Clorinde, by Mc-
hul, 1796, not given. Tankredi, parody
operetta, by Wenzel Miiller, Vienna, 1817.
— Escudier, Rossiui, 10 ; Vie de Rossini,
par un dilettante, 21; Hanslick, Moderne
Oper, 102 ; Grove ; Edwards, Rossini, 48 ;
Allgem. mus. Zeitg., xix. 61, 109 ; xx. 137 ;
xxi. 260.
TANDELN UND SCHERZEN (Trifling
and Joking), eight variations for the piano-
forte, in F, by Beethoven, on a theme from
Siissmayr's opera, Solimanu II. (1799), com-
posed in 1799. Published by Hofmeister
(Vienna, 1790). Breitkopf & Hiirtel, Beet-
hoven Werke, Serie xvii.. No. 13.
TANNHAUSER UND DER SANGER-
KRIEG AUF WARTBURG (Tannhauser
and the Singers' contest at the Wartburg),
romantic opera in three acts, text and music
by Richard Wagner, first represented at the
Royal Opera House, Dresden, under the
composer's direction, Oct. 19, 1815, with
the following cast :
Hermann, Landgraf von Thiiringen (B.)
Herr Dettmer.
Tannhauser (T.) Herr Tichatschek.
Wolfram von Eschenbach (Bar.)
Herr Mitterwurzer.
Walther von der Vogelweide (T.)
Herr Schloss.
Biterolf (B.) Herr Wachter.
457
TANNIIAUSER
Heinrich der Scbreiber (T.). . . .Herr Curti.
Keinmar von Zweter (B.) Herr Eisse.
Elisabeth (S.) Johanna Wagner.
Venus (S.) Mme SchrOder-Devrient.
Ein junger Hirt (S.) Anna Tbiele.
Thuiingian counts and nobles, noblewo-
men, youths, older and j'ounger pilgrims,
the three Graces, sirens, naiads, nymphs,
cupids, bacchantes, satyrs, and fauns.
The poem was written in Dresden in 1843,
and the score was completed in 18J:4-45.
The story is founded on the legends that
cluster around the Wartburg, in the Thu-
ringian forest, near Eisenach, where in the
thirteenth century were held the musical
n
S
■■til 11
Anton Schott, as Tannhauser.
tournaments of the Minnesinger. Near
the castle stands tlie Venusberg, once the
abode, according to tradition, of Holda,
goddess of spring in the German mythol-
ogy, who, disappeared with the coming of
Christianity, and became confounded with
the Roman Venus. She was supposed to
dwell within the mountain, and to lure
knights and men into her court, from which
there was no escape. The first act opens
in the Venusberg, where Taunhiiuser, a
knight and Minnesinger, having yielded to
the seductions of Venus, is surrounded
by voluptuous pleasui-es. In the dialogue
between Tanuhiluser and the enchantress,
he tells her that he is weary of his life, and
in spite of her fascination, escapes from her
power, and finds himself near the Wartburg.
The next act is in the hall of the Wart-
burg, the home of Hermann, the Landgrave
of Thuringia, whose daughter Elisabeth
is in love with Tannhiiuser. The Minne-
singer enter into a contest, and Tannhiiuser,
under the influence of Venus, sings of sen-
sual pleasure. Walther von der Vogelweide
and others defend virtue, to whom Tann-
hiiuser repUes. A quarrel ensues, and the
knights draw their swords upon him. Elis-
abeth intercedes, and saves his life. The
third act shows the valley of the Wartburg,
to which Tannhiiuser returns from a pil-
gi'image to Rome. Meeting Wolfram von
Eschenbach, who also loves Elisabeth, he
recites to him the story of his confession to
the Pope, who, lifting his crozier, said :
" Even as this wood cannot blossom again,
so there is no pardon for thee," and he de-
termines to retm-n to the Venusberg. Wol-
fram endeavours to hold him back, but is
powerless until he speaks of Elisabeth, and
at her name the enchantments of Venus die
away. A funeral cortoge now approacehs,
bearing the saintly Elisabeth to her burial.
Tannhiiuser kneels at the side of the bier,
and broken with grief, dies. His pilgrim's
staff bursts into blossom, showing that
through the prayers of Elisabeth his sins
are forgiven. The principal numbers are :
The overture, in which the pilgrims' song
and the Venusberg motives are blended ;
the music for the sirens' dancing, written in
Paris by Wagner for the first scene, known
as the "Parisian Bacchanale ;" the pilgrims'
choruses, "Zu dir wall' ich, mein Jesus
TARAEE
Christ," and " Begluckt darf nun ; " Wolf-
ram's song, " Als dii in kiihnem Sauge," in
the septet at the end of the first act ; the
duet, "Gepriesen sei die Stuude," between
Johanna Wagner,
Tannhiiuser and Elisabeth ; the grand
march and chorus in the hall of the Wart-
burg, " Freudig begriissen wir die edle
Halle ; " Wolfram von Eschenbach's hymn
to ideal love, "O Himmel lass' dicli jetzt
erflehen ; " Elisabeth's prayer, " Allmiicht-
'ge Jungfrau, hor mein Flehen ; " and
Wolfram von Eschenbach's song to the
evening star, "O, du mein holder Abend-
stern." Mmo Albani and Johanna Wag-
ner, niece of the composer, have sung the
rule of Elisabeth with great success. Tann-
hiiuser was first given in Weimar under
Liszt's direction, Nov. 12, 1848 ; in Leipsic,
Jan. 31, 1852 ; in Munich, Aug. 12, 185.5 ;
in Berlin, Jan. 7, 185G ; in Vienna, Aug.
28, 1857 ; in Paris, French translation by
Charles Nuitter, March 13, 18G1 ; in Brus-
sels, Feb. 19, 1873 ; in Moscow, Feb. 8,
1877 ; in London iu Italian, Covent Garden,
May 6, 187G ; in New York, Stadttheater,
April 4, 1859, and at the Metropolitan Op-
era House, Nov. 17, 1884, with Anton
Schott as Tannhiiuser. The overture was
played by the London Philharmonic Society
under Wagner, May 14, 1855 ; by that of
New York in the season of 1854-55. Full
and pianoforte score published by FUrstner
(Berlin) ; overture for pianoforte for two
and four hands by Hans von Billow (ib.) ;
do. by Ernst Pauer (Augener, London) ;
Der Venusberg and march and chorus for
the pianoforte by von BUlow ; and tran-
scriptions and fantasias by Liszt, Kaflf, Dorn,
Egghard, Jaell, Lange, and Cramer ; Lied
an den Abendstern, for violin and piano-
forte, by Blumenstengel, op. 13, No. 8 ; by
Victor Felix and F. A. Kummer ; do. for
violoncello and pianoforte, by H. Leonard,
Dotzauer, Victor Fulix, and F. A. Kummer.
Edition of the pianoforte score by Natalia
Macfarren (Novello & Co., Loudon, 1872).
— Wagner, Ges. Schriften, ii. 5 ; v. 159 ; vii.
181 ; Gotthold, F. A., Ueber Richard Wag-
ner's Tannhiiuser, etc. (Konigsberg, 1854) ;
Liszt, Lohengrin und Tannhiiuser (Leipsic,
1852) ; do. Ges. Schriften, iii. 3 ; Muller, R.
F. Weber, Richard Wagner's Tannhiiuser,
etc. (Weimar and Leipsic, 1853) ; Schelle,
Eduard, der Tannhiiuser in Paris (Leipsic,
18G1) ; Wolzogen, H. von, Nolte, R., and
Hagen, E. von, Richard Wagner's Tann-
hiiuser und Lohengrin nach Sage, Dichtung,
und Musik (Berlin, 1873) ; Kastner, Wag-
ner Catalog, 15 ; Schumann, Ges. Schriften,
ii. 290 ; Glasenapp, Richard Wagners Leben
und Wirken, i. 193-2G9 ; Jullien, Wagner,
70, 117 ; Pohl, do., 3, 12, 30 ; Grove, iv.
353 ; Neue Zeitschr., xxiii. 145, 159 ; sxxiv.
153, 1G5 ; xxxvi. 120, 245 ; xxxvii. 207, 210,
220 ; xxxviii. 23, 113, 13G, 148, 159, 172,
180, 192, 247 ; xxxix. 88, 134, 144 ; xlix. 8 ;
liv. 115, 137 (Auhang No. 24, 2) ; Ixiii. 325,
337; Wiener Allgem. mus. Zeitg. (184G),
581 ; Echo (1875), No. 49 ; Mus. Wochen-
blatt (1872), 778 ; (1875), 592, 608 ; (187G),
5G ; Bayreuther Bliitter (;i887), 221 ; Athe-
naeum (187G), i. 674 ; Upton, Standard Op-
eras, 256.
TARARE, ou Axur, roi d'Ormus, French
opera in five acts, text by Beaumarchais,
music by Salieri, first represented at the
Academic Koyale de Musique, Paris, June
459
TARCHI
8, 1747, with ballet music by Jeau Baptiste
Bey. This opera is a mixture of tragedy,
comedy, and romance. In form it resem-
bles the operas of Quinault and Lully, but
the conception is dilierent. In the prologue
Nature and the Genius of Fire create men,
and assign them to destiny on earth. Ta-
rare becomes a soldier, and Atar sovereign
of Ormus, vanquished by his subjects. In-
cidents both comic and tragic in the lives
of these two persons are developed during
the opera. The recitatives are written in
the style of Gluck, of whom Salieri was a
pupil, but the choruses are treated after
his own fashion. Original cast : Tarare,
M. Cheron ; Atar, M. Laine ; Astasie, Mile
Maillard ; and Spinette, Mile Gavaudan.
The opera was translated into Italian, with
changes of text and music, and given as
Axur, ri d' Ormus, for the betrothal of the
Archduke Fr.anz with the Princess Elisabeth
of Wiirtemberg, Vienna, Jan. 8, 1788. It
was given throughout Germany with suc-
cess, and first represented in London in
English as Tarare, the Tartar chief, Aug.
15, 1825. — Clement et Larousse, G49 ; La-
jarte, i. 357.
TARCHI, ANGELO, born in Naples in
17G0, died in Paris, Aug. 19, 18 U. Dra-
matic composer, pupil of Tarantini in sing-
ing and of Sala in composition, at the Cou-
servatorio della Pieta, which he attended
for thirteen j'ears. Having written many
operas for vai-ious cities in Italy, and in
1789 for Loudon, he went to Paris in 1797,
where he composed French operas-comiques,
and taught singing. Works : L' architetto,
Naples, 1781 ; La caccia di Eurico IV., ib.,
1783 ; I due fratelli Pappamosca, Don
Fallopio, Rome, 1784 ; Ademira, Milan,
1784 ; Arianna e Bacco, Turin, 1785 ; Ifi-
genia iu Tauride, Venice, 1785 ; Ariarate,
Milan, 1786 ; Publio, Florence, 178G ; Ar-
minio, Mantua, 178G ; Demofoonte, Crema,
178G ; n trionfo di Clelia, Turin, 1787 ; II
conte di Saldagna, Milan, 1787 ; Artaserse,
Mantua, 1787 ; Paolo e Virginia, Venice,
1787 ; Gli due rivali, opera buffa, Mitri-
date, Eome, 1788 ; Antioco, Milan, 1788 ;
II disertore, Alessandro nell' Indie, Lou-
don, 1789 ; Lo spazzacammino, opera buflfa,
Milan, 1789 ; L' apoteosi d' Ercole, Venice,
1790 ; Ezio, Vicenza, 1790 ; Olimpiade,
Eome, 1790 ; Giulio Sabino, Turin, 1791 ;
Don Chisciotto, Paris, 1791 ; Adrasto, Milan,
1792 ; Ester, Florence, 1792 ; La morte di
Nerone, Venice, 1792 ; Alessandro uell'
Indie (with new music), Turin, 1793 ; Lo
stravagante, opera bufiJi, Bergamo, 1793 ;
Le Danaidi, Milan, 1794 ; L' impostura
dura poco, ib., 1795 ; II Giro riconosciuto,
Piacenza, 179C ; La congiura Pisoniana,
Milan, 1797; Le cabriolet jauue, Le gener.al
suedois, Paris, 1798 ; Le treute et quarante,
Aurore de Gusman, ib., 1799 ; D'aubergo
en auberge, ib., 1800 ; Uue aventure do
Sainte-Fois, Astolphe et Alba, ib., 1802 ;
Isacco, oratorio, Mantua, 1792. JIass for 4
voices and orchestra ; Credo, do. ; Stabat
Mater, do. — F<'tis ; Gerber ; Schilling.
T.mDITI, OIIAZIO, born (?), Uving at
Faenza in 1670. Church comj)oser of the
Roman school, maestro di cappella in 1G39
of the cathedral at Forli, afterwards at
Faenza. Works : Three books of masses
for 3-5 voices (Venice, 1639, 1648, 1G50) ;
Messa e salmi concertati a 4 voci (ib., 1G40) ;
do., a 2 voci (Bologna, 1GG8) ; 15 books of
Motetti concertati, for 1-5 voices (Venice,
1625-63) ; 4 books of Motetti a voce sola
con violini ; Psalms for 8 voices (Venice,
1649) ; Complines and litanies for 4, and
antiphons for 3 voices (ib., 1647) ; Litanies,
for 3-5, antiphons and motets for 3, and
Te Deum for 4 voices (ib., 1644) ; Madrigali
a 5 voci con alcuni a 3 in fine (ib., 1G39) ;
Canzonette amorose a 2 e 3 voci (ib., 1G47).
— Fctis ; Gerber ; Mendel ; Riemann.
TARTINI, GIUSEPPE, born at Pirano,
Istria, April 12, 1692, died in Padua, Feb.
16, 1770. He was educated in his native
town, and at Capo d' Istria. His parents
wished him to enter a Franciscan monastery,
but he rebelled, and in 1710 entered the
university of Padua to study law. His rul-
ing passions were music, especially the vio-
4C0
TARTINI
lin, and fencing, of which latter art ho was
a master, and something of a swashbuckler,
withal. After secret-
1}' marrying a relation
of Cardinal Cornaro,
he was compelled to fly
from Padua to escape
punishment at the
hands of the law, and
took refuge in a Fran-
ciscan monastery at
Assisi. Here, with the
help of a monk of his acquaintance, he stud-
ied the Yioliu diligently, beside receiving in-
struction in composition from Padre Boemo,
the organist. After two years, the legal
suit against him in Padua having been
quashed meanwhile, he returned to that
city as a violin virtuoso. On a visit to
Venice he heard Veracini play, and was so
fired with ambition by his performance that
he retired to Ancona for further study and
practice, sending his wife to stay with some
of his relations in Pirano. This was about
1714, and it was during this stay at Ancona
that he discovered the combination tones,
and ajiplied his discovery practically to in-
sure purity of intonation. In 1721 he was
appointed solo violinist and conductor of
the orchestra at the basilica of S. Antonio,
in Padua. His reputation as a virtuoso
was now wide-sp)read, and in 1723 he was
called to assist at the coronation of Karl
VI., at Prague, in which city he staid until
1725 as chamber musician to Count Kinsky.
Refusing a brilliant offer to go to London,
he returned to his j)Ost at S. Antonio, in
Padua, where he established in 1728 his
famous violin school, and where he re-
mained until his death. He was a hard
worker, and wholly absorbed in his work ;
little of the adventurous disposition he had
shown as a young man remained in after-
life ; he was quiet and sweet-tempered, and
always patient and affectionate with his
wife, whose disposition left a good deal to
be desired. He died of scurvy after a short
illness, in which he was tended by his pu-
pil Nardiui, who came from Leghorn to
join him at the lirst news of his disease.
He was buried in the church of Sta. Cate-
rina. Tartini is one of the princiiJal figures
in the history of the violin ; he did much
to advance the technique of his day, and
his method of bowing has not yet been su-
lierseded. His compositions are still clas-
sic. Among his pu2nls were Alberghi, Bini,
Capuzzi, Carminati, Domenico Ferrari,
Lahoussaye, Nardini, Pagin, Pasqualino,
and Maddalena de Sirmen. Works : Sei
concerti, Lib. I. e H., op. 1 (Amsterdam,
Roger, 1731) [three of these were repub-
lished later iu Paris, and three others were
also republished there with two viola parts
added by Blaiuvillo from Tartini'scontinuo,
as Concerti grossi, composti dell' opera
prima di Gius. Tartini] ; Souate XH. a vio-
lino e violoncello o cembalo, etc., also
marked op. 1 (Paris, Leclere) ; Sei sonata
for do., op. 2 (Rome, 1745) ; The same,
with six others, as XII. sonate a violino e
basso [not figured], etc., op. 3 (Paris, Le-
clere) ; Sei concerti a violino solo, due vio-
lini, viola e violoncello o cembalo di con-
certo, op. 4 (Paris, Venier) ; VI. Senates a
violon seul et basse continue, also marked
op. 4 (Paris, Leclere) ; 6 do., op. 5 (ib.,
1747) ; G do,, op. G (ib., and at the ofSce of
the Journal do Musique, 1770) ; C do., op.
7 (Paris, engraved by Mile Bertin) ; Sei
sonate a tre, due violini col basso, op. 8
(Paris, Meaupetit, Mme Boiviu, Leclere,
Mile Castagneri) ; G do., op. 9 (Paris, en-
graved by Mile Bertin) ; L' arte del arco
(Amsterdam, and new French ed., Paris,
Cartier) ; Concerti HI. a cinque con violino
obligato. Lib. I. (Paris, Mme Boivin, Le-
clere, Castagneri, Laine) ; VI. concerti a
otto stromeuti, etc., op. 2 (Amsterdam, Wit-
vogel) ; VI. concerti a cinque stromenti,
etc., op. 1, Lib. II. (Amsterdam, Le Ceue) ;
VI. concerti a cinque stromenti, etc., del
Sig. Giuseppe Tartini e Gasjwro Visconti,
op. 1, Lib. HI. (ib.) ; Trattato di musica se-
condo la vera scienza dell' armonia (Padua,
1754) ; De' principii dell' armonia musicale
461
TASSILONE
contenuta nel diatonico genere (ib., 17G7) ;
Risposta di Giuseppe Tartini alia critica
del di lui Trattato di musica di Mous. Le
Serre, di Ginevra (Venice, 1767) ; Lettera
alia signora Maddalena Lombardini, inser-
viente ad una importante lezione per i
suonatori di violino (Venice, 1770 ; with
English translation by Burney, London,
1771, and ib., R. Bremner, 1779 ; in Ger-
man, Hanover, 178G) ; Trattato delle ap-
poggiature si ascendenti che discendenti
per il violino, etc. (Venice, Benzon, 1818 ;
and in French, Paris, de la Chevardiere,
1782. The following are in MS. ; 48 sona-
/^ tas for violin
If^ famous Trillo
del diavolo) ; 127 concertos for violin solo
with quartet ; Delle ragioni e delle pro-
porzioni libri sei. — Fanzago, Oraziono
delle lodi di Giuseppe Tartini, etc. (Pa-
dua, 1770) ; Vallotti, Elogi di Giuseppe
Tartini, etc. (Padua, Conzatti, 1792) ; J. A.
Hiller, Lebensbeschreibungen beriihmter
Musikgelehrten und Tonkiinstler neuerer
Zeit., 267-285 (Leipsic, 1784); Agostino
Forno, Elogio di Tartini, in complete works
(Naples, 1792) ; Camillo Ugoui, Delia let-
teratura italiana nella seconda meta del
secolo xviii., i., 1-28 (Brescia, Bettoni,
1802); Fayolle, Notices sur Corelli, Tar-
tini, etc. (Paris, 1810) ; Fotis ; Grove ; Du-
bourg. The violin, 47.
TASSILONE, tragic Italian opera in five
acts, music by Steflfaui, first represented in
Diisseldorf in 1709.
TASSO, L.yHENTO E TRIONFO, sym-
phonic poem for orchestra, in C, by Franz
Liszt, first performed at the Goethe-Jubi-
liium, Weimar, Aug. 28, 1849, as an over-
ture to Goethe's " Tasso." It was sketched
in Venice in 1840, for pianoforte, and scored
for orchestra in 1848. The work was re-
vised in 1854, and first given in Weimar
April 8, 1854. The episodes are : I. Tasso
in prison ; IT. The song of the Venetian
gondoliers ; III. Festival in FeiTara ; IV.
' Tasso's coronation. It was first performed
in Berlin, December, 1855 ; by the New
York Philharmonic Society in the season of
1859-60 ; and by the London Philhai-monic
in 1873. It was first published for the pi-
anoforte by Haslinger (Vienna, 1840) ; full
score dedicated to Dr. Leopold Damrosch,
by Breitkopf & Hilrtel (Leipsic, 1856) ; and
an-angement for two pianofortes, four
hands, by the composer. Music to Goethe's
Tasso by J. F. Reichardt, about 1770 ; La
mort du Tasse, cantata by Fr. M. Servais,
Ghent, 1875 ; Le Tasse, prize-symphonic
cantata by Benjamin Godard, text by
Grandmougin, Paris, 1879 ; and T.asso's
Abschied, symphonic poem by Edmund
Rochlitz, Zwickau, 1885. Italian opera :
Torquato Tasso, by Donizetti, text by Fer-
retti, Rome, 1833. French operas : La
mort du Tasse, by Manuel Garcia, text by
Cuvelier and Helitas de Meun, Paris, Feb.
7, 1821 ; La vision du Tasse, by Gilloux,
Bordeaux, 1840 ; Le retour du Tasse, by
Mile Pean de la Roche-Jagu, Paris, about
1865.— Pohl, Liszt, 221, 398 ; Upton,
Standard Symphonies, 283 ; Echo (1855-
56), ii. 32-37.
TAUBERT, ERNST EDUARD, born at
Regenwalde, Pomerania, Sept. 25, 1838,
still living, 1890. Instrumental and vocal
composer, pupil of Albert Dietrich at Bonn,
and of Kiel in Berlin, where he settled,
after living temporarily at Leipsic and Wei-
mar. Works : Quintet for pianoforte and
strings ; 3 quartets for strings ; Pieces for
violin ; Pianoforte music ; Songs. — Mendel.
TAUBERT, (KARL GOTTFRIED) WIL-
HELM, born in Berlin,
March 23, 1811, still
living, 1890. Pianist,
pupil of Ludwig Berger
and in composition of
Bemhard Klein ; stud-
ied at the University of
Berlin in 1827-30, ap-
peared early as a vir-
tuoso, and taught for some time in Berlin,
where he became in 1831 accompanist at
46S
TAUBEllT
the court concerts. In 184-1: he was ap-
pointed Kapellmeister of the opera, and con-
ductor of the symphony soirees of the royal
orchestra, Hof-Kapellmeister in 1845, and
in 1870 retired from the opera with the title
of Oberkapellmeister. He was elected
member of the academy iu 1834, and presi-
dent of the musical section of its senate in
1875. His songs were very favorably no-
ticed by Mendelssohn. Works — Operas:
Die Kirmes, Berlin, 1832 ; Der Zigeuner,
ib., 1834 ; Marquis uud Dieb, ib., 1842 ;
Joggeli, ib., 1853 ; Macbeth, ib., 1857 ;
Ciisario, ib., 1874; Music to the Medea of
Euripides, 1843, to Tiecks's Der gestiefelte
Kater, 1844, and Blaubart, 1845, and to
Shakespeare's Tempest. Overtures to
Othello, to the drama Das graue Miinnlein,
and Aus Tausend uud eine Nacht ; 4 sym-
phonies, 1831, 1846, 1850, 1855 ; Cantatas ;
String quartets and trios ; Vater uuser ;
Psalms ; Kiuderlieder ; Duets and part-
songs ; Sonatas, and other music for piano-
forte and violin. — Ledebur, Toukiinstler
Lex. Berlins ; Mendel ; Fctis ; Riemann ;
Schilling.
TAUBERT, OTTO, born at Naumburg,
Prussian Silesia, June 26, 1833, still living,
1890. Vocal composer, and writer on mu-
sic, pupil of Otto Claudius ; was prefect of
the cathedral choir in his native city, taught
at different institutions in the Rhine prov-
ince, Westphalia, and East Prussia, and in
1863 became professor at the Gymnasium
of Torgau, where be is also city cantor and
conductor of the singing society. Works :
Salvum fac regem, for mixed chorus ; Sko-
lion of Kallistratos, for male chorus ; Other
choruses for male voices, and songs. — Men-
del ; Riemann.
TAUBNER, ANTONiN MORITS, flour-
ished in Prague about the middle of the
18th century. Organist and violinist, in the
latter capacity member of Prince Lob-
kowitz's orchestra ; conducted the church
music in the Ursuline convent, and in the
church of St. John Nepomuk. Works
— Oratorios : Gewiissertea Roj^hidion von
dem Felsen Horeb durch die Ruthen Mo-
isis, etc., 1741 ; Die fruchtlose Gerecht-
fertigung des ungerechten Urtheils deren
Josephinischen Gebruder-SOhnen Jacobs,
etc., 1743 ; Das siebenfiiltig verunreinigte
Haus Jacobs, 1745 ; Der im bittern, cypris-
traubenreicheu Weingebirge Engaddi ver-
lassene Briiutigam, 1747 ; Die Hochzeit des
Lammes, etc., 1754 ; Das verkliirte Grab
des Heilands, etc., 1758. Masses, offer-
tories, and arias. — Dlabacz ; Wurzbach.
TAUDOU, ANTOINE ANTONIN BAR-
THfiLEMY, born at Perpignan, France,
Aug. 24, 1846, still living, 1890. VioHnist,
pupil of the Paris Conservatoire, where he
won the second prize for violin in 1865,
the first in 1806, the first prize for harmony
iu 1867, for counterpoint and fugue in
1868, and the grand prix de Rome iu 1809.
He is a member of the Opera orchestra,
and was appointed iu 1883 professor of
harmony at the Conservatoire. Works :
Cantata for the inauguration of Francois
Arago's statue at Perpignan, 1879 ; Marche-
ballet, for orchestra, 1872 ; Chant d'au-
tomne, and Marche nocturne, do., 1873 ;
Concerto for violin ; Trio for pianoforte,
and strings ; do. for flute and strings.
— Fctis, Suppk'ment, ii. 505.
TAUSCH, FRANZ, born at Heidelberg,
Dec. 26, 1762, died iu Berlin, Feb. 9, 1817.
Virtuoso on the clarinet, played iu the elec-
toral orchestra, Mannheim, when only eight
years of age ; went with the court to Mu-
nich in 1777, accompanied Peter von Winter
to Vienna, where he remained six months,
and made a concert tour through North
Germany in 1784, visiting also Berlin aud
Dresden. In 1790 he entered the court
orchestra in Berlin, where he established
weekly musical assemblies in 1799, from
which originated iu 1805 an institute for
wind instruments. Heinrich Biirmann was
his pupil. Works : Two concertos for clar-
inet ; 2 concertantes for 2 clarinets ; duos
for do. ; Trios for do. and bassoon ; 6 quar-
tets for 2 basset-horns and 2 bassoons,
besides 2 horns ad libitum ; Andante and
m
TAUSCH
Polonaise, for clarinet ; 6 marches for 10
parts ; 5 do. and a choral. His sou and
pujjil, Friedrich Wilhelm (died April 29,
1845), was also a notable virtuoso, and af-
ter his father's death conducted the insti-
tute for wiud instruments. — Mendel ; Eie-
mann.
TAUSCH, JULIUS, born at Dessau, April
15, 1827, still living, 1890. Pianist, pupil
of Friedrich Schneider, and at the Leijjsic
Conservatorium, 18i4-4G, of Mendelssohn,
Hauptmaun, and others. In 1846 he settled
at Dttsseldorf, aj^peared in public as a pi-
anist there and in other cities, succeeded
Julius Rietz in 1847 as conductor of the
Kiinstler - Liedertafel, and Schumann in
1855 as conductor of the Musikverein,
after having temporarily filled that position
from 1853. Works: Music to "As you like
it ; " Der Blumen Klage auf den Tod des
Siingers, for soprano solo, female chorus,
and orchestra ; Ave Maria, for soprano and
orchestra ; Dein Leben schied, dein Ruhm
begann, Conzertstiick for male chorus and
orchestra ; Fest-Ouvertiire ; Duo for piano-
forte and violin ; Choruses for male voices,
songs, and pianoforte pieces. — Mendel ;
Riemann.
TAUSEND UND FINE NACHT, AUS
(From a Thousand and One Nights), over-
ture, in G minor, by 'Wilhelm Taubert, op.
139 (Leipsic, Kistner).
TAUSIG. KAItL. born at Warsaw, Nov.
4, 1841, died at Leip-
sic, July 17, 1871.
Virtuoso on the pi-
anoforte, son and pu-
pil of Aloys Tausig
(1820-85, " pupil of
Thalberg) ; then pu-
pil of Liszt, next to
whom he was the
most remarkable pi-
anist of his time, noted for his masterly
technique and interpretation. After suc-
cessful concert tours, and a temporary abode
in Dresden in 1859-60, and in Vienna in
1862, he settled in 1865 in Berlin, and es-
tablished there in 1869 an academy for the
higher branches of pianoforte jilaying. His
widow, Seraphine von Vrabely, is also a
distinguished pianist, jjupil of Dreyschock.
Works — A. Original : Das Geisterschiff,
symphonic ballad, after a poem by Strachwitz
(the pianoforte transcription by the com-
poser was published by Schuberth, in Leip-
sic, as op. 1, but was afterwards cancelled) ;
Other orchestral works in ]MS. ; 2 concert
studies for pianoforte, in F-sharp, and
A-flat, op. 1 (Leipsic, Senff) ; Ungarische
Zigeunerweisen, for do. (ib.) ; Nouvelles
soirees de Vienne, valses-capriccs on
themes from Strauss, 5 numbers (Nos. 4
and 5 j'ublished posthumously, compiled
from MS. fragments of Tausig's by Ehr-
lich) ; TiigUche Studien (posthumous, edited
by Ehrlich). B. Transcriptions : Halka-
Phantasie, on themes from the opera by
Moniusko ; Pianoforte score of Wagner's
INIeistersinger (a mastei-jDiece in its way) ;
Bach's organ Toccata and fugue in D mi-
nor ; 6 movements from string quartets by
Beethoven ; Concert arrangements of 5
clavecin pieces by Domenico Scarlatti ;
Schubert's Jlilitiir-Marseh, in D-flat ; 3 Para-
phrases on Wagner's Tristan (Liebesscene,
Verkliirung — Brangiinens Gesang, Matro-
.seulied — Melodie des Hirten) ; Siegmuuds
Liebesgesang, and Der Ritt der Walkiiren,
from Wagner's Die Walkiire ; Wagner's
Kaiser-Marsch ; Weber's Auf forderung zum
Tanz, with arabesques for concert perform-
ance ; Cho-
pin's E minor
concerto,
with orches-
tration and
pianoforte
part retouched. He also rc-edited selec-
tions from Bach's Wohltemperirte Clavier,
and dementi's Gradus ad Parnassum. — Gar-
tenlaube (1871), 630; Wiener Zeitg. (1861),
545 ; (1864), 304 ; Wurzbach ; Mendel ; Rie-
mann ; Fetis, Supplement, ii. 565.
TAmVITZ, EDUARD, bom at Glatz,
Silesia, Jan. 21, 1812, still living, 1890.
464
TAVERNER
Instrumental and vocal composer, studied
at Breslau. In 1837 lie became Kapell-
meister of the theatre at Vilna, in 184:0 at
Riga, in 1843 at Breslau, and in 1846 at
Prague ; was pensioned in 18G3, and has
since acted as du-ector of the Sophien-
Academie, and Chormeister of the Ger-
man Milnnergesangverein. Works : Brada-
mante, opera, Riga, 1844 ; Schmolke und
Bakel, comic opera, Breslau, 1846 ; Church
music ; Quartets for male voices ; Songs.
—Mendel.
TAVERNER, JOHN, English composer
of the 16th century, died at Boston, Lin-
colnshire. Organist at Boston, afterwards
(about 1530) of Cardinal (now Christ Church)
College, Oxford. Associated in the Refor-
mation with John Frith and others of its
partisans, he narrowly escaped martyrdom.
He composed masses and motets, many of
which are in MS. in the Music School and
Christ Church (17 motets for 3-6 voices),
Oxford, the British Museum, and elsewhere.
— Grove.
TAYBER. See Teyber.
TAYLOR, RAYNOR, born in London
about 1743-45, died in Philadelphia about
1810 (1819 ?). Organist, pupil, as a chor-
ister at the Chapel Royal, of Bernard Gates
and of James Nares, to the latter of whom
he was articled. He sang as a boy in Han-
del's oratorios and at his funeral in West-
minster Abbey in 1759, of which he used to
give a graphic account. In 1792 he re-
moved to Philadelphia, where for several
years he was organist of St. Peter's Church
and director of the music at the Chestnut
Street Theatre. He frequently conducted
oratorios and concerts and, being a clever
extempore performer, was accustomed to
work out a fugue on subjects furnished
him. Works : The Ethiop, opera, Chest-
nut Street Theatre, 1794 ; Services and an-
thems ; The Harvest Home, and other glees ;
Songs, etc.
TEDESCO, HTNEK BOHUMIL (Ignaz
Amade), born at Prague in 1817, died at
Odessa, November, 1882. Pianist, pupil of
Triebensee and Tomaschek. He made eon-
cert tours, especially in Southern Russia,
with great success, and settled at Odessa,
but lived temporarily at Hamburg in 1848,
and in London in 1856. His compositions
belong for the greater part to the class
of brilliant drawing-room music. Works :
Concerto for pianoforte and orchestra ;
Cajirices de concert ; Mazurkas, nocturnes,
waltzes, rhapsodies, transcrij)tions, etc. — II-
lustr. Zeitg. (1850), i. 346 ; Wurzbach.
TE DEUM, for three choruses, orchestra,
and obligate organ, by Hector Berlioz, op.
22, first performed in the church of Saint-
Eustache, Paris, April 30, 1854, at the
Thanksgiving service for the safety of the
Emjieror's life after the attempt at his as-
sassination, April 28, 1854. The first and
second choruses and the orchestra are to be
placed at the end of the church opposite
the organ, and the third chorus, of chil-
dren's voices in unison, in the middle of the
nave. Berlioz considered the Judex cre-
deris in this work his grandest single move-
ment. It was first given in London, at
the Crystal Palace, April 18, 1885; by
the Bach choir, London, May 17, 1887 ;
and it was sung by the latter society at the
Queen's Jubilee, Westminster Abbey, June
28, 1888. The score, dedicated to Prince
Albert, was published by Brandus (Paris,
1855). Other Te Deums : Old Melody in
the Mixed Phrygian Mode, by Palestrina,
for six voices ; by Felice Anerio (in
Proske's " Musica Divina," vol. iv.) ; by
Jakob Hiludl (in the " Tertius Tomua
Musica operis ") ; by Benevoli ; two by
Haydn ; by Cherubini (MS. lost) ; by Tallys
(MS. in the Royal College of Music) ; by
Byrd ; by Farrant ; by Orlando Gibbons ;
by Dr. Blow ; by Dr. Croft ; by Jackson ; by
Sir Alexander Macfarren ; by Sir Ai-thur S.
Sullivan, to celebrate the Prince of Wales's
recovery (1884) ; by Sarti to a Russian text,
at the command of the Empress Catherine
n., to celebrate Prince Potemkin's victory
at Otchakov ; by Graun, on Frederick
the Great's order, to commemorate the
TELEMACCO
Battle of Prague, performed in Cliarlotten-
burg in 1762 ; by Purcell, for Saint Cecilia's
Day ; and Handel's Detlingen Te Deum,
Utrecht Te Deum, and Queen Caroline's Te
Deum.— JulUen, Berlioz (1888), 232 ; Grove,
iv. 67.
TELEALVCCO (Telemachus), Italian opera
in three acts, text by Sigismondo Capece,
music by Gluck, first represented at the
Teatro Argentina, Eome, 1750. The story
is that of Telemachus on Circe's island.
Other Italian operas : by Scarlatti, Rome,
1718 ; by Bertoni, Venice, 1777 ; by Paul
Grua, Munich, 1780 ; Telemacco, ossia
il valor coronato, by Badia, Vienna, July
26, 1702 ; Telemacco, by Joiio Cordeiro da
Silva, Lisbon, 1787 ; by Cigalla, Venice,
1797 ; by Ferdinand Sor, Barcelona, 1798 ;
Telemacco nell' isola di Calipso, by Simon
Mayr, text by Sografi, Venice, 1797 ; Le
nozze di Telemacco ed Antiope, by Merca-
dante, text by Calistro Bassi, Vienna, Nov.
5, 1824 ; and a cantata by Zingarelli, text
by Moretti, Milan, 1785. Operas in Eng-
lish : Calypso and Telemachus, by Galliard,
text by John Hughes, London, 1712 ; Tele-
machus, by Henry Rowley Bishop, London,
1815. In French : Tt'lemaque, pasticcio,
by Campra, text byDancbet, Paris, Nov. 11,
1804 ; Tc-lemaque, by Destouches, text by
the Abbe PeUegrin, Paris, Nov. 29, 1714 ;
Telemaque dansl'ile de Calipso, by Lesueur,
text by Dercy, Paris, May 11, 1796 ; by
Boieldieu, same text, St. Petersburg, Dec.
6, 1806. In Spanish : El joven Telemacco,
operetta, by Jose Rogel, Madrid, 1866 ;
and Telemacco eu la Albufera, about 1875.
In German : Telemach, by Christojjh Graup-
ner, Darmstadt, 1711 ; Telemachus, by
Schurmann, Hamburg, 1721 ; Telemach der
KOnigssohn aus Ithaka, by Hofmeister,
text by Schikaneder, Vienna, 1796 ; Der
travestirte Telemach, caricature operetta,
by Ferdinand Kauer, text by Perinet, Vi-
enna, 1805 ; Telemach auf derlusel Ogygia,
Singspiel, by Josef Triebensee, text by
Schikaneder, Prague, 1824. — Mars, Gluck
und die Oper, i. 188.
TELEMANN, GEORG PHILIPP, bom
in Magdeburg, March 14, 1681, died in
Hamburg, July 25,
1767. Dramatic and
church composer, the
most celebrated con-
temporary of Bach,
and in his lifetime
much better known
than he. He ■wrote
an opera at the age
of twelve, taking Lul-
ly for his model, con-
ducted the music in the Catholic Church at
Hildesheim in 1695, and was made organist
and music director at the Neue Kirche in
Leipsic in 1701, while studying at the Uni-
versity. In 1704 he became Kapellmeister
to Count Promnitz at Sorau, and in 1708
Conzertmeister at the court of Eisenach,
where be succeeded Hebenstreit in 1709 as
Hof-Kapellmeister. He retained this title
and a pension, when accepting a call to
Frankfort in 1711, as Kapellmeister at the
churches of the barefooted friars and of St.
Catherine. In 1721 be went as music di-
rector to Hamburg, and in 1723 was offered
the position of cantor at the Thomasschule,
and of city music director in Leipsic, but
declined, whereupon Bach was elected.
Telemann was the prototype of a German
composer ex-officio, writing hia works with
astonishing rapidity, as he needed them, or
as they were called for ; his style is fluent
and correct, showing great mastery of
counterpoint, but lacks the depth and solid
thoroughness which characterize Bach's cre-
ations. The number of his compositions
was so gi-eat, that in later years he could
himself neitlier enumerate them nor indi-
cate all the titles. "Works : More than 12
books of church music for the entire year
(about 3,000 pieces with orchestra or or-
gan) ; 44 numbers of Passion music (1722-
67) ; 32 do. for installation of preachers
(1728-66); 33 Hamburger Kapitiinsmusi-
ken, each consisting of a sonata for instru-
ments and a cantata (1724-65) ; 20 pieces
466
tElEmaque
for jubilees, coronations, and inaugui-ations
(1723-Gi) ; 12 funeral services ; U num-
bers of wedding music ; Over 300 over-
tures ; Many serenades ; 12 sonatas for
violin (1715, 1718) ; Die Heine Kammer-
musik, containing G suites for violin, flute,
oboe, and harjjsichord (171G) ; G trios for
various instruments (1718) ; Harmonischer
Gottesdieust oder geistlicbe Kantateu
(1725) ; Auszug derjenigeu musikaliscben
und auf die gewobnlicben Evangelien ge-
ricbteten Arien, etc. (1727) ; Der getreue
Musikmeister, containing songs, sonatas,
fugues, etc. (1728) ; Sonatas for 2 flutes or
violins, witbout bass (Amsterdam) ; Allge-
meines evangeliscbes Liederbucb (1730) ;
3 trios and 3 scberzi for 2 violins, or flute,
and bass ; Scberzi melodicbi, for violin, vi-
ola, and bass (1734) ; Siebeumal sieben und
ein Menuet ; Heldenmusik, containing 12
marcbes ; 50 meuuets ; Tafelmusik, con-
taining overtures, concertos, sympbonies,
etc.; Many oratorios, and about forty op-
eras, written mostly for tbe theatre at Ham-
burg, and for Eisenach and Bayreuth. — Fii-
tis ; Gerber ; Mendel ; Kiemann ; Schilling.
T:fiL]EMAQUE DANS L'lLE DE CA-
LYPSO (Telemacbus in the Island of Ca-
lypso), tragedie-lyrique in three acts, text
by P. Dercy, music by Lesueur, first repre-
sented at the Tbc'utre Feydeau, Paris, May
11, 179G. The first act shows Telemaque's
arrival on tbe island, where be insj^ires Ca-
lyjjso and Eucharis with love ; the second
includes a beautiful woodland scene, where
fauns, satyrs, nymphs, dryads, and bac-
chantes dance and play. This is one of the
best scenes that Lesueur ever wrote. Tbe
third act shows Telemaque thrown into
the sea by Mentor, the distress of Calypso
and Eucharis, and the descent of Minerva
from Olympus to console them. — Clement
et Larousse, 650.
TELLE, FRIEDRICH WILHELM, born
in Berbu, Sept. 9, 1798, died in Berlin,
May 10, 1862. Dramatic composer, pupil
of A. Gurrlicb, and in Paris of Cherubini.
After bis return to Germany be was Kapell-
meister successively at the theatres of Ber-
lin, Magdeburg, and Aix-la-Chapelle, whence
be went to Paris again, to conduct German
opera. In 1835 be was Kapellmeister of
tbe Imperial Theatre in Vienna, then mu-
sic director at Kiel, and finally in Berlin.
Works : Das Scbiitzenfest, Berlin, 1820 ;
Kafael Zambular, Aix-la-Chapelle, 1831 ;
Das blaue Barett, Vienna, 1835 ; Sara, oder
die Waise von Glencoe, Kiel, 1844: ; Le-
bende Blumeu, operetta ; Ballets. — Mendel.
TELLEFSEN, TH0:MAS DYKE AC-
LAJND, born at Troudhjem, Norway, Nov.
26, 1823, died in Paris, October, 1874.
Pianist, pujjil of Chopin, whose intimate
friend be became ; he continued to live
in Paris, teaching bis instrument. "Works :
Two concertos for pianoforte ; Trio for
pianoforte and strings ; Sonata for vio-
lin ; do. for violoncello ; Pieces for violin
and pianoforte ; Many waltzes, nocturnes,
mazurkas, and other pieces for pianoforte.
— Fctis ; Mendel
TEinSTOCLE (Themistocles), Italian
opera in three acts, text by Metastasio, music
by Caldara, first rejiresented in Vienna,
Nov. 4, 1736. Characters : Serse, King of
Persia ; Temistocle ; Asj)asia and Neocle,
his daughters ; Kossane, Princess royal,
loved by Serse ; Lisimaco, Grecian ambas-
sador ; and Sebaste, Serse 's confidant. The
scene is in Susa. Other Italian oj)eras on
Metastasio's text : by Giovanni Maria Orlan-
diui, Florence, 1737 ; by Pamf)ini, given as
Artaserse, Venice, 1737 ; by Giovanni
Alberto Ristori, Naples, 1738 ; by Andrea
Bernasconi, Vienna, 1744 ; by Jommelli,
Najjles, 1757 ; by Filippo Finazzi, Ham-
burg, 17G0 ; by Johann Ubde, Berlin, 1760 ;
by Johann Christian Bach, German transla-
tion by Verazi, London, 1766 ; by Augus-
tin Ullingei", Freising, 1777 ; Temistocle,
by Manelli, Florence, 1639 ; Temistocle in
TEMPEST
Persia, by Draglii, text by Minato, Vienna,
June 9, 1681 ; Temistocle in bando, by
Zianettini, text by MarseUi, Venice, 1683 ;
Temistocle, by Ziani, text by Zeno, Vienna,
June 9, 1701 ; by Porpora, same text, ib.,
Oct. 1, 1718 ; by Fortunate Chelleri, Pa-
dua, 1720 ; and Temistocle, by Giovanni
Pacini, text by Anguillesi, Lucca, 1823.
Thomistocle, French opera by Philidor, text
by Morel, Fontainebleau, Oct. 13, 1785,
and Paris, May 23, 1786.
TEMPEST, THE, Symphonic poem, in
D minor, to Shakespeare's "Tempest," by
John Knowles Paine, op. 31, first given
in New York, under Theodore Thomas's
direction, in October, 1877. I. Allegro con
fuoco. The Storm ; 11. Adagio tranquillo.
Calm and hajDpy scene before Prosj)ero'3
cell ; in. AUegro moderate e tranquillo,
Prosjjero's tale ; TV. Allegro ma non troppo.
The happy love of Ferdinand and Miranda,
Episode (Caliban), Triumph of Prospero's
potent art. This work was given in Bos-
ton in November, 1877, and has been
frequently j)layed throughout the country.
— Neue Zeitschr., xxii. 94
TEMPEST, THE, music to Shakespeare's
drama for chorus, soli, and orchestra, by
Frank Van der Stuckeu, op. 8, first per-
formed at the Stadt-Theater, Breslau, in
1882.
TE:MPEST, the, incidental music to
Shakesj^eai-e's play, by Arthur Sullivan, op.
1, first performed at the Crystal Palace,
London, April 5, 18C2. It consists of
twelve numbers : I. Introduction ; H. Melo-
drama and songs, " Come unto these yellow
sands," and " Full fathom five ; " IH An-
dante sostenuto, orchestra, and melodrama ;
rV'. Prelude to Act IIL ; V. Melodrama,
solemn music ; VT. Banquet-dance ; VTL
Overture to Act IV. ; VHI. Masque ; IX.
Duet for soprani, " Honour, riches," etc. ;
X. Dance of Nj-mphs and Reapers ; XI.
Prelude to Act V. ; XH. Andante, song,
" Where the bee sucks," and Epilogue.
Published by Cramer, and by Novello
(London). Pianoforte score for four hands
with voices, by F. Taj'lor, published by
Cramer (London, 1862) ; also by Novello
(ib.). Other music to Shakespeare's play :
by Matthew Lock, Loudon, 1673 ; John
Banister and Pelham Humphrey, text re-
vised by Dryden and Davenant, ib., 1676 ;
by Henry Purcell, text by Shadwell ; by
Taubert, op. 13-4, Munich, 1855 ; The Tem-
pest, English opera, by Thomas Augustine
Arne, London, 1746 ; La Tempesta, Italian
opera, by Luigi Caruso, Naples, 1799 ; La
Tempesta, Italian opera, by Halcvy, test
by Scribe, London, June 14, 1850 ; Paris,
Feb. 25, 1851 ; in German, by Winter,
Munich, 1793. Fantaisie dramatique sur la
TempC-te, for chorus, orchestra, and i^iano-
forte, by Hector Berlioz, first given in
Paris, Nov. 7, 1830, the year of its composi-
tion. See TJpisode de la vie d'un artiste.
— Jullien, Berlioz (1888), 56.
TEJIPIA, STEFANO, born at Kacconigi,
Piedmont, Dec. 5, 1832, still living, 1890.
Violinist, pupil of his father, a military
band-master, and of Luigi Felice Eossi ;
became maestro di cappella of the Teatro
Sutera, Turin, and in 1853 of the Teatro
Carignano, having in the meanwhile filled
the post of maestro di capijella at the Col-
legiate church of Trino, province of Ver-
celli. In 1801 he was made a member of
the royal orchestra, then succeeded Eossi
as professor in the two j)ublic schools of
Turin, and in 1868 became j)rofessor at the
Lyceum of music, and dii-ector of the choral
singing schools. Works : Amoro e capric-
cio, ojjeretta, Turin, 1869 ; 2 masses ; Hymn
aUa Palestrina ; La caravane, symphonic
fantasy ; Many pieces for violin. — Fetis,
Suj)plement, ii. 567.
TEJIPLE DE LA GLOIEE, LE (The
Temple of Glory), opera-ballet in three
acts, with prologue, text by Voltaire, music
by Eameau, composed for the arrival of the
dauphin, and first represented at Ver-
sailles, Nov. 27, 1745 ; and at the Acadumie
Eoyale de Musique, Paris, Dec. 7, 1745.
The opera was not a success, owing to the
poor libretto, and it failed again when re-
468
TEMPLE
viveil at the Acacl6mie Royale de Musique
in 174G. — Clement et Larousse, 65-i ; La-
jarte, i. 203.
TEirPLE DE LA PAIX, LE (The Tem-
ple of Peace), opura-ballet in six entrees,
text by Quiuault, music by Lully, first rep-
resented at Fontainebleau, before Louis
XIV., Sept. 12, 1685, and at the Acadomie
Royale de Musique, Paris, in October, 1G85.
It was written in honour of Louis XIV.
One of the airs, sung by Amaryllis, became
very popular. The lords and ladies of the
court apjaeared in the original cast. Entrees
I. and II. Nymphs, shepherds, and shepherd-
esses; III. Basques ; IV. Bretons ; V. Ameri-
can Indians ; VI. Africans. The score was
published by Ch. Ballard (Paris, 1685).
— Clement et Larousse, 65i ; Lajarte,
i. 51.
TEMPLER UND DIE JUDIN, DER
(The Templar and the Jewess), romantic
opera in three acts, text by Wohlbriick,
music by Marschner, op. 60, first repre-
sented in Leipsic, Dec. 22, 1829. The
libretto, founded on Sir Walter Scott's
"Ivauhoe," was a poor adaptation of the
romance, and the opera was not very suc-
cessful. It was first given in Berlin, Sept.
8, 1831 ; in Munich in 1835 ; and in Vienna
in 1862. The score was published by Hof-
meister (Leij)sic, 1829). Other operas on
Scott's " Ivanhoe " : in English, by John
Parry, London, 1820. In French, by Ros-
sini and Pacini, text by Deschamps and
Gustave de Wailly, Paris, Sept. 15, 1826.
In Italian, text by Rossi, Venice, April,
1832 ; by Tommaso Sari, Ajaccio and Bas-
tia, 18G3 ; and II templario, by Otto Ni-
colai, text by Gkolamo Marino, Tiu-in, Feb.
II, 1840.— Hanslick, Moderue Oper, 79 ;
Allgem. mus. Zeitg., xxxii. 645 ; xxxvi. 668 ;
Berliner mus. Zeitg., vii. 333 ; Mus. Woch-
enblatt (1884), 70.
TEMPLIERS, LES, opera, music by
Henry Litolff, represented at the Theatre de
la Monnaie, Brussels, Jan. 25, 1886. The
libretto is founded on events during the
last years of the reign of Philippe IV. of
France. The work, conducted by the com-
poser, was a complete success.
TEN BRINCK, JULIUS, born at Am-
sterdam, Nov. 4, 1838, still living, 1890.
Instrumental composei', 2'upil of Bernard
Koch, Tuijn, Smits, and Heiuze ; then at
Brussels (1858) of August Dupont, and at
Leipsic (1859) of Richter. In 1860-68 he
conducted a singing society at Lyons, then
settled in Paris, where he was in great de-
mand as a teacher and brought out all his
important compositions. Works : Calonice,
opcra-comique, Paris, 1869 ; Suite for or-
chestra, ib., 1874 ; Symphonic poem, ib.,
1876 ; Symphony, suite, and concerto for
violin, with orchestra, ib., 1878. — Fetis,
Supplement, ii. 567 ; Viotta.
TEN CATE. See Cafe.
TEN COMJL\NDMENTS, THE, set to
music in canon form by Haydn. The same
music was used to other words under the
title, "Die zehn Gesetze der Kunst."
TENNSTEDT, J. C, born at Allstildt,
Saxe-Weimar, in 1807, still living (?), 1890.
Vocal and instrumental composer, pupil of
Toepfer and of Haeser at Weimar ; became
director of the concerts at Jena in 1830,
and settled in 1836 at LouvaLn, Belgium,
where he was ^jrofessor at the Ecole de Mu-
sique for more than twenty years. Works :
Festival Cantata, 1852 ; La rencontre, scene
for male chorus and orchestra (prize at
Dunkirk) ; Choruses and songs ; Marche
de la garde civique beige ; Divertissements
for full orchestra. — Fetis, Supplement, ii.
568.
TENTH SYMPHONY, sketches for the,
by Beethoven, written in the summer of
1824. In a letter to Moscheles, dated Vi-
enna, March 18, 1827, eight days before his
death, Beethoven says : " A symphony com-
pletely sketched is lying in my desk, as well
as a new overture and other things." It
was intended for the London Philharmonic
Society. According to Mr. Thayer, " Carl
Holz told Otto Jahu that there was an in-
troduction to the Tenth Symjjhony in E-
flat major, a soft piece ; then a powerful
TERPSICHORE
Allegro in C minor. These were complete
in Beethoven's head, and had been played
to Holz on the piano." Several sketches
were printed in the first number of Hirsch-
bach's Musikalisch-kritisches Repertorium
(January, 1844).— Grove, iv. 92; Nohl,
Beethoven, iii. Ill, 309, 317, 558, 564, 690,
758, 777 ; Bayreuther Bliltter (1884), 220.
TERPSICHORE, ballet with songs, by
Handel, first represented at Covent Garden,
Loudon, Nov. 13, 1734. It was given as a
" Prologo " to a revival of Pastor Fido, and
it was written for the celebrated French
danseuse Mile SaUo, who appeared as Ter-
psichore. Apollo, having left Parnassus to
visit his "new Academy," asks Erato where
her sister Terpsichore may be. While
Erato is praising her " intelligent feet,"
Terpsichore enters, and, at Apollo's com-
mand, expresses in her dancing the various
passions of love. A song on JujDiter, " Gran
tonante," was taken from Pai-nasso in Festa,
and the music to Terpsichore's first entrance
from Tolomeo. Apollo, Terpsichore, and
Erato disappear while the final chorus is
being sung. The original score is lost, but
a copy in Smith's autograph, in Bucking-
ham Palace, is in " Additional Songs " (vol.
ii.). It was first published by Arnold as a
masque (Loudon, 1795-96). — Chrysander,
Hiiudel, ii. 368 ; Rockstro, do., 193 ; Schoel-
cher, do. 172.
TERRADELLAS, DOMIMGO (mGUEL
BERN.\BE), (Domenico Michele Baruaba
Terradeglias), born in Barcelona, Spain, hap-
tized Feb. 13, 1711, died in Rome in 1751.
Dramatic composer, jjujiil of Diu'ante at the
Conservatorio San Ouofrio, Naples. After
bringing out several oi)eras in Italy and two
in London, in 1746-47, he became maesti'o
di cappella at S. Giacomo degli Spagnuoli
in Rome, where he seems to have remained
untU his decease. He is said to have died of
grief from the failure of bis opera Sesostri.
Works : Astarte, Naples, 1739 ; L' intrighe
delle cantai'ine, opera buffa, ib., 1740 ; Ar-
temisia, Rome, 1740 ; Issifile, Florence,
1742 ; Merope, ib., 1743 ; Mitridate, Lon-
don, 1746 ; Bellerofonte, ib., 1747 ; Sesos-
tri, Rome, 1751. Giusepj^e riconosciuto,
oratorio ; Mass. — Fetis ; Mendel ; Saldoni,
Efemerides de los musicos espauoles, 33.
TERRY, LEONARD, born at Liege,
Feb. 13, 1816, still living, 1890. Vocal com-
poser, pupU of Daussoigne-Mchul at the
Liege Conservatoii-e ; won in 1845 the sec-
ond government prize for composition for
his cantata La vendetta, and in 1846 a prize
at Bruges for his Chant de victoire, with
orchestra. In 1849-52 he conducted the
Association Musicale in his native city,
where he also succeeded Geraldy as jsro-
fessor of singing at the Conservatoire. In
1861 he became chef d'orchestre at the
theatre of Liege. Works : Fridolin, lyric
scene ; Maitre Bioch, ou le chercheur de
tresors, opera-comique, Liege, about 1862 ;
La zingarella, do., ib., about 1863 ; Les
jeunes filles et I'ondine, scene for soprano
and orchestra ; Cautate-serenade, 1849 ;
Elegie harmonique, for male voices, violin
solo, and orchestra, 1850 ; 18 choruses for
female voices ; 12 French and Italian mel-
odies ; About 40 romances, etc. He pub-
lished a biogi-aphy of Fran(;ois Prume
(1853), and Recherches historiques sur la
musique, etc. (Liege, 1864). — Fctis ; Mendel.
TERSCH.\K, ADOLF, born in Prague,
April 21, 1832, still hving, 1890. Virtuoso
on the flute, puj)il of one Bilowitz, and in
harmony of Franz Pofi'el and the organist
Zenker, at Hermanustadt, Transylvania,
whither he had gone with his parents when
only seven years of age ; then (1850-52)
Ijupil of Franz Zierer on the flute, and of
Schlesinger and Sechter in theory, at the
Conservatorium in Vienna. In 1852 he
started on a concert tour, visiting Berlin,
Hamburg, and London, then Ii'eland and
Scotland, and in 1853 Paris and the South
of France, and returned to Transylvania.
In 1856 he set out on another tour East,
through the Danube principalities and Rus-
sia to Siberia, and in 1860 visited Prague,
in 1863 German}', living in the meanwhile
at Hermannstadt and Vienna. In 1866 he
470
TEEZIANI
was at Bucharest, and in 1869 apparently
at Linz, UjDper Austiia, to judge from a
composition published there. Works : Sal-
tarella, for flute, violoncello, and pianoforte,
op. 20 ; 6 duos for flutes, op. 82 ; Ave
Maria, for soprano or tenor, with chorus
and flute obligato, 2 clarinets, and strings
(Linz, 1869) ; Many compositions for flute,
with pianoforte or orchestra ; Songs. — II-
lustr. Zeitg. (1858), i. 239 ; Wurzbach.
TERZIANI, EUGENIO, born in Rome in
1828, died there, June 30, 1889. Dramatic
comjDOser, pupil of Mercadante at the Conser-
vatorio in Naples. About 1848 he became
maestro di cappella at the Teatro Apollo
in Rome, then was in the same capacity at
the Scala in Milan, 1SG7-71, and returned to
his former position in Rome, where he was
aj^pointed jirofessor of composition at the
Liceo Musicale of the Accademia di Sta. Ce-
cilia. He is much esteemed also as a vocal
teacher. Works — Operas : Giovauna di
Napoli, Rome, about 184G ; Alfredo, ib. ;
Niccolt) de' Lapi (L' assedio di Firenze),
ib., 1883 ; La caduta di Gerico, oratorio,
Rome, 1841: ; Cecilia mass ; Requiem for
Victor Emanuel. — Riemaun.
TERZIANI, PIETRO, boru in the Papal
States in 1768, died in Rome (?) after 183G.
Church composer, studied in Rome and
Naples ; travelled in Italy, Germany, and
Spain, lived in Vienna, and in 1816 was
appointed maestro di cappella at S. Gio-
vanni in Laterauo, Rome. Works : Eleven
masses for 4 voices ; 3 do. for eight voices ;
Confiteor for do. ; do. for 4 voices ; Lau-
date for do. ; Ave Maria with Alleluia for
8 voices ; Many graduals ; Motets and an-
thems ; 2 dixit for 4 and 8 voices, with or-
chestra ; Lfetatus sum for 4 voices and
orchestra ; Beatus vir, for do.; 2 masses
for do. ; 2 Te Deum for do. ; Mass for 8
voices and do. ; Complete vespers for 2
choirs, organ, and orchestra ; Litanies with
echo and orchestra, etc.; II Creso, opera,
Venice, 1788 ; Several other operas, now
forgotten. His son and pupil, Gustavo
(born in Vienna in the beginning of this
' century, died in Rome, Aug. 31, 1837), who
studied comjjosition in Rome under Giu-
seppe Baini, wrote an oratorio, Daniele, for
the Chiesa Nuova, a mass with orchestra
for S. Luigi de' Francesi, and a psalm for
8 voices (2 choii-s) for H Gesli. — Fetis ;
Mendel ; Schilling.
TESEO (Theseus), Italian o^Dera in five
acts, text by Nicolo Haym, music by Han-
del, first represented at the Queen's Theatre,
London, Jan. 10, 1712. This, Handel's
only opera in five acts, was finished, Dec.
19, 1712. The scene is in Athens, and the
subject is the jealousy of Medea, who, en-
amoured of Teseo, tries to destroy her rival,
Agilea, by her sorcery, and failing, per-
suades Egeo to poison his son ; but Egeo
recognizes Teseo in time to avoid handing
him the fatal cup. The opera ends with
the union of Teseo and Agilea, and of Arcane
and Clizia, who have little to do with the
action. The music of Teseo equals that of
Riualdo, one of Handel's best operas. Ori-
ginal cast : Teseo (S.), the Cavaliere Valeri-
ano ; Agilea (S.), Margarita de 1' £pine ;
Medea (S.), Signora Pilotti Schiavonetti ;
Egeo, Valentini ; Clizia (S.), Signora Vit-
toria Albergazzi ; Arcane (A.), Mrs. Barbier ;
Fedra (S.), and Minerva (S.). Teseo, which
was dedicated to the Earl of Burlington, at
whose house Handel is supposed to have
resided during its composition, was given
twelve times during the first season, and a
special performance took place on May 15,
1734. The autograph, in fragments only,
is in Buckingham Palace, where are also
two complete conducting scores, and a third
copy without the recitatives and labelled by
the bookbinder "Original Score," although
it is not in Handel's autograph. Teseo was
one of the first works published by Arnold ;
Breitkopf & Hilrtel (Leipsic, 1874).— Chry-
sander, Hiindel, i. 379 ; Rockstro, do., 77 ;
Burney, iv. 238 ; Gervinus, Gesiinge aus
Handel's Opern und Oratorien, vii. 126.
TE SOL' QUEST' ANIMA. See AttiJa.
TESSARm, ANGELO, born in Venice,
Aug. 16, 1834, still living, 1890. Pianist,
471
TESSAEIN
devoted himself to teaching singing and
to composition. Works : Inno-Saluto,
cantata for chorus and orchestra, Venice,
1875 ; Several compositions for solo voice
and orchestra ; Morceaus de genre for pi-
anoforte ; Vocal melodies. — Fetis, Supple-
ment, ii. 570.
TESSARIN, FRANCESCO, bom in Ven-
ice, Dec. 3, 1820, still living, 1890. Pi-
anist, pupil of Antonio Fauna, and in
composition of Giovanni Battista Ferrari.
Works : L' ultimo Abencerragio, lyric
drama, Venice, 1858 ; Mass ; Psalms ; Mor-
ceaux de concert for pianoforte. — Fetis,
Sujjplement, ii. 5G9.
TESSAEENI, CARLO, born at Rimini,
Italy, in 1690, died ('?). Virtuoso on the
violin, studied jjrobably in Rome, and pos-
sibly under Corelli, whose style he imitated
in his early compositions. He was maestro
concertatore in the principal church at
Urbino. Works : Sonate per due vioHni
e basso, etc. (Amsterdam, Paris) ; Sonate
a due violini, Lib. I., II. (ib.) ; 12 concertini
a violino principale, 2 violini di ripieno, etc.
(ib.) ; 12 sonate a violino solo, e basso per
organo (Paris) ; 6 divertimenti a due vi-
olini ; L' arte di nuova modulazione, ossia
concerti grossi, etc. (Amsterdam and Paris,
1762) ; Contrasto armonico, etc. (ib.) ; Gram-
matica di musica. — Fctis ; Mendel ; Rie-
maun.
TETIDE (Thetis), Italian serenata in two
acts, text by Magliavacca, music by Gluck,
first represented at the Italian theatre, Char-
lottenburg, Copenhagen, Ajjril 9, 1749, at
the celebration of the birth of the Crown
Prince, afterwards Christian "STT. (born Jan.
29, 1749). The score was left to the Bibho-
thek, Berlin, by POlchau. The story is of
the nuptials of Peleus and Thetis. It was
revised and given at the Redouten-Saal,
Vienna, Oct. 10, 1760, during the marriage
festivities of the Archduke Joseph of Austria
with Isabella de Bourbon, Princess of Parma,
with the following cast : Tetide (S.), Ca-
terina Gabrielli ; Apollo (S.), Giovanni Man-
zoli ; Marte (T.), Carlo Carlani ; PaUade (S.).
Maria PineUi ; Venere (S.), Teresa Giaco-
mazza ; and chorus of nymphs, nereids,
naiads, and tritons. The score was printed
by van Ghelen (Vienna, 1760) ; a copy
is in the HofbibUothek, Vienna. Other
Italian operas on this subject : Le nozze
di Teti e di Peleo, by Cavalli, text by Per-
siani, Venice, 1639, translated into French
by Benserade, Paris, Jan. 26, 1654 ; Teti,
by Antonio Bertali, Mantua, 1652 ; Tetide
in Sciro, by Domenico Scarlatti, Rome,
1712 ; and Teti e Peleo, dramatic cantata,
by Rossini, Naples, 1816. In French :
Thutis et PuK'e, opera in five acts with pro-
logue by Colasse, text by Fontenelle, Aca-
demic Royale de Musique, Paris, Jan. 11,
1689 ; Thetis, ballet-ojx'ra by Batistin
Struck, Vei'sailles, about 1711 ; Thetis et
Pelee, by Benjamin de Laborde, Paris, Oct.
10, 1765 ; and by Stanislas Champein,
Paris, 1799 ; Peleus and Thetis, English
masque, in Lord Landsdowne's " Jew of
Venice," music by William Boyce, London,
1701 ; and Thetis und Peleus, the first
opera in Swedish, by Uttini, text by Wel-
lander, Stockholm, 1773. — Marx, Gluck
und die Oper, i. 179 ; Schmid, Ritter von
Gluck, 80 ; Desnoiresterres, Gluck et Pic-
cinui, 18, 29.
TEYBER (Tayber), ANTON, born in Vi-
enna, Sept. 8, 1754, died there, Nov. 18,
1822. Church composer, son and pupil of
the court musician Mathias Teyber (died
1785), and for nine years pupil of Padre
Martini at Bologna. After accompanying
his sister Elisabeth, a dramatic singer, on a
tour through Italy, Portugal, Germany,
and Russia, he became organist in the court
orchestra at Dresden, then in 1792 pianist
at the imperial opera in Vienna and adjunct
to Salieri, and in 1793 court composer and
musical instructor to the imperial children.
Works : Gioas, oratorio, Vienna, 1788 ; La
Passione di Giesfi Cristo, 1790 ; Die Ein-
nahme von Belgrad, Dresden, 1792 ; Her-
mes und Mirabella, melodrama ; Many
masses ; Grande symphonic (1799) ; Quar-
tets for strings ; 12 menuets and 12 alle-
473
TEYBER
mandes (Vienna, 1792) ; 12 allemandea
(ib.) ; 6 ecossaises (ib.) ; Songs, etc. — Oes-
terreicbische Eevue (1864), iv. 172, 174 ;
Wurzbacb.
TEYBER (Tayber), FRANZ, born in Vi-
enna, Nov. 15, 1756, died there, Oct. 22,
1810. Organist, pianist, and dramatic com-
poser, brother of the preceding ; pupil of
his father, and in composition of Wagenseil.
He made a concert tour thi-ough Southern
Germany and Switzerland, then was for
several years Kapellmeister of Schikaneder's
theatres at Augsburg, Freisiug, Ratisbon,
etc., and became Conzertmeister at Carls-
ruhe, where he also instructed the prin-
cesses and, being an excellent bass singer,
took part successfully in Italian opera.
For three years he was then Conzertmeister
at Berne, and in 1799 returned to Vienna,
where he found his former principal Schika-
neder conducting the Theater an der Wien,
and entered his service once more, writing
oi^erettas and Singspiele for his theatre.
In 1810, only two months before his death,
he was ajjpoiuted organist at the imperial
chajjel. Works — Operas : Alexander, Vi-
enna, 1801 ; Adelheid von Veltheim ; Die
Entfiihrung, oder Ritter Karl von Eichen-
horst ; Der Schlaftrunk ; Der Zerstreute ;
Das Sj)iunerkreuz am Wiener Berge, 1807 ;
L'aragno di Benevento ; Schah Wampum.
Operettas : Laura Rosetti ; Sheraddin und
Almansor ; Der Telegraj^h oder der Neuig-
keitskriimer ; Pfilndung und Personal-Ai'-
rest ; etc. Der sterbende Jesus, oratorio ;
Mass and other church music ; Songs.
— Wurzbach.
THALBERG, SIGISMUND, born in
Geneva, Switzerland, Jan. 7, 1812, died in
Naples, April 27, 1871. He was the natural
son of Prince Moritz Dietrichstein and Bar-
oness von Wetzlar. His early education
was given him by his mother and a govern-
ess, Madame Denver, at the Pension Sici-
liewski in Geneva. In 1822 he was sent to
live in Vienna with his father, who was so
fond of him that he gave up an ambassador's
appointment to look after his further educa-
tion. Thalberg studied the pianoforte
under the first bassoon player at the Hof-
oper, then under
August Mittag and
Hummel, and theory
under Sechter. At
the age of fifteen his
playing attracted at-
tention in private
circles, and in 1830
he made his first con-
cert tour through
Germany. In 1835
he went to Paris, and extended his tour,
which can only be called triumphal, to Bel-
gium, Holland, England, and Russia, up to
1839. In 1843 he married in Paris Mme
Boucher (daughter of Luigi Lablache, and
widow of a painter of some reputation).
In 1845 he went to Spain. In 1851 his
opera Florinda failed in London, a fate
which was shared by his second and last
opera, Cristina di Suezia, in Vienna in 1855.
In this j^ear he visited Brazil going to the
United States in 1856 and in 1858 to Na-
l^les, where he settled to lead a life of
elegant retirement at his villa at Posilippo.
In 1862 he went again to Paris and Lon-
don, and in 1863 to Brazil. After this he
retired permanently to Posilippo. As a
pianist Thalberg was conspicuous for his
beauty of tone, the perfection of his legato
playing, and the exquisite grace and refine-
ment of his style. The innovations for
which he was famous were, however, for
the most part not original, or not impor-
tant. The feat which is most associated
with him, that of playing a cantilena with
the two thumbs alternately, sustaining the
notes with the pedal, while the disengaged
hand plays brilliant arpeggios, scales, or
octave-passages, now above, now below the
melody, was copied by him from the harp-
ist Parish-Alvars. As a composer he showed
no originality, and not much talent. His
playing of some few classic works was
wonderfully fine ; but he was most at home
in salon music, in which field he has, per-
47S
THAL
haps, never been equalled. "Works : Sou-
venirs de Vienne, op. i ; Concerto in F
minor, op. 5 ; Grand divertissement in F
minor, op. 7 ; Caprice in E minor, op. 15 ;
2 nocturnes, in F-sbarjj and B, op. IG ;
Divertissement (Soirees musicales), op. 18 ;
Caprice No. 2, in E-flat, op. 10 ; 3 nocturnes,
op. 21 ; Grande fantaisie, op. 22 ; 12 etudes,
op. 26 ; Nocturne in E, op. 28 ; Scherzo
in A, op. 31 ; Andante in D-flat, op. 32 ;
Grande nocturne in F-sharp, op. 35 ; 6
pieces, op. 3G ; Komance and etude, op.
38 ; 2 romances sans paroles, op. 41 ; Theme
and etude, in A minor, op. 45 ; Valses bril-
lantes, op. 47 ; Grande sonate in C minor,
op. 56 ; 10 pieces for preparatory study,
op. 57 ; Marche funebre variee,
op. 59 ; Barcarolle, op. 60 ; Valse
mt'lodique, op. 62 ; Les capri-
cieuses (waltzes), op. 64 ; Sou-
venir de Pesth, op. 65 ; Taren-
teUe, oji. 65 ; Trio for pianoforte,
violin, and violoncello, op. 69 ; Les soirees de
Pausilippe (24 pieces in 6 books), op. 75 ;
Celi'bre ballade, op. 76 ; Romance drama-
tique, op. 79b ; La naf)ohtaiue, dance, op. 80.
— Fantasias on Robert le Diable, op. 6 ; La
straniera, op. 9 ; Les huguenots, op. 20 ; God
save the Queen, and Rule Britannia, op. 27 ;
Moise, op. 33 ; Oberon, op. 37 ; La donna
del lago, op. 40 ; Serenade and Minuet from
Don Giovanni, op. 42 ; Les huguenots. No.
2, op. 43 ; Lucrezia Borgia, op. 50 ; Semi-
ramide, op. 51 ; La muette de Portici, ojx
52 ; Zampa, op. 53 ; Styrian melodies, op.
61 ; II barbiere di Siviglia, op. 63 ; Don
Pasquale, op. 67 ; La fille du regiment, op.
68 ; H trovatore, op. 77 ; La traviata, op.
78. — Fantasias with vai-iations, on : Eury-
anthe, op. 1 ; A Scotch theme, op. 2 ; I
Cajmletti ed i Montecchi, op. 10 ; Norma,
op. 12 ; Don Giovanni, op. 14. — Impromp-
tus, caprices, divertissements, etc., on : Le
siege de Corinthe, op. 3 ; The gypsy's
warning, op. 34 ; La sonnambula, op. 46 ;
Charles \T!., op. 48 ; Amaixh by Berlioz, oj).
58 ; Ballad from Preciosa, op. 70a ; Duo from
Der Freischiitz, op. 70b ; Florinda (6 trans-
criptions), op. 71 ; 3 melodies by Schubert,
op. 79.\ ; Fernand Cortez, op. 83. — Varia-
j tions, on : 2 Russian airs, op. 17 ; Finale
from Lucia, op. 44 ; Le depart, op. 55 ;
The barcarolle in L' eUsire d' amore, oj). 60 ;
, Home, sweet home, op. 72 (or 74 ?) ; The
last rose of summer, op. 73 ; Lily Dale, op.
74. — Souvenir de Beethoven, op. 39 ; Do.
du Ballo in maschera, op. 81 ; Do. de
Rigoletto, op. 82 ; L'art du chant aj^plique
au 2)iano (22 transcriptions in 4 series), ofj.
70 ; Grand duo concertant on Semiramide,
for pianoforte and violin (with de Buriot),
op. 54 ; Do. for do. (\vith Panofka) ; Do.
for 2 pianofortes, on H trovatore (with
Gottschalk) ; 48 German songs, op. 8, 11,
13, 23-25, 29, 30.— Grove ; Fetis ; Mendel ;
Ramann (Cowderj'), Franz Liszt, ii. 224 ;
von Lenz, Die grossen Pianoforte-Virtuosen
unserer Zeit.
THAL DES ESPINGO, D.4.S (The Vale
of the Espingo), ballad for male chorus and
orchestra, test by Paul Heyse, music by
Joseph Rheinberger, op. 50. Published
by E. W. Fritzsch (Leipsic, 1871). —Mus.
Wochenblatt (1871), 691.
THALIA, overture for orchestra, by
George W. Chadwick, to an imaginary com-
edy, first performed in Boston in 1883.
thajvios, konig in AEGYPTEN
(Thamos, King of Egypt), choruses and in-
cidental music, written by Mozart to the
Baron von Gebler's drama of this title. It
was composed in Salzburg in 1779-80, and
first performed there. There is no over-
ture, although some authorities try to prove
that the instrumental composition in G
(Kochel, No. 318), dated April 26, 1779,
was written as a prelude to Thamos. Each
entr'acte expresses through music the emo-
tions in the preceding act, and by means
of superscriptions on the score Mozart de-
<71
THAYER
noted the shades of character that he in-
tended to represent, which shows a curious
anticipation of the system of the Leitmotiv.
L Chorus, " Schon weichet dir, Sonne, des
Lichtes Feindin, die Nacht," Maestoso ; II.
Entr'acte, Maestoso and Allegro ; III. Entr'-
acte, Andante ; IV. Entr'acte, Allegro ; V.
Entr'acte, Allegi-o vivace assai ; VI. Chorus,
" Gottheit iiber AUe milchtig," Adagio maes-
toso. Allegro vivace. Allegretto, Allegro vi-
vace ; Vn. Entr'acte, Pheron's Verzweiflung,
GottesliisterungundTod ; and Chorus, "Ilir
kinder des Staubes erzittert und bebet,"
Andante moderate. Thamos was first given
entire in England by the Borough of Hack-
ney Choral Association, under Ebenezer
Prout's direction, Loudon, Jan. 22, 1883 ;
and several numbers were played at the
Crystal Palace, London, Feb. 17, 1883.
Tlie autograph, in possession of Andre,
Frankfort am Main, was first published by
Breitkopf & Hilrtel, who also published the
hymns. Two of the choruses arranged in
jjianoforte score by C. Zulelmer, and pub-
lished by Simrock (Bonn), are thought not
genuine. An arrangement of all the music
for the jsianoforte by H. Ulrich was pub-
lished by Peters (Berlin and Leij)sic, 1866).
Breitkopf & Hilrtel, Mozart Werke, Serie
v.. No. 12. — KiJchel, Verzeichniss, No. 345 ;
Jahn, Mozart, ii. 349, 383, 546 ; do. (Towns-
end), ii. 103-111 ; Andre, Verzeichniss, No.
159.
THANKS BE TO GOD. See Dank sei
dir Gott.
THAYEE, AETHUR WILDER, born in
Dedham, Massachusetts, Aug. 26, 1857,
still living, 1890. Vocal composer and con-
ductor, pupil of Dr. C. A. Guilmette and
Charles R. Adams in singing, of George W.
Chadwick in harmony, counterpoint, and
instrumentation, and of Carl Zerrahn in
conducting. He has conducted choral so-
cieties in Lowell, Salem, Worcester, Alls-
ton, Providence, and other towns ; in 1882
-85 was superintendent of music in the
public schools of Dedham, and in 1885-88,
of Milton. He is now director of music at
Eliot Church, Newton. He was director of
music for the celebration of the 250th an-
niversary of the founding of the town of
Dedham, was a member of the Apollo Club
of Boston in 1881, and became in 1889 a
member of the Harvard Musical Associa-
tion. Works : Thou art my Dream, song,
1881 ; Credo, and Sunset Song, part-soiiga
for men's voices, 1884 ; Wicked Nephew,
Minstrel, Muleteer's Song, Rosalind's Mad-
rigal, and Bugle Song, part-songs for men's
voices, 1885 ; What her face says, Summer
Song, and Flowers for sleep, jjart-songs for
women's voices, 1885 ; Old King Coul,
part-song, sung by the Boylston Club, Bos-
ton, May 5, 188G ; Sea Greeting, part-song,
with orchestra, Apollo Club, Boston, 1886 ;
The Men, part-song, Boylston Club, Dec. 9,
1886 ; The Quiet Moon upon the Clouds,
Milkmaid, My swete swetyiug. Beware, Go
hold White Roses, and Good Night, 1886 ;
Celebration Ode for mixed chorus and or-
gan, 1887 ; Heinz von Stein, Maying, and
When first I came to court, 1887 ; The
Clover Blossoms, Supplication, and My
Love, 1890 ; Christmas service and Easter
service for children's voices, 1889 ; Church
service, 1888 ; Courante, Bourree, and Po-
lonaise for the pianoforte, and many ar-
rangements.
THAYER, (^THTNEY) EUGENE, born
at Mendon, Massachusetts, Dec. 11, 1838,
died at BurUngton, Vermont, Jan. 27, 1889.
Organist, began at fourteen to study the
organ, and in 1862 was one of the players at
the opening of the great organ in Music Hall,
Boston. In 1865-66 he studied in Europe
under Haupt, Wieprecht, and others, and
on his return became organist of the Music
Hall, Boston, editor of the " Organist's
Journal " and of the " Choir Journal," and
director of the Boston Choral Union, the
New England Church Music Association, and
other musical societies. In 1869 he began
to give free organ recitals in Boston, and
afterwards gave many hundred in the prin-
cipal cities of the country. He played in
most of the great cities of Europe and the
THE
United States, delivered uumerou3 lectures,
and contributed much to raise the standard
of musical taste. In 1881-88 he was organ-
ist of the Fifth Avenue Presbyterian Church
(Dr. John Hall) in New York. He received
the degree of Doctor of Music from Oxford
University for his Festival cantata, for soli
and chorus, in eight real parts, with or-
chestra. He composed also songs, pai't-
songs, and organ music.
THE ENEMY S.VID, tenor aria in G
major, with accomisauimeut of strings com-
plete, and continuo, in Handel's Israel in
Egypt, Part H.
THE HEART BOWED DOWN. See
Bohemian Girl.
THEILE, JOHANN, born at Naumburg,
July 29, 1G46, died there, June 24, 1724.
Contrapuntist, jmijil of Schefller in his na-
tive town ; after a short time spent at the
University of Halle, and in Leipsic as singer
and player on the gamba, he studied un-
der Heinrich Schiitz, at Weissenfels. After
teaching music at Stettin, he became in
1673 Kapellmeister to the Duke of Holstein,
at Gottorf ; then taught and composed in
Hamburg, and in 1685 was appointed Ka-
pellmeister at Wolfenbiittel, and later at
Mersebui-g, where he remained imtU the
death of his patron, Duke Christian H.,
when he returned to his native town.
Among his pupils were Hasse, Zachau, and
Buxtehudc. He was called by his contem-
poraries "the father of contrapuntists."
Works : Adam und Eva, Orontes, oj)cras,
Hamburg, 1678 ; Die Geburt Christi, ora-
torio, ib., 1681 ; German Passion (Liibeck,
1670) ; Noviter inventura opus musicalis
compositiouis 4 et 5 vocum, containing 20
masses in the Palestrina style ; Opus secun-
dum, novae sonatse rai-issimaj artis et suav-
itatis, containing sonatas, preludes, etc.,
for 2-5 instruments ; Musikalisches Kunst-
buch (Naumburg, 1691) ; Unterricht von
einigen doppelten Contrapunkten und deren
Gebrauch. — Mendel ; Fotis ; Gerber ; Schill-
ing ; Rieraann ; Walther ; Mattheson,
Ehi-en-Pforte, 371.
THE LORD IS A MAN OF WAR, duet
for two basses, in A major, with accompani-
ment of two oboes, bassoon, strings com-
plete, organ, and continuo, in Handel's Israel
in Egypt, Part H.
THE LORD IS MY STRENGTH, duet
for two soprani, in A minor, with accom-
paniment of violins in unison, and continuo
(the closing ritornello has the strings com-
plete), in Handel's Israel in Egypt, Part H.
THEN SHALL THE RIGHTEOUS.
See Dann werden die Gerechten leuchten.
THEODORA, oratorio in three acts, text
by Thomas ^lorell, music by Handel, first
given at Covent Garden, London, " with a
new concerto on the organ," March 16,
1750. The autograph score, in Bucking-
ham Palace, is dated at the beginning of
the first act, June 28, 174 (the 9 cut away),
at the end of the first act, July 5, 1749, at
the end of the second, July 11, 1749, and
at the end of the oratorio, July 31, 1749.
This work, which is very beautiful, has
been less appreciated than any of Handel's
later compositions. He prized it highly,
and thought "He saw the lovely youth,"
finer than the Hallelujah chorus in the Mes-
siah. The beauty of Theodora's character
and the development of that of Sejjtimus
are expressed with wonderful clearness.
The work was not well received, which was
a great disappointment to Handel. Char-
acters represented : Theodora, a Christian
of noble birth (S.) ; L'eue, a Christian (A.) ;
Valens, president of Antioch (B.) ; Didimus,
a Roman officer, converted by Theodora
(T.) ; Septimus, a Roman ofiicer, his friend
(T.) ; and chorus of Christians and Romans.
On Diocletian's birthday, Valens, ^'resident
of Antioch, orders Didimus to j^roclaim a
feast and sacrifice to Jupiter, charging him
to doom to the rack and flames those who
refuse to obey. Theodora is captured, and
Didimus, who is converted and who loves
her, comes to her rescue. She bids him
kill her with his sword, but he refuses, and
changing his habit for hers, aids Theodora
in escaping. Hearing that Didimus is con-
476
THE
demned to death, she appears before Va-
lens, and pleads that she may take his i^lace.
Valens, enraged, sends them both to death.
With the exception of the numbers "Angels
ever bright and fair," "Lord to Thee each
night and day," " He saw the lovely youth,"
and " Venus laughing from the skies," the
oratorio is almost unknown. Theodora was
sung by the Singakademie, Berlin, in 1838,
and was given at the Crystal Palace, Lon-
don, with additional accompaniments by
Ferdinand Hiller, Feb. 7, 1874. The score
was first published by Walsh (London) ;
Breitkopf & Hiirtel (Leipsic, I860).— Kock-
stro, Handel, 305.
THflODOKE ET PAULIN. See i^preuve
villageoise.
THE PEOPLE THAT WALIvED IN
DARKNESS, bass aria in B minor, with
accompaniment of violins in unison, and
continuo, in Handel's Messiah, Part I., No.
IL
THERE LET HYMEN OFT APPEAR,
aria of L' Allegro, in A major for tenor, or
in G major for soprano, with accomj)ani-
ment of violins in unison, and bass, in Han-
del's L' Allegro, il Pensieroso, ed il Mode-
rato, Part H., No. 33.
THERN, KAROLY (Karl), born at Iglo,
Upper Hungary, Aug. 18, 1817, died in Vi-
enna, April 13, 188G. Dramatic composer,
studied music at home, then in Pesth, where
he became in 1841 Kapellmeister at the
National theatre, and in 1853 professor of
pianoforte and composition at the Conserva-
torium. In 18G4 he resigned this position
to travel with his sons, to introduce them to
the public as virtuosi ; in 18G8 settled again
at Pesth, and afterwards in Vienna. Works
—Operas : Gizul, Pesth, 1841 ; Die Bela-
gerung von Ticheny, ib., 1845 ; Der Hypo-
chonder, ib., 1855 ; Music to Gaul's drama,
The Notary of Paleska ; Pianoforte music,
and songs. His sons and pupils, Willi
(born June 22, 1847) and Louis (born Dec.
18, 1848), distinguished pianists, studied in
Leipsic in 1864-65 under Moscheles and
Eeinecke, and are noted for their ensem-
ble playing on two pianofortes. — N. illustr.
Zeitg. (Vienna, 1880), i. 125; Mendel;
Wurzbach.
THESE DELIGHTS IF THOU CANST
GIVE, tenor aria of L' Allegro, in D major,
with accompaniment of trumpet, two oboes
in unison, three violins (1st and 2d in uni-
son), and bass, in Handel's L' Allegro, il
Pensieroso, ed il Moderato, Part H., No. 39.
THESEE, tragudie-lyrique in five acts with
prologue, text by Quinault, music by Lully,
first represented at Saint-Germain-en-Laye
before the king, Jan. 11, 1675, and at the
Acadcmie Royale de Musique, Paris, in
Ajiril, 1675. This, one of Lully's most
successful operas, kept the stage nearly a
hundred years, being revived thirty times.
The scene of the prologue is in the gardens
of Versailles. The subject of the tragedy
is the love of Thcsue for iSglo, a princess
whom Egc'e, Thesee's father, intends to
marry. Thesee, going to Athens to quell
a revolt, becomes the idol of the people.
Medoe, the sorceress, forsaken by Thesee,
now in love with Egle, persuades Egee to
poison Thesee, but recognizing his son
]2gee, embraces him. Medue takes flight,
Egle gives Thesee her hand, and the jjeople
of Athens rejoice. Original cast for the
prologue : Vonus, Mile Beaucreux ; Ceres,
MUe La Borde ; IMars, M. Godonesche ; and
Belloue, M. Dauphin. Cast for the trage-
die : Medee, Mile Saint-Christophe ; l5gle,
Mile Aubry ; Cleone, MUe Brigogne ; Ar-
eas, M. Morel ; Th6see, M. Clediere. The
l^art of Mcdee was sung successively by
Miles Rochois, Desmatins, Antier, and
Chevalier ; that of Eglo, by Miles Moreau,
Journet, Tulou, Pelissier, Fel, and Sophie
Arnould ; Egee, by Thevenard, de Chasso,
and Larrivee ; and Thesee, by Dumesny,
Murayre, Cochereau, Tribou, Jelyotte, and
Legros. The score was first published by
Christophe Ballard (Paris, 1688 ; 2d ed., ib.,
1711). — Clement et Larousse, 659 ; Lajarte,
i. 25.
THESEE, tragedie-lyrique, text by Qui-
nault, arranged by Morel de Chudeville in
477
THESPIS
three acts, music by Gossec, first repre-
sented at the Academie Koj-ale de Musique,
Paris, Feb. 26, 1782. This opera was uot
as successful as LuUy's on the same libretto.
The part of Medee was well written, and a
chorus of demons effective, but an air of
Lully's introduced into the opera received
the largest share of applause. Original
cast : figle, Jllle Saint-Huberty ;Medue, Mile
du Plant ; Thosee, ]\L Legros ; and Egce,
M. Larrivee. The opera was given sixteen
times in the season of 1782-83. Other op-
eras on this subject, in French : by ]Mon-
donville, text by Quinault, Acadumie Koy-
ale de Musique, Paris, Jan. 13, 17(57 ; and
an operetta, Le fils de Thesoe, by Toussaiut
Fortune Julien, Aix, Feb. 13, 18G-t. In Ger-
man : Theseus, by Strungk, text by von
Bostel, after Quinault, Hamburg, 1C83 ;
Theseus uud Helena, by Johanu Augustin
Kobelius, Weissenfels, 1729 ; and Theseus
und Ariadne, pantomime by Anton Fischer,
text by Stegmej'er, Vienna, 1808. In Ital-
ian : Elena rapita di Tesco, by Cavalli, Ven-
ice, 1653 ; Teseo tra le rivali, by Freschi,
text by Aurelio Aureli, Venice, 1685 ; II
ritorno di Teseo dal labirinto di Greta, bj'
Draghi, text by Minato, Vienna, 1686 ;
Teseo in Atene, by Gianettini with Saba-
dini, text by Aurelio Aureli, three acts,
Parma, 1688 ; Teseo, by Handel, text by
Haym, London, Dec. 10, 1713 ; Teseo in
Greta, by Gonti, text by Pariati, Vienna,
Aug. 28, 1715 ; by Tommaso Albinoni,
Venice, 1725 ; Teseo, by Jeran. Francisco
de Lima, Lisbon, 1783 ; Teseo a Stige,
by Sebastian Nasolini, Vienna, 1791 ; and
Teseo, cantata by Vincenzo Federici, text
by Monti, Milan, June 3, 1801. See Ari-
anna, Arianna a Naxos. — Glement et La-
rousse, 660.
THESPIS, or the Gods grown Old, Eng-
lish comic opera in two acts, text by Gilbert,
music bj' Sullivan, first represented at the
Gaiety Theatre, London, Dec. 23, 1871.
Scene on Mount Olympus. This, the first
of the Gilbert and Sullivan ojjeras, was
played eighty consecutive nights, but has
not been revived. — Athenaeum (1871), ii.
893.
THE TEUMPET SHALL SOLT^D, bass
aria in D major, with accompaniment of
trumpet, strings complete, and contiuuo, in
Handel's 3Iessiah, Part HI., No. 46. This
air is much altered in Mozart's score ; much
in the original trumpet part is transferred
(an octave lower) to the first born, the first
part of the air is considerably curtailed,
and the whole second part, " For this cor-
ruptible must put on incorruption," in B
minor, wholly omitted. Franz has followed
Mozart's curtailment of the first part of the
air, but he has restored Handel's trumpet
part, and the second part of the air, which
in the origiual score is accompanied only
by a continue.
THIBAUT IV., Gount of Gliampagne,
King of Navarre, born at Troyes early in
1201, died there, July 13, 1254, according
to French sources, or at Pampeluna, July
8, 1253, according to Navarrese accounts.
One of the most famous troubadours, called
Faiseur de chansons ; his songs are said to
have been inspired by his love for Queen
Blanche de Castillo, mother of Saint-Louis.
Bishop de La Ravaillicre edited a collection
of sixty-three songs under the title : Poesies
du roi de Navarre, etc. (Paris, 1742), from
manuscripts in the Paris Library. — La-
rousse.
THIELE, EDUAED, born at Dessau,
Nov. 21, 1812, still living, 1890. Instru-
mental and vocal composer, pupil of Koi>
prasch, and Friedrich Schneider, travelled
about 1830 in Germany at the expense of
Duke Leopold of Dessau, and on his return
became second Kapellmeister at the thea-
tre ; two years later he joined Julius Mil-
ler's opera troupe, and conducted its oi*-
chestra at Halle, Altenburg, Magdeburg,
etc., then became music director at GiJthen,
where he was also organist of the principal
church, and professor at the seminary. In
1855 he was recalled to Dessau, to succeed
Schneider, and in 1860 received the title of
Hof-Kapellmeister. Works : Mass, 1840 ;
47S
TIIIELE
Sonatas for pianoforte and violin ; do. for
pianoforte ; CLioruses for mixed, and male
voices ; Songs, and duets. — Fetis ; Mendel.
THIELE, KAEL LUDWIG, bom at
Quedliuburg, Nov. 18, 1816, died in Ber-
lin, Aug. 17, 1848. Organist, son and pupil
of tbe cantor of Nieder-Scbonbausen, and
studied later under W. Bacb at tbe Royal
Institute of Cburcb Music in BerUn. In
1839 be became organist of tbe Parocbialkir-
cbe in Berlin, and died prematurely of tbe
cbolera. Works : Variations, preludes, and
concert pieces for organ. — Mendel ; Fetis.
THIERFELDER, ALBERT, born at
Miiblbausen, Tburingia, April 30, 1846,
still living, 1800. Instrumental and vocal
composer, pu^jil of Hauptmann and Ricbter
at Leijisic, wbere be studied also at tbe
university and obtained tbe degree of doc-
tor for an bistorical dissertation on music.
Having acted a sbort time as musical con-
ductor at Elbing, be went in 1860 to Bran-
denburg, as cantor and vocal instructor at
tbe Gymnasium. In 1874 be received tbe
title of royal music director. Works : Die
Jungfrau vom KOnigsee, romantic opera,
Brandenburg, 1877 ; Zlatorog, for cborus,
sob, and orcbestra, ib., Feb. 28, 1878 ;
Sympbony in C minor ; Quartet for piano-
forte and strings ; Sonatas for pianoforte.
— Mendel ; Fetis, Supplement, ii. 571.
THIERIOT, FERDINAND, born in
Hamburg, April 7, 1838, still bving, 1890.
Instrumental and vocal composer, pupil of
Marxsen at Altona, tben of Rbeinberger in
Municb ; was music director at Hamburg,
Leipsic (1867), and Glogau (1868-70), tben
director of tbe Styrian singing society at
Gratz until 1885, wben be settled in bis
native city. Works : Locb Lomond, sym-
pboniscbes Pbantasiebild, for orcbestra ;
Am Traunsee, for baritone solo and female
cborus, witb string orcbestra ; Quintet for
pianoforte and strings ; Quartet for do. ;
Sonata for pianoforte and violin ; 4 fanta-
sias for do. ; Pieces for violoncello, witb pi-
anoforte ; Cboruses and songs. — Fetis, Sup-
plement, ii. 571 ; Riemann.
THOMAS, (ARTHUR) GORING, born
at Ratton, near Eastbourne, Sussex, Eng-
land, Nov. 21, 1851, still living, 1890. Dra-
matic composer, pupil of liimile Durand in
Paris, 1875-77, tben of Artbur Sullivan and
Ebenezer Prout at tbe Royal Academy of
Music in London ; won tbe Cbarles Lucas
prize in 1879 and 1880. Works — Operas :
Tbe Ligbt of tbe Harem (MS.) ; Esmeralda,
London and Cologne, 1883 ; Nadesbda,
London, 1885. Tbe Sun-Worsbippers, can-
tata, Norwicb Festival, 1881, New York,
Liederkranz Concert, Nov. 20, 1887 ; 4
dramatic scenes ; Antbem for soprano solo,
cborus, and orcbestra, London, St. James's
Hall, 1878 ; Ballet music ; Some detacbcd
pieces for orcbestra ; Songs. — Grove ; Rie-
mann.
THOJIAS, (CHARLES LOUIS) AM-
BROISE, born at
Metz, Aug. 5, 1811,
still living, 1890.
Dramatic compo-
ser, pupil at tbe Pa-
ris Conservatoire
of Zimmerman
and Kalkbrenner
on tbe pianoforte, ,^,,^^^.,^
of Dourlen in bar- ^ ^ //^ W ,
mony, of Barbereau in counterpoint, and
of Lesueur in composition ; won in 1829
tbe first prize for pianoforte, in 1830 for
barmony, and in 1832 tbe grand prix de
Rome witb bis dramatic cantata Her-
man et Ketty. After spending tbree years
in Rome, Naples, Florence, Bologna, Ven-
ice, Trieste, and Vienna, be returned in
1836 to Paris, and devoted bimself to dra-
matic composition. In 1871 be succeeded
Auber as director of tbe Conservatoire.
Member of tbe Academy, 1851 ; L. of
Honour, 1845, officer, 1858, commander,
1868. He is one of tbe most prominent
masters of tbe modern Frencb scbool, some-
wbat kindred in spirit to Gounod, and in-
genious and graceful in style. His forte,
wbicb lies in tbe opera-comique, culminated
in Mignon, tbe success of wbicb in Paris
479
THOMAS
has been ratified on all the principal stages
of Europe and America. Works — Operas :
La double ecbelle, Paris, Opera Comique,
1837 ; Le perruquier de la regence, ib.,
1838 ; Le panier fleuri, ib., 1839 ; Carline,
ib., 1840; Lecorote de Carmagnola, Opera,
1841 ; Le guerillero, ib., 1842 ; Angelique
et Mudor, Opera Comique, 1843 ; IMina, ou
le menage :\ trois, ib., 1843 ; Le Caid, ib.,
1849 ; Le sotigc d'une nuit d'^tu, ib., 1850 ;
Raymond, ou le secret de la reine, ib., 1851 ;
La Tonelli, ib., 1853 ; La cour de Celimene,
ib., 1855 ; Psyche, ib., 1857 ; Le Carnaval
de Venise, ib., 1857 ; Le roman d'Elvire,
ib., 1860 ; 3Iignon, ib., Nov. 17, 1866 ; Ham-
let, Opera, March 9, 1868 ; GiUe et Gillotin,
Opera Comique, 1874 ; Fran^oise de Eimini,
Opera, April 14, 1882. Ballets : La gipsy
(with Benoist and Marliani), Opc'ra, 1839 ;
Betty, ib., 1846 ; La tempGte, ib., June 26,
1889. Cantata for the inauguration of Le-
sueur's statue, Abbeville, 1852 ; Hommage
a Boieldieu, cantata, Rouen, 1875. Messe
solennelle, Paris, Saint-Eustache, Nov. 22,
1857 ; Requiem, Marche religieuse, for or-
chestra, Notre-Dame, 1865 ; 3 motets, with
organ ; Fantaisie for pianoforte and orches-
tra ; Quintet for strings ; Quartet for do. ;
Trio for pianoforte and strings ; Choruses
for male voices, which are considered pro-
ductions of the first rank. — Fetis; do.,
Supplement, ii. 573 ; Mendel ; Riemann.
THOMAS, HAROLD, born at Chelten-
ham, England, July 8, 1834, died in London,
July 29, 1885. Pianist and instrumental
composer, pupil of Sterndale Bennett, Ci-
priani Potter, and Hemy Blagrove (violin),
at the Royal Academy of Music, where he
is now professor of pianoforte, as well as
at the Guildhall School of Music. Works :
Overture for a comedy ; do. to "As you like
it," London, 1864 ; Mountain, Lake, and
Moorland, overture, ib., 1880 ; Pianoforte
music ; Songs.
THOMAS, JOHN, bom at Bridgend,
Glamorganshire, Wales, March 1, 1826,
stUl living, 1890. Harpist, pupil of J. B.
Chatterton, and in theory of Potter and
Read, at the Royal Academy of Music,
where he is now professor of his instrument.
He travelled as a harp virtuoso in France,
Germany, Russia, Austria, and Italy, and
from 1862 gave Welsh concerts in London.
Harpist to the Queen, 1872. Works :
Llewelyn, cantata, Swansea Eisteddfod,
1863 ; The Bride of Neath Valley, a Welsh
scene, Chester Eisteddfod, 1866 ; Concertos
for hai-p ; Waltzes, and transcriptions for
do. ; Welsh melodies, collection (1862-76) ;
Songs, with harp.
THOMAS, JOHN ROGERS, born at
Newport, Wales, March 26, 1830, still Uv-
ing, 1890. He removed early to the United
States and, after singing with the Seguin
English opera troupe, settled in New York.
He is best known for his songs, some of
which have been very popular. Works:
The Picnic, cantata for female voices ; Tis
but a little faded
flower. Cottage by
the sea, Evange-
Q •^-'S-^-^^ ^ jjjjg^ Beautiful isle
of the sea, and
other songs.
THOMSON,
JOHN, born at
Sprouston, Rox-
burgh, Scotland,
Oct. 28, 1805, died
in Edinburgh,
May 6, 1841. lu-
strumental and
vocal composer, pupil of Schnyder von
Wartensee at Leipsic, where he renewed
his acquaintance with Mendelssohn, whom
he had met at Edinburgh. In 1839 he be-
came first Reid professor of music at the
University of Edinburgh, and in 1841 con-
ducted the first Reid concert there. Works
— Operas : Hermann, or the Broken Spear,
480
THOOFT
London, 1834 ; The House of Aspen, ib.,
1834 ; The Shadow on the Wall, ib., 1835.
Minuetto for pianoforte and flute ; Capric-
cio for pianoforte and violin ; Vocal melo-
dies of Scotland, with symphonies and ac-
companiments ; Pianoforte music and songs.
— Schilling.
THOOFT, WILLEM FEANS, born in
Amsterdam, July 10, 1829, still living, 1890.
Instrumental and vocal composer, pupil on
the pianoforte of J. A. Klerk at Delft and of
Karel van der Does at The Hague, and in
composition of Joseph Dupont, then at
Leipsic (1852) pnj)il of Hauptmaun and
Richter. After a short stay in Paris, in
1855, he settled at Rotterdam, where he es-
tablished in 1859 a German opera. Works :
Aleida von Holland, opera, Rotterdam,
1866 ; De krooning van Keizer Karel V.,
symphony-cantata, Amsterdam, 1861 ; Over-
ture to Die Jungfrau von Orleans ; Freud
uud Leid, fantasia for orchestra ; 3 sym-
phonies ; Trio for pianoforte and strings ;
Sonatas for pianoforte ; Songs. — Gregoir,
Biog., 171 ; Futis, Supplement, ii. 575 ;
Viotta.
THORNE, EDWARD HENRY, born at
Cranbourue, Dorset, England, May 9, 183-1:,
stUl living, 1890. Organist, pupil of George
Elvey at the Chapel Royal, Windsor, was
organist successively of Henley-on-Thames
(1853), Chichester Cathedral (1863), St.
Patrick's, Brighton (1871), St. Peter's,
Cranley Gardens (1873), and St. Michael's,
Cornhill, London, since 1875. Works :
Psalm cxxv., for chorus and orchestra ;
Psalm xlvii., for female voices ; Psalm
Ivii., for tenor solo, chorus, and orchestra ;
Several services ; Anthems ; Festival march ;
Funeral march ; Overture ; Toccata and
fugue ; 6 books of voluntaries for the or-
gan ; 2 trios for pianoforte and strings ;
Sonata for pianoforte and violin ; Sonata
and romance for pianoforte and violoncello ;
Suite for pianoforte and clarinet ; Piano-
forte music, part-songs, and songs.
THOU ART GONE UP ON HIGH, bass
aria in D minor, with accompaniment of
violins in unison, and continuo, in Handel's
Messiah, Part H., No. 34. This superb air,
one of the finest in the Messiah, is pub-
lished in the Mozart score without any ad-
ditional accompaniments ; Robert Franz
was the first to put it into a proper shape
for performance.
THOUGH FORTUNE DARKLY. See
Hose of Castile.
THOU SHALT BREAK THEM, tenor
aria in A minor, with accompaniment of
two violins and continuo, in Handel's J/es-
siah, Part H., No. 41.
THOU SHALT BRING THEM m, alto
aria in E major, with accompaniment of
two violins, and continuo, in Handel's Israel
in Egypt, Part II.
THOU WHO IN mOHT SUPREME.
See Bohemian Girl.
THREE HOLY CHILDREN, oratorio in
two parts, text from the Bible, music by
Charles Villiers Stanford, first given at the
Birmingham (England) Festival, Aug. 28,
1885. The first and best part consists
chiefly of Psalm cxxxvii., " By the rivers of
Babylon." The second contains a scene on
the plains of Dura, with an opening hymn
to Bel and a chorus of Assyrian worship-
pers. It was conducted by Hans Richter,
and the solos were sung by Miss Anna
Williams, Mr. Maas, Mr. King, Signor Foli,
and Watkin Mills. This work was first
sung in America by the Choral Society,
Hamilton, Canada, March 11, 1887.— Athe-
njcum (1885), ii. 312 ; Signale (1885), 706.
THURM ZU BABEL, DER (The Tower of
Babel), sacred opera in three parts, text by
Julius Rodenburg, music by Anton Rubin-
stein, op. 80, first given in Konigsberg,
Feb. 9, 1870. The text contains many an-
achronisms. Nimrod, the great hunter, is
made chief builder of the Tower of Babel,
which is being erected as an insult to the
Deity. Abraham rebukes him, and the en-
raged Nimrod orders him to be thrown into
a fiery furnace, but angels protect him and
he escapes unhurt. The spectators, ascrib-
ing the miracle to various gods, quarrel,
481
THURNEK
and are ordered by Nimrod to resume work.
A storm arises, aud Abraham prophesies
destruction, for which Nimrod orders him
to be thrown from the tower. Before this
is executed hghtuing strikes it and the
tower falls. Abraham exults, and the races
of Shem, Ham, and Japheth disperse.
Characters represented : Nimrod (B.),
Abraham (T.), Master Workman (Bar.),
Angels (boys' voices), and choruses of work-
men, people, angels, and demons. This
work was first given in Dresden, under
Kubiusteiu's direction, Nov. 23, 18S3 ; at
Prague, April 1, 1883 ; at the Gewandhaus,
Leipsic, Feb. 26, 1885 ; aud in New York,
by the Oratorio Society, Nov. 26, 1881.
The score was published by Senff (Leij)sic,
1875), and by Chappell (London).— Mus.
Wochenblatt (1870), 152, 217 ; Signale
(1878), 101 ; (1880), 81 ; (1883), 481, 1096 ;
(1885), 257 ; Upton, Standard Oratorios,
260.
THURNER, FRIEDRICH EUGEN, born
at Mumpelgard, Wiirtemberg, Dec. 9, 1785,
died in Amsterdam, March 21, 1827. Vir-
tuoso on the oboe, pupil of Ramm in Mu-
nich, then lived for a short time at Offenbach, i
In 1805 he entered the ducal orchestra at
Brunswick, in 1807 that of King Jerome
at Cassel, and in 1813 began to travel in
Germany ; at Frankfort he played for a
time in the orchestra under Spohr, and in
1818 went to Holland. Frequently recur-
ring attacks of insanity necessitated his
confinement in an asylum at Amsterdam.
Works : Thi-ee symphonies ; Overture ; 4
concertos for oboe ; 4 quartets for do. and
strings ; Rondos and divertissements for
do. ; Trio for oboe and 2 horns ; Duos for
oboe aud pianoforte ; Sonata for horn and
pianoforte ; do. for pianoforte ; etc. — Fu-
tis ; Mendel ; Riemaun.
THURNER, THEODOR, born atPfaffen-
heim, Alsace, Dec. 13, 1833, still living,
1890. Pianist, pupil at the Paris Con-
seiTatoire of Zimmerman aud Alkan, and
in harmony in 1849 of Bazin ; won in 1848
the second prize for pianoforte, aud shared
the first with Joseph Wieuiawski. He
settled at Toulon in 1850, and was organist
there, first at Saint-Jean's, then at the cathe-
dral, until 1859, when he went to Marseilles.
In 1864-74 he was professor at the Con-
servatoire there, and in 1864-69 gave pub-
lic trio-concerts, with Carl Graff and
Auguste Tolbecque. Works : Concerto for
pianoforte and orchestra ; Pastorale for or-
chestra ; Trio for pianoforte and orchestra ;
2 polonaises, 2 valses romautiques, bar-
carolle, tarenteUe, etc., for pianoforte. — Fe-
tis, Supplement, ii. 575 ; Mendel, Ergiinz.,
458.
THUSNELDA, scenes for orchestra, by
Adoljsh Martin Foerster, op. 10, first given
at the Peabody concerts, Baltimore, Feb.
11, 1882. It was played at the Music
Teachers' National Association, Boston,
June 30 and July 2, 1886.
THUSNELDA UND DER TRIUIMPH-
ZUG DES GERMANICUS (Thusnelda and
the Triumph of Germanicus), German op-
era in three acts, text by Hermann Dick-
mann, music by Carl Grammaun, first rep-
resented at the Hoftheater, Dresden, March
31, 1881. The story is of Thusnelda, wife
of the German prince Arminius (Hermann),
who, eai^tured by the Roman general Ger-
manicus, is taken by him to Rome to grace
his triumjih, shown in the third act In-
cidental to the main plot are the loves of
the Princess Hilda and Sigismuud, Thusnel-
da's brother. The music is in imitation of
Wagner. Original cast : Thusnelda, Frl.
Malten ; Germanicus, Herr Bulss ; Sigis-
mund, Herr Gudehus ; and Hilda, Frl.
Reuther.— Signale (1881), 481 ; Mus. Woch-
eublatt (1881), 192.
THIS, ALPHONSE, born in Pari.s,
March 8, 1807, died at Bois-Guillaume,
near Rouen, August, 1879. Dramatic com-
poser, pupil of Bienaimu and of Berton at
the Conservatoire, where he won in 1833
the grand prix de Rome with the cantata
Le contrebandier espagnol. Works : Alda,
Paris, 1835 ; Le roi Margot, ib., 1839 ;
Oreste et Pylade, ib., 1844 ; L'Amazone,
482
TIEHSEN
ib., 1845 ; La sournoise, ib., 1848 ; Les
echos de Kosine, opera de salon. Choruses
for male and mixed voices. His daughter,
Mme Pauline Thys-Sebault (born about
1836), made her name known at an early
age by many chansonnettes and romances,
and composed the following operettas, and
operas-comiques : La jiomme de Turquie,
Paris, 1857 ; Quand Dieu est dans le me-
nage, Dieu le garde, and La perruque du
Bailli, ib., 1860 ; Le pays de Cocagne, ib.,
1862 ; Manette, 1865 ; Le cabaret du Pot-
casse, Brussels, 1878 ; Le fruit vert ; Le
mariage de Tabariu, Rouen, 1885. — Fetis ;
do.. Supplement, ii. 577.
TIEP IN DEN ABRUZZEN. See Slra-
della.
TIEHSEN, OTTO, bom in Dantzic, Oct.
13, 1817, died in Berlin, May 14-15, 1849.
Vocal composer, pupil of the Eoyal Acad-
emy, Berlin, where he settled to teach mu-
sic. Works : Annette, comic oj^era, Ber-
lin, 1847 ; Christmas Cantata ; Kyrie and
Gloria, for 6 voices and chorus ; Cruciiixus
for 6 voices a cappella ; Songs and duets.
— Fetis ; Mendel ; Ledebur, 598.
TILMAN, ALFRED, born in Brussels,
Feb. 3, 1848, still living, 1890. Pianist
and church composer, pupil at the Brussels
Conservatoire in 1866-71 ; won in 1870 the
first prizes for pianoforte, counterpoint, and
fugue. Works : Requiem for Queen Louise
Marie of Belgium, Laeken, 1875 ; Te Deum
solennel, Brussels, Saiute-Gudule, 1877 ;
Cantate patriotique, Brussels, Alcazar, 1878 ;
La sirene, cantata, Ghent, 1878 ; Chant
sacre, Louvain, 1874 ; Marnix, scene for a
bass voice ; Choruses ; Collection of 24
fugues for 2 and 3 voices ; Quartet for
horns ; etc. — Fetis, Supjoloment, ii. 579.
TBIBRE D'ARGENT, LE (The Silver
Bell), opera-fantastique in four acta and
eight tableaux, text by Michel Carre and
Jules Barbier, music by Saiut-SaOns, first
represented at the Opera National Lyrique,
Paris, Feb. 23, 1877. The libretto, which
was declined by Gounod, is the story of Con-
rad, a painter of Vienna, who falls in love
with a danseuse and forgets his betrothed,
Helene. His imagination becomes excited,
and a demon, under the name of Doctor
Spiridion, gives to him, through his en-
chantress, Circe-Fiammetta, a magic silver
bell, which he is to ring to receive all the
gold he may wish, but each time he does
this a human life is lost. Pursuing his
love, who always escapes, Conrad breaks
his timbre d'argent, and wakes to find it
all a dream. The opera was not a success.
— Clement et Larousse, 947 ; Athenaeum
(1877), i. 328.
TIMM, HENRY CHRISTIAN, born in
Hamburg, Germany, July 11, 1811, still liv-
ing, 1890. Pianist, pupil on the pianoforte
and in harmony at Hamburg of Albert Gott-
lieb Methfessel and of Jacob Schmitt. He
made his first appearance as a pianist in
1828 under the direction of Methfessel, and
occasionally played two pianofortes with
Jacob Schmitt, under the direction of Carl
Ki-ebs, Kaj)ellmeister of the Stadttheater,
Hamburg, in whose orchestra he was also
alto-trombone. In 1835 he removed to
the United States and gave concerts in Bos-
ton, Salem, and Newburyport, and later at
the Park Theatre in New York. Soon after
he played second horn at the Park The-
atre and was organist of Grace Church ; then
musical director of the Charleston (S. C.)
Theatre until it was bm-ned in the great
fire ; next chorus-master at the new Opera
House in Church Street, New York, until
that also was burned. He has been organ-
ist of St. Thomas's, the Unitarian Church
on Broadway near Eighth Street, and later
for sixteen years of All Souls' Church on
Fourth Avenue. He was one of the early
members of the New York Philharmonic
Society, and its president from 1847 to 1864,
since which time he has devoted himself
chiefly to teaching the pianoforte and har-
mony, appearing only occasionally as an
accompanist. Works : Grand mass in F,
for soli and chorus, partly for eight parts
and double chorus, with orchestra and or-
gan ; Four-j)art songs, without accompani-
483
TINEL
ment ; Canons, variations, tarentelle, etc.,
for two pianofortes, 4-hands or solos. He
has also published settings for two piano-
fortes of many classical works, such as 20
of Cramer's £tudes celebres ; 2 of J. S.
Bach's Preludes ; 2 of Mozart's sonatas (4
others in MS.) ; 2 of dementi's sonatas ; 6
Bagatellen and several rondos by Hummel ;
Cinq morceaus en forme d'etude by "Wol-
lenhaupt ; Weber's Invitation a la valse, and
2 of the four grand sonatas ; Spohr's Last
Judgment ; Mendelssohn's As the hart pants,
etc.
TINEL, EDGAE, born at Sinay, Bel-
gium, March 27, 1854, still Hving, 1800.
Pianist, pupQ of Michelot, Mailly, Samuel,
and Bressin, at the Brussels Conserva-
toire, where he won the first prize for pi-
anoforte in 1873 ; then began to apjjear in
public as a virtuoso, but continued to study
theory under Gevaert and Kufferath. In
1877 he won the grand prix de Rome, with
his cantata De Klokke Roeland, performed
at the Academie Eoyale de Belgique with
unusual success. Other works : St. Francis,
oratorio, Malines, Aug. 22, 1888 ; Pianoforte
music ; Songs. — Fotis, Supplement, ii. 580.
TINTORER Y SEGARRA, PEDRO, born
at Palma, Majorca, Feb. 12, 1814, still liv-
ing, 1890. Instrumental and vocal com-
poser, pupil at Barcelona of Ramon Vila-
nova, and at the Conservatorio there of
Albeniz on the pianoforte and of Camicer
in composition ; then in Paris pupil of Zim-
merman, lu 183G ho settled at Lyons,
lived there fourteen years as professor at
the municipal college, and then returned
to Barcelona. Works : Two masses for 4
voices, chorus, and orchestra ; Stabat Mater,
for do. ; Te Deum, for do. ; 2 symphonies ;
3 quartets for pianoforte and strings ; Trio
for do. ; Quartet for strings ; 2 duos for
pianoforte and violin ; Duo for pianoforte
and violoncello ; Pianoforte pieces, and
etudes. — Fetis, Supplement, ii. 581.
TISCHER, JOHANN NIKOLAUS, born
at Boehlen, Schwarzburg, iu 1707, died at
Schmalkalden after 1766. Organist, pupil
of Rauche, at Halberstadt of Graf, and at
Arnstadt of Schweitzelberg in composition
and on the viola d'amore. In 1731 he be-
came court and city organist at Schmal-
kalden, and a few years later received the
title of Conzertmeister to the Prince of
Saxe-Coburg. "Works : Das vergniigte Ohr
und der erquickte Geist, in sechs Galanterie-
Partien, zur Clavier-Uebuug, etc., 3 parts
(Nuremberg, 1748) ; Divertissement musi-
cal, consisting of 3 suites for harpsichord ; 6
petites suites, for do.; 13 concertos for do.
He left in manuscript : 50 pieces of church
music ; G concertos for oboe and viola ; 6
do. for violin ; 6 do. for harpsichord ; 6
symphonies for 2 flutes, 2 violins, viola, and
bass ; 6 do. with 2 horns ; Overtures for
string instruments ; Sonatas for violin ; G
fugues for harpsichord ; Divertissements for
do. — Fetis ; Mendel ; Schilling.
'TIS S.iD TO LEA\T] YOUR FATHER-
LAND. See Bohemian Girl.
TITL, ANTON EMIL, born at Pernstein,
Moldavia, Oct. 5, 1809, died in Vienna, Jan.
21, 1882. Dramatic composer, pupil of Rie-
ger at Briinn ; settled in Prague, and after-
wai'ds became Kapellmeister at the Burg-
theater iu Vienna. Works— Operas : Die
Burgfrau, Briinn, 1832 ; Der Todtentanz ;
Der Antheil des Teufels ; Der Zauberschlei-
er ; Das Wolkenkind, Vienna, 1845. Mass
for 8 voices, 1832 ; Overtures to Torquato
Tasso and Der Leichenriiuber ; Songs and
duets. — Fetis ; Mendel ; Schilling.
TOBIE (Tobias), short oratorio by Gou-
nod, written about 1850. An edition was
published by Cramer & Co. (London, 1866).
— Athenreura (18G6), 808.
TOCHTER DER LUFT, DIE (The
Daughter of the Air), fantasia, in the form
of a concert overture, for orchestra, to Rau-
pach's mythical tragedy, by Spohr, op. 99,
first given at Cassel in January, and in
Leipsic iu April, 1837. It was afterwards
used by Spohr as the fii-st movement iu his
Fifth Symphony in C minor, op. 102.
tod' JESU, DER (The Death of Jesus),
a Passions-Cantate, text by Ramler, music
484
TODT
by Karl Heinricb Graun, first given in tlie
Catliedi-al of Berlin, on the Wednesday be-
fore Easter, March 2G, 1755. It is per-
formed annually in Berlin, and holds the
relative place there to Handel's Messiah in
England. It was first sung in London at
the concert of the Royal Academy, St.
James's Hall, under Barnby's direction.
There are three early editions of the com-
plete score, dated 1710, 1760, and Breit-
kopf & Hilrtel's (Leipsic, 1810). Of many
pianoforte editions, Johann Adam Killer's
(1783) is the first. — Bitter, Geschichte
des Oratoriums, 181 ; Winterfeld, Der
evang. Kirchengesang, iii. 229-240 ; Neue
Zeitschr., x., i., 6G, 71, 74, 79 ; Echo (1855-
56), i. 98 ; Allgem. mus. Zeitg., vii. 795 ;
xiv. 779 ; xviii. 409 ; Grove, iv. 131 ; Athe-
nteum (1887), i. 489.
TODT, JOHANN AUGUST WILHELM,
born at Diisterort, near Uckermiinde, Pom-
erania, July 29, 1833, still living, 1890.
Virtuoso on the organ, pianist, and violin-
ist, pupil of Karl Loewe at Stettin, and of A.
W. Bach, at the royal institute for church
music in Berlin, 1856-58. He became in
1859 vocal instructor at the Gymnasium of
Pyritz, in 1860 cantor at Kiistrin, and in
1863 cantor and organist at Stettin. In
1864-66 he supplied Loewe's office, and in
1875 was appointed organist at St. Joanna's.
He is one of the most remarkable organists
of the present time. Works : Das Gediicht-
niss der Entschlafenen, oratorio ; Sym-
phony ; Psalms ; Sonatas and sonatinas for
pianoforte ; Organ music ; Choruses, and
songs. — Mendel.
TODTEN-TANZ (Dance of Death), para-
phi-ase of "Dies Irje," for pianoforte and
orchestra, by Franz Liszt. The subject is
taken from Hans Holbein's cartoons, " The
Dance of Death," at Basel. The music is
written as a set of variations on a cantus
firmus of the 16th centurj', and the various
figures in Holbein's procession are treated
in realistic tone-pictures. Thema, Andante ;
I. Allegro moderato ; H. Moderate ; HI.
Molto vivace ; IV. Lento (canonique) ; V.
Fugato. The fourth variation, by Weitz-
mann of Berhn, was added by Liszt in 1880.
The score, dedicated to Hans von Bulow, was
published by Siegel (Leipsic). Arranged
also for two pianofortes. — Pohl, Liszt, 401 ;
Neue Zeitschr. (1865), 353 ; Upton, Stan-
dard Symphonies, 291.
TOESCHI, CAELO GIUSEPPE (real
name Toesca della Castella Monte), born in
a small town of the Romagna in 1724, died
in Munich, April 12, 1788. Instrumental
comijoser, entered the service of the Elec-
tor-Palatine at Mannheim, in 1756, as violin-
ist, was ai^pointed music director in 1768,
and went with the court to Munich in 1778.
Works — Ballets : Don Quichote, oder die
Hochzeit des Gamacho ; Der englische
Hutmacher ; Harlequin im Schutz der
Zauberei ; 6 symphonies for 8 instruments ;
3 sextets for flute, oboe, bassoon, and
strings ; 3 quintets for flute and strings ;
21 quartets for do. ; 3 concertos for flute.
— Fctis ; Mendel ; Schilling.
TOESCHI, GIOVANNI BATTISTA, born
at Mannheim, about 1745, died in Munich,
May 1, 1800. Violinist, son of the preced-
ing, pupil of Stamitz, and in composition
of Cannabich, whose place as Kapellmeister
he afterwards supplied occasionally, having
joined the Electoral orchestra in 1760. In
Munich he succeeded his father as music
director. His symphonies had great suc-
cess in Paris, before the advent of Haydn.
Works : Three symphonies for strings, 2
oboes, and 2 horns ; do., with 2 bassoons ;
6 do. for 2 oboes, 2 horns, and 2 bas-
soons ; 6 grand symphonies ; 10 quartets
for strings ; 6 trios for do. — Fetis ; Men-
del ; Schilling.
TOFANO, GUSTAVO, born in Naples,
Dec. 22, 1844, stm living, 1890. Pianist,
pupil of Castrucci at Pisa, of Domenico
Caldi at Turin, of Stefano Golinelli at
Bologna, and of Giuseppe Lillo, Antonio
Coop, and Luigi Siri at Naples, where he
studied also composition under Baron Giu-
seppe Staffa. In 1872 he succeeded Goli-
nelli as professor of pianoforte at the Liceo
TOGGENBURG
Musicale of Bologna. Works : Margherita
delle Alpi, cantata, Naples, 1869 ; Choral
Hymn, ib., 1871 ; Aljaba e Omega, ballet
(with others), ib., 1872 ; Amore e sue
tempo, opera, ib., 1875 ; Many compositions
for pianoforte, and songs. — Fetis, Supple-
ment, ii. 582.
TOGGENBURG, cantata for soli, chorus,
and pianoforte, text by Fanny von HoflEnass,
music by Josef Kheinberger, op. 76. Pub-
lished by Prtlger & Meier (Bremen, 1875).
— Signale (1875), 433 ; Mus. Wochenblatt
(1875), 424; Upton, Standard Cantatas,
306.
TOmON ET TOmETTE, comedie in
two acts, with ariettas, text by Desboul-
miers, music by Gossec, first represented
at the Italiens, Paris, June 20, 1767.
TOLBECQUE, JEAN BAPTISTE
JOSEPH, born at Hanzinne, Belgium,
April 17, 1797, died in Paris, Oct. 23,
1869. Violinist, pupil of Rodolphe Kreut-
zer, and in composition of Reicha, at the
Conservatoire, Pai-is, where he entered the
orchestra of the Opera Italien in 1820. He
soon distinguished himself as a composer
and conductor of dance music, and in 1825
left the theatre to conduct the dances at
the Tivoli and other public gai'dens. Until
the appearance of Musard he was the most
popular composer and conductor of that
class of music. He conducted also the
music at the court balls. Works : Charles V.
et Duguesclin, opera-comique (with Gilbert
and Guiraud), Paris, Odeon, 1827 ; Vert-
Vert, ballet (with Deldevez), Opora, 1851 ;
Many quadrilles, waltzes, and other dances
for full orchestra. His brothers, Auguste
Joseph (1801-69), and Charles Joseph
(1806-33), were also distinguished violin-
ists, pupils of Kreutzer. The latter be-
came in 1830 chef d'orchestre at the Theatre
des Varietes, and composed music for some
plays given there, which met with great
favour. — Fctis ; do., Supplomeut, ii. 583.
TOLOMEO (Ptolemy), Italian opera in
three acts, text by Nicoli'i Haym, music by
Handel, first represented at the King's
Theatre, London, April 30, 1728. The
autograph score, in Buckingham Palace,
is dated April 19, 1728. It was given only
seven times, the Beggar's Opera at Lincoln's
Inn Fields attracting many of the patrons
from the King's Theatre. This was the
last opera that Handel wrote for the Royal
Academy of Music. Science's celebrated
echo song, " Dite che fa," sung by Cuzzoni
and repeated behind the scenes by Seuesino,
was received with enthusiasm, and imitated
in composition for many years. Characters
represented : Tolomeo, King of Egypt (C),
Senesino ; Seleuce, his love (S.), Cuzzoni ;
Elisa, sister of Araspe (S.), Faustina ; Ales-
sandro, brother of Tolomeo (A.), Baldi ;
and Ai'aspe, King of Cy^jrus (B.), Boschi.
The score, dedicated to the Earl of Albe-
marle, was published by Walsh (London,
1728) ; Hiindelgesellschaft (Breitkopf &
Hilrtel, Leipsic, 1878). Other Italian op-
eras on the same subject : La pace fra To-
lommeo e Seleuco, by Pollarolo, text by
Marselli, Venice, 1691, and Ferrara, 1696 ;
Tolommeo ed Alessandro, by Scarlatti,
Rome, 1711 ; Tolommeo, re d' Egitto, by
Poi-pora, three acts, about 1760; Tolommeo,
pasticcio, by Ciampi, Loudon, 1762 ; and
by Giusepjie Colla, Turin and Parma, 1780.
See Berenice. — Chrysander, Hiindel, ii. 181 ;
Rockstro, Handel, 156 ; Burney, iv. 334 ;
Gervinus, Gesiiuge aus Hiindels Opern und
Oratorien, vii. 158.
TO^HASCHEK (not Tomaczek), JO-
HANN WENZEL (properly Vaclav Jan
TomaSek), born at Skutsch, Bohemia, April
17, 1774, died in Prague, April 3, 1850.
The youngest of six sons in a family of
thirteen, he showed a precocious taste for
music ; and his father losing his fortune,
his education was cared for by two of his
elder brothers. He was sent to study sing-
ing and the violin under Wolf in Chrudim,
and later to the monastery school at Iglau,
where he continued his studies under the
Minorite friar Donat. His voice changing
iu 1790, he left Iglau for the University of
Prague, where he studied law and philos-
488
TOMASINI
opby aud read the works of Kirnberger,
Marijurg, Mattheson, Tilrk, and Vogler by
himself, supporting himself meanwhile by
giving lessons. His university course end-
ing in 1793, he gave himself up wholly to
music ; he found a protector in Count
Georg von Bucquoy, into whose house he
was taken as composer. He became in
time the most pi-ominent music teacher in
Prague, numbering Alexander Dreyschock,
Sigismuud Goklschmidt, Kittel, Kuhe,
Schulhoff, Tedesco, "Worzischek, Wiirffel,
and others among his pupils. After j)ass-
iug two years at the house of his protector,
he married the sister of Egon Ebert, the
poet, aud set up housekeeping, retaining,
however, his salary from Count von Buc- j
quoy. Tomaschek was one of the most
learned composers of his day, and a man of j
indubitably fine genius ; his works are almost
forgotten now, as is the case with those of i
most of Beethoven's contemporaries. He
^vas a fine pianist and organist. Works. I.
Operas : Seraphine, oder Grossmuth und
Liebe, 2 acts, op. 3G, Prague, Dec. 15, 1811 ;
Alvaro (not given) ; Sakontala (unfinished).
n. Vocal with orchestra : Cantata for the
wedding of Emperor Franz I., of Austria,
and the Archduchess Ludovica Beatrix, for
S. T. B. and chorus, op. 23 (MS.) ; Heloise,
cantata for soprano and chorus, op. 29 ;
Cantata for a single voice, op. 3 (MS.) ;
Mass in E-flat, op. 46 ; Hymni in sacro jn-o
defunctis cantari soliti pleno concentu mu-
sico, op. 70 ; Te Deum, hymnus divi Am-
brosii pleno concentu mus., op. 79. IH.
Vocal with pianoforte : A. Longer Ballads
and Scenes : Schiller's Hektor und Andro-
mache, for S. and B., op. 24 ; Schiller's
Leichenphantasie, for a single voice, op. 25 ;
Gellert's Busslied, for S., op. 27 ; Schiller's
An Laura, for do., op. 28 ; Schiller's Elegie
auf den Tod eines Jiingliugs, for do., op. 31 ;
Der Taubstumme, for do., op. 37 ; Mariens
Abschied von Frankreich, for a single voice,
op. 49 ; Pichler's Die Eutstehung der Cis-
tercienserabtei Hohenfurth, for do., op. 62.
B., Songs : Over 60, op. 2, 6, 33, 34, 42
(two for 2 voices, one for 4), 43 (two for 3
voices, one for 5), 44, 45, 48, 50, 64, 67-69,
71 ; 9 Books of poems by Goethe, op. 53-
61 ; 6 Books of Bohemian songs, op. 82.
IV. For Orchestra : 3 symphonies : No. 1,
in C, op. 17 ; No. 2, in E-flat, op. 19 ; No.
3, in D, op. 30.— Overture in E-flat, op. 38;
2 concertos for pianoforte and orchestra :
No. 1, in C, op. 18 ; No. 2, in ?, op. 20
(MS.). V. For Pianoforte : Variations, op.
1, 4, 5, 8 (MS.), 16; 7 sonatas: No. 1
(Phantasie und pathetische Sonate), op. 9 ;
No. 2, in B-flat, op. 10 ; No. 3, in E-flat, op.
13 ; No. 4, in C, op. 14 ; No. 5, in G, op.
15 ; No. 6, in P, op. 21 ; No. 7, in A, op.
26. Grand rondeau in G, op. 11 ; 42
Eglogues, in 7 books, op. 35, 39, 47, 51,
63, 66, 83 ; 15 rhapsodies, in 3 books, op.
40, 41, 110 ; 6 allegri capricciosi di bravura,
in 2 books, op. 52, 84 ; 3 ditirambi, op.
65 ; Phantasie for harmonica, op. 32. VI.
Chamber music : Quartet for pianoforte
and strings, in E-flat, op. 22 ; Trio for do.,
op. 7. Tomaschek left also considerable
music without opus number, most of which
is still in MS. — Dalibor, Casopis pro hudbu,
Prague, 1863, Nos. 25-36 ; Dlabacz, Allg.
hist. Kiinstler-Lexikon fiir Bohmen, etc.
(Prague, 1815), iii. 269 ; Slovnik naucn^"
(Prague, 1872), ix. 499; Wurzbach, xlvi.
57 ; Grove ; Mendel ; Fetis.
TOMASINI, LUIGI, born at Pesaro in
1741, died at Eszterhaz, Hungary, April
25, 1808. Violinist, Conzertmeister, and
director of Prince Eszterhazy's chamber
music, while Haydn was there as composer.
Afterwards he went as Conzertmeister to
Mecklenburg-Strelitz, where his wife, a
dramatic singer, was engaged at the opera.
Works: Two concertos for violin and or-
chestra ; 12 quartets for strings ; Duos
concertauts for violins ; 24 divertissements
for baryton, violin, and violoncello ; 12
variations for violin. — Fetis ; Mendel ; Eie-
mann.
TOMBA DEGL' AVI IVHEL See Lucia.
TOMEONI, PELLEGRINO, born at
Lucca in 1729, died (?). Church composer.
487
TOM JONES
was maestro di cappella successively of the
collegiate churches at San Michele, and
Camaiore, then at the cathedral of Pietra-
santa. In 1761 he was maestro al cembalo
at the theatre of Lucca, for which he com-
posed several dramatic pieces. Works :
Five masses ; Kyrie ; Ecce sacerdos ; Mag-
nificat for two choirs ; Recordare Domine ;
etc. — Fi'tis, Supplement, ii. 583.
TOM JONES, comedie in three acts, test
by Poinsinet, music by Philidor, first rep-
resented at the Itahens, Paris, Feb. 27,
1765. The libretto is founded on Field-
ing's novel of the same title. — ClOment et
Larousse, 663.
TOinaNS, TH0:MAS, bom at Glouces-
ter, England, latter part of IGth century,
died at Worcester in 1656. Organist, pu-
pil of Byrd, entered the Chapel Royal as a
singer in 1580, became organist there in
1621, and later at the cathedral of Worces-
ter. Mus. Bac, Oxford, 1607. Works :
Songs of 3, 4, 5 and 6 parts, containing
twenty-eight madrigals and anthems (Lon-
don, 1622) ; Musica Deo Sacra et Ecclesise
AnglicaniB (London, 1664). — Grove ; Fetis.
TONASSI, PIETRO, born at Venice,
September, 1801, died there, Xov. 5, 1877.
Violinist and violoncellist, pupU of his father
and of Camera ; in 1828-32 was first violin
and maesti'o concertatore at the Teatro
della Fenice, then first violoncello there,
and at the same time for sis years band-
master of the imperial navy. In 1841 he I
went to Milan as composer, editor, and
corrector to Ricordi, the music pubUsher, ;
and about four years later returned to '
Venice. Works : Una costanza rara, op- ,
era ; Christmas, The Passion, The Resur-
rection, and the Sacred Hymns by Manzoni,
for 4 voices, with orchestra ; D cinque
maggio, for baritone and chorus, with or-
chestra ; Requiem for 3 voices and orches-
tra ; Mass for 4 voices and orchestra ; Grand
symphony ; 7 grand overtures ; Fantaisies,
pot-pourris ; Ariette da camera, etc. — Fe-
tis. Supplement, ii. 583.
TONNELIER, LE (The Cooper), opera-
comique in one act, test by Delrieu and
Qut'tant, music by Nicolo Isouard, first
represented in Malta, about 1797 ; at the
j Theatre Feydeau, Paris, May 17, 1801.
TOPFER, JOHANN GOTTLOB, born at
. Niederrossla, Thuringia, Dec. 4, 1791, died
' at Weimar, June 8, 1870. Organ virtuoso
and writer on organ construction, first
instructed by the town cantor SchlOmilch,
then in Weimar pujsil of Destouches, Rie-
.mann, and A. E. Miiller. In 1817 he was
'appointed professor at the teachers' semi-
naiy, and in 1830 organist of the Stadtkirche
at Weimar. He made organ building his
special study, and was famous as an expert
reviser. Works : Die Orgelweihe, cantata
for chorus, soli, and organ ; Couzertstiick
for organ ; Sonatas for do. ; Fantasias, pre-
ludes, postludes, etc., for do. ; Trio for
pianoforte and strings ; Sonata for flute
and pianoforte ; Variations for do. ; Sonata
for pianoforte ; Choruses for male voices,
etc. ; Allgemeines nnd vollstilndiges Choral-
buch. Literarj' works : Die Orgelbaukunst
fWeimar, 1833) ; Die Orgel, Zweck und
Beschaffenheit ihrer Theile (Erfurt, 1843) ;
Theoretisch - praktische Organistenscbulo
(ib., 1845) ; Lehrbuch der Orgelbaukunst
(1850) ; etc. — Fctis ; Mendel ; Riemann.
TORlCADOR, EN GARDE! See Carmen.
TOREADOR ET ANDALOUSE, the
seventh number of the Bal costume, 4-hand
pieces for the pianoforte by Anton Rubin-
stein, op. 103. Theme, a Sjjanish air of the
IStli century.
TORELLI, GIUSEPPE, born at Verona,
Italy, in the 17th century, died at Ansbach
in 1708. Virtuoso on the violin, origina-
tor of the concerto grosso ; was at first
connected with the church of S. Petronio,
Bologna, in 1685, and became in 1703
Conzertmeister to the Margrave of Bran-
denburg at Ansbach. Member of the Acca-
demia Filarmonica, Bologna. Works : Bal-
letti da camera a tre ; Concerto da camera
a due violini e basso (Bologna, 1686) ; Sin-
fonie a 2, 3, 4 istromenti (ib., 1687) ; Con-
certino per camera a violino e violoncello ;
TOKQUATO
Sei sinfonie a tre e sei concerti a qiiattro
(ib., 1692) ; Concerti musicali a quattro ;
Capricci musicali per camera, etc. (Amster-
dam) ; Concerti gi'ossi con una pastorale
per il Santissimo Natale (Bologna, 1709).
— Fctis ; Mendel ; Kiemann.
TORQUATO TASSO, Italian opera in
four acts, text by Ferretti, music by Doni-
zetti, first represented in Eome, in 1833.
Ronconi, Poggi, and Mile Elisa Orlandi
sang in the original cast. The opei-a was
given in Vienna in 1837, in Berlin in
1841, and in New York in 1853. It was
revived in Turin in May, 18G9.
TORRAMORELL, mGUEL BUENA-
VENTURA FRANCISCO, born at Geroua,
Spain, Feb. 16, 1786 ; died in Pai-is, Dec.
24, 1871. Military band-master, succes-
sively in France, Holland, and Belgium ; be
became in 1821 chef d'orchestre of the So-
ciete de THarmouie at Antwerp, and after
1836 settled in Paris. Order of Leopold.
Works: Le f utur de province, opera-comique,
Antwerp, 1825 ; Le mari de circonstance,
Brussels, 1836. He published (with Felix
Clement) a Methode de musique Tocale
graduee, etc. (Paris). — Fetis, Supplement,
ii. 584.
TORRANCE, Rev. GEORGE WILL-
IAM, born at Rathmines, near Dublin,
Ireland, in 1835, still Uving, 1890. Or-
ganist, educated as a chorister in Christ
Church Cathedral ; was organist successive-
ly of Blackrock, Dublin, and of the city
churches of St. Andrew and St. Anne, and
studied at the Conservatorium of Leipsic in
1856. He entered the University of Dub-
lin in 1859, took the degree of M..A.. in
1867, and was ordained deacon in 1865 and
priest in 1SG6. In 1869 he emigrated to
Melbourne, where he occupies a very hon-
ored position. Mus. Bac. and SIus. Doc,
Dublin, 1879 ; honorary Mus. Doc. ad eun-
dem, Melbourne University. Works — Ora-
torios : Abraham, Dublin, 1855 ; The Cap-
tivity, ib., 1864; The Revelation, Mel-
bourne, 1882 ; William of Normandy, opera ;
Te Deum, and Jubilate ; etc. — Grove.
TORRI, PIETRO, born (?), died in Mu-
nich, July 6, 1737. Dramatic composer,
chamber organist to the Elector at Munich,
as early as 1689 ; followed the Elector Maxi-
milian to Brussels in 1694, returned in
1701, accompanied him to Brussels again
in 1704, returned to Munich in 1714, and
was appointed Hof-Kapellmeister in 1732.
Works : L' ambizione f ulminata, opera buflfa,
Munich, 1691 ; I preghi della primavera,
do., ib., 1691 ; Merope, ib., 1719 ; Ade-
laide, Pariati, ib., 1722 ; Lucio Vero, ib.,
1723 ; Amadis, ib., 1724 ; Venzeslao, ib.,
1725 ; Epaminonda, ib., 1727 ; Nicomede,
ib., 1728 ; Edippo, ib., 1729 ; Ippolito, ib.,
1731 ; Griselda, ib., 1735 ; Catone, ib.,
1736. — Mendel, Ergilnz., 464.
TORRIANI, EUGENIC, born in Milan (?)
in 1825, died there, February, 1872. He
was one of the promoters of choral singing
in his native country, published a didactic
work and solfeggi for the use in the public
schools of Milan, where also the two fol-
lowing operas were given : Carlo Magno, La
Scala, 1852 ; Anna Campbell, Teatro Canob-
biana, 1854. — Fetis, Supplement, ii. 584.
TOSI, GIUSEPPE FELICE, born at
Bologna about 1630, died at Ferrara (?)
after 1683. Dramatic composer, at first
organist in his native city at San Petronio,
then maestro di cappella at San Giovanni
in Monte, and afterwards at the cathedral of
Ferrara. Works — Operas : Atide (with
others), Bologna, 1679 ; Erismonda, ib.,
1681 ; Giunio Bruto, ib., 1686 ; Trajano,
Venice, 1684 ; Orazio, ib., 1688 ; Amulio e
Numitore, ib., 1689 ; Pirro e Demetrio, ib.,
1690 ; L' incoronazione di Serse, Alboino
in Italia, ib., 1691 ; Eta del oro, ballet,
Parma, 1690. Salmi concertati a tre e
quattro voci con violini e ripieni (Bologna,
1683) ; Cantata da camera a voce sola, col
basso continuo (ib., 1686). His son Pier
Francesco (born at Bologna, 1647, died in
London, 1727), was a famous soprano
singer and teacher. His renowned work
" Opinioni de' cantori antichi e moderni,"
etc. (Bologna, 1723), was translated into
489
TOSTI
English by Galliard (London, 1742), and
into German by Agiicola (Berlin, 1757).
— Futis ; Mendel.
TOSTI, FRANCESCO PAOLO, born at
Ortona di Mare, in
the Abruzzi, April 7,
1827, still living, in
London, 1890. Vocal
composer, pupil at the
Conservatorio Keale,
Naples, where he was
soon ajipointed maes-
triuo (pupil teacher),
but resigned in 1869,
on account of poor health, and went to
Eome, where Sgambati befriended him
and enabled him to appear as a singer
in concerts. He then became vocal in-
structor at court, went in 1875 to Loudon,
and in 1880 was appointed instructor to the
royal family. "Works : The Grandduke,
comic opera, London, 1888 ; La jH-ima-
donna, ib., 1889 ; Italian and English songs
and duets, several of which have become
widely popular.
TOTAL ECLIPSE, tenor aria of Samson,
in G major, with accompaniment of two
violins and bass, in Handel's .Sam.so», Act I.,
Scene 2.
TOTTMANN, ALBERT KARL, bora at
Zittau, Saxony, July 31, 1837, still living,
1890. Violinist and writer on music, pupil
of Seelemaun, Dotzauer, and Reissiger, in
Dresden, and at the Leipsic Conservato-
rium; he entered the Gewandhaus orches-
tra, was music director at the old thea-
tre in 18G8-70, and afterwards conducted
several singing societies. Works : Dorn-
roschen, melodrama ; Hymns ; Sacred and
secular choruses ; Pianoforte pieces, etc. ;
Hymns, for male chorus and brass instru-
ments ; Ostern, for mixed chorus with piano-
forte ; Christnacht, do. ; Die stille Wasser-
rose, do. ; Other choruses for mixed, and
male voices ; Songs and pianoforte pieces.
— Mendel ; Riemann.
TOURS, BERTHOLD, born at Rotter-
dam, Dec. 17, 1838, still living, 1890. Vio-
linist and vocal composer, pupil of his father
Barthelemy Tours (organist and violinist,
1797-1864), and of Verhulst and Paling ;
then studied in 1856-58 at the conservato-
ries of Brussels and Leipsic. Engaged as one
of Prince Galitziu's quaiiet in 1858, he went
to St. Petersburg, then lived at Moscow,
Katzlow, etc. In 1861 he settled in Lon-
don, where he became first violin at the
Covent Garden Theatre, and in 1878 musi-
cal editor to Novello, Ewer & Co. Works :
Church Service in F ; Anthems ; Magnifi-
cat, and Nunc dimittis, with orchestra ;
Songs. — Gregoir, Biog., 174.
TOUT CE QU'IL VOUS PLAIRA. See
Ami de la maison.
TOY SYMPHONY. See Kinder-Sym-
phonie.
TOZZI, ANTONIO, born at Bologna, in
1736, died there,
after 1812. Dra-
matic composer, pu-
pil of Padre Martini ;
entered the service
of the Duke of Bruns-
wick in 1765, went
to Munich in 1785,
then to Sixain, and in
■^ or after 1792 re-
turned to Bologna.
Accademia Filarmonica,
1769. Works— Operas :
Tigrane, Italy, 1762 ; L' innocenza vendi-
cata, ib., 1763 ; L' Andromacca, Brunswick,
1765 ; Rinaldo, ib., 1775 ; La serva astuta,
Munich, 1785 ; La caccia d' Enrico IV., Bar-
celona, 1788 ; Orfeo, ib., 1789 ; Zemira ed
Azor, ib., 1792 ; Santa Elena al Calvario,
oratorio, Madrid, 1790. — Fetis.
TRAETTA, TOMMASO (mCHELE
FRANCESCO SA VERIO), born at Bitouto,
Kingdom of Naples, May 19, 1727, died in
Venice, April 6, 1779. Dramatic composer,
pupil of Durante at the Conservatorio di
Loreto in 1738-48. He devoted himself to
teaching, and wrote masses, vespers, etc.,
for the churches and convents of Naples
imtil 1750, when his first opera obtained a
Member of the
1761, princi23e in
480
TRAGISCIIE
brilliant success, and procured him orders
for new works from the principal theatres
of Italy. In 1758 he
became maestro di cap-
pella to the Duke of
Parma, and vocal in-
structor to the prin-
cesses, and in 17 6 5
director of the Ospeda-
letto, Venice, whence
he was called in 17G8 to
St. Petersburg, to suc-
ceed Galuppi as court
composer to Catharine
II. In 1776 he went to London, but, meeting
with a cool reception and impaired in health
by the Kussian climate, he returned to Italy
in the same year. Gifted with dramatic
genius, he excelled in energetic and truth-
ful expression of sentiment and vigorous
harmony. Works : Farnace, Naples, 1751 ; I
pastori felici, ib., 1753 ; Ezio, Rome, 1751 ;
Le nozze contrastate, ib., 1751 ; L' iucredulo,
Naples, 1755 ; La fante furba, ib., 1756 ; Bu-
oTo d' Antona, Florence, 1756 ; Nitteti, Keg-
gio, 1757 ; Didouo abbandonata, Venice,
1757 ; Olimpiade, Verona, 1758, and St. Pe-
tersburg, 1770 ; Solimano, Parma, 1759 ; Ip-
polito e Aricia, ib., 1759 ; Ifigenia in Aulide,
Vienna, 1759 ; Armida, ib., 1760 ; Stordilano,
principe di Granata, Parma, 1760 ; Sofonis-
ba, ib., 1760 ; Enea ucl Lazio, Turin, 1760 ;
I Tiudaridi, Parma, 1760 ; Enea e Laviuia,
ib., 1761 ; Le fcste d' Imeneo, prologue and
trilogy (n trionfo d' amore ; Triole ; Saifo ;
Egle) for the wedding of Archduke Josej^h
of Austria and the Infanta Dona Isabel de
Borbone, ib., Sej)tember, 1761 ; Antigono,
Padua, 1761, and St. Petersburg, 1772 ; La
Francese a Malgher, Venice, 1764 ; La buo-
na figliuola maritata, Parma, 1765 ; Semira-
mide riconosciuta, Venice, 1765 ; Le serve
rivali, ib., 1766 ; Amor in trappola, ib., 1768 ;
H tributo campestre, compouimento pasto-
rale, in honour of Maria Carolina of Austria,
Mantua, 1768 ; Ifigenia in Tauride, Milan,
1768 ; L' isola disabitata, Bologna, 1768, and
St. Petersburg, 1769 ; Germoudo, London,
1776 ; Merope, Milan, 1776 ; La disfatta di
Dario, Venice, 1778 ; II cavaliere errante, ib.,
1778 ; Ai-tenice, ib., 1778 ; Gh eroi dei Cam-
pi Elisi (finished by Gennaro Astaritta), ib.,
1779 ; Salomoue, oratorio, ib., Conservatorio
deir Ospedaletto, 1768 ; Stabat Mater, 4 voc.
and instruments; La Passione ; Masses, mo-
tets, vespers, etc. ; 30 arias for soprano with
accompaniment ; 7 duets ; Le quattro sta-
gioni e i dodici mesi dell' auno, divertimento
for 4 orchestras, St. Petersburg, about 1770.
— Capruzzi, Traetta e la musica (Naples,
1878) ; Grove ; Fctis ; Mendel ; Riemann ;
Schilling.
TRAGISCHE OUVERTURE (Tragic
Overtui-e), for orchestra, in D minor, by
Johannes Brahms, op. 81, first performed by
the Philharmonic Society, Vienna, in 1880.
Given in Leipsic at the Gewandhaus in
January, 1881, and at the Crystal Palace,
London, April 30, 1881.
TRAGISCHE SYMPHONIE (Tragic
Symphony), for orchestra, in C minor, writ-
ten by Schubert in 1816. The reason of the
title is unknown, for the work is more pa-
thetic than tragic. This, Schubert's fourth
symjihony, was composed in his twentieth
yeai-, one of great activity in composition.
It is thought to have been written for the
orchestra at the Gundelhof, but the first
recorded performance was at the Crystal
Palace, London, Feb. 29, 1868. It is some-
times entitled " without trumjjcts or
drums." The symjAony remained for-
gotten for many years in Dr. Schneider's
possession in Vienna. The first two move-
ments were tried at a concert in Vienna in
1860, but without success. I. Adagio
molto ; II. Allegi-o vivace ; HE. Andante ;
IV. Menuetto : Allegro vivace ; V. Allegro
assai. The third movement. Andante, has
been isublished in full score by Peters
(Leipsic) ; the entire symphony only in an
arrangement for the pianoforte for four
hands, by H. Ulrich (Peters, Leipsic).
TRAUER-ODE (Funeral Ode), text by
Gottsched, senior of the Deutsche Gesell-
schaft, music by Johann Sebastian Bach,
491
TRAUER-SINFOOTE
written for the funeral services of Chris-
tiana Eberhardine, Electress of Saxony.
She was of the family of the Margraves of
Brandenburg-Bayreuth, and was married
to Friedrich August in 1693. When he
ascended the throne of Poland in 1G97, and
embraced the Roman Catholic faith, she
separated from him and remained a zealous
Lutheran. The people of Saxony held her
in affection and deeply mourned her sudden
death in 172G. A grand public funeral
took place in Leipsic, October 17, 172G.
For the services, which were conducted in
the University, Bach wrote this cantata,
dated Oct. 16, 1726. It is divided into
two parts, the first of which was sung
before, and the second after the funeral
oration, delivered by Hans Carl von Kirch-
bach. The choruses, arias, and recitatives
are in the Italian style. A prominent part
is given to the clavicembalo, which was
played on the occasion by Bach himself.
The organ was used in the choruses. This
is one of Bach's finest cantatas. The printed
matter relating to the funeral, with the text
of the ode, is in the Royal Public Library,
Dresden. An account of the ceremony, en-
titled " Daa thriinende Leipzig " (1727), was
written by Sicul. The cantata was pub-
lished by the Bachgesellschaft (Year XIII.),
Breitkopf & Hilrtel (Leipsic, 1863). In
1727 Bach wrote a second Trauer-Ode in
honour of Prince Leopold of Anhalt-COthen.
— Spitta, Bach, ii. i-Li^id ; do. (Bell), ii.
613-18.
TRAUER-S INF OKIE (Funend Sym-
phonj'), by Haydn, written in 1772. L Al-
legro con brio ; EL Adagio ; HI. Andante ;
rV. Finale, Presto. Mendelssohn wrote a
Trauermarsch for wind instruments, op.
103, for the funeral of Norbert Bui-gmaller.
— Pohl, Haydn, i. 306.
TR.\UMINDERCHRISTNACHT, EIN
(A Dream on Christmas Eve), German opera
in four acts, text by Karl Gollmick from
Raupach's drama, " Der Miiller und sein
Kind," music by Ferdinand Hiller, first rep-
resented in Dresden, April 9, 1845. The
overture was played by the New York Phil-
harmonic in the season of 1862-63. Score
published by Breitkopf & Hartel (Leipsic,
18-18).— Allgem. mus. Zeitg., 1. 105, 221;
Neue Zeitschr., xxii. 129, 137 ; xxvii. 2, 13,
25.
TRAUUNGS-CANTATEN (Betrothal
Cantatas), five cantatas by Johann Sebas-
tian Bach. I. Dem Gerechteu muss das
Licht (Light is sown for the righteous), for
soprano, alto, tenor, and bass, two oboes,
I three trombones, flutes, drums, two violins,
viola, and eoutinuo. It is a very brilliant
work, containing broad fugues and grace-
, f ul arias in the Italian form. It is probably
a revision of a cantata written during Bach's
earliest Leipsic period. The original score,
formerly in Philipp Emanuel Bach's collec-
tion, was published by the Bachgesellschaft
(Year XHL). H. Der Hei-r denkt an uus
(The Lord is mindful of us), for soprano,
alto, tenor, and bass, two violins, viola, vio-
I loncello, bass, and contiuuo, written in 1708
j for the marriage of Stauber of Weimar with
Regina Wedemann, the aunt of Bach's wife.
It contains a sj'mphony, an air, a tenor and
bass duet, "Der Herr segne euch," which is
one of Bach's most elevated and religious
thoughts, and two fugued choruses. The
original score is in the Amalien-Bibliothek,
and a copy in the Kouigliche Bibliothek,
Berlin. Published by the BacheseUschaft
(Year XHI.). HI. Gott ist uns're Zuversicht
(God is our reliance), for soprano, alto, tenoi",
and bass, three trombones, tamburri (?), two
oboes, bassoon concertante, two violins,
viola, and continuo, written for a marriage
in 1737. The alto aria is a beautiful melody,
composed in a style used only by Bach in
the wedding cantatas. The principal num-
bers of the second part are taken from the
Christmas cantata, "Ehre sei Gott in der
HOhe." Bachgesellschaft (Year XHI.). IV.
0 ewiges Feuer, o Ursprung der Liebe
(O everlasting Fire, O Source of Love),
written for a Whitsuntide cantata about
17-10-41. It is one of the most beautiful
works of its class, and is a model for its
TRAVERS
lovely melodies and structure. The origi-
nal score is in the Amalien-Bibliothek.
BacLgesellschaft (Year VH., No. 34). V.
Herr Gott, Beberrscher aller Diuge (Lord
God, Ruler of all things), composed in 1733.
It contains eight numbers, several of which
are taken from the Rathswahl Cautate,
"Gott, man lobet dich in der Stille." Bach-
gesellschaft (Year XIIL, page xiv). Bach
wrote also three betrothal chorals : I. Was
Gott that, das ist wohlgethan ; 11. Sei
Lob und Ehr' dem hOchsten Gut ; IIL
Nun danket alle Gott. These are scored
for four voices, two violins, two oboes,
viola, two horns, organ, and continuo. The
MSS. are in the KOnigliche Bibliothek,
Berlin. Bachgesellschaft (Year XTTT )
— Spitta, Bach, i. 3G9 ; ii. 298, 557, 558,
787, 788, 800 ; do. (Bell), i. 370-73 ; ii.
C88-90, 70G; iii. 77, 78; Allgem. mus.
Zeitg. (18G5), 8G3.
TRAVEES, JOHN, English composer,
born about 1703, died in 1758. Organist,
pupil of Maurice Greene and Pepusch,
chorister in St. George's chapel, organist of
St. Paul's, Covent Garden, in 1725, after-
wards at Fulham, and in 1737 of the Chapel
Royal. Works : The whole Book of Psalms
for 1-5 voices (London, 17'4G) ; 18 canzo-
nets for 2 and 3 voices ; Anthems. — Grove.
TRAVIATA, LA (The IVIisguided One),
Italian oj^era in three acts, test by Piave,
music by Verdi, first represented at the
Teatro Fenice, Venice, March G, 1853. Ac-
cording to the score, owned by Ricordi,
Verdi comjwsed this opera in one month.
The libretto is founded upon Dumas's
" Dame aux Camelias." The period of ac-
tion is changed from modern French life
to the time of Louis XIV., and the original
characters of Marguerite Gauthier and
Olympie become Violetta Valery and Flora
Belvois. The first act opens with a supper
in Violetta's house, where she becomes ac-
quainted with Alfredo, and abandons her
life for him. The second shows their
country home, near Paris, where they are
living in seclusion ; Alfredo's return to Paris |
to recover Violetta's property ; his father's
visit to Violetta to request her to save his
son from disgrace, and Violetta's return to
her old life in Paris. The third act is de-
voted to a ball, given by Flora Belvoix,
where Alfredo again meets Violetta, and
reproaches and insults her. She goes home
to die, and Alfi-edo, leai-ning of her sacrifice
for him, hastens to her, and she dies forgiv-
ing and blessing her lover. The favourite
airs include : Violetta's drinking song, " Libi-
amo, libiamo," in the first act ; Alfredo's
Maria Piccolomini.
aria, "De'miei boUeuti ; " the duet, "Dite
alia gioviue," sung by Germont and Vio-
letta ; the andante " Di Provenza il mar," a
simple and beautiful melody, sung by Ger-
mont to his son ; Violetta's aria, "Addio !
del passato ; " and her duet with Alfredo,
" Parigi, o cara." Original cast :
Violetta (S.) Mme Donatelli.
Alfredo (T.) M. Graziani.
Germont (B.) M. Varesi.
Ovdng to its imperfect first representa-
tion, La traviata was a failure, and when
the robust Mme Donatelli announced that
493
TEEMATE
she bad but a few days to live, the audi-
ence burst into laughter. Time has proved
it one of Verdi's best and most dra-
matic works, and it is a favourite among
operas. It was first given in London at
Covent Garden, when Mle Piccolomini
made her debut in England, May 24, 1856,
and first in English at the Surrey Theatre,
London, June 8, 1857. It was first heard in
Paris at the Theatre Italieu, with Piccolo-
mini as Yioletta, Dec. G, 1856 ; and Chris-
tine NUssou chose it for her debut at the
Theatre Lyrique, Oct. 27, 1864. It was
first given in New York, Dec. 3, 1856, with
Brignoli and Mme Lagrange. The part of
Violetta has been a favorite with prime
donne. It is one of Adelina Patti's best
characters, and Mme Bosio and Christine
Nilsson also have achieved success in it.
Score published by Kicordi (Milan). — Cle-
ment et Larousse, 667 ; Hauslick, Mo-
derne Oper, 233 ; Edwards, Lyrical Dra-
ma, i. 302 ; Eevuo et Gaz. mus. do Paris
(1856), 297; Grove, iv. 249; Athenajum
(1856), 561, 689 ; (1857), 669 ; Upton,
Standard Operas, 225 ; Pougin, Verdi (Mat-
thew), 148.
TREMATE, EMPJ, TEE:\LVTE, Italian
terzet for soprano, tenor, and bass with
orchestra, by Beethoven, op. 116, first per-
formed at the Eedoutensaal, Vienna, by Si-
boni, "Weinmiiller, and Fran ]\Iilder-Haupt-
mann, Feb. 27, 1814. The first sketches
date from 1801-2 ; the date of completion
is unknown. Allegro, in B-flat ; Adagio, in
E-flat ; and Allegro molto, in B-flat. Score
published by Sterner & Co. (Vienna, 1826) ;
by HasUuger (ib.) ; and by Breitkopf &
Hiirtel, Beethoven Werke, Sorie sxii., No.
211. — Thayer, Verzeichniss, No. 87 ; Lenz,
Beethoven, ii. Period iii. 126 ; Nohl, do., ii.
422 ; iii. 505 ; Allgem. mus. Zeitg., xvi. 201 ;
sxviii. 494.
TRENTO, VITTORIO, born in Venice in
1761 (1765?), died after 1826. Dramatic
composer, pupil of Bertoni, was at first ac-
companist at the Teatro San Samuele, then
at the Fenice. After a visit to London,
where he wrote an opera for Drury Lane,
he became in 1806 maestro di cappella of
the Italian opera at Amsterdam, and a few
years later at Lisbon, whence he returned
to Italy in 1818, but where he once more
conducted the opera in 1821-23. Works
— Operas : Teresa vedova, Venice, 1791 ;
Le cognate in contesa, Padua, 1791 ; An-
dromeda, Rome, 1792 ; L' asino di Treuto,
opera bufifa, ib., 1793 ; L' astuzie di
Fichetto, about 1794 ; I vecchi delusi,
Florence, 1795 ; II cuch scopre tutto, 1796 ;
La fedelta nelle selve, Naples, 1796 ;
Robinsone secondo, Turin, 1798 ; Lucrezia
Romana, ib., 1799 ; Ifigenia in AuliJe, Na-
ples, 1804 ; Andromeda, ib., 1805 ; La ba-
ronessa immaginaria, opera buffa, Florence,
1804 ; La foresta di Nicolor ; La donna
giudice, opera buffa, Amsterdam, 1806 ;
Tutto per ingauno, do., Lisbon, 1815 ;
L' equivoco di due anelli, I fratelli Macca-
bei, Rome, 1818 ; Quauti casi in un sol
giorno, ossia gli assassini, opera buffa, Ven-
ice, 1819 ; II principe dclla nuova China, ib.,
1819 ; La clemeuza d' Eutraguez, ib., 1819 ;
Le nuove Amazzoni, Rome, 1821 ; Giulio
Sabino in Laugres, Bologna, 1824 ; Le
gelosie villaue, ib., 1826. Ballets : Mastiuo
della Scala, Venice, 1783 ; La virtii ricono-
sciuta, Verona, 1785 ; Enrichetta e Valcour,
Venice, 1788 ; H seraglio, ossia d'cquivoco
iu equivoco, ib., 1788 ; La forza dell' amore,
ib., 1789, and in English, as the Triumph of
Love, London, 1797 ; Demofoonte, Padua,
1791 ; II fiammiugo, ib., 1791 ; La scoperta
deUa Florida, Venice, 1792. — Fetis ; Men-
del ; Riemann.
TREU (called in Italian, Fedele), DA-
NIEL GOTTLIEB, bora in Stuttgart in
1695, died (?). Violinist and dramatic com-
poser, pupil of Cousserat iu Stuttgart, and
of Vivaldi iu Venice, whither he was sent by
the Duke of Wurtemberg. In 1725-27 he
conducted Italian opera at Breslau, then was
Kapellmeister in Prague and, in 1740, in
the service of Count Schaffgotsch, at Hirsch-
berg, Silesia. He wrote, for various thea-
tres in Venice, twelve operas, and at Breslau
494
TRIAL
he gave the following : Astarte ; Coriolano ;
Ulisse e Telemacco ; Don Chisciotto. Ho
left in MS. two treatises on music in Latin.
— Fetis ; Mendel.
TREULICH GEFtJHET. See Lvhen-
grin.
TRIAL, AEMAND EMMANUEL, born
in Paris, March 1, 1771, died there, Sept.
9, 1803. Dramatic composer, nephew of
the following, and son of Antoine Trial
(173G-95) and Marie Jeanne Milou-Trial
(174G-1818), dramatic singers. In 1797 he
became accompagnateur and repetiteur at
the Theatre Lyrique, married an actress,
who left him owing to bad treatment, and
later on gave himself up to a dissolute life.
Works : Julien et Colette, ou la milice,
Paris, 1788 ; Adelaide et Mirval, ib., 1791 ;
Les deus petits aveugles, ib., 1792 ; Cecile
et Julien, ou le siege de Lille, ib., 1793 ;
Les causes et les effets, ib., 1791. — Fetis.
TEIAL, JEAN CLAUDE, born at Avi-
gnon, Dec. 13, 1732, died in Paris, June
23, 1771. Dramatic composer, pupil at
the maitrise of the cathedral in his native
city, then studied the violin and entered
the orchestra at Avignon, whence he went
to Montpellier and became a pupil of
Gamier. The desire to make the ac-
quaintance of Rameau led him to Paris,
where he found an engagement as first
violin at the Opera Comique, and entered
the service of Prince de Conti as second
violin, and later as chef d'orchestre. In
17G7 he was appointed director of the Ope-
ra, conjointly with Berton. Works : Syl-
vie (with Bertou), Paris, 17G.5 ; fisope a
Cythere, ib., 176G ; Thuouis (with Berton
and Gamier), ib., 17G7 ; La fete de Flore,
ib., 1771. Cantatas ; Overtures ; Motets ;
Violin music. — Fetis.
TRIAL BY JURY, an extravaganza, text
by Gilbert, music by Sullivan, first repre-
sented at the Royalty Theatre, London,
March 25, 1875. The comedy satirizes the
English courts, and the trial is for breach of
promise of marriage. Both words and mu-
sic are droll, and the work was very suc-
cessful, greatly owing to the part of the
judge, which was taken by the composer's
brother, Frederick Sullivan. The score was
published by Chappell & Co. (London,
1875).
TRIBUT DE ZAMOEA, LE (The Trib-
ute of Zamora), French opera in four
acts, test by d'Ennery and Bresil, mu-
sic by Gounod, first represented at the
Opera, Paris, April 1, 1881. This is the
comjjoser's twelfth ojpera. The first act
shows a square iu Oviedo. Manool Diaz is
about to marry Xa'ima, when a troup of
Arabs, led by Ben-Said, enter to demand
for the Caliph of Cordova twenty young
maidens as the tribute of Zamora, and
Xaima with others is taken into captivity.
The second act is in Cordova, where the
Ai'aba are celebrating the anniversary of
the battle of Zamora. Manocl, disguised
as a soldier, has followed Xaima, and is
recognized by Ben-Said's brother, Hadjar,
whose life he had saved at Zamora. Learn-
ing of Manoel's love for Xaima, Hadjar
promises to ransom her, but at the sale
of the captives Ben-Said, also in love With
Xaima, bids above the rest. The third
act represents Ben-Said's palace. He tries
in vain to win Xaima's love. Hadjar en-
ters with Don Manoel, and begs for the
release of Xaima, but is refused. Don
Manoel's insult to Ben-Said condemns
him to death, but, on Xaima's plea, Ben-
Said spares his life on condition that he
wiU leave the country. A scene between
Hermosa, a Spanish prisoner, supposed
to be mad, and Xaima, reveals their re-
lation as mother and daughter. The last
act is placed in the gardens of Ben-Said's
palace. Manoiil has leaped the walls to
see Xaima for the last time. They resolve
to die together, but Hermosa appears, and
wrests the dagger from them. Ben-Saitl
surprises the lovers, and Manoel is ordered
back to Orviedo. He is led away, and the
Arab endeavours to win Xaima. Hermosa
begs that she may' have her child restored
to her, but Ben-Said treats her as a mad-
495
TRIEBENSEE
woman, and iu fury she ijlunges the dagger
into his breast. Hadjar, acquitting her as
insane, saves her life. Mile Krauss's im-
personation of the tragic mother Hermosa
is one of her finest. Original cast : Her-
mosa, Mile Krauss ; Xaima, Mile Daram ;
Ben-Said, M. Lassalle ; Manoel, M. Sellier,
and Hadjar, M. Melchissedek. The opera
was given in Vienna, Jan. 30, 1883. The
ballet music was played at the Ci-ystal
Palace, London, Oct. 15, 1881. — Le Mcnes-
trel (1881-82), 139, 147 ; Athenaeum (1881),
i. 568 ; Signale (1881), 497 ; (1883), 165.
TEIEBENSEE, JOSEPH, born in Vien-
na about 1760, died (?). Virtuoso on the
oboe, pupil of hia father, and in counter-
point of Albrechtsberger. In 1796 he be-
came Kapellmeister to Prince Liechtenstein,
whom he accompanied on his travels, when
not living at the castle of Feldsberg. In
1811 he was Kapellmeister of the theatre at
Brtinn, and in 1829-30 in Prague. Works :
Der rothe Geist im Donnergebirge, oper-
etta (with Seyfried), Vienna, 1799 ; Concer-
to for oboe ; Grand quintet for pianoforte
and wind instruments ; 2 quintets for pi-
anoforte, oboe, and strings ; 3 quartets for
oboe and strings ; 6 variations for piano-
forte, oboe, and guitar ; Sonata for piano-
forte and oboe, or violin ; etc. — CElvert,
Gesch. der Mus. in Mahren, etc. (Brtinn,
1873), 203 ; Fctis ; "Wurzbach.
TRILLO DEL DIAVOLO, IL (The
Devil's Sonata), sonata for the violin in G
minor, with bass accompaniment, by Giu-
seppe Tartini. It was written after a dream
in which Tartini thought he had made a
compact with the devil for his soul, and the
devil at his command played a great sonata
upon Tartiui's violin, which the composer
ti'ied to recollect. Tartini considered it his
best composition, but not equal to the one
imagined in his dream. I. Larghetto affet-
tuoso ; H Allegro ; HI. Finale : Andanto
and Allegro. The famous trill with its
syncopated second part, occurs in the last
movement. — Grove, iv. 62, 170 ; Wasielew-
sld, Die Violine und ihre Meister.
TEIOJIPHE D'ALCIDE, LE. See Al-
ceste.
TRIOMPHE DE L'AMOUE, LE (The
Triumph of Love), ballet-royal in twenty
entrees, text by Quinault and Benserade,
music by Lully, first represented at Saint-
Germain-en-Laye, before the king, Jan. 21,
1681, and at the Acadumie Royale de Mu-
sique, Paris, May 6, 1681. The lords and
ladies of the court took part in this ballet
at its first performance, which was elaborate
and brilliant. In this women appeared for
#M"i
Costume of Indienne in Le Triomphe de I'amour.
the first time on the stage of the Academie
Royale de IMusique. Characters represent-
ed : Prologue, Venus. I. Les Graces and
Dryades ; H. Nayades ; HI. Plaisirs and
Plaisirs chantants ; IV. JIars and Guerriers ;
V. Amours, Amphitrite, and Neptune ; VI.
Dieux marins (Gods of the sea), and Ne-
reides ; Vn. Boree and suite de Boree ; Vlil.
Orithye and Atheniennes ; IX. Nymphes de
Diane ; X. Endymion, La Nuit, and Lo Si-
lence ; XL Les Songes ; XH. Peuples de
Carie, and un Carien chantant ; XTTT. Ari-
ane, Bacchus, un Indien chantant, and In-
diennes chantantes ; XTV. Indiens suivants
498
TEioisrro
de Bacchus and Filles grecques suivantes
d'Ariane ; XV. Mercure chantant, and Apol-
lon ; XVI. Bergers suivants d'ApoUou ;
XVn. Pan; XVIH. Faunes suivants de
Pan ; XIX. Zt'pbyre, Zepbyres, Flore,
Nympbes de Flore, and Nympbe de Flore
cbantante ; XX. La Jeunesse, Jeux, and
Divinites assemblues dans le ciel. Tbe
ballet was intended to be danced at Ver-
sailles on Saint Hubert's day, but tbe ill-
ness of tbe daupbin prevented. At tbe
end of tbe printed score tbe authors ad-
dressed verses to the persons of noble
birth who achieved success at Saint-Ger-
main-en-Laye. Mile de la Fontaine distin-
guished herself beyond tbe others. The
ballet was revived at the Opera in January,
1G82, on Sept. 11, 1705, and in four entrees
with prologue arrangement by Danchet and
Campra, Nov. 26, 1705. Tbe score was
printed by Christophe Ballard (Paris, 2d
ed., 1721). — Lajarte, i. 38 ; Clement et La-
rousse, G70 ; JuUien, Hist, du Costume au
Theatre, 46 ; Diet, des Theatres de Paris ;
Mercure, January, 1681.
TRIONFO D' AEIANA. See Ariadne.
TKIONFO D' AE:MIDA. See Armide et
Kenaud.
TKIONFO BELLA POESIA E DELLA
MUSICA, nel celebrasi la morte, la esalta-
zione e la incoronazione di Maria sempre,
Vergine assunta in cielo, IL (The triumph
of poetry and music, celebrating tbe death,
exaltation, and ascension of the Virgin
Mary), sacred oratorio, for sis voices and
chorus, by Benedetto Marcello, first per-
formed in 1733. It is full of pathos and
expressive instrumentation. The MS. scoi-e,
once owned by Futis, is in the Royal Li-
brary, Brussels.
TRIONFO DEL TEMPO E DEL DIS-
INGANNO, IL (The triumph of Time and
Truth), Italian serenata or oratorio, text by
the Cardinal Benedetto Panfili, music by
Handel, first given in the palace of the
Cardinal Ottoboni, Rome, in 1708. The
overture was so difficult that Corelli was
unable to play tbe violin part, and Handel
was obliged to substitute a sinfouia in the
Italian style. This work was given at Co-
vent Garden, London, in 1737. Sixty-four
pages of the original score are in "Songs
and Sketches " (Vol. I.) ; the conducting
score, in the British Museum, contains au-
tograph numbers by Handel, supposed to
have been composed for the revival of 1737.
See the Triumph of Time and Truth.
TRIONFO DI CAMILLA. See Camilla.
TRIONFO DI CAiHLLO. See Camillus.
TRIONFO DI CLELIA, IL (The Triumph
of Clelia), Italian opera in three acts, text
by Metastasio, music by Gluck, first rep-
resented in Bologna in 1761. Characters :
Porsenna, King of Tuscany ; Clelia, noble
Roman woman, hostage in the Tuscan
camp, and betrothed to Orazio ; Orazio,
Roman ambassador ; Larissa, daughter of
Porsenna, loved by Mannio, and betrothed
to Tarquinio ; Tarquiuio, lover of Clelia ;
Mannio, Prince of tbe Viejenti, and lover of
Larissa. Scene in tbe Tuscan camp during
the siege of Rome. Other Italian operas on
the same text : by Jommelli, Stuttgart, 1757,
Lisbon, June 6, 1771; ; by Johann Adam
Hasse, Vienna, 1762 ; by Johann Wanhall,
Rome, 1764 ; by Josef Michl, Munich, 1776 ;
by Urbani, Dublin, 1784 ; by Angelo Tarcbi,
Turin, 1787 ; by Sebastiauo Nasolini, text
revised by Sografi, Milan, 1799 ; and by
Marcos Portugal, Lisbon, 1803. — Marx,
Gluck und die Oper, i. 253 ; Schmid,
Ritter von Gluck, 84.
TRISTAN UND ISOLDE (Tristram and
Isoude), music-drama in three acts, text and
music by Richard Wagner, first represented,
under Hans von Billow's direction, at Mu-
nich, June 10, 1865, with the following cast :
Tristan (T.) . . .Herr Schnorr von Carolsfeld.
Isolde (S.). . . .Frau Schnorr von Carolsfeld.
K;>nig Marke (B.) Herr Zottmayer.
Kurwenal (Bar.) Herr Mitterwurzer.
Melot (T.) Herr Heiurich,
Brangiiue (S.) Frl. Deinet.
Ein Hirt (T.) Herr Simons.
Ein Steuermann (Bai-.) .... Herr Hartmann.
497
TRISTAN"
The text was written in 1857 ; the score
of the first act was finished in Ziuich
in 1857, that of the second in Venice in
March, 1859, and the third in Lucerne in
August, 1859. The libretto is a variation
of the Keltic story of Tristram and Isoude,
■which is supposed to have made its way
into Germany through France, and which
at one time was thought to be of Norman
origin. The most complete version extant
is that of Gottfried von Strassburg, written
in the 13th century. It has been treated
by Tennyson in "The Last Tournament,"
by Matthew Arnold, and by Swinburne.
Ludwig Schnorr von Carolsfetd.
The name Tristan, derived from the French
triste, is wi-itten also Tristrem and Tristram ;
Isolde, Iseult, Ysolt, Ysonde ; Brangiine,
Brangwain, and Brenqwain ; Mai'ke, Mark,
and Marc ; and Kurwenal, Gouvemayle.
The drama opens on the ship which, com-
manded by Tristan, is bearing the Lish
princess, Isolde, to be the unwilling bride
of King Marke, of Cornwall. She sends
her maid, Brangiine to bid Tristan appear
before her, and on his refusal she resolves
that he shall die. As the vessel enters the
harbor, Tristan sends his squire, Kurwenal,
to bid Isolde prepare for landing, and she
again orders Tristan into her presence to
atone for having slain her kinsman and
lover, Morold. Tristan obeys, and on her
charge, offers her his sword. She refuses
to take his life, and proposes that he shall
drink with her a cup of I'econciliation. In-
stead of the death-di'aught which Isolde
had bidden Brangiine to prepare, she has
mixed a love-potion, and after a moment of
bewilderment, Tristan and Isolde fall into
an ecstasy of passionate love. The second
act is in Cornwall, in a garden near the
castle. Isolde, having been wedded to
King Marke, still loves Tristan, and while
the king has gone hunting at night, she
signals to Tristan. Brangiine watches for
the return of the King and his huntsmen,
but the lovers pay no heed to her warnings.
Melot, jealous of Tristan, betrays him to
the King, and Tristan, provoking Melot to
combat, is wounded. The last act is placed
in Tristan's castle, in Brittany, to which the
wounded knight has been borne by Kur-
wenal. He lies upon his couch waiting
for Isolde, for whom Kurwenal has sent.
She arrives, and Tristan dies in her arms.
A second vessel approaches with King
Marke and his men. Kurwenal, who at-
tempts to defend the castle, is wounded
and compelled to yield, and dies at his
master's feet. King Marke, having heard
the story of the love-potion from Brangiine,
had come to give his consent to the union
of the lovers, but he is too late, for Tristan
is dead and Isolde dies upon his body.
This music-drama is entirely free from all
the conventional forms of the opera. The
most noteworthy passages include the Vor-
spiel ; the love-scene in the second act, " Bist
dumein? Hab' ich dich wieder," " O, sink'
hernieder, Nacht der Liebe," and "O susse
Nacht ! Ew'ge Nacht ! Hehr erhabne Liebes-
Nacht," and Isolde's lament over Tristan,
" Mild und leise wie er lilchelt," often
called her " swan-song." The part of Tris-
tan has been sung with great success by
Herr Schnorr von Carolsfeld and Albert
Niemann, and that of Isolde by Therese
Malten, and by Lilli Lehmann, being one
of the tatter's greatest characters. The
TRISTIA
work has been translated into French by
Victor Wilder, and into English by H. and
F. Corder (London, 1882). The Vorspiel
was first played in Paris at Pasdelouj)'s
Concert, Nov. 15, 1874, and first in New
York by the Philharmonic Society in the
season of 1865-66. The drama was first
given in Leipsic, Jan. 2, 1882 ; in London, at
Drury Lane, June 20, 1882, under the direc-
tion of HausRichter, and with Wiukelmann
as Tristan, Frau Sucher as Isolde, Marianne
Brandt as Brangiine, Gui'a as Konig Marke,
Wolff as Melot, and Kraus as Kurwenal.
Tristan und Isolde was first sung in New
York at the Metropolitan Opera House, Dec.
1, 1887, with Niemann as Tristan, Lilli Leh-
mann as Isolde, Marianne Bi-andt as
Brangane, Fischer as KiJnig Marke, von
Milde as Melot, and Robinson as Kurwe-
nal. Full score published by Breitkopf &
Hilrtel (Leipsic, 1860) ; pianoforte score
by Hans von Billow (ib.) ; Vorspiel ar-
ranged by Hans von Billow for two piano-
fortes for four hands, and pianoforte, two
hands (ib.) ; Potpourri for do., by Cramer
(ib.) ; E. Eituer, Phantasie iiber Motive for
do. (ib. ) ; Liszt, Isoldens Liebestod, tran-
scription for do. (ib.), arranged by A. Heintz
for four hands (ib.) ; M. von Mayfeld, Erin-
nerungen an Richard Wagners Tristan und
Isolde (ib.) ; Carl Tausig Paraphrasen
(Schlesinger) ; A. Jaell, transcriptions (Hof-
meister) ; Isoldens Liebestod, arranged by
A. Pringsheim for two pianofortes ; Vor-
spiel, by A. Heintz for two jiianofortes,
eight hands ; Bilder aus Tristan und Isolde
for pianoforte, violin, and violoncello, by A.
Pringsheim ; and Isoldens Liebestod, for pi-
anoforte, violin, and harmonium, by A.
Eitter. — Wagner, Ges. Schriften, vii. 1-112 ;
Jullien, Wagner, 1-16 ; Pohl, Wagner, 93,
118 ; Glasenapp, Richard Wagners Leben
und Wirkeu, ii. 143 ; Kastner, Wagner-
Catalog, 47 ; R. Bechstein, Tristan und
Isolde in deutschen Dichtungen der Neuzeit
(Leipsic, 1876) ; Monc, Sage von Tristan
und Isolde (Heidelberg, 1822) ; J. J. Abert,
Eine musikgeschichtliche Abhandlung mit
Illustrationen (1865) ; J. B. Alfeld, Kritisch
beleuchtet mit einleitenden Bemerkungen
iiber Melodie und Musik (Munich, 1865) ;
R. Ehlert, Richard Wagner's Tristan und
Isolde (Deutsche Rundschau, 1874, i. 157) ;
Franz MiiUer, Tristan und Isolde nach Sage
und Dichtungen zur Einleitung in das
Drama Richard Wagners (Munich, 1865) ;
Allgem. mus. Zeitg. (18G5), 430, 448 ; 436,
456 ; Neue Zeitschr. (I860), ii. 97, 113, 121,
129, 149, 165 ; (1861), i. 77, 87, 95, 103,
121, 129, 149, 158, 165 ; (1865), 365, 373 ;
(1866), 77, 85, 129, 137, 145, 157 ; (1874),
265 ; (1882), 16 ; (1886), 348 ; Mus. Wo-
chenblatt (1872), G25, 673, 735, 767, 799 ;
(1874), 341, 356, 369 ; (1875), 131, 336,
348 ; (1876), 173, 261, 271 ; (1882), 31 ;
Bayreuther Blatter (1881), 169 ; (1885),
154 ; (1886), 41, 69, 103 ; (1887), 244 ;
Athenffium (1805), 853 ; (1882), i. 804 ;
Upton, Standard Operas, 267 ; Krehbiel,
Review (1886-87), 38.
TEISTIA, three choruses with orchestra,
music by Hector Berlioz, op. 18. I. Medi-
tation religieuse, text from Thomas Moore ;
n. La mort d'Ophelie, arranged for female
voices ; HI. Marche funebre pour la der-
niere scene d'Hamlet. The score is dedi-
cated to Prince Eugene de Sayn- Wittgen-
stein.—Jullien, Berlioz (1888), 379.
TRITTO (properly di Turitto), GIA-
COMO, born at Altamura, near Bari, King-
dom of Naples, in 1735, died in Naples,
Sept. 17, 1824. Dramatic and church
composer, pujjil of Cafaro at the Conserva-
torio della Pieta, where he became, on com-
pleting his studies, primo maestrino and sup-
plemented hia master Cafaro as instructor
in harmony, and also as music director at
the Teatro San Carlo. In 1779 he was ap-
pointed professor of harmony, and in 1800
of counterpoint and composition, at the
Conservatorio, afterwards also maestro di
musica of the king's chamber music, and of
the royal chapel. Among his pupils were
Farinelli and Spontini. Works : II prin-
cipe riconosciuto. La marinella, Naples,
1780 ; La Belinda, La viaggiatrice di spi-
499
TRIUMPHAL
rito, ib., 1781 ; Don Procopio, La scuola
degli amanti, ib., 1782 ; II cortigiano fa-
natico, I due gemelli, 11 convitato di pie-
tra, ib., 1783 ; La scuffiara, La sposa
stramba, ib., 1784 ; La sposa bizzarra, Rome,
1784 ; Lo scaltro awenturiere, Artenice, Le
astuzie in am ore, Naples, 1785 ; L' impos-
tore smascherato. La scaltra awentiiriera,
ib., 178G ; Arminio, Le gelosie, I raggii'i
Bcoperti, Rome, 178G; La iirova reciproca,
Le trame spiritose, Naples, 1787 ; II barone
in angustie, H giuocatore fortunato, ib.
1788 ; La bella selvaggia, Rome, 1788 ; I
fiuti padroni, ib., 1789 ; La molinarella,
Naples, 1789 ; La vergiue del sole, Le nozze
in garbuglio, ib., 1790 ; La canterina,
Rome, 1790 ; Gli amanti in puntiglio,
L' inganno fortunato, Naj^les, 1791 ; L' equi-
voco. La donna sensibile, ib., 1792 ; La
fedeltii tra le selve, Venice, 1795 ; Apelle e
Camj)aspe, IMilan, 1796 ; Nicaboro in Juca-
tan, Naples, 1798 ; Ginevra di Scozia, ib.,
1800 ; I matrimonii contrastati, Rome, 1800 ;
GU Americani, Napiles, 1802 ; Alessandro in
Efeso, Mantua, 1801 ; L' omaggio pastorale,
ib., 1805 ; Albino in Siria, Cesare in Egitto,
ib., 1810. Cantatas : 11 disiuganno, 1792 ;
II tempio deir eternita, 1793 ; H trioufo
della gloria, Naples, 1801. Mass for 8
voices, witli 2 orchestras ; 3 solemn masses
with orchestra ; 3 short masses ; Pastoral
Mass ; Requiem with orchestra ; Passion
according to St. Matthew, with orchestra ;
do. according to St. John ; Motets, Te
Deums, Dixit, Magnificat, and other church
music. His son and pujail Domenico (born
at Naples in 1781) composed the following
operas : Zelinda e Rodrigo, Naples, about
1812 ; La parola d' onore, ib., 1815 ; II tri-
onfo di Trajano, ib., 1818. — Fetis ; do..
Supplement, ii. 587 ; Adrien de la Fage,
Miscellanees musicales, 173.
TRrUMPHAL OVERTURE, for orches-
tra, by Anton Rubinstein, op. 43. Pub-
lished by Schott (Mainz).
TRIUMPHLEED (Song of Triumph), for
soli, chorus, and orchestra, test arranged
by the composer from the nineteenth chap-
ter of the Revelations of St. John, music by
Brahms, first given at a Gesellschafts-Con-
zert, Vienna, Dec. 8, 1872. The work,
which is strong and fine, was received with
enthusiasm. The score, dedicated to the
Kaiser Wilhelm, was published by Sirarock
(Berlin).— Mus. Wochenblatt (1873), 10;
(1874), 147, 1G4 ; Neue Zeitschr. (1888),
234, 251.
TRiraiPH:\LARSCH ZU TARPEJA
(Triumphal March in Tarpeia), for orchestra,
in C, by Beethoven, first jjerformed with
the tragedy of Tarpeia, by Kuffner, in Vi-
enna, March 2G, 1813. First published by
Haslinger (^'ienna). Breitkopf & Hilrtel,
Beethoven Werke, Serie ii.. No. 14. — Thayer,
Verzeichniss, No. 178.
TRILTilPH OF TENIE AND TRUTH,
THE, English oratorio in three acts, text
from the Cardinal Panfili's " Trionfo del
tempo e del disinganno," supposed to have
been translated and arranged by Thomas
Morell, music by Handel, first given at Co-
vent Garden, London, in 1757. This is
Handel's last work, written after he had
become blind, and dictated to his amanu-
ensis. It is a revision of his early oratorio
"II trionfo del tempo e del disinganno,"
written in 1708, but contains much other
music, including new recitatives and nvim-
bers from other oratorios. The story is
allegorical. Beauty (S.) is seen regarding
herself in a miiTor, and mourning that she
must yield to the ravages of Time. Pleas-
ure (T.) vows that she shall wear her charms
forever, and Beauty promises to be her
slave. Time and Counsel, the son of Truth
(A.), enter and declare that Beauty will soon
fade, and Truth bids her forsake folly.
Beauty is tempted by Deceit (S.) to con-
tinue her life, but she bids farewell to
Pleasure, follows the call of Truth, and
Time and Truth thus triumph over Pleasure
and Beauty. Published by Walsh (Lon-
don) ; Chrysander's edition by Breitkopf &
Hiirtel (Leipsic, 18G5). — Chrysander, Hiin-
del, ii. 217-232 ; Rockstro, Handel, 53, 205,
355 ; Schcelcher, do., 331.
600
TEOIS
TROIS COULEUES, LES (The Three
Colors), pohtical French song, words by
Atlolishe Blanc, music by Adolphe Vogel,
written after the French Revolution of
1830, to celebrate the return of the tricolor
flag. It was first sung by Chollet at the
Theatre des Nouveautes, Paris, in 1830,
and became very popular. — Grove, iv.
803.
TROJIBONCINO, BARTOLOMMEO,
Italian composer of the 15th and 16th centu-
ries, born in Verona. Composer of frottole
or part-songs, of which Eitner's Bibliogra-
phie contains a list of 107 to secular, and two
to sacred words, all for four voices, as well aa
nine Lamentations and one Benedictus for
three voices. Twenty-nine of his Frottole
are in the collection by the lutenist Fran-
cesco, surnamed Bossinensis, entitled : Te-
nori e contrabassi (vocal) intabulati col
soprano in canto figurato per cantare e
sonare col Lauto, lib. j)rimo (Petrucci, Ven-
ice, 1509). The nine books of Frottole,
printed by Petrucci in 1504-08, contain all
of Tromboncino's. The Lamentations are
in Lamentationum liber secundus (Pe-
trucci, Venice, 1506). — Fctis ; Grove ; Men-
del.
TROMLITZ, JOHANN GEORG, born at
Gera, Feb. 9, 1726, died at Leipsic, Feb. 4,
1805. Flutist, lived the greater part of his
life at Leipsic, where he appeared in con-
certs, was much esteemed as a teacher and
manufacturer of flutes, to which instrument
be added essential improvements. He pub-
lished several treatises on the flute, and
contributed articles to the Allgemeine mu-
sikalische Zeitung. Works : 3 concertos for
flute and strings ; 2 books of sonatas for
pianoforte and flute ; 6 Partien for flute ;
Collection of German songs. — Fetis ; Men-
del.
TROMPETER VON SAKKTNGEN,
DEE, German comic opera in three acts,
with prelude, text by Rudolf Bunge, music
by Victor Ernst Nessler, first represented
at the Stadttheater, Leipsic, May 4, 1884,
with the folio win PC cast :
"Werner Kirchof Herr Schelper.
Marie Frl. Jahns.
Baron von Schonau Herr Grentrer.
DO
Graf von Wildenstein Herr Kohler.
Griifin von Wildenstein . . Fr. Metzler-Lowy.
Conradin Herr Goldberg.
Damian Herr Marion.
The libretto is founded on Scheffel's poem,
the story of which is very popular in Ger-
many. The action of the prelude is placed
towards the end of the Thirty Years' War,
and the scene is in Heidelberg. The rest
of the opera represents Siikkingen in 1650.
Werner, a rollicking student, joins the sol-
diers and becomes trumpeter to the Baron
von SchOnau, with whose daughter Marie
he falls in love. Objections are made to
their marriage, until it is discovered that
Werner is the son of Marie's aunt, the
Countess Wildenstein, he having been
stolen in infancy by the gyjjsies. The two
cousins are then permitted to marry. The
opera, which has been very successful in
Germany, reached its hundredth perform-
ance at the Berlin Opera House, Jan. 13,
1889. It was first given in New York at
the Metropolitan Of)era House, Nov. 23,
1887, with Robinson, Fischer, von Milde,
Emblad, Ferenczy, Frau Seidl-Kraus, and
Frl. Meisslinger in the cast. German ope-
ras of the same title and subject by Ber-
nard Scholz, text by Theobald Rehbaum,
Wiesbaden, Jan. 20, 1877 ; and by Emil
Kaiser, Thalia Theater, New York, 1886.
— Mus. Wochenblatt (1884), 2G4 ; Signale
(1884), 497 ; Krehbiel (Review, 1887-88),
38.
TROPPO DO, BASTA PER ORO. See
Criapino e la Comare.
TROUBADOUR, THE, English opera,
text by Franz Hiifi'er, music by Alexander
Mackenzie, represented at Drury Lane The-
atre, London, June 8, 1886. This work,
originally called Guillem de Cabestant,
treats events in the history of that trouba-
doui\ It was conducted by the composer,
and was received with applause.
BOl
TKOVATOEE
TROVATOEE, IL (The Troubadour),
Italian opera in four acts, test by Camma-
rauo, music by Verdi, first represented at
the Teatro Apollo, Eome, Jan. 19, 1853.
The libretto is from a Spanish drama, "El
Trovador" (1832), by Antonio Garcia-Gu-
Marie Sasse.
tieiTez. The opera opens with a midnight
scene in the Palace of La Aljaferia, where
Ferrando, an old retainer, tells his associates
the story of the Conte di Luna's brother,
Garzia, who was bewitched by a gypsy, and
whose fate is unknown, though he was in
reality stolen in revenge by Azucena, daugh-
ter of the gypsy, who was burned at the
stake. The Conte di Luna enters, and
sings under the window of Leonora, whom
be loves. Leonora, believing him to be her
lover Manrico, a troubadour, comes into
the garden and greets him. Maurico ap-
pears, charges her with faithlessness, and
the Count challenges him. The next act is
in the gypsy camp, where Azucena tells the
wounded Manrico, who believes her to be
his mother, the story of the gypsy's death,
and how by mistake she had thrown her
own infant into the flames instead of the
Count's brother. At this moment Manrico
is summoned to defend the castle of Cas-
tellar, and his messenger informs him that
Leonora has entered a convent. He res-
cues her as she is about to take the vows,
and leads her to Castellar. The next act
shows the camp of the Count. Azucena,
arrested and brought before him as a spy,
calls Manrico to her aid. The Count, furi-
ous at hearing his rival's name, orders the
gypsy to be biu-ned. Manrico declares that
she is his mother, and tries to save her, but
he is thrown into prison with her. Leo-
nora promises her hand to the Count if he
will spare Manrico's life. He consents, and
Leonora, having taken poison, bears the
tidings to Maurico. He refuses liberty at
this cost, and the Count ordei's him to be
put to death at once. The Count forces
Azucena to the window to show her the ter-
rible scene. Informing him that he has
murdered his own brother, the gypsy falls
upon the prison floor and dies. The best
numbers include : a short melody behind
the scenes, "Deserto sulla terra," which in-
Villaret
troduces Manrico ; a trio, " Di geloso amor
sprezzato," sung by Manrico, Leonora, and
the Count at the close of the first act ; the
Anvil chorus ; Azucena's aria, " Stride la
vampa ; " Manrico's aria, " Mai reggendo ; "
the Count's aria, " II balen del suo sorriso ; "
cos
TROYENS
Manrico's aria, " Ah si, ben mio," which
ends with the cabaletta, " Di quella pira ; "
the Miserere, "Ah che la morte ; " " Mira di
acerbe," sung by Leonora ; and the duet, " Ah
la stanchezza," between Azucena and Man-
rico. The part of Maurico has always been
a favorite with lyric tenors, as it affords op-
portunity for displaying the high register
of the voice. Mme Viardot-Garcia is prob-
ably the best Azuceua ever seen. Mme
Penco, Mme Goggi, Baucarde, Guicciardi,
and Balderi sang in the original cast. This
opera was received with great enthusiasm,
and was soon played throughout Europe.
It was first represented in Paris at the Ita-
lians, Dec. 23, 1854, with Mario as Maurico ;
Graziani as the Count ; Mme Frezzolini as
Leonora ; and Mme Borghi-Mamo as Azu-
cena. It was sung at the Academie Koyale
de Musique, Paris, French translation by
Emilien Pacini, Jan. 12, 1857, with Guey-
mard, Bonnehee, Mme Deligne-Lauters, and
Mme Borghi-Mamo in the cast, and after-
wards with Marie Sasse and Villaret in the
principal roles. It was first given in Lon-
don at Covent Garden, May 17, 1855, with
Tamberlik, Graziani, Mile Jenny Ney, and
Mme Yiardot. It was sung in English at
Drury Lane, March 24, 1856 ; and it was first
given in New York, May 2, 1855, with Bri-
gnoli, Amodio, Signora Steffanone, and Sig-
norina Yestvali. It was given in German
at the Metropolitan Opera House, Feb. G,
1889.— Pougin, Verdi (Matthews), 144 ;
Hanslick, Moderne Oper, 230 ; Re^iie et
Gaz. mus. deParis (1855), 365 ; (1857), 17,
322 ; Clement et Larousse ; Edwards, Ly-
rical Drama, i. 295 ; Athenseum (1853),
1263 ; (1855), 560, 593 ; Upton, Standard
Operas, 229.
TEOYENS A CAETHAGE, LES. See
Les Troyens.
TROYENS, LES (The Trojans), poeme-
lyrique in two parts, text and music by
Hector Berlioz, composed between 1856
and 1863. The text is from the ^neid,
and the two divisions are related like the
parts of Richard Wagner's Ring des Nibe-
lungen. I. La prise de Troie (The Fall of
Troy), opera in three acts, was never repre-
sented. It was sung by the Oratorio Soci-
ety of New York in 1877. H. Les Troyens
a Carthage (The Trojans at Carthage), opera
in five acts, with a prologue, was first rep-
resented at the Theatre Lyrique, Pai-is,
Nov. 4, 1863, under the direction of Car-
valho. It was not successful, greatly owing
to the imperfect scenic apparatus. Berlioz
considered it one of his best productions,
and the score contains some of his most
poetical and original music. There are
strange devices in rhythm and instrumenta-
tion, and the dramatic climaxes are strong.
The theme is the love of Dido and J<Ineas.
Mme Charton-Demeur sang the part of Di-
dou, and M. Monjauze that of fince. The
Trojans at Carthage was first given in New
York as a dramatic cantata, arranged by H.
E. Krehbiel, and under the dii'ection of
Frank Van der Stucken, at Chickering Hall,
Feb. 26, 1887. The score was dedicated to
the Princess Carolyne de Sayn-AVittgenstein,
nee Ivanowska. La j)rise de Troie was ar-
ranged in pianoforte score by Berlioz, and
published by Choudens (Paris), and by Bote
& Bock (Berlin). Les Troyens a Carthage
was published by Choudens (Paris, 1885).
— Jullien, Berlioz (1888), 263 ; Clement et
Larousse, 678 ; Memoires de Berlioz, 372 ;
Krehbiel, Review (1886-87), 121.
TRUHN, FRIEDRICH HIERONYMUS,
born at Elbing.West Prussia, Oct. 14, 1811,
died in Berlin, April 30, 1886. Vocal com-
poser, pupil of Bernhard Klein, of Dehn,
and of Mendelssohn in Berlin, where he
lived until 1835, when he went to Dantzic
as Kapellmeister of the theatre. He re-
turned in 1837 to Berlin, and afterw-ards
became associated with Schumann at Leip-
sic, as one of the chief contributors to the
Neue Zeitschrift fiu- Musik, until 1844,
when Schumann retired from it. He then
travelled in Russia, Poland, and Scandi-
navia, returned in 1848 to Elbing, where he
founded a singing society, and to Berlin in
1852, where he founded the Neue Lieder-
B03
TRUMPET
tafel. In 1854 he joined Hans von Biilow
iu a concert tour, then hved at Riga until
1858, when he returned to Berlin. Works :
Der baiersche Hiesel, marionette opera,
Berhn, 1832 ; Der vier jilhrige Posten (not
given) ; Trilby, comic opera, Berlin, 1835 ;
Pest-Cantate, KOnigsberg ; Maha Joh, for
soli, 8-part chorus, and orchestra, Berhn,
Breslau, Dresden, Konigsberg, Elbiug,
1846 ; Der Abschied, for soli, male chorus,
and orchestra, Konigsberg, 1850 ; Cleo-
patra, melodrama, Berlin, 1853 ; Many
songs. — Fetis ; Ledebur, ToiikiinstL Lex.
Berlins ; Mendel.
TKUMPET OVEIITUEE, for orchestra,
in C, by Mendelssohn, op. 101, composed in
1826. This overture was first given in Lon-
don by the Philharmonic Society in 1833.
Breitkopf & Hiirtel, Mendelssohn Werke,
Serie ii., No. 15. AiTanged for the i^iano-
forte for four hands.
TRUilPETER, THE, ballad, for tenor
and baritone soli, male chorus, and orches-
tra, music by George Templeton Strong,
fii'st performed by the Apollo Club, Boston,
in February, 1888.
TSCHAIKOWSKY, PETER (ILYnCH),
,_^. born at Yotkinsk,
government of Viat-
ka, Russia, Dec. 25,
18-tO, stiU living in
St. Petersburg, 1890.
Dramatic composer,
at first studied law
and entered the gov-
ernment service, but
at the age of twenty-
two took up the study
of music at the newly-
created Conservatory in St. Petersburg,
and three years later (1865) was appointed
professor of harmony at the Conservatory of
Moscow. This position he held until 1878,
then devoted himself exclusively to compo-
sition, living alternately at St. Petersburg,
in Italy, Switzerland, etc. He is one of the
most distinguished representatives of the
young Russian school of composers, and
pre-eminently cultivates the national ele-
ment in music. Works — Operas : Voye-
voda, Moscow, 1869 ; Opritchnnyk, St. Pe-
tersburg, 1874 ; Vakula the Smith, ik, 187G ;
Yevgenyie Onegiu, ib., 1879 ; The Maid of
Orleans, ib., 1881 ; Mazeppa, ib., 1882 ;
Tscharodyeika, ib., Nov. 1, 1887 ; Snegorutch-
ka (Snowdroi?), lyric drama ; Le lac des
cygnes, ballet. Two masses, op. 41, 52 ;
Coronation Cantata, for soli, chorus, and
orchestra ; 4 symjihonies, in G minor, op.
13, in C, op. 17, in D, op. 29, and in F
minor, op. 36 ; Symphonic poems (fantaisies
for orchestra) : Der Stui-m, op. 18 ; Fran-
cesca da Rimini, op. 32 ; Manfred, op. 58 ;
Romeo and Juliet. Ouverture triomj^hale,
on the Danish National Hymn, op. 15, 1812 ;
Eighteen hundred and twelve, ouverture so-
lennelle, op. 49 ; 3 suites for orchestra, op.
43, 53, 55 ; Serenade for strings, op. 48 ;
Marche slave, op. 31 ; Coronation March
(1883) ; 2 concertos for pianoforte and or-
chestra, op. 23, 44 ; Fantaisie for do., op.
56 ; 2 concertos for violin and orchestra,
op. 25, 35 ; Pezzo capriccioso, for violin and
orchestra, op. 62 ; 3 quartets for strings,
op. 11, 22, 30 ; Trio for pianoforte and
strings, op. 50 ; Pieces for pianoforte and
violin, op. 26, 34 ; Variations for violon-
cello and pianoforte, op. 33; Sonata for
jiianoforte, op. 37 ; Many jiieees for piano-
forte, op. 1, 2, 4, 5, 7-10, 19, 21, 39, 40, 51,
63, and The Seasons ; Russian songs, op. 6,
16, 25, 27, 38, 47, 57, 65 ; 6 duets, op. 46.
— Fetis, Supplement, ii. 589 ; Mendel ; Rie-
mann.
TSCHARODYEIKA (The Sorceress), Rus-
sian opera, text after the drama of Schpas-
hinski, music by Tschaikowsky, represented
in St. Petersburg, Nov. 1, 1887. The opera
was conducted by the composer, and was
enthusiastically received.
TSCHLRCH, ERNST LEBERECHT,
born at Lichtenau, July 3, 1819, died in
Berlin, Dec. 26, 1854. Instrumental and
vocal composer, pupil at the royal institute
for church music and at the Academy, in
Berlin ; visited Hamburg and Paris in 1845,
IS04
TSCIIIE,CH
and was Kapellmeister of the theatre at
Stettin in 1849-51. Works: Frithjof,
opera (not represented) ; Der iliegende Hol-
lander, do., about 1852 ; Kampf und Sieg,
overture ; Other orchestral music ; Canta-
tas ; Songs.
TSCHUtCH, (rEIEDEICH)WILHELM,
born at Lichtenau, Prussia, June 8, 1818,
still living, 1890. Vocal composer, pupil of
the royal institute for church music, of the
Academy, and of Marx, in Berlin ; was music
director at Liegnitz iu 1843-52, then be-
came Hof-Kapellmeister at Gera. Iu 18G9
he visited the United States, on the invita-
tion of several singing societies, to attend
the Siingerfest at Baltimore, and won much
applause with his comi^ositiona there, and
in New York, Philadelphia, Washington,
Chicago, etc. He is honorary member of
more than fifty male vocal societies ; and
under the pseudonym of Alexander Czersky
has composed many salon pieces for piano-
forte. Works : Meister Martin und seine
Gesellen, opera, Leipsic, 18G1 ; Eine Nacht
auf dem Meere, dramatisches Tongemiilde,
for solo, male chorus, and orchestra (crowned
by the Academy of Berlin) ; Die Zeit, for
do., op. 38 ; Das Turnier, dramatic scene
for do., ojj. 43 ; Bliicher in Giessen, do., op.
51 ; Leben, Liebe, Lust und Leid, do., op.
63 ; Abschiedsgruss ans Vaterland, do., op.
74 ; Eine Siingerfahrt auf dem Ehein, do.,
op. 91 ; Die Harmonic, hymn for male
chorus and wind instruments, op. 19 ; Gott,
Vaterland, Liebe, do., op. 42 ; Deutscher
Miinner-Festgesang, do., op. 53 ; Scheide-
gruss an die Sonne, do., op. 58 ; Deutsches
Siegeslied, do.; Ein Fels im Meer, do., op.
64 ; Die Waffen des Geistes, do., op. 75 ;
Deutschlands Hochzeitstag, Hymnus zum
Friedensfest 1871, do., op. 76 ; Im Maien,
do., op. 77 ; Mass for do. or organ, op. 52 ;
Sei du mit mir, for do., op. 90, etc. ; Songs,
and part-songs. — Mendel ; Fetis.
TSCHIKCH, RUDOLF, born at Lich-
tenau, April 17, 1825, died in Berlin, Jan.
16, 1872. Instrumental composer, brother
of the preceding, was chorus master iu
Ki-oll's theatre, Berlin, until 1854 ; founded
the Milrkische Central-Silngerbund in 1860,
and afterwards became royal music director.
Works : Music to Eine Brautschau, Berlin,
1858 ; Cantata, Sans-Souci, 1855 ; Many
pieces for wind instruments, among which
Die Hubertusjagd, and Das Fest der Diana ;
Choruses for male voices. — Fetis ; Mendel.
TUCKERMAN, SAMUEL PARKMAN,
born in Boston, Massachusetts, Feb. 17, 1819,
still living, 1890. Organist, pupil in Boston
of Charles Zeimer ; in 1840 became organist
and choir director of St. Paul's Church,
Boston, which post ho held several years.
In 1849 he went to England, and studied
the organ in various cathedral towns. In
1853 he received the degree of Mus. Doc,
Lambeth, and returning to Boston, resumed
his duties at St. Paul's. After delivering
many lectiu-es illustrating the development
of cathedral music from the fourth century,
and church music in the old world and the
new, he returned in 1856 to England, where
he remained until 1864. He now resides in
Switzerland. Mi-. Tuckerman has collected
a valuable music library of about 2,000
volumes, including rare scores and motets
of the Italian and early English schools.
In 1852 he received a diploma from the
Accademia di Sta. Cecilia, Rome. Works :
Church services in C, G, F, and E-flat ;
Anthems, including Thou shalt shew me the
path. Come unto him, God so loved the
world. Lighten our darkness, An' they rest
not. Their sun shall no more go down,
Come unto me, I looked and behold a door
was opened in heaven, I was glad when
they said unto me. Hear my prayer, and
Blow ye the trumpet in Zion ; Hymns ;
Carols ; Chants, and part-songs. He has
edited also several collections of church
music : The Episcopal Harp (Boston) ;
The National lyre (with S. A. Bancroft and
Henry K. Oliver) ; Cathedral Chants (1858) ;
and The Trinity Collection of Church Mu-
sic, containing the hymn tunes of Edward
Hodges and several of his own works (New
York, 1864).
605
TUCZEK
TUCZEK, VINCENZ (FRANZ?), born
at Prague about 1755, died at Pesth in
1820. Dramatic composer, son and pupil
of Franz Tiiczek (died in Prague, 1780) ;
began liis musical career as a tenor singer,
then was accompanist at tlie theatre in
Prague until 1798, when he went to Sagan
as Kapellmeister to the Duke of Courland.
In 1800-01 he conducted the theatre or-
chestra at Breslau, then that of the Leopold-
stiidter Theater in Vienna, and finally set-
tled at Pesth. "Works — Oiieras : Hans
Klachel, operetta, Prague, 1797 ; Die beiden
Dacheln ; Eubezahl, Breslau, 1801 ; Sultan
Konradin ; Dilmoua das Bergweibchen ;
Idas und Marpissa ; Lanassa. Moses in
Egypten, biblical drama ; Samson, do. ;
Geistliche Cautate, Sagan, 1798 ; Masses ;
Cantatas ; Vocal quartets, songs, etc. — Dla-
bacz ; Fetis ; Wurzbach.
TUDWAY, THOMAS, EngUsh composer
of the 17th century, died in London in 1730.
He was organist of King's CoUege, Cam-
bridge, in 1670, and of Pembroke College
in 1681 ; professor of music in Cambridge
University in 1704:, suspended in 1706-07,
and resigned his position as organist in
1726, when he retired to London. Ho
composed anthems, motets, services, and
songs, and comjiiled a collection of the
most celebrated services and anthems, in 6
volumes (1715-20). — Grove.
TU ES PETRUS, hymn for five-part cho-
rus and orchestra, by Mendelssohn, op. Ill,
composed in 1827. Breitkopf & Hdrtel,
Mendelssohn Werke, Serie xiv., No. 96.
TULOU, JEAN LOUIS, born in Paris,
Sept. 12, 1780, died at Nantes, July 23,
1865. Virtuoso on the flute, pupil of Wun-
derlich at the Conservatoire, where he won
the second prize in 1799, and the first in
1801, it having been denied him in 1800 on
account of his youth. In 1804 he entered
the orchestra of the Opera Comique as first
flute, and in 1813 succeeded his master
Wunderlich at the OpiT-ra. In 1822 he re-
signed, but went again to the Opera in
1826, and soon after was appointed profes-
sor at the Conservatoire. He retired from
both positions in 1856, and in 1857 settled
at Nantes. A factory for flutes, which he
had established and conducted, produced
many excellent instruments after the old
system, which he ujjheld to the period of
his retirement, strongly opposing the intro-
duction of BOhm's system at the Conserva-
toire. Works : Five concertos for flute and
orchestra ; Fantaisies, airs varies, for do. ;
Grand solos for do.; Symphonies concer-
tantes for flute and other wind instruments ;
Trios, duos, many airs, etc., for flute. — Fe-
tis ; Mendel ; Eiemann.
TUMA, FRANZ, born at Kosteletz-an-
der-Elbe, Bohemia,
Oct. 2, 1704, died in
Vienna, Feb. 4, 1774.
Virtuoso on the viola
da gamba and con-
trapuntist, pupil of
Cernohorsky in
Prague, and of Fux in
Vienna. In 1741 he
became chamber com-
poser to the dowager Empress Elisabeth,
and was peusioneel in 1750. Works : Thirty
masses ; Miserere ; Responses to the Lec-
tiones et Lamentationes ; Sinfonie a tre.
— Slovnik uau&y (Prague, 1872), is. 633 ;
Wiu-zbach.
TU N'^TAIS PAS SEUL EN CES
LIEUX. See Guillaume Tell.
TU POSSfiDES, DIT-ON. See La
Juive.
TURANDOT, overture, march, and in-
cidental music to the play of Turandot,
adapted from the Italian of Gozzi, bj' Schil-
ler, composed by Carl Maria von Weber, op.
37, in 1809. The overture is a musical jeu
d'esprit, fashioned on a few opening meas-
ures of Chinese melody. It was originally
known as Ouvertura Cinese, but it was re-
modelled for Turandot, and the original
composition was lost. The autograph score,
owned by Max von Weber, was published by
Schlesinger (Berlin). Ai-rangement for the
pianoforte, two hands, by the composer
5 t^-'^'tj; ,
605
TURCO
(ib., 1817). — Jilhns, Weber Verzeichniss,
No. 75.
TURCO m ITALIA, IL (The Turk in
Italy), Italian opera in two acts, text by
Eomani, music by Rossini, first represented
at La Scala, Milan, Aug. 14:, 1814. It was
written as a pendant to L' Italiana in Al-
geri, but the critics condemned Rossini for
repeating himself, and the opera was not
very successful. A young Turk, Albazar,
is shipwrecked on the coast of Italy, and
falls in love with the first woman he meets.
Ronzi de Begnis.
Fiorella has a husband, Geronio, and a
lover, Narciso, and she torments both by
coquetting with the stranger. The original
cast included : Albazar, Galli ; Geronio,
Paccini ; Narciso, David ; and Fiorella, Mme
Festa. The opera was first given in Paris
at the Italiens, May 23, 1820 ; at Her Ma-
jesty's, London, May 19, 1820, and in 1822,
when Mme Ronzi de Begnis made her de-
but as Fiorella ; in Vienna in 1820 ; in
Berlin, as "Der Turke in Italien," German
translation by von Holtey, in 1826 ; and
first in New York, March 14, 1826, with
Crevelli as Albazar, Garcia as Narciso, Eo-
sich as Geronio, and Mme Barbiere as
Fiorella. Published by Scbott (Mainz).
— Escudier, Rossini, 15 ; Edwards, do., 83 ;
Vie de Rossini par un dilettante, 85 ; Hans-
lick, Moderne Oper, 105 ; Ciicilia, xii. 55.
TURINI, FRANCESCO, born at Brescia
in 1590, died there in 1656. Church com-
poser, son of Gregorio Turini (singer and
cornet virtuoso, 15G0-1600), with whom
he went to Prague, when quite young, and
there became organist of the imperial
chapel. He spent some time in Venice and
Rome, to study singing and composition,
returned to Prague, and seems to have set-
tled late in life in his native city. Works :
Messe a quattro e cinque voci (Venice) ;
Motetti (Brescia) ; Madrigali, 3 books (Ven-
ice, 1624, 1629) ; Messe a cappella a quattro
voci(ib., 1643) ; Motetti comodi (ib.).— Fe-
tis ; Mendel ; Riemann.
TURKISH MARCH. See Ruinen von
Athen.
TURLE, JAMES, born at Taunton, Eng-
land, March 5, 1802, died in London, June
28, 1882. Organist of Christ Church, Sur-
rey, in 1819-29, of St. James', Bermondsey,
in 1829-31, and in 1831-75 of Westminster
Abbey, where he was also master of the
choristers. In 1829-56 he was music
master at the School for the Indigent
Blind. Works : Psalms and Hymns (1855) ;
do. for public worship (1863, 1864, 1869) ;
Psalter and Canticles (1865) ; The People's
Music Book (with E. Taylor) ; Church Ser-
vices ; Anthems ; etc.
TURNER, ALFRED DUDLEY, born in
St. Albans, Maine, Aug. 24, 1854, died
there. May 7, 1888. Pianist, pupil at the
New England Consei-vatory of Music and
the Boston University College of Music, in
both of which he taught until his death.
He appeared several times as a pianist in
concerts in Boston. Works : Trois mor-
ceaus for pianoforte and violoncello, op. 11 ;
Suite for do., op. 17 ; Sonate dramatique
for pianoforte, op. 18 ; Sonata for piano-
forte and violin, in D minor, op. 27 ; Do.
507
TUENHOUT
for do., in C minor, op. 31 ; Do., for piano-
forte and violoncello, op. 34 ; Etudes, ro-
mances, nocturnes, preludes, mazurkas, and
other works for the pianoforte.
TUKNHOUT, GfiRAED DE (properly
Gbeert Jacques), born at Turuhout, Bel-
gium, about 1520, died in Madrid, Sept.
15, 1580. Contrapuntist, was a chorister in
the cathedral of Antwerp in 1545, received
as master into the Coufrorie de la Vierge,
in 1562, and became maitre de musique of
the cathedral in 15G3, succeeding Antonio
Barbe. In 1572 he was appointed maestro
de capilla to FeliiDe 11., i-esiguiug his po-
sitions in the Antwerp cathedral in that
year, and according to the accounts of the
royal chapel in Madrid, entering upon his
duties there in November of that year ; he
was also made master of the children, and
held two prebends, those of Namur and
TournaL Works : Liber primus sacrarum
cantionum (Louvain, 15G8) ; Sacrarum et
aliarum cantionum, etc. (ib., 15G9) ; Mass
for 5 voices in Prsestantissimorum divinsc
musiccs auctorum missoc decem (ib., 1570) ;
Other comj)ositions in the following collec-
tions : 3d book of Recueil des fleurs (Phale-
sius, Louvain, 15G8) ; 4th book of Chansons
a quatre parties (Tylman Susato, .iVntwerp,
1544) ; Le xii. iomeliwecontenantsxx chan-
sons amoureuses, etc. (ib., 1558) ; Een
duytsch Musijckboeck, etc. (Phalesius, Lou-
vain, and Bellerus, Antwerp, 1573) ; La
Fleur des chansons (ib., 1574) ; Livre de
musique (ib., 1571). His son Jean was
maitre de chajjclle to the Duke of Parma,
governor of the Netherlands, as early as,
and probably before, 1580, and until 1595
at least. He published : Madrigali a sei
voci (Antwerp, 1589) ; Madrigali a cinque
voci (Douai, 1595) ; Sacrarum cantionum
quinque, sex et octo vocum (ib., IGOO).
— Fetis ; Van der Straeten, iv. 48 ; vi. 512 ;
Mendel ; Riemaun.
TURNO, 111, Italian opera in three acts,
music by Steffani, written for and first rep-
resented at the Court of Hanover in 1709.
The scores in Buckingham Palace are
signed Gregorio Piva, the name of Steffani's
secretai-y, which he adopted for himself
after he became a statesman. The large
copy is entitled " Enea, ossia amor vien dal
destino," but the conducting score is in-
scribed, " H Turno." This marks an ad-
vance upon all previous operas. The cho-
ruses anticipate those in Handel's oratorios,
and a phrase of the Presto movement in the
second Suite de pieces for the clavecin and
one in the chorus, " For unto us a child is
born," in The Messiah, resemble themes in
this work. Several arias are accompanied
by a full orchestra of strings, oboes, bas-
soons, trumpets, and drums. This opera and
Tassilone were \vritten in the same year.
TURN ON, OLD TULE. See Maritana.
TURPIN, ED:MUND hart, bom at
Nottingham, England,
May 4, 1835, still liv-
ing, 1890. Organist,
pujiil of Noble, and in
Loudon of HuUah and
Pauer ; organist of St.
Barnabas, Notting-
ham, in 1850, and of
St. George, Blooms-
bury, in 18G9. Con-
ductor and secretary
of College of Organists, 1875 ; professor of
form and instrumentation at Trinity College,
London. Since 1880 he has been editor of
the Musical Standard. "Works : St. John
the Baptist, oratorio ; Hezekiah, do.; A
Song of Faith, cantata, 18G7 ; The Monas-
tery, symphony; Overtures ; Festival Mass ;
Motets ; Anthems ; Quartets ; Organ music.
TYE, CHRISTOPHER, born in West-
minster early in the IGth century, died in
March, 1572 (1580 ?). He was organist of
Ely cathedral in 1541-62 ; chorister and
gentleman of the Chapel Royal ; Mus. Bac,
Cambridge, 1536 ; Mus. Doc, ib., 1545,
Oxford (ad eundem), 1548. Works: The
Actes of the Apostles, etc. (London, 1553) ;
Services in G minor ; Masses, and anthems.
TYLMAN SUSATO (Tileman, Thiele-
man), bom probably at Soest (Susatum),
60S
UBEE
Westphalia, about the close of the 15tli
ceuturj, died iu Antwerp, in 15G4:. Vocal
composer, and notable printer of music,
seems to have lived first at Cologne, and
is first heard of at Antwerp iu 1G31, as in-
strumentalist at the cathedral, and city mu-
sician. In 1543 he opened a printing ofiice,
which soon assumed such proportions, that
he built iu 1547 an estabhshment of his
own. His chansons and motets are to be
found iu his own, and in contemporaneous
German collections. — Futis ; Mendel ; Rie-
mann.
TZIGANE, LA. See Fledermaus.
UBER, ALEXANDER, born at Breslau
iu 1783, died at Carolath, Silesia, in
1821. Violoncellist, son of the fol-
lowing ; pupil of Johann Zacharias Jiiger, on
the violin of Jauitzek, and in composition of
Schuabel. His intercourse with Carl Maria
von Weber, Berner, and Klingohr contribut-
ed much towards developing his talent. In
1804 he made a journey through Germany
and played with success in many cities ;
was settled at Basel for some years, but
returned to Breslau in 1821, and in 1823
became Kapellmeister to Prince Carolath.
Works : Concerto for violoncello ; Variations
for do., with quartet or orchestra ; Se^Jtet
for clarinet, horn, violin, 2 violas, and 2
violoncellos ; G caprices for violoncello ; IG
variations on a German air, for do. ; Several
collections of part-songs ; Songs with piano-
forte.— Fetis.
UBER, CHRISTIAN BENJAMIN, born
in Breslau, Sept. 20, 1746, died there in
1812. Amateur composer and skilled j)er-
former on several instruments ; practised
law in his native city, where his house was
the rallying place of eminent representatives
of art and science. Works : Clarisse, oder
das unbekannte Dienstmadchen, comic op-
era in three acts, Breslau, 1772 ; Deukalion
und Pyrrha, cantata ; Music to the comedy
Der Volontair ; 11 concertinos for piano-
forte, flute, viola, 2 horns, and bass ; G di-
vertissements for pianoforte, with flute, vio-
lin, etc.; 9 do., with violin, 2 horns, and
bass ; 6 sonatas for pianoforte and violin ;
Quintets for string instruments. — Fetis ;
Mendel ; Schilling.
UBER, FKIEDRICH CHRISTIAN HER-
MANN, born iu Breslau, April 22, 1781,
died in Dresden, March 2, 1822. Son of
the preceding, pupil of Tiirk at Halle, where
he was entrusted with conducting the win-
ter concerts in 1801 ; returned to Breslau
in 1803, went to Berlin in 1804 and, recom-
mended by Bernhard Romberg, entered the
service of Prince Louis Ferdinand of Prus-
sia. In the winter of 1808 he joined the
orchestra of King Jerome, at Cassel, as vio-
linist, and in 1809 became music director
of the German opera there. Afterwards he
conducted the French opera, and in 1815
was connected with the National theatre at
Mainz. In 1816 he went to Dresden as
Kapellmeister of Secouda's troupe, then
lived for a while at Leipsic, and in 1817
was apj)ointed music director at the Kreuz-
kirche in Dresden. Works : Les marins,
opera-comique ; Der falsche Werber, inter-
mezzo, Cassel, 1808 ; Der frohe Tag, opera,
Mainz, 1815 ; Music to Klingemann's drama
Moses ; do. to the drama Der ewige Jude ;
do. to Saxonia, an allegory ; Die sieben
Worte des Ei-lOsers, oratorio ; Cantata for
the jubilee of the King of Saxony, 1818 ;
Das Fest der Erlusuug, cantata ; Concerto
for violin, etc. — Futis ; Mendel ; Schilling.
UDITE, UDITE, O RUSTIC! See Eli-
sire d' amore.
UEBERL:fiE, (FELIX WILHELM)
ADALBERT, born in Beriin, June 27, 1837,
still living, 1890. Organist and cantor, pu-
pil at the Conservatorium and the royal
institute for church music in Berlin ; won
prizes iu 1862 and 1864, and made a study
trip to Italy in 1864-65. On his return
he became organist at the Bartholomiius-
Ivirche, in 1866 at the Dorotheenstildtische
Kirche, and in 1867 vocal instructor at the
I Louisenstiidtische Gewerbschule. He is
also conductor of the Dorothea vocal so-
G09
UGOLINO
ciety. Works : Egmont, opera ; Karin, do.;
Weiberlist, comic opera ; Das Wort Gottes,
oratorio, 1872 ; Golgotha, do., 1878 ; Te
Deum ; Eequiem, 1873 ; Stabat Mater,
1874 ; Choruses for male and mixed voices ;
Songs ; Pianoforte pieces, etc. — Mendel ;
Eiemaun.
UGOLmO (Urgolini, HugeUnus), VIN-
CENZO, born in Perugia in the second half
of the 16th century, died in Rome in 1G26.
One of the most learned church composers
of the Roman school, pupil of Nanini. He
was made maestro di cappella of Sta. Maria
Maggiore, Rome, in 1G03, but in 1G04 a dan-
gerous iUness obliged him to resign. In
1609 he held the same office at the cathedral
of Benevento. In 1615 he returned to Rome,
■was called to S. Luigi de' Francesi, and in
1620 was made maestro di cappella of St.
Peter's, but was forced to resign in 1626 on
account of his health. His best pupil was
Orazio BenevoU. Works: Two books of
motets for 8 voices (Rome, 1614) ; 4 do., for
1, 2, 3, 4 voices with basso continuo for or-
gan (ib., 1616, 1617, 1618, 1619) ; 2 books
of Psalms for 8 voices (ib., 1620) ; 2 books
of masses and motets for 8 and 12 voices
(Rome, 1622) ; Psalms and motets for 12
voices (Venice, 1624).— Fetis, 281; Am-
bros, Gesch., iv. 83 ; Riemann ; Mendel.
UHDE, JOHAXN OTTO, born at Inster-
burg. East Prussia, May 12, 1725, died in
Berlin, Dec. 22, 1766. Amateur composer,
pupil in Berlin of Simonetti on the violin,
and of Schaffrath on the pianoforte. He
had studied law, and in time became coun-
cillor of the supreme court, and judge in
Berlin. Works : Temistocle, opera, Berlin,
about 1760 ; Cantata on the victory at Tor-
gau ; Italian cantata on the birthday of
Friedrich H. ; Die Grazien, cantata ; Sym-
phonies, concertos, trios, songs, etc. — Men-
del ; Schilling.
ULBRICH, SLIXIMILIAX, born in Vi-
enna in 1752, died there, Sept. 14, 1814.
Amateur dramatic and church composer,
pupil of Wagenseil and of Reutter. He
played well on several instruments, and
took part in the private chamber concerts
of Joseph II. Works — Operas : Friihling
imd Liebe, Vienna, 1778 ; Der blaue
Schmetterling ; Die Schnitterfreude, op-
eretta, Vienna, 1785. Die Israeliten in der
Wiiste, oratorio ; Masses, litanies, gi-aduals,
Te Deum, etc. ; 6 sj-mphonies for orchestra ;
Divertissements for pianoforte, etc. — Fetis ;
Wurzbach.
ULRICH, EDUARD, born at Weimar in
1795, died there (?) after 1843. Violon-
cellist, pupil of Haase at Weimar, where he
entered the com-t orchestra in 1811, having
in the meanwhile studied counterpoint in
Berlin. Works : Der treue Eckard, opera,
Der Eremit, do., both given at Weimar,
1841 ; 2 concertinos for horn and orches-
tra ; Soli for violoncello, etc. — Fetis ;
Mendel.
ULRICH, HUGO, born at Oppeln, Si-
lesia, Nov. 26, 1827, died in Berlin, May 23,
1872. Instrumental composer, pupil of
Kotzoldt on the jjianoforte and organ, and
later of Brosig, while paying his way through
the Breslau Gymnasium by singing and
organ-playing. lu 1846 he went to Berlin,
to study at the Uuiversitj-, where the re-
ommendation of Meyerbeer induced Dehn
to take him as a pupil in composition. His
compositions attracted great attention. His
Symphonie triomphale obtained in 1853 a
prize of 1,500 francs from the Academie
Royale of Brussels, where he was present
at its first jierfonnance. In 1855 he went
to Italy and lived in Venice, Turin, Genoa,
Rome, and Milan, but pecuniary difficulties
compelled his return to Berlin in 1858, and
prevented attempts at higher composition.
Teaching in Stem's Conservatorium was so
distasteful to him that he gave it up, and
to make a living had recourse to musical
hack work, such as making arrangements
for pianoforte, which are excellent. His
compositions show great musical power,
but the force of circumstances was too
strong for him. Works : Bertrand de Born,
an unfinished opera ; 3 symphonies ; 2 over-
tures ; Quartet ; Trio for pianoforte and
610
ULTIMO
strings ; Sonata for violoncello ; Pianoforte
I^ieces. — Mendel ; Fotis.
ULTIMO DE' CLODOVEI, L'. See
Arabi uelle Gallie.
ULTEMO GIOENO DI POMPEI, L'
(The Last Day of Pompeii), Italian opera
in two acts, text by Tottola, music by
Giovanni Pacini, first represented in Na-
ples, Nov. 19, 1825. It was given in Paris,
Oct. 3, 1830. Other operas on the same
subject, in Italian : Una gita a Pompeji, by
Giovanni Moretti, Naples, 185G ; Jone, ossia
r ultimo giorno di Pompeji, by Petrella,
text by Peruzzini, three acts, Milan, Jan.
21, 1858. In German : Alida, oder die
letzten Tage von Pomjjeji, by Franz Zach-
ner, test by Prechtler, Munich, April 12,
1839 ; Die letzten Tage von Pompeji, by
August Pabst, text by Julius Pabst, four
acts, Dresden, Aug. 17, 1851 ; by Peter
Miiller, text by Pasquu, Darmstadt, 1855 ;
Die Nazarener in Pompeji, by Muck, text
by Gollmick and Bauer, Feb. 5, 1867 ; by
Yourij von Ai'nold, about 1860. In French :
Le dernier jour de Pompei, by Victorin de
Joncicres, text by Beaumont and Nuitter,
four acts, Paris, Sept. 21, 1869.
ULYSSE, choruses to Pousard's five-act
tragedy of Ulysse, by Gounod, first per-
formed at the Comc'die rran9aise, Paris,
June 18, 1852. It was given in London at
a concert for the benefit of the Brompton
Hospital, June 8, 1866. Published by
Cramer & Co. (London, 1866). — Athenseum
(1866), 808.
UMBREIT, KAEL GOTTLIEB, born at
Eehstedt, near Gotha, June 9, 1763, died
there, April 27, 1829. Organist, pupil of
Kittel at Erfurt ; organist at Sonneborn,
near Gotha, thirty-five years, then returned
to his native place. "Works : Allgemeines
Choralbuch fur die protestantische Kirche,
etc. (Gotha, 1811), translated into French
by Choron (Paris) ; Die evangelischeu
Kirchenmelodien, etc. (Gotha, 1817) ; 12 or-
gan pieces (ib. and Leipsic, 1798) ; 25 do.
(Bonn) ; 12 choral melodies for organ
(Gotha, 1817) ; i do. with variations
(ib., 1821); 50 do. (ib., 1808). — Fetis ;
Mendel.
UMLAUF, IGNAZ, born in Vienna in
1756, died at Meidling, near Vienna, June
8, 1796. Dramatic composer, became in
1772 viola j)layer in the ojDera orchestra,
then music director of the German opera,
created by Joseph II., and from 1789 sub-
stituted for Salieri as Kapellmeister of the
imperial chapel. Works — Siugspiiele : Die
Bergknappen, Vienna, 1778 ; Die pticefar-
benen Schuhe, oder die schone Schusterin,
die Apotheke, ib., 1778 ; Die gliicklichen
Jager, ib., 1785 ; Der Eing der Liebe, ib.,
1785 ; Der Irrwisch ; Aeneas in Carthago.
Paul und Eosette, ballet, Vienna, 1825 ; Der
Fassbinder, do., ib., 1830 ; Das Eosenfest.
Church music ; Pianoforte pieces and songs.
His sou Michael (1781-1842) was violinist
in the opera orchestra, where he became
assistant and then first Kapellmeister. He
composed two Singspiele ; Das Wirthshaus
zu Granada, Vienna, about 1812 ; Der Gre-
nadier, Stuttgart, 1821 ; 6 ballets ; Sonata for
violin and pianoforte ; do. for isianoforte 4
hands ; Church music. — Fetis ; Wurzbach ;
N. Necrol. der D. (1842), 1089.
UNA FUETIVA LAGEIMA. See Elisire
d' amore.
UNA VOCE POCO FA. See Barbiere di
Siviglia.
UN BACIO DI MANO, arietta for bass
with orchestra in F, text from Anfossi's
opera, Le gelosie fortunate, music by
Mozart, composed in Vienna in May,
1788. Breitkopf & Hiirtel, Mozart Werke,
Serie vi., No. 40. — • KOchel, Verzeichniss,
541.
UND ES WAEEN HIETEN IN DEE-
SELBEN GEGEND, cantata Feria H. Na-
tivitatis Christi, for soli and chorus, with
accompaniment of two flutes, two oboi d'
amore, two oboi da caccia, strings complete,
organ, and continuo, by Johann Sebastian
Bach. It forms the second part of the
TFei/inac/i^s'-Oratorium.
UN DISPEEZZATO AFFETTO, con-
tralto aria of Ottone, in F minor, with ae-
on
UNE
companiment of violins iu unison, and bass,
in Handel's Ottone, Act HI., Scene 2. Pub-
lished also separately, ■with the accompani-
ment filled out by Robert Franz (Leipsic,
Kistner).
UN DOUX SERMENT NOUS lit. See
Hamlet.
UND SPUR' ICH NIGHT LINDE. See
Fidelio.
UNE FtE, UN BON ANGE. See
Domino Noir.
UNE HEURE DE MARIAGE (An Hour
of Marriage), opera-comique iu one act, text
by Etienue, music bj' Dalayrac, first repre-
sented at the Theatre Feydeau, Paris,
March 20, 1801.
UNGARISCHE FANTASIE (Hungarian
Fantasy), a fantasia on Hungarian folk-
melodies, for the jjianoforte and orchestra,
composed by Liszt for Hans von Billow.
The score was published by Heiuze (Leip-
sic), arrangement for two pianofortes by
Hans von Billow (ib.).
r:NG ARISCHE SUITE (Hungarian
Suite), for orchestra, in F, by Joachim Rafi",
op. 194. This is the comj)oser's second
suite. L An der Grenze, Ouvertiire ; H
Auf der Puszta, Traiimerei ; HI. Bei einem
Aufzug der Houved, Mai'sch ; IV. YoLkslied
mit Variationen ; V. Vor der Csarda, Fi-
nale.—Mus. Wochenblatt (1877), 186.
UNGARISCHE TANZE (Hungarian
Dances), for the pianoforte for four hands,
by Brahms, without opus number. Book I.
1. Allegro molto ; 2. AUegro non assai ; 3.
Mlegi-etto ; 4. Poco sostenuto ; 5. Allegro.
Book H. G. Vivace ; 7. Allegretto ; 8. Presto;
9. Allegro non troi^po ; 10. Presto. Book
HL 11. Poco andante ; 12. Presto ; 13.
Andantino grazioso ; 14. Un poco andante.
15. Allegretto grazioso ; IG. Con moto.
Book IV. 17. Andantino ; 18. Molto vivace ;
19. Allegretto; 20. Poco allegi-etto ; 21.
Vivace. The first two books were published
by Simrock (BerHn, 1872), arranged by the
composer for the pianoforte for two hands
(ib., 1872). The second two books were
published by Simrock (Berlin, 1880), for
the pianoforte for two bands, by Theodor
Kirchner (ib., 1881). Easy arrangement by
R. Keller (ib., 187G and 1881) ; do. for six
hands (ib., 1877), and do. for two piano-
fortes for eight hands (ib., 1874 and 1881).
Arranged for pianoforte and violin by Jo-
seph Joachim (ib., 1871 and 1880), easy
arrangement for do. by F. Hermann (ib.,
1878 and 1881) ; for pianoforte and violon-
cello by A. Piatti (ib., 1881) ; for full or-
chestra by the composer (ib., 1874), by
Antonin Dvofak (ib., 1881). Zigeunerlied
(Gypsy Song), ""Wir leben uur von beut
auf morgen," for two voices with pianoforte,
from No. V. and No. VI., arranged by Pau-
line Viardot, entitled, Les Bohomiennes,
and published by Hamelle (Paris, 1886).
UNGARISCHE ZIGEUNERWEISEN
(Hungarian Gypsy Melodies), by Carl Tau-
sig, composed for the pianoforte for two
hands. This ranks with Liszt's Iihajisodies
hongroises. The score, dedicated to Sera-
phine Tausig, was published by Senflf (Leip-
sic). Ai-ranged for the pianoforte for four
hands, by R. Kleiumichel (ib.).
UN JOUR, DANS LES FLOTS DE LA
MEUSE. See Prophite.
UNSER MUND UND TON DER SAI-
TEN, tenor aria in F major, with accom-
paniment of two violins concertanti, two
do. ripieni, viola, and continuo, in Johann
Sebastian Bach's cantata Festo aununcia-
tionis Mariic, Wie schon leuchtet der Mor-
genstern (Bachgesellschaft, No. 1). Pub-
lished also separately, with the accompani-
ment filled out by Robert Franz (Leipsic,
"Whistling).
UOMINI DI PROMETEO, GLI (The
Men of Prometheus), allegorical ballet iu
two acts, with overture, ballet arranged
by Salvatore ViganA, music by Beethoven,
op. 43, first performed at the Hoftheater,
Vienna, March 28, 1801. The scene is
placed on Mount Parnassus. Characters
represented : Prometeo ; Children ; Bac-
co ; Pan ; Terpsichore ; Thalia ; Melpo-
mene ; Apollo ; Amfione ; Arione, and
Orfeo. The famous dancer, Salvatore Vi-
URBAN
gano, appeared in it. It was very suc-
cessful, being given sixteen times in 1801
and thii-teen times in 1802. The German
title is Die GescbOpfe des Prometheus.
The finale, which is frequently j)layed at
concerts, was performed iu Vienna, Sept. 8,
1816. Overture, Adagio, Allegro molto
con brio ; Introduction, Allegro uon troppo ;
I. Poco adagio. Allegro con brio, Poco
adagio. Allegro con brio ; 11. Adagio, Al-
legro con brio ; HI. Allegro vivace ; IV.
Maestoso, Andante ; V. Adagio, Andante
quasi allegretto ; VI. Uu poco adagio, Al-
legro ; VII. Grave ; VIII. Allegro con brio,
Presto ; IX. Adagio, Allegro molto ; X.
Pastorale, Allegro ; XI. Andante ; XII. Ma-
estoso, Allegro ; XIII. Allegro ; XIV. An-
dante ; XV. Andautino, Adagio, Allegi-o ;
XVI. Finale, Allegretto, AUegro molto.
The theme of the Finale was used again
for the Finale of the Sinfonia Eroica, oj).
56 ; as a theme for the pianoforte variations,
op. 35 ; and again in the seventh f!ontre-
tanz (Breitkopf & Hilrtel, Serie ii., No. 9).
The score, in the Konigliche Bibliothek,
Vienna, was first published by Cappi and
by Artaria (Vienna, 1801). Breitkopf &
Hilrtel, Beethoven Werke, Serie ii., No. 11.
Arranged for string-quartet, and for flute,
violin, viola, and violoncello by Zulchner ;
for pianoforte and violin ; for jsiauoforte,
violin, flute, and violoncello ; for two piano-
fortes for four hands, by Czerny ; for do.,
eight hands, by Schmidt ; for one piano-
forte, four hands, by Cranz ; and for two
and four hands by Gleichauf. — Thayer,
Verzeichniss, No. 79 ; do., Beethoven, ii.
124, 380 ; Lenz, do., i. 230 ; Marx, do., i.
68, 204 ; Allgem. mus. Zeitg., xv. 435 ;
xviii. 733.
UPiBAN, HEINRICH, born in Berlin,
Aug. 27, 1837, still living, 1890. Instru-
mental and vocal composer and violinist,
pupil of Hubert Ries, Ferdinand Laub,
Richard Hellmann, and others ; studied
also iu Paris. He has been professor at
Kullak's Academy, Berlin, since 1881, and
has great reputation as a theorist. Works :
Friihling, symphony ; Overtui-es to Schil-
ler's Fiesco ; Scheherezade, overture ; Ouver-
tiire zu einem Fastnachtsspiel ; Concerto
for violin ; Solos for violin ; Songs, duets,
terzets. His brother, Friedrich Julius (born
in Berlin, Dec. 23, 1838), is a popular sing-
ing teacher. His Kunst des Gesangs is
highly commended by critics ; he has also
composed songs. — Mendel ; Riemann.
URHAN, CHRETIEN, born at Mont-
joie, near Aix-la-Chapelle, Feb. 16, 1790,
died at Belleville, near Paris, Nov. 2, 1845.
Violinist, studied under his father the vio-
lin, pianoforte and other instruments, and
composed variations for the violin before
he was twelve years old. The Empress
Josephine, who heard him at Aix in 1805,
became his patroness and sent him to Paris
to study under Lesueur, who procured
him iu 1816 a position in the orchestra of
the Opera. He was j^romoted to solo violin
iu 1831 and became a pojjular player at
concerts, where he introduced Mayseder's
compositions, then unknown in Paris. He
played also 'at the Conservatoire concei-ts,
of which he was one of the organizers. He
devoted much time to the revival of the
viole d'amour, and Meyerbeer wrote for him
the viole d'amour solo in the first act of the
Huguenots. He used that instrument eliec-
tively also at Fetis's concerts historiques,
and contributed largely to the interest of
the concerts given by the society for cham-
ber music under Baillot. Works : Premiere
et deuxieme quintettes romantiques pour
deux violous, deux altos, et violoncelle
(Paris) ; Quintettes pour deux altos, violon-
celle, contrebasse, et timbales ad libitum ;
Elle et moi, duoromantique a quatre mains
j)Our piano, op. 1 : 2ieme duo for do. ; La
salutation angelique for do. ; Les regrets,
idem ; Mc'lodies for 1 and 2 voices, includ-
ing a romance on 2 notes only. — Grove ;
Futis ; Riemann ; Mendel.
URSILLO, FABIO, flourished in Rome
about the middle of the 18th centiuy. Vir-
tuoso on the archlute, and several other in-
struments. Works : Three concerti grossi
613
URSPKUCH
for arcblute ; Fantasias for do. ; Concerto
for guitar ; Trios for two violins and violon-
cello ; Sonatas for flute. — Fetis.
UKSPRUCH, ANTON, born at Frank-
fort-on-tbe-Main, Feb. 17, 1850, still bving,
1890. Pianist, pupil of Ignaz Lacbner
and of Martin Wallenstein, later of Eafl" and
Liszt ; was for several yeai-s instructor at
Hocb's Conservatorium, Frankfort, and
since 1887 has been at Raff's Conserva-
torium tbere. Works : Der Sturm, opera,
given at Frankfort, 1888 ; Symphony ; Con-
certo for pianoforte ; Quartet for pianoforte
and strings ; Trio ; Variations and fugue
on a theme by Bach, for 2 pianofortes ;
Choruses, songs, etc. — Riemann.
URVASI, opera, test by Alfred Godel,
music by "Wilhelm Kienzl, represented at
Dresden, Feb. 20, 1886. It obtained a
considerable success. The libretto is an
adaptation of a drama by Kalidasa.
USIGLIO, E:MILI0, born at Parma,
Italy, Jan. 8, 1841, stUl living, 1890. Dra-
matic composer, pujnl in Florence of Teo-
dulo Mabellini. Works : La locandiera,
opera buffa, Turin, 1861 ; Un' eredit3, in
Corsica, Milan, 1864 ; Le educande di Sor-
rento, Florence, 1868 ; La scommessa, ib.,
1870 ; Le donno curiose, Madrid, 1879.
— Fetis, Supplement, ii. 595.
UTHAL, drame-lyrique in one act, text
by Saint- Victor, music by Mehul, first rep-
resented at the Thc'atre Feydeau, Paris,
May 17, 1806. The subject is fi-om Ossian.
The opera was given in Berlin, German trans-
lation by Herklots, Oct. 3, 1808, with Herr
Blume as Uthal and Mme Schick as Malvina ;
and in Vienna, Jan. 15, 1810. — Allgem.
mus. Zeitg., si. 45 ; sii. 334.
UTRECHT TE DEIBI, composed by
Handel to celebrate the Peace of Utrecht
(1713), first performed in London, July 7,
1713, probably at St. Paul's Cathedral.
The solos were sung by Messrs. Hughes,
Elford, and Gates. The autograph score,
in Buckingham Palace, is dated Jan. 14,
1712. This, Handel's first great English
work, is followed by a Jubilate, which |
contains a gigantic double fugue. Queen
Anne beard it when it was given at the
Chapel Royal, St. James's, and presented
Handel with a pension of £200 per annum.
For thirty years this work was per-
formed at St. Paul's, alternately with
Purcell's Te Deum, for the benefit of "The
Sons of the Clergy." The Te Deum and
the Jubilate were first published by Arnold ;
and an incorrect edition of the latter was
printed by Breitkopf & Hiirtel ; Chrysan-
der's edition (ib., Leipsic, 1869). Handel
wrote five other Te Deums : I. in B. (1718-
19), and n. in A (1719-20), both composed
for the Duke of Chandos (Chrysander's
edition, Leipsic, 1872) ; m. in D (1720) ;
rV. Queen CaroHne's Te Deum (1737) ;
V. Detlingen Te Deum (1743).— Chrysander,
Hilndel, i. 387 ; Rockstro, do., 84 ; Grove,
iv. 69.
UTTENDAL (Uttendaler, Uttenthal),
ALEXANDRE, Flemish composer of the
16th century, died at Innspruck, May 8, 1581.
He passed the greater part of his life in Ger-
many, and was chamber musician and later
Kapellmeister to Archduke Ferdinand of
Austria at Innspruck. Works : Seven jisalmi
pcenitentiales (Nuremberg, 1570) ; 3 books
of motets (ib., 1570-77) ; 3 masses for 5 and
6 voices, and Magnificats for 4 voices (ib.,
1573) ; FrOUche neue teutsche und fran-
zOsische Lieder, etc. (ib., 1574) ; Motets in
JoanneUi'a No-\-us thesam-us musicus (Ven-
ice, 1568).— Van der Straeten, iii. 242.
UTTINI, FRANCESCO, born in Bologna,
Italy, about 1720, died at Stockholm in
1796. Dramatic composer, jjupil of San-
dori and of Perti ; became in 1743 a mem-
ber of the Accademia Filarmonica, of which
he was principe in 1751. Ho lived for
some time in London, and in 1774 went to
Stockholm, where he was Kapellmiistare to
the king until 1795, when he was pensioned.
Works : H ro pastore ; Aline, Drottning
af Golconda, Stockholm, 1775 ; Aeneas pa
Karthago, ib., 1790 ; Thetis och Peleus, ib.,
1790 ; Choruses to the tragedy Athalia.
— Fctis; Mecdel.
ei4
VACCAJ
VACCAJ, NICCOLO, born at Tolentino,
Papal States, March 15, 1790, died
at Pesaro, Aug. 5, 1848. Dramatic
composer, pupil of Jannaconi, in Rome,
where he embraced music as a profession,
although he had gone there to study law.
In 1811 he went to Naples to study dramatic
composition under Paisiello. He brought
out hia first opera in 1814, and presently
became widely known as a popular composer
of ballets and operas ; he was a favourite
vocal teacher first in Venice, then in Trieste
in 1821, in Vienna in 1823, in Paris in 1829,
and London in 1832. He returned to Italy
after the revolutionary troubles of 1830 had
subsided, and resumed dramatic composi-
tion. He was elected professor of compo-
sition, and censor at the Consei-vatorio in
Milan in 1838, succeeding Basili. While at
the Conservatorio he gave up dramatic com-
position and wrote only for the church ; in
1844 he resigned his position, and retired to
Pesaro. Works — Operas: I solitari di
Scozia, Naples, 1814 ; Malvina, Venice,
1815 ; II lupo d'Ostenda, ib., 1817 ; Pietroil
Grande, ossia il geloso alia tortura, opera
buffa, Parma, 1824 ; La pastorella feudata-
ria, Turin, 1824 ; Zadig ed Astartea, Naples,
1825 ; Giulietta e Komeo, Milan, 1826 ; Le
fucine di Norvegia, ib. 1827 ; Giovanna d'
Arco, Venice, 1827 ; Bianca di Messina, Tu-
rin, 1828 ; Satadino, Florence, 1828 ; Saulle,
Milan, 1829 ; II Marco Visconti ; La Gio-
vanna Gray (for Maria Malibran) ; La sposa
di Messina, Milan, about 1833 ; Vii'ginia,
Rome, 1845. Ballets : Gamma, regina di
GaUizia, Venice, 1817 ; Simurkan, ib., 1819;
Alessandro in Babilonia ; Ifigenia in Aulide,
ib., 1820 ; 12 ariette per camera per 1' inse-
gnamento del bel-canto italiano ; 4 romanze
postume ; Several detached pieces of vocal
music ; Metodo pratico di canto italiano
per camera. With Coppola, Donizetti,
Mercadante, and Pacini, he wrote the funeral
cantata : In morte di Maria Malibran, per-
formed at La Scala, Milan, March 17, 1837.
— Fetis ; do.. Supplement, ii. 596 ; Kie-
mann ; Mendel.
VACCAEI, FRANCESCO, born in Mo-
dena in 1773, died in Portugal after
1823. Violinist, played difiicult music at
sight when only seven years old ; was a
pupil of Nardini at Florence, from 1783,
and appeared in public at Mantua a few
years later. After playing with success in
the principal cities of Italy, he lived several
years in Milan, entered the service of the
king of Spain in 1804, and in 1808 began
to travel again. Having visited Paris and
Germany, he went to Lisbon in 1815, then
to Madrid, where he once more occupied an
advantageous position at court until 1823,
when he returned to Portugal. Works :
Duos for violins ; Variations for violin and
pianoforte ; Potpourri for do. ; L'Ecos-
saise, nocturne for do. — Fotis ; Mendel.
VACHET (Le Vacher), PIERRE JEAN,
born in Paris, Aug. 2, 1772, died there in
1819. Violinist, pupil of Andre Monin,
and of Viotti ; in 1791 he went to Bor-
deaux, where he played first violin in the
orchestra, returned to Paris in 1794, and
was a member of the orchestra successively
at the Vaudeville, the Feydeau, and the
Opera. Works : Trios for 2 violins and
bass ; Airs varies for violin and violoncello ;
Duos for violins ; Many airs varies for vio-
lin solo ; Pots-pourris for do. ; Romances.
— Futis.
VACHON, PIERRE, born at Ai-les in
1731, died in Berlin in 1802. Violinist,
pupil of Chabran in Paris, entered the
service of the Prince de Conti in 1761,
and on a journey through Germany in
1784 became Conzertmeister to the Prince
of Prussia. Works — Operas : Renaud d'Ast,
Le meuuier, Paris, 1765 ; £sope a Cy there
(with Trial), ib., 1766 ; Les femmes et le
secret, ib., 1767 ; Hij^pomone et Atalante,
ib., 1769 ; 5 concertos for violin and or-
chestra ; 12 quartets for strings ; G trios
for do. ; 12 sonatas for violin and bass.
—Fotis.
VA, CRUDELE. See Norma.
VA, DAL FUROR PORTATA, aria for
tenor with orchestra, in C, text from Metas-
515
VADO
tasio's Ezio, music by Mozart, composed in
Londou in 1765. Breitkopf k Hilrtel, Mo-
zart Werke, Serie vi., No. 1. — Kocliel, Ver-
zeicbniss, No. 21.
VA, DIT-ELLE, MON ENFANT. See
Robert le Diable.
VADO MA DOVE ? O DEI ! aria for so-
prano with orchestra, in E-flat, by Mozart,
composed in Vienna in October, 1789.
Breitkopf & Hiirtel, Mozart Werke, Serie vi..
No. 44. — Kochel, Verzeichniss, No. 583 ;
Andro, No. 56.
VAET (Vaedt, Waet), JACQUES (Jacob),
Flemish composer of the 16th century, died
in Vienna, Jan. 8, 1567. He is sometimes
confounded with Jacques or Giacche de
Wert, his contemporary. Vaet wrote a mo-
tet in laudem serenissimi principis Ferdi-
nandi, Archiducis Austrine, about 1526, and
another, in laudem invictissimi Komanorum
imperatoris Maximiliani 11., about 1564,
both printed in Joannelli's Novus thesau-
rus musicus (Venice, 15G8), which contains
also the motet in obitum Jacobi Vaet, writ-
ten by Jacques Kegnard. He was appoint-
ed imperial Kai^ellmeister, Dec. 1, 1564,
after a long life sjjent iu the service of the
court of Austria. Works : 25 motets in the
Novus thesaurus (1568). Other motets,
sentential pi;i>, chansons, etc., appear in the
several collections of Tylman Susato, Mon-
tanus, Phalesius, and Buchaw. A French
chanson for four voices, Amour leal, is
found in Le jardin musical (Waelrant and
Laet, Antwerp, 1556). His 8-voice Te Deum
and a Miserere in 5 parts are considered his
masterpieces. Some of his works are pre-
served among the archives of the Pontilical
Chapel, Rome ; and Gevaert found his mo-
tets with those of other Flemish composers
in the archives of Toledo, Spain, in 1850.
— Fetis ; Van der Straeten, i. 110 ; iii. 197 ;
V. 79 ; vi. 39 ; Mendel ; Gerber.
VAISSEAU FANTOME, LE (The Phan-
tom Ship), French opera in two acts, text by
Feucher and Eevoil, music by Pierre Louis
Philippe Dietsch, first represented at the
Academie Royale de Musique, Paris, Nov.
9, 1842. The libretto of this opera, which
was unsuccessful, was based on sketches
which Eichard Wagner sold to Leon Pillet,
director of the Paris Opera. See Derjiie-
gende Hollander.
VAL D'ANDORRE, LE (The Vale of An-
dorra), dramc-lyrique in three acts, text by
Saint-Georges, music bj* Halevy, first rep-
resented at the Oi^era Coraique, Paris, Nov.
11, 1848. The scene is placed in the Pj're-
nees and the story is a simple one of peas-
ants and chamois hunters. The opera, which
was successful, was revived at the Theatre
Lyrique, Paris, in October, 1860. Score
jrablished by Brandus & Cie (Paris, 1848).
— Clement et Larousse, 087.
VALENTINI, GIOVANNI, born in the
second half of the 10th century, died (?).
Organist at the imperial court of Vienna
about 1015. Works : Motetti a sei voci
(Venice, 1611) ; Musiche concertate a 0, 7,
8, 9 e 10 voci ossia instriimenti (Venice,
1619) ; Musiche a 2 voci col basso per or-
gano (Venice, 1622) ; Sacri concertati (Ven-
ice, 1625) ; Musiche da camera, etc., a 2, 3,
4, 5 e 6 voci, lib. quarto (Venice, 1621) ;
Libro quinto, ib. (1622). Masses, Magnifi-
cat, and Ps.alms for 24 voices in 6 choirs.
Stabat Mater and a Magnificat for 24 voices
(1620), were in the Abbate Santini's collec-
tion. Some of his pieces are in the Par-
nassus musicus FerdinandfEus of Berga-
meno (A'enice, 1615). — Fetis ; Larousse ;
Van der Straeten, i., 24, 29, 33, 34 ; Rie-
mann ; Mendel ; Gerber.
VALENTINI, PIETRO FRANCESCO,
born in Rome in the second half of the
16th century, died there in 1654. One of
the most learned contrapuntists and com-
posers of the Roman school, pupil of G.
M. Naniui. He was author of several
celebrated canons, two of which, special-
ly mentioned by Burney and Hawkins,
were inserted by Kircher in his Musurgia.
They are entitled : Canone di Pier Fran-
cesco Valentin! Romano sopra le parole
del Salve Regina illos tuos misericordes
oculos ad nos converte, etc. (Rome, 1629),
616
VALLAPEIiTA
with the resolution in more than two
thousand ways, for 2-5 voices ; Canone
nel noJo di Salomone a 9G voci (Rome,
1631). The other canons are Canone a 6,
10, 20 voci (ib. 1G45) ; Canoni musici (ib.,
1C55). Other works : La mitra, favola
greca versificata, etc. (Rome, 1G54) ; La
trasformazione di Dafne, favola morale, etc.,
(ib., 1G54) ; 2 books of madrigali (Rome,
1654) ; 4 books of motets for one voice and
instruments ; i do., for 2, 3, and 4 voices
(Rome, 1655) ; Canzonette spirituali (2
books, ib., 1655) ; Ditto for 2 and 3 voices
(4 books, 1G56) ; Musiche spirituali per la
Nativita di N. S. Gesh-Cristo, 1 and 2
voices (2 books, Rome, 1657) ; Other books
of Canzonette, litanies and motets (1657).
— Fetis ; Grove ; Burney, Hist., iii. 522 ;
Hawkins, iv. 78 ; Ambros, Gesch., iv. 121 ;
Gerber ; Schilling ; Riemann ; Mendel.
VALLAPERTA, GIUSEPPE, born at
Melzo, near Milan, March 18, 1755, died in
Milan in 1829. Church composei-, taught
the pianoforte at Venice until 1789, when
he went to Dresden ; was called to Parma
in 1790, to write a festival cantata, and in
1793 became maestro di cappella at Aquila,
in tho Abruzzi. In 1803 he settled in Sli-
lan. Works — Oratorios : Ezechia ; II tri-
onfo di Davidde ; II voto di Jefte. Masses,
3 Requiems, 6 Miserere, etc. — Fetis.
VALLOTTI, FRANCESCO ANTONIO,
born at Vercelli, Piedmont, June 11, 1697,
died at Padua, Jan. 16, 1780. Organist,
contrapuntist, and composer of church mu-
sic, considered one of the foremost of Italy
from 1750. While studying at a theologi-
cal seminary he learnt music from a teacher
named Brissone ; he joined tho Franciscan
order and after studying theology in Milan,
was sent by his superiors to Padua to study
music under Calegari. He adopted this
master's new theory of harmony, and al-
though ho afterwards studied in Rome
(1728), he did not give up the new princi-
ples. On his return to Padua he became
organist of the church of S. Antonio, and
became celebrated for his compositions ;
Tartini considered him the best Italian or-
ganist of his time. He succeeded Calegari
as maestro di cappella of the cathedral,
and occupied that position until his death.
Bumey saw him in Rome in 1770, and was
shown a large collection of his MSS., nearly
all of which remained unpublished, and
were i:)reserved in the Cathedral of Padua.
He was the master of Abt Vogler, and of
Sabbatini. Works : Among his printed
works are, Responsoria in Parasceve 4 voc.
(Mayence) ; Responsoria in sabbato sancto
(ib. ) ; Responsoria in Ccena Domini, 4 vo-
cibus. He was a theoretical writer and
had begun a large work on music, the first
volume of which was published with the
title : Delia scienza teorica e pratiea della
modema musica (Padua, 1779). His death
prevented the finishing of this work, which
Padre Martini has treated of in his letters
(Memorie storiche del P. Giamb. Martini,
113). — Fotis ; Larousse, xiv. 750 ; Burney,
Hist., iv. 576 ; Gerber ; Schilling, vi. 738 ;
Riemann, 954 ; Mendel, x. 447.
VALSE DE L'OMBRE, LA. SeeParJun
de Ploermel.
VAMPYR, DER (The Vampire), roman-
tic German Ojiera in two acts, text by
Wilhelm August Wohlbriick, music by Hein-
rich Marschner, first represented in Leipsic,
March 28, 1828. The action is placed in
Scotland, and the libretto is a species of
melodrama, in which the hero is the vassal
of a demon, Eblis. He pursues fair maid-
ens, who escape his clutches and are finally
united to their lovers. This opera, which be-
longs to the same class as Weber's Der Frei-
schiitz, was first given in London at the En-
glish Opera House, in three acts, translation
by Planche, Aug. 25, 1829. It was revived
in Vienna in 1884 with Herr Reichmann in
the title-role, and was enthusiastically re-
ceived. The overture was given at a concert
of the New York Philharmonic Society in the
season of 1853-54.— Allgem. mus, Zeitg.,
XXX. 253, 269 ; Berliner mus. Zeitg., v. 246,
265, 271, 282 ; vi. 167 ; Harmonicon (1829),
261 ; Mus. Wochenblatt (1884), 57, G9, 85.
617
VAMPYE
VAIVIPYR, DER, romantic opera in three
acts, text by Caesar Mas Heigel, music
by Peter Josef von Lindpaintner, first
represented in Stuttgart, in August, 1828.
The subject is the same as that of Marsch-
ner's opera, of the same title. It was
given in Munich, Oct. 9, 1828 ; in Vienna,
Sept. 1, 1829; and in Berlin in 1830.
The score was published by Peters (Leip-
sic, 1828) ; overture for the pianoforte
for four hands (ib., 1828). — Allgem. mus.
Zeitg., xxxi. 96, 114, 131, 312, 321 ; Ber-
liner mus. Zeitg., vii. 385.
VAN BOOM. See Boom.
VAN BUGGENHOUT, £mILE, bom at
Brussels in 1825, stiU living, 1890. Clari-
netist, pupil at the Brussels Conservatoire,
where he won the first clarinet jjrize in
1841, and in composition pupil of Fttis.
For several years solo clarinetist of the
king's military music, he became director
of the Philarmonic Society at Arlon, Lux-
emboui'g, and inspector of the musical so-
cieties of that province. Works : Mar-
guerite, opera, in three acts, Brussels,
about 1845 ; Le vingt-cinquiome anniver-
sairc, cantata, 185G (gold medal) ; About
100 concert pieces for full orchestra, or
for wind instruments ; Choruses for male
voices. — Fctis ; Mendel.
VAN DEN ACKER, JEAN, born at
Antwerp in 1828, still living, 1890. Vio-
linist, for many years chef d'orchestre at
the Flemish theatre (Nationael Tonneel) of
Antwerp, where he brought out the follow-
ing operas : Vijf jaar gewacht, 1855 ; Ten
Aventuur van Keizer Karel, 1856 ; De
Dorpsmeeting, 1857 ; De Zinnelooze van
Ostade, 1857 ; Jacob Bellamy, 1857 ; Moor
en Crispijn, 1858 ; Romeo en Marielle,
1859 ; Het Lied van Margot, 1859 ; Ha-
geroos de Geitenwachtster, 1862 ; Van Dyck
te Saventhem, 1863 ; Koppen en Letteren,
1866.— Fetis, Supplement, ii. 599.
VAN DEN BERGHE, PHILIPPE, born
at Menin, Belgium, in 1822, still living,
1890. Amateur composer and virtuoso on
the pianoforte, pupil of Ferdinand Hiller
on the organ and in counterpoint. He knew
Thalberg and Henri Herz, and derived
much benefit from their advice ; he played
in concerts in Belgium, Paris, and London.
Works : Six masses ; Several cantatas with
orchestra ; Many motets ; TeDeum ; Psalms ;
Versets for the organ ; Quartets, preludes
and fugues for do. ; 48 etudes for do. ;
Concerto for jjianoforte ; fitudes de con-
cert, fordo. ; Sonatas, fugues, etc., for do. ;
Choruses. — Fctis, Supplement, ii. 599.
V.i:N DEN BROECK, OTTO, born at
Ypres, Flanders, in 1759, died at Passy, near
Paris, in 1832. Virtuoso on the horn, pupil
of F. Banneux, and at The Hague of Span-
deau ; also in harmony of Fuchs and later,
at Amsterdam, of Schmidt in counterjioint.
He appeared with success in Paris in 1788,
was in the orchestra of the Theatre de Mon-
sieur in 1789-95, then in that of the Opera
until 1816, when he retired with a pension.
Appointed professor at the Conservatoire,
on its foundation, he was included in the
reductions made afterwards in the coriss
of instructors. Works — Operas: La res-
semblance supposee, Colin ct Colette, Paris,
Theatre Beaujolais, 1788 ; Le codicile, ou
les heritiers. Theatre Montansicr, 1793 ;
La fille ermite. Theatre Louvois, 1796 ; Les
Incas, ou les Espagnols dans la Floridc,
melodrama, 1797 ; Le genie Asouf, 1798 ;
L'anniversaire, ou la fete de la souverainete,
IjTic scene, 1798 ; 2 concertos for horn ; 2
symphonies concertantes for do. ; Duos for
do. ; 3 duos concertants for do. and clari-
net ; Concerto for clarinet ; 3 quartets for
horn and strings ; 6 do. for flute and
strings ; Method for horn. — Fetis.
VAN DEN EEDEN, JEAN BAPTISTE,
born at Ghent, Dec. 26, 1842, still living,
1890. Instrumental and vocal composer,
pupil at the Conservatoires of Ghent and
Brussels, where he won the second prize in
1865, and the jjrix de Rome in 1869, with
his cantata Faust's laatste Nacht. After
travelling in France, Germany, and Italy,
he was for some time settled at Assisi, and
is now director of the ficole de musique at
618
VAN
Mods, Belgium. Works : Le vent, cantata,
1865 ; Cantata for the unveiling of Grisar's
statue, Antwerp ; Le Jugcment dernier,
oratorio, Malines, 18G7 ; Brutus, historic
oratorio ; La lutte au XVIme siccle, sym-
phonic composition ; Marche des esclaves,
for orchestra ; Symphonic scherzo ; Judith,
ou le siege de Bcthulie, grand scene for 3
voices ; Les couronnes, chorus ; Vader-
landsche Volksliederen ; G chants patrio-
tiques ; Souate-oflfertoire for organ ; 4 pre-
ludes for do. ; Pianoforte pieces. — Fctis,
Supplement, ii. GO! ; Viotta.
VAN DEN GHEYN, MATTHIAS, born
at Tirlemont, Brabant, April 7, 1721, died at
Louvain, June 22, 1783. Organist and caril-
lonneur, received his musical education at
Louvain, and may possibly have been a pupil
of the Abbe Raick, whom he succeeded, in
1741, as organist of St. Peter's, in that city ;
in 1745 he won by competition the place of
city carillouneur, in which capacity he be-
became quite as famous as an organist.
Works : Fondements de la basse continue,
etc., et douze petites sonates, etc. (Louvain) ;
G divertissements pour clavecin (London) ;
preludes, fugues, i-ondos, etc., in the library
of the Conservatoire at Brussels ; Traite
d'harmonie (1783). — Van Elewyck, M. Van
den Gheyn, etc. (Paris, 1862) ; Fetis.
VAN DER DOES, KAREL, born at
Amsterdam, March 6, 1817, died at The
Hague, Jan. 30, 1878. Pianist and dra-
matic composer, studied at firist in his native
city, then pupil of Rummel at Bieberich,
Nassau. On his return he was made pian-
ist to the king of the Netherlands. From
1838 to 1874 he was professor at the royal
school of music, at The Hague. Orders of
the Lion, the Golden Lion of Nassau, and
of Leopold ; Commander, Order of the
Oaken Crown. Works — Operas-comiques :
L'esclavage de Camoiins, The Hague, about
1850 ; Lambert Simnel, ib., 1851 ; La
trompette de monsieur le prince ; La ven-
detta ; Le roi de Boheme ; Le vieux
chateau ; L'amant et le frSre, 1855. — Fetis ;
Viotta.
VAN DER GHINSTE, PIERRE, born at
Courtrai in 1789, died there, Oct. 21, 186L
Church composer, for many years maitre de
chapelle of the grande eglise in his native
city. He is the author of the first Flemish
opera given in public : Het pruissisch Sol-
daten-Kwartier, Courtrai, 1810. Other
works : 3 masses ; Requiem ; Ave Maria,
with orchestra ; Regina coeli ; Pianoforte
pieces ; Theme varie for pianoforte and
harp. — Fetis, Supplement, ii. GOl.
VAN DER HAGEN, AMAND JEAN
FRANgOIS JOSEPH, born at Antwerp in
1753, died in Paris in July, 1822. Clari-
netist, pupil of his uncle (an oboe player
at Brussels), and in composition of Pierre
van Maldere ; went to Paris in 1785,
entered the band of the French Guard,
and in 1788 became its band-master.
After the revolution he belonged succes-
sively to the bands of the National Guard,
the Guard of the Directory, the Consul,
and Emperor. After Napoleon's downfall,
he entered the orchestra of the Theatre
Franyais. Works : Suites d'harmonie mili-
taire ; 2 symphonies militaires ; Pot-pourri
for full orchestra ; Concertos for the flute ;
do. for clarinet ; Duos for flutes ; Airs va-
ries for do.; Duos for clarinets ; Airs va-
ries and pot-pourris for do.; Methods for
flute and clarinet. — Fetis.
VAN DER LINDEN, C, born at Dord-
recht, in 1839, still living, 1890. In-
strumental and vocal composer, ijupil of
Bohme in harmony and counterpoint, and
of Kwast on the pianoforte ; composed
four-part choruses, when only seven years
old, before ever having had any instruction.
After finishing his studies, he visited Brus-
sels, Liege, and Paris, and in 18G2 returned
to his native city, where ho conducted sev-
eral choral societies, the Kunstmin phil-
harmonic society, and the band of the Na-
tional Guard. Works : Teniers, opera ; Le
mariage au tambour, do. ; Overtures ;
Choruses with orchestra ; Melodies ; Ar-
rangements for military band. — Fetis, Sup-
plement, ii. 601,
519
va:n
VAN DER PLANCKEN, COENEILLE,
born at Brussels, Oct. 23, 1772, died there,
Feb. 9, 1849. Virtuoso on the violin and
clarinet player, pupil of Eugene Gode-
cbarle ; was much esteemed by Viotti, who,
whenever he passed through Brussels,
stopped at his house to play with him.
From 1797 be was first violin of the Grand
Theatre for about twenty years, and was also
fii-st violin in the orchestra of William of
Orange. Several concertos for violin, and
a concerto for clai'inet, with orchestra, re-
main in manuscript. — Fctis.
VAN DER STUCKEN, FRANK VA-
LENTIN, born at
■1«- Fredericksburg,
Gillespie County,
Texas, Oct. 15,
1858. His father
was a Belgian and
his mother a Ger-
man ; in 1867 his
parents returned
to Europe and he
spent his school
days in Antwei-p,
where he studied harmony, countei-point,
fugue, instrumentation, and composition
under Peter Benoit. In 1877 he went to
Leipsic and spent two years in musical
study ; in 1879-81 he visited Austria, Italy,
Switzerland, and Pai-is, and in 1881-82 was
Kapellmeister of the Stadttheater at Bres-
lau. He then spent a year at Rudolstadt
and Weimar, where, in October, 1883, he
was enabled, through the aid of Liszt, to
give at the Grand Ducal Theatre a concert
of his own compositions. He conducted
performances of his own works also at Magde-
burg, Rudolstadt, Antwerp, and Paiis. In
1884, before his return to America, he was
selected musical dii-ector of the Mannerge-
sangverein Arion, New York ; in 1884-86
was conductor of the Novelty Concerts
at Steinway Hall, in 1886-87 of the Sym-
phonic Concerts at Chickering Hall, and in
1887 was chosen director of the Arion So-
ciety of Newark, New Jersey. In 1887 also
he conducted the festival of the Music
Teachers' National Association at Indian-
apolis and gave a series of concerts devoted
to native American composers. Works :
Ballet, given at Theatre Royal, Antwerj),
1874 ; Gloria, chorus and orchestra, Cathe-
dral, ib., 1875 ; Te Deum and two Tantum
ergo for soli, chorus, and orchestra, St.
Jacob's Church, ib., 1876 ; Jugendliebe, 1st
series of songs (Schlesinger, Berlin, 1877) ;
3 choruses for male voices (Kistner, Leip-
sic, 1878) ; 2d, 3d, 4th, and 5th series of
songs (Kistner, 1879-81) ; Music to Shake-
speare's " Tempest," for soli, chorus, and
orchestra, Stadttheater, Breslau, 1882 ; Mu-
sic to the Ijiic drama Vlasda, for soli, cho-
rus and orchestra, 1883 ; 3 pianoforte com-
positions (Siegel, Leipsic, 1883) ; 3 piano-
forte miniatures (Luckhardt, Berlin, 1885) ;
Festival March, for orchestra, 1885 ; Festi-
val Hymn, for male chorus and orchestra,
composed for corner-stone laying of new
Arion building, 1886 ; Arion Inauguration
March, for inauguration of new Arion buDd-
ing, 1887 ; Pagiua d' amore, episode for or-
chestra, with choruses and songs (Schirmer,
New York).
VAN DER VELPEN, JEAN BAPTISTE,
born at Mechlin, Feb. 18, 1834, still living,
1890. Instrumental and vocal composer,
pupil at the Brussels Conservatoire of
Lemmens on the organ, of Bosselet in har-
mony, and of Fetis in fugue and composi-
tion. He won the second prix do Rome
In 1861 with his cantata Agar dans le de-
sert. Other works : Le voyage en Suisse,
operetta, Arion, 1873 ; Comijositious for
brass instruments ; Pianoforte pieces. — Fe-
tis, Supplement, ii. 603.
VAN DUYSE, FLORBIOND, born at
Ghent, Aug. 4, 1843, still living, 1890.
Amateur dramatic comj)oser, lawyer by
profession, jiupil at the Conservatoire at
Ghent, where be won a prize for harmony.
In 1873 he was awarded the second prix de
Rome for his cantata Torquato Tasso's
dood. Works : Teniers de Grimbergeu,
Ghent, 1860 ; Le medallion de Marietta,
VAN
ib., 18G1 ; Een dief in Imis, Antwerp, 18G1 ;
De Zoete in val, ib., 18G3 ; Rosalinde, ib.,
1864 ; Satan, Ghent, 18G9 ; De wilds-
trooper, ib., 1870 ; Lena, not given. De
Naclit, ode-symphonie, 1867. — Fctis, Sup-
plement, ii. 603.
VAN EIJSDEN (Eysden), JAKOB, born
at Dordrecht, Feb. 18, 1839, still living,
1890. Instrumental and vocal composer,
studied at Rotterdam, at the Brussels Con-
servatoire, and in Leipsic, then settled at
Utrecht. lu 18G2 he went to Gothenburg,
Sweden, to conduct the orchestra of the
theatre. Works : Cantata (gold medal, Rot-
terdam) ; Overture for orchestra ; Quintet
(prize of the Maatschap^^ij tot bevordering
der Toonliunst) ; Polonaise for violin and or-
chestra.— Fetis, Supplement, ii. 604 ; Viotta.
VAN ELE"\VYCK, XAVIER VICTOR,
chevalier, born at Ixelles-lez-Bruxelles, April
24, 1825, still living, 1890. Amateur com-
poser and writer ou music, settled at Lou-
vain, where for years he has conducted the
choir of the cathedral. Works : About 50
motets with orchestra ; Compositions for
orchestra, for brass instruments, for piano-
forte, and vocal music. He published : Do
la musiquo religieuse (Brussels and Lou-
vain, 1866) ; De 1 ctat actuel de la musique
en Italic (Brussels, 1875) ; Mathias Van den
Ghej'n, etc. (Paris, Brussels, and Louvaiu).
— Fetis ; do., Supplement, ii. 604 ; Viotta.
VAN EYKEN. See Eyken.
VAN GELDER, MARTINUS, bom in
Amsterdam, July 31, 1854, still living, 1890.
Violinist, pujiil of Otto von KOnigslOw in
Cologne, and of Alard in Paris on the vio-
lin, of W. Robert in orchestration, and of
Frans Coenen and Ferdinand HiUer in
theory and composition. He made his de-
but in Amsterdam as conductor at an or-
chestral concert of his own compositions
with the Stumpf orchestra, Oct. 7, 1869,
and his first appearance as a solo violinist
at a concert in the Theatre Italien, Paris,
Dec. 23, 1872. In 1876 he went to America
and made his debut as a violinist at Stein-
way Hall, New York, Feb. 1, 1877. After
living in New York five years he removed
to Philadelphia, where he has taught in the
Musical Academy since 1881. He received
a gold medal at the Coucours International
de Composition Musicale, Paris, Oct. 31,
1872 ; and the Cross of the Golden Lion
from the King of Holland in 1873. Works :
Fantaisie coucertante, for orchestra, dedi-
cated to Willem HI., King of Holland,
1867 ; 2 symphonies for orchestra. No. 1,
in C, first given by the Stumpf orchestra,
Amsterdam, Jan. 31, 1874 ; The Lord reign-
eth, cantata, for soli, chorus, and orchestra,
Philadelphia Chorus Society, Jan. 12, 1887 ;
Sonata for the violin ; Chamber music ;
Songs.
VAN GHELUWE, L^ON, born at Wan-
negem-Lede, near Audenai-de, Sept. 15,
1837, still living, 1890. Vocal composer,
pupil at the Ghent Conservatoire in 1856-
59 ; became assistant instructor there after
completing his studies, won the second
prix de Rome at Brussels in 1867, and
travelled in Germany and Italy in 1868-69.
For several years professor at the Conser-
vatoire in Ghent, he became in 1870 direc-
tor of the music school at Bruges. Works :
Philippine van Vlaanderen, opera, Brus-
sels, 1876. Cantatas : De wind, Ghent,
1866; Het woud, Brussels, 1867; Van
Eyck ; Venise sauvee, oratorio ; Masses,
and other chirrch music ; Choruses and
songs. — Fetis, Supplement, ii. 605 ; Viotta.
VANHALL. See Wanhail.
VAN HERZEELE, FRANgOIS, born at
Ghent in 1830, still living, 1890. Clarinet-
ist, pupil at the Conservatoire on his instru-
ment, then of Mengal and Girschner in
harmony. In 1850 he entered the regiment
of the Guides as first clai-iuet, and was chef
de musique of the twelfth regiment in 1853-
58 ; settled at Sotteghem in 1861 and estab-
lished there a music school. Works : Het
Zomerlief, opera, Ghent, 1859 ; Hotse Botse,
ib., 1860 ; De schoone Kunsten in Belgie,
cantata, ib., 1858 ; About 200 other composi-
tions of various kinds. — Fetis, Supplement,
ii. 605.
521
VAN
VAN HOEY, GUSTAVE JEAN CON-
STANT MAEIE, born at Meclilin, Oct 25,
1835, still living, 1890. Dramatic com-
posei', at first studied painting, then be-
came a pupil at the Brussels Conservatoire,
where he -won prizes for harmony and com-
position, and in 1865 the second prix de
Borne with the cantata De wind. In 1868
he was made director of the Acadumie Mu-
sicale at Mechlin, later also maitre de cha-
pelle of St. Peter's, there. Works — OjJeras :
Een Schilders mesdag, Brussels, 1865 ; La
Saint-Luc, ib., 1865 ; Het Eerekruis, Lou-
vain, 1868 ; Le violier, Mechlin, 1872. Two
grand cantatas, 1862, 1875 ; Several over-
tures; Masses with orchestra or organ;
Motets, offertories, etc.; Choruses for male
voices ; Pianoforte pieces, and songs. — Fc-
tis. Supplement, ii. 606.
VAN MALDfcRE, PIERRE. See Malder.
VANNE, SORELLA INGRATA, soprano
aria in C minor, of Radamisto, with accom-
paniment of two oboes and strings com-
plete, in Handel's Radamisto, Act II., Scene
8. In the second version of the opera this
air is for contralto, and stands in G minor.
Published also separateh', with the accom-
paniment fiUed out by Robert Franz (Leip-
sic, Kistner).
VANNUCCI, Padre DOME^^CO FRAN-
CESCO, born at Lucca in 1718, died there
in 1776. Church composer, appointed in
17-13 maestro di cappella of the archiepis-
copal chapel, where he taught plain-chaunt
and violoncello, and was the first master of
Boccheriui. Most of his compositions are
preserved in the archives of the Congrega-
zione degli Augeli Guardiani, and of the
archbishop's palace. Works — Oratorios :
Abel, 1757 ; La Passiono di N. S. Gesh
Cristo, 1762 ; Four others ; 2 masses ; Mo-
tets for Holy Week ; 9 services with full
orchestra, for the feast of St. Cecilia, 1740-
71.— Fetis, Supplement, ii. 608.
VARIATIONS SfiRIEUSES, for piano-
forte, in D minor, by Mendelssohn, op. 54,
composed in 1811. The theme is Andante
Bostenuto, and there are seventeen varia-
tions. Breitkopf & Hiirtel, Mendelssohn
Werke, Serie xi., No. 63.
VARNEY, PIERRE JOSEPH AL-
PHONSE, born in Paris, Dec. 1, 1811, died
there, Feb. 7, 1879. Dramatic composer,
pupil of Reicha at the Conservatoire, in
1832-35 ; immediately after went to Ghent
as chef d'orchestre for two years, then was
connected with several theatres in the prov-
inces and, on his return to Paris, with the
Theatre Historiquo and in 1851 with the
' Theatre Lyrique. In 1853 he was again in
Ghent, in 1855 at The Hague, then at Rouen,
and in 1857 Offenbach entrusted him with
the orchestra of the Bouffes Parisians, of
which he became director in 1862 ; went to
Bordeaux as chef d'orchestre of the Grand
Theatre in 1865, and was made director and
president of the Societe de Sainte-Cecile
there in 1866, but resigned in 1878 and
returned to Paris. He is the author of the
famous Chant des Girondins : Mourir pour
la patrie, which enjoyed such popularity
dui-ing the revolution of 1848. Works :
Atala, oratorio-cantata, Paris, 1848. Ope-
ras-comiques and ojjerettas : Le moulin joli,
ib., 1849 ; La quittance do minuit, ib., 1852 ;
La ferme de Kilmoor, ib., 1852 ; L'o2)era
au camp, ib., 1854 ; La polka des sabots, ib.,
1859 ; Une fin do bal, ib., 1862 ; Une le9on
d'amour, Bordeaux, 1868. — Fetis ; do.. Sup-
plement, ii. 608.
VASCELLO FANTASMA, IL. See Flie-
(jende Hollander.
VA, SCIAGURATO. See iwirfo di Cha-
mounix.
VA, SPEME INFIDA, duet for 2 soprani,
in D minor. No. vii. of the Chamber Duets,
by Handel (Hiindelgesellschaft, 32b.). Pub-
lished also separately, with the accomjja-
niment filled out by Robert Franz (Leip-
sic, Kistner).
VASSEUR, (Ff:LIX AUGUSTIN JO-
SEPH) LfiON, born at Bapaume (Pas-de-
Calais), May 28, 1844, still living, 1890.
Dramatic composer and organist, first in-
structed by his father, then pupil in Paris
of Dietsch and Niedermeyer, at the latter 's
YAUCOEBEIL
institute for clnirch music, whicli be left at
the age of eighteen, having won the first
prizes for j)ianoforte and organ. Shortly
after he became organist of Saiut-Sympho-
rien at Versailles, and in 1870 of the cathe-
dral. Works — Operettas : Un fi, deux fi,
trois figui-ants, Paris, Alcazar, 1871 ; La
timbale d'argent, Boufl'es Parisiens, 1872 ;
La jjetite reine, Le grelot, ib., 1873 ; Le
roi d'Yvetot, Brussels, 1873 ; Les Pari-
siennes, BoutYes Parisiens, 1874 ; La famille
Trouillat, Renaissance, 1874 ; La blanchis-
seuse de Berg-op-Zoom, Folies Dramatiques,
1875 ; La cruche cassee, Theatre Taitbout,
1875 ; La Sorrentine, L'oppoponas, Bouffes
Parisiens, 1877 ; Le droit du seigneur,
Fantaisies Parisiennes, 1878 ; Le billet de
logement, ib., 1879 ; Le petit Parisien,
1882 ; Madame Cartouche, Folies Drama-
tiques, 188G ; Ninon, Nouveautes, 1887 ;
Mam'zelle Crenom, Bouffes Parisiens, 1888.
L'office divin pom- orgue, containing 2
masses, ofifertories, anthems, etc.; Hymne a
Saiute-Cecile, for soprano solo, orchestra,
and organ, Versailles Cathedral, 1877 ;
Many transcriptions for organ, and some
fantaisies for pianoforte. — Fetis, Supple-
ment, ii. GOO.
VAUCORBEIL (Veaucorbeille), AU-
GUSTE EM]VL\:NUEL, born at Eoueu,
France, Dec. 15, 1821, died in Paris, Nov.
2, 1884. Instrumental and vocal composer,
pupil at the Paris Conservatoire of Kuhu in
solfi'ge, of Marmontel on the pianoforte,
of Dourlen in harmony, and of Cherubini in
fugue and composition. He first became
known through some vocal melodies of
considerable merit, then won greater repu-
tation by two string quartets. In 1872 he
was appointed government commissioner
over the subsidized theatres of Paris, and
in 1880 director of the Opera. Legion of
Honour. Works : Bataille d'amour, opera-
comique, 18G3 ; La mort de Diane, lyric
scene ; Intimites, a collection of pianoforte
pieces ; Quartets for strings ; Sonatas for vio-
lin and pianoforte ; Vocal melodies ; Sacred
airs, etc. — Fetis, Suj)plement, ii. GIO.
VEAU D'OR, LE. See Faml, by Gounod.
VECCHI, ORAZIO, born at Modena in
1551, died there, Sept. 19, 1G05. Madrigal
composer, pupil of the monk Salvatore Es-
senga. He entered holy orders, was made
canon in 1586, and archdeacon in 1591 at
Con'eggio ; he seems to have deserted his
office in order to live in his native town,
and in consequence was deprived in 1595
of his canonry. He was celebrated at that
date for his knowledge of plain-chaunt, and
was one of a committee appointed by an
ecclesiastical vote to revise and correct the
Roman Gradual published by Gardano in
1591. He became maestro di cappella of
the cathedral at Modena in 159G ; went to
Vienna, in 1597, with Count MoutecucuUi in
order to publish some of his compositions,
notably his Amfiparnasso, the work which
made him most pojmlar. In 1598 he was
appointed maestro di ca^jpella, and music
master to the ducal family at the court of
Modena ; through this connection his repu-
tation became quite extended, he was re-
quested to compose music for the King of
Poland, and was summoned to the court of
the Emperor Rudolf H. He was at length
supplanted in his ofBce by the intrigues of
a pupil, Geminiano Capilupi, in 1G04, and
is said to have died of chagrin. His Amfi-
parnasso, commedia harmonica, produced
at Modena in 1594, and jjublished in Ven-
ice in 1597, has been claimed as the first
example of real opera, but on insufficient
grounds. It marks a distinct step towards
the creation of the idea, and is a simple
series of five-part madrigals sung by a
choir, while the dramatis persouro appear
in masks on the stage and act in dumb
show, or at most sing but co-ordinate parts
in the madrigals ; but the character of the
work was highly original and dramatic.
Other works : Canzonetti a 4 voci, 4 books
(Venice, 1580-98), afterwards collected with
some additions by Phalesius (IGll) ; Can-
zonetti a G voci (ib., 1587) ; Canzonetti a 3
voci (1597-99) . The first book is in part
by Capilupi, and was reprinted in the
VECCHI
same year in Nuremberg, where also a
German translation was ijublisbed in 1608.
Madrigab a 5 e 6 voci (1589-91), five parts ;
Lamentations (1587), motets, and sacrse
eantiones (1590-lGO'l:), anotber edition by
Pbalesius (Antwerp, 1G08) ; Hymns and
canticles ; Missie, publisbed in 1607 ; Dia-
logues ; Convito musicale, Le vegbe di
Siena owero I varij bumori della musica
moderna a 3-6 voci (1601:). His madrigals
and cbansons are found in the following
collections : Sinfonia angelica (1591) ; Me-
lodia Olimpica, il Lauro Verde (ib.) ; Tri-
onfo di Dori (1596) ; Madrigali pastoraU
(1604) ; Di floridi virtuosi d' Italia (1586) ;
La musica da diversi autori, 5tb book
(1575) ; n trionfo di musica, Ub. i. (1579) ;
Spoglia amorosa (1592). — Grove, iv. 234 ;
Fotis ; Lai'ousse ; Burney, Hist., iv. 123-
126 ; Hawkins, iii. 191 ; Van der Straeten,
iii. 127 ; Ambros, Gescb., iii. 515 ; Gerber ;
Schilling ; Riemann ; Mendel.
VECCHI, ORFEO, bora in Milan, 1540,
died there, 1613. Church composer, ma-
estro di cappeUa of Sta. Maria della Scala,
where most of his masses, motets, psalms,
etc., are still preserved. Works published :
Cantioues sacrse sex vocum (Antwei"p,
1603); Do., quinque vocum (ib., 1610);
Sabni intieri a cinque voci (Milan, 1614) ;
Motectorum qua3 in coinmuni Sanctorum
(ib., 1603). He left also twenty other
books, not known at present. — Fetis ; Men-
del ; Schilling.
VEDR.il CARING. See Don Giovanni.
VEICHTNER, FRANZ ADAM, bom in
Prussia in 1745, died in St. Petersburg (?)
after 1818 (?). Violinist, pupil of Franz
Beuda at Potsdam ; became Kapellmeister
at Mitau to the Duke of Courland, and after
the dissolution of his orchestra travelled in
Italy as a virtuoso. He went afterwards as
Kapellmeister to St. Petersburg. Works :
Cephalus und Procris, cantata, Berlin, 1780 ;
Die erste Feier der Himmelfahrt Jesu, ora-
torio ; Hymne an Gott ; 2 divertissements
for orchestra ; About 60 symphonies, of
which the following were published : 4
symphonies for 2 viohns, viola, bass, 2
oboes, 2 bassoons, and 2 horns (Leipsic,
1777) ; 2 Russian symphonies in 8 parts
(ib., 1771) ; Concerto for violin (ib., 1771) ;
3 quartets (St. Petersburg, 1802) ; 24 fan-
tasias for violin (1818) ; 24 sonatas for do.
with bass. — Fetis ; Mendel ; Schilling.
VEIT, VACLAV JINDRICH, bom at
6epnic, near Leitmeritz, Bohemia, Jan. 19,
1806, died at Leitmeritz, Feb. 16, 1864.
Instrumental and vocal comjDoser, almost
entirely self-taught, while studying at Leit-
meritz and the University of Prague, where
he followed a legal career. In 1854 he be-
came president of the district-court at Eger,
and in 1862 at Leitmeritz. His chamber-
music is of sterling merit. Works : Missa
solemnis (Vienna, 1860) ; 3 graduals ; Te
Deum ; Festival cantata ; Symphony for or-
chestra ; Concert overture for do. ; 5 quin-
tets for strings ; 6 quai'tets for do.; Cho-
mses for male voices ; Songs, and piano-
forte pieces. — Bohemia (Prague, 1802), 351 ;
(1864), 470, 512 ; Dalibor (Prague, 1860),
269; Prager Zeitg. (1864), Nos. 48-50;
Wurzbach.
VENITE, mGmOCCHIATEVL See
Nozze di Figai'o.
VENTO, IVO DE, Spanish composer of
the second half of the 16th century. He
was in the service of Duke Wilhelm of Ba-
varia at Munich, and was also court organ-
ist there from about 1568 until about 1593.
Works : Motets for 4 voices (Munich, 1569,
1574) ; Do. for 5 voices (ib., 1570) ; Neue
teutsche Lieder, for 3 voices (ib., 1572,
1573, 1576, 1591) ; Do. for 4-G voices (ib.,
1570, 1571, 1582).— F6tis; Mendel.
VENTO, JLVTTIA, bom at Naples, in
1739, died in London, in 1777. Dramatic
composer, pupil at the Conservatorio di Lo-
reto ; went in 1763 to London, where he
was very successful with his compositions
and as a pianoforte teacher. Works — Op-
eras : Sofouisba, Naples, 1762 ; La vestale,
ib., 1763 ; II bacio, London, about 1765 ;
Demofoonte, ib., about 1765 ; La conquista
del Messico, ib., about 1770; Artaserse,
634
VENTURELLI
London, 1771 ; 6 trios for strings ; 6 do. for
pianoforte ; G sonatas for do.; 36 trios for do.
and strings ; 12 canzonets for one and two
voices. — Fetis, Mendel ; Schilling.
VENTUKELLI, GIUSEPPE, bom at
Eubbiera, Modena, in 1711, died at Modena,
May 31, 1775. Organist and (fburch com-
poser, jjupil of Kiccardo Broscbi. A com-
poser of learning rather than of genius, his
attempt to write a Stabat Mater, which was
to rival Pergolesi's gi-eat work, met with
failure. Works : Mass for 4 voices with in-
struments, Modena Cathedral, 1733 ; La
Passione di Gesii Cristo, for do., 1735 ; 2
Stabat Mater for 3 voices and instruments ;
II matrimonio disgraziato, opera buflfa, Mo-
dena, 1741 ; La moglie alia moda, inter-
mezzo, ib., 1755 ; Masses, motets, jjsalms,
hymns, arias, cantatas ; Symphonies, and
concertos for various instruments. — Fetis ;
Mendel.
VENUS AND ADONIS, the subject of
many operas. In Italian : Venus amante,
pastorale, given in the Palazzo Grimani,
Venice, 1598 ; Venere gelosa, by Francesco
Paolo Sacrati, Venice, 1G4:3 ; Venere caccia-
trice, by Francesco Sbarra, Innspruck, 1G59 ;
Venere pronuba, by Giuseppe Antonio Ber-
nabei, Munich, 1G89 ; La Venere travestita,
by Pietro Molinari, Rovigo, and Conegliano,
-1G91 ; Venere placata, by Francesco Cour-
celle, Venice, 1731 ; Venere in Cipro, by
Felice Alessandri, Milan, 1779 ; Venere ed
Adone, by Francesco Bianchi, Florence,
1781. In French : La naissance de Venus,
by Pascal Colasse, Paris, 1G96 ; Venus et
Adonis, by Henri Desmarets, text by Jean
Baptiste Rousseau, ib., May, 1, 1G97 ; Venus,
ballet-opera, by Andre Campra, Versailles,
1G98 ; Venus et Adonis, pastorale, by J. J.
Cassanea de Mondonville, Paris, 1758 ; by
Comte Alphonse Fortia de Piles, Nancy,
1784 ; and ballet, by Charles Bochsa, Lon-
don, 182G ; Venus und Adonis, German op-
era, by Gotfried Heiurich StOlzl, Prague,
1714. See Adone.
VENZANO, LUIGI, born at Genoa in
1815, died there, Jan. 27, 1878. Violoncel-
list, first acquired reputation by a number
of vocal melodies, especially the Valse de
Venzano, written for Mme Gassier, who
made it popular throughout Em-ope. He
was first violoncello at the Teatro Carlo
Felice, and professor at the civic musical
institute of Genoa. Works : Lidia, ballet
(with Corradi and Olivari), ib., 18G5 ; Ben-
venuto Cellini, do., about 1870 ; La notte
degli schiaffi, opera buffa, Genoa, 1873 ; La
zingarella, for soprano with orchestra ; La
preghiera a Sant' Anna, and other vocal
melodies. — Fetis, Supplement, ii. 613.
VfiPRES SICILIENNES, LES (The Si-
cilian Vespers), French opera in five acts,
text by Scribe and Duveyrier, music by
Verdi, first represented at the Academie
Royale de Musique, Paris, June 13, 1855.
Giglio Nordica.
The action, which takes jjlace in Sicily
during the French occupation, turns on the
massacre of the French at the hour of ves-
pers, on Easter Mondaj-, 1282, provoked by
the brutal conduct of the viceroy and his
troops towards the islanders. The prin-
cipal characters are Guy de Montfort, the
viceroy ; Arrigo, a Sicilian officer (who
turns out to be Montfort's son, in love with
Helene); the Duchesse Helcne, a hostage in
VERA
the hands of the French ; John of Procida,
a Sicilian who, with Arrigo, heads the re-
volt against the French. Sophie CruveUi
achieved great success as Hulcne at the first
representation, Gueymard sang the j)art of
Ai-rigo, and Bonneht'e that of Guy de
Montfort. The work was translated into
ItaUan and given, under the title Giovanna
de Gusman, at La Scala, Milan, Feb. 4,
1856. It was first given in London at
Drury Lane, July 27, 1859, with Tietjens,
Mongini, and Vialetti in the cast, and first
in New York, Nov. 7, 1859, with Mine Col-
son, Briguoli, Junca, and Ferri. The over-
ture had been previously used for the
opera Giovanna d' Arco, Milan, Feb. 15,
1845.— Pougin, Yerdi (Matthews), 158 ; Cle-
ment et Larousse, G93 ; Kevue et gaz. mus.
de Paris (1855), 185 ; Athenteum (1855),
1248 ; (1859), ii. 183 ; Grove, iv. 250.
VERA, EDU.A.EDO, born (in Rome?),
about 1825, still living, 1890. Dramatic
composer, son of the famous singer Carlotta
Noeser (died 18GG), who married the Ro-
man lawyer Vera. He won great reputa-
tion as a singing teacher, not only in Italy,
where he taught the Princess Margherita
of Savoy, now Queen of Italy, but also in
London, where he was settled several years
before returning to Rome. Works : Adria-
na Lecouvreur, opera, Milan, 1843 ; Anelda
di Messina, do., ib., Oct. 17, 1843, Lisbon,
1858 ; Valeria, do., Bologna, 1809. Vocal
melodies. — Fctis, SiippU'inent, ii. C13.
VERACINI, FRANCESCO MARIA
(colled II Fiorentino), born in Florence, in
1085, died near Pisa in 1750. Virtuoso on
the violin, looked upon in Italy as the fore-
most after CorelU's death. At the age of
nineteen he appeared in Venice with such
brilliant success that Tartini retired dis-
couraged to Ancona, to resume serious stud-
ies. In the same year (1714) he went to
London, where he won success and remained
two years ; then to Dresden in 1720 and
was made composer and chamber virtuoso
to the king of Poland. Ofl'ending by his
unbounded pride other artists, especially
Pisendel, the king's Conzertmeister, the
latter revenged himself by causing one of
his concertos to be studied by a mediocre
j viohnist until he played it to perfection,
and then defying Veracini to play it at sight.
Although the vu-tuoso acquitted himself
honorably, the other played it after him
with an assurance anel finish that so morti-
fied Veracini that he fell seriously ill and,
in a paroxysm of fever, threw himself out
of the window, breaking, however, only his
leg. After his recovery he left Dresden,
lived for a long time at Prague in the ser-
vice of Count Kinsky, and went to London
again in 1736, but did not meet with the
same success as formerlj-. He returned to
Italy in 1747, and retired to a small house-
hold near Pisa. He left in manuscript
several concertos, and symphonies for two
violins, viola, violoncello, and basso contiu-
uo, and jnibhshed two collections of twelve
sonatas each, for violin and bass. — Fetis ;
Mendel ; Schilling.
VERCKEN DE VREUSCHMEN, Ll50N,
born at Lioge, Oct. 15, 1828, still living,
1890. Amateur composer and musical
critic ; studied law, and filled various posi-
tions of trust at Antwerp in the service of
financial and railway companies. Works :
La legende du diable, opc-ra-comique, Ant-
wei-p, 1865 ; Le chemin de Venise, do., not
given ; Le mysture, do. (unpublished) ; A
la mer, ojieretta, Brussels, 1871 ; Pierrot
fantome, do., Paris, Athenee, 1873 ; Lea
Levites du Temple, for chorus, soli, and
orchestra, Antwerp, 1863 ; Le tambour sur
mer, cantata for do.; Motets for 4 voices
and orchestra, Antwerj) cathedral, 1863 ;
Marche inaugurale, Lille, 1870. — Fetis,
Supplement, ii. 613.
"S'ERDELOT (Verdelotto), PHILIPPE,
Flemish composer of the early part of the
16th century. He af)j)ears to have settled
in Italy as early as 1526, and to have re-
sided in Florence between 1530 and 1540.
He was also a singer in the choir of San
Marco in Venice, and Guicciardini classes
him among musicians who died before the
VERDI
j'ear 15G7. His last publication is dated
1549. He is commemorated by Cosmo
Bartoli as bis friend and as a composer,
and by Viucenzo Galilei, who printed two
lute pieces by him in his Fronimo ; Zarlino
and Ponzio also mention him as one of
the noted musicians of that time, but none
of them furnish any data regarding his life
or place of residence. WiUaert thought so
highly of him as to arrange some composi-
tions of his in tablature for lute and solo
voice (153G). His works had reached France
and were printed in French collections as
early as 1530. The oldest editions of his
works are : Verdelotto madrigali a i voci
(inVenetia, Ottaviano Scotto, 1537), now in
the Conservatorio, Bologna ; II secoudo lib.
de madrigali di Verdelotto (1537), in the
Koyal Library at Munich, where are also
the 3d and 4th books (1537, 1538). Other
editions were published by Gardano in
Venice in 1541, 154G, 1549, 155G, 15G0,
15G1. His madrigals were included in all
the celebrated collections of France, Bel-
gium, Italy, and Germany. His church
compositions were found also at Toledo,
among those of other Flemish composers,
by Gevaert in 1850. — Grove, iv. 239 ; iii.
261 ; Futis ; Burney, Hist., iii. 301 ; Van
der Straeten, vi. 321, 3G6 ; vii. 125 ; Ger-
ber ; Riemann ; Mendel.
VERDI, (FORTUNINO) GIUSErPE
(FRANCESCO), born
at Roncole, near Bus-
seto (Parma), Oct. 9,
1813, still living, 1890.
Dramatic composer,
son of the innkeeper
in his native village ;
received his early mu-
sical education from
local musicians, first
at Roncole (where he became organist at
the age of ten), and then at Busseto, where
Ferdinando Provesi, maestro di cappella
and organist at the cathedral, was his chief
teacher. He was helped also by one Anto-
nio Barezzi, a prosperous grocer and liquor
dealer, with whom his father had dealt for
years, and who took a lively interest in the
boy. In 1831, when
Verdi was eighteen, Ba-
rezzi prevailed uj)on
the Monte di Pieta, at
Busseto, to join with
himself in making uj) a
purse to send him to
study in Milan. But
when the young mu-
sician applied for a
scholarship at the Conservatorio there,
Basilj, who was then director at the insti-
tution, saw too little talent in him to war-
rant his admission, and Verdi consequently
began private lessons in composition and
instrumentation under Lavigna, maestro al
cembalo at La Scala. In 1833 Provesi died
in Busseto, and the Monte di Pietii invited
Verdi back to succeed him as organist and
maestro di cappella at the cathedral, and as
conductor of the Societa Filarmonica, as
had been the original agreement when the
money was raised to send him to Milan.
Although he felt that a larger career
awaited him in Milan, ho immediately re-
turned to Busseto, where the Filarmonica
welcomed him with open arms, but the
chm-chwardens of the cathedral refused to
accept him, giving the post to one Giovanni
Ferrari. This so enraged the Filarmonica
that it refused to allow its orchestra to play
any more at the cathedral, and led to some
riots, which ended in the temporary sup-
pression of the society. In 183G Verdi
married Margherita Barezzi, his benefactor's
eldest daughter ; and in 1838 he, with wife
and two children, set out for Milan in hopes
of having an opera performed. In 1839 his
Oberto, conte di S. Bonifacio, was brought
out with success at La Scala. His next
one, Un giorno di regno, failed in 1840, but
in 1842 his Nabucco made a resounding
success, and really founded his reputation,
which was only increased by I Lombard!
and Ernani. Then followed a jaretty long
list of half successes or complete fiascos,
5S7
VERDI
interrupted only by the triumph of Luisa
Miller in Naples in 1849, until in 1851 his
most brilliant period was ushered in by
Kigoletto, in Milan. This, together with its
immediate followers, II trovatore and La
traviata, has generally been considered his
finest as well as his most successful work.
But La traviata was followed by another
series of complete or partial failures. In
18G2, with La forza del destine, Verdi began
to evince a tendency towards a more elab-
orate style ; this was still more marked in
Statue of Verdi.
Don Carlos (18G7), but it was not until
Aida (Cairo, 1871) that the change from his
old, simple style to a more studied one,
copied from Meyerbeer and Gounod, could
be recognized as complete. Indeed, Aida
marks just such a turning point in Verdi's
career as Guillaumo Tell did in Rossini's.
Aula was also his first great success after
La traviata. Almost equally successful was
his Manzoni Requiem, although the success
of his latest work, Otello, seems more doubt-
ful. It is rather curious, in view of Verdi's
immense popularity, how very many of his
works were failures. His enormous repu-
tation may be said to rest entirely upon
seven or eight operas and the Manzoni Re-
quiem, and the whole list of his operas
numbers twenty-eight. Verdi's melodic
power is often, but by no means invari-
ably, great ; he is a poor harmonist, and
even in his earlier works, simple as his har-
mony is, it is rarely pure and correct. His
style is in general slipshod and vulgar,
his instrumentation thin and noisy ; and, if
in his later works he has taken more pains
with his writing, his fondness for crashing
effects and sharp dj'namic contrasts has
never left him. His knowledge of the hu-
man voice was always great; but his im-
mense popularity, in spite of all his short-
comings and excesses, rests mainly upon the
genuine passionate warmth and dramatic
power of his music. He is, par excellence,
the composer of passion, fury, and tragic
terror. AVorks. L Oiseras : Oberto, conto
di San Bonifacio, Milan, Nov. 17, 1839 ; Un
gioruo di regno (II fin to Stanislao), ib.,
Sept. 5, 1840 ; Nabucodonosor (Xabucco),
ib., March 9, 1842 ; I Lombardi alia jsrima
crociata, ib., Feb. 11, 1843 ; Ernani, Venice,
March 9, 1844 ; I due Foscari, Rome, Nov.
3, 1844 ; Giovanna d' Arco, Milan, Feb. 15,
1845 ; Alzira, Naples, Aug. 12, 1845 ; At-
tila, Venice, March 17, 184G ; i)/«e6ert, Flor-
ence, March 12, 1847, and in a revised ver-
sion, Paris, Ajji-il 21, 18G5 ; I Masnadieri,
London, July 22, 1847 ; Jerusalem (ex-
panded French version of I Lombardi),
Paris, Nov. 2G, 1847 ; H corsaro, Trieste,
Oct. 25, 1848 ; La battaglia di Legnano,
Rome, Jan. 27, 1849 ; Luim Miller, Najiles,
Dec. 8, 1849 ; Stiffeho, Trieste, Nov. 16,
1850, and with another Ubretto, as Aroldo,
Rimini, Aug. IG, 1857 ; Rigoleito, Venice,
March 11, 1851; H tromtore, Rome, Jan. 19,
1853 ; La traviata, Venice, March G, 1853 ;
Les vepres siciliennes, Paris, June 13, 1855 ;
Simone Boccanegra, Venice, March 12, 1857,
and in a revised version, Milan, April 12,
1881 ; Un ballo in maschera, Rome, Feb. 17,
1859 ; La forza del destino, St. Petersburg,
VEEDONCK
Nov. 10, 1862, and in a revised version,
Milan, Feb. 20, 18G9 ; Von Carlos, Paris,
March 11, 1867 ; Aida, Cairo, Dec. 24,
1871 ; Otello, Milan, Feb. 7, 1887.
n. Cantatas and Church Music : Inno
delle nazioni, London, May 24, 1862 ; Man-
zoni Requiem, Milan, May 22, 1874 ; Pater
nostei", 5 voc, and Ave Maria, for soijrano
and strings (to Dante's text), Mlau, April
18, 1880.
III. Other works : 6 romanze, for voice
with pianoforte ; L' esule, song for bass ;
La seduzione, do.; Guai-da che bianca luna,
notturno for 3 voices with flute obligate ;
Album di sei romanze ; II poveretto, ro-
manza ; Tu dici che non m' ami, stornello ;
1 quartet for strings, Naples, April 1, 1873.
— Pougin, Verdi, souvenirs anecdotiques
(Paris, Le Menestrel, 1878) ; The same in
English, translated by James E. Matthew
(London, H. Grevel & Co., 1887) ; Grove ;
HausHck, Die moderne Oper, 217 ; Fe-
tis ; do.. Supplement ; Basevi, Studio sulle
ojJere di Giuseppe Verdi (Florence, 1859) ;
Blanche Roosevelt, Verdi, Milan, and Otello
(London, 1887).
VEEDONCK, CORNELIUS, born at
Tiirnhout, Flander.?, in 1564, died in Ant-
werp, July 4, 1625. Vocal composer, pupil
of Severin Cornet ; sjDent the greater part
of his life at Antwerp, first in the service of
Corneille de Prun, magistrate and treasurer,
then in that of Jean Charles de Cordes,
governor of Wicheleu and of Cerscamp.
Works : Magnificat 5 vocum (Antwerp,
1585) ; Poesies fran9aises de divers auteurs,
etc. (ib., 1599) ; Madrigali a 6 voci (ib.,
1603) ; do. (ib,, 1604) ; Madrigali a 9 voci
(ib., 1604).— Fetis ; Gerber ; Mendel.
VERHEYEN, PIERRE, born at Ghent
in 1750, died there, Jan. 11, 1819. Dra-
matic and church composer, first instructed
by Leonard Boutmy (born at Brussels,
1725) ; became a tenor singer at the cathe-
dral of Bruges, but soon after went on the
stage and, after travelling through Fland-
ers, Northern France, and Holland, was en-
gaged at the theatre in Brussels, where he
studied composition under Witzthumb.
He afterwards continued his studies under
Kraift at Ghent, whither he returned in
1786 as solo tenor at the cathedral. He
received also the title of composer to Prince
Lobkowitz, Bishop of Ghent. Having for
a time occupied a position as orchestra
leader at Maestricht, he returned to Ghent
in 1790, and became maitre de chapelle of
Saiute-Phara'ilde. "When, on the invasion
of the French, the churches were closed,
he embraced the revolutionary oi^iuions,
and was made in 1793 organist of the
Temple de la Raison. Soon after he was
reduced to the necessity of accepting an in-
ferior 250sition in the dej)artment of the
Scheldt, but developed great activity as a
composer, and after the reopening of the
churches wrote a series of sacred composi-
tions. Nevertheless he did not prosper, and
the assistance he received from the Societu
des Beaux- Arts was almost his only resource
during the last years of his life. Works :
De Jagbtpartij van Hendrik IV., opera-
comique, Ghent, about 1790 ; Le jardin
d'amour, do., ib., about 1790 ; Several pan-
tomimes, all given at Ghent ; Hymne a
I'Etre supreme, 1793 ; Requiem in memory
of Haydn, 1810 ; 15 masses, with orchestra ;
12 do. with organ and small orchestra ; 6
Laudate pueri, 4 Dixit, 3 Contitebor, 2
Beatus vir, and 3 Te Deum, all with full or-
chestra ; 4 Audite creli ; 30 Elevations ; 9
Lamentations of Jeremiah ; La mort du
Christ, oratorio ; Stabat Mater ; O crux ave
spes unica ; 5 quartets for strings ; about
50 romances. La bataille de Waterloo, can-
tata (first prize by the Societu des Beaux-Arts,
of Ghent, 1816, ex sequo with Suremont, of
Antwerp). — Fctis ; Mendel ; Viotta.
VERHULST, JOHANNES JOSEPHUS
HERMAN, born at The Hague, March 19,
VERLOEENE
1816, still living, 1890. The foremost among
Dutch composers of the present time, pu-
pil (182G) of Volcke, at the Conservatorium
in his native city ; made also a careful study
of Keicha's theoretical woi'ks. He entered
the orchestra, then under Hanssens the
younger, as violinist, and soon after wrote
his first compositions, for the church and
for orchestra, winning several prizes of the
Maatschappij tot bevordering der Tooukunst.
Mendelssohn's attention being called to his
works, while visiting Scheveningen in 1836,
he invited him to go to Leipsic. He started
for that city the folloi.\-ing spring, but hear-
ing at Cologne of Mendelssohn's journey to
Frankfort and his marriage, he remained at
Cologne to study under Joseph Klein, and
returned afterwards to The Hague. In 1838
he went to Leipsic, and was warmly wel-
comed by Mendelssohn, who set him to
writing a Kyrie and a chorus which were
so remarkable that Mendelssohn saw no
necessity for further instruction, and recom-
mended him to the honorable position of
conductor of the Euterpe concerts. He
retiu'ned to The Hague after an absence of
six years, and was apj^ointed royal music
director. Since then he has conducted
many famous societies and concert oi'gani-
zations in the Netherlands, lived tempo-
rarily at Rotterdam, then again at The
Hague, and since 1861 at Amsterdam. All
the great musical festivals given in Holland
since 1850 have been organized by Ver-
hulst. He was a close friend and associate
of Schumann when in Germany, and Schu-
mann's op. 52 is dedicated to him. In 1886
he retired to private life. Order of Lion,
1812. Works : 3 overtures for orchestra ;
Gruss aus der Feme, intermezzo for do.;
Symphony for do. ; 3 quartets for strings ;
Tantum ergo, for chorus and orchestra ;
Clemens est Dominus, for 2 choruses and
do.; Mass for 4 voices, chorus, and orches-
tra ; Veni Creator, hymn for male chorus
with organ ; Requiem for do., and brass in-
struments ; 2 short masses ; Veni Creator ;
To Deum ; Psalm CXLV.; Music to the trag-
edy Gijsbrecht van Amstel ; Cantata for the
Rembrandt festival, Amsterdam (1853), the
Schiller festival, Rotterdam (1859), for the
unveUing of ToUens's statue (1861), for the
Vondels festival, Amsterdam (1869), for the
Pius festival (1871), for the 25th anniversary
of Willem HI. (1874), and for the opening
of the international exposition at Amster-
dam (1883) ; Choruses and songs. — Fotis ;
Mendel ; Riemaun ; Yiotta.
VERKAUFTE BRAUT, DIE. See Pro-
dand nevSsta.
VERLORENE PARADIES, DAS, ora-
torio in three parts, text by Heinrich do
Marees, music by Friedrich Schneider, first
given at a music festival in Magdeburg,
Sept. 2, 1825. The first part describes the
creation ; the second, the fall of Adam and
Eve ; and the third, the punishment of
man. It was given in Dessau, Nov. 3,
1825, and in Leipsic in 1826. Score pub-
lished by Briiggemann (Halberstadt, 1830).
— Allgem. mus. Zeitg., xxvii. 84, 661 ;
xxviii. 854 ; xxxi. 720 ; Berliner mus. Zeitg.,
ii. 375, 386 ; vii. 25 ; Ciicilia, xii. 135.
\"ERLORENE PARADIES, DxiS (Para-
dise Lost), sacred ojsera in three pai-ts, text
by J. Rodenberg from Milton's " Paradise
Lost," music by Anton Rubinstein, op. 54,
first performed in Diisseldorf, Nov. 8, 1875.
Rubinstein calls this composition a " Bibli-
cal opera," but it is not a dramatic work.
The first part describes Satan's rebellion
and overthrow ; the second, the creation ;
and the third, the temptation, fall, and
punishment of Adam and Eve. At the first
performance the parts were thus assigned :
Adam, Herr PfeLifer ; Eve, Frl. Schlieper ;
Satan, Herr Petzer ; and Abdiel, Herr Geyer.
The work was first given at the Gewand-
haus, Leipsic, Feb. 3, 1876 ; in Dresden,
Dec. 4, 1876 ; in St. Petersburg, Dec. 17,
1876 ; and in Frankfort-on-tlie-Main, March
2, 1885. The second part was sung at the
twenty-first festival of the North American
Siingerbund, in Cincinnati, in June, 1879.
The whole work was sung by the Brook-
lyn Philharmonic Society, March 12, 1887.
VERNIER
Score published by Senff (Leipsic, 1863).
— .Ulgem. mus. Zeitg. (1863), 589, 605,
621 ; Mus. Wocbenblatt (1875), 670 ; Sig-
nale (1875), 897 ; (1876), 161, 1106 ; (1877),
65 ; (1885), 305 ; Upton, Standard Ora-
torios, 264 ; Krehbiel, Keview (1886-87),
147.
VERNIER, JEAN ABlfi, born in Paris,
Aug. 16, 1769, died (?). Virtuoso on the
harp, began to study the vioHn at the age
of four and the harjj at seven, and played a
concerto for violin when eleven. In 1787 he
played a sonata for harp of his own compo-
sition, at the Concert Spirituel ; in 1795
he became harpist at the Theatre Feydeaii,
and in 1813 at the Opura, and in 1838 re-
tired with a pension. Works : Sonatas for
harp solo, and with violin ; Quartet for
harp, pianoforte, oboe, and horn ; Trios for
harp, flute, and violoncello ; Duos for 2
harps ; Many fantasias, variations, etc., for
harp solo. — Fctis ; Mendel.
VERNIZZI, OTTAVIANO, born in Bo-
logna, Italy, in 1580, died (?). Organist
of San Petronio, Bologna, about the begin-
ning of the 17th century. Works : Ai--
monia ecclesiastica, ossia motetti a due, tre
e quattro voci (Venice, 1601) ; Angelici con-
centus seu motecti (ib., 1611) ; Ccelestis
ajiplausus seu motecti, etc. (ib.) ; Motetti a
due, tre e quattro voci (ib., 1648) ; Inter-
mezzi deUa coronazione di Ajjollo per Dafne
convertita in lauro, Bologna, 1623, one of
the earliest intermezzi represented there.
— FL'tis; Mendel.
VERRIMST, VICTOR FR£d£rIC, born
in Paris, Nov. 29, 1825, still living, 1890.
Double-bass player, pupU at the Conserva-
toire of Chaft, in harmony of Elwart, and
in counterpoint of Leborne ; won first
prizes in all these branches ; was connected
several years with the orchestra of the
OjX'ra Comique, then with that of the Opora,
and also with the Sociote des Concerts du
Conservatoire, and the private orchestra of
Napoleon III. He was maitre de chapelle
of Saint-Thomas d'Aquin, afterwards of
Saint-Bernard. Works : Five masses ; About
15 motets for 1-4 voices ; Grande fantaisie
for trombone and orchestra ; Choeurs or-
pheoniques; Vocal melodies, and chanson-
nettes ; Morceaus de genre for pianoforte ;
Method for double-bass. — Fetis ; do.. Sup-
plement, ii. 616.
VERRINDER, CHARLES GARLAND,
born at Blakeney, Gloucestershire, Eng-
land. Organist, pupil of George Job Elvey ;
organist successively of St. Giles-in-the-
Fields, Christ Church at Lancaster Gate,
St. Michael's in Chester Square, and Re-
formed Synagogue, London. Mus. Bac, Ox-
ford, 1862 ; Mus. Doc, Canterbury, 1873.
Works : Israel, cantata ; Church service in
E ; Anthems ; Hebrew music and Psalms
(3 vols.) ; Organ music, etc.
VER SACRmi, cantata in two parts, for
soli, chorus, and orchestra, text by L. Bi-
schofi', music by Ferdinand Hiller, op. 75.
The subject is the founding of Rome.
Score published by Breitkopf & Hiirtel
(Leipsic, 1859). —Neue Zeitschr. (1859),
ii. 150, 161; AUgem. mus. Zeitg. (1865),
170.
VERSCHWORENEN, DIE. See Der
Hihisliche Krieg.
VERSTUMJUE, HOLLENHEER, bass
aria in B-flat major, with accompaniment
of trumpet, 2 oboes in unison, strings com-
plete, and continuo, in Johann Sebastian
Bach's cantata Dom. XIX. postTriuit., Wo
soil ich fliehen hin ? (Bachgesellschaf t. No.
5). Published also separately, with the ac-
companiment filled out by Robert Franz
(Leipsic, Whistling).
"VERTILGE SIE, HERB ZEBAOTH,
bass aria of Paulus, in B minor, in Mendels-
sohn's Paulus, Part I., No. 12.
VERT-VERT, opora-comique in three
acts, text by Henri Meilhac and Charles
Nuitter, music by Jacques Offenbach, first
represented at the OpiJra Comique, Paris,
March 10, 1869. The libretto is taken
from an old comedy by de Leuven and Des-
forges. The action takes place in a pen-
sion, the directress of which is secretly
married to the dancing-master, Baladon.
631
VERVOITTE
Capoul, Sainte-Foy, Gailhard, Couderc, Po-
tel, lllle Gii-ard, Cico, Moisset, and Tual
sang in the original cast. Mme Judic
achieved great success in this opera. Other
French operas of the same title, by Dalay-
rac, text by Desfontaines, Paris, Oct. 11,
1790 ; and by Gauthier, text by Bernard
p. M^C\i >/■= J
(C -' V
Judic.
Valville, ib., Dec. 2, 1800.— Clement et La-
rousse, 821.
VERVOITTE, CHAELES JOSEPH,
born at Aire (Pas-de-Calais), in 1822, still
living, 1890. Church composer, first in-
structed by an organist at Saint-Omer, com-
peted successfullj' for a position as maitre
de chapelle at Boulogne, while still in his
teens, and was soon after appointed music
director of two institutions there ; at the
same time he studied composition under
Theodore Labarre, and received counsel
from Jean Baptiste Cramer. In 1847 he
became maitre de chapelle of the cathedral
at Rouen, and in 1850 was made a member
of the academy, which had already awarded
him, in 1849, a gold medal for his composi-
tions and his services at the cathedral. In
1859 he accepted the position of maitre de
chapelle at Saint-Roch, Paris. Works : Les
moissonneurs, cantata, Paris, 1851 ; Messe
solenneUe, ib., Saint-Roch, 1852 ; Anthems
of the Holy Virgin ; Several Tantum ergo ;
do. O salutaris ; Saluts solennels for solo
voices and chorus ; Mass for 3 voices ; Mo-
tets; 2 vols, of faux-bourdons ; Songs, etc.
— Fetis ; Mendel.
VESQUE VON PUTTLINGEN. See
Jloven.
VESTALE, LA (The Vestal Virgin),
tragedie-lj-rique in three acts, text by Jouy,
music by Spontini, first represented at the
Academic Royale de Musique, Paris, Dec.
11, 1807. The performance was secured
through the Empress Josephine, to whom
the score was dedicated. The hbretto,
taken from Winkelmann's "Monumenti an-
tichi inediti," ranks as one of the best of
the century. The action is placed in Rome.
The first act is in the Forum and the Tem-
ple of Vesta. Licinius, conqueror of the
Gauls, returns to Rome, where he receives
honours and is crowned by his betrothed,
Julia, who during his absence has become
a vestal wgiii. Licinius declares that ho
will enter the temple at night and bear her
away. In the second act, also in the Tem-
ple of Vesta, the high priestess gives Julia
the golden rod with which she tends the
sacred fire. Yielding to her aflfectioii, she
allows Licinius to enter, and the fire dies
out. Cinna, to save Licinius, drags him
away, and Julia is discovered in a swoon
upon the steps of the altar. The high-
priest covers her with a black veO, and pro-
nounces her death. The third act shows
the funeral cortege. Julia prepares for
death, and prays to the gods. Licinius, at
the head of a band of soldiers, attempts her
rescue, and the priests resolve ui^on his
death for disturbing their rites. Suddenly
thunder is heard, and lightning kindles the
sacred fire. At this interference of heaven
the priests give Licinius permission to
marry Julia, and a final tableau shows the
VESTALE
Lappy lovers at the circus of Flora, presid-
ing over tlie games and dances in honour
of Venus. Original cast :
Julia Mme Branchu.
La gi-ande vestale Mme Maillard.
Licinius M. Laine.
Cinna M. Laj-s.
Le graud-prctre M. Derivis.
The opera received the prize of 10,000
francs, established by Napoleon to be given
every ten years to the opera having the
greatest success within that time. Jouy's
libretto was awarded a prize of 5,000
francs. This opera was given in parts at
the Tuileries, by Napoleon's order, Feb. 14,
1807 ; and it was revived at the Opera,
March IG, 1854, with Sophie Cruvelli, Mile
Poinsot, Eoger, Obin, and Bonnehee.
Sophie Cruvelli and Jenny Lind achieved
Fursch-Madi.
great success in the part of Julia. It was
first given in Berlin, translation by Her-
klots, Jan. 18, 1811 ; in Munich, Jan. 14,
1812 ; in Vienna, Nov. 12, 1810 ; in Dres-
den in 1812 ; and in Leipsic in 1818.
Spontini conducted it in Dresden in 1844,
when all the preparations had been made
by Richard Wagner. It was first given in
Italian, translation by Giovanni Schmidt, in
Naples, Sept. 8, 1811 ; and Vigano adapted
it as a ballet, which became popular in
Italy. The overture was played by the New
York Philharmonic in the season of 1850-
51. — Clement et Larousse, G96 ; Lajarte, ii.
03 ; Allgem. mus. Zeitg., xii. 105G ; six.
2G9 ; xxsi. 399, 524 ; Wagner, Ges. Schrif-
ten, V. 114 ; Grove, iii. GG7.
VESTALE, LA, Italian opera seria in
three acts, text by Cammarano, music by
Mercadante, first represented at the Teatro
San Carlo, Naples, March 10, 1840. The
subject of the libretto is the same as that of
Spontini's opera, but in this work the ves-
tal virgin, Emilia, is buried alive, and her
lover, Decio, kills himself. The opera was
first given at the Theatre Eoyal Italien,
Paris, Dec. 23, 1841. — Clement et Larousse,
G9G ; Allgem. mus. Zeitg., xlii. 474, 638,
912.
VIADANA, LODOVICO (properly Lodo-
vico Grossi da Viadana), born at Viadana,
near Mantua (not at Lodi, as has been re-
ported) about 1564, died at Gualtieri, in the
duchy of Modena, May 2, 1G45. Nothing
is known of his musical education, and but
little of his life. He was a monk of one of
the stricter orders ; in 1594 he was maestro
di cappella at the cathedral in Mantua.
About 1597 he was living in Rome, and was
afterwards maestro di cappella at the cathe-
drals in Fano in the Paj)al States, Concor-
dia in Venetia, and once more, in Mantua
in 1644. He is especially famous in mu-
sical history as the inventor of the basso
continuo, but it is extremely doubtful
whether the invention is rightly to be cred-
ited to him. There is a figured continuo iu
parts of Peri's Euridice, which was pub-
lished in 1600, whereas Viadana's famous
Cento concerti . . . con il basso con-
tinuo per sonar nell' organo did not appear
until 1602. It is highly probable, how-
ever, that he was the first to write a con-
tinuo for organ in church compositions for
several voices. Works : Canzonette a quat-
VIAGGIO
tro voci, con un dialogo a otto di ninfe e
pastori, e un' aria di canzon francese per
sonare (Venice, Amadino, 1590) ; Madri-
gali a quattro voci, Lib. I. (Venice, 1591) ;
Madrigali a 6 voci, op. 5 (ib., 1593) ; Can-
zonette a tre voci, etc., Lib. I. (ib., Amadino,
1594) ; IMissarum cum quatuor vocibus, etc..
Lib. L (Venice, 159G, and at least seven
other editions) ; II primo libro de' salmi a
5 voci (ib., Amadino, 1597) ; Vespert. om-
nium solemnitatum iDsalmodia quinque voci-
bus (ib., Vincenti, 1597, 4tli ed.) ; Salmi e
Magnificat a quattro voci (ib., 1598, and
Frankfort-on-tbe-JIaiu, 1612) ; H secondo
libro de' salmi a 5 voci (Venice, 1601) ;
Psalmi vespertini 8 vocibus concin. (ib.,
Vincenti, 1602, 2d ed. ?, 3d ed., ib., 1644) ;
Cento concerti ecclesiastici a una, a due, tre
e quattro voci con il basso continue per
sonar nell' organo. Nova invenzione comoda
per ogni sorte di cantori e jser gU organist!
(ib., 1602-3, 3d and 4th eds., ib., 1609-11 ;
also as Opus musicum sacrorum conceu-
tuum, qui ex unica voce, nee non duabus,
tribus et quatuor vocibus variatis concinen-
tur, una cum basso continuo ad organum
applicato, Frankfort, 1612) ; Officium ac
missse defunctorum quinque vocum, op. 15
(Venice, Vincenti, 1604) ; Ludovici Viadante
psalmi omnes qui a S. Eomana Ecclesia in
solemnitatibus ad vesperas decantari solent,
cum duobus Magnificat, tum viva voce, turn
omni instrumentorum genere, cantatu com-
modissimi, cum quinque vocibus, etc.. Lib.
n. (Venice, 1604) ; Messe concertate per
una, o due, ossia tre voci con il basso con-
tinuo per r organo (Venice, Vincenti, 1605) ;
Litanie che si cantano nella Santa Casa di
Loreto, e nelle chiese di Roma ogni sab-
bato, e feste della Madonna, a 3, 4, 5, 6, 7,
8, e 12 voci (ib., 1607, 2ded., 1613, 3d ed.) ;
Concerti ecclesiastici a una, a due, a tre,
e a quattro voci, con il basso continuo per
sonar nell' organo, Lib. U. (ib., 1607) ; Con-
certi sacri a 2 voci col basso continuo per
r organo (ib., 1608) ; Completorium ro-
manum 8 vocibus decantandum. Lib. 2, op.
16 (ib., 1608) ; Eesponsori et lamentazioui
' per la settimana santa a 4 voci, op. 23 (ib.,
1609) ; Vesperi e Magnificat a quattro e
cinque voci (ib., 1609) ; Completorium ro-
manum quaternis vocibus decantandum,
una cum basso continuo pro organo (ib.,
1609) ; Vespertina omnium solemnitatum
IJsalmodia, cum duobus Magnificat et falsis
bordonis, cum 5 vocibus (selections from
eaiiier collections, Frankfort, 1610) ; Salmi
a quattro voci pari col basso per 1' organo,
brevi, commodi et ariosi, con due Magnifi-
cat (Venice, 1610) ; Lameutationes Hie-
remiic jiropheta) in majori bebdomada con-
cinendre quatuor paribus vocibus (ib., 1610,
2d ed.) ; II terzo libro de concerti eccle-
siastici, etc., op. 24 (ib., Vincenti, 1611) ;
Falsi bordoni a quattro e otto voci, pre-
messe le regole per il basso per 1' organo
(Rome, 1612) ; Salmi a quattro cori, op. 27
(Venice, Vincenti, 1612) ; Officium defunc-
torum quatuor vocibus concin. (ib., 1614) ;
Concentuum ecclesiasticorum 2, 3 et 4 voci-
bus, opus completum, cum solemnitati om-
nium vespertinarum (Reprint of parts of
^ other colls., Frankfort, 1615) ; Sinfonie mu-
sicali a otto voci, oj). 18 (Venice, Vincenti,
1617) ; Ventiquattro Credo a canto fermo
sopra i tuoni delli hinni che Santa Chiesa
usa cantare, col versetto Et incarnatus est in
musica, a chi place, con le quattro antifone
della Madonna in tuono feriale (Venice,
1619) ; Oj)era omnia sacrorum concentuum
1, 2, 3 et 4 vocum, cum basso continuo et
generali organo ajsplicato, novaque inven-
tione pro omni genere et sorte cantorum et
organistarum accomodato. Adjuncta in-
super in basso generali hujus novas inven-
tiouis instructione, latine, italice et germa-
nice (complete ed. of 146 motets and con-
certi ecclesiastici, Frankfort, 1620) ; Missa
defunctorum tribus vocibus (posthumous
ed., Venice, 1667). — Parazzi, Della vita o
delle opere musicali di Lodovico Grossi-
Viadana (Milan, 1876) ; Ambros, iv. 248 ;
Fc'tis ; do.. Supplement ; Grove, iv. 258,
and 314, foot-note 2.
VIAGGIO A REmS, IL (The Voyage to
Rheims), ossia I'albergo del giglio d'oro,
534
VIALLON
Italian oi^era in one act, text by Baloccbi,
music by Rossini, first represented at the
Theatre Italien, Paris, June 19, 1825. It
was composed for the festivities of the
coronation of Charles X. Several people
at an inn discuss the coronation of the
king and travel to Rheims to vifitness
the ceremony. The national air, " Vive
Henri-Quatre," is introduced. The cast in-
cluded Mme Pasta, Esther Mombelli, Mme
Cinti, Douzelli, Zuchelli, Levasseur, Bor-
dogni, Pellegrini, and Graziani. Rossini
was offered a large sum from the king, but
refused it, saying that this was his homage
to the French nation, and the king then
sent him a service of Sevres china. The
same music was adapted to a new libretto,
Le comte Ory, given at the Opera, Aug. 20,
1828 ; and the opera was revised with al-
terations, and given, under the title " An-
dremo a Paiigi," to celebrate the republic,
Oct. 2G, 1848.— Escudier, Rossini, 184 ;
Edwards, do., 286 ; Allgem. mus. Zeitg.,
xxvii. COl ; Grove, iii. 171.
VIALLON, JUSTINIEN PIERRE MA-
RIE, born in Paris, March 31, 180G, died
there, Feb. 4, 1874. Vocal composer and
didactic writer, ijupil of Reicha at the
Conservatoire, where he won the second
prize in 1831 ; became professor at the
Gymnase Musical Militaire in 1838, and
afterwards at the Jesuit college at Vau-
girard. He was also organist successively
at Saint-Paul, Saint-Louis, Saint-Pbilippe-
du-Roule, and for twenty-five years titulary
of the small organ at the Madeleine.
Works : Le mois de Marie, oratorio ; Mag-
nificat ; 6 Offertories for organ ; 2 Noels
varies for do. ; La bonne fete, chorus ; Re-
traite en forct, scene orpheouique ; Chor-
uses, for male voices ; Many pieces for mili-
tary band ; Traite d'harmonie ; Manual on
instrumentation ; Grammaire generale de
composition. — Fetis, Supplement, ii. G18.
VIARDOT-GARCIA, (MICHELLE FER-
DINANDE) PAULINE, born in Paris, July
18, 1821, still living, 1890. Dramatic
singer, i^ianist, and vocal comj)Oser, daugh-
ter and pupil of Manuel Garcia, and sister
of Mme Malibran. She went with her fam-
ily to England and to America, was a pu-
pil on the pianoforte of Marcos Vega, or-
ganist of the Cathedral in Mexico, and on
her return to Paris, in 1828, studied un-
der Meysenberg and Liszt, and harmony
under Reicha. She made her first apj)ear-
ance as a singer in 1837 at a concert in
Brussels, and after a tour with de Beriot,
her brother-in-law, through Germany, sang
in Paris in 1838, and made her debut in
opera in London in 1839, as Desdemona in
Otello. In the same year she sang in Paris,
and in 1841 married Louis Viardot, direc-
tor of the Theatre Italien. With him she
made a long professional tour in Spain,
Italy, Germany, Russia, and England, return-
ing to Paris in 1849 to create the role of
Fides in Meyerbeer's Prophete, which she
sang also in Berlin, St. Petersburg, and
London. She next appeared in Gounod's
Sapho at the Opera, Paris, and on several
prominent stages abroad until 1859, when
she went to the Lyrique, at Berlioz's solici-
tation, to sing in his revival of Gluck'a
Orjjhce, which became one of her greatest
roles, and was given one hundred and fifty
times to crowded houses. Shortly after she
retired from the stage and lived at Baden-
Baden, and since 1871 in Paris and at Bou-
gival, as one of the most successful vocal
teachers. Works — Operettas, played at
Baden-Baden : Le dernier sorcier, 1867 ;
L'ogre, 1868 ; Trop de femmes, 1869. Her
vocal melodies, about sixty in all, have enjoy-
ed a wide popularity ; 12 melodies on Rus-
sian poems ; 6 Mazurkas by Chojiin arranged
for the voice ; 6 pieces for pianoforte and
violin ; Ecole classique de chant. Her old-
est daughter, Mme Louise Heritte, for sev-
eral years, until 1886, vocal instructor at
Hoch's Conservatorium in Frankfort, has
composed : Lindoro, oiiera-comique, Wei-
mar, 1879 ; Das Bacchusfest, do., Stock-
holm, 1880 ; Quartet for pianoforte and
strings ; Terzetto for female voices ; Many
vocal melodies. Two other daughters.
VICECONTE
Mmie Chamerot and Marianne Viardot, are
favorably known as concert singers, and her
sou Paul is a distinguished violinist, pupil
of Leonard. — Fetis, Supplement, ii. 619;
Larousse ; Mendel ; do., Ergiinz., 473 ;
Eiemann.
\1CEC0NTE, ERNESTO, born at Na-
ples, Jan. 2, 183G, died there, March 18,
1877. Dramatic and church composer, pu-
pil of Lavigna on the pianoforte, and at the
Conservatorio pupil of Giuseppe Lillo in
harmony, and of Carlo Conti in counter-
point and composition. Works — Operas:
Evelina, Naples, 185G ; Luisa Strozzi, ib.,
1862 ; Selvaggia, ib., 1872 ; Benveuuto
Cellini (MS.). Mass for solo voices, chorus,
and orchestra ; Messa, Credo, e Dixit, with
small orchestra ; do. alia Pulestrina ; Dixit,
with full orchestra ; Le tre ore di !Miu-ia
desolata ; 3 sacred cantatas ; Magnificat for
3 voices and orchestra ; Overture for or-
chestra ; Concerto for 2 pianofortes ; Many
morceaux de genre and dances for piano-
forte ; Sacred songs ; Chansons, romances,
and sevei'al albums of vocal melodies. — Fo-
tis, Supplement, ii. 620.
VICENTINO, NICOLA, born at Vi-
cenza in 1511, died at FeiTara (?). Pupil
at Venice of Adrian Willaert, afterwards
maestro di cappella and instructor to the
princes at the court of Ferrara ; accom-
panied the Cardinal Ipi^olito d' Este to
Borne, where he lived several years, and
had a learned controversy with the Portu-
guese musician Lusitano, caused by his
book of madrigals, published 15-16, and
written with the design of restoring the old
scales of the Greeks. His defeat caused
him to treat the theme in a theoretical
work : L' antica musica ridotta alia moderna
prattica (Rome, 1555). He also constructed
a peculiar instrument, the archicembalo,
with several keyboards, to illustrate his sys-
tem. As a performer on the clavichord he
is said to have been eminent. — Fetis ;
Grove ; Mendel ; Riemann.
VICTOIRE (Victory), cantata, text by
Mery, music by Ernest lieyer, first given at i
the Opera, Paris, June 27, 1859, between
the first and second acts of La favorite.
It was sung by Renaud, Sapin, Cazaux, and
Mme Ribault-Altes.
VICTOIRE EST A NOUS. See Cava-
vane du Caii'e.
VICTORIA. See Vittoria.
\TENI (Sic; properly venni), AMORE
(I am come, love), twenty-four variations for
the pianoforte in D, on the theme, " Vieni,
amore," by Righiui, composed by Beethoven
in 1790. The music, dedicated to the
Griifin Hatzfeld, was first published in
Mannheim (1791), Breitkopf & Hiirtel,
Beethoven Werke, Serie xvii., No. 172.
\1ENI, LA MLi VENDETTA. See Lu-
crezia Borgia.
VIENI ! VIENI ! AL CIRCO. See Po-
liulo.
VIENS, GENTILLE DAME. See Dame
blanche.
\TE PARISIENNE, LA (Parisian Life),
French operetta in four acts, text by Henri
Meilhac and Ludovic Halevy, music by
Jacques Oflenbach, first represented in
Palis, Oct. 31, 1866.
\TERDANK, JOHANN, German church
composer, organist of St. JIary's at Stral-
suud, about the middle of the 17th ceuturj'.
Works : Newe Pavanen, Gagliarden, Ballet-
ten und Correnten, etc., 2 jsarts (Rostock,
1641) ; Geistliche Concerte, 2 parts (Greifs-
wald, 1642 (1656), 1643).— Fetis ; Matthe-
son, Ehrenpforte, 381 ; Mendel.
VIERGE, LA (The Virgin), oratorio or
sacred legend in four scenes, text by Charles
Grandmougin, music by Jules Massenet.
Two scenes, Le dernier sommeil de la
Vierge and the Danse galileeune, were per-
formed at the Crystal Palace, London, Oct
30, 1880. The entire work has never been
given.
VIERJAHRIGE POSTEN, DER (The
Four Years' Sentinel), German operetta in
one act, text by Kiirner, music by Schu-
bert, never represented. The music, which
contains an overture and eight numbers,
was finished May 16, 1815. The story is
VIEELING
of a sentinel, David, mounted guard on a
hill near a German village in which his
regiment is stationed. Weary of his long
watch, he goes into the town and finds that
he has been forgotten and the men have
marched away. He marries the daughter
of a magistrate, and settles in the town.
After four j'ears the regiment returns, and
fearing that he may be arrested as a de-
serter, David dons his uniform and mounts
guard at the same spot. The general ap-
j)ears and rewards him for his fidelity.
The soldiers' chorus was sung in Vienna in
1860. Other operas ou the same subject :
by "Wilhelm Alsdorf, about 1830 ; Fried-
rich Hieronimus Truhn, Berlin, 1833 ;
Jakob Eduard SchmOlzer, Gratz, 18il ;
Karl Keinecke (written about 1850, not
given) ; Gustav Hiurichs, San Francisco,
1877 ; Ferdinand Frenzel, Freiberg, March,
1884.— Ki-eissle von Hellborn, Schubert
(Coleridge), i. 63.
VIERLING, GEOEG, born at Franken-
tbal, Bavaria, Sept.
5, 1820, still living,
1890. Instrumental
and vocal composer,
first instructed by
his father (Jacob
Vierling, 17 9 6-
1867, organist), and
pujiil of Neeb at
Frankfort on the
pianoforte, of Rinck
at Darmstadt on the organ, and of Marx
in Berlin (1842—45) in composition. He
became in 1847 organist of the Obei'kirche
at Frankfort, and at once developed great
activity in elevating the public culture of
music ; he assumed the direction of the
Singakademie, established subscription con-
certs, conducted the Liedertafel at Mainz
in 1852-53, and then went to Berlin, where
he founded, and for some time conducted,
the Bach-Verein. In 1859 he was made
royal music director, but soon after aban-
doned all public activity to devote himself
to composition and teaching. He is one of
the most distinguished among the contem-
porary composers of Germany. Works :
Der Haub der Sabinerinnen, secular ora-
torio, op. 50 ; Alarich's Tod, do., op. 58 ;
Constantin, do., op. 64 ; Psalm cxxsvii.,
for chorus, soli, and orchestra, op. 22 ;
Hero und Leander, do., op. 30 ; Zur Wein-
lese, do. (male voices), op. 32 ; Zechcantate,
for male chorus, soli, and pianoforte, op.
10 ; Sonntags am Rhein, for mixed chorus
with pianoforte, op. 1 ; Frtihliug, for do., op.
39 ; Psalm c, for mi.Ked chorus a cappella,
op. 57 ; Frohlocket mit Hilndeii, motet for
2 choruses a cappella, op. 25 ; Zwei Kircheu-
stiicke for chorus and soli, op. 29 ; Wenn's
Ostern wird am Tiberstrom, for 0 part cho-
rus, op. 38 ; ROmischer Pilgergesang, for
do., op. 03 ; Altes Schififerlied, for 5 parts,
op. 42 ; Zwei Chorgesilnge, op. 65 ; do., op.
66 ; do., op. 67 ; Lieder des Hafis, for male
chorus, op. 18 ; Vier Chorgesilnge, for do.,
op. 28 ; 3 choruses for do., op. 35 ; 4 do.,
op. 47 ; 3 do., op. 68 ; Ein Hafislied, for
do., op. 49 ; Opferlied, for do., op. 69 ; 6
quartets for mixed voices, op. 11 ; 4 do.,
op. 19; do., op. 26 ; do., op. 34 ; 3 do., op.
52 ; 3 choruses for female voices, op. 37 ; 2
do., with pianoforte, op. 54 ; duets with
pianoforte, op. 20, 45, 46, 71 ; songs, op.
2-5, 7, 8, 12, 13, 15, 21, 27, 30, 48, 60, 62,
70. Sj-mphony for orchestra, in C, op. 33 ;
Overtures to Sh.akespeare's Tempest, Der
Sturm, op. 6 ; to Schiller's Maria Stuart,
op. 14 ; to Kleist's Hermannsschlacht, op.
31 ; to Fitger's Die Hexe, op. 61 ; Iin Friih-
ling, op. 24 ; Phantasiestiick, for violin
with small orchestra, op. 59 ; Capriccio for
pianoforte and orchestra, op. 9 ; Phantasie
for pianoforte and violoncello ; 3 Phantasie-
stiicke for do., op. 55 ; do. for pianoforte,
and violin, op. 41 ; Trio for pianoforte and
strings, op. 51 ; Quartet for strings, op. 56 ;
Pianoforte pieces, op. 16, 40, 43, 44, 53 ; 6
organ pieces, op. 23. — Mendel ; Riemann ;
Wochenblatt (1877), 537, 549, 596, 609, 621,
639, 654, 671, 687, 702, 717.
VIERLING, JOHANN GOTTFRIED,
born at Metzels, near Meiningeu, Saxony,
537
VIEUXTEMPS
Jan. 25, 1750, died at Sclamalkalden, Nov.
22, 1813. Organist, puiDU at Sclamalkalden
of Tischer, whom be succeeded at the age
of eighteen ; taking leave of absence, be
went to Hamburg to study under Philii^p
Emanuel Bach, and to Berlin to study coun-
terpoint under Kirnberger, then returned
to Schmalkalden to assume his ofiSce.
Works : Two trios fori^ianoforte and strings ;
Quartet for do.; 6 sonatas for pianoforte ;
Choralbuch (1789) ; 12 Orgelstiicke ; 48
do.; Sammlung leichter Orgelstiicke (1791) ;
Sammlung dreistimmiger Orgelstiicke
(1802) ; Leichte Cboralvorspiele (1807), etc.;
2 year books of church cantatas (MS.).
— Fetis ; Mendel ; Eiemann.
VIEUXTEIMPS, HENRI, born at Ver-
viers, Belgium, Feb.
20, 1820, died at Mus-
taj^ha, Algiers, June
G, 1881. Violinist,
son and pujjil of a
maker and tuner of in-
struments, then pujiil
of Lecloux, who took
him when eight years
- old on a concert tour,
and of de Beriot at
Brussels. lu 1830
he visited Paris, playing at several concerts
with great success, but returned to Verviers
to study, and in 1833 went to Vienna to
study harmony under Simon Sechter. He
was in London in 1834, and in 1835 in
Paris, where he became a pupil of Reicha in
composition. From 183G to 1839 he made
long concert tours, returned to Brussels
and Antwerp in 1840, and in 1841 made a
very successful appearance in Paris. He
visited America in 1844-45, became solo
violinist to the Emperor of Russia in 184G,
under a contract for ten years, but resigned
in 1852. He made a second visit to Amer-
ica in 185G, and was in Paris in 1858. In
1870 he made a third visit to the United
States, appearing in concerts with Chris-
tine Nilsson and Marie Krebs, the pianist.
In 1871 he was made first professor of vio- ,
lin playing at the Conservatoire in Brus-
sels ; but in 1873 he had a stroke of paraly-
sis which deprived him of the use of his
right arm, so he retired to his estate, where
and in Paris he silent his time in com-
position until driven to try the climate of
Algiers, where he died. Member of the
Royal Academy of Belgium, 1840 ; officer
of the Order of Leopold. Works : Six con-
certos for violin and orchestra, op. 10, 19,
25, 31, 37 ; Several concertinos ; Fantaisie
for violin and orchestra ; Ballade et Polo-
naise, for do.; Fantaisie-caprice, do.; 2
Fantaisies on Slavic themes, op. 21, 27 ; G
etudes de concert, with pianoforte, oj). IG ;
Romances sans paroles ; Hommage a Paga-
nini, caprice ; Sonata for violin, op. 12 ; 3
morceaux de salon ; Voix intimes, recueil de
6 pensees mclodiques ; Duo brillant on
Hungarian airs for violin and pianoforte
(with Ei'kel) ; Fantaisie sur lea Huguenots
(with Joseph Gregoir) ; Duo sur le Pro-
phcte (with Rubinstein) ; Grand duo for
violin and violoncello (with Servais) ; 2
concertos for violoncello ; Elegy for viola
or violoncello ; Sonata for do. ; Overture on
the National hymn of Belgium, op. 41.
His wife Josephine (born Edler in Vienna,
Dec. 15, 1815, died at Celle-Saint-Cloud,
near Paris, June 29, 18G8) was an excellent
pianist. — Fetis ; do., Sui^plement, ii. G24 ;
Larousse ; Hart, The Violin, 324 ; Du-
bourg. The Violin, 217 ; Hanslick, Coucert-
wesen in Wien, ii. 72, 185 ; Eiemann ;
Mendel ; do., Ergilnz., 474.
VI FIDA LO SPOSO, alto aria of Valen-
tiniano, in G minor, with accompaniment
of oboes and violins in unison, viola, and
bass, in Handel's Ezio, Act H., Scene 3.
Published also separately, with the accom-
VIGNE
paniment filled out by Robert Franz (Leip-
sic, Kistner).
VIGNE, LA (The Vine), ballet in three
acts and five tableaux, arranged by Taglio-
ni, Grandmougin, and Hansen, music by
Anton Eubinstein. The Goddess of Merri-
ment, wishing to acquaint certain charac-
ters with the wines of the world, makes an
incantation, and soon coopers enter leading
groups of dancers, each of which jJersoni-
fies a kind of wine. These groups execute
in turn characteristic dances of the nation
which they represent. I. Danse des vieux ;
n. Danse des jeunes ; III. Pas de dogusta-
tion des vins ; IV. Vins d'ltalie ; V. Vins
de Hongrie ; VI. Vins d'Espagne ; VH.
Vins d'Orient ; VIII. Vins d'Allemagne ;
IX. Vins de Champagne ; X. Pas d'euivre-
ment ; XL Scene d'amour ; XII. Danse des
enfants avec la Gaito ; XIII. Danse des vig-
nes ; XIV. Bacehanale ; XV. Bacchanale ;
XVI. Danse des vignes. The German title
of this ballet is Die Rebe. Several numbers
were played in Theodore Thomas's concerts
in New York in the seasons of 1S85-8G and
188G-87. Score published by Senff (Leip-
sic, 1883).— Signale (1883), 193.
VILBACK, ALPHONSE Z0l5
CHARLES RENAUD DE, born at Mont-
I^ellier, France, June 3, 1829, died in Brus-
sels, March 19, 1884. Organist, pupil at the
Paris Conservatoire of Benoist, and in com-
jjosition of Halevy ; won the second prize for
organ in 1843, the fu-st in 1844, and finally
the second prix de Rome. After two years
in Rome he travelled through Italy, and via
Vienna through Germany, and on his re-
turn to Paris devoted himself to teaching ;
in 185G he became organist of Saint-Eugene.
Works : Au clair de la lune, ojJcra-comique,
Paris, 1857 ; Almanzor, do., 1858 ; Piano-
forte pieces. — Fetis ; Mendel.
VILLANI, GASPARO, born at Piacenza,
where he was organist about the beginning
of the 17th century. Works : Missa, psalmi
ad vesperis 16 vocibus concinuntur, lib. 2
(Venice, 1611) ; Missa Ave Maria graciosa
20 vocum, lib. 4 (ib., 1611) ; Misse e ves-
pere a 4, 5 e 6 voci (ib., 1611) ; Salmi a 5,
6 e 8 voci con basso continuo per 1' organo
(Venice, 1617) ; Psalmi omnes ad vesperas
5 vocum (Venice) ; Salmi per tutti i vespri
deir anno a 12 voci, lib. 3 (ib., 1610).— Fe-
tis ; Mendel.
VILLANIS, ANGELO, born at Turin in
1821, died there, Sept. 7, 1865. Dramatic
composer, pupil of Luigi Felice Rossi. He
died a maniac, having lost his mind over the
misfortune of his young son, who had to
undergo an amputation of his leg in conse-
quence of an accident. Works : I saltim-
banchi in Ispagna, farce, Turin, 1849 ; La
spia, o il merciajuolo americaiio, ib., 1850 ;
La figlia del proscritto, ib., 1851 ; La regina
di Leone, Venice, 1851 ; Alina, o il matri-
monio d' una cautante, operetta bufia, Turin,
1853 ; La vergine di Kent, ib., 1856 ; Una
notte di festa, Venice, 1858 ; Vasconcello,
Milan, 1859 ; Bianca degli Albizzi, ib., 1865.
— Fetis, Supplement, ii. 625.
VILLIERS (Vuilliers), PIERRE DE,
French composer of the 16th century. He
is known only by his compositions, scat-
tered in the following collections of the
time : XIV. livre, contenant XXIX chan-
sons nouvelles a quatre parties (Paris, 1543) ;
Motetti del Fiore, tertius liber (Louvain,
1539) ; Quintus liber Motectorum quinque
et sex vocum (ib., 1543) ; Liber decem Mis-
sarum a prroclaris, etc. (ib., 1540) ; Concen-
tus octo, sex, quinque et quatuor vocum,
etc. (Augsburg, 1545) ; Quart livre de chan-
sons, etc. (Paris, Adrian Le Roy and Ro-
bert Ballard, 1553) ; Cinquiesme livre de
chansons, etc. (ib., 1556) ; Second livre du
Recueil des recueils, etc. (ib., 1564) ; Pre-
mier livre de chansons, etc. (ib., 1578).
— Fctis ; Mendel.
VINACESI, BENEDETTO, Italian com-
poser, born in Brescia about 1670, died in
Venice in 1719. Maestro di cappella to
Prince Francesco Gonzaga di Castiglione ;
in 1704 became second organist of San
Marco in Venice, where he was also
chorus master at the Conservatorio dell'
Ospedaletto. Works : Gli sfoghi di gin-
yiNCE:NS
bilo, serenade for 4 voices ; Susanna, ora-
torio, Brescia, 1694 , II cuor uello scrigno,
Cremona, 1696 ; L' innocenza giustificata,
Venice, 1699 ; Gli amanti generosi, ib.,
1703 ; Sfere armoniche ovvero sonate da
chiesa a due violini, con violoncello e parte
per I'organo (Venice, 1696) ; Motetti a 3
voci (ib., 171-4) ; Many other cliurcla com-
positions.— Fi'tis ; Mendel.
VESfCENS, (PIERRE JOSEPH DENIS)
AUGUSTE, born at Marseilles, Nov. 5,
1779, died tbere, Feb. 7, 1836. Amateur
composer, and for a quarter of a century
one of the most active organizers of con-
certs and promoters of musical culture at
Marseilles. After the restitution of the
churches to religious worship, he with
several others exerted himself in behalf of
sacred music, and was for some time
maitre de chapeUe of the cathedral. He
took a prominent jjart also, in 1805-09, in
the creation of the Concerts Thubaneau at
Marseilles. Member of Marseilles Acad-
emy, 1827. Works : Popule meus, for
chorus and orchestra ; Magnificat, for do. ;
De profundis, for do. ; Ave Regina, with
quartet ; Ave maris stella, do. ; Tantum
ergo, motet a cappella ; O salutaris ; Panis
angelicus ; Other motets ; Pastoral over-
ture for orchestra ; Concert overture, do. ;
Andante religioso, do. ; March for military
baud ; Couplets et choeur en I'honneur de la
duchesse d'Angouleme ; Romances, with pi-
anoforte or hai-p. — Futis, Supplement, ii. 629.
VINCI, LEONARDO, born at Strongoli,
Calabria, in 1690,
died in Naples in
1732. Dramatic
composer, pupil of
Gaetano Greco, at
the Conservatorio
de' Poveri di Gesii
Cristo, Naples,
where he was a stu-
dent with Porpora
and Pergolesi. His
reputation as a dramatic composer spread
rapidly through Italy ; he was one of the ma-
estri di cappella of the royal orchestra, and in
1728 joined the Fraternita del Rosario. He
died suddenly, it is alleged, by poison.
Works : Lo creato fauzo, opera buffa in Nea-
politan dialect, Naples, 1719 ; Le doje lettere,
do., ib., 1719 , Lo scassone, do., ib., 1720 ,La
Stratonice, ib., 1720 ; Li zite in galera, ib.,
1721 ; Le feste napolitane, 1721 ; Silla ditta-
tore, Paris, Palais-Royal ; Semiramide rico-
nosciuta, Rome, 1723 ; Rosmira fedele, ib.,
1723 ; Farnace, Eraclea, Don Ciccio, Turno
Ariciuo, Venice, 1724 ; Astianatte, Ifigenia
in Tauride, ib., 1725 ; Asteria, Naples, 1726 ;
Siroe, Venice, 1726 ; Ernelinda, Florence
and Naples, 1726 ; H Sigismondo, re di
Polonia, Turin, 1727 ; Catone in Utica,
Rome, 1727 ; La caduta de' decemviri,
Naples, 1727 ; Flavio Anicio Olibrio, ib.,
1728 ; La contcsa de' Numi, operetta, Rome,
1729 ; Alessandro neU' Indie, Didone abbau-
donata, Rome, 1730 ; Artaserse, ib., 1730 ;
L' impresario di teatro, Naples, 1731 ; Siface,
ib., 1731. La protezione del rosario, oratorio,
1729; La Vergine addolorata, do., 1731 ; 2
masses for 5 voices with orchestra ; Kyrie
for do. ; Motets. — Fetis ; Mendel ; Riemann ;
Schilling.
VINCI, PIETRO, born at Nicosia, Sicily,
in 1540, died at Palermo in 1584. Church
composer, maestro di cappella of Sta. Maria
Maggiore, at Bergamo, about 1540. Works :
Two books of motets for 5 voices (Venice,
1572) ; 3 do. for 4 voices (ib., 1578, 1582,
1588) ; 14 sonetti spirituali (ib., 1580) ; Mass-
es for 5-8 voices (ib., 1575) ; 2 books of
madrigals for 6 voices (ib., 1574, 1579) ;
Madrigals for 3 voices (ib., 1583) ; 7 books
of madrigals for 5 voices (ib., 1564-89).
— Fetis ; Mendel ; Riemann.
VIOLA, ALFONSO DELLA, bom atFer-
rara presumably in the early part of the 16th
century, died after 1567. He was maestro
di cappella to the Duke Ercole H. d' Este,
and one of the earliest to adapt music to dra-
matic pieces. His first composition was for
the tragedy of L' orbacche, by Giraldi Cin-
thio, of Ferrara, played at the author's
house in 1541, and his second II sacrifizio,
640
VIOLA
played at the palace of Francesco cV Este
in 1554. He wrote the music to Ai-ethusa,
a pastoral by LoUio (1563), and to Lo
sfortunato, a pastoral by Argento. The
music of these last two works is lost, but it
was probably in the madrigalian style used
by Delia Viola in his Madrigali a cinque
voci (Ferrara, 1539), a coj)y of which is in
the library of San Marco, Venice. — Fc'tis ;
Guingene, Hist, litteraire d'ltalie, vi. 833 ;
Mendel ; Eiemann.
VIOLA (deUa Viola), FRANCESCO, Ital-
ian composer of the first half of the IGth
century, born in Ferrara. Probably a kins-
man, and perhaps a son, of the preceding ;
pupil of Adrian Willaert at Venice. He
was maestro di cappella to Duke Alfonso
d' Este, whom he accompanied to Venice
in 1562. Works known : Madrigali a quat-
tro voci (Venice, 1567) ; do. a 4 e 5 voci
(ib., 1573, Ferrara, 1599).— Fetis ; Mendel.
\T[OLE, RUDOLF, born at Schochwitz,
near Halle, Saxony, May 10, 1825, died in
Berlin, Dec. 7, 1867. Pianist, pupil at
"Weissenfels of Ernst Julius Hentschel
(1804^75), and at Weimar of Liszt ; one of
the most zealous of the latter master's and
Wagner's adherents, he lived and taught
many years in Berlin. Works : Eleven
sonatas ; 100 etudes ; Caprice heroique ;
Ballade, etc., for pianoforte. — Fctis ; Eie-
mann.
VIOLETTE, LA (The Violet), opera-
comique in three acts, text by Planard,
music by Carafa and Leborne, first rep-
resented at the Opera Comique, Paris, Oct.
7, 1828. The libretto is founded on a ro-
mance entitled "Gerard de Nevers," by the
Comte de Tressan. One of the airs from
this opera was used by Henri Herz as a
theme for variations for the pianoforte,
which became universally popular.
VIOTTI, GIOVANNI BATTISTA, born
at Fontanetto, Piedmont, May 23, 1753, died
in London, March 10, 1824. The head of
the modern school of violinists, and one of
the most eminent composers for his instru-
ment ; son of a farrier, who gave him a
little violin on which, at the age of eight, he
acquired almost without instruction so much
ability as to attract the
attention of the Bishop
of Strambino, who re-
commended him to
Alfonso da Pozzo,
Prince della Cisterna,
in Turin. Under his
patronage Viotti be
came the pupil of Pu-
gnani, entered the royal orchestra in the
course of his studies, but in 1780 started
on a concert tour with his master through
Germany, Poland, and Russia. Soon after
he went to Loudon, and in 1782 to Paris,
where he played rej^eatedly at the Concerts
SjDirituels, producing an unparalleled effect
by the perfection of his art as well as by
the merit of his compositions. A poorly
attended concert in Holy Week, 1783, fol-
lowed by one given to a crowded house by
a mediocre violinist, wounded his pride to
such an extent as to cause his retirement
from the public stage. He remained, how-
ever, in Paris, after visiting his native place
in the summer of 1783 for the last time,
and became maitre de chapelle to the
Prince de Soubise, he having already been
appointed accomijanist to Queen Marie An-
toinette. A complete aversion for exhibit-
ing his talent as a virtuoso seemed to have
taken possession of him, for not only did
he cause his compositions to be executed
by other artists, but turned his interest to
other fields, endeavouring to obtain the
direction of the OjDera in 1787, and
failing in this, associating himself with
Leonard, the queen's hair-dresser, who had
obtained the privilege for the establish-
ment of an Italian opera. This was opened
in the Tuileries in 1789, and transferred,
on the court's return from Versailles, in
1790, to the Theatre de la Foire Saint-Ger-
main ; in 1791 a special theatre was built,
the Theatre Feydeau, which was i-uined by
the Revolution, whereupon Viotti went to
London and once more appeared as a vir-
641
VITALI
tuoso, meeting with an enthusiastic recep-
tion. Suspected as an emissary of the
Eevolution, he was obliged to flee, and
until 1795 lived in retirement near Ham-
bui-g, whence he returned to London and
became partner in a wine trade. Almost
forgotten by the world, he visited Paris in
1802 to look up his friends, and, ui'ged by
Cherubini, Rode, and others, played in the
Salle du Conservatoire, when to everybody's
surf)rise be had advanced rather than re-
trograded in his art, and was still without
a rival He remained in Pai'is only a short
time then, and on another visit in 1814, but
settled there in 1819, when he assumed the
du-ection of the Opera, at a period of evi-
dent decadence, which his efforts could not
check. In 1822 he was asked to resign,
and received a pension of six thousand
francs ; he died on a trij) which he had un-
dertaken for diversion. His compositions
hold a high rank, abounding in original
ideas, and distinguished for exquisite sen-
sibility and perfection
'<^ li4^s> of style. Works : 29
concertos for violin ; 2
concertantes for 2 violins ; 21 quartets for
strings ; 21 trios for do.; 51 duos for vio-
lins, op. 1-7, 13 (G SL'rC'uades), 18-21 ; 18
Bonatas for violin with bass ; 3 divertisse-
ments (nocturnes), for pianoforte and vio-
lin ; Sonata for pianoforte. — Fayolle, No-
tices sur Corelli, etc., et Viotti (Paris, 1810) ;
BaiUot, Notice sur Viotti (ib., 1825) ; Miel,
Notice historique (ib., 1827) ; Eymar, Anec-
dotes sur Viotti, etc. (Milan, 1804) ; Fe-
tis ; Mendel ; Eiemann ; Wasielewski, Die
Violine, etc., 110 ; Hart, The Violin, 246 ;
Phipson, Sketches and Anecdotes, 69.
\1 EAW'ISO. See Sonnamhula.
VITALI, FILIPPO, Italian composer of
the 17th century, born in Florence, died in
Rome (?) after 1649. Maestro di cappella
of the cathedral at Florence, he entered the
college of chaplains of the Pontifical Chapel
in Rome, as a tenor singer, in 1631.
Works : Madrigali a cinque voci (Venice,
1616) ; Musiche a 2, 3 o 6 voci (Florence,
1617) ; Musiche a 1 e 2 voci con il basso
per r organo (Rome, 1618) ; Intermedj, fatti
per la commedia degl' Academici lucon-
stanti, etc. (Florence, 1G23) ; Motetti a 2,
3, 4, 5 voci (ib., 1631) ; Arie a due voci
(Rome, 1635) ; Hymnos Urbani VIH. (ib.,
1636) ; Arie a 3 voci, etc. (ib., 1639) ; Salmi
a 5 voci (ib., 1641) ; Libri cinque di arie a
3 voci (Florence, 1647) ; Aretusa, favola in
musica, Rome, at Cardinal Barberini's,
1640.— Fetis; Mendel; Riemann.
\^TiVLI, GIOVANNI BATTISTA, bom
at Cremona, Italy, about 1644, died in Mo-
dena, Oct. 12, 1692. Vice maestro di cap-
pella to the Duke of Modena, from 1674 ;
member of the Accademia de' Filiaschi.
Works : Balletti, correuti, gighe, allemande,
etc. (Bologna, 1668) ; Sonate a due violini,
etc. (Venice, 1676, 1685) ; Balletti, correnti,
e sinfonie da camera a 4 stromenti (ib.,
1677, 1685) ; Balletti, correnti, etc., a vio-
lino e violone o spinetto, etc. (Bologna,
1678) ; Sonata a 2, 3, 4 e 5 stromenti (Ven-
ice, 1681) ; Salmi concertati, etc. (Bologna,
1677) ; Sonate a due violini, etc. (Amster-
dam) ; Inni sacri per tutto 1' anno, etc. (Mo-
dena, 1681) ; Varie sonate alia francese, etc.
(Venice, 1689) ; Balli in stilo francese, etc.
(ib., 1690) ; Artifici musicali (Modena,
1689) ; Sonate da camera (ib., 1692).— Fe-
tis ; Mendel ; Riemann.
VITTORI, LORETO, born at Spoleto,
Italy, about 1588, died in Rome, April 23,
1670. Singer, pujiil in Rome of Francesco
Soto, and in counterpoint of the two Na-
ninis and of Soriano ; for some time in the
service of Cosimo H. de' Medici at Flor-
ence, he returned to Rome, and entered
in 1622 the college of chaplains of the Pon-
tifical Chapel. He was also a poet. Works :
Ai'ie a voce sola (Rome, 1639) ; La Galatea,
dramma in musica (ib., 1639) ; La pelle-
grina costante, dramma sacro (ib., 1647) ;
Irene, cantata a voce sola (ib., 1648) ; Sant'
Iguazio de Loyola, oratorio ; II pentimento
della Maddalena, cantata. — Fetis ; Mendel.
VITTORIA, TOJIMASO LODOVICO
DA (properly Tomas Luis de Victoria),
E4S
VITZTHUMB
born in Avila, Spain, about 1540, died in
Madrid (?), probably in 1608. He was taken
while young to Home, where he studied
under his fellow-couutrymen, Escobedo and
Morales. In 1573 he was made maestro di
cappella at the Collegium Germanicum,
and in 1575 at S. Apollinare. He after-
wards returned to Sjiaiu, where he was given
the title of king's chaplain. He is known
to have been living in Madrid as late as
1605. While in Eome he formed a warm
friendship with Palestrina, but seems to
have been regarded with considerable jeal-
ousy by other Italian musicians, for he
never entered any of the more important
pajjal singers' colleges. Vittoria was prob-
ably the greatest composer Spain ever pro-
duced, as he was also one of the biightest
lights of the great Roman school. In some
of his works it is impossible, even for ex-
perts, to distinguish his style from Pales-
trina's ; he was esjsecially noted for a Sjsan-
ish warmth, depth, and intensity of feeling,
and a certain exalted religious mysticism.
Like that of other non-Italians of his day,
his reputation has suffered unjustly at the
hands of Baini, Palestrina's biographer.
His gTeatest work was probably his Officium
defunctorum. Works : Liber primus, qui
missas, psalmos. Magnificat, ad Virginem
Dei Matrem salutationes, aliaque complec-
titur 4, 5, 6, 8 vocum (Venice, Gardano,
1576) ; Cantiea B. Virginis vulgo Magnifi-
cat 4 voc, una cum quatuor antiphonis B.
Virginis jser annum 5 et 8 voc. (Eome, Zan-
netto, 1581) ; Hymui totius anni secundum
S. E. E. consuetudinem, 4 voc. una cum
quatuor psalmis j)ro prsecipuis festivitatibus
8 voc. (ib., 1581, another ed. with title :
Inni per tutto 1' anno a quattro voci, Venice,
Vincenti, 1600) ; Missarum liber primus 4,
5, 6 voc, etc. (Rome, Zannetto, 1583 ; Do.,
liber secundus (ib., 1583 ; these two books
were republished together in the same year
by Angelo Gardano) ; Officium hebdomada;
sancta3 (Rome, Angelo Gardano, 1585) ;
Motecta festorum totius anni cum com-
muni sanctorum 5, 6, 8 voc. (ib., 1585 ; also
as Cantiones sacrse 4, 5, 6, 8 vocum, Dillin-
gen, 1588 ; Other eds., with additions, as
Motecta 5, 6, 8, 12 voc, etc., Milan, heirs
of Simone Tini, 1589 ; as Cantiones sacrse
5, 6, 8, 12 voc, Dillingeu, 1590, and Frank-
fort, 1602) ; Missarum liber secundus 4, 5,
6, 8 voc, una cum antiphonis, Asperges, et
Vidi aquam, totius anni (Eome, Coattino,
1592) ; Officium defunctorum sex vocum
in obitu et obsequiis sacrm imj)eratricis
[comprising Missa pro defunctis, 6 voc,
Versa est in luctum, 6 voc. Libera me, 6
voc, and Ttedet anima, 4 voc] (Madrid,
Joaquin Velasquez, 1605). The Eequiem,
the mass Ave maris stella, and five motets
are republished in score in Eslava's Lira
sacro-hispana, 1st series. — Ambros, iv. 70 ;
Fetis, viii. 341 ; Grove ; Mendel.
VITZTHUIMB, IGNACE, born at Baden,
near Vienna, July 20, 1723, died at Brus-
sels, March 23, 1816. Instrumental and
vocal composer, though more distinguished
as a theoretical writer. He went to Brus-
sels as a choir-boy in the chapel of the
Archduchess Maria Elizabeth, governess of
the Netherlands. During the Seven Years'
War, he served in a regiment of hussars,
and after his return to Brussels in 1748,
entered the court orchestra ; then became
chef d'orchestre at the theatre, and in 1786
maitre de chapelle to the princes. The
French Revolution dei^rived him of his post
and the pension accorded him by the court
of Austria. He deserves well for the pro-
motion of musical art in Belgium. — Works
— Oi^eras : Le soldat (with Van Maid ere),
Brussels, 1766 ; Cephalide, ou les autres
manages samnites (with Cifolelli), ib., 1777;
La fou-e de village, ib., 1786. Masses, mo-
tets, and symjshonies. — Fetis, Sujjplument,
ii. 631 ; Mendel, Ergilnz., 475.
VIVALDI, Abbate ANTONIO (called,
from his red hair, II prete rosso), born in
Venice in the latter part of the 17th century,
died there in 1743. Violinist, son and pupil
of Giovanni Battista Vivaldi, violinist of the
ducal chapel of San Marco. He was for
some time in the service of the Elector
VIVE
Pliilipp of Hesse-Darmstacit, returniug to
Venice in 1713 ; obtained the position of
director of the
Conservatorio del-
la Pieta, a post he
held till his death.
Johann Sebastian
Bach aiTanged two
of Vivaldi's con-
certos, taken from
the Estro armo-
nico, as a quintet
for harpsichord,
two violins, alto and bass. Vivaldi was in
Lis time a well-known and prolific writer
of operas, dating from 1713 to 1738, and
mostly played in Venice. Works : 12 trios
for two violins and violoncello, op. 1 (Paris,
1757) ; 12 sonatas for violin with basso con-
tinue, op. 2 (Amsterdam) ; Estro armonico,
ossia XII concerti a quattro violini, 2 viole,
violoncello e basso continuo per 1' organo,
Xn Concerti aviolino solo, etc.,
; Sonate per violiuo e basso con-
5 (ib.) ; "ST Concerti a violino
etc., op. C (ib.) ; \T id., op. 7
quattro stagioni, etc., op. 8, 2
books (ib.) ; La cetra, etc., op. 9 (ib.) ; Six
concertos for flute, violin, viola, violoncello,
and organ, op. 10 (ib.) ; Concerti a violino
solo, etc., op. 11 (ib.). His pieces for vio-
lin called stravaganze and his Cuckoo Con-
certo were at one time very popular, though
not among his best compositions. — FiJtis ;
Dubourg, The Violin, 54 ; Hart, The Vio-
lin, 202 ; Hawkins, Hist., v. 213 ; Hogarth,
Mem. of Mus. Drama, ii. 227 ; Burney,
Hist., iii. 5G1 ; Riemaun ; Meudek
VIVE HENRI-QUATRE, historical
French song, the doubtful authorship of
which has been assigned to Du CauiToy
(15-19-1G09). The wi-iter of the words is
also unknown. The song consists of three
verses, the first two of which are generally
attributed to Colic (1709-1783), but the
three stanzas seem to belong to the early
part of the 17th century. It is possible
that this was a chanson i boire of the time
op. 3 (ib.) ;
op. 4 (ib.)
tinuo, op.
principale,
(ib.) ; Le
of Henri HI. and that Colle made additions
to it. It was the national anthem during
the Bourbon Restoration, and was played
by the orchestra at the Academic Royale de
Musique as an overture to the opera, April
1, 1814, on the day the allied armies entered
Paris. PaOr wrote variations upon it,
Grotry introduced it into his overture to
La magnifique (1773) ; and Rossini into his
opera H viaggio a Reims (1825). — Grove,
i. 728.
VIVO IN TE, anO CAROBENE, duet in
E minor, for soprano and contralto (Asteria
and Andronico), with accompaniment of
two flutes (Handel marks both first and sec-
ond jxirts " Traversa e Flauto "), and strings
complete, in Handel's Tamerlano, Act IH.,
Scene 5. Published also separately, with
the accompaniment filled out by Robert
Franz (Leipsic, Kistner).
VIZENTINI, ALBERT, born in Paris,
Nov. 9, 1841, still living, 1890. Violinist,
dramatic composer, and vrriter on music,
pupil of Leonard and of Fi'tis at the Con-
servatoire of Brussels, where he won the
first prize for violin in 1850, and for com-
position in 1861. \ov a short time chef
d'orchestre of the theatre at Antwerp, he re-
turned to Paris, where he became solo vio-
lin, first at the Bouffes Parisiens, then at
the Theatre Lyrique, and also appeared
with success in concerts. Subsequently
chef d'orchestre at the Theatre de la Porto
Saint-Martin, and at the same time of a
French operetta troupe in London and the
English provinces, he was engaged by Of-
fenbach to fill the same position at the
Theatre de la Gaitc, of which he also be-
came administrator and finally director,
buying out Oifenbach, who wished to re-
tire. He then set to work to elevate the
character of his enterprise, and obtained the
privilege of reconstituting the Theatre
Lyrique, which had closed its doors, at the
Gaite ; there he brought out several good
operas by modern composers, but did not
succeed financially, and was obliged to
renounce his privilege in 1878. He be-
SM
YD
came chef d'orcliestre at the Hippodrome,
and is now in the same capacity, and as
general manager, at the Italian theatre
in St. Petersburg. Works : La tsigane,
operetta, Paris, Folies Marigny, 18G5 ; Le
moulin tenebreux, ib., Bouffes Parisiens,
1869 ; 2 cantatas ; Music to several dramas ;
Fantasies for violin, with pianoforte. — Fe-
tis, Supplement, ii. 632.
VO' FAR GUERRA, soprano aria of Ar-
mida, in G major, with accomi^animent of
two oboes, strings complete, and cembalo
obligato, in Handel's Rinaldo, Act H., Scene
10. This air is known in England as the
" Harj)sichord Song."
VOGEL, CAJETAN, born at Konoged,
Bohemia, in {?), died in Prague, Aug. 27,
1794. Church composer, at first a choir-
boy, then organist in the Jesuits' College ;
he finished his theological studies in Prague,
and was a pupil of Habermann in composi-
tion. After taking orders, he conducted
for twelve years the choir in St. Michael's
Church. Works : Twenty-six masses with
orchestra ; Concertos for various instru-
ments ; Suites for wind instruments ; Quar-
tets, and a little opera. — Fetis ; Mendel.
VOGEL, (CHARLES LOUIS)
ADOLPHE, born at Lille, May 17, 1808,
still living, 1890. Violinist and dramatic
composer, pupil of Auguste Kreutzer at the
Paris Conservatoire, and of Reicha in com-
position. He established his reputation by
the patriotic song " Les trois couleurs,"
written in one night, on the outbreak of
the July Revolution, 1830. Works : Le
podestat, Paris, Oi^era Comique, 1831 ; Ma-
rie Stuart, not given ; Le siege de Leyde,
The Hague, 1847 ; La moissouneuse, Paris,
1853 ; Ronipons ! ib., Bouffes Parisiens,
1857 ; Le nid de cigogues, Baden-Baden,
1858 ; Gredin de Pigoche, Paris, 18G6 ; La
filleule du roi, Brussels and Paris, 1875.
Le Jugement dernier, oratorio ; Several
symphonies ; Quintets and quartets for
strings ; Sacred compositions ; Choruses ;
Romances ; Pianoforte pieces. — Fetis ; do.,
Supplement, ii. 633 ; Riemann.
VOGEL, FRIEDRICH WILHELM FER-
DINAND, born at Havelberg, Prussia, Sept.
9, 1807, still Hviug, 1890. Virtuoso on
the organ, pupil in Berlin of Birnbach, then
travelled several years, giving concerts in
Germany, Holland, and Switzerland ; taught
iu Hamburg in 1838-41, and after a concert
tour through Schleswig, became organist at
the German and French reformed church
iu Copenhagen. In 1852 he was appointed
professor at the school for organ-playing
and composition at Bergen, Norway.
Works : Concertino for organ, with trom-
bones ; 60 choral preludes ; 10 postludes ;
2 fugues with introductions ; Symphony for
orchestra ; Overture for do. ; Suite in canon
form, for do. ; Chamber music ; Choruses
for male and mixed voices ; Kloster und
Haus, ojjeretta ; Aus dem Tunnel, do., etc.
— Mendel ; Riemann.
VOGEL, JOHANN CHRISTOPH, born
at Nuremberg in 1756, died in Paris, Juno
26, 1788. Pupil of Riepel iu Ratisbon ;
went to Paris in 1776, where he became an
imitator of Gluck. His irregular life brought
on a fever, of which he died iu poverty.
Works : La toison d'or, opera, Paris, 1786 ;
Demophon, do., ib., 1789 ; 3 symphonies for
orchestra ; 6 trios for strings ; 6 quartets
for do. ; 6 do. for horn and string trio ; 3
do. for bassoon and string trio ; Concerto
for bassoon ; 3 concertos for clarinet ; 6
duos for do.; 6 do. for bassoons. — Mendel;
Fetis ; Riemann ; Schilling.
VOGEL, ("WILHELM) MORITZ, bom at
Sorgau, near Freiburg, Silesia, July 9, 1846,
still living, 1890. Instramental and vocal
composer, pupil at the Conservatoriura in
Leipsic, where he afterwards was prominent
as a musical critic, teacher, and conductor
of several singing societies. He is known
especially by his instructive compositions
for pianoforte, comprising a method in
twelve parts, etudes, rondos, sonatinas, etc.,
but has also composed songs and duets of
a high order. — Mendel ; Riemann.
VOGLER, Abt GEORG JOSEPH, born
at Wiirzburg, June 15, 1749, died at Darm-
645
VOGRICH
stadt, May 6, 1814. Organist, theoretical
writer, and composer, pupil of Padre Mar-
tini in Bologna and of
Vallotti in Padua, where
he studied theology.
After taking orders in
Rome, he founded in
1775 a music school at
JIannheim, and was also
second Kapellmeister
and chaplain of the
court, which he followed to Munich in 1779.
In 1783-8G he travelled in France, Spain,
Greece, and the East, and in the latter
year became Kapellrailstare in Stockholm ;
he was also director of a music school there,
but left Sweden in 1799, with a pension.
Having studied for some time a system of
simplification for the organ, ho travelled
with a small instrument called an orches-
trion, and made known his theories in
Amsterdam, London, Paris, Hamburg, and
other cities. His system raised much dis-
cussion, and in several places, London and
Stockholm among others, he was employed
to simplify organs. In 1807 he founded a
third school in Darmstadt, where Meyer-
beer and Karl IMaria von Weber were
among Ids pupils ; he was also Kapell-
meister there. Works — Operas : Der Kauf-
mann von Smyrna, Mainz, 1780 ; Albert HI.
von Bayeni, Munich, 1781 ; La kermesse,
Paria, 1783; tgU, Stockholm, 1787; Le
patriotisms ; Kastor und Pollux, Mann-
heim, 1791 ; Gustav Adolf, Stockholm,
1791 ; Hermann von Unna, Copenhagen,
1800 ; Samori, Venice, 1804 ; Music to
Hamlet ; Ino, ballet ; Lampredo, melodra-
ma ; Choruses for Athalie ; Masses ; Mo-
tets ; Psalms ; Hymns ; Te Deum ; l^Iise-
rere, etc. ; Symphony ; Die Kreuzfahrer,
overture ; Concerto for pianoforte ; Noc-
turne for pianoforte and string quartet ;
Quartet for pianoforte and strings ; Poly-
melos, character pieces for pianoforte and
string trio ; Concerto for organ ; 32 pre-
ludes for do.; 112 short preludes ; 12 cho-
rals with variations ; Sonatas, variations.
etc., for pianoforte. Literary works : Ton-
wissenschaft und Tonsetzkunst (Mannheim,
177G) ; Stimmbildungskunst (Mannheim,
1770) ; Kurpfiilzische Tonschule (ib., 1778) ;
Mannheimer Tonschule ; Betrachtungen der
Mannheimer Tonschule (1778-81) ; Inled-
ning til harmoniens kiinnedom (Stockholm,
1795) ; Pianoforte and thorough-bass
method in Swedish (ib., 1797) ; Choralsys-
tem (Copenhagen, 1800) ; Data zur Akustik
(1800) ; Handbuch zur Harmonielehre
(Prague, 1802) ; tjber dio harmouische
Akustik (Mu-
nich, 1807) ;
Griindliche ,
Anweisung
zum Klav-
ierstimmen
(Stuttgart,
1807) ; Deutsche Kirchenniusik (Munich,
1807) ; tJber Choral- und Kirchengesiinge
(ib., 1814) ; System fUr den Fugenbau.—
Mendel ; Riemann ; Fetis ; Gerber ; SchiUing.
VOGRICH, HL^X (KARL WILHELISI),
born at Hermann-
stadt, Transj-lvan-
ia, Jan. 27, "l852,
still living, 1890.
Pianist, began to
study his instru-
ment at the age of
five, and appeared
in concerts two
years later, then
was a pupil (18GG-
C9) at the Conser-
vatorium in Leipsic, of Wenzel, Reinecke,
and Moscheles on the pianoforte, of Haupt-
mann and Richter in counterpoint and
fugue, and of Reinecke in composition. In
1870 he started on a concert tour, play-
ing in almost every country of Europe, and
in 1877 extended his travels to Mexico,
Venezuela, and Colombia. He went to New
York in 1878, gave a series of concerts, and
joined Wilhelmj in another concert tour
through the United States, and to Austra-
lia, where in 1881 he settled at Sidney for
548
VOGT
a few years, aiul conducted the Liedertafel
and the Philliarinonic Society. In 188G he
returned to New York, where he now re-
sides permanently, excepting frequent trips
to Europe. Works : Wanda, opera, Flor-
ence, 1875 ; Lauzelot (1890) ; The Captiv-
ity, oratorio (1884) ; The Diver (Schiller),
cantata, Detroit, 1890 ; The Young King
and the Shepherdess, do. ; Solemn mass ;
Symf)hony iu E minor ; do. in A minor ; Con-
certo for violin and orchestra. New York,
1878, performed constantly by Wilhelmj ;
Concerto for pianoforte, Chicago, 1886, Bos-
ton, 1889 ; 12 Etudes de concert for piano-
forte (1890) ; Romanzero, cycle for do. ;
Fugue iu F, for do. ; Collection of sonatinas
for do.; Album of ancient and modern
dances, of all nations, for do. ; Many other
concert pieces for do. ; Many choruses for
male, female and mixed voices, a cappella,
and with pianoforte ; AiTangements for
chorus of national Scotch, Irish, and English
melodies ; More than fifty anthems, many
hymns ; 6 terzets for soprano, contralto,
and tenor ; G duets for soprano and tenor ;
C do. for 2 soprani ; 2 Albums of songs (24) ;
Many English ballads and other songs,
among which the Arabian Song has become
widely popular.
VOGT, GUSTAVE, born at Strasburg,
March 18, 1781, died in Paris, May 30,
1879. Virtuoso on the oboe, puijil of Salen-
tin at the Paris Conservatoire, where he
won the first prize in 1799, then studied
harmony under Key. After playing in
several theatre orchestras in Paris, he took
part in the German campaign of 1805-6 as
oboist in the Garde Imj)eriale, then entered
the orchestra of the Opera Comique, and in
1814 succeeded his master Salentin in that
of the OpOra, where he remained until
1834. Adjunct professor at the Conserva-
toire from 1808, became professor in 1816,
and was first oboist of the royal orchestra
iu 1815-20, and first oboist of the Concerts
du Conservatoire in 1828-44. In 1844 he
retired into private life. During the sea-
sons of 1825 and 1828 he was called to
London, where he was in great demand
by musical societies. Works : Four con-
certos for oboe ; Variations with orchestra ;
Marches for military band ; Conzertstiick
for English horn ; Pot-pourris ; Duos for
oboe, etc.— Fetis ; Mendel ; Riemann.
VOGT, JOHANN (Jean), born at Gross-
Tinz, near Lieguitz, Jan. 17, 1823, died at
Eberswald, August, 1888. Pianist, pupil
of A. W. Bach and of Grell in Berlin, and
of Hesse and Seidel in Breslau. He lived
in St. Petersburg in 1850-55, teaching the
pianoforte, then made extended concert
tours, and in 1861 settled in Dresden and
in 1865 in Berlin, where he was professor
at Stern's Conservatorium. In 1871 he
went to New York, but from 1873 lived
again in Berlin. He was made royal music
director in 1862. Works : Die Auferweckung
des Lazarus, oratorio, Liegnitz, 1858 ; Quar-
tets, trios, and other chamber music ; Many
instructive pieces for jaianoforte. — Mendel.
vol A\^TE UN COR FEDELE, aria
for soprano with orchestra, in G, by Mozart,
composed in Salzburg, Oct. 26, 1775. Breit-
kopf & Hilrtel, Mozart Werke, Serie vi.. No.
13. — KOchel, Verzeichniss, No. 217 ; Jahn,
Mozart, i. 419.
vol CHE SAPETE. See Nozze di Fi-
garo.
VOIGT, JOHANN GEORG HERMANN,
born at Osterwick, Saxon}', May 14, 1769,
died iu Leipsic, Feb. 24, 1811. Organist,
pupil of his father, and of his grandfather
the organist Rose, at Quedlinbiu-g ; went
in 1788 to Leipsic, where he was employed
as violinist and oboist. In 1790 he became
organist at Zeitz, but returned in 1801 to
Leipsic, and was organist there, first at St.
Peter's and then at St. Thomas'. Works :
Twelve minuets for orchestra ; 7 quartets
for strings ; Trio for do. ; Concerto for
viola ; Polonaise for violoncello and oi'ches-
tra ; 6 scherzi for pianoforte ; 3 sonatas
for do. — Fetis ; Mendel.
VOITURES VERSfiES, LES (The Upset
Carriages), opera-comique in two acts, text
by Dupaty, music by Boieldieu, first rep-
bil
VOLCKMAR
resented at the Feydeau, Paris, April 29,
1820. The libretto was taken from a vau-
deville entitled Le seducteur en voyage,
represented at the Vaudeville, Paris, Dec.
4, 1806. The opera was given in German
as Die umgeworfenen Postwageu, transla-
tion by Diiring, at Frankfort-on-the-Main, in
1821, and in Vienna in 1826.— Clement et
Larousse, 703 ; AUgem. mus. Zeitg., xxii.
400, 458 ; xsviii. 736.
VOLCKIVIAE, AYILHELM (VALENTIN),
born at Hersfeld, Dee. 26, 1812, died at
Homberg, Hesse-Cassel, Aug. 27, 1887.
Organist, pupil of his father on the organ
and pianoforte, and of Liipke, at Biickeburg,
on the violin. In 1835 he became instruc-
tor of music in the seminary at Homberg,
near Cassel. He received the degree of
Ph.D. from the University of llarburg, the
title of royal music director and the gold
medal for art and science from the King of
"Wiirtemberg, and the Duke of Coburg.
Member of Sociutu Eoyale des Beaux-Arts
at Ghent, and of other societies. Works :
Twenty organ sonatas ; Several organ con-
certos ; Symphony for the organ ; Orgel-
schule ; Schule der Gelilufigkeit f (ir die
Orgel ; Music for pianoforte and for violin ;
Songs and hymns. — Mendel ; Futis ; Eie-
mann.
VOLKERT, FRANZ, born at Heimers-
dorf, district of Buuzlau, Bohemia, Feb. 2,
1767, died in Vienna, March 22, 1845. Dra-
matic and church composer and organist,
also a good performer on the violin and
several other string instruments. He went
at the age of fourteen to Prague, where he
sang in the chorus of the Italian opera ten
years, and in 1790 went to Kuniggriitz as
assistant to the organist Ignaz Haas, under
whom he studied, and whom he succeeded
in 1800. It is not certain how long he re-
mained there, but about 1810 he was al-
ready in Vienna as organist at the Schotten-
stift, and in 1821 Kapellmeister at the
Leopoldstiidter Theater. He wrote more
than one hundred comic operas, melodramas,
and fauy farces, some of which became very
popular. Among them are : Der Eheteufel
auf Reisen ; Narrheit und Zauberei ; Der
Geisterseher ; Tiroler Casper ; Der magi-
sche Hut ; Hermann, der Befreier Deutsch-
lands ; Die drei wunderbareu Rilthsel : Der
Schiffbruch ; Ernst, Graf von Gleichen ; etc.
Other works : Masses, offertories, Utanies,
and church arias ; Concertos for pianoforte ;
Pieces for wind instruments ; Solos for horn,
clarinet, bassoon, oboe, and violoncello ;
Trios for pianoforte and strings ; 24 caden-
zas for organ ; Variations, preludes, etc.
— Ft'tis ; Wurzbach.
VOLKMANN, (FRIEDRICH) RO-
BERT, born at Lom-
matzsch. Saxony,
April 6, 1815, died in
Buda-Pesth, Oct. 30,
1883. Instrumental
and vocal composer,
pupil of his father ou
the organ and piano-
forte, andof Friebcl on
the violin and A-iolou-
cello, then at Frei-
berg jjupil of Auacker, and at Leipsic of K
F. Becker in theory. He settled to teach
1839, and at Pesth
Vienna in 1854-58,
to Pesth. Works:
serenades for string
quartets ; 2 over-
^ \
\
music at Prague in
in 1842 ; lived in
and then returned
Two symphonies ; 3
orchestra ; 6 string
tures ; 2 trios ; Concerto for violoncello ;
Rhapsody, allegretto capriccioso, and two
sonatinas for pianoforte and violin ; Con-
cert piece for isianoforto and orchestra ;
Variations on a theme of Handel for two
pianofortes ; Sonata, sonatina, and rondino
and march for do.; Musikalisches Lieder-
buch ; Ungarischo Skizzen ; Die Tages-
zeiten ; 3 marches ; Phantasiebllder ; Ditliy-
rambe und Toccata ; Souvenir de Marolh ;
Nocturne ; Buch der Lieder ; Deutsche
Tilnze ; Cavatine und Barcarolle ; Vist'grad ;
4 marches ; Wanderskizzen ; Lieder der
Grossmutter ; 3 improvisations ; Am Grab
des Grafen Szochenyi ; Ballade und Scher-
zetto ; Arrangements of Mozart's and Schu-
648
VOLLWEILER
bert's songs ; 2 masses ; Sougs for iiiczzo-
sopraiio with pianoforte and violoncello ;
Sapjjho, a dramatic scene, op. 49 ; Richard
III., overture to Sbakespeare's tragedj", op.
73, London, 1875 ; Offertories for solo,
chorus, and orchestra ; Choruses for men's
voices ; Old German hymns ; 2 wedding
songs ; Duets ; Sacred songs. — Mendel ;
Fetis, Supplement, ii., G35 ; Mus. "Wochen-
blatt, i. 8 ; Itiemann ; Vogel, R. Volkmann,
etc. (Leipsic, 1875) ; Illustr. Zeitg. (1872),
287 ; (1883), 452 ; Wurzbach.
VOLLWEILER, KARL, born at Offen-
bach in 1813, died at Heidelberg, Jan. 27,
1848. Instrumental composer, son and pu-
pil of G. J. Vollweiler (1770-1847, professor
at Frankfort and Heidelberg) ; lived at first
at Hanau, then several years iu St. Peters-
burg, teaching the pianoforte and com-
position, after which he settled at Heidel-
berg. Works : Symphony ; 2 trios for
pianoforte and strings ; Variations on Rus-
sian themes, for string quartet ; Sonata for
pianoforte ; 6 etudes nielodiques ; G etudes
lyriques ; Many other pieces for pianoforte.
— Fetis ; Mendel ; Riemaun.
VOLTA LA TERREA FRONTE ALLE
STELLE. See BaUo in Maschera.
VON DEN EDLEN CAVALIEREN.
See Martha.
VON DER WIEGE BIS ZUM GRABE
(From the Cradle to the Grave), symphonic
poem for orchestra by Franz Liszt, com-
posed and first performed in Weimar in
1882. The subject was suggested by a
picture by Michael Zichy. Full score, and
pianoforte arrangement for two and for four
hands, published by Bote & Bock (Berlin,
1883).— Neue Zeitschr. (1884), 221.
VORREI SPIEGARVI, OH DIO, aria for
soprano with orchestra, iu A, text from An-
fossi's opera, H curioso indiscrete, music by
Mozart, composed for Mme Lange in Vi-
enna, June 20, 1783. Breitkopf & Hilrtel,
Mozart Werke, Serie vi.. No. 25. — KOchel,
Verzeichniss, No. 418 ; Andre, No. 58 ;
Jahn, Mozart, iii. 275.
VOR SUDENS KLOSTER. See Foran
sydens Kloster.
VOSS, KARL, born at Schmarsow, near
Demmiu, Pomerania, Sept. 20, 1815, died
in Verona, Aug. 28-29, 1882. Pianist,
studied in Berlin and iu 1840 settled in
Paris, where he was much sought as a
teacher and published hundreds of mor-
ceaux de salon, which made him for ten or
fifteen years the fashionable composer of
that genre. He wrote also works of greater
merit, like concertos, etudes, paraphrases,
etc. — Fetis ; Mendel.
VOUS AVEZ DEVINfi CELA. See Ami
de la maison.
VOUS ME DISIEZ SANS CESSE. See
Pre aux clercs.
VOX POPULI (Voice of the People), two
grand choruses with orchestra, music by
Berlioz, op. 20. I. La menace des Francs ;
n. Hymne a la France. The score is dedi-
cated to the Societes Philharmoniques de
France (Richault, Paris, 1851).
VOYAGE OF COLUMBUS, THE, can-
tata iu six scenes, text and music by Dudley
Buck, first given in Brooklyn, May 4, 188G.
The text is from Washington Irving's "His-
tory etc. of Christopher Columbus " (1828).
I. In the chapel of St. George at Palos ; H.
On the Santa Maria ; HI. The Vesper
Hymn; IV. Discontent and Mutiny ;V. In
distant Andalusia ; VI. Land and Thanks-
giving.— Upton, Standard Cantatas, 114.
VOYAGE OF MAELDUNE, THE, ballad
for soli, chorus, and orchestra, text from
Tennyson, music by Charles Villiers Stan-
ford, op. 34, first performed at the Leeds
(England) Musical Festival, Oct. 11, 1889.
The work was conducted by the composer
and sung by Mme Albani, Miss Hilda Wil-
son, Sir. Lloyd, and Mr. Barrington Foote.
—Academy (1889), ii. 258 ; Athenaeum
(1889), ii. 530.
VOYEZ, DU HAUT DE CES RIVAGES.
See Maette de Portici.
649.
VULPIUS
VULPIUS, MELCHIOR, born at Was-
ungen, about 1560, died at Weimar in 1616.
Church composer, and cantor at Weimar.
Works : Cautiones sacriw cum 6, 7, 8 voci-
bus (Jena, 1602) do., 5, 6, et 8 vocum (2
parts, ib., 1603-4 ; both in one book, 1611) ;
Kirchengesiinge uud geistlicbe Lieder Dr.
Lutberi und Anderer (Leipsic, 1604) ; Can-
ticum beatissimse Virgiuis Mari?e, etc.
(Jena, 1605) ; Lateinische Hochzeitstiicke
(1608) ; Opusculum novum selectissimarum
cantioDum sacrarum, etc. (Erfurt, 1610) ;
Erster, zweiter, und dritter Theil der soun-
tilglichen Evangelischen Spriicbe (ib., 1619-
21). He pubhshed also a German edition
of Heinricb Faber's Compendiohim musica;,
with an appendix (Jena, 1610). — Fotis ;
Mendel ; Riemann ; Schilling.
WACHET AUF, cantata for mens
voices, chorus, and orchestra, text
bj' Geibel, music by Joachim Rafi",
op. 80. Published by Schott (Mainz, 1865).
WACHET AUF! RUFT UNS DIE
STIMME, four-part choral in D major, in
Mendelssohn's Paulus, Part 1, No. 16. This
choral appears also in the overture ; the
melody is by Jacob Praetorius (1599).
WACHT AM RHEIN, DIE (The Watch
on the Rhine), German Volkslied, text by
Max Schneckenburger (1819-18-1:9), music
by Carl Wilhelm (1820-1873). The words
were written in 18-10 when the left bank of
the Rhine was threatened by France. The
music, part-song for mens' voices, was com-
posed on March 14, and first sung on June
11, 1854. It was very popular during the
Franco-Prussian war of 1870-71, and in the
latter j-ear the Emperor gave Wilhelm an
annual pension. A monument has been
erected to his memory in his native town,
Schmalkalden. The Wacht am Rhein is
the subject of the National-Denkmal, a
monument designed by Johannes Schilling,
and unveiled in 1883 by the Emperor near
Bingen. The same words had been pre-
viously set by F. Mendel, 1840 ; by Leopold
Schroter, 1852 ; and by F. W. Sering. An-
other Rhine song, words by N. Becker,
music by Kreutzer, was very popular in
1840-41. An overture. Die Wacht am
Rhein, was composed by August Klughardt,
op. 26. — Grove, iv. 342 ; Notes and Queries,
4th Series, vi. 267.
WACHTELSCHLAG, DER (The Quail's
Song), song, with pianoforte accompani-
ment, text by S. F. Sauter, music by Schu-
bert, op. 68, composed in 1822. Published
by Schreiber (Vienna, 1822) ; by Diabelli
(ib., 1827).
WACIvENTHALER, JOSEPH, born at
Schlestadt, Alsace, Nov. 20, 1795, died at
Strusburg, March 3, 1869. Organist and
pianist, pupil in composition, at Strasbui'g,
of Spindler, whom he succeeded as maitre
de chaj)elle of the cathedral, in 1819 ; was
appointed organist there in 1833. He com-
posed several masses with full orchestra,
all the motets sung in that cathedral, and
many organ pieces. — Fetis ; Mendel.
WADE, JOSEPH AUGUSTINE, born in
Dublin, Ireland, about 1796, died in Lon-
don, July 15, 1845. After conducting the
Opera in London a short time, be returned
to Dublin in 1840, with Lavenu's company,
which included Liszt, Richardson the flutist,
and others, by which several of his com-
positions were performed. Works : " The
Prophecy," oratorio, Drury Lane, 1824 ;
" The Two Houses of Granada," opera, ib.,
1826 ; " The Pupil of Da Vinci," operetta,
text by Mark Lemon ; Polish Melodies,
1831 ; Songs, etc. — Grove.
W.IELPUT, HENDRffi, born in Ghent,
Oct. 26, 1845, still living, 1890. Instrumen-
tal and vocal composer, pupil at the Brus-
sels Conservatoire, where he won the first
prize for composition in 1866, and the
prix de Rome in 1867. In 1869 he was
appointed director of the Conservatoire at
Bruges, became at the same time chef d'or-
chestre at the theatre and conductor of
popular concerts, which he established
there. In 1871 he settled at Dijon, and in
1875 returned to Ghent, where he became
550
WAELRANT
chef d'orchestre at the Grand Theatre ;
then conducted the French opera at The
Hague, and is now professor of harmony
at the Antwerp Conservatoire. Works :
Berken de Diamantslijper, opera, Brussels
1876. Cantatas : Het Woud, ib., 1867 ;
De Zegen der Wapens, ib., 1876 ; La pacifi-
cation de Gand, Ghent ; Memhng. -1 sym-
phonies ; Hans Memling, festival march for
orchestra ; Many songs with pianoforte.
— Fetis, Supplement, ii. 641.
WAELRANT, HUBERT, born atTonger-
loo, Brabant, about 1517, died in Antwerij,
Nov. 19, 1595. Contrapuntist, pupil of
Adrian Willaert in Venice, whence he re-
turned probably in 1547, in which year he
established a music school at Antwerp. He
also associated himself with Jean Laet in
founding a publishing firm. Works : Liber
nonus cantionum sacrarum, etc. (Louvain,
Phalise, 1557) ; Madrigali e canzoui fran-
cesi a 5 voci (Antwerp, Susato, 1558) ; Can-
zoni alia napolitana (Venice, 1565) ; Others
also iu Symphonia angelica di diversi eccel-
lentissimi mnsici (Antwerp, 1565) ; Canzoui
scelti di diversi eccellentissimi, etc. (ib.,
Phalise, 1587). — Fetis ; Mendel ; Eiemann ;
Viotta ; Van der Straeten, iii. 201.
WAFT HER, ANGELS, THROUGH
THE SIvIES, tenor aria of Jephtha, in G
major, with accompaniment of strings com-
plete, and coutinuo, in Handel's Jephtha,
Act HI., Scene 1. See also Deej^er and
deeper still.
WAGENSEIL, GEORG CHRISTOPH,
bom in Vienna, Jan. 15, 1715, died there,
March 1, 1779. Pianist, pupil of J. J. Fux
in counterpoint ; he was the music master
of the Empress Maria Theresa, who after-
wards gave him for life a jjension of fifteen
hundred florins, as chamber comj)Oser and
instructor of the imperial princesses. He
was a favourite composer for the pianoforte.
Works — Operas : Orfeo ; Alessandro ; Olim-
piade ; Tito ; Antigona ; L' inverno ; Le cac-
ciatrici amanti, all given in Vienna, 1740-
60 ; Siroe, Milan. Gioas, ri^ di Giuda,
oratorio ; II quadro animato, cantata ; Some
church music ; 30 symphonies ; 27 concertos
for pianoforte ; 36 trios for strings. Pub-
lished : Suavis artificiose elaboratus con-
centus musicus, etc. (1740) ; 18 Diverti-
meuti di cembalo ; Divertimento for 2 pi-
anofortes ; 2 do. for pianoforte, violin, and
violoncello ; 10 symphonies for pianoforte,
2 violins, and violoncello ; 6 sonatas for
violin with pianoforte. — Fetis ; Mendel;
Riemann ; Wurzbach.
WAGNER, ERNST DAVID, born at
Dramburg, Pomerania, Feb. 18, 1806,
died in Breslau, May 4, 1883. Organist,
pupil of A. W. Bach at the royal institute
for church music, and of Rungenhagen at
the academy in Berlin, where he became
cantor and choir master at the Matthiii-
kirche in 1838, and organist of the Trini-
tatiskirche in 1848 ; and in 1858 royal mu-
sic director. Works : Johannes der Tilufer,
oratorio (MS.) ; Requiem (do.) ; Psalms and
motets for male voices ; 48 choralartige
Orgel-Vorspiele ; Der erfahrene Clavier-
lehrer ; Choralbuch. He i^ublished also :
Die musikalische Ornamentik (Berhn, 1868).
— Fetis ; Mendel ; Riemann.
WAGNER, GEORG GOTTFRIED, born
at Miihlberg, Saxony, April 5, 1698, died
at Plancn in 1760. Pupil of Kuhnau at
the Leipsic Thomasschule, where he re-
mained for three years longer after Bach's
appointment, to profit from his intercourse.
In 1726 he became cantor at Plauen. Hia
compositions, consisting of oratorios, can-
tatas, overtures, trios, concertos, and solos
for violin, etc., though esteemed by his con-
temporaries, remain in MS. — Fetis ; Men-
del ; Riemann.
WAGNER, KARL JAKOB, born at
Darmstadt, Feb. 22, 1772, died there, Nov.
25, 1822. Virtuoso on the horn and violin-
ist, pupil of Portmann and of Abt Vogler ;
entered the grandducal orchestra at Darm-
stadt in 1790, and was eminently successful
as a virtuoso on various concert tours until
1805. He visited Paris in 1808, and on hia
return to Darmstadt became Conzertmeis-
ter and afterwards Hof-KapeUmeister, de-
651
WAGNER
also sbaro.l
voting bi3 leisure time to composition and
theoretical writing. "Works— Operas : Pig-
malion ; Der Zahnarzt, comic opera, Darm-
stadt, 1810 ; Herodes von Bethlehem, ib.,
1810 ; Adonis, monodrama ; Nittetis, ib.,
1811 ; Chimene, ib., 1821. Several dramatic
cantatas ; 2 symphonies ; 4 overtures ; 3
trios for flute and strings ; 3 sonatas for
violin ; 40 duos for horns ; Solos for flute,
and violin ; Variations for pianoforte. — Fu-
tis ; Mendel ; Riemanu.
WAGNER, (WILHELM) RICHARD,
born in Leipsic, May
22, 1813, died in Ve-
nice, Feb. 13, 1883.
His father, Carl
Friedrich Wilhelni
Wagner, was clerk of
, the police court, and
a passionate lover of
the theatre, which
taste was probably
mother (born Rosina
Bertz, of Weissenfels). He lost his father
Nov. 22, 1813, when just six months old,
and in 1815 his mother married Ludwig
Geyer, dramatic author and actor, who had
formerly made several visits to Leipsic as a
member of Seconda's company, and was at
the time engaged at the Hoftheater in Dres-
den. Immediately after the mother's sec-
ond marriage, the family moved to Dresden,
where Richard was educated, entering the
Kreuzschule under the name of Richard
Geyer in December, 1822, two years after
his step-father's death. Though he early
evinced a liking for music, his first genuine
passion was for poetry, and he never thought
of becoming a musician until his mother
took him and the rest of the family back to
Leipsic, where one of his sisters got an en-
gagement at the Stadttheater. Here he
entered the Nicolaischule in 1827, but was
so much chagrined at being put into the
third class, after having been in the second
class in Dresden, that he shirked his studies ,
and gave himself up to writing dramatic
poetry. Hearing Beethoven's symphonies
at the Gewandhaus drew his attention for
the first time strongly to music, and he
tried to study harmony by himself from
Logier's book. His first regular teacher in
musical theory was Gottlieb Miiller, under
whose guidance he wrote a quartet, a so-
nata and an aria. But he was wanting in
application and general steadiness, and
Mailer could do little with him. In 1829-
30 he went to the Thomasschule, but worked
to little or no better purpose there than he
had at the Nicolai-
schule, giving him-
self up to studying
music in a desultory
sort of way, and even
succeeding in having
an overture per-
formed at the Stadt-
theater (a grand
fiasco, by the way).
In 1830 he entered
the University of Leipsic as student in
philology and assthetics, which studies he
characteristically neglected, to give his
whole mind and energy to a course in com-
position under Theodor Weinlig. He wrote
several compositions, of which a pianoforte
sonata in B-flat, and a 4-hand polonaise in
D, were i^ublished. A symjihony in C was
given at the Gewandhaus, Jan. 10, 1833.
His professional career as a musician began
in 1833 ; he was engaged as chorus master
at the Stadttheater in Wilrzburg, where his
elder brother, Albert, was actor, tenor
singer, and stage manager. Here be wrote
the text and music of his first opera, Die
Feen (after Gozzi's La donna serjjcnte), but
only a few excerpts were ever given, and
the work never saw the stage until 1888.
In 1834 he was made music director at the
Stadttheater in Magdeburg, for which he
wrote his Das Liebesverbot (based upon
Shakespeare's Measure for Pleasure), which
came to a single disastrous performance at
the close of the season, March 29, 1836.
On Nov. 24 of this year he married Wilhel-
mine Planer, the actress, whom he had fol-
WAGNER
553
WAGNER
lowed to KOnigsberg, where Le got an
engagement as conductor at the Stadttbea-
ter. In the autumn of 1837 he accepted
the post of first Kapellmeister at Holtei's
new theatre in Riga, where his wife and
her sister Therese also were engaged in the
dramatic company. Here he wrote the text
of his Eienzi, and completed the music of
the first two acts ; but he did not intend
the work for the Riga stage ; his ambition
W'aa high, and he from the first had his eye
sin
'%5<^3
'"' -'.'^ 'ri 1 ' '-" 'rl TV i-asir^.
cf.
Wagner's Birthplace.
on the Ojjcra in Paris. In the spring of
1839, his two years' engagement being at
an end, he returned to KOuigsberg, but
only to go on to Pillau, whence he, with his
wife and a huge Newfoundland, set sail for
Paris, via London. It was on this stormy
three weeks' voyage that he conceived the
idea of much of the music for his Fliegende
Hollander. In Boulogne he met Mej'er-
beer, who gave him letters to Leon Pillet,
director of the Opera, Anti'nor Joly, direc-
tor of the Thuiitre de la Renaissance, Schle-
singer, the proprietor of the Revue et
Gazette Musicale, and M. Gouin, his own
agent. Wagner arrived in Paris in Septem-
ber, 1839. His chief object in going thither
had been to study the methods of the Aca-
demie de Musique, and to get his Rienzi
accepted at that theatre. His funds were
almost exhausted, and, to keep the wolf
from the door, ho had to work at the most
trivial musical tasks, making the pianoforte-
score of Halevy's Reine de Chypre, arrang-
ing quadrilles for the pianoforte and cornet,
writing articles for Schlesinger's pajjer, etc.
His Liebesverbot was on the point of being
accepted at the Renaissance, when that
theatre failed. He finished his Rienzi, but
could not get it accepted at the Oj)ora, and
after nearly three j-ears of poverty and dis-
appointments of all sorts, he left Paris,
April 7, 1842, with the scores of Rienzi,
Eine Faust-Ouvortiire, and the almost com-
pleted Hollander, for Dresden. Rienzi was
brought out at the Dresden Hofoper, Oct.
20, and with such success that Wagner was
appointed Hof-Kapellmeister, conjointly
with Reissiger. Der fliegende Hollander
followed on Jan. 2, 1843, although its suc-
cess was not so unquestioned as that of
Rienzi. Next came Tauuhiiuser, Oct. 19,
1845. Two years later the score of Lohen-
grin wag completed, but its production
was delayed, and Wagner's participation in
the revolution of May, 1849, jsut an end to
all hopes of having it performed. He was
exiled by the government, and forced to flee
for his life, first to Liszt, in Weimar (with
whom he had formed a warm friendshii^),
and thence to Zurich. When Liszt brought
out Lohengrin at Weimar, in 1850, Wagner
had thoughts of coming secretly to hear it,
but was dissuaded from the attempt, and
he was for years afterwards, as he said,
" perhaps the only German music-lover
who had not heard Lohengrin." In 1855
he responded to a call from London to
conduct the Philharmonic Society. Dur-
ing his exile in Zurich he wrote his more
important i)amphlets, Die Kunst und die
CM
WAGNEE
Eevolution, Das Kunstwerk der Zukunft,
Kuust uud Klima, Oper uud Drama, and
Eine Mittheiluug an meine Freunde, be-
sides the whole text and part of the music
of his Nibelungen. His work on the Nibe-
lungen was interrupted in 1857, by the
writing of text and music to Tristan, with
which work "Wagner hoped to renew his
long-severed connection with the public.
But no solicitations of his friends could
succeed in obtaining leave for him to re-
turn to Germany, and projects for bringing
out Tristan at Strasburg ami Carlsruhe
came to nothing. In 1859 he went once
more to Paris, in hopes of having Tann-
hiiuser or Lohengrin given in French, or
even of bringing out Tristan in German.
He gave three concerts of excerpts from
these works at the Theatre Italien on Jan.
25, and Feb. 1 and 8, 18G0 ; concerts which
created much excitement and controversy,
but resulted also in a considerable financial
deficit. But, owing to the interest of
Princess Metteruich, Tannhiiuser was ac-
cepted at the Opura, and given on March
13, 1861 ; but a hostile cabal of members
of the Jockey Club persisted in making
such a disturbance that, after the third
performance, the opera was withdrawn. In
this year, however, Wagner got permission
to return to all parts of Germany except
Saxony. But, although he was everywhere
received with enthusiasm, he could not suc-
ceed in getting Tristan performed ; it was
accepted in Vienna, but given up after fifty-
seven rehearsals as " impracticable." In
18G2 Wagner was living at Biebrich, on the
Rhine, engaged upon his Meistersinger,
which be nearly completed in 18G3, in Vi-
enna, after a concert tour to Prague and
St. Petersburg. In 1864: Ludwig H., of
Bavaria, whose enthusiasm had been aroused
by Lohengrin, and reading the text of the
Nibelungen, invited him to Munich, giving
him a villa on Lake Starnberg, and a stipend
of 1,200 Gulden from his privy purse. Wag-
ner was naturalized as a Bavarian subject,
and remained a prime favourite of the
King to the end. In 1865 Tristan was
at last brought out at the Munich Hofoper,
under von Billow's direction. In Decem-
ber Wagner left Munich for Vevey, then
passed a short time at Geneva, and finally
settled at Triebschen, on the Lake of Lu-
cerne, where he remained until 1872. Here
he put the finishing touches to the score of
Die Meistersinger, which was brought out
in Munich in 1868, under von Billow. His
first wife died in 1866, in Dresden, whither
she had retired about 1861 ; and on Aug.
25, 1870, Wagner married Cosima von Bil-
low (Liszt's youngest daughter), who had
been divorced from her husband. After
the production of Die Meistersinger, Wag-
ner returned with redoubled energy to the
completion of the scores of his Nibelungen.
The king's plan of building a special theatre
in Munich for the performance of the entire
work was abandoned, and Bayreutli chosen
for the site of the Festival theatre. Thither
Wagner moved in 1872, and celebrated the
laying of the corner-stone of the theatre on
May 22d (his 60th birthday) with a model
performance of Beethoven's Ninth Sym-
phony and his own Kaisermarsch. As-
sociations to raise money for the festival
performances at Bayreuth had been formed
in most European, and some American,
cities, and in August, 1876, the poet-com-
poser saw the dream of his life realized in
the first series of festival iserformauces of
the Nibelungen. His last work, Parsifal,
was brought out there July 26, 1882. Wag-
ner's works, like those of some other com-
posers, may be divided into three distinct
periods. In those belonging to his first
manner (Die Feen, Das Liebesverbot, Ri-
enzi), he had nothing more in view than
to follow successfully in the footsteps of
his predecessors. In his second manner
(Hollander, Tannhiiuser, Lohengrin), al-
though he still retained the title of opera,
he began to cut loose more and more from
the conventional operatic forms, to use the
Leitmotiv as the musical expression of a
character, idea, or situation, and to make
655
WAGNER
the music more and more exclusively an aid
to the expression of the poetic text. With
his third manner (Nibeluugen, Tristan,
Meistersinger, Pai-sifal) he abandoned the
name of opera, forced himself wholly from
the shackles of operatic tradition and con-
ventional musical forms, and carried his
reforms to their farthest conclusion.
Works : I. Dramatic : Die Hochzeit
(fragment, consisting of introduction, cho-
rus, and septet ; MS. score, dated March 1,
1833, in the archives of the Musikverein in
Wilrzburg) ; Die Feen, Munich, June 29,
1888 ; Das Licbesverbot, Magdeburg, March
29, 1836 ; Eienzi, der Letzte der Tribunen,
Dresden, Oct. 20, 18i2 ; Der Jliegende Hol-
lander, ib., Jan. 2, IS-iS ; Tannhauser und
der Siingerkrieg auf Wartburg, ib., Oct.
19, 18i5 ; Loheivjrin, Weimar, Aug. 28,
1850 ; Das Rheingold, Part I. of Der Ring
des Nibelungeu, Munich, Sejit. 22, 1869 ;
Die Walkilre, Part II. of do., ib., June 26,
1870 ; Tristan und Isolde, ib., June 10,
1865 ; Die Meistersinger von Niimberg, ib.,
June 21, 1868 ; Siegfried, Part HI. of Der
Ring der Nibelungen, Baj'reuth, Aug. 16,
1876 ; Gotterddinmerung, Part IV. of do.,
ib., Aug. 17, 1876; Fardfal, ib., July 26,
1882.
II. Orchestral and Choral : Overture in
B-flat (MS., score lost), Leijjsic, 1830 ; Do.
in D minor (MS., score at Baj'reuth), ib.,
Dec. 25, 1831 ; Do. in C (Kouzert-Ouvcr-
ture, ziemlich fugirt, MS., score at Bay-
reuth), ib., April 30, 1833, and Bayreuth,
May 22, 1873 ; Do., Polonia, in C (MS.,
score at Bayreuth) ; Symphony in C (MS.),
Prague, 1832, Leipsic, Euterpe, Dec, 1832,
and Gewandhaus, Jan. 10, 1833, New York
and Boston, 1888 ; Overture, Columbus
(MS., score lost), Magdeburg, 1835, Riga,
1838, Paris, Feb. 4, 18il ; Incidental mu-
sic to Gleich's Der Berggeist (MS., score
lost), Magdeburg, 1836 ; Overture, Rule
Britannia (MS., score sent to the London
Philharmonic Society in 18i0, and lost) ;
Eine i^a»s<-Ouverture, Dresden, July 22,
1844 (rewritten in 1855) ; Iluldigungs-
marsch ; Siegfried-ldjW ; Kaiscrmarsch ;
Grosser Festniaisch, PhLIadeljjhia, May 10,
1876 ; Das Liebesmahl der Apostel, bib-
lische Szene fiir Miinnerchor und grosses
Orchester, Lei2)zig, 1843 ; Gelegendheits-
Cantate, for the unveiling of the statue of
Friedrich August (MS.), Dresden, June 7,
1843 ; Gruss seiner Treuen and Friedrich
August den Gereehten, for male voices, ib.,
1844 ; An Weber's Grabe, Trauermarsch
for wind instruments on themes from Eury-
anthe (MS.), and double-quartet of voices
(1872).
m. For pianoforte : Sonata in B-flat
(Leipsic, 1832) ; Polonaise in D, for 4 hands
(ib., 1832) ; Fantasia in F-sharp minor (MS.,
written in 1831) ; Album-Souato fur Frau
Mathilde von Wesendonck, in E-flat (Schott,
1877) ; Eiu Albumhlalt fiir die Filrstin Met-
ternich, in C (1871) ; Do. fiir Frau Betty
Schott, in E-flat (1876).
rV. Songs : Carnevalslied from Das Lic-
besverbot (Brunswick, 1885) ; " Dors, nion
enfant," Mignonne, Attente (Paris, 1839-40,
republished with German text, 1871) ; Los
deux Grenadiers (ib., 1839) ; Der Tannen-
baum (1871) ; Kraft-Liedchen (Wiener H-
lustrirte Zeitung, Oct. 14, 1877 ; repub-
lished in MiiUer von der Werra's Reichs-
commersbuch) ; Fiinf Godichte (Der Eugel,
"Stehe still!" Im Treibhaus [Study for
Tristan und Isolde, Act HI.], Schmerzen,
Triiume [Study for Tristan und Isolde Act
n.] (Mainz, Schott, 1862, and with Italian
translation by Arrigo Boito, Jlilan, Ricordi).
V. Arrangements : Additional instrumen-
tation to Gluck's Iphigcuieeu Aulide (i^iano-
forte score by von BUlow, 1859, full score of
close to overture, 1859 ; Revised dialogue
and recitatives for Mozart's Don Juan (MS.),
Ziirich, 1850 ; Expression marks and indica-
tions for performance in Palestrina's Stabat
Mater (1877) ; Allegro to Aubrey's aria in
Marschuer's Der Vampyr (142 additional
measures, MS. score in possession of W.
Tapi^ert, Berlin) ; Pianoforte arrangement
of Beethoven's Ninth Symphony (MS.) ; Pi-
anoforte scores of Donizetti's La favorite,
S66
WALDECK
L' elisire d' amore, Halcvy's La reine de
Cliyjire, Le guittarero (Paris, 1841).
VI. Literary : Gesammelte Schriften und
Dictungen, X vols. (Leijisic, 1871-85). A
detailed list of these, and of other writings
not contained therein is given in Grove, iv.
373. — A. Jullien, Richard Wagner, sa vie
et ses ceuvres (Paris, Librairie de I'Art,
188G) ; Glasenapp, Richard Wagner's Leben
und Wirken (Leijjsic, 1882) ; Do., Wagner-
Lexicon (Stuttgart, 1883) ; Kastner, Wag-
ner-Catalog, list of letters to contemporaries,
1830-83 (1878) ; Oesterlein, Katalog einer
R. Wagner-Bibliothek [comfilete bibliog-
raphy of the master], 1882 ; ILayrberger,
Die Harmonik Richard Wagner's (Chem-
nitz, 1882) ; Rich. Pohl, Richard Wagner,
Ein Lebensbild (Leipsic, 1883) ; Do., R.
W., Studien und Kritiken (ib., 1883) ; W.
Taj)pert, R. W.,sein Leben und seine Werke
(Elberfeld, 1883) ; Do., Wagnerlexikon, eiu
WOrterbuch der UuhOflichkeit (1877) ;
H. von Wolzogen, Erinnerungen an R. W.
W,^««
(Vienna, 1883) ; Do., The Work and Mission
of my Life, North American Review, Aug. and
Sept., 1879 [not written by Wagner, but
bearing his sanction] ; Do., Die Spi-ache in
R. W.'s Dichtungen (Leipsic, 1878) ; Do.,
Poetische Lautsymbolik (ib., 187G) ; Wag-
neriana (ib., 1888) ; A. de Gasperini, Richard
Wagner (Paris, 18GG) ; Ch. Baudelaire, R.
Wagner et Tannhiluser a Paris (ib., 18G1) ;
Hueffer, Richard Wagner and the Music of
the Future (London, 1874) ; Do., Richard
Wagner (ib., 1881) ; Briefwechsel zurischen
Wagner und Liszt (Leipsic, 1887) ; Do. in
English, by R Hueffer (New York, 1889);
Grove, iv. 346-374 ; W. F. Apthorp, Scrib-
ner's Magazine, i. 515, v. 331 ; Berlioz,
A travers chants ; Raff, Die Wagnerfi-age
(1854).
WAHN! WAHN! tJBERALL WAHN !
See Bleistcrdnrjer von Niirnberg.
WALDECK, FRANZ ADAM, born at
Fritzlar, near Cassel, in 1743, died at
MUuster about 1776. Organist and cantor
at the cathedral of Miinster. Works : Der
Brauttag, opera ; Der griine Kahn ; Music to
dramas and comedies ; Symjjhony for orches-
tra ; Quartets for strings ; Masses, motets,
Te Deum, arias, etc. — Fotis ; Mendel.
WALDIVUDCHEN, DAS. See Sylmna.
WALDSCENEN (Forest Scenes), nine
compositions for the pianoforte, by Schu-
mann, op. 82, written in 1848-49, dedicated
to Frilulein Annette Preusser. I. Eintritt,
in B-flat ; 11. Jilger auf der Lauer, in D
minor ; III. Eiusame Blumeu, in B-flat ;
IV. Verrufene Stelle, in D minor ; V. Freund-
liche Landschaft, in B-flat ; VI. Herbergo
in E-flat ; VH. Vogel als Prophet, in G
minor ; VTII. Jagdlied, in E-flat ; IX. Ab-
schied, in B-flat. Published by Bartholf
Senff (Leipsic, 1851) ; arranged for the pi-
onoforte for four hands by R. Kleinmichel.
WALDSTEIN SONATA, in C, for the
pianoforte, composed Ijy Beethoven, op.
53, about 1803. It was dedicated to the
composer's patron, Ferdinand Ernst Ga.
briel, Graf von Waldsteiu. It is one of
Beethoven's most finished works for the pi-
anoforte, and is written in the full vigor of
his second period. I. Allegro con brio ; U.
Introduzione, Adagio molto ; III. Rondo,
Allegretto moderate. The Andante favorit
in F (Breitkopf & Hilrtel, Beethoven Werke,
Serie XVIII., No. 192), was originally a
movement in this sonata, but Beethoven
thought it too long, and substituted the
Adagio. The Waldsteiu sonata was first
published by the Bureau des Arts et d'ln-
dustrie (Vienna, 1805). Breitkopf & Hiir-
tel, Beethoven Werke, Serie XVI., No. 144.
AiTanged for the pianoforte for four hands
by Succo, and for a string quartet by Galit-
zin (St. Petersburg). — Thayer, Verzeichniss,
No. 110 ; Lenz, Beethoven, L, part ii. 279 ;
do., Beethoven et ses trois styles, i. 259 ;
Marx, Beethoven, i. 179; do., Anleitung
■667
WALDSTEIN
zum Vortrage Beetliovens Klavierwerke,
129 ; Grove, iv. 375.
WALDSTEIN VAKIATIONS, for the pi-
anoforte for four bauds, in C, composed by
Beethoven in 1794 on a theme given him
by the Graf von Waldstein. Published by
Ai-taria (Vienna, 1791) ; by Traeg (Vienna,
1795) ; and by Simrock (Bonn). Breitkopf
& Hartel, Beethoven Werke, Serie xv., No.
122. — Thayer, Verzeichniss, No. 31.
WALDWEBEN. See Siegfried.
WALKURE, DIE (The Valkyr), music
drama in three acts, by Richard Wagner,
first represented (without the author's au-
thorization) at the Hofoper in Munich, June
2G, 1870 ; the first regular performance was
at Bayreuth, Aug. 11, 1876. The second
drama in Der lliwj des Nibelungen. The
original Munich cast was as follows :
Siegmund Herr Vogl.
Hunding Herr Bausewein.
Wotan Herr Ivindermann.
Sieglindc Frau Vogl.
Briinnhilde Frl. Stehle.
Fricka Frl. Kauf mann.
Bayreuth cast was :
Albert Niemann.
Albert Eilers.
Franz Betz.
Josephine Scheffsky.
Friedericke Griin.
A m a 1 i e Fried-
rich-Materna.
Marie Haupt.
Marie Lehmann.
Luise Jaide.
> Walklireu \ Johanna Jach-
mann-Wagner.
Lilli Lehmann.
Antoinie Amann.
Hcdwig Reicher-
Kinderniaun.
Minna Lammert.
The great secret determination Wotan
formed at the end of Das Rheingold was to
regain the Ring from Fafner ; but as the
giant had come into possession of the Ring
The original
Siegmund . .
Hunding . . .
Wotan
Siegliude . . .
Fricka
Briinnhilde
Gerhilde
Ortlinde
Waltraute
Schwertleite
Helmwige
Siegrune
Grimgerde
Rossweisse
by just contract, Wotan could, of himself,
use neither force nor cunning to recover it.
It must be regained by some one else, who
of his own free will, and unaided by the
god, should wrest it from the giant. Wo-
tan, therefore, assuming the name of
•4 X ^'^'1
Niemann, as Siegnnund.
Willse (Wolfe, or Volse), went down to
earth and begat, by a mortal woman, a twin
son and daughter, Siegmund and Sieglinde.
These two were the first Volsungs (Will-
sungen, or WOlfinge). During their child-
hood they lived together with Willse
in the forest ; but one day Siegmund, re-
turning from liunting, found their hut
burnt to the ground, and his father and
sister gone. Sieglinde bad been abducted
by one Hunding and bis tribe, and was in
time forced to marry him. At the wedding
the assembled company were astonished by
the entrance of a stranger, whose face was
bidden by the broad rim of his bat ; be
silently drew forth a sword from under his
cloak, and, with a glance at Sieglinde,
plunged it up to the bilt into the ash-trunk
668
WALKtTEE
around which Hunding's hut was built, and
then departed. Sieglinde thought she rec-
ognized his eye, but dared not speak. All
the guests tried to draw the sword from
the tree, but none could succeed. Sieg-
mund, meanwhile, ignorant of his sister's
fate, and forsaken by his father, lived a
roving life in the forest. One day he was
beset by men of Hunding's tribe, and, over-
powered by numbers, his weapons broken,
was fain to seek safety in flight. It is at
this point that the action of Die Walkure
begins ; the scene opens in Hunding's hut.
The fugitive Siegmund seeks refuge in it,
and falls down, half dead with thirst and
exhaustion, by the hearth. Sieglinde finds
him there, and revives him with a draught
of mead. Hunding returns, and discovers
all too soon that his strange guest is his
tribe's enemy. The rights of hospitality,
however, are sacred to him ; Siegmund
shall rest over night under his roof, but
must jjrepare to fight the next morning.
When Hunding goes to rest, Sieglinde se-
cretly drugs his drink, and comes out to
join Siegmund. The pair fall desperately
in love ; Siegmund at length declares him-
self to be a Volsung, draws the sword
Nothung from the ash-trunk where Willsc
had left it, and flies with his sister-bride.
The scene of the second act is on a wild
mountain pass. Wotan tells his daughter
Briinnhilde, the Valkyr (see Bulfinch, Age
of Fable, 4-10 ; Larousse, Walkyrie), of
the approaching meeting between Hunding
and Siegmund, and orders her to cast the
lot of battle in the Volsung's favour. But
Fricka appears, enraged at Siegmund and
Siegliude's crime against herself, the god-
dess of wedlock, and demanding their
punishment, wrests from Wotan the prom-
ise that Siegmund, and not Hunding,
shall be slain. Wotan reverses his com-
mand to Brtinnhilde, who sorrowfully
promises to obey. As both withdraw,
Siegmund and his sister approach, on their
flight from Hunding ; Sieglinde faints
from exhaustion, and as she lies sleep-
ing, with her head in Siegmund's lap,
Briinnhilde appears, and announces to
Siegmund his impending death. But he
so works upon her compassion that she,
at last, promises to shield him, and devote
Hunding to death. Hunding comes up,
and is met by Siegmund, Briinnhilde hover-
ing over him to guard him with her shield.
But Wotan appears on Hunding's side ;
Siegmund's sword Nothung is shattered
against the god's outstretched speai-, and
as Briinnhilde withdraws in dismay, Hund-
Betz. as Wotan.
ing plunges his spear through Siegmund's
heart. Briinnhilde hastily gathers up the
fragments of Siegmund's sword, and, taking
the senseless Sieglinde in her arms, flies
with her from Wotan's wrath. The third
act is on a mountain peak, the assembling
WALLACE
place of the Valkj'rior, who come riding
through the air, each one with the body of
a slain warrior thrown over her horse's
withers. Only Briinnhilde is wanting. She
comes last, bearing the trembling Sieglinde,
and craves protection from her sister against
Wotan's anger. She gives Sieglinde the
pieces of the sword Nothung, tells her to
journey eastward, and announces to her
that she shall one day give birth to the
greatest of heroes, whom she shall call
Siegfried. As Sieglinde departs, Wotan
comes up, full of wrath at Brilnnhilde's
disobedience. Her punishment shall be
to be cast out from Valhalla, bereft of her
goddess-hood, and cast into a deep sleep
from which he who wakes her shall take
her to wife. But, upon her entreaties, he
consents to sui-round her with a fierce fire
that shall terrify all save the bravest hero.
As he kisses her to sleep, and summons
the fire to jDrotect her, the curtain falls.
The most noted passages in the music are
the orchestral introduction in D minor
(thunder-storm) ; Siegmund's love-song ;
" Wintcrstiirme wichen dem Wonnemond,"
which leads to the first finale ; the Ride of
the Valkyrior (Walkiirenritt) at the begin-
ning of act in. ; Wotan's farewell to Briinn-
hilde, and the magic fire-music, at the end.
Die Walkiire was first given in Vienna,
March 5, 1877 ; in New York, April 3, 1877,
under A. Neuendorff, with Mme Pappen-
heiin as Briinnhilde, Frl. Canissa as Sieg-
linde, Herr Bischoff as Siegmund, and
Herr Preusser as Wotan. Its first perform-
ance at the Metroiiolitau Opera House was
Nov. 30, 1884. Full and pianoforte score
published by Schott (Mainz) ; Wotans
Abschied und Feuerzauber, for pianoforte,
A. Jaell, op. 121 (ib.) ; Feuerzauber for do.,
Louis Brassin (ib.) ; Ritt der Walkiiren
and Siegmunds Liebesgesang, for do., Carl
Tausig (ib.). — Wagner, Ges. Schriften, vi. ;
Glasenaj^p, Richard Wagners Leben und
Wii-ken, i. 369 ; Pohl, Wagner, 174, 20G,
282, 297 ; Jullien, do., 224 ; Kastner, Wag-
ner Catalog, 42, 56 ; Mus. Wochenblatt
(1872), 211, 241, 259, 277, 292, 300, 321,
369, 385, 401, 433, 453, 467, 497, (1877),
173 ; Krehbiel, Review (1886-87), 21 ; Up-
ton, Standard Operas, 291. For other bib-
liography, see liing des Nibelungen.
WALLACE, (WILLIAM) VINCENT,
born in Waterford, Ire-
land, July, 1, 1814, died
at the Chateau de Bagen
(Haute-Garonne), France,
Oct. 12, 1865. Dramatic
composer and violinist.
His father, a Scotchman,
bandmaster and bassoon-
player, went to Dublin,
and was engaged in the
orchestra of the Theatre Royal, in which
his son Wellington played second flute and
Vincent the violin. In 1829 the latter
appeared as a violinist in Dublin, and
played at the music festival held there in
1831, when he heard Paganini. In 1835 he
went to Australia, giving n concert in Syd-
ney at the request of the governor, Sir John
Burke. He then visited Tasmania, New
Zealand, the East Indies, Nepaul, Cash-
mere, Valparaiso, Buenos Ayres, Lima, Ha-
vana, Tampico, Vera Cruz, Mexico, and
New Orleans, giving concerts and meeting
with many romantic adventm-es. On his
return to London in 1845 he composed the
operas of Maritana, and JIatilda of Hun-
gary. In 1847 he went to Germany, where
he remained several years writing piano-
forte music and doing some dramatic work,
after which ho travelled in North and South
America, giving concerts. He was nearly
killed in a steamboat explosion in 1850,
and lost his fortune by the failure of a
pianoforte factory in New York, in which
he had invested. In 1853 ho returned to
London, and wrote the remainder of his
operas. Impaired health forced him to
seek refuge in the Pyrenees, where he died.
His remains were taken to England and in-
terred in Kensal Green Cemetery, near the
grave of Balfe, with whom he ranks as a
composer. Works. L Operas : Maritana,
6G0
WALLEHSTEIN
three acts, text by Fitzball, Drury Lane,
Loudou, Nov. 15, 1845 ; Matilda of Hun-
gary, three acts, text by Alfred Bunn, ib.,
1817 ; Lurline, thi'ee acts, text by Fitzball,
Covent Garden, Feb. 23, 18G0 ; The
Amber Witch, four acts, text by H. Chorley,
Her Majesty's, Feb. 28, 1861 ; Love's
Triumph, three acts, text by Planche, Co-
vent Garden, Nov. 3, 18G2 ; The Desert
Flower, three acts, text by Harris, ib., Oct.
12, 1863 ; The Maid of Zurich (not given) ;
Estrella (left unfinished) ; Gulnare, operetta,
Olga, do. II. Pianoforte music : La gon-
dola, op. 18 ; 3 nocturnes, op. 20 ; Chant
d'amour, op. 26 ; Tai-antellas ; Transcrip-
tions and arrangements from operas. HI.
Songs : The Gypsy Maid ; Silent love ; Star
of love ; Wood-nymph, etc. He wrote also
a concerto for the violin, which he played
first in Dublin, May, 1831, a Mass, given in
Mexico, 1811, and a cantata. — A. Pougiu,
William Vincent Wallace, etude biographi-
que et critique (Paris, 1866) ; Grove.
WALLENSTEm, MARTIN, born at
Frankfort-on-the-Main, July 22, 1813, still
living, 1890. Pianist, pupil of Dreyschock,
and in Leipsic of Hauptmann and Rietz ;
made for himself a reputation on numerous
concert tours. Works : Das Testament,
comic opera in two acts, Frankfort-on-the-
Main, Jan. 29, 1870 ; Concerto for piano-
forte ; Overture for orchestra.
WALLENSTEIN SY^tlPHONIE, for or-
chestra, by Joseph Eheinberger, op. 10,
first performed in 1868. This, the com-
poser's first symphony, has for its subject
Schiller's hero, Wallenstein. In the third
movement, which is frequently played at
concerts, and which describes Wallensteiu's
camp, the old Netherland song, "Wilhel-
mus von Nassau," is introduced. I. Vor-
spiel. Allegro ; H. Thekla, Adagio ; HI.
Wallenstein's Lager (Wallensteiu's Camp),
Scherzo, and Capuzinerpredigt (Capuchin
Sermon), Poco pifi moderate ; IV. Wallen-
stein's Tod (Wallenstein's Death), Finale.
The score was published by Fritzsch (Leij)- 1
sic, 1868).— Hanslick, Concertwesen in '
Wien, ii. 449 ; Neue Zeitschr. (18G8), 113,
126 ; Upton, Standard Symphonies, 216.
WALLERSTEIN, ANTON, born in Dres-
den, Sept. 28, 1813, still living, 1890. Vio-
linist, aj)peared in concerts when a child,
became in 1829 member of the court or-
chestra in Dresden, and in 1832-41 of that
at Hanover, where he lived until 1858,
when be settled in Dresden. Works :
About 300 pieces of dance music ; Varia-
tions for violin with orchestra ; Songs.
—Mendel.
WALLISER, CHRISTOPH THOMAS,
born in Strasburg
in 1568, died
there, April 26,
1648. Church
composer, vicar
and music director
at the cathedral,
at St. Thomas'
Church, and a t
the University of
Strasburg. Works : Chorus nubium ex
Aristophanis comoedia, etc. (Strasburg,
1G13) ; Chori musici novi harmonieis, etc.
(ib., 1641) ; Catecheticte cantiones odreque
spirituales, etc. (ib., 1611) ; Sacra; modula-
tiones in festum nativitatis Christi (ib.,
1613) ; Ecclesiodise, i.e., Kirchengesiinge
oder Psalmen Davids (ib., 1614) ; Ecclesi-
odia3 novpe, motets for 4-7 voices (ib.,
1625) ; Hei-rn Wilhelm Salusten von Bartas
Triumph des Glaubens (ib., 1627).— Fetis ;
Mendel ; Riemann.
WALLNOFER, ADOLF, born in Vienna,
April 26, 1854, still liv-
ing, 18 90. Dramatic
singer (tenor) and com-
poser, pupil of Roki-
tansky in singing, of
Waldmiiller, Krenn, and
Dessoff in composition.
He was at first a bari-
tone, and appeared in
Vienna in concerts, but
developed in 1880 into a tenor ; was en-
gaged at the Stadttheater in Olmutz, Mora-
WALLWOETH
via, then in 1882 with Neumann's travelling
Wagner company, afterwards at the Stadt-
theater in Bremen, and is now at the German
Landestheater in Prague. Works : Eddy-
stone, opera, Prague, 1889 ; Die Grenzeu
der Menscheit, for solo, chorus, and orches-
tra ; Der Blumen Rache, do. ; Many songs
and ballads.
WALLWORTH, THOMAS ADLING-
TON, born in Liverpool, England, Jan. 18,
1831, still living, 1890. Composer, pupil
at the Roj-al Academy of Music, London,
where, and at the Guildhall School of Mu-
sic, he is professor of singing. He has sung
as a baritone at concerts and in opera in
London. Works : Kevin's Choice, opera ;
Songs, and part-songs. He is author also
of didactic works.
WALinSLEY, THOMAS ATTWOOD,
born in London, Jan. 21, 1814, died at
Hastings, Jan. 17, 1856. Organist, pupil
of Thomas Attwood ; became organist of
Croydon Church in 1830, and of Trinity,
and St. John's Colleges, Cambridge, 1833,
when he received the degree of Mus. Bac.
In 1836 he became professor of music at
Cambridge, where he received the degrees
of B. A. in 1838 ; M. A. in 1841 ; and Mus.
Doc. in 1848. He was among the first to
deliver lectures on music with practical
illustrations, and he was a great exponent
of Bach, whose compositions were little
known in England at that time. Works :
Cathedral service in B-flat ; Dublin prize
anthem ; Music to an ode written by the
Bishop of Lincoln for the installation of
Lord Camden as chancellor of the Univer-
sity, 1835 ; Music to two other odes for
similar occasions for the Duke of Northum-
berland, and for the installation of the
Prince Consort, text by Wordsworth ; Fair
is the warrior's mural crown, 1842 ; Duets
for pianoforte and oboe ; Trios ; Anthems ;
Songs. He published a "Collection of
Services and Anthems " (London, 1857).
WALMISLEY, THOMAS FORBES, born
in London in 1783, died there, July 23,
1866. Organist, pupil of Thomas AttWood ;
became in 1810 organist at St. Martin-in-
the-Fields. Works : Six glees, 1814 ; Un-
derneath this stone (Ben Jonson), round,
1815 ; The fairy of the dale, trio, 1815 ;
Collection of glees, trios, rounds, and can-
ons, 1826 ; 6 glees, 1830 ; 3 canons, 1840 ;
Tell me, gentle hour of night, duet, 1840 ;
Sacred songs, text by E. B. Impey, 1841.
Other songs and glees. — Grove.
WALTER, ALBERT, born at Coblentz
in the second half of the 18th century,
died (?). Clarinetist, went early to Pai'is,
where he entered the orchestra of the
Theatre Moutansier, was afterwards in the
Garde Consulaire, and in 1805 became
sous-chef de musique in the Garde Im-
poriale. After the Restoration he lived
in Paris without permanent employment.
Works : Symphonie concertante, for 2 clar-
inets and orchestra ; G quartets for clarinet
and strings ; Pots-pourris for 2 clarinets ;
Airs varies for do. ; Waltzes for clarinet ;
Duos for flutes ; 6 do. for flute and violin ;
Airs varies for flute. — Fetis ; Mendel.
W.VLTER, AUGUST, born in Stuttgart
in 1821, still Hving, 1890. Instrumental
and vocal composer, pupil of MoHque on
the violin and in composition, then in Vi-
enna of Sechter in counterpoint. In 1846
he became music director at Basel. Works :
Symphony for orchestra ; Octet for string
and wind instruments ; 3 quartets for
strings ; Choruses for male voices, and
songs. — Fetis ; Mendel.
WALTER, IGNAZ, born at Radowitz,
Bohemia, in 1759, died at Ratisbon in 1830.
Dramatic singer (tenor) and composer, pu-
pil of Starzer in Vienna ; was engaged at
the Hoftheater there in 1779, at Prague in
1783, and at Mainz in 1789 ; then went to
Frankfort and Hanover, joined Grossmaun's
troupe in 1793, and after Grossmann's death
assumed its management at Bremen, taking
it to Frankfort and Ratisbon. Works — Op-
erettas : Der Kaufmann von Smyrna ; Der
ausgeprilgelte Teufel ; Fiinfundzwanzig-
tausend Gulden ; Graf Waltron ; Die bdse
Frau ; Der Trank der Unsterblichkeit ;
sea
WALTIIER
Doktor Faust ; and several others. Can-
tata for the coronation of Leopold IT. ;
Friedens-Cantate ; 6 masses ; 6 motets ;
Christmas cantata ; Quartet for harp, flute,
violin, and violoncello ; etc. — Fetis ; Men-
del.
WALTHER, JOHANN, born in a viUage
near Cola, Thuringia, in 149C, died at
Torgau, in 1570. Church composer ; was
a singer in the electoral chapel in 1524:,
and Hof-Kapellmeister in 1525, at Torgau,
whence he was called to Wittenberg by
Luther, to assist in the formation of the
German mass. After his return to Torgau
the chafiel was broken up for financial rea-
sons, in 1530, but the singers formed a so-
ciety for church music and again chose him
to lead them. He was called to Dresden
by Moritz of Saxony, in 1548, to organize
the new chapel choir, and returned to Tor-
gau in 1555 with a pension. He was one
of the earliest Protestant church composers,
and edited the first Protestant singing book.
Works : Geystlich Gesangk Buchleyn (Wit-
tenberg, 1524) ; Cantio sef)tem vocum in
laudem Dei omnipotentis et Evangelii ejus
(Wittenberg, 1544) ; Magnificat 8 tonorum
(15G1) ; Ein gar schOner geistlicher und
christlicher ueuer Bergkreyen, etc. ; Das
christlich Kiuderlied Dr. Martin Luthers,
Erhalt uus Herr bei deinem Wort ; Some
pieces in collections of music compiled by
Georg Rhaw and Forster ; Ein newes christ-
liches Lied. — Mendel; Riemann ; FOtis;
Schilling ; Gerber ; Walther ; Winterfeld,
Kircheugesang, i. 163 ; Reissmann, Illustr.
Gesch. der Mus., 178 ; Ambros, Gesch., iii.
410.
WALTHER, JOHANN GOTTFRIED,
born at Erfurt, Nov. 18, 1684, died at Wei-
mar, March 23, 1748. Organist, pupil of
Jakob Adelung, Johann Bernhard Bach,
and Kretschmar ; became organist of the
Thomaskirche in his native town in 1702,
and in 1707 city organist at Weimar, where
he was appointed court musician in 1720,
and taught music to the children of the
ducal family. He was a near relative to,
and on terms of intimacy in Weimar with,
Johann Sebastian Bach, and it is scarcely
to be doubted that the latter profited
from their intercom-se. Mattheson had
the highest opinion of him, and called him
the second Pachelbel. Works : Concerto
for pianoforte ; Prelude and fugue ; 3
chorals with variations ; In manuscript
about 119 chorals with variations for
the organ, and 92 for voices ; Preludes ;
Fugues ; Toccatas. He was author of Mu-
sikalisches Lexicon oder Musikalische Bib-
liothek (Leipsic, 1732).— Futis ; Gerber ;
Mendel ; Riemann ; Schilling ; Mattheson,
Ehren-Pforte, 387.
WAMBACH, £mILE, born at Arlon,
Luxemburg, in 1854, still living, 1890.
Violinist, pianist, and organist, fii-st in-
structed on the violin by Hoeben, at Ant-
werjj, then pupil of Colyns at the Brussels
Conservatoire, and of Benoit, Mertens, Hen-
nen, and Callaerts at the Antwerp Conser-
vatoire. He is one of the most promising
representatives of the young Flemish school.
Works : Feest-Cantate, for the Rubens fes-
tival, Antwerp, 1877 ; Aan de Voorden van
de Schelde, symphonic poem ; Nathans
Parabol, drama ; Hymni sacris sollemnes,
for chorus and orchestra ; Memorare, for
do.; Vlaanderland, do. (male chorus); De
Lente, for female chorus and orchestra ;
Feest-Marsch, for orchestra ; Burlesca, fan-
taisie humoristique, for do.; Fantasia, for
do.; do. for violin and orchestra; Church
music ; Pianoforte pieces ; Songs. — Fetis,
Supplement, ii. 659 ; Riemann.
WANDA, Bohemian tragic opera in five
acts, text by Sumawsky, music by Dvorak,
first represented in Prague, April, 1876.
The libretto is from the Polish of Sagyflski.
WANDERBILDER (Pictures of Foot-
Travel), two books for pianoforte, by Adolf
Jensen, op. 17. Published by Peters
(Leipsic).
WANDERER, DER (The Wanderer),
three songs, with pianoforte accompani-
ment, by Schubert, op. 4. I. Der Wanderer
(text by Georg Filipp Schmidt) ; II. Morgen-
663
WANDEREK-FANTASIE
lied (text by Werner) ; III. Wanderers
Nacbtlied (text by Goetbe). The auto-
grajih of No. 1, owned by Johannes Brahms,
is dated 1816, and that of No. 3, in the K.0-
nighche Bibliothek, 1815. Published by
Schreiber (Vienna, 1821).
WANDEREK-FANTASIE, for the piano-
forte, in C, by Schubert, op. 15, composed
in 1820. The theme of the second move-
ment is from Schubert's song, Der Wan-
derer, op. 4, No. 1. I. Allegro con fuoco ma
non troi^i^o ; 11. Adagio ; HI. Presto. Pub-
lished by Schreiber (Vienna, 1823). Ai'-
rangement for the pianoforte and orchestra,
by Franz Liszt, published by Schreiber
(Vienna).
W.\NDERSLEB, ADOLPH, born at
Werningshausen, Gotha, Jan. 8, 1810, stiU
living, 1890 (?). Instrumental and vocal
composer, pujail of his elder brother, and
at the seminaiy in Gotha of pastor MOller.
He became one of the most successful
teachers at Gotha, especially of singing,
founded in 1837 and conducted for many
years the Liedertafel, and from 1844 con-
ducted also the Gesangverein, founded in
1819 by Eomberg. Works : DieBergknap-
pen, opera, Gotha, 184G ; Lanval, do., three
acts, text by L. B. Wolf, Gotha, 1853 ; Many
choruses and songs ; Pianoforte pieces ;
Music for violoncello. — Mendel.
W.INHAL (Vanhal, van HaU), JOHANN
B.\PTIST, born at Ncu-Nechauitz, Bohemia,
May 12, 1739, died in Vienna, Aug. 2G,
1813. Instrumental and vocal composer,
son of a peasant of a family from Holland ;
first instructed at Marscherdorf by one
Koziik, then in his native place by Anton
Erban, especially on the organ. While a
boy he acquired facility on several instru-
ments, and at eighteen was organist at
Opo^no. Having attracted attention by
violin and organ concerts, he was sent in
17G0 to Vienna by the Countess Schaff-
gotsche, to study under Schleyer, but he
soon left him to study the scores of the
great masters. Through the munificence
of FreiheiT von Eiesch, he was enabled to
visit Italy ; he spent some time in Venice,
where he met Gluck, then went to Bologna,
where he was presented to Joseph H., who
was then travelling, and finally spent five
months in Rome, where he WTote two op-
eras, under the advice of Gassmann. After
his return to Vienna, he was temporarily
deranged, and on his recovery found ahome
in the family of Count Ei'dOdy. He pro-
duced an api)alling number of compositions,
and only later in life devoted himself more
exclusively to teaching. The remarkable
fact that this composer of unquestionable
merit is so completely forgotten, even in
musical circles, may perhaps be exjilained
by the fact that he was contemporary with
Haydn, Mozart, and Beethoven. Works :
H trionfo di Clelia, opera, Rome, 17G4 ;
Demofoonte, do., ib., 1770 ; 2 masses with
orchestra ; 2 offertories, do.; 12 symphonies
for strings, 2 oboes and 2 horns ; 12 quar-
tets for strings ; 12 trios for do.; duos
for violins ; Quartets (concerti) for piano-
forte and strings ; do., with flute ; Trios for
pianoforte and strings ; 5 sonatas for piano-
forte (4 hands) ; 4 do. (2 hands) ; G sonatas
for vioUu and pianoforte ; INIany variations,
fantasias, dances, and other music for piano-
forte ; Fugues, preludes, etc., for organ ;
and in manuscript : 88 symphonies ; 94
quartets for strings ; 23 masses, 2 Requiem,
and other church music, etc. — Dlabacz ;
Fctis ; Mendel ; Riemann ; Wurzbach.
WANN SOLL ES DOCH GESCHEHEN,
figured choral in D major, for four-part
chorus, with accompaniment of three trum-
pets, drums, two flutes, two oboes, strings
complete, and continuo, in Johaun Sebas-
tian Bach's cantata (Oratorium), Lohet Gott
in seinen Reichen. The melody seems to
be original.
WANSKI, JOHANN NEPOMUK, born in
Posen, about the beginning of this century,
died probably at Aix-en-Provence (Bouches-
du-Rhone) (?). Violinist, son of Jan Wafiski
(born in Poland, 1762, once much esteemed
as a national composer) ; studied music at
Warsaw, and was afterwai'ds for several
WAR
montha pupil of Baillot in Paris. He trav-
elled in Spain, Southern France, Italy,
and Switzerland, and finding his health
impaired, settled at Aix, in 1839, where
he married a Frenchwoman and devoted
himself to teaching. Works : Concertino,
many etudes, caprices, fantaisies, variations,
etc., for violin ; Gymnastique des doigts et
de I'archet ; Method for violin ; do. for
viola ; L' harmonic, ou la science des ac-
cords.— Fetis, Supplement, ii. G59 ; Eie-
manu.
WAR, HE SUNG, IS TOIL AND
TROUBLE, soprano aria in A minor, with
accompaniment of violins in unison, and
bass, in Handel's Alexander's Feast, Part I.,
No. 9.
WARD, FREDERICK, born in Birming-
ham, England, Dec. 2G, 1845, still living,
1890. Violinist, conductor at the principal
concerts in Bu'mingham and in the Midland
counties, England. Works : Concert over-
ture for orchestra ; Concerto for clarinet
and orchestra ; 10 string quartets ; Songs.
WARD, JOHN, English composer of the
IGth and 17th centuries, died about lG-40.
Works : The First Set of EngUsh Madrigals
to 3, 4, 5, and 6 parts, apt for both Viols
and Voyces (London, 1G13) ; Evening ser-
vice and 2 anthems, published in Barnard's
Church Music (London, IGIl). He con-
tributed to Sir William Leighton's The
Teares or Lamentacions of a Sorrowful
Soule (London, 1614). Scores of Ward's
church music are in Barnard's MS. collec-
tions in the library of the Sacred Harmonic
Society of London.
WARNOTS, HENRY, born at Brussels,
July 11, 1832, still living, 1890. Dramatic
singer (tenor) and composer, son and pu-
pil of Jean Arnold Warnots (organist and
church composer, 1801-61), and jjupil at
the Conservatoire, where he won prizes for
pianoforte, organ, and harmony ; studied
counterpoint under Fetis ; made his dt'but
at Liege in 1856, then held engagements
on various stages in France, Belgium, and
Holland, last at Brussels in 1867, where in
the same year he became professor at the
Conservatoire, and in 18G9 conductor of the
Societe de Musique. In 1870 he founded
a music school in a suburb of Brussels,
which is still under his direction, and in
1876 was appointed inspector of the schools
in that district. Works : Une heure de
mariage, opera-comique, Strasburg, 18G5 ;
Cantato patriotique, Ghent, 1867. — Fetis,
Supplement, ii. 661.
WAEOT, CHARLES, born at Dunkirk,
Nov. 14, 1804, died at Brussels, July 29,
1836. Violinist and dramatic composer,
pupil of Fridzeri at Antwerp, where and at
Maestricht he appeared in public with suc-
cess. Having devoted himself entirely to
comjjosition, he was obliged after the Bel-
gian revolution of 1830, which had ruined
his father financially, to accejjt the post of
second chef d'orchestre at the Theatre de
la Monnaie in Brussels. Works — Operas :
L'aveugle de Clarens, ou la vallee Suisse,
Antwerp, 1829 ; Le naufrage de Cadet-
Roussel, opera-folie, ib., 1829 ; L'ofiicieux,
ou I'euluvemeut ; Lequel des trois ? ; Lord
Mairend ; Le pirate. 3 messes solennelles ;
Requiem, with full orchestra ; Lauda Sion ;
Salve Regiua ; Cantique de Noel ; Several
chansons patriotiques ; Cantatas, motets,
pieces for wind band, etc. — Fetis, Supple-
ment, ii. GGl.
WAROT, CONSTANT NOEL AD-
OLPHE, born at Antwerp, Nov. 28, 1812,
died at Saint-Josse-ten-Noode-lez-BruxeUes,
April 10, 1875. Violoncellist, brother of the
preceding ; appointed in 1852 professor at
the Brussels Conservatoire. Works : Duo
for 2 violoncellos ; Air varie and fautaisie,
for do., with pianoforte ; Method for violon-
cello ; La chasse. Chorus for male voices ;
40 lemons melodiques a 2, 3 et 4 voix ; Ro-
mances and melodies. — Fetis, Suisplement,
ii. 6G2.
WAROT, VICTOR, born in Ghent, in
1808, died at Bois-de-Colombes (Seine), near
Paris, in July, 1877. Dramatic composer,
brother of the preceding and pupil of Frid-
zeri ; learned to play on many instruments,
666
WARREN
and acquired a rare knowledge of orches-
tral resources. He was chef d'orchestre at
Amsterdam, and other cities, lived several
years at Dijon, was professor at Rennes
fifteen years, and settled in Paris in 1855.
— Works — ■ Operas - comiques : La reine
est lu, Les penitents rouges, do., Dijon,
1834 ; La novia ; L'epicier de Paris ; Camille
et Dolincu. Morceaux symphoniques ;
Quartets ; Cantatas ; Mass with grand or-
chestra, and several minor pieces of church
music. — Fetis, Supplement, ii. 662.
WAEREN, GEORGE WILLIAM, born
in Albany, New York, Aug. 17, 1828, still
living, 1890. Organist, self-educated. In
18i6-58 he was organist at St. Peter's, Al-
banj', then of Holy Trinity, Brooklyn. In
1870 he became organist and music direc-
tor at St. Thomas's Church, New York,
which post he still holds. He has published
Te Deum, anthems, hymns, and other
church music, and pieces for the pianoforte
(Pond & Co., New York) ; and WaiTen's
Hymns and Tunes, as sung at St. Thomas's
Church (Hari)er & Brothers, New York,
1888).
WARREN, SAMUEL PROWSE, born in
Montreal, Canada, Feb. 18, 1841, still living,
1890. Organist, went in 1861 to Berlin,
where he studied the organ, theory, and
composition under August Haui^t, the
pianoforte under Gustav Schumann, and
instrumentation under Wiepreeht. In
1865 he settled in New York, where he
was organist at All Souls Church in 1865-
G7, and afterwards at Grace and Trinity
Churches. He is now (1890) organist and
musical du-ector at Grace Church. He has
published church music, transcriptions for
the organ, and songs.
WAS GLEICHT WOHL AUF ERDEN.
See Der FreischHtz.
WAS MEIN GOTT TVTLL, choral in B
minor, for Coro I. and H., with accompani-
ment of two flutes, two oboes, strings com-
plete, organ, and continue, in Johann Se-
bastian Bach's Passion nach Matthiius, Part
L, No. 31. The melody is an old French
tune, H me suffit de tous mes maux (1529) ;
it is known in the Lutheran Church as Was
mein Gott will, das g'scheh' allzeit.
WASSERFLtJSSEN BABYLON, AN
(By the Waters of Babylon), choral, by
Wolfgang Dachstein, on Psalm cxxxvii.
This, the composer's most celebrated cho-
ral, was first published in " Das dritte Theil
Strassburger Kirchenampt " (Strasburg,
1525). — Winterfeld, Der evang. liirchen-
gesang, i. 136.
WASSERNECK, DER (The Water
Nymph), cantata for female voices, with or-
chestra, music by Richard Wiierst, op. 30,
fii'st performed in Berlin in 1853. Pub-
lished by Bahn (Berlin, 1854).
WASSERTRAGER, DER. See Deux
journees.
WASS IMUSS ICH HOREN. See Flie-
gende Hollander.
WAS WILLST DU DICH, MEIN
GEIST, tenor aria in C-sharp minor, with
accomjjauiment of oboe d' amore and con-
tinuo, in Johann Sebastian Bach's cantata
Dom. XYI. post Trinit., Liebstor Gott,
waun werd' ich sterben (Bachgesellschaft,
No. 8). Published also separately, with
the accompaniment filled out by Robert
Franz (Leipsic, Whistling).
WATER MUSIC, suite for two solo vio-
lins, two oboes, two horns, two trumj^ets,
flute, bassoon, piccolo, and strings, com-
posed by Handel and first performed on
the Thames, Aug. 22, 1715, when George I.
and the Royal family sailed from Limehouse
to Whitehall Handel followed the royal
barge with his orchestra, and performed this
suite to the delight of the king, who asked
the name of its composer. Baron Kilmann-
seggo pleaded for Handel, who was then
in disgrace, and he was received again at
court and given a pension of £200 per
annum, in addition to the same amount
given him previously by Queen Anne. The
Water Music consists of twenty-one move-
ments : I. Overture, Introduction, and
Fugue in F ; H. Adagio ; HI. Movement
in triple time ; IV. Andante ; V. Movement
WATIER
in triple time ; VL Air in F ; VII. Move-
ment in triple time ; VIII. Bourree ; IX.
Hornpipe ; X. Movement in D ; XI. Do. ;
Xn. Movement in 3-2 time ; Xm. Move-
ment in the form of a Sarabaude ; XIV.
Aria in G ; XV. Lentement ; XVI. Move-
ment in the form of a Bourrue ; XVII. Me-
uuet ; XVm. Menuet ; XIX. Movement in
C minor ; XX. Movement in G ; XXI.
Coro in D. The original autograph is
lost, but two undated movements, differing
from the printed copies, are preserved in
the British Museum. It was first published
by Walsli (Loudon, 1740) ; by Arnold (ib.,
about 1780). An arrangement for the pi-
anoforte for four hands, by C Burchard,
was published by Bernard Friedel (Dres-
den and Zittau, 18G2). — Eockstro, Handel,
96 ; Schcelcher, do., 70 ; Marshall, do., 59 :
Mainwaring, do., 85 ; Hawkins, v. 269 ;
Hauslick, Concertwesen in Wieu, ii. 384 ;
Vierteljahrschrift fiir Musikwissenschaft
(1887), iii. 14 ; Grove, iv. 384.
WATIER, FRANCOIS, born at Pas-en-
Artois (Pas-de-Calais), April 6, 1806, died (?).
Instrumental and vocal composer, pupil of
Baumann at Lille, then studied in Paris,
especially Wilhelm's method of instruction,
which he promoted actively after his return
to Lille. Works : Three masses for male
voices, with military band ; Te Deum for
do. ; 3 cantatas with orchestra ; Ouverture
solennelle, for military band ; Collection of
choruses for male voices. — Fetis ; Mendel.
WAVERLEY, overture for orchestra, in
D, by Hector Berlioz, op. 1, first given at
the Conservatoire, Paris, May 26, 1828.
Although numbered as the first opus, this
overture was not composed until after the
overture to Les francs-juges, op. 3, Berlioz's
first instrumental work. The subject is
from Sir Walter Scott's romance "Wa-
verley." The score, dedicated to Col. F.
Marmion, was published by Richault
(Paris), and by Hofmeister (Leijjsic). Pi-
anoforte arrangement for four hands, by
Hofmeister (Leipsic), and by Leibrock
(Brunswick).— Jullien, Beriioz (1888), 34 ;
Schumann, Ges. Schriften, ii. 99 ; Neue
Zeitschr., x. 185.
WEBB, GEORGE JAMES, born at
Rushmore Lodge, near Salisbury, England,
June 24, 1803, died at Orange, New Jersey,
Nov. 7, 1887. Organist, went in 1830 to
Boston, Massachusetts, where he taught the
inanoforte and singing ; was in 1836 one
of the founders of the Boston Academy of
Music, and one of the first there to conduct
oratorios and symphonies. In 1876 he re-
moved to Orange and taught in New York.
He composed church music and published
five collections, besides one with Lowell
Mason, one with William Mason, and one
with C. G. Allen. He pubHshed also two
periodicals : The Musical Library (1835-
36), with Lowell Mason, and the Mu,sical
Cabinet (1837-40), with W. Hayward.
WEBBE, SAMUEL, born of English
j)arentage, in Mi-
norca, in 1740, died
in London, May 25,
1816. Organist,
pupil of Charles
Barbandt. He be-
gan to compose
about 1763, chiefly
vocal music with-
out a c c o m p a ni- "■
ment. In 1776 he was made master of the
Portuguese Chapel, London ; from 1784
till his death he was secretary to the Noble-
men and Gentlemen's Catch Club ; was
made librarian of the Glee Club iu 1787,
and for several years organist of the Sar-
dinian embassy. Works : A Collection of
sacred music as used in the Chapel of the
King of Sardinia (London) ; A Collection
of Masses with an accompaniment for the
organ (ib., 1792) ; Eight Anthems, the
organ parts bj' Victor Novello ; Collection
of Original Psalm Tunes for 3 and 4 voices
with his son (folio) ; and nine books of
glees at various periods from 1794, which
were republished with additions in three
volumes, folio. 25 Glees, 36 catches, and
9 canons by him are in Warren's Collections,
WEBBE
He wrote in all about 200 glees, for which
he received twelve prizes. The best known
are : Glorious Apollo ; Come live with me ;
Thy voice, O harmony ; To me the wan-
ton girls ; Hence, all ye vain delights ; Dis-
cord, dire sister ; The mighty conqueror of
hearts ; Swiftly from the mountain's brow ;
When winds breathe soft. He left also
canons, catches, anthems, and masses.
WEBBE, SAJVroEL, Junior, born in
Minorca in 1770, died in Hammersmith,
London, Nov. 25, 18^3. Organist, pupil of
his father Samuel Webbe and of Clementi.
He was organist of the Unitarian Church in
Paradise Street, Liverpool, of the Spanish
ambassador's chapel, Loudon, and of St.
Nicholas's Church and St. Patrick's Roman
Catholic Chapel, Liverpool. Prizes were
given to him for Ah friendship, catch, 1794: ;
Resonate Jovem, canon, 1795 ; and Come
follow me, canon, 1795. His works consist
of songs, motets, catches, canons, and glees,
of which " Come away, death " has the most
merit. He ijublished A Collection of Mo-
tets or Antiphons for 1, 2, 3, and 4 voices
(London) ; Collection of Psalm Tunes (ib.,
1808) ; Convito armonico, collection of
madrigals, elegies, glees, canons, catches,
duets, etc., selected from the works of
eminent composers (4 vols., ib.) ; L' Amico
del Priucipiaute, 28 short Solfa-ing Exer-
cises (ib., 2d ed., by J. B. Sale) ; 42 vocal
Exercises ; Short Exercises for Young
Singers ; Harmony Epitomised, or Ele-
ments of the Thoroughbass.
WEBEE, BERNHARD ANSELM, born
in Mannheim, April 18, 17GG, died in Ber-
lin, March 23, 1821. Pianist, pupil of Abt
Vogler, of Einberger, and of Holzbauer ;
studied law, philosophy, and theology at the
University of Heidelberg, but soon gave
himself up to the jjursuit of music. He trav-
elled as a virtuoso on Rijllig's newly invented
instrument, the Xiinorphika, and in 1787
became director of music at a theatre in
Hanover. In 1790 he travelled with Vogler
through Germany and Holland to Stock-
holm, and on his return was appointed in
1792 second Kapellmeister at the KiJnig-
stildter Theater in Berlin, remaining there
as royal Kapellmeister after its union
with the Italian opera. Works — Operas :
Menoceus, three acts, Hanover, 1792 ; Hyala
und Evander, Vienna, 1796 ; Mudarra, four
acts, Berlin, 1800 ; Hero, about 1800 (not
given) ; Die Wette ; Der Kosak und der
Freiwillige, about 1810 ; Sulinalla, 1802 ;
Deodata, Vienna, 1810; Sappho, 181G; Her-
mann und Thusnelda, 1819. Music to about
forty dramas, including Schiller's Tell and
Jungfrau von Orleans ; Cantatas for sjiecial
occasions ; Ai-ias ; Songs ; Sonatas for piano-
forte, etc. — Mendel ; Fetis ; Riemann ; Ger-
ber ; Schilling ; do.. Supplement, 436.
WEBER, CARL MARIA (FRIEDRICH
ERNST), Freiherr
VON, bom at Eutin,
in the grand duchy
of Oldenburg, Dec.
18, 1786, died in
Loudon, June 5,
1826. Next to the
Bachs of Sebastian's
generation, and that
of his sons, Weber
is probably the most
noteworthy example of musical heredity in
history. His mother was a singer, and bis
father, Franz Anton Weber, a distinguished
viola player, virtuoso on the double-bass,
and operatic Kapellmeister. Two of his
elder step-brothers, Fritz and Edmund,
were excellent musicians, pupils of Josef
Haydn. His grandfather, Fridolin von
Weber, was a good singer, violinist, and or-
ganist, and his great-grandfather, Josef
Franz Xaver Weber, an enthusiastic lover
of music and the stage. His uncle, Frido-
lin Weber (son of the above-mentioned
Fridolin) was a good singer and violinist,
three of whose daughters, Josepha, Aloysia,
and Sophie, were noted singers, and another
daughter, Constanze, was Mozart's wife.
So Carl Maria von Weber was ISIozart's first
cousin by man-iage. His father's dream had
always been to have one of his chDdren turn
WEBER
out to be a musical i^rocligy, like Mozart,
and accordingly, as soon as the young Carl
gave evidence of talent, which he did at an
early age, he was put to study under his elder
brother, Fritz, who was fresh from Haydn's
teaching. In 179G the boy got still more com-
petent instruc-
tion in Hildburg-
hausen from J. P.
Heuschkel, and
next year from
Michael Haydn,
in Salzburg.
From 1798 to
1800 he studied
theory in Munich
under J. N. Kal-
cher, court organist, and singing under Va-
lesi. While with Kalcber, he wrote his first
opera. Die Macht der Liebe und des Weins,
and some other compositions, the scores of
which he probably destroyed afterwards.
But a set of jjianoforte variations, opus 2,
had a difierent fate ; it was lithograjihed by
himself. He had become acquainted with
Aloys Senefelder, the inventor of lithogra-
phy, and had worked in his shop. In time
he became so interested in lithograjihy that
he almost gave up comjiosing. He made, or
thought he had made, some new discover}-,
and his father, wishing to carry it out on a
large scale, decided to move to Freiberg, in
Saxony. He went thither in 1800, Carl
Maria giving concerts on the way in Leipsic
and other towns. But in Freiberg the Ritter
von Steinberg, whose opera company was
playing there, offered him a libretto. Das
Waldmildchen, and this opportunity made
him forget all his enthusiasm for lithog-
raphy. The oi^era was brought out on
Nov. 24:th, with only fair success, but made
a far better impression afterwards in Chem-
nitz and Vienna. The lithographic scheme
proved a failure, and by November, 1801,
Weber was back in Salzburg, where he once
more took up his studies under Michael
Haydn, and wrote bis second opera, Peter
SchrooU und seine Nachbarn, which was |
brought out in Augsburg in 1803 (?). Soon
after this he went to Vienna, where he made
the acquaintance of Abt Vogler, under whose
guidance he began to study with more seri-
ousness than ever before. In 180J: Vogler
obtained for him the position of Kapell-
meister at the Breslau Stadttheater, which
he gave up in 180G to enter the service of
Prince Eugen of Wiirtemberg, at Karlsruhe,
in Silesia, as music director. Soon after-
wards he went with his father to Stuttgart as
secretary to Prince Ludwig, and music
teacher to his daughters. Here he wrote
his first larger opera, Sylvana. Duke Lud-
wig was a dissolute nobleman, leader of an
equally dissolute set, and Weber was drawn
into all sorts of dissipations, both in court
and Bohemian circles ; it was perhaps well
that a silly freak of his father's unwittingly
called down upon him the King's displeas-
ure, just as his Sylvana was going into re-
hearsal, and father and son were sent out of
Wiirtemberg. In February, 1810, he went
to Mannheim, where he met Gottfried
Weber, and brought out his first symphony
with great success, besides exciting much
enthusiasm by his pianoforte playing. In
Aj^ril he moved to Darmstadt, to study once
more with Vogler. In 1811 his Abu Hassan
was brought out in Munich, and Sylvana,
which had already been produced at Frank-
fort-on-the-Main in 1810, was given, with
additions, in Berlin in 1812. After spend-
ing some time successively in Munich,
Leipsic, Berlin, and at the courts of Gotha
and Weimar, Weber was appointed Kapell-
meister of the Laudstiindisches Theater in
Prague in 1813, which post he held up to
1816, when he was called to Dresden by the
King to organize and conduct the new Ger-
man Ojjcra. In setting this new institution
on foot Weber showed the greatest energy
and capacity. Although some of his songs
and pianoforte music were well enough
known and liked throughout Germany, he
can hardly be said to have become really
famous until 1821, when bis Freischiitz
placed him at once on the pinnacle of popu-
569
WEBER
larity. His Euryantlie, on the other hand,
had a very ephemeral success in Vienna, in
1823, being weighed down by a poor li-
bretto, and soon ousted by Eossini's operas,
then at the high tide of popular favour. It
had, however, a more lasting success in
Berlin in 1825. In 1824 Weber, never of
a robust constitution, found his health so
seriously impaired that he had to give up
work, and go to Marienbad. Li January,
1825, however, he was so far recovered that
he could begin work on Oberon, which had
been ordered of him by Charles Kemble
for Coveut Garden, in London. But he had
to iuterruiat work again in the early summer,
and go to Ems for the waters. Consump-
tion declared itself ; still, in September he
returned to the score of Oberon, finishing
it in London, whither he went in March,
1826, to superintend its production. Al-
though it was evident to all that he was in
his last sickness, he overexerted himself at
some concerts, and at the rehearsals and
performance of Oberon (April 12th) ; he
wished to return to Dresden to see his fam-
ily, but he did not live to leave London.
He was buried in Moorfield's Chapel on
June 21st, and his remains were trans-
ferred to Dresden in IS-l-t, and placed in the
family vault. Weber is the most noteworthy
figure in the history of German opera be-
fore Wagner. Indeed, he, together with
Spohr, may be said to have first raised Ger-
man opera to the dignity of a recognized
school. He is also noted as the head of
modern musical romanticism in Germany.
If his operas have outUved his chamber-
music, and most of his pianoforte music,
this is, in i>a.rt, to be recognized as the re-
sult of a defective musical education. Abt
Vogler was a good deal of a charlatan, and
it seems, upon the whole, as if neither Meyer-
beer nor Weber got very much good from
him. Indeed, Weber never acquired a thor-
ough mastery over the technique of compo-
sition ; but he was brought up in constant
connection with the oj)eratic stage, its at-
mosphere was natural to him, and it was
the field of all others in which his wonder-
ful melodic invention, his dramatic power,
his poetic imaginativeness, and almost un-
exampled freshness and brilliancy of style,
could show themselves to the best advan-
tage. He was the idol of almost all the
young German composers of note who came
after him. Marschner and Lindpaintner
founded themselves on him almost slavishly ;
and Mendelssohn, Schumann, and Wagner
all passed through a period when they were
bound to him, heart and soul. Berlioz's
admiration for him was life-long. Works :
L Operas : Das Waldmiidchen (three
r: ^ ';■-, SKIS' h^^m^
' 111' B' ■■•■ ■•■ ■' m;- ' ilM^ Wt ;^ tr ' --A
Birthplace of von Weber.
fragments, MS.), Freiberg, Nov. 24, 1800 ;
I'eier Schmoll und seine Nachbarn (MS.),
Augsburg, March, 1803 ; Rilhezahl (un-
finished MS.) ; Sylvana, Frankfort-on-the
Main, Sept. IG, 1810 ; Abu Hassan, Munich,
June 4, 1811 ; Der Freischillz, Berlin, June
18, 1821 ; Die drei Pintos (unfinished MS.,
1821) ; Eimjanlhe, Vienna, Oct. 25, 1823 ;
Oberon, London, April 12, 1826.
n. other dramatic works : Overture and
incidental music to Schiller's Turandot,
1809 ; Incidental music to Milliner's Kimig
Yngurd, 1817 ; do. to Gehe's Heinrich IV.,
KiJnig von Friinkreich, 1818 ; do. to Eub-
lack's Lieb' um Liebe, 1818 ; do. to Hou-
wald's Der Leuchtthurm, 1820 ; Overture
and incidental music to Wolff's Preciona,
Berlin, March 14, 1821 ; Incidental music
to a Festspiel by Ludwig Robert, 1822 ;
670
WEBER
Eondo alia polacca for tenor, introduced in
Haydn's Der Freibrief, 1809 ; 4 songs with
guitar, for Kotzebue's Der arme Minne-
singer, 1811 ; 2 songs for Anton Fischer's
Der travestirte Aeneas, 1815 ; 2 do. for
Gubitz's Liebe und Versohnen, 1815 ; Bal-
lad with harp, for Eeinback's Gordon und
Montrose, 1815 ; Arietta for Ruber's Das
Sterneumadchen im Maidlinger WaMe,
181G ; Romauza with guitar, from Costelli's
Diana von Poitiers, 181G ; Song from Kind's
Der Weinberg an der Elbe, 1817 ; Chorus
with wind instruments, for Grillparzer's
Sappho, 1818 ; Song with guitar, for Kind's
Der Abend am Waldbrunnen, 1818 ; Chorus
with wind instruments, for Blankensee's
Carol, 1820 ; Song for 3 female voices, for
Shakespeare's Merchant of Venice, 1821 ;
Music and recitative for Spontini's Olym-
jjia, 1825 ; Recitative and rondo, for so-
prano and orch., "II momento s' awicina,"
1810 ; Sceuaaud aria, fordo., "Miserame,"
from Atalia, 1811 ; Do. for tenor, male
chorus, and orcL, "Qual altro attendi,"
1812 ; Do. for tenor, double chorus, and
orch., " Signor, se padre sei," from Inez de
Castro, 1812 ; Do. for soprano and orch.,
" Ah, se Edmondo fosse 1' uccisor," for Me-
hul's Holeue, 1815 ; Do. for do., "Noupaven-
tar, mia vita," for Inez de Castro, 1815 ;
Do. for do., "Was sag' ich? Schauderu
macht mich der Gedanke," for Cherubiui's
Lodoiska, 1818 ; 3 duets for soprani, 1811.
m. Cantatas : Der erste Ton, 1808 ; " In
seiner Ordnung schafftder Herr," hymn for
soli, chorus, and orch., 1812 ; Kamj)/ und
Sieg for do., 1815 ; L' accoglianza, for do.,
for the wedding of Grand-duke Leopold of
Tuscany and Princess Maria Anna Carolina
of Saxony, Oct. 29, 1817 ; Natur und Liebe,
G voices and pianoforte, 1818 ; Juhel-Ga.u-
tate, for soli, chorus, and orch., 1818 ; "Du,
bekriinzend ims're Laren," solo chorus, with
pianoforte and flute, for the birthday of
Duchess Amalia von Zweibriicken, 1821 ;
" Wo nehm' ich Blumeu her ? " 3 voices
and pianoforte, for the birthday of Princess
Therese of Saxony, 1823.
IV. Church Music : Mass No. 1, in E-
flat, soli, chorus, and orch., 1818 ; Offertory
for the same, soprano solo, chorus, and orch.,
1818 ; Mass No. 2, in G, 1818-19 ; Offer-
tory for the same, 1818.
V. Songs and part-songs : 90 songs for
one or two voices and pianoforte (or
guitar) ; 19 part-songs for male voices ; 6
canons for three or four voices ; 8 part-
songs for various voices, some with accom-
paniment ; 10 Scotch songs with accompani-
ment of pianoforte, flute, violin, and 'cello.
VI. Orchestral : Symphony No. 1, in C ;
Do. No. 2, in C ; Grande ouverture a plu-
sieurs instruments {Peter Schmoll), in B-flat
and E-flat ; Overture, Der JSeherrscher der
Geister, in D minor ; t7i(6rf-Ouvertiire, in E ;
Waltz for wind instruments, in E-flat (MS.) ;
Deutscher for full orch., in D ; Tedesco for
do., in D (MS.) ; Marcia vivace for 10
trumpets, in D (MS.) ; March for wind in-
struments, in C.
Vn. Concertos, etc., with orchestra ; 2
for pianoforte. No. 1 in C, No. 2 in E-flat ;
Concerlstilck for do., in F minor ; 2 con-
certos for clarinet. No. 1 in F minor. No. 2
in E-flat ; Concertino for do., in C minor,
E-flat major ; Concerto for bassoon, in F ;
Adagio e rondo ungarese, for do., in C
minor ; Concertino for horn, in E minor ;
Romanza siciliana, for flute, in G minor ; 6
variations for viola on " A Schiisserl und a
Keind'rl," in C ; Andante e rondo ungarese
for do. in C minor (first form of the same
for bassoon) ; Potpourri for 'cello, in D ;
Andante and variations for do., in D mi-
nor ; Adagio and rondo for harmonichord,
inF.
Vin. Chamber-Music : Quintet for clari-
net and strings, in B-flat ; Six sonatas for
pianoforte and violin : No. 1 in F, No. 2 in
G, No. 3 in D minor, No. 4 in E-flat, No. 5
in A, No. G in C ; 9 variations on a Norwe-
gian air, for do., in D minor ; 7 variations
for pianoforte and clarinet, in B-flat ; Grand
duo concertant for do., in E-flat ; Diverti-
mento assai facile for i^iauoforte and guitar.
IX. For Pianoforte : 4 sonatas. No. 1 in
571
WEBER
C, No. 2 in A-flat, No. 3 in D minor, No. 4
in E minoi-. Variations : 6 on an original
theme, in C ; 8 on a theme from Vogler's
Castor untl Pollux, in F ; G on a theme from
Vogler's Samori, in B-flat ; 7 on Bianchi's
"Vien qua, Doriua bella," in C ; 7 on an
original theme in F ; 7 on a theme from
Mebul's Joseph, in C; 9 on "SchOne
Minka," in C minor ; 7 on a Gypsy air, in C.
Momento eapriccioso, in B-flat ; Grande
polonaise, in E-flat ; Polacca brillante, in E ;
Aujforderung zum Taiiz, in D-flat ; 6 fu-
ghette, op. 1 ; 12 Allemandes ; 6 Ecossaises ;
is/^: \frr^*AjJ^
O/kJkJ^
18 Valses favorites de rimperatrice de
France. For four hands : G easy little
pieces ; 6 i)ieces ; 8 pieces. — Jiihns, Carl
Maria von "Weber in seinen Werken (Berlin,
Schlesingei-, 1871) ; Max Maria vou Weber,
C. M. V. W., ein Lebensbild (Leipsic, Keil,
18G4-G8) ; Jiihns, C. M. v. W., eineLebens-
skizze (ib., Grunow, 1873) ; H. Barbedette,
Weber (Paris, Heugel, 18G2) ; L. Nohl,
Briefe vou Gluck und Weber (1870), and in
French by Guy de Charnaco (Paris, Plon,
1870) ; Grove, iv. 387-429 ; Mendel, xi.
280-292.
WEBER, EDMOND, born in Alsace,
contemporary pianist, for many years estab-
lished at Strasburg, which he left, after the
events of 1870-71, to settle at Angers.
Works : Le roi des aulnes, opera, Stras-
burg, 1868 ; Rosita, opera-comique. Angers,
187G ; Choruses for male voices ; Pianoforte
music. — Futis, Supplement, ii. GGl.
WEBER, EDIMTJND (CASPAR JOHANN
JOSEPH MARIA), Freiherr VON, born at
Eutin, Oldenburg, in 17GG, died at Wiirz-
burg, in 1828. Instrumental and vocal
comijoser, half-brother of Karl Maria von
Weber, favom'ite pupil of Haydn in Vienna
in 1784. He was a tenor singer in his
father's opera trouj)e at Meiningen in 1789,
music director at the court theatre of
the Elector Clemens Wenceslaus at Salz-
burg in 1797, lived at Cassel in 1798,
founded a musical institute at Berne in
1810, went to Lilbeck as organist at the
Marieukirche, about 1820, was music direc-
tor at Dautsic, and Konigsberg, in 1824,
and at Cologne in 182G. Works : Der
Transport im Kofl'er, opera ; Die Zwilliuge,
do.; 3 quartets for stilngs (Augsburg, 1804).
— MendeL
WEBER, FRANZ, born at Cologne,
Aug. 26, 1805, died there, Sept. 18, 1876.
Organist and pianist, pupil of Bernhard
Klein in Berlin, where he held a position as
organist for several years, then returned to
Cologne, and in 1838 became organist of
the cathedral ; later he assumed also the
direction of the Miinnergesang-Verein. In
1875 he received the title of professor.
Works : Psalm Ivii. ; Kriegsgesaug der
Rheiupreussen, for male chorus with or-
chestra ; Many choruses for male voices.
—Mendel.
WEBER, FIIIEDRICH AUGUST, born
at Heilbronn, Jan. 24, 1753, died there,
Jan. 21, 1806. Amateur composer, city
physician at Heilbronn, where he was in-
structed in singing, on several instniments,
and in harmony ; then was a jDupil of Schu-
bart on the pianoforte, at Ludwigsburg, and
of Pirker on the violin. After finishing
his medical studies, he lived several years
at Berne, where he enjoyed intercourse
with Pugnani, Viotti, and Esser, and ap-
peared in concerts as a singer and violinist,
then settled in Heilbronn as a practising
physician. Works : Der Teufel ist los,
operetta ; Der lustige Schuster, do. ; I pel-
legrini al sepolcro, oratorio ; Weihnachts-
Oratorium ; Many cantatas for chorus and
orchestra ; Concertos for various instru-
672
WEBER
ments ; Symplionies ; Quartets, trios, etc.
— Fetis ; Meiulel ; Schilliug.
WEBEE, (FRIEDEICH) DIONYS, born
at Welchau, Bohemia, in 1771, died in
Prague, Dec. 25, 1842. Instrumental and
vocal composer, pupil of Franz Bayer,
schoolmaster at Welchau ; studied law and
theology at the University of Prague. He
taught music several years, and on the
foundation of the Conservatorium, in 1810,
was chosen director. Among his special
pupils were Moscheles, Kalliwoda, and Des-
sauer. Works : Der KOnig der Geister,
opera, Prague, 1800 ; Der Miidehenmarkt,
operetta ; Die gefundeue Perle, do. ; Boh-
mens Errettung, cantata ; 17 other canta-
tas ; Classes ; Music for wind instruments ;
Much dance music ; Collection of German
songs ; Music for pianoforte ; Variations
for violin and violoncello. He wrote also
Allgemeine theoretisch-praktische Vorschule
der Musik (Prague, 1828) ; Theoretisch-
I)raktisches Lehrbuch der Harmonie uud
des Geueralbasses (ib., 1830-34). — Mendel ;
Eiemanu ; Fetis ; Schilling ; Gerber ; Schu-
mann, Gesammelte Schriften, ii. 306.
WEBEE, GEOEG, born at Wiirzburg,
Jan. 1, 1771, died (?). Oi'ganist and pian-
ist, pupil of Detsch and of Lorenz Sohmitt ;
became court organist at Wiirzburg about
the beginning of this centiuy, and music
master to the children of the Grand Duke.
He was considered one of the best organ-
ists of his time. Works : Several concertos
for violin ; Concerto for pianoforte ; Can-
tata on the death of a young girl ; Music
for wind instruments. — Fetis ; Mendel ;
Gerber ; Schilling.
WEBEE, GOTTFEIED, born at Freins-
heim, near Mannheim, March 1, 1779, died
in Kreutznach, Sept. 21, 1839. Composer
and writer on music ; he studied law at
Heidelberg and GOttingen, and held posi-
tions as counsellor and judge at Mannheim
in 1802, at Mainz in 1814, and at Darm-
stadt in 1818 ; was appointed general state
attorney, by the Grand-duke of Hesse-
Darmstadt in 1832. Notwithstanding his
busy life, he devoted much time to music,
learned to play the pianoforte, flute, and vio-
loncello, studied the
systems of Kirnbei'g-
er, Marpurg, and
Vogler, devoted him-
self to comj)osition,
and founded a musi-
cal periodical, the
C a cilia. In Mann-
heim be founded the
Conservatorium, con-
ducted a musical
society, and the music in the Hofkirche ;
in Mainz be was director of the opera and
the musical museum. He received many
marks of distinction from musical societies.
Works : Three masses ; Eequiem ; Te
Deum ; Songs ; Choruses ; Music for guitar
and violoncello ; Yersuch einer geordueten
Theorie der Tonsetzkunst (Metz, 1817-21).
He was author of Allgemeine Musiklehre
(Darmstadt, 1822) ; Die Generalbasslehre
zum Selbstunterricht (Mentz, 1833) ; tjber
chronometrisehe Temj)obezeichnung (ib.,
1817) ; Beschreibung und Tonleiter der G.
Weber'schen Doppeljjosaune (ib., 1817) ;
and contributed to Erseh and Gruber's En-
cyclopredie and musical periodicals. — Eie-
mann ; Mendel ; Fetis ; Schilling ; Gerber.
WEBEE'S LAST WALTZ, a slow waltz
long ascribed to Carl Maria von Weber,
but really written by Karl Eeissiger, in
1822, and published as No. 5 of his Danses
brillantes pour le piano (Peters, Leijjsie,
1824). Eeissiger gave von Weber a MS.
copy when he left for England, and this
found among his papers gave rise to the
supposition that it was one of Weber's com-
positions. It was published as a song in
Germany to the words " Wie ich bin ver-
wichen ; " and in London as "Weber's Fare-
well " (Chappell) ; and " Song of the Dying
Child " (Cramer). See La derni&re pensee
musicale. — Gi'ove, iv. 430.
WEBSTEE, JOSEPH PHILBEICK,
born at Manchester, New Hampshire,
March 22, 1819, died at Elkhorn, Wiscou-
673
WECKERLIN
sin, Jan. 18, 1875. Song-writer, was a
member of tbe Handel and Haydn Society,
Boston, and other musical organizations ;
removed in 1851 to Madison, Wisconsin, in
1856 to Racine, and in 1857 to Elkborn.
Works : Tbe Beatitudes, cantata ; The Sig-
net Ring, Sunday School collection (1868) ;
Many songs, among them Tbe old man
dreams, Lovena, Little Wand, Sweet bye
and bye, etc.
WECKERLIN, JEAN BAPTISTE
(THEODORE), bom at Gebweiler, Alsace,
Nov. 9, 1821, still Hving, 1890. Dramatic
composer, pupil at tbe Conservatoire, Paris,
of Poncbard in singing, of Elwart in har-
mony, and of Haluvy in counterpoint. He
composed bis first work, Roland, an heroic
symphony for soli, chorus, and orchestra
(1817), before leaving tbe Conservatoire.
Subsequently (1849) be taught music, and
from 1850 to 1855 was associated with Se-
ghers in tbe establishment of the Soeiete
Sainte-Ct'cile, where he brought out some
of his own compositions. In 1869 he be-
came assistant librarian to the Conserva-
toire, and in 1876 librarian, succeeding Fc-
licien David. He was made librarian also of
the Sociote des Compositeurs de Musique,
and contributed many valuable articles to
that society's bulletins. In 1875 he received
a gold medal from the Beaux-Arts, for the
best memoire on Histoire de I'instruraenta-
tiondepuisle seizieme sieclejusqu'alcpoque
actuelle. His Musiciana (1877) is a collec-
tion from rare or peculiar works on music,
with anecdotes, etc. The Ecbos du temps
passe (Paris, 1853-55), and Souvenirs du
temps passe (ib., 1864), collections of chan-
sons, noiils, madrigaux, etc., from tbe 12tb
to the 18tb century, with biogi-apbical no-
tices, are most valuable contributions to mu-
sical history. Works — Oj)eras : L'organiste
dans I'embarras, Paris, Theatre Lyrique,
1853 (one hundred times) ; Les revenants
bretons (given privately) ; L'amour ;\ I'ep^e,
Paris, 1859 ; Entre deux feux, about 1865 ; '
Le marche des fees ; Le menetrier de ,
Meudon ; La premiere barbo de Figaro ; i
Jobin et Nanette; Tout est bien qui finit
bien, Tuileries, 1856 ; La laitiore de Tria-
non, at Rossini's bouse, 1858 ; Die dreifach
Hochzitt im Biisetbal (in Alsacian dialect),
Colmar, 1863 ; D'r verbiixt' Herbst (do.),
ib., 1879 ; Apres Fontenoy, Paris, Theatre
Lyrique, 1877. Le Jugemeut dernier, ora-
torio ; L'aurore, cantata ; Eloa, scene from
gypsy life ; Paix, charite, grandeur, cantata.
Opera, 1866 ; Les poemes de la mer, ode-
symphonie, Paris, 1860 ; L'Inde, do., ib.,
1873 ; La fC-te d'Alexandre, ib., 1873 ; La
foret, symphony for orchestra ; Choruses
for male voices (1 and 8 parts) ; do. for fe-
male voices (2, 3, and 4 parts) ; Les soirees
parisiennes, 6 choruses for mixed voices ; 6
quartets for do., a cai)pella ; Les poetes
franjais mis en musique (Paris, 1868) ; Pi-
anoforte pieces, etc. — Fetis ; do.. Supple-
ment, ii. 436 ; Mendel ; Riemann.
WEDDING OF CAMACHO, THE. See
Die Hochze'it desCamacho.
WEELKES, THOMAS, English com-
poser of the 16th and 17tb centuries. He
was organist of Winchester College in 1600 ;
Mus. Bac, Oxford, 1002 ; organist of Chi-
chester Cathedral in 1608. Works : Mad-
rigals to 3, 4, 5, and 0 voyces (London,
1597 ; ed. by E. J. Hopkins for Musical
Antiquarian Societj', Vol. Vni.) ; Ballets and
madrigals to 5 voyces, with one in 6 voyces
(1598 ; 2d ed., 1608) ; Madrigals of 5 and
6 parts ajjt for tbe viols and voyces (1600) ;
do. of 6 parts apt for viols and voices (1000) ;
"As Vesta was from Latmos bill descending,"
madrigal contributed to tbe Triumpbes of
Oriana (London, 1601) ; Ayres or phan-
tastieke spirites for 3 voices, with a song, A
Remembrance of my Friend, Mr. Thomas
Morley, for 6 voyces (1608). He comjiosed
music to Shakespeare's songs in the Pas-
sionate Pilgrim (London, 1599) ; and con-
tributed songs to England's Helicon
(1600) and to Sir William Leigh ton's
Teares or Lamentacions (1014). Eleven
anthems are in Barnard's MS. collections in
tbe library of tbe Sacred Hai-monic So-
ciety, and other anthems and church music
WEERT
are in the collections of Clifford and Rim-
bault. — Hawkins, iii. 3G1 ; Biirney, iii. 123.
WEEKT (Wert), JACQUES DE (called
in Italy, Giachetto di Eeggio), born in
Flanders about 1536, died at Mantua, May
23, 1596. Contrapuntist, went to Italy
when quite young, and was in the service
of the Marchesa de Padulla, and for a long
time in that of Count Alfonso de Nuvolara ;
finally, in that of the Gonzagas at Mantua,
where he was appointed in 1566 maestro
di cappella. Arousing the envy of some
who felt slighted by the favors shown him
at court, he had to endure many annoyances
and mortifications. He often visited the
court of Ferrara, where he met and loved
the famous poet Tarquinia Molza. In 1582
he was also maestro di cappella of Santa
Barbara. His compositions are among the
best of his time. Works : Eleven books of
madrigals for five voices ; Book of do., for
4 voices ; do., for 5 and 6 voices ; Book of
Canzonets ; 3 books of motets for 5 and 6
voices (all in several editions, from 1558 to
1653).— Van der Straeten, vi. 329 ; viii. 529.
WEGELIUS, MARTIN, born at Helsing-
fors, Nov. 10, 1846, still living, 1890. In-
strumental and vocal composer, pupil in
Vienna in 1870-71 of Rudolf Bibl, and at
Leipsic of Richter and Paul ; was then for a
short time repetitor at the opera in Hel-
singfors, whither he returned after study-
ing at Leipsic in 1877-78, to become Con-
ductor of the Finnish opera. He is now
director of a Conservatorium. Works :
Daniel Hjort, overture ; Rondo quasi fan-
tasia, for pianoforte and orchestra ; Ballade
for tenor solo and orchestra ; Mignon, for
soprano and do. ; Der sechste Mai, festival
cantata ; Weihnachts-Cantate ; Other vocal
compositions. — Riemanu.
WEH IHNEN, DASS SIE VON MR
WEICHEN, alto arioso in E minor, in Men-
delssohn's Elias, Part I., No. 18.
WEHLE, CHARLES, born in Prague,
March 17, 1825, died in Paris, June 3, 1883.
Pianist, son of a merchant ; the advice of
Thalberg determining his choice of a career,
he became a pupil of Moscheles on the pi-
anoforte and of Richter in composition at
Leipsic, and later of Theodor Kullak in
Berlin. In 1853 he went to Paris to live,
but made thence extensive concert tours in
Europe, Asia, and America. Works : Two
tarentelles ; 2 impromptus ; 3 nocturnes ;
Sonata ; 2 berceuses ; Allegro a la hon-
groise ; Serenade napolitaiue. — Mendel ;
Riemann ; Fetis, Supplcjnient, ii. 665.
W^EICHET NUR, BETRUBTE SCHAT-
TEN (Retreat, Mournful Shades), wedding-
cantata for sofirauo, with accompaniment of
two violins, viola, oboe, and contiuuo, by
Johann Sebastian Bach. This, the first of
the wedding-cantatas, is dated 1730 in the
MS. Published by the Bachgesellschaft,
year xi. (1861).— Spitta, Bach, ii. 463 ; do.
(Bell), ii. 633.
WEIGL, JOHANN BAPTIST, born at
Hahnenbach, Bavaria, March 26, 1783, died
(?). Organist and church composer, stud-
ied at Amberg and Ratisbon ; became or-
ganist at the former place, and in 1805
instructor and parson at St. Ulrich's, in Rat-
isbon, but returned afterwards to Amberg
as professor at the Gymnasium. Works:
Masses, cantatas, offertories ; Te Deums ;
Canons ; Melodies for the Catholic hymnal ;
School songs. — Mendel ; Futis.
WEIGL, JOSEPH, born at Eisenstadt,
Hungary, March
28, 1766, died in
Vienna, Feb. 3,
1846. Dramatic
and church com-
poser, pupil of
W i t z i g , A 1 -
brech t s b e r g e r,
and Salieri. He
wrote his first
opera when only
sixteen years old ; his second was per-
formed with success, and he composed not
only for Vienna, but in 1807 and 1815 for
La Scala, in Iklilan. After being inteudant
of the Vienna Hoftheater, he succeeded
Salieri there as second Hof-Kapellmeister
675
WEIIIE
in 1825, and thereafter wrote only church
music. Although not a star of the first
order, he excelled in melody, dramatic ef-
fect, and masterly instrumentation. Works
— German operas : Die unniitze Vorsicht,
Oder die betrogene Arglist, 1783 ; Der
Strazzensammler, Vienna, 1792 ; Das Peter-
mannchen, ib., 1794 ; Das Dorf im Gebirge,
ib., 1798 ; Die Uniform, 1803 ; Vesta's Feuer,
ib., 1805 ; Kaiser Hadrian, 1807 ; Adrian
von Ostade, 1807 ; Das Waisenhaus, 1808 ;
Die Schweizer Familie, 1809 (still on the
repertory) ; Der Einsiedler auf den Alpen,
1810 ; Francisca von Foix, Der Bergsturz,
1812 ; Die Jugend Peters des Grosseu,
1814 ; Nachtigall und Rabe, 1818 ; Baals
Sturz, oder Daniel in der LOwengrube, 1820 ;
KOnig Waldemar, oder die dilnischen
Fischer, 1821 ; Eduard und Carolina, 1821 ;
Die eiserne Pforte, 1823 ; Die Ebrenpforte.
Italian operas : II pazzo per forza, Vienna,
1788 ; La caffetiera bizzarra, 1700 ; La prin-
cipessa d' Amalfi, Giulietta e Pierotto, L'
amor marinaro, 1794 ; I solitari, 1797 ; L'
accademia del maestro Cisolfaut, 1798 ;
II piincipe invisibile, Laxeuburg, 1806 ;
Cleopatra, Milan, 1807 ; H rivale di se
stesso, ib., 1808 ; L' imboscata, 1815 ;
L' orfano d' Inghilterra (in Gennan as Mar-
garethe von Anjou, 1819), 181C ; La donna
di testa debole. Ballets : Das Sinnbild des
menschlichen Lebens, Die Eeue des Pygma-
lion, 1794 ; Richard Lowenherz, Der Raub
der Helena, 1795 ; Der Brand von Troja,
Alonzo und Cora, 1796 ; Alcina, 1797 ; Al-
ceste, 1800 ; Das niimsche Wesen, 1801 ;
Die Tanzerin von Athen, Die Spauier auf
der Insel Christina, 1802 ; Die isthmischen
Spiele, 1803 ; Die Miiller ; Eolla's Tod ;
Das Fest der Bacchanten ; Die vier Ele-
mente ; Das Fest der Donau. Oratorios :
La passioue di Gesti Christo, 1804 ; La
resurrezione. German cantatas : Die Ge-
fiihle der Dankbarkeit, 1798 ; Die Musen,
1805 ; Die Kraft der Weihe, 1814 ; Graf
Stadion's Namensfest, 1818 ; Der gute
Wille ; Erzherzog Karls Ankunft nach
der Einuahme von Kehl ; Nachtgesang.
Italian cantatas : Flora e Minerva, Amletto
(melodrama), Venere ed Adone, 1791 ; Di-
ana ed Endimioue, 1792 ; Le pazzie musi-
caU, H riposo dell' Europa, 1802 ; La festa
di Carolina negli Elisi ; Venere e Marte,
1812; n ritorno d' Astrea, 1816; Pezzi
sciolti, 1826 ; L' amor filiale ; 11 miglior
dono ; II giorno di nascita ; H sagrifizio.
Overtures and incidental music to several
CT^t/^^ ^O^k^ masses ; Grad-
\J uals ; Offerto-
ries ; Chamber music ; Songs, both German
and Italian.— Dlabacz ; CastelU, Memoiren
meines Lebens (Vienna and Prague, 1861),
i. 135, 146 ; Erinnerungen (Prague, 1846),
93 ; Mendel ; Ft-tis ; Schilling ; Bauernfeld,
Gesamm. Schriften (Vienna, 1873), xii. 108 ;
Hirsch, Galerie lebender Tondichter (Giins,
1836), 178 ; N. Nekrol. der D., xxiv. 97 ;
Pietznigg, Mittheilungen aus Wien (Vienna,
1833), 109, 145 ; Schmidt, Denksteine (Vi-
enna, 1848), 163 ; Wurzbach ; Zeitgenossen
(Leipsic), V. 62.
WEIHE DER TONE, DIE (The Con-
secration of Sound), symphony for orches-
tra, in F, by Spohr, op. 86, first performed
in Cassel, in 1832. This, the composer's
fourth symphony, was written at the baths
of Neundorf in 1832. The subject is from
"Die Weihe der Tone," a poem by Carl
Pfeiffer, which Spohr fii-st thought of setting
as a cantata. It is a masterpiece of instru-
mental colouring, and is Spohr's most popu-
lar work. I. Largo, Silence of Nature be-
fore the creation of Sound ; Allegro, Burst
of joyous life, voices of animated Nature,
and Storm ; 'H. Andantino, Cradle Song ;
Allegro, Dance and Serenade ; IH. Tempo
di marcia. Martial music, March to battle.
Regret of those left behind. Return of the
wan-iors ; Andante maestoso. Thanksgiving
for Victory (founded on an ecclesiastical
hymn of St. Ambrose) ; IV. Larghetto,
Funeral Dirge (on the Lutheran choral,
" Begrabt den Leib "), Allegretto, Comfort
in grief. This symphony was first given
in Vienna in 1834 ; in Berlin and Leipsic
WEHIE
in 1835 ; in Dresden in 1836 ; by the Lou-
don Philharmonic in 1835 ; and by the
New York Philharmonic in the season of
1846—17. Published by Haslinger (Vienna,
1835) ; for the pianoforte for four hands,
by Czerny (ib., 1835). — Spohr, Autobi-
ography, ii. 178 ; Ciicilia, xvii. lOG-115 ;
Hauslick, Concertwesen in Wien, ii. 312 ;
Allgem. mus. Zeitg., xxsv. 13 ; xxsvi. 418 ;
xxxvii. 196, 237, 261 ; Grove, iv. 29 ; Up-
ton, Standard Symphonies, 256.
WEIHE DES HAUSES, DIE (The Con-
secration of the House), overture in C, by
Beethoven, op. 124, first performed at the
opening of the Josephstiidter Theater, Vi-
enna, Oct. 3, 1822. It was written as a
prelude to a i-evision of the music to Die
Ruinen von Athen, for which Beethoven
wrote a final chorus, with soprano and violin
solo, and ballet. The overture is a colossal
orchestral composition, holding a place be-
tween the J//.s>a Solemnis, op. 123, and the
Sinfonie mit Schluss-Chor, op. 125. It is
comjjosed after the style of Handel, for
whom Beethoven had great admiration.
The score, dedicated to Prince Nicholas
von Galitzin, was first j)ublished by Schott
(Mainz, 1835) ; pianoforte arrangement for
four hands by Czerny (ib., 1835). Breit-
kopf & Hiirtel, Beethoven Werke, Seric
TIT, No. 7.— Thayer, Verzeichniss, Nos. 234
and 235 ; Marx, Beethoven, ii. 177 ; Nohl,
do., i. 282 ; Lenz, do., ii. Part IV. 160 ; do.,
Beethoven et ses trois styles, ii. 183 ; All-
gem, mus. Zeitg., xxiv. 795.
W'EIHNACHTS-ORATOEIUIM (Christ-
mas Oratorio), by Johanu Sebastian Bach,
written in 1734. This work cpnsists of six
cantatas for the three days of Christmas,
New Year's Da)', the Sunday after New
Year and Ejnphany, each one a complete
composition in itself, and making with the
others one grand oratorio. The text is
from Luke and Matthew. The separate
cantatas are as follows : I., " Jauchzet, froh-
locket, auf, preiset die Tage," Feria I Na-
tivitatis Christi, in D ; II., " Und es waren
Hirten in derselben Gegend ; " Feria H Nn-
tiv. Christi, in G ; HI., " Beherrscher des
Himmels erhijre das Lallen," Feria HI
Nativ. Christi, in D ; IV., " Fallt mit Dan-
ken, fallt mit Lobeu," Festo Circumcisionis
Christi, in F ; V., " Ehre sei dir, Gott, ge-
sungen," Dominica post Fest. Cii-cumcis.
Chr., in A ; VI., " Herr, wenn die stolzen
Feinde schnauben," Festo Epiphauias, in D.
Among the chorals the old melody to " 0
Haupt voll Blut und Wunden," occurs twice
to difterent words. The second part, which
opens with a Pastoral Symphony, in the style
of that in Handel's llessiah, pictures the
shepherds watching their flocks on the plains
of Bethlehem. The last division contains a
sojjrano aria, with a double echo of a sec-
ond soprano and oboe, transferred from
the cantata, The Choice of Hercules, com-
posed in 1733. The first choral in the
first jiart is used as a brilliant choral fan-
tasia for a finale to the last section. Some
numbers in the work are taken from
Bach's secular music. The opening cho-
rus of the third part is from a Dramma
per Musica, given by the Musical Union
on the Queen's birthday, Leipsic, Dec. 8,
1733 ; four arias, a duet, and chorus are
from a similar work composed for the heir-
apparent's birthday, Sept. 3, 1733 ; one
aria from a cantata to welcome King Fried-
rich August HI., on his visit to Leipsic,
Oct. 5, 1734 ; and the cradle-song in the
second part was originally composed for a
lullaby to the Crown Prince. The work is
too long for general performance, although
it has been given entire in England. The
first two parts were sung by the Handel
and Haydn Society of Boston, May 17,
1877. Published by the Bachgesellschaft,
Year V. (1855) ; new edition of Parts I. and
II., with additional accompaniments, by
Robert Franz (Leuckart, Leipsic, 1882).
The arias were printed separately by Schle-
singer (Berlin, 1859).— Spitta, Bach, ii. 400 ;
do. (Bell), ii. 570, 588 ; Bitter, do., ii. 44 ;
Poole, do., 85 ; Grove, ii. 540 ; Hanslick,
Concertwesen in "Wien, ii. 308 ; Upton,
Standard Oratorios, 33.
m
WEINGARTNER
WEINGAETNER, (PAUL) FELIX, Edler
von Miinzberg, born at Zara, Dalmatia,
June 2, 1863, stiU living, 1890. Dramatic
composer, studied at Leipsic in 1881, and
has since been Kapellmeister at Dantzic,
Konigsberg, and Prague. Works : Sakun-
tala, grand opera in three acts, text after
Kalidasa, Weimar, March 23, 1884 ; Mala-
wika, grand opera in three acts, text after
do., Munich, June 3, 1886 ; Compositions
for orchestra ; do. for pianoforte. — Rie-
mann.
WEINLIG (Weinlich), CHRISTIAN
EHREGOTT, born in Dresden, Sept. 30,
17i3, died there, May 13, 1813. Organist,
pupil at the Kreuzschule in Dresden of
Homilius ; became organist at the evan-
gelical church in Leipsic, 1767, at Thorn
in 1773, accompanist at the Italian opera
and organist at the Fraueukirche in Dres-
den in 1780, and in 1785 succeeded his old
master as cantor at the Ki-euzschule. Works
— Oratorios : Passious-Oratorium, Dantzic,
1776, Dresden, 1777 ; Jesus Christuslebeud
und sterbend, 1787 ; Die Feier des Todes
Jesu, 1789 ; Empfindungen am Sterbetage
Jesu, 1791 ; Der Christ bei dem Rreuze
Jesu, 1793 ; Der Erloser, 1801 ; Grosse
Cautate zur Einweihuug der Kreuzkirche,
1792 ; Habsburgs Meistersiinger, operetta,
Prague, 1792 ; Erinua, dramatic prologue,
1792 ; Augusta, cantata, 1789 ; Sonatas for
pianoforte with flute and violoncello. — Fo-
ils ; Mendel ; Schilling.
WEINLIG, (CHRISTIAN) THEODOR,
born in Dresden, July 25, 1780, died there,
March 7, 1842. Nephew and pupil of the
preceding, studied also under Padre Mattel
at Bologna, and in 1823 succeeded Schicht
as cantor at the Thomasschule in Leipsic.
He enjoyed reputation as a teacher of theo-
ry ; among his pupils was Richard Wagner.
Works : Die Feier der Erlosung, oratorio ;
Deutschea Magnificat, for soli, chorus, and
orchestra ; tjbungen for 2 soprani ; Vocal-
ises for various voices, etc. — Mendel.
WEINWURM, RUDOLF, bom at
Schaidldorf, Nether Austria, April 3, 1835,
still living, 1890. Vocal composer, entered
when a boy the imperial chapel, and re-
ceived there his musical education. In
1858, while studying law at the university,
he founded the Akademische Gesangvereiu,
and conducted it until 18G6. In 1864 he
assumed the direction of the Siugakademie,
and in 1866 succeeded Herbeck as Chor-
meister of the Miinnergesang-Verein, but
resigned in 1877, his duties as instructor
and director at the teachers' seminary, and
vocal instructor at the university, claiming
his undivided attention. In 1880 he was
appointed music director at the university'.
Works : Husarenfreude, cantata for bari-
tone solo, male chorus, and orchestra ; Im
Dorfe die Gasso entlang, for male chorus
and orchestra ; Deutsches Heerbanulied,
do. ; Liebesliedcr, do. ; Frau Musica, do. ;
Germania, do. ; Many other choruses, with
horns, or string instruments, or pianoforte,
or a cappella ; Songs ; Singspicl-Ouvertiire,
for orchestra. — Wurzbach ; Hanslick, Con-
certweseu, 390.
WEINZIERL, MAX, Ritter VON, boru
at Bergstadtl, Bohemia, Sept. 10, 1841, still
living, 1890. Dramatic composer, was
Kapellmeister at the Comic Opera and the
Ringtheatcr in Vienna, where he is now
director of the Singakadcmie. His own
compositions as well as his arrangements
of Schubert's songs for male chorus, are
very j)opular with singing societies. Works
— Operettas : Don Quixote (with Louis
Roth), Vienna, 1879 ; Die weiblichen Jilger,
ib., 1880 ; Madlemas, ib., 1880 ; Fioretta,
Prague, 1886 ; Page Fritz, text by A. Lands-
berg and R. Genee, ib., 1889 ; Hiob, ora-
torio, Vienna, 1870 ; Der Herr ist Gott,
psalm for chorus, soli, and organ ; Choruses
for male voices, and songs. — Wurzbach.
WEISHEIMER, WENDELIN, born at
Osthofeu, Alsace, in 1836, still living, 1890.
Dramatic compose!*, pupil at the Leipsic
Conservatoriuni in 1856-57 ; became Kapell-
meister of the theatre at Wiirzburg in 1866,
then at Mainz, and is now settled at Stras-
burg as a teacher. He is an ardent follower
578
WEISS
of Wagner. Works : Tbeotlor Ki'irner,
grand opera in five acts with a prologue,
text by Luise Otto, given in Munich, May
28, 1872 ; Meister Martin und seine Gesel-
len, three acts, text by August Schricker,
Carlsruhe, Feb. 22, 1879.
WEISS, C.IKL, born at Miihlhausen,
Switzerland, about 1738, died in London
in 1795. Flutist, accompanied an English
lord to Rome in 17G0, and settled after-
wards in London, where he entered the
private orchestra of George III. Works :
Six symphonies for orchestra ; 10 quartets
for flute and strings ; Trios for flutes. His
son and pupil, Carl (born at Miihlhausen
about 1777), was only seven years old when
he accompanied his father to England ;
later ho went to Paris and Italy, and stud-
ied composition under Meier at Bergamo.
Having settled and taught at Naples, he
appeared as a virtuoso in Rome, a few years
later, with so much success that he travelled
and then settled in England. Works : Con-
certo for flute ; Trios, and duos ; Fantasies,
etudes, etc., for flute ; Method for do. — Fe-
tis ; Mendel.
WEISS, FRANZ, born in Silesia, Jan.
18, 1778, died in Vienna, Jan. 25, 1830.
Virtuoso on the viola, chamber musician to
Prince Rasoumowsky, and member in Vienna
of Schuppanzigh's famous quartet. Works :
Music to several ballets ; Symphonies, and
overtures ; Symphonies concertantes for
flute, bassoon, and trombone, with orches-
tra ; Variations brillantes, for violin and
orchestra ; Quintet for strings ; C quartets
for do. ; Duos for violins ; do. for flutes ;
Sonatas for pianoforte.— Fetis ; Mendel ;
Wurzbach.
WEISS, GUSTAV GOTTFRIED, bom
at Conradswaldau, near Landshut, Silesia,
Dec. 13, 1820, still living, 1890. Dramatic
singer, pupil at the royal institute for church
music and at the academy in Berlin ; then
of Marx in composition, of Ries on the
violin, and, after studying six years Nehr-
lich's method of singing, made his debut at
Potsdam. He then sang at Cologne, GOt-
tingen, and other cities, and in 1853 settled
in Hamburg, to teach and lecture ; in 1856
he went again to Berlin, where he became
in 1858 vocal instructor at the Joachimthal-
Gymnasium. Works : Heinrich MiJnch von
Landskron, opera (1848, not given) ; Many
songs. He published Allgemeine Stimm-
bildungslehre (Brunswick, 18C8), an espe-
cially valuable work, published also in an
English translation in America. — Fetis ;
Mendel ; Ledebur, 630.
WEISS ICH GOTTES RECHTE, tenor
aria in C-sharp minor, with accompani-
ment of strings complete, and continuo, in
Johann Sebastian Bach's cantata, Eli ist dir
gesagt, Mensch, was gut ist.
WEISS, LAURENZ, born in Vienna, May
19, 1810, still living (?), 1890. Church
composer, pupil at the Conservatorium,
where he became in 1831 adjunct professor,
conducting the school of male voices for
thirty years, and in 1832-80 the boys' sing-
ing school, when he retii-ed with a pension.
From 1845 he was also choir director at
the Greek church. Works : Offertories,
graduals, etc., for soli, with organ, or small
orchestra ; Songs, and duets ; Choruses a
cappella ; Gesangschule f iir das Conserva-
torium in Wien, etc. — Wurzbach.
WEIS.S, SILVIUS LEOPOLD, born at
Breslau in 1684, died in Dresden, Oct. 16,
1750. Virtuoso on the lute, accompanied
Prince Alexander Sobiesky on a journey to
Italy in 1708, and became chamber musi-
cian to the Elector-king at Dresden in 1718.
He had then ah-eady acquired a European
reputation, and all contemporaries are
unanimous in praising the indescribable
charm of his execution, and his extraordi-
naiy talent for improvising. Works : Six
concertos for lute ; 10 trios, and 66 soli for
do. — Mai-purg, Hist. Beithige, i. 546 ; Men-
del.
WEITZMANN, KARL FRIEDRICH,
born in Berlin, Aug. 10, 1808, died there,
Nov. 7, 1880. Contrapuntist, pupil of
Henning on the violin, of Klein in the-
ory, and at Cassel of Spohr and Haupt-
579
WELCH
mann ; became chorus master in 1832 at j
the Stadttheater in Riga, in 1834 at Eevel,
and in 183G first violinist of the imperial
orchestra and music dii'ector of St. Ann's
Church in St. Petersburg. In 1846 he
went to London and Paris to study, and
in 1848 settled in Berlin to teach com-
position. He was an intimate friend of
Liszt. Works — Operas : Riiuberliebe ; Wal-
purgisnacht ; Lorbeer und Bettelstab, all
given at Eevel. Several books of songs ;
Pianoforte jiieces (4 and 2 hands) ; Riithsel,
canons for 4 hands ; 2 books of counter-
point studies ; 1,800 preludes, and modula-
tions. His principal writings are : Ge-
scliichte der griechischen Musik (1855) ;
Harmoniesystem (1800, prize) ; Geschichte
des Klavierspiels und der Klavierliteratur
(18G3, 1880); Der letzte der Virtuosen
(Tausig). One of his pupils, E. M. Bow-
man, published : Weitzmann's Manual of
Musical Theory (New York, 1877).— Men-
del ; Riemann.
WELCH tJBERMAASS DER GUTE,
tenor aria in D major, with accompaniment
of strings complete, and continuo, in Jo-
hann Sebastian Bach's cantata Dom. XIV.
post Triiiit., Wer Dank opfert, der preiset
mich (Bachgosellschaft, No. 17). Published
also separately, with accompaniment filled
out by Robert Franz (Leipsic, Whistling).
WELLINGTONS SIEG, ODER DIE
SCHLACHT BEI VITTORIA, battle-sym-
phony by Beethoven, op. 91, first performed
at a concert for the benefit of the soldiers
wounded at Hanau (Oct. 30, 1813), in the
Universitiitsgebiiude, Vienna, Dec. 8, 1813.
Beethoven conducted, and the orchestra
included Salieri, Spohr, Moscheles, Rom-
berg, Hummel, and Mayseder. The seventh
symphony was also played from MS. on
this occasion. This work, a piece of pro-
gramme-music, was written at the sugges-
tion of Maelzel (the inventor of the metro-
nome), after the news of the defeat of the
French at Vittoria. It is written in the
style of Kotzwara's BallJe of Prague, and
contains few traces of Beethoven's genius
and manner, but it appealed to the popular
taste. I. Marcia, Rule Britannia, Marcia,
Marlborough {Malbrook s'en va t'en guerre,
Schlacht (battle) ; H. Sieges-Symphonie. It
was first given in London at Drury Lane,
Feb. 10, 1815, and in Leipsic and Berlin in
181G. The score, dedicated to the Prince
Regent of England, George IV., was first
published by Steiner (Vienna, 181G), for
string quartet, for pianoforte, violin, and
violoncello, and for pianoforte for two and
four hands (ib., 1816). Breitkopf & Hiir-
tel, Beethoven Werke, Serie ii.. No. 1.
— Thayer, Verzeichniss, No. 180 ; do., Beet-
hoven, iii. 253 ; Marx, do., ii. 195 ; Schind-
ler (Moscheles), do., i. 145 ; Lenz, do., ii.
part iii. 234 ; do., Beethoven et ses trois
styles, ii. 162 ; Allgem. mus. Zeitg.,xvi. 70,
132, 291 ; xviii. 241, 283, 423 ; Grove, i. 190.
^VELS, CHARLES, born in Prague, Bo-
hemia, Aug. 24,
1825, still living,
1890. Com-
poser, pupil of
Tomaschek on
the pianoforte,
and in harmony
and composition.
In 1847 he be-
came court-pi-
anist in Poland,
and after a year in Dresden removed in
1849 to New York, where he engaged in
teaching. He has appeared occasionally as a
concert pianist, and has made several tours
through the country. Works : Concert
overture for orchestra, Prague, 1847, New
York, 1850 ; Suite for do., Prague, 1847 ;
Grand mass in C, op. 47, 1859 ; Mass of St.
C.-ecilia, op. 1G7, 1882 ; and Wels's third
Mass, op. Ill, 1883; Many transcriptions,
fantasias, short pieces, and arrangements
for the pianoforte for two and four hands ;
Concerto for the pianoforte with orchestra ;
Songs and part-songs, including Strom-
fahrt, quartet for men's voices, 1886.
WELSH SYMPHONY, for orchestra, in
B flat minor, by Frederic H. Cowen, first
WELSH
performed by the Philharmonic Society,
London, May 28, 1884, under the com-
poser's direction. — Athena3um (188-1), i. 701.
WELSH, THOMAS, born at Wells,
Somersetshire, England, in 1770, died at
Brighton, Jan. 31, 1818. Bass singer and
composer, chorister in Wells cathedral.
After studying under C. F. Horn, John
Cramer, and Baumgarten, he was admitted
as gentleman of the Chapel Royal, and
frequently appeared in oratorios. He
gained reputation for training pupils for
the stage. Works : Twenty Years Ago,
melodrama, 1810 ; The Green-eyed Mon-
stei", a musical farce ; Kamtchatka, musical
drama, 1811 ; Sonatas for the pianoforte ;
Part-songs, glees, duets, and songs. He
published also a book on the Art of Sing-
ing, etc.
WELT, ADE ! ICH BIN DEIN MUDE,
five-voice choral (2 S., A., T., B.) in B-flat
major, with accompaniment of horn, two
oboes, strings complete, and continuo, in
Johann Sebastian Bach's cantata, IFcrweiss,
wie nahe mir mein Ende. According to
Bach's statement, both melody and har-
mony were by Johann Rosenmiiller (died
168G).
WENDT, ERNST ADOLPH, born at
Schwiebus, Prussia, Jan. C, 1801, died at
Neuwied, Feb. 5, 1850. Organist and pi-
anist, pupil of Zelter, Bernhard Klein, and
A. W. Bach in Berlin ; became instructor
at the seminary at Neuwied in 182G, and
was also for many years organist there and
Kapellmeister to the Prince of Neuwied.
Works : Variations for j)ianoforte and or-
chestra ; Trio for pianoforte and strings ;
Preludes for the organ ; Sonata for piano-
forte (-4 hands) ; Symphonies, quartets, etc.,
in MS.— Mendel.
WENKEL, JOHANN FRIEDRICH WIL-
HELM, born at Nieder-Gebra, Prussian Sax-
ony, Nov. 21, 1734, died at Uelzen, Hanover,
in 1792. Organist and pianist, pupil of
Mengewein, his grandfather, and at Halber-
stadt of Miiller; went to Berlin in 1756,
and there was in great favour with Philipp
Emanuel Bach, Kirnberger, and Marpurg.
He was called in 1763 to Stendal as music
director at the four principal churches, and
later as organist to Uelzen. Works : Can-
tata ; Sonatas, and other pieces for piano-
forte ; 4 contrapuntal duos for flutes ; Solo
for violin. — Mendel.
WENN ICH EINMAL SOLL SCHEI-
DEN, choral in A minor, for Coro I. and
IL, with accompaniment of two flutes, two
oboes, strings comjjlete, organ, and continuo,
in Johann Sebastian Bach's Passion nach
MatthiUis, Part H., No. 72. The melody is
0 Haupt voll Blut und Wunden.
WENN SORGEN AUF mCH DRING-
EN, duet in E major, for soprano and
alto, with accompaniment of two oboi d' a-
more and violins iu unison, and continuo,
iu Johann Sebastian Bach's cantata Dora.
II. post Epiph., Ach Gott, wie manches
Herzelied (Baehgesellschaft, No. 3). Pub-
lished also separately', with the accompani-
ment filled out by Robert Franz (Breslau,
Leuckart).
WERBECKE. See Gaspar van Werbecke.
WER DA GLAUBET UND GETAUFT
■SVIRD, cantata Festo Ascensionis Christi,
for soli and chorus, with accompaniment of
two oboi d' amore, strings complete, and
continuo, by Johann Sebastian Bach (Baeh-
gesellschaft, No. 37) ; published, with ad-
ditional accompaniments, by Robert Franz,
in full and pianoforte score (Leipsic, Leuck-
art).—Spitta, ii. 298 ; Albert Halin, J. S.
Bach's Cantate "Wer da glilubet," etc.,
(Konigsberg, Verlag der Exposition der
Tonkunst, 1877).
WER DANK OPFERT, DER PREISET
inCH, cantata for the fourteenth Sunday
after Trinity, written by Johann Sebastian
Bach about 1735-37. The autograph score
is in the Konigliche Bibliothek, Berlin.
Published by the Bach Gesellschaft (Year
n.. No. 17). Published, with additional ac-
companiments, by Robert Franz. — Spitta,
Bach, ii. 556 ; do. (Bell), iii. 76.
WER EIN WAHRER CHRIST WILL
HEISSEN, soprano aria in D minor, with
681
WER
accompaniment of organ obligato and con-
tinue, in Jobann Sebastian Baeb's cantata,
Wer sicb selbst erbobet, der soil eniiedri-
get werden.
WER GOTT BEKENNT, alto aria in F-
sbarp minor, witb accompaniment of flute
and continuo, in Jobann Sebastian Baeb's
cantata, Est ist dir gesagt, Menscb, was gut
ist.
WER HAT DICH SO GESCHLAGEN,
cboral in F major, for Coro I. and II., witb
accompaniment of two flutes, two oboes,
strings complete, organ, and continuo, in
Jobann Sebastian Baeb's Pasitioti nacb Mat-
tbilus. Part II., No. 4G. Tbo melody is
Nun ruben alle "Walder, written by Hein-
ricb Isaak to the words, " Strasburg, icb
muss dich lassen," in 1539.
-W^RMANN, FRIEDRICH OSKAR,
born at Neicben, near Trebsen, Saxony, April
30, 1840, still living, 1890. Organist, pupil
of Julius Otto, Karl Kriigen, Gustav Merkel,
and FriedricbWieck, and at the Leipsic Con-
servatoriuni. After two j-ears in Alsace and
Switzerland, be was instructor at tbe royal
seminary in Dresden in 18G8-75, and
in 1876 succeeded Julius Otto as music
director of tbe tbreo evangelical cburcbes
and as cantor at tbe Kreuzscbule. Works :
Sacred and secular cboruses a cappella ; do.
witb orcbestra or organ ; Sacred cboruses
for male voices ; do. for mixed voices ; 21
secular cboruses for do.; 4 do. for female
voices ; Motets for 5-part chorus ; Orches-
tral music ; Compositions for organ ; Piano-
forte pieces, and songs. — Mendel.
WERNER, GREGOR JOSEPH, born in
1695, died at Eisenstadt, March 3, 1766.
Church comjioser, Haydn's predecessor as
Kapellmeister to Prince Eszterbiizy. Works :
Sixteen masses ; Requiem ; 12 oratorios for
Good Friday ; 5 Salve Regina ; 4 Regina coeli ;
4 Alma redemptoris ; Latin lamentations ;
Symphonies, fugues, etc. — Ft'tis ; Mendel.
"WERNER, JOHANN GOTTLOB, born at
Grossenbain, Prussian Saxony, in 1777, died
at Merseburg, July 19, 1822. Organist, pu-
pil of Hoffmann, organist at Borna ; became
organist at Freiberg in 1798, cantor and
organist at Hobenstein in 1808, and di-
rector and organist at Merseburg in 1819.
Works : 247 cboral preludes, 40 pieces for
beginners, and other organ music ; Orgel-
scbule (Penig, 1805) ; do., second part
(IMerseburg, 1823) ; Cboralbucb zum hol-
liindischen Psalm- und Gesangbucb (Leip-
sic, 1814) ; Musikaliscbes ABC Buch, etc.
(Penig, ISOG) ; Cboralbucb zu den silcb-
siscben Gesangbiicbern (Leipsic) ; Vcrsucb
einer kurzen und deutlicben Darstellnng
der Harmonielebrc (ib., 1818-19) ; Collec-
tions of chorals. — Mendel ; Fetis ; Riemann;
Schilling.
WER SICH SELBST ERHOHET, can-
tata for Dom. XVII. postTriuit., for soli and
chorus, with accompaniment of two oboes,
strings complete, organ, and continuo, by
Jobann Sebastian Bach (Bacbgesellschaft,
No. 47) ; j)ublished with additional accom-
paniments by Robert Franz, in full and
pianoforte score (Breslau, Leuckart). — Spit-
ta, i. 624.
WER WEISS, WEE NAHE MR JIEIN
ENDE ? Cantata for Dom. XYI. post Triuit.,
for soli and chorus, with accompaniment of
born, two oboes (1 oboe da caccia), strings
complete, and continuo, by Jobann Sebas-
tian Bach (Bacbgesellschaft, No. 27) ; pub-
lished, witb additional accompaniments, by
Robert Franz, in full and pianoforte score
(Leipsic, Leuckart). — Spitta, ii. 282.
WfiRY, NICOLAS LAMBERT, born
at Huy, Liege, May 9, 1789, died at Bande,
Luxemburg, Oct. 6, 18G7. Virtuoso on tbo
violin, pupil of Gaillard at Liege, and of
Baillot in Paris, where he settled in 1822,
and for a short time conducted tbe amateur
concerts at the Vauxhall. In 1823 he gave
a concert in Binissels with brilliant success,
and was appointed first violinist to the king,
and professor at the Conservatoire, whence
he retired with a pension in 18G0. Works :
Three concertos for violin and orchestra ; 4
rondeaux ; 14 tbfemes varies ; 6 romances ;
Nocturne ; 50 variations on tbe scale ; 12
etudes ; 20 exercises, etc. — Futis ; Mendel.
592
WESLEY
WESLEY, CHARLES, boru at Bristol,
EnglanJ, Dec. 11, 1757, died in London,
May 23, 1834. Organist, pupil of William
M. Rooke, Joseph Kehvay, and William
Boyce. He was a son of the Rev. Charles
Wesley, and a nephew of the Rev. John
Wesley, the Methodist leader. He was at
various times organist of Surrey Chapel,
South Street Church, Welbeck Church,
Chelsea Hospital, and St. Marylebone
Church ; and was organist in ordinary to
George IV. Works : Set of six concertos
for the organ or harpsichord, op. 1 ; Set of
eight songs, 1784 ; Anthems, one printed
in John Page's Harmonica Sacra (London,
1800) ; Music to Caractacus, a drama, etc.
WESLEY, SAMUEL, born at Bristol,
England, Feb. 24, 17GG, died in Loudon,
Oct. 11, 1837. Organist, pupil of his
brother, Charles Wesley. He composed an
oratorio, Ruth, when eight years old, learned
to play the organ and violin, and published
iu 1777 Eight Lessons for the Harpsichord.
In 1787 he met with an accident, by falling
into an excavation, which aflected him seri-
ously through life, but notwithstanding this
drawback ho became the greatest organist
of his time. Ho was the first to make
known iu England the works of Johann Se-
bastian Bach. Li 1811 he was conductor
and solo organist of the Birmingham Fes-
tival. Works : Five Masses ; Morning and
Evening Service iu F ; Te Deum, Sanctus,
Kyrie, Nunc dimittis, and Burial Service ;
Jubilate Deo ; Sanctus in F ; 2 Oratorios ;
8 Anthems ; Autiphons ; Ode to St. Cecilia's
Day ; 10 Concertos for the organ ; Volun-
taries for do. ; 5 symphonies for orchestra ;
3 overtures for do. ; 2 string quintets ; 2
string quartets ; Trio for oboe, violin, and
violoncello ; do. for pianoforte and two
flutes ; do. for three pianofortes ; Duet for
violin and violoncello ; Sonata for violin
solo in A ; Solo for violin with bass ; March
for horns, bassoons, oboes, and serpent ;
Pianoforte music ; Glees ; Duets ; Cho-
ruses ; Songs. With C. E. Horn he pub-
lished an edition of Bach's Wohltemjie-
rirle Clavier (London, 1810). His Letters
to Benjamin Jacob on the introduction of
Bach's works in England, written in 1808-
09, were edited and published by his daugh-
ter, E. Wesley (London, 1878). See "An
Account of the Remarkable Musical Talents
of Several Members of the Wesley Family,"
by W. Winters (London, 1874).
WESLEY, SAMUEL SEBASTIAN, born
iu London, Aug. 14,
1810, died at Glou-
cester, April 19, 187G.
English organist, sou
of Samuel Wesley.
He was educated at
the Blue Coat School ;
was chorister of the
Chapel Royal ; organ-
ist of St. James's
Chajjel, Ham p stead
Road, in 1827 ; of St. Giles's, Camberwell ; of
St. John's, Waterloo Road ; and of Hamp-
ton-on-Thames. In 1832 he became organ-
ist of Hereford Cathedral ; iu 1842 of Leeds
Parish Church ; iu 1849 of Winchester Ca-
thedral ; and in 1SG5 of Gloucester Cathe-
dral, holding this post until his death. He
was conductor also of the Three Choirs
Festivals held once in three years. He re-
ceived the degrees of ]\Ius. Bac. and Mus.
Doc. from Oxford iu 1839. Works : Five
Church Services iu E, G, C, and two in F. ;
The Psalter pointed for chanting ; 2G An-
thems ; 6 pieces in two sets for the or-
gan ; Introduction and fugue for do. iu C-
sharp minor ; 3 Andantes for do. iu G, A,
and E minor ; National Anthem with varia-
tions for do. ; Ode for the opening of an in-
dustrial exhibition ; The Praise of Music,
for Gounod's Choir at Albert Hall, 1873 ;
Air and variations for the jjianoforte ; March
iu C minor and Rondo in C for do. ; Chants ;
Hymns ; and Songs. He was author also
of the English Cathedral Service, etc. (Lon-
don, 1845).— Grove.
WESSELY, (CARL) BERNHARD, born
in Berlin, Sept. 1, 17G8, died at Potsdam,
July 11, 1826. Dramatic comj)oser, pupil
WESSELt
of J. A. P. Schulz, became in 1788 music
director at the National-Theater, and in 179G
Kapellmeister to Prince Heinrich of Prussia,
at Kheinsberg. After the Prince's death he
was compelled by circumstances to abandon
music as a profession, and entered the gov-
ernment service. At Potsdam he founded,
in 1814, a society for classical music, which
he conducted till his death. Works — Op-
eras : Die Fraskataueriu, Berlin, 1788 ;
Psyche, ib., 1789 ; Louis IX. en Egypte,
Rheinsberg, 1797 ; L'ogre, Eheinsberg,
1798 ; Music to ballets and dramas. Canta-
tas : KriJuungs-Cautate, Hamburg, 1787 ;
Sulamith uud Eusebius ; Trauercantate auf
den Tod Moses Mendelssohns ; Zur KrOnung
Friedrich II.; Dankopfer fiir den Landes-
vater ; Mozart's Urne ; Trauer-Cantate auf
den Tod des Prinzen Heinrich. Instru-
mental music ; Songs. — Fetis ; Ledebur,
G37 ; Mendel ; Schilling.
WESSELt, JOH.\JSfN, bom at Frauen-
berg, Bohemia, June 24, 1702, died (?).
Violinist, pupil of his uuclc, a Benedictine
monk in Prague. He was in 1797 a mem-
ber of the theatre orchestra at Altona,
whence he went as Conzertmeister to Cas-
sel, and in 1800 to Balleustildt. Works :
Frage und Antwort, comic opera, Ballen-
stiidt, about 1800 ; Dur tyrolcr Siuigcr, do.;
10 variations for horn and violin with or-
chestra ; 8 do. for clarinet with orchestra ;
12 do. for flute and violin ; 14 quartets for
strhigs ; 3 do. for clarinet and strings ; 3
trios for strings, etc. — Fetis ; Mendel ;
SchilUng ; Wui-zbach, 1. IGG.
WESTBROOIvE, WILLLVM JOSEPH,
born in London, Jan. 1, 1831, still living,
1890. Organist, pupil of E. Temple ; in
1848 organist of St. Bartholomew's, Beth-
nal Green, and in 1851 of St. Bartholo-
mew's, Sydenham, which jjost he still holds.
He is also musical examiner to the College
of Preceptors, London. For many years he
was co-organist at the Crystal Palace, and in
1865-78 conductor of the South Norwood
Musical Societj'. JIus. Bac, Cambridge,
1876 ; Mus. Doc, 1878. Works : Church
services ; Bristol prize madrigal. All is not
gold, 1865 ; Anthems ; Songs ; Part-songs
and trios for women's
voices; Pianoforte
pieces ; Harmonium
music ; Organ music,
original and arranged,
including a sonata in
E-flat, 1882; 3 vol-
umes of voluntaries,
and The Young Or-
ganist, 3 vols. In 1862
he established, with A.
W. Hammond and John Crowdy, the " Musi-
cal Standard," and he has jmblishetl " Ele-
mentary Music," a primer (London, 1879) ;
an "Organ Tutor," and English translations
of de Beriot's, Dancla's, and Alard's violin
schools ; and translations of the text of Mo-
zart's, Schubert's, Fesca's, and other songs.
WESTMEYER, WILHELM, born at
Iburg, near Osnabriick, in 1827, died in
an asylum near Bonn, Sept. 4, 1880. Pu-
pil at the Leipsic Conservatorium, and after-
wards of Lobe. Works : Amanda, oder
Griifin und Biluerin, opera, given at Leip-
sic, 1856 ; Der Wald bei Hermanustadt,
do., Dresden and Berlin, 1859. Kaiser-
Ouvertilro ; Symphonies ; Octet for wind
instruments ; Quartets ; Songs. — Eiemann ;
Wurzbach.
WESTMOREL^iND, JOHN FANE, Earl
of, born in London, Feb. 3, 1784, died
there, Oct. 16, 1859. Dramatic composer,
pupil of Charles Hague at Cambridge, of
Zeidler in Berlin, and Mayseder in Vienna.
He was known in the musical world as
Lord Burghersh, a courtesy title which he
bore until he succeeded to the earldom in
1844. He served in the army from 1805
till 1815, and was subsequently envoy to
Florence and ambassador to Berlin and Vi-
enna. In 1822 he proposed and aided in
establishing the Royal Academy of Music.
In 1832 he was a director of the Concert of
Antient Music. Works : Bajazet, Italian
opera, Florence, 1821 ; Fedra, do., ib.,
Nov. 17, 1824 ; II ratto di Proserpina, do..
WESTPHAL
London, 182G ; II torneo, do., Floreuce,
1829, London, 1838 ; Lo scomj^iglio tea-
trale, do. ; L' eroe di Lancastro, do. ; Cather-
ine, English opera (a resetting of Cobb's
Siege of Belgrade) ; Grand mass ; Church
Service ; Magnilicat ; Anthems ; Hymns ;
Madrigals ; Songs ; Duets. — Grove.
WESTPHAL, JOHANN CHKISTOPH,
born in Hamburg, April 1, 1773, died
there, Feb. 28, 1828. Organist, pupil of
Witthauer, Baumbach, Stegemanu, and
Schwenke, and at Erfurt of Kittel ; re-
turned in 179G to Hamburg, and became
in 1803 organist at the Nicolaikirche.
Works : Symphony for orchestra ; 2 quin-
tets for strings ; Quartet for do.; Preludes
for the organ. — Fctis ; Mendel ; Schilling.
WESTROP, HENRY JOHN, bom at
Lavenham, Suffolk,
England, July 22,
1812, died in London,
Sept. 23, 1879. Or-
ganist and violinist ;
made his first appear-
ance in 1825, at the
Sudbury theatre as
pianist, singer, and
violinist, and for sev-
eral years played the violin in the orchestras
of the Royal Italian Opera, and of the Phil-
harmonic Society, London, and conducted
the Choral Harmonists' Society. He was or-
ganist at St. Stej^hen's, Norwich ; at Little
Stanmore, in 1831 ; at Fitzroy Chapel, Lon-
don, in 1833 ; and at St. Edmund the King
and Martyr, Lombard Street, London, from
1834 until his death. Works : The Maid
of Bremen, opera, text by Fitzball, written
for the Pyne and Harrison Company, but
not given (MS.) ; Winter, cantata for bass
voice and orchestra ; O tasto and see, an-
them in E-flat ; Quartets for strings in E
and Eflat ; Quartet for pianoforte and
strings in A-flat, op. 2 ; Quintets for do. in
E-flat, 1843, and C minor, 1848 ; Trio for
pianoforte, violin, and violoncello, in F,
1841 ; Sonata for pianoforte and violin, in
F, 1844 ; do., for pianoforte and viola, in
E-flat ; do., for pianoforte and flute, in F,
op. G ; Allegro, for jjianoforte, in E-flat ;
Parting, for do. ; Greeting, for do. ; and A
summer eve, for do. — Gi-ove.
WEYSE, CHRISTOPH ERNST FRIED-
RICH, born at Altona, March 5, 1774, died
in Copenhagen, Oct. 7-8, 1842. Dramatic
composer, pupil of his grandfather, who
was cantor at Altona, and of J. A. P. Schulz
at Copenhagen, where he became member
of the court orchestra, and in ISIG received
the title of professor. Works — Operas :
Ludlam's Hohle, Cojjenhagen, 1808 ; Der
Schlaftruuk, ib., 1809 ; Faruk, 1814 ; Flo-
ribella, 1825 ; Eiu Abenteuer im KOnigsgar-
ten, 1827 ; Das Fest ia Kenilworth, 183G.
Symphony for orchestra ; Overtures ; So-
natas for pianoforte ; Etudes for do., etc.
Cantatas for all the principal feast days of
the church, and many secular cantatas for
special occasions. — Fetis ; Mendel.
WHEN OTHER LIPS AND OTHER
HEARTS. See Bohemian Girl.
WHEN STORMS THE PROUD, bass
aria of Abner, and chorus, in C major, with
accompaniment of two oboes, bassoon,
strings complete, organ, and continuo, in
Handel's Athalia, Act I , Scene 1.
WHEN THE FAIR LAND OF PO-
LAND. See Bohemian Girl.
WHITE, MAUDE VALERIE, born of
English parentage at Dieppe, June 23,
1855, still living, 1890. Composer of
songs, pupil of William S. Rockstro, Oliver
May, and Sir George A. Macfarren at the
Royal Academy of Music, Loudon, where she
won in 1879 the Mendelssohn scholarsship.
In 1881 she visited South America, and
spent the j'ear 1SS3 in study in Vienna.
She is known for her graceful and melodi-
ous songs, the best of which are to words
by Herriek and by Shelley. One of these,
" My soul is an enchanted boat," from
Prometheus Unbound, is of esjiecial
merit. Other works : Ave Maria ; The
lassie I lo'e best ; To Daffodils, To Blos-
soms, To Electra, To Music (Herriek) ; My
ain kind dearie, O, loving and true ; Mon-
WHITE
trose's Love Song ; Weuu icli in deiue Au-
gen sell ; lui wuuJersclioneu Monat Mai
(Heine) ; Cbautez, cbantez, jeune inspirue,
Heureux qui pent aimer (Victor Hugo) ;
There was a King in Tbule ; Schiller's Ich
babe gelebt imd geliebet ; Mass, performed
at the Eoyal Academy students' orchestral
concert, about 1881 ; Pianoforte music.
WHITE, ROBERT, English organist and
composer of the IGtb century. According
to one account he was organist of Ely Ca-
thedral from 15G2 until his death in 15G7 ;
to another, organist of Westminster Abbey
iu 15G0 ; and to a thii'd, that be was organist
of Westminster Abbey iu 1570, master of
the choristers in 1574, and died in 1575.
His compositions were highly esteemed iu
his own time, and the MSS. books of the
period contain much of his music, some-
times attributed to Thomas, William, and
Matthew White. Only three of his com-
positions have been published : The Lord
bless us, in Barnard's Collection (1G41) ;
Lord who shall dwell, iu Burney's History
of Music ; and O praise God in His holi-
ness, in Burus's Anthems and Services (2d
series, about 1847). His MS. compositions
are preserved in Chi-ist Church, Oxford,
the Music School librai\y, Oxford, the Royal
College of Music, the British Museum, and
Peter House, Cambridge. — Grove ; Burney,
iii. G5.
WHITING, ARTHUR BATTELLE,
born in Cambridge, Massachusetts, June
20, 1861, still living, 1890. Pianist, son of
Charles E. Whiting (singing teacher) and
nephew of George E. Whiting ; studied the
pianoforte under William H. Sherwood and
made his debut at Mechanics' Hall, Boston,
iu 1880. After studying counterpoint with
George W. Chadwick, he went iu 1883 to
Europe, and studied two years under Jo-
seph Rbeinbergcr at the Munich Conserva-
torium. Since his return he has devoted
himself to composition and teaching iu
Boston. Works : Four pieces for the pi-
anoforte, op. 1 (Ditson & Co., Boston) ;
Ti'io for pianoforte, violin, and violoncello.
op. 2 (MS.) ; Concert overture in C, op. 3,
played under the composer's direction at
the Worcester (Mass.) Musical Festival,
1885 (MS.) ; G songs from Heine, o^). 4
(MS.) ; 3 jDiauoforte pieces, Concert Etude,
Quasi Sarabande, and Valso Caprice, ojj. 5
(Boston Music Co.) ; Concerto for the jji-
anoforte and orchestra, op. 6, performed by
the composer with Frank Vau der Stuck-
eu's orchestra, Chickering Hall, New York,
Nov. 17, 1887 (MS.); and 4 songs for
tenor solo, op. 7 (MS.).
WHTriNG, GEORGE ELBRIDGE, born
iu HoUiston, Massachusetts, Sept. 14, 1842,
still living, 1890. Ox'ganist, made his first
appearance when thirteen at Worcester,
Mass., and in 1858 succeeded Dudley Buck
as organist of the North Congregational
Church, Hartford, Conn., and founded there
the Beethoven Musical Society. In 18G2 he
went to Boston, and played the organ in
various churches. Subsequently he stud-
ied under George W. Morgan in New
York, and William T. Best in Liverpool,
and on bis return became organist of St.
Joseph's Church, Albany. Removing to
Boston, he was for five years organist and
director of music at King's ChajJel. In
1874 he was organist of the Boston Music
Hall, and afterwards visited Berlin, where
he studied harmony under Haupt and or-
chestration under Eadecke. On his return
to Boston be became instructor on the or-
gan at the New England Conservatory of
Music, organist of the Cathedral of the
Holy Cross, and conductor of the Foster
Club. In 1870-82 he had charge of tbo
organ department in the Cincinnati College
of Music, then returned to his jjost iu tbo
New England Conservatory, which he still
holds. Works : Mass in C minor for voices,
orchestra, and organ, op. 4, 1872 ; do. iu
F minor, op. 37 ; To Deum in C, written
for the opening of the Cathedral iu Boston,
1874 ; Several Vesper Services ; Prologue
to Longfellow's " Golden Legend " for
chorus and orchestra, op. 11, 1873 ; Tale
of the Viking, cantata, op. 40, 1875 ; Dream
WHITNEY
Pictures, cantata, 1877 ; Lenore, cantata on
Burger's ballad, op. 42 (MS.) ; March of
the Monks of Bangor, op. 40, cantata, Bos-
ton, Feb. 23, 1887 ; Free Lances, for male
chorus and military band ; Midnight can-
tata, for soli and pianoforte, op. 43 ; Henry
of Navarre, ballad for male chorus with or-
chestra ; Symphony for orchestra, in C ;
Suite for do. ; Suite for violoncello and oi'-
chestra, op. 38 ; Suite for do. and piano-
forte, op. 32 ; Concerto for the pianoforte,
in D minor ; Sonata for do., in A minor ;
Fantasia for do., in F ; 3 Concert otudes,
in A minor, F, and B-flat ; 3 Preludes for
the organ, op. 2 ; 25 Studies for do., op.
3 ; Fantasia for do., op. 22 ; Registration
fantasia, op. 23 ; Storm fantasia for do.,
op. 24 ; Preludes for grand Mass, op. 31 ;
Magnificat, op. 25 ; Preludes, op. 30 ;
Hymns and Offertory pieces, op. 33 ; Psalm,
op. 34 ; and Songs. He has published two
books : " The Organist " (Boston, 1870) ;
and " The First Six Months on the Organ "
(1871).
WHITNEY, SAMUEL BRENTON, born
in Woodstock, Vermont, June 4, 1842, still
living, 1800. Organist, pupil in New
York of Charles Wels ; became organist of
Christ Church, Montpelier, Vt. ; of St.
Peter's, Albany ; and St. Paul's, Burlington,
Vt. In 1870 he went to Cambridge, Mass.,
where he studied music under John Knowles
Paine, and served as organist in Apjileton
Chapel, Harvard College. In 1871 he was
made organist and choir-director of the
Church of the Advent, Boston, which post
he still holds. He has been professor of
the organ and lecturer in the Boston Uni-
versity and the New England Conservatory
of Music ; is organ examiner and vice-presi-
dent of the American College of Music,
Boston ; and ho has won rejiutation as con-
ductor of numerous church choir festivals,
which he has organized in Massachusetts
and Vermont. Mr. Whitney is a noted in-
terpreter of Bach's compositions. Works :
Anthems for the Episcopal service ; Sonatas
and transcriptions for the organ ; Trio for
the pianoforte and strings ; Pianoforte
pieces ; Songs.
WHY DO THE NATIONS, bass aria in
C major, with accompaniment of strings
complete, and continuo, in Handel's Messiah,
Part H., No. 38.
WICHMANN, HERRMANN, born in Ber-
lin, Oct. 24, 1824, still living, 1890. Son of
the sculptor Ludwig Wichmann, pupil at
the royal academy, then of Taubert, Men-
delssohn, and Spohr ; lived eight years in
Italy, and in 1857 became director of the
Musikverein at Bielefeld, but resigned not
long after and settled in Berlin. Works :
Symphonies ; Quartets ; Trios ; Sonatas for
pianoforte ; do. for pianoforte and violin ;
Psalms ; Many songs. — Fetis ; Mendel ;
Ledebur, 039.
WICHTL, GEORG, born at Trostberg,
Bavaria, Feb. 2, 1805, died at Bunzlau, Si-
lesia, June 3, 1877. Violinist, studied in
Munich, where ho played in the orchestra
of the Isarthor-Theater ; became in 1826
first violinist to the Prince von Hohenzol-
lern-Hechingen, first at Hechingen, then at
LiJweuberg, Silesia, where ho conducted
also the church nuisic. Ho was appointed
Yize-Kapellmeister, and in 1858 received
the title of royal music director. After
the dissolution of the orchestra in 1870, he
.settled at Breslau, and in 1870 at Bunzlau.
Works : Aladin, oder die Wunderlampe,
opera ; Die Biirgschaft, melodrama ; Die
Auferstehung und Himmelfahrt Jesu, ora-
torio, 1840 ; Mass ; Sj-mphonies, and over-
tures ; Concertos for violin ; Many etudes
for do. ; Quartets ; Choruses for male voices ;
Songs, etc. — Fetis ; Mendel ; Schilling.
WIDERKEHR, JACOB CHRISTIAN
MICHAEL, born at Strasburg, April 18,
1739, died in Paris, April, 1823. Instru-
mental composer, learned to play several in-
struments, especially the violoncello and
bassoon, and was a pupil of Richter in
composition. In 1783 he went to Paris,
where he was violoncellist in the Concerts
Spirituels and the famous concerts of the
Logo Olympique ; in 1790 he was engaged
6S7
WIDERSPENSTIGEN
as bassoon plaj-er at the Theatre Lj-rique,
and in 1797 as trombone player at the
Opera ; but soon after gave up this place to
become vocal instructor at the newly
founded Conservatoire, where he remained
until its reorganization in 1802. Works :
Two symphonies for full orchestra ; Sym-
phonies concertantes for clarinet and bas-
soon ; do. for horn and bassoon ; do. for
flute, oboe, clarinet, horn, 2 bassoons and
violoncellos ; do. for oboe and bassoon ; do.
for clarinet, flute, and bassoon ; do. for
clarinet, oboe, and bassoon ; do. for piano-
forte and clarinet ; do. for 2 horns ; C quin-
tets for pianoforte, flute, clarinet, horn, and
bassoon ; Quintets for strings ; 10 quartets
for do.; 3 trios for flute, clarinet, and bas-
soon ; G sonatas for pianoforte, violin, and
violoncello ; 6 do. for i)ianoforte and violin ;
2 pot-pounis for pianoforte ; 2 collections
of romances. — Fotis ; Mendel.
WIDERSPENSTICxEN ZAHMUNG,
DER (The Taming of the Shrew), test
adapted from Shakespeare's comedy by
Joseph Victor Widmann, music by Her-
mann Goetz, first represented at Mannheim,
Oct. 11, 1874. The opera met with imme-
diate success, and it was given in Vienna,
Feb. 2, 1875 ; in Leipsic, Dec. 1, 1875, and
in liorlin, Dec. 11, 1870, with Minnie Hauk
as Catharina. It was first rei)rc.sented in
London by Carl Rosa's opera company, at
Her Majesty's Theatre, English translation
by the Rev. J. Troutbeck, Jan. 20, 1880 ;
and first in New York, by the American
opera company under Theodore Thomas's
direction, with Pauline L'Allemand as Kath-
arine, Jan. 4, 1880. Score published by
Kistner (Leipsic, 1875) ; by Augener (Lon-
don, 1878).— Mus. Wochenblatt (1874),
538 ; (1875), 92 ; (1870), 244, 282, 290, 307,
319, 335, 304, 380, 397 ; Signale (1875),
101, 978 ; Krehbiel, Review (1885-80), 89.
WTDILVNN, ERASMUS, born at Halle,
second half of the 10th century, died (?).
Vocal composer and poet laureate, was at
first cantor and organist at Rothenburg on
the Tauber, then Kapellmeister to Count
Hohenlohe at Weckerheim. "Works : Teu-
tsche Gesiinglein, mit vier Stimnien (Nur-
emberg, 1007) ;
Musikalischer
Kurtzweil newer
teutscher, mit
kurtzweiligen Tex-
ten gestellten
Gesiinglein, etc.
(ib., IGll) ; Musi-
kalischer Tugend-
spiegcl mit schij-
nen historischcn
und politischen Tcsten, etc. (ib., 10141 ;
xxxi. geistliche Motetten (ib., 1019) ; Musi-
kalischer Studenten Muth, etc. (ib., 1022) ;
Libellus, antiphona, hymnos, rospousoria
ot reliquas cantiones, etc. (Rothenburg,
1027) ; Musikali.scher Kurtzweil in Can-
zoncn, lutraden, etc., 2 books (Nuremberg,
1018, 1023). He also published a treatise :
Musicaj prtecepta latino-germanica (ib.,
1015). — Mendol ; Riemann.
W'IDOR, CHARLES ]\LVRIE, born in
Lyons, Feb. 22, 1845, still living, 1890.
Pianist and organist, pupil in Brussels of
Lemmens on the organ, and of Fetis in
composition. In 1800 he became organist
of the church of Saiiit-Franyois, Lyons, and
in 1809 of Saint-Suliiice, Paris. Since then
his reputation as a great organist and one
of the most distinguished modern French
composers has been firmly established.
Works : MaUrc Arabros, ojsera, Paris, Ope-
ra Comique, May 6, 1880 ; La nuit de
Walpurgis, symphonic poem ; Psalm cxii.,
for 2 choruses, 2 organs, and 2 orchestras ;
Marche nuptiale, for orchestra ; Concerto
for pianoforte with orchestra ; do. for
violoncello with orchestra ; Quintet for
pianoforte and wind instruments ; Sere-
nade for pianoforte, flute, strings, and har-
monium ; Trio for pianoforte and strings ;
3 pieces for violoncello and pianoforte ;
0 symphonies for organ ; Chorus a cap-
pella ; Duets ; Many pianoforte pieces ;
Songs. — Fc'tis, Supplement, ii. 009; Rie-
mann.
WIDOW
WIDOW OF NAIN, THE, cantata for
clioriis, soli, and orchestra, by Alfred James
Caldicott, first given at the Worcester (Eug-
laud) Festival, Sept. 7, 1881 ; iu London,
at Kensington Town Hall, April 8, 1884.
Athentcum (1881), ii. 347.
WIE AUS DER FERNE. See Pliecjcnde
Hollilnder.
WIECK, FRIEDRICH, born at Pretzsch,
near Torgau, Aug. IS, 1785, died at Losch-
witz, near Dresden, Oct. 6, 1873. Pianist,
studied theology at Wittenberg University,
then became tutor in a private family, and
founded in Leipsic a pianoforte factory and
circulating music library. He gavo music
lessons also, and was so successful in teach-
ing his daughter Clara, afterwards wife of
Robert Schumann, that pupils came to him
from many countries. In 1840 he went to
Dresden and studied the method of the
celebrated singing-master Mieksch. He
numbered among his pupils Hans von Bil-
low, Anton Krause, Fritz Sj)indler, the or-
ganist Merkel, Friedrich Reichel, etc.
Works : Eight songs with pianoforte ; 2
collections of etudes ; Clavier und Gesang
(Leipsic, 1853) ; Musikalische Bauern-
spriicho (2d ed., 187G).— Meich.sner, Fr.
Wieck und seine TiJchter, etc. (1875) ;
Mendel ; Fetis, Supplement, ii. GG9 ; Rie-
mann.
WIEDEBEIN, GOTTLIEB, born at
Eilenstadt, near Halberstadt, in 1779, died
(?). Organist and pianist, pupil of Zacharia
at Magdeburg, and of Schwanberg at
Brunswick, where he afterwards settled to
teach, and in 1809 became organist of the
Briiderkirchc. In 1820 he visited Italy,
and on his return iu 1822 was appointed
Hof -Kapellmeister. Works : Die Befreiung
Deutschlauds, oratorio, Brunswick, 1822 ;
L'hommage, overture for orchestra ; Can-
tatas ; Motets ; Chorals ; Rondos, variations,
etc., for pianoforte ; German songs. — Fotis ;
Schilling.
WIEDEINIANN, ERNST JOH.A.NN, born
at Hohen-Giersdorf, near Grottkau, Silesia,
March 28, 1797, died at Potsdam, Dec. 7,
1873. Church composer, pupil of Josef
Schnabel and F. W. Berner at Breslau. In
1818 he became organist of the Catholic
Church at Potsdam, in 1832 founded a
singing society, and in the same year was
appointed vocal instructor at the royal
Kadettenhaus. In 1830 he established an
institute for music after the Logier-Lan-
caster system, which flourished until 1845,
and with Schilrtlich founded in 1840, and
alternately conducted, a male singing so-
ciety'. In 1852 ho resigned his position as
organist. Works : Six masses for soli, cho-
rus, and orchestra ; Te Deura for do. ; 3
hymns for do. ; Many compositions for or-
gan, and pianoforte ; Songs. — Fetis ; Men-
del.
WIE FURCHTSAM WANKEN MEINE
SCHIIITTE, alto aria iu C major, with ac-
companiment of strings complete, organ,
and continue, in Johann Sebastian Bach's
cantata Dom. XIII. post Trinit., Allein zu
dir, Herr Jesu Christ (Bachgesellschaft,
No. 33). Published also separately, with
the accompaniment transcribed by Robert
Franz (Leipsic, Whistling).
WIENIAWSKI, HENRI (Henryk), born
at Lublin, Poland, July
10, 1835, died at Mos-
cow, April 1, 1880. Vio-
lin virtuoso, pupil of
Clavel and of Massart at
the Paris Conservatoire,
where he won the 1st
prize iu 1846, it is said
with regret, as it entail-
ed his leaving the Con-
servatoire. Returning to Paris after a j-ear's
absence in Russia, where he gave his first
concerts at St. Petersburg and Moscow, ho
studied harmony in 1849-50 under Colet,
at the Conservatoire. When eighteen he
went on a long professional tour through
Poland, Russia, Belgium, Holland, Germauj-,
the north of Europe, England, etc. In 18G4
he was appointed first violin solo to the
Emperor of Russia, and in 1874-77 was pro-
fessor of violin at the Brussels Conservatoire.
WIENIAWSKI
His brother Joseph often accompanied him
on his concert tours, and composed duos
with him. Works : Two concertos for vio-
lin and orchestra ; Several polonaises ; Le-
gende ; Duos for pianoforte and violin ;
Airs russes ; Fantaisie sur le Prophete, etc.
— Desfossez, H. Wieniawski (The Hague,
185G) ; Futis ; Hart, The Violin, 237 ; Men-
del ; Riemann.
WIENIAWSKI, JOSEPH (J6zef), born at
Lublin, May 23, 1837,
still living, 1890. Pian-
ist, brother of the jire-
ccding, pupil of Zim-
merman, Alkan, and
Marmontel, and in har-
mony of Lecouppej',
at the Paris Conserva-
toire. He returned to
Russia with his brother
in 1850, frequently joined him in concert
tours, then studied under Liszt at Weimar,
and in 185G theory under Marx in Berlin,
lived again for several years in Paris, and
in 18G6 settled at Moscow, where he first
taught at the Conservatorium, then founded
a school for pianoforte, with the most grat-
ifying results. Afterwards ho removed to
Warsaw, and since his brother's death has
again more frequently appeared in concerts.
Works : 2 overtures for orchestra ; Con-
certo for pianoforte and orchestra ; Quartet
for strings ; Grand duo polonais for piano-
forte and violin ; Sonata for do.; do. for
pianoforte and violoncello ; Valse do con-
cert ; Fantaisie et variations do concert ;
Idylles ; Morceaux de concert ; etc. — Fetis ;
Mendel.
WTE SOLL ICH DICH EMPFANGEN,
choral in A minor, with accompaniment of
flute, two oboes, strings complete, bassoon,
organ, and continuo, in Johann Sebastian
Bach's cantata, Jauchzet, frohlocket, auf,
preiset die Tage (Wfihnachrs - Omiovium,
Part I). The melody is O Haupt voll Blut
und Wunden.
WIE WUNDERBARLICH IS DOCH
DIESE STRAFE, choral in B minor, for
' Coro L and H., with accompaniment of two
flutes, 2 oboes, strings complete, organ, and
continuo, in Johann Sebastian Bach's I'aa-
sion nach Matthiius, Part II., No. 55. The
melody is Herzliebster Jesu, was hast du
verbrochen ?, written by Johannes Criiger
(1G40).
WILBACK, ADOLPHE Z0£ CHARLES
RENAUD DE, born at Montpcllier, France,
June 3, 1829, still living, 1890. Organist,
pupil of Benoist, and in composition of
Hali'vy, at the Paris Conservatoire ; won
first prizes in both branches in 1841, and
went to Rome in 1845. After travelling
in Germany he returned to Paris, and in
1855 became organist of Saint-Eugene.
Works : Au clair de la lune, operetta,
Paris, 1857 ; Almanzor, opera-comique, ib.,
1858 ; Caprices - etudes for pianoforte ;
Rondos, fantaisies, etc., for do. — Fctis ;
Mendel.
"WILBYE, JOHN, English composer,
born about 15G4, died about 1G12. Al-
though one of the best of the English mad-
rigal composers, nothing is known of his
life. His first set of madrigals for 3, 4, 5,
and 6 voices (Este, London, 1598), contains
thirty compositions, and the second set for
3, 4, 5, and G voices, " apt for both voj'ces
and viols " (London, 1C09), thirty-four.
These were reprinted in score by the Lon-
don Musical Anti(piariau Societj', the first
volume edited by James Turle (London,
1841), tho second by Georgo William Budd
(184G). He contributed also two numbers
to Sir William Leighton's Teares or Laraen-
tacions (London, 1G14). — Grove ; Hawkins,
iii. 387 ; Burncj', iii. 124.
WILDLIEDER, three poems from the
" Wildlieder " of Pfarrius, for voice with
pianoforte, by Schumann, op. 119. I. Die
Hiitte, in G ; II. Warnung, in B minor ;
in. Der BraUtigam und die Birke, in G.
The sougs were composed in 1851, dedi-
cated to Friiulein Mathilde Hartmann, and
pul)lished by A. Nagel (Hanover, 1853).
Breitkopf & Hiirtel, Schumann A\'crke,
Serie Xm., No. 31.
soo
WlLllELM
3,000 marks was
WILHELJI, KARL, born at Schmalkal-
tleii, Hesse - Nassau, Sept. 5, 1815, died
there, Aug. 26, 1873.
Vocal comjjoser, was
director of the Lieder-
tafel at Crefeld in
1810-G5, and there
composed in 1854 Die
WaciU am llheiu, fam-
ous in the war of
1870-71 and for which
an auiuial pension of
granted him.
WILHELMJ, AUGUST (EMIL DANIEL
FRIEDEICH VIC-
TOR), born at Using-
eu, Nassau, Sept. 21,
1815, still living,
1890. Virtuoso on
the violin, i)upil of
K. Fischer in Wies-
baden, and at the
Leipsic Conserva-
toriuui in 18(')1-G4 of
David, and ill theory' of Hauptmaun and
Ilichter, and later in Wiesbaden of Raff.
He played in one of Haydn's quartets when
only eight years old, and the following year
appeared alone in concert. In 1862 he
played at a Gewandhaus concert ; made his
first concert tour in Switzerland in 1865 ;
visited Holland and England in 18GG,
France and Italy in 1867, and in 1868 Rus-
sia, where he was intimate with Berlioz.
He was in Switzerland, France, and Bel-
gium in 1SG8-G9, in England, Scotland,
and Ireland in 1860-70 ; then revisited
Holland, and in 1871-74 was in Sweden,
Norway, Denmark, Germany, and Austria,
in England in 1875-77, and iu America
in 1878. Ho was first violin at the Bayreuth
Festival in 1876, and at the Wagner Con-
certs in London. In 1871 he was made
professor, and he has received many medals
and decorations. He i.? among the first
living violinists, remarkable for the power
and purity of his tone, and for his wonder-
ful double stopping. His residence is
Biebrich-on-the-Rhine, where he founded
a high school for violin playing. Works :
Hochzeits-Cantate for soli, chorus, and or-
chestra ; Romance for pianoforte ; Songs ;
Concerto ; Transcriptions of Bach, Chopin,
and Wagner, and other pieces for the vio-
lin.— Mendel ; Riemann ; Feti.s, Supple-
ment, ii. 671 ; Mus. Wochenblatt, ii. 249.
WILHEM, GUILLAUME LOUIS BOC-
yUILLON, born in Paris, Dec. 18, 1781,
died there, April 26, 1842. Singing teacher,
pupil of the Paris Conservatoii-e ; left the
army to devote himself to music, and be-
came a professor in the LycL'C Napoleon
and in the College Hcuri IV. In 1818 he
became teacher of singing in the iScoles
d'enseignement mutuel, and subsequently
director-general of music in the municipal
schools of Paris. From his evening classes
among the workingmeu of Paris grew the
Orpheon, the focus of the choral societies
iu France, corresponding to the Lieder-
tafel of Germany, but his system is now
gone out of use. Wilhem composed music
to Beranger's songs, and ijublished a num-
ber of instruction books, including "Ml-
thode-Manuel Musicalo " (Paris, 1840).
—Grove, ii. 611 ; iv. 457.
WELLAERT (Vuigliart, Vigliar, WigHar-
dus), ADRIAN, born iu Flanders (accord-
ing to Fetis, who bases
his authority on Zar-
lino, at Bruges, but
more probably, accord-
ing to Jacques de
Meyere and Van der
Straeten, at Roulei's,
near Courtrai) about
1480, died in Venice,
Dec. 7, 1562. Intend-
ed for the law, he was sent to Paris to
study ; but his taste for music soon de-
clared itself, and he studied the theory of
the art, either under Jean Mouton, or Jos-
quin Despres. After returning to Fland-
ers, he went to Venice, and thence to Rome,
where, much to his surprise, he heard the
Pontifical Choir sing his own motet, " Ver-
591
WILLAERT
bum dulce et suave," as a composition of
Josquiu's. As soou as he proved Lis own
authorship of the work, the choir laid it
aside in disgust, and never sang it again.
From Rome he went to Ferrara, whence he
went to enter the service of Ludovik IL, King
of Bohemia and Hungary. It is probable
that he returned to Italy after the king's
death at the battle of Mohacz, in 152G, for
on Dec. 12, 1527, we find him appointed by
the doge, Andrea Gritti, maestro di cappella
at San Marco in Venice. It was here that
his grand career may be said to have be-
o-un. He founded a music school which
became almost as famous as those of Gou-
dimel and the brothers Naniui in Eome,
counting among its pupils Zarhno, Cipriano
de llore, and Andrea Gabiieli. Indeed
Willaert may be called the real head and
founder of the great Venetian school of
composition, which culminated in Giovanni
Gabrieli, and gave to Germany Hans Leo
Hassler and Heinrich Schiitz. He was al-
most without doubt the inventor of poly-
choric writing, and he was one of the first,
if not the very first, to cultivate the madri-
gal. If his writing is still distinctly in the
rather rigid Flemish style, there is recog-
nizable in it a decided advance in grace and
freedom of movement upon even the great-
est of his predecessors. Works : Famosis-
simi Adriani Willaert. . . . musica
quatuor vocum, quic vulgo motecta) nuncu-
patur, liber primus (Venice, Scotto, 1539,
2d ed., ib., Gardane, 1545) ; H primo libro
di motetti a sei, etc. (Venice, Gardane,
1542) ; Adriani Willaert musica quatuor
vocum, motecta vulgo appellant, etc., lib.
H. (ib., 1545) ; Canzone villanesche alia
uapolitana [with some by other composers],
etc., lib. I., a 4 voci (ib., 1545, 2d ed.,
Scotto, 1548) ; Libro primo di madrigali
a cinque voci (Scotto, 1548) ; Fantasie o
ricercari ... da lo eccellentissimo
Adriano Vuigliart e Cipr. Rore, suo dis-
cepolo a 4 e 5 voci (Gardane, 1549, 2d
ed., ib., 1559) ; Psalmi vespertiui omnium
dierum festorum per annum, quatuor usque
octo vocum [with some by Jachet] (ib., 1550,
2d ed., 1557, 3d ed., 15G3) ; Madrigali di
Verdelot a sei, insieme altri madr. di A.
Willaert e di diversi autori, etc. (ib., 1501,
reprint from earlier collections, but in part
new) ; Motecta quatuor, quinque, sex et
septem vocum, etc., lib. I. et H. (Louvaiu,
Phalcse, 1561) ; Hymui a quattro voci (Ven-
ice, Gardane, 1557) ; Musica nova di A. W.
air illustrissimo ed eccellentissimo etc.
Alfonso d' Este, principe di Ferrara [edited
by Francesco Viola ; contains 33 motets,
and 25 madrigals, 4-7 voc] (ib., Gardauo,
1559) ; Sacri et santi salmi che si cantano a
vespro et compieta, con li suoi hymni, re-
sponsorj et Benedicamus, a un coro et a
quattro voci, con la gionta di doi Magnifi-
cat (ib. 1571) ; Musica a tre voci [by Wil-
laert and 12 others] (ib., Scotto, 15CG).
Motets by Willaert are also contained in
Petnicci's Motetti della Corona (Fossom-
brone, 1519) ; Attaignant's Collection de
motets a quatre, cinq et six voix, lib. VII.,
VIII. and XI. (Paris, 1534) ; Salblingcr's
collection (.Vugsburg, 1545) ; Fior de' mo-
tetti, lib. L (Venice, 1539). Other com-
positions are in Finck's Schoeue auserlesenc
Lieder. . . . von 4 Stimmen (Nurem-
berg, Formschneider, 153G) ; Novum et
insigne opus musicum (ib., Grai)hpeus, 1537) ;
Modulationes aliquot quatuor voc. selectis-
simtc (ib., Petrejus, 1538) ; Psalmorum se-
lectorum. . . . quatuor et quinque
vocum (ib., ib., 1538) ; Cantiones quinque
vocum selectissiniiE, etc. (Strasburg,
Schiiffer, 1539) ; Motetti della Simia (Fer-
rara, 1539) ; Selectissima! necnon familiaris-
sirase cantiones ultra centum, etc. (Augs-
burg, Kriesstein, 1540) ; Verdelot tutti li
madrigali del primo e secondo libro a 4
voci, etc. (Venice, Gai-daue, 1541) ; Motecta
trium vocum, etc. (ib , ib., 1543) ; Motets a
quatre voix, lib. HI., and do. a cinq voix,
Ub. n. and HI. (Lyons, Jacques Modeme,
5'J2
WILLCOX
1532-39) ; Recueil de fleuris produites de
la divine musique ii trois parties, etc. (Lou-
vain, Pbalese, 1569) ; Lib. IV., V. and VL
of Tylman Susato's coll. of chansons fi-an-
gaises (Antwerp, 1543-50). Two motets, 4
voc, and 21 chansons fran9aises, 5 and 6
voc, are in Eler's collection in score, in the
library of the Paris Conservatoii-e. — Am-
bros, iii. 503 ; Fotis ; Mendel.
WILLCOX, JOHN HENRY, born at Sa-
vannah, Georgia, Oct. 6, 1827, died in Bos-
ton, Massachusetts, June 20, 1875. Organ-
ist, was graduated at Trinity College,
Hartford, in 181:9 ; succeeded Samuel P.
Tuckerman as organist of St. Paul's Church,
Boston, and later, until 1874, was organist of
the Church of the Immaculate Conception.
For many years he was connected with the
organ-builders, Hook & Hastings, George
Simmons, and Plaisted & Co. Some of his
comj)ositions, chiefly for the Catholic Church,
have been published.
"V\aLLENT, JEANBAPTISTE JOSEPH,
born at Douai, Dec. 8, 1809, died in Paris,
May 11, 1852. Virtuoso on the bassoon,
pupil of Delcambre at the Paris Conserva-
toire ; was at first bassoon jjlayer at the
Italian Oj^era in London, then at the Thea-
tre Italien in Paris. In 1831 he married
Bordogni's daughter in New York, and
after travelling several years with his wife,
became professor of his instrument at the
Conservatoire of Brussels, and in 1848 at
that of Paris. Works : Le moine, opera,
Brussels, 1844 ; Van Dyck, ib., 1845 ; 4
coucertantes for bassoon and orchestra, or
pianoforte ; Concertante for bassoon and
clarinet ; Duo for bassoon and oboe ; Method
for bassoon. — Fotis ; Mendel ; Riemann.
WILLING, JOHANN LUDWIG, born
at Kiihudorf, near Meiningeu, May 2, 1755,
died at Nordhausen, September, 1805. Or-
ganist, pupil of Rempt at Suhl ; became
organist of the Hauptkirche at Nordhausen,
where he established weekly concerts, and
did much to promote good taste in music.
Works : Concerto for violin ; do., for vio-
loncello ; Sonatas for violin and pianoforte ;
do. for pianoforte ; Duos for violins ; 24
English dances for pianoforte ; Variations
for do., etc. — Fetis ; Mendel.
WTLLIS, RICHARD STORRS, born in
Boston, Massachusetts, Feb. 10, 1819, still
living, 1890, in Detroit, Michigan. Com-
poser, brother of Nathaniel Parker Willis.
After his graduation in 1841, at Yale Col-
lege, he went to Germany, and studied har-
mony and musical form under Schnyder von
Wartensee in Frankfort-ou-tLe-Main, and
counterpoint and instrumentation under
Haujjtmann in Leipsic. He became also a
friend of Mendelssohn, who revised his
compositions. In 1847 he returned to
America, edited the " Musical Times," which
was afterwards consolidated with the " Mu-
sical World," and established a magazine
entitled " Once a Month." Works : Glen-
Mary Waltzes (Ditson & Co., Boston) ;
Church Chorals, Student Songs for Yale ;
Miscellaneous Lyrics (Boston and New
York, 1842-52) ; Anthems of Liberty and
War Lyrics (New York, 18G1-G5) ; and Fes-
tal Lyric to Leo XHI. (Detroit, 188G). He
published a book entitled Our Church
Music (New York, about 1852) ; and a col-
lection of his lyrics. Waif of Song (Gali-
gnani, Paris, 187(3).
WILLKOMjMEN ! WILL ICH SAGEN,
alto aria in E-flat major, with accomjsaui-
ment of oboe da caccia, organo obligato,
and continue, in Johaun Sebastian Bach's
cantata, Wei' weiss, wie nahe mir mein
Ende.
WILLMERS, HEINRICH RUDOLF,
born in Berlin, Oct. 31,
1821, died in Vienna,
Aug. 24, 1878. Pianist,
pupil of Hummel at
Weimar, and of
Schneider at Dessau ;
made numerous concert
tours from 1838 to 1853,
when he settled in Vi-
enna, and whither he re-
turned, after a sojourn in Berlin in 1864-
66, as professor at Stern's Conservatorium.
WILLST
Works : Quartet for pianoforte and strings ;
Sonata for pianoforte and violin ; Etudes
de concert ; Many fantasias, morceaus de
concert, etc., for pianoforte. — Fetis ; Men-
del
■\\T1LST DU DEIN HERZ ^HB
SCHENKEN, song, attributed by Zelter to
Johann Sebastian Bach, and still so attrib-
uted in concert - programmes ; but really
written by Giovannini (see Gerber, ii. 332).
— Spitta, i. 834.
WILM, NHiOLAI VON, born at Riga,
March 4, 1834, still living, 1890. Instru-
mental and vocal composer, pupil in 1851-
56 at the Leijisic Conservatorium ; became
in 1857 assistant Kapellmeister at the Stadt-
theater of Riga, and was in 1860-75 pro-
fessor of j)ianoforte and theory at the Niko-
lai Institute in St. Petersburg. He then
settled in Dresden, and in 1878 at Wies-
baden. Works : Sextet for strings ; Suites
for pianoforte (4 bauds) ; Schlesische Reise-
bilder, for do. ; Die schone Magelone, for
do. ; Choruses for male voices ; Songs.
— Riemann.
^YILMS, JAN WELLEM, born at Witz-
heldeu, Schwarzburg-Soudershausen, March
30, 1772, died at Amsterdam, July 19,
1847. Instrumental composer, pupil of his
father and of his brother, who was organist
at Elberfeld, where he afterwards settled
to teach music, and whence he went in
1791 to Amsterdam. He studied harmony
there under Hoderman, and became organ-
ist in 1824. He was elected in 1808 a mem-
ber of the Institute of the Netherlands.
Works : Symphony for orchestra ; 2 con-
certos for pianoforte ; Concerto for flute ;
Quartet for strings ; 2 trios for pianoforte
and strings ; Sonata for violin and piano-
forte, etc. His song "Wien Neerlands
bloed door de aderen vloeit," became pop-
ular throughout Holland. This theme has
been effectively used by Henry Litolff in the
finale of his third Concerto-Symphonie, in
E-flat.— Viotta ; Fetis, Supplement, il 673.
WILSON, JOHN, born at Feversham,
Kent, England, April 5, 1594, died at West-
minster, Feb. 22, 1673.
composer ; in 1641 he
Lute player and
was one of the
"Musicians for
the Waytes ; " in
1644 he received
the degree of Mus.
Doc. from Oxford,
where he lived un-
til 1646, when he
went to reside with
the family of Sir
William Walter of
Sarsden, Oxfordshii-e. In 1656 he was
appointed professor of music at Oxford,
and in 1662 gentleman of the Chapel
Royal to Charles H., in place of Henry
Lawe.s, who died in that year. He is said
to have been the best lute jjlayer of his
time in England. His portrait is in the
Music School, Oxford, and he is buried in
St. Peter's, Westminster. Works : Psalte-
rium Carolinium. The Devotions of His
Sacred Majestie in his solitudes and suffer-
ings, Reudred in verso [by Thomas Stanley],
Set to Musick for 3 Voices, and an Organ or
Theorbo (London, 1657) ; Cheerful Ayres
or Ballads, first composed for one single
voice and since set for three voices (1660) ;
xVires for a Voice alone to a Theorbo or
Bass Viol, printed in a collection of Select
Airs and Dialogues (1653) ; Divine Service
and Anthems, the words of which are in
James Clifford's " Collections " (Loudon,
1663) ; Glees and Catches in John Play-
ford's " Musical Companion " (1667) ; and
Music to the Odes of Horace and passages
from other Latin poets, in a MS. volume in
the Bodleian Library. — Grove ; Hawkins,
iv. 57.
WINDING, AUGUST, born at Copen-
hagen in 1835, still living, 1890. Pianist,
pupil of Gade. Works : Concerto for pi-
anoforte ; do. for violin ; Quartet for piano-
forte and strings.
WINE, WINE, THE MAGICIAN. See
Rose of Castile.
WINGHAM, THOMAS, born in London,
Jan. 5, 1846, still living, 1890. Organist
594
WINKIILEE
and composer, puj)il of Sterndale Bennett
in composition, and of Harold Thomas on
the pianoforte in the Royal Academy of
Music, London. At the age of ten years
be played the organ in St. Michael's Mission
Church, Southwark. In 1871 he was ap-
pointed professor of pianoforte in the Roj'al
Academy of Music, which post he still holds.
Works : Nala and Damayanti, opera in five
acts, text by Oscar Beringer from Edwin
Arnold's Light of Asia (MS., 1885) ;
Symphony for orchestra in D, 1870 ; do.
in B-flat, 1872 ; do. in E minor, with choral
finale, 1873 ; do. in D, 1883 ; G overtures
for orchestra, one with chorus ; Orchestral
serenade in E-flat ; Mass in D ; Te Deum ;
2 Motets ; Anthems ; Elegy on the death
of William Sterndale Bennett ; Songs.
WINKHLER, KAROLY ANGELUS
VON, born in Hungary in the beginning of
this century, died at Pesth, Dec. 15, 1845.
Pianist. Works : Variations brillantes for
pianoforte and orchestra ; Grand rondeau
for do. ; Roudeaux brillants for pianoforte,
with quartet ; Sextet for jnanoforte and
strings ; Trios for do. ; Grand trio for
pianoforte, flute, and viola ; Sonata for
j)iauoforte and violoncello, etc. — Mendel ;
Fetis.
WESfKLER, HMX JOSEPH, born at
Waldstetten, Bavaria, March 10, 1810,
Btm living (?), 1890. Instrumental and
vocal composer, pupil of Basil us Schwarz
at Dillingeu, where he studied in the
teachers' seminary. On leaving it he be-
came chou- master at Giinzburg, and in
1837 of the cathedral, acting besides as
assistant instructor at the royal teachers'
seminary, where in 1819 he was appointed
principal instructor of music. Gold medal
for science and art, 187G. Works : Re-
quiem, 1875 ; Solemn mass in C ; Missa
Catharina ; Short mass with orchesti'a ; 3
short Requiems ; 19 graduals and offer-
tories ; Vesper psalms, and litanies ; Die
Mannesalter, with orchestra ; Feuer ! do. ;
3 quartets for strings ; 12 do., vocal, etc.
— Mendel.
WESfNEBERGER, PAUL ANTON, born
at Mergentheim, Wiirtemberg, in 1758,
died at Hamburg, Feb. 8, 1821. Violon-
cellist, pupil of Magister Heilig, a former
Jesuit. He played the organ in the Dom-
inican church when fourteen years old,
studied afterwards theology at Wiirzburg
and Heidelberg, and became instructor at
the musical seminary, and organist of the
Jesuits' church at Mannheim. There he
improved his opportunities of a friendly in-
tercourse with Vogler and Holzbauer, and
studied the violin under Friinzl, on whose
suggestion he took np the violoncello, and
was soon after appointed to substitute for
Dauzi in the court orchestra. In 1780 he
entered the service of the Prince of Waller-
stein, but the political storms that swept
through Europe, a few years later, cut short
his relations there, and caused him to settle
at Hamburg, where he taught, especially the
l^ianoforte. Works : An das biedere Ham-
burg, cantata, 1802 ; 3 quartets for strings ;
2 concertos for violoncello and orchestra ;
3 sonatas for pianoforte, flute, and violon-
cello ; Sonatas for i^ianoforte (4 hands) ;
Variations, exercises, etc., for pianoforte.
—Mendel.
WINNER, SEPTIMUS, born in Phila-
delphia, May 11, 1827, still living, 1890.
Composer, pupil of Leojiold Meignen, of
Philadelphia. He studied the violin, piano-
forte, organ, and other stringed and wind
instruments, and began to teach music at
the age of twenty. In 1847-57 he was a
violinist in the Musical Fund orchestra and
in various theatres of Philadelphia. In
1853 he established a music shoj) in Phila-
delphia ; has been secretary and treasurer
of the Board of Music Trade, a manager of
the Philadelphia Musical Fund, and for
several years editor of the musical depart-
ment of Peterson's Magazine. He has
made more than 2,000 arrangements of airs
for the violin, guitar, and pianoforte, and
has published numerous books of instruc-
tion for the pianoforte, organ, violin, violon-
cello, guitar, flute, banjo, accordion, con-
595
WINTER
certina, flute, clarinet, flageolet, and cor-
net ; Guides, Primers, and Easy Systems.
He is author of the words and music to
numerous songs, many of them written
under the pseudonyms of " AUce Haw-
thorne," " Percy Guyer ; " "Mark Mason,"
and " Paul Stenton." Among the most
jjopular are "How sweet are the roses,"
1850 ; " "What is home without a mother,"
1854 ; " Listen to the mocking-bird," 1855 ;
" Whispering hope ; " " Give us back our
old commander;" "The arms of Abra-
ham;" and "God save our President,"
written during the illness of President
Garfield in 1881. His son, Joseph, has
gained reputation as a song writer under
the name of " Josei^h Eastbum."
WINTER, PETER VON, born in Mann-
, , heim in 1754, died in
Munich, Oct. 17, 1825.
Dramatic composer,
pupil of Abt Vogler ;
became vioUnist in the
electoral chapel at
Mannheim when eleven
years old. In 1776
he became director of
the orchestra at the
court theatre ; followed the court to Mu-
nich, where he became in 1788 Hof-Kapell-
meister, which position he retained until
his death, though he had frequent leaves of
absence. He was in Naples and Venice in
1791 and 1793, Prague in 1796, Paris in
1802 and 1806, London in 1803-5, and Mi-
lan and Genoa in 1817-19. Works— Ope-
ras : Armida, Munich, 1778 ; Cora ed
Alonzo, ib., 1779 ; Leonardo e Blandine,
ib., 1779 ; Helena und Paris, ib., 1780 ; Der
Eeisende, oder der Bettelstudent, ib., 1781 ;
Das Hirtenmudchen, ib., 1790 ; Scherz,
List, und Rache, ib., 1790 ; Circe (about
1788, not given) ; Jery und Biitely, Munich,
1790 ; Catone in Utica, Venice, 1791 ; An-
tigone, Naples, 1791 ; H sacrifizio di Creta,
Venice, 1792 ; I fratelli rivali, ib., 1792 ;
Psyche, Munich, 1793 ; Der Stui-m, ib.,
1793 ; Armida und Rinaldo, Vienna, 1793 ;
Ogus, ossia il trionfo del bel sesso, Prague,
1795 ; Die Sommerbelustigungen, Berlin,
1795 ; Die Thomasnacht, Baireuth, 1795 ; I
due vedovi, Vienna, 1796 ; Das unter-
brochene Opferfest, ib., 1796 : Aiianna, ib.,
1796; Elisa, ib., 1797; Babylon's Pyra-
miden (with Mederitsch), ib., 1797 ; Das
Labyrinth, oder der Kampf mit den Ele-
menten (sequel to Mozart's Die Xaubcrji Oh'),
ib., 1798 ; Mai-ia von Montalban, Munich,
1798; Tamerian, Paris, 1802; Calypso,
London, 1803 ; II ratto di Proseri^ina, ib.,
1804 ; Zaira, ib., 1805 ; Der Frauenbuud,
Munich, 1805 ; Castor et Pollux, Paris,
1806 ; Colmal, Munich, 1809 ; Die beiden
Blinden, ib., 1810 ; Belisa, Griifin von
Huldburg, ib., 1812 ; Die Pantoflelu, Ham-
burg, 1816 ; Maometto H., Milan, 1817 ;
I due Valdomiri, ib., 1817 ; Etelinda, ib.,
1818 ; Der Siiuger und der Schneider,
Munich, 1820. Ballets : L education d'A-
chille ; Vologese ; Orphee. Cantatas :
Heinrich IV., Vienna, 1783 ; Hektor's Tod,
ib., 1785 ; Ines do Castro, ib., 1786 ; Tiuio-
teo, ib., 1797 ; Die Tageszeiten, Muuicli,
1811. Oratorios : La Betulia liberata ;
Der sterbende Jesus ; Die Pilger auf Kal-
vai-i, 1810. Church music : 26 Masses ; 2
Requiems ; 3 Stabat Mater ; 3 To Deuni ;
Psalms ; Motets ; Offertories ; Graduals ;
Anthems. Instrumental : Overtures ; 9 sym-
phonies, including Die Schlacht ; 2 sep-
tets ; G string quartets ; 2 string quintets ;
Chamber music ; Songs ; Vollstiindige Sing-
schule. — Mendel ; Fetis ; Riemann ; Schil-
ling ; Gerber ; Clement, Mus. c61ubres, 200 ;
Harmonicon (1825), 49 ; (1826), 175.
WINTEEBERGER, ALEXANDER, born
at Weimar, Aug. 14, 1834, still living, 1890.
Organist and pianist, pupil at the Leipsic
Conservatorium, and of Liszt at Weimar ;
went to Vienna in 1861, and to St. Peters-
D96
WINTERREISE
burg, as professor at the Conservatorium,
iu 18G9, but returned to Leipsic a few years
later. His compositions for pianoforte and
organ, and especially his songs and duets,
are distinguished for originality and deep
feeling. — Futis, Supplement, ii. G75 ; Men-
del.
WINTERREISE (The Winter Journey),
twenty-four songs for voice with 25iano-
forte, composed by Schubert, op. 89, on
Wilhelm Mailer's poems. These were writ-
ten in 182G-27, the last years of Schubert's
life, and he coiTected the proofs upon his
death-bed. Part One. I. Guts Nacht ;
II. Die Wetterfahne ; HI. Gefror'ue Thril-
nen ; IV. Erstarrung ; V. Der Lindeu-
baum ; VI. Wasserfluth ; VII. Auf dem
Flusse ; VHI. Kiickblick ; IX. Irrlicht ; X.
Rast ; XI. Friihlingstraum ; XTI. Einsam-
keit. Part Two. XHL Die Post; XIV.
Der greise Kopf ; XV. Die Ki-ahe ; XVI.
Letze Hoffnung ; XVII. Im Dorfe ; XVIH.
Der stiirmische Morgen ; XIX. Tiluschung ;
XX. Der Wegweiser ; XXI. Das Wirths-
haus; XXH. Muth ; XXIH. Die Neben-
sonnen ; XXIV. Der Leiermann. Pub-
lished by Haslinger (Vienna, 1827-28).
Editions for various voices by Breitkopf &
Hartel and Peters (Leipsic). — Kreissle von
Hellborn (Coleridge), Schubert, ii. 9i, 191 ;
Grove, Hi. 3G7 ; Allgem. mus. Zeitg., xxsi.
G53.
WINTERSTURME WICHEN DEM
WONNEMOND. See Walkiire.
WIRF DEIN ANLIEGEN AUF DEN
HERRN (Cast thy burden upon the Lord),
quartet iu Mendelssohn's oratorio, EUa.%
Part L
WIR SETZEN UNS MIT THRANEN
NIEDER, double chorus in C minor, for
Coro I. and II. with two orchestras, in Jo-
hann Sebastian Bach's Passion nach Mat-
thiius. Part H., No. 78.
WIR SINGEN DIR IN DEINEM HEER,
figured choral in G major, for four-part cho-
rus, with accompaniment of two flutes, two
oboi d' amore, two oboi da caccia, strings
complete, organ, and continuo, iu Johann
Sebastian Bach's cantata, TJnd es waren
Hirten in derselben Gegend {Weihnachts-
Oratorium, Part II.). The melody is Vom
Himmel hoch da komm' ich her, in the
Magdeburger Gesangbuch (1540).
Wm WINDEN Dm DEN JUNGFERN-
KRANZ. See Der FirischnU.
"WISE MEN, FLATT'RING, soprano aria
of An Israelitish Woman, in F major, with
accompaniment of two horns, two flutes,
two oboes, bassoons, strings complete, and
continuo, in Handel's Jadas Maccabseus,
Act n.
WISE, MICHAEL, born in Wiltshire,
England, about 1G48, died in Salisbury,
Aug. 24, 1687. Composer, pupil of Henry
Cooke ; admitted to the Chapel Royal in
1660 ; became lay-clerk of St. George's
Chapel, Windsor, in 1GG3, and organist
and master of the choristers of Salisbury
Cathedral in 1668. In 1675 or 1676 he was
made a gentleman of the Chapel Royal, but
was suspended in 1685, and in 1686 or 1G87
became almoner and master of St. Paul's
Cathedral. He was killed in a midnight
brawl with the watchman iu Salisbury. He
composed cathedral music of a high order
and many anthems. Some of his works are
in William Boyce's Cathedral Music (Vol.
II.) ; an Evening Service in Dr. Rimbaulfs
"Church Music," and several catches are
in the "Musical Companion" (1GG7). His
MSS. are in the Tudway collection (6 vols.,
1715-1720), in the Royal College of Music,
London, and in the choir-books of many
cathedrals. — Gi'ove ; Burnej', iii. 454.
WISSET IHR NICHT^ bass aria of
Paulus, in D major, in Mendelssohn's
Paulas, Part H., No. 36.
WITH VERDURE CLAD. See Nun
beut die Flur.
WITT, FRIEDRICH, bom at Halten-
Bergstetten in 1771, died at Wiirzburg in
1837. Pupil of Rosetti at Wallerstein,
where he was first violin in the orchestra
of Prince von Oettingen ; from 1802 he was
Kaioellmeister, at first to the Prince-bishop,
then to the Grand-duke, and finally to the
wittAsek
city. Works : Palma, historical opera,
Frankfort-on-the-Main, 1804 ; Das Fischer-
weib, comic opera, Wiirzburg, 1806. Ora-
torios : Der leidende Heiland, ib., 1802 ;
Die Auferstehung Jesu ; Cantatas, masses,
and other church music ; 9 symphonies for
orchestra ; Concertante for do. ; Concerto
for flute and do. ; Concertos for violoncello ;
Sejitet for clarinet, horn, bassoon, and
string quartet ; Quintet for pianoforte and
wind instruments ; Quartets, etc. — Fotis ;
Mendel ; Schilling.
WITTASEK (VitaSek), JAN KfePOTklUK
AUGUST, born at HoHn, Bohemia, Feb. 22,
1770, died at Prague, Dec. 7, 1839. Pian-
ist, pupil of Dussek, and in composition of
Ko^eluch in Prague ; was Conzertmeister,
instructor, and secretary in the house of
Count Nostiz until 1814, when he succeeded
KoJeluch as Kapellmeister of the cathedral
In 1826 he was made also director of the
organ and singing school. Works : David,
melodrama, given in Prague ; 3 masses ; 2
Kequiem symphonies ; Concertos for almost
every instrument ; Quartets ; Cantatas ;
Choruses, and ai'ias, etc., all in MS. — Fctis ;
Mendel.
WITTEKIND, ballad for male chorus
and orchestra, text by Fr. Halm, music by
Joseph Elieinberger, op. 102. The score
is dedicated to the Milunergesang-Yerein of
Cologne. Published by Forberg (Leipsic).
"FITTING, CARL, born at Jiilich, Sept.
8, 1823, still living, 1890. Violinist, self-
taught, went to Paris in 1817, and for two
years sang as a chorister at the Oj)era and
the Madeleine, then studied composition
under Adolf Reichel, and won a good posi-
tion as a teacher. In 1855 he went to Ber-
lin, then to Hamburg, and in 1858 to Glo-
gau, whence he was called to Dresden in
1861, to conduct the Symphonie-Kapello ;
in 1865 he resigned his post, but remained in
Dresden, teaching and composing. Works
— Operas : Das Jilgerfest, Hamburg, 1857 ;
Der Liebesring ; Die Lotterie. Music to a
melodrama, Dresden, 1863 ; Psalm xliii.,
for chorus, soli, and orchestra ; Der blinde
Konig, for male chorus and orchestra ; Mu-
sic for vioHn and jjianoforte ; Songs. — Men-
del.
WOE UNTO THEM WHO FOESAIvE
HIM. See Weh ihnen, dass sie von mil-
weichen.
WOIIL.\N, SO MOG' ES SEIN. See
Rienzi.
WOHL DEM, DER DEN HER REN
FtJRCHTET, chorus in G major, in Men-
delssohn's Elias, Part I., No. 9.
WOHL EUCH, IHR AUSERWAHLTEN
SEELEN, Alto aria in A major, with ac-
companiment of two flutes, strings com-
plete (con sordini), and contiuuo, in Johann
Sebastian Bach's cantata, 0 exoiges Feuer,
O Urspining der Liebe.
WOHLTE^iIPERIRTE CLAVIER, DAS
(The Well-tempered Clavichord), forty-
eight preludes and fugues by John Sebas-
tian Bach. The work is in two parts, the
first of which was completed in Cothen in
1722, and is the only one designated by
Bach as Das wohltemperirte Klavier. It
was written to test the system of equal
temperament in tuning. It contains twenty-
four preludes and fugues in every key,
major and minor, arranged not according
to the relationship of the keys, but in the
order of chromatic ascent. Many of the
fugues belonged to an earlier period, eleven
preludes had been inserted in the Klavier-
httchlcin, composed for Friedemann Bach in
1720, and others had appeared as independ-
ent compositions. Bach revised, altered,
and lengthened them when he compiled this
collection, which holds an important place
in the education of every pianist. Bach
revised this work several times. Two auto-
graphs are extant ; one, formerly belonging
to Niigeli, of Zurich, purchased from the
daughter of Philipp Emmanuel Bach in
1802, and now in the town Hbrary of Ziirich ;
and one in the possession of Prof. Wagener,
of Marburg. The second part of the Wohl-
temperirte Clavier was completed either in
1740, or 1744. It is a similar collection of
preludes and fugues, written during the
WOLDEMAR
last ten years of the master's life. Several
older comijositions were revised and in-
serted to complete the cycle. This part is
like the first in the general relation of the
separate numbers, and although not su-
perior to the first, it reveals Bach's greatest
development and contains fugues of sharper
cut. Only one complete autograph is
known, preserved in the Eoyal Library of
Berlin. Fragments of a MS. are in the
possession of Prof. Wagener, of Marburg,
and the i-est of this MS. was discovered by
Fiirstenau, in 1876, in the musical collec-
tion of the King of Saxony. Autographs
thought to be Bach's by Mendelssohn and
William Sterndale Bennett, were bought by
Mr. Emett, of England, at dementi's sale,
and are now in i^ossession of his daughter,
with the exception of No. IX., owned by IVIrs.
Clarke, of Norwood. The oldest printed
cojiies are Schwenke's edition, published by
Simrock (Bonn and Paris, 1800-01) ; For-
kcl's, by Hofmeister and Kiihnel (Leipsic,
1800-01) ; Samuel Wesley and C. Horn
(London, 1810) ; Le clavecin bien tempers,
Czerny's edition, Peters (Leipsic, 1838) ;
arrangement for four hands by Bertini,
Schott (Mainz, 18-12) ; and edition by Franz
Kroll for the Bachgesellschaft, vol. xiv.
(Leijjsic, 18G5). An edition revised by
Robert Franz and Otto Dresel is now in
press at Leipsic. Gounod arranged the first
prelude in the first book as a Meditation
votive for soprano, violin, pianoforte, and or-
gan (Ave Maria).— Spitta, Bach, i. 769, 837 ;
ii. 663 ; do. (Bell), ii. 161-178, 664-673 ; iii.
183-191 ; Bitter, Bach, ii. 269-284 ; Poole,
do., 112 ; Grove, iv. 482 ; Allgem. mus.
Zeitg., xl. 297 ; xliv. 335, 1049 ; (1863), 124,
493.
WOLDEMAR, MICHEL, born at Or-
leans, Sept. 17, 1750, died at Clermont-
Ferrand (Puy-de-D6me), January, 1816.
Violinist, pupil of Lolli, with whom he had
many oddities in common. He joined a
wandering troupe of comedians as music
director, and afterwards settled at Clermont-
Ferrand. Works : Three concertos for vio-
lin and orchestra ; Concerto for viola and
do. ; Quartet for strings ; Duos for vioHns ;
do. for violin and viola ; 12 grands solos ;
Sonates fantomagiques ; 6 rcves ou caprices ;
etc. Methods for violin, viola, and clarinet.
— Fetis ; Mendel.
WOLF, CYRILL M , born at Miig-
litz, Moravia, March 23, 1825. Instru-
mental and vocal composer, pupil of Preger
at the Conservatorium in Vienna, where he
became organist at St. Leopold's in 1847,
choir director at the Dominican Church in
1860, and Kapellmeister at the Italian na-
tional church and conductor at the univers-
ity church in 1870. Works : Six masses ;
Gott und die Natur, cantata ; 2 overtures ;
Graduals and ofi"ertories ; 30 arias, and 6
entr'actes for the imperial theatre ; etc.
—Mendel.
WOLF, ERNST WILHELM, born at
Grossen-Behringen, near Gotha, in 1735,
died at Weimar, Dec. 7, 1792. Organist,
dramatic composer, and writer on music ;
became in 1761 Conzertmeister and in 1768
Hof-Kapellmeister at Weimar. Works —
Operas : Das Rosenfest, 1771 ; Der Dorf-
deputirte, 1773 ; Die treuen KOhler, 1773 ;
Das Gilrtnermiidchen, 1774 ; Der Abend im
Walde, 1775 ; Polyxena, mouodrama ; Sev-
eral operettas. Die letzte Stirame der
sterbenden Liebe am Kreuz, ein Passions-
Drama ; Der leidende ErlOser, do. ; Oster-
Cantate, 1782 ; Several other church can-
tatas ; Iphigenia, cantata ; Serafiua, do. ; 15
symphonies for 8-14 instruments ; 17 par-
titas for 8-12 do. ; 20 concertos for piano-
forte ; 3 do. for flute ; 2 quintets for piano-
forte, flute, and strings ; 2 quartets for flute
and strings ; 17 quartets for strings ; 6 so-
natas for pianoforte, violin, and violoncello ;
Many sonatas for pianoforte, etc.— Fetis ;
Mendel ; Schillmg.
WOLF (Wolff), LUDWIG, born at
Frankfort -on -the -Main, in 1804, died in
Vienna, Aug. 6, 1859. Violinist and pi-
anist, pupil in composition of Ignaz Sey-
fried, in Vienna. Works : Quartet for
pianoforte and strings ; 3 quartets for
WOLF
strings ; 4 trios for do. ; Many other com-
positions in MS.
WOLF, MAX, born in Moravia, in 1839,
died in Vienna, March 23, 1886. Dramatic
composer, pupil of Marx and Dessoff.
Works — Operettas : Die Schule der Liebe,
Troppaii, 1868 ; Im Namen des Konigs,
Berlin, 1870 ; Rosa und Eeseda, comic oije-
ra, Dresden, 1872 ; Die Pilger, Vienna,
1872 ; Die blaue Dame, Berlin, 1875 ; Die
Portriitdame, Gratz and Vienna, 1876 ; Ce-
sarine, Vienna, 1878 ;Rafaella, Munich, 1884.
WOLFF, EDOUAED, born at Warsaw,
Sept. 15, 1816, died iu Paris, Oct. 16, 1880.
Pianist, pupil at Warsaw of Zawadski, and
in composition of Eisner, then at Vienna,
of AViirfel on the pianoforte. In 1835 he
went to Paris, where for many years he was
held in high esteem as a concert player,
composer, and teacher. Works : Concerto
for i)ianoforte and orchestra, op. 39 ; 32
duos for pianoforte and violin (with de
Buriot) ; 8 do. (with Vieuxtemj)s) ; 2 do.
(with Batta) ; fitudes, op. 20, 50, 90, 100 ;
Many fantaisies, rondos, nocturnes, etc., for
pianoforte, all his compositions numbering
over 350 works. — Fetis ; do.. Supplement,
ii. 678 ; Mendel ; Sowinski.
WOLFL (Womi), JOSEPH, boru in Salz-
burg in 1772, died in
London, May 11, 1812.
Pianist, ^jupil of Leo-
pold Mozart and Mi-
chael Haydn ; lived in
Warsaw in 1792-94,
then in Vienna until
1798. He made a con-
cert tour through Ger-
many, and to Paris and
London, about 1799-
1801. The latter jjart of his hfe is obscure.
According to some authorities he became
music-master of the Empress Josephine,
and after her separation from Napoleon ac-
companied her to Switzerland. Fetis thinks,
however, that he became entangled with
the singer Ellmenreich, a very unscrupulous
gambler, and that they with difficulty es-
caped the law in Brussels and went to Lon-
don, where little is known of them. At
one time his improvisations were consid-
ered very wonderful, and he was thought
superior to Beethoven and next to Mozart
in this respect. Works — Operas : Der Hol-
lenberg, Vienna, 1795 ; Das schOne Milch-
mildchen, ib., 1797 ; Das trojanische Pferd
(about 1797, not given) ; Der Koj^f ohne
Mann, ib., 1798 ; L'amour romanesque,
Paris, 1804 ; Fernand, ou les Maures, ib.,
1805 ; La surprise de Diane, London ; 7
concertos for pianoforte ; 2 symphonies ; 9
string quartets ; 15 trios for pianoforte and
strings ; 22 sonatas for violin ; 36 Sonatas for
pianoforte ; Fugues, rondos, variations, etc.,
for do. — Mendel; Fetis, Supplement, ii.
077 ; Eiemann ; Schilling ; Weitzmann,
Gesch. des Clavierspiels, 85.
WOLFRAM, JOSEPH ]MARL\, born at
Dobrzan, Bohemia, July 21, 1789, died at
Teijlitz, Sept. 30, 1839. Amateur com-
poser, pupil at Prague of Koieluch iu har-
monj% and in Vienna of Drechsler on the
pianoforte. He taught music and singing
in Vienna, in 1811-13, obtained a govern-
ment position at Theusing in 1813, and be-
came mayor of Teplitz in 1824. Works —
Ojieras : Der Diamaut, Teplitz, about 1820 ;
Herkules ; Miija und Aljiiuo, oder die be-
zauberte Rose, Dresden, 1826 ; Alfred, ib.,
182G ; Die Normannen in Sicilien, Dresden,
1828 ; Prinz Lieschen, ib., 1829 ; Der Berg-
mOnch, ib., 1830 ; Schloss Candra, ib.,
1832 ; Wittekind, ib., 1838. Missa nup-
tialis ; Requiem ; Quartets for violins ; So-
natas for pianoforte ; Rondos, variations,
etc., for do.; Four-part songs ; Servian folk-
songs, and other songs. — Fetis ; Mendel.
WOLFSOHN, CARL, born in Alzey,
Hesse, Dec. 14, 1834, still living, 1890.
Pianist, pupil of Aloys Schmitt in Frank-
fort-on-the-Main, and of Mme Anna Heine-
fetter and Vincenz Lachner in Mannheim.
In 1851 he made a concert tour in Bavaria
with the violinist Teresa Milanollo, then
lived in London in 1852-54, when he went
to the United States and settled in Phila-
WOLLANCK
delphia. In 1856 he made a concert tour
with Theodore Thomas, appeared in New
York as a pianist in 1865, organized in
Philadelphia the Beethoven Society in 1869,
and made his dt'but as an orchestral con-
ductor at the Beethoven Centennial Festi-
val, Dec. 17, 1870. In 1873 he removed to
Chicago, where he has organized many
choral and orchestral societies, which he con-
ducts, and has won reputation as a teacher
of the pianoforte. Works: Concertos for
the ijianoforte with orchestra ; Valse de
concert ; Transcription of airs from Faust ;
Short pieces for the pianoforte ; Melodies
for the violin ; Songs.
WOLLANCK, FEIEDEICH, born in
Beriin, Nov. 3, 1782, died there, Sept. 6,
1831. Amateur composer, pupil of Giirr-
lich ; was on intimate terms with Fasch,
Zelter, and Carl Maria von Weber. He be-
gan to jDractise law in 1803 and became in
1813 counsellor at the city court in Berlin.
In 1826 he visited Paris to make the ac-
quaintance of Rossini and Boieldieu.
Works : Der Alpenhirt, opera, Berlin, 1811 ;
Thibaut von Lowis, Liedersj)iel, ib. ; Music
to Gubitz's drama "Liebe und Frieden;"
Hedwigvon Rugenhagen, cantata ; 2 masses ;
Requiem ; 2 ofl'ertories, and other church
music ; 2 overtures for orchestra ; Concer-
tos for clarinet and other instruments ; 2
sextets ; Quintets, quartets ; Trio for piano-
forte and strings ; Sonatas for pianoforte ;
Many songs. — Fetis ; Mendel ; Riemann.
WOLLENHAUPT, HERMANN
ADOLPH, born at
Schkeuditz, near Leip-
sic, Prussian Saxony,
Sept. 17, 1827, died in
New York, Sept. 18,
1863. Pianist, pupil of
Julius Knorr on the pi-
anoforte and of Moritz
Hauptmann in compo-
sition and counter-
point. He went to
America in 1845, and appeared at a concert
of the New York Philharmonic Society as a
^4^"'^^
pianist, and at other concerts, with success,
and won reputation as an instructor. In
1855 he visited Europe, and played in con-
certs. Works: Neai-ly a hundred pianoforte
pieces, nocturnes, waltzes, polkas, marches,
transcriptions, and arrangements.
WOMAN OF SAMARIA, THE, oratorio
for soli, chorus, and orchestra, by William
Sterndale Bennett, oj). 4i, first performed
at the Birmingham (England) Festival, Aug.
27, 1867. The text is founded on the in-
cidents narrated in the fourth chapter of
John. The scenes are : Christ's journey to
Samaria, the rest at Jacob's well, and the
meeting with the Woman of Samaria. The
chorus, as in Bach's Passion music, moral-
izes upon the action. The oratorio opens
with a choral, " Ye Christian people now
rejoice," a translation of the German hymn
"Nun freueteuch lieben Christen g'mein,"
with the original melody (1535). The
quartet, " God is a Spirit," was sung in
Westminster Abbey at the funeral of the
composer, Feb. 6, 1875. The soprano
aria, "I wiU love Thee, OLord," now given
with the oratorio, was found among Ben-
nett's MSS., after his death. At the first
performance the solos were sung by Mile
Tietjens, Mme Sainton-Dolby, Mr. Cum-
mings, and Mr. Santlej\ The oratorio was
first sung by the London Philharmonic in
1875, and by the Handel and Haydn So-
ciety of Boston, May 13, 1871. — Athenjeum
(1867), ii. 312 ; Upton, Standard Oratorios,
62.
WOODBURY, ISAAC BAKER, born at
Beverly, Massachusetts, Oct. 18, 1819, died
at Columbia, South Carolina, Oct. 26, 1858.
Vocal composer, self-taught. In 1839 he
joined the Bay State Club, a vocal comjjany
which g<ave concerts in various New Eng-
land towns. He visited Europe in 1851,
and on his return settled in New York,
where he became identified with musical
journals, and edited several collections of
church and Sunday-school music, including
" The Dulcimer " (New York, 1850) ; and
"Liber Musicus" (1851). His hymns and
601
WOOD
tunes became popular. The best known
ai'e Kakem, Eucharist, Selena, Tamar, Si-
loam, and Ozi-em. Books : The Cythara ;
Cultivation of the Voice without a Master ;
Self-instruction iu Musical Composition and
Thorough-Bass ; Singing School and Music
Teacher's Companion ; and Melodeon and
Seraphine Instruction-book.
WOOD NYMPH, THE, overture for or-
chestra, by William Sterndale Bennett, op.
20, first performed at the Gewandhaus,
Leipsic, under Mendelssohn's direction,
Jan. 2i, 1839. It is one of Bennett's
most artistic comi^ositions, and was highly
praised by Schumann. It was first given
in London by the Philharmonic Society,
April 22, 1839 ; and first in New York by
the Philharmonic Society, in the season of
1848-49. The score, dated Leipsic, Nov.
12, 1828, was first pubhshed by Kistner
(Leipsic, 1839). — Schumann, Ges. Schrift-
en, ii. 98.
WORGAN, JOHN, born m London in
1724, died there, Aug. 24, 1790. Organist,
pupil of his brother James (organist of
Vauxhall Gardens in 1737-51), and of
Thomas Rosingrave and Geminiani. He
was organist of several churches, and of
Yauxhall Gardens, in 1751-61, and 1770-
74, and in 1753-Gl was also composer to
Vauxhall Gardens. Mus. Bac, Cambridge,
1748, Mus. Doc, ib., 1775. Works : Han-
nah, oratorio, Haymarket Theatre, London,
17G4 ; Mauasseh, do.. Lock Hospital Chapel,
1766 ; Anthem for thanksgiving victories,
1759 ; Organ music ; 6 sonatas for the
harpsichord ; Lessons for do. ; Psalm tunes ;
Glees ; and songs, canzonets, and concertos
for Vauxhall Gardens. — Grove ; Burney, iv.
665.
WORK, HENRY CLAY, born at Middle-
town, Connecticut, Oct. 1, 1832, died at
Hartford, June 8, 1884. Composer of pop-
ular songs, self-taught. His first song,
" We are coming, sister Mary," was sung
by Christy's minstrels, and published by
Firth, Pond & Co. (New York). His war-
songs, written in 1861-65, include : " Brave
boys are they;" "Kingdom coming;"
" Wake, Nieodemus ; " " Song of a thousand
years;" "Drafted into the army;" "God
save the Nation ;" and "Marching through
Georgia." He wrote also other popular
songs, among them : " Come home, fa-
ther ; " " The Magic Veil ; " " Sweet Echo
Dell ; " " Grandfather's Clock ; " " Shadows
on the Floor;" "CaUforuia Bird Song;"
and " The fire bells are ringing."
WOUTERS, (FR.VNgOIS) ADOLPHE,
bom in Brussels, May 28, 1841 (1849 ?), still
living, 1890. Church comjjoser, pupil at
the Brussels Conservatoire ; became in 1SG8
organist at Notre-Dame-de-Finistcre and
maitre de chapelle at Saint-Nicolas, and in
1871 professor of pianoforte at the Conser-
vatoire. Works : Three messes soleunelles ;
3 short masses ; Te Deum with full orches-
tra ; Other church music ; Motets ; Cho-
ruses for male voices ; Symphonic overture ;
Transcriptions for jjiauoforte, etc. — Fotis,
Supplement, ii. 681 ; Riemann.
WO WAR ICH ? See Rienzi.
WOYRSCH, FELIX VON, born at Trop-
pau, Silesia, Oct. 8, 18G0, still Hving, at Al-
tona, 1890. Instrumental and vocal com-
poser, pupil of Chevallier in Hamburg, but
chiefly self-taught. Works : Der Pfarrer
von Meudon, comic ojiera, Hamburg, 188() ;
Donna Diana, opera (MS.) ; Music to Sa-
kuntala, Breslau, 1885 ; Deutsches Aufge-
bot, for soli, male chorus, and orchestra ;
Symphony ; Quartet for strings ; Motets ;
Choruses, and songs. — Riemann.
WRANITZKY (Wraniczky), ANTON,
born at Neureusch, Moravia, in 1761, died
in Vienna iu 1819. Violinist, brother and
pupil of the following, and pupil of Al-
brechtsberger, Mozart, and Haydn ; he be-
came Kapellmeister to Prince Lobkowitz,
and was highly esteemed in Vienna as a
violin teacher. Works : Two masses ; Con-
certo for violin ; 6 quintets for strings ; 15
quartets for do. ; Duos for violins ; 20 varia-
tions for 2 violins ; 20 do. for violin and
bass ; Sonatas for do. ; Method for violin.
— Fetis ; Mendel ; Riemann.
eo3
WEANITZKY
WRANITZKY, PAUL, born at Neureuscb,
Moravia, iu 175G, died in Vienna, Sept. 28,
1808. Violinist and dramatic composer,
pupil in Vienna of Josef Kraus ; was violin-
ist in Prince Eszterhazy's orchestra under
Haydn, and in 1785 became Kapellmeister
at tbe imperial 02>era in Vienna. Many of
bis numerous comj)Ositions were popular
in tbeir time, and bis sympbouies easily
beld tbeir own beside tbose of Haydn.
Works — Operas and operettas : Obcron,
KOuig der Elfen, Frankfort, 1790, Vienna,
1791 ; Der dreifacbe Liebbaber, Vienna,
1791 ; Die Poststation, Merkur, der Hei-
ratbsstifter, ib., 1793 ; Das Marokkaniscbe
Reicb, Die gute Mutter, ib., 1794 ; Die
Weinlese, divertissement, ib., 1794 ; Das
Festder Lazzaroui, ib., 1795 ; DerScbreiner,
ib., 1799. Ballets : Zepbir uud Flora ; Ze-
mire und Azor ; Das Waldmildcben ; Music
to tbe dramas Eolla's Tod, Eudolpb von
Felseck, Siri-Brabe, and Jobanna von Mont-
faucon ; 27 symphonies ; 12 quintets for
strings ; 45 quartets for do. ; 9 trios for do. ;
Concerto for violoncello ; do. for flute ; 3
trios for 2 flutes and violoncello ; Trios for
pianoforte and strings ; Divertissements en
quatuor for do.; Sonatas for pianoforte ;
etc. — Fotis ; Mendel ; Scbilling.
WEECK OF THE HESPERUS, THE,
cantata for cborus, soli, and orchestra, by
Thomas Anderton, first performed in 1882.
Subject from Longfellow's poem of tbe
same title. Published by Novello (London).
Same title, trio for female voices by Louis
Napoleon Parker.
WRECK OF THE HESPERUS, THE,
ballad for voices and orchestra, by Arthur
Foote, given first by the Cecilia, Boston,
Jan. 2G, 1888. Published in pianoforte
score (Boston, Arthur P. Schmidt).
WUEEST, EICHARD (FERDINAND),
born in Berlin, Feb. 22, 1824, died there,
Oct. 9, 1881. Dramatic composer, pupil of
Eungenhagen at the royal Academy, and of
Mendelssohn in Berlin ; studied tbe violin
under Hubert Ries and later in Leipsic
under David. In 1845-4G, be visited Leip-
sic, Frankfort, Brussels, and Paris, then
settled in Berlin, where be taught theory in
Kullak's Conservato-
rium. In 1852 be re-
ceived tbe gold medal,
in 1856 was made royal
music director, in 1874
professor, and in 1877
member of the Acade-
my. He edited tbe
Neue Berliner ]Musik- '^
zeitung in 1874-75. His ' |
musical criticisms were
beld in high esteem. Works — Operas : Der
Eothmantel ; Der Stern von Turan ; Vineta,
Mannheim, 18G4 ; A-Ing-Fo-Hi, ib. and Ber-
hn, 1875 ; Faublas, Berlin, 187G ; Die Offi-
ciere der Kaiserin, Berlin, 1878 ; Eiue
Kiinstlerreise, operetta (with W'interfeld),
Berlin, 1SG8 ; Der Wassernccl; lyric can-
tata ; 2 symphonies ; Overtures ; String
quartets; Violin concerto ; Songs. — Mendel ;
Eiemaun ; Fetis, viii. 497 ; Supplement, ii.
681.
VTOLLNEE, FEANZ, born at Miiuster,
Westphalia, Jan. 28,
1832, stiU living, 1890.
Pianist, pupil of Karl
Arnold and Anton
Scbindler, then of the
latter and of Kessler at
Frankfort, in 1848-52,
and of Grell and Dehn
in Berlin in 1850-51.
In 1852-54 be visited
Brussels, Cologne, Bremen, Hanover, and
Leipsic, often appearing in concerts with
success, and in 1854 settled at Munich,
where in 1856 be became professor at
the Conservatorium. Called to Aix-la-
Chapelle as city music director in 1858, be
was appointed in 1861 royal music direc-
! tor, returned in 1865 to Munich to conduct
tbe court chapel, assumed also iu 1867 tbe
[ direction of the choral classes at tbe Con-
servatorium, and in 18G9 succeeded von
Billow as Kapellmeister at the opera and
I conductor of tbe academy concerts. In
WUNDERLICH
1870 be was appointed Hof-Kapellmeister,
and in 1875 royal professor. He went to
Dresden in 1877 as director of the Con-
servatoriuin, and in 1885 succeeded Hiller
at Cologne. Works : Heinricli der Tink-
ler, cantata for male chorus, soli, and or-
chestra ; 2 masses ; 5 motets ; Miserere for
double chorus ; Stabat Mater for do.; Psalm
cxxv., with orchestra ; Chamber music ; So-
natas ; Choruses, and songs. — Mendel ; Rie-
mann.
WTJNDERLICH, JOHANN GEORG,
bom at Bayreuth in 1755, died in Paiis in
1819. Virtuoso on the flute, pupil of his
father (an oboist), and in Paris of Rault ;
appeared in 1779 in the Concerts Spirituels,
entered iu 1782 the royal orchestra and
that of the Opura, became iu 1787 first
flute, and in 179-t jirofessor, at the newly
organized Conservatoire. His most famous
pupil was Tulou. In 1813 he resigned his
position at the Opera. Works : Six duos
for flutes ; Sonatas for flute and bass ; 3
sonatas with bassoon or violoncello ; 6 solos
for flute ; 9 grand solos for do. ; C divertisse-
ments ; Etudes and caprices, etc. Method
for flute. — Fetis ; Mendel ; Riemann.
WtJRFEL, (WENZEL) ^\'ILHELM
(Vaclav VUcm), born at Planian, Bohemia,
in 1791, died in Vienna, April 22, 1852.
Pianist, instructed by his mother, and in
composition self-taught from theoretical
works and the scores of great masters. Af-
ter making a concert tour through Bohemia,
Hungary, and Poland, he became in 1815
in Washington, Pennsylvania, April 15,
1872. He taught the violin with vocal and
instrumental music at Wheeling, West Vir-
ginia, in 1859, and in 18G7 established a
successful music school at Claremont, New
Hampshire. His works for the pianoforte,
which were popular, include : Silvery
Waves ; Woodland Echoes ; Music among
the Pines ; Wedding Bells March ; Fairy
Visions ; Song of the Skylark ; Evening
Parade March ; Moonlight Musings, etc.
Y
'ANKEE DOODLE, a national air of
America, the origin of which is un-
known. The trivial words of the
original song, in derision of the ill assorted
pro\-incial troops, are said to have been
written in 1755 by Dr. Schuckbrugh, who
served as surgeon under Gen. Amherst dur-
ing the French and Indian war. Several
versions of the song, the original title of
which was "The Yankee's Return from
Camp," are extant. The tune, always called
Yankee Doodle from the chorus, or refrain,
has passed thi-ough various changes. The
historical associations connecting the air
with the American Revolution, when it was
universally played, have prevented criticism
of the melody, which is simple and incisive,
but shrill and shallow. It is almost cer-
tainly of English origin, though it has been
ascribed to various countries, and it prob-
ably dates from the 18th century. The
statement in Admiral Pn^ble's " History of
professor at the Warsaw Conservatorium, the Flag of the Uuited States," that it occurs
but a few years later started on a second in one of Arne's operas, is incorrect, but it
concert tour, lived for a while in Prague, , is in Samuel Arnold's opera, "Two to One,"
then settled in Vienna, where he was ap- London, 1784, under the name of Yankee
pointed in 1826 music director at the Doodle.— Grove, iv. 493.
Karntbnerthor-Theater. Works : Riibezahl, YE LIGHTNINGS, YE THUNDERS,
opera in three acts, Prague, 1824 ; Roth- See, Sind Blitze, sind Donner.
mantel, comic opera, Vienna, about 1832 ; I YEOJIEN OF THE GUARD, or the
Concerto for pianoforte and orchestra ; Fan- j Merryman and his Maid, comic opera in
rondos, polonaises, etc., for piano- 1 two acts, text by Gilbert, music by Sulli-
tasias,
forte.— Fetis ; Mendel ; Schilling.
WYMAN, ADDISON P., born in Corn-
ish, New Hampshire, June 23, 1832, died
van, first represented at the Savoy Theatre,
London, and at the Casino, New York, Oct.
3, 1888. The opera was given in Vienna as
604
YOST
Del- Konigsgardist, in 1889. — Athen.Tum
(1888), ii. 45G ; Krelibiel, Review (1888-
89), 2.
YES ! EVEN LOVE TO FAME MUST
YIELD. See Oberon.
YES, LET ME LffiE A SOLDIER
FALL. See 3Iaritana.
YOST, MICHEL, bom iu Paris iu 1754,
ilied there, July 5, 178G. Clarinettist, pu-
pil of Joseph Beer. Works : Fourteen con-
certos for the clarinet ; 5 quartets for clari-
net and strings ; 8 books of clarinet duets,
and one book of variations for the clarinet,
viola, and double bass.
YEADIER, SEBASTIAN, born in Spain,
died in Vittoriaiu 1865. Nothing is known
of his life. He wrote a number of songs,
of which "Ay Chiquita," the most poi^ular,
was translated into many languages. An
edition of twenty-five of his songs to woi-ds
of Paul Bernard and Tagliafico was j>ub-
lished by Heugel (Paris).
YULETIDE, cantata for chorus, soli, and
orchestra, text by Julia Goddard, music by
Thomas Auderton, first ijerformed at the
Birmingham (England) Festival, Aug. 26,
1885. Published by Novello, Ewer & Co.
(Loudon, 1885).— Athenreum (1885), ii. 311.
z
ADOK, THE PRIEST. See Corona-
lion Anthem.
ZAIDE, German operetta in two acts,
text by Schachtner, music by Mozart, com-
posed in 1779-80. No record is left of
its performance. Characters represented :
Zaide, Gomatz, Allazim, Sultan Soliman,
Osmin, Zaram, and Oberster derLeibwache.
The story resembles that of the Ent-
filhrung aus dem Serail. The opera was
left without an overture, a finale, or a name,
and the original text-book is lost. Andro,
who owned the score, published it in 1838,
under the title of Zaide, with a new over-
ture and finale ; and a libretto was supplied
by Gollmick from the cues and text of the
arias. Breitkox^f & Hiirtel, Mozart Werke,
Serie v.. No. 11. — Kochel, Verzeichniss, No.
344 ; Andre, do., No. 38 ; Jahn, Mozart, ii.
400-420.
ZAIRE, French opera in three acts, text
by Paul Collin, music by Charles Lefebvi-e,
represented at Lille, November, 1887. The
libretto is an adaptation of Voltaire's
tragedy of the same title (1730). Miss Van
Zandt, called Vanzini, was very successful
Vanzini, as Zaire.
in the rule of the heroine. Other operas
on the same subject : Zaira, Italian opera
seria in two acts, by Francesco Federici,
Turin, 1803 ; by Marcos Portugal, Lisbon,
1804 ; by Peter von Winter, London, 1805 ;
by Vincenzo Lavigna, Florence, 1809.
Same subject, text by Felice Romani ; by
Vincenzo Bellini, Parma, 1829 ; by Ales-
sandro Gandini, Modena, 1829 ; by Saverio
Mercadante, Naples, 1831 ; by Antonio
Mammi, Modena, 1845 ; by Corona, Leg-
horn, 1863. Zayre, German opera in three
acts, by Ernst H. of Saxe-Coburg-Gotha,
Gotha, 1846.
605
ZAMPA
ZAMPA, ou la fiancee de marbre (The '
Marble Bride), French opora-comique in
three acts, test by Melesville, music by
Herold, fii'st represented at the Oi^t-ra Co-
mique, Paris, May 3, 1831. The libretto
is modelled after that of Don Giovanni.
The best numbers include : The overture ;
Camille's air, " A ce bonheur suf)reme ; "
The quartet, " Le voila ! que nion ume est
emue ; " the trio, " Au plaisir, a la folic ; "
" Aux pieds de la madone," trio for wom-
en's voices ; Zampa's air, "II faiit cuder a
meslois;" the duo, "Juste ciel ! c'est ma
femme," between Daniel and Kitta; the
I
'' ^J^^
m-^
^^//fM/
Sylva.
duo, " Helas ! 6 douleur ! il me croit in-
fidele ! " the barcarolle, " Oil vas-tu, pauvre
gondolier," sung by Alphonse ; " Douce
jouvencelle," a rondo in a chorus ; and the
duo, " Pourquoi trembler," between Zampa
and Camille. The ojiera was revived at the
Opera Comique in 1856. It was first given
in Berlin and Vienna in 1833, and first in
London at the King's Theatre, April 19,
1833. It was given at Her Majesty's in
1844, and at Co vent Garden, Aug. 5, 1858.
It was sung in French at St. James's, Jan.
16, 1850 ; and in English at the Gaiety,
Oct. 8, 1870. Published by Schott (Mainz,
1832), and by Haslinger (Tienna, 1832).
— Clement et Larousse, 711 ; Allgem. mus.
Zeitg., xxxiv. 141, 546, 809, 871 ; Athe-
nfeum (1844), 275 ; (1858), 177 ; (1870), ii.
505 ; Kevue et Gaz. mus. de Paris (185G),
285.
ZANETTA, opera-comique in three acts,
text by Scribe and Saint-Georges, music by
Auber, first rein-esented at the Opera Co-
mique, Paris, May 18, 1840. The opera
was given in French in London, at St.
James's Theatre, Feb. 12, 1849.— Clement
et Larousse, 713 ; Allgem. mus. Zeitg., slii.
552.
ZANOBI DA GAGLIANO, MARCO DI.
See Gagliano.
ZARLTN'O, GIOSEFFO, born at Chiog-
gia, Venetia, March 22, 1517, died in Ven-
ice, Feb. 14, 1590. Musical theorist ; pu-
pil of Adrian "U'iUaert in Venice. His
early life was sjoent in studying for the
Church ; was admitted to the minor orders
in 1539 and ordained deacon in 1541. In
that j-ear he removed to Venice, where he
studied music, and in 15G5 succeeded Ci-
I^riano de Kore as maestro di cappella at
San Marco. In 1582 be was elected a
canon of Chioggia, and on the death in
1583, of Marco de' Medici, Bishoj) of Chiog-
gia, ho was chosen to fiU that see ; but
the Doge and the Senate opposed his ajv
poiutment and he remained maestro di
cappella at San Marco until his death.
He wrote music to celebrate the victory of
Lepanto, Oct. 7, 1571 ; music to the verses
of Kocco Benedetti and Cornelio Fran-
gipani, which were sung ou the Bucentoro
to welcome Henri HI. to Venice in 1574 ;
music to a dramatic jjiece, Orfeo, performed
in the Sala del Maggior Consiglio, and a
mass for the founding of the church of Sta.
Maria della Salute. The only compositions
of Zarlino extant are a MS. mass for four
voices in the library of the Liceo Filar-
606
ZAKSKAJA
monico, Bologna, and a printed volume of
Modulatioues for sis voices (Venice, 15G6).
His fame rests on the treatises : Institution!
armonicbe (Venice, 1558, reprinted 1562,
and 1573) ; Dimonstrationi armonicbe (ib.,
1571, rej)rinted 1573) ; and Sopjalimenti mu-
sicali (ib., 1588). He was one of the most
learned musical tbeorists of the 16th cen-
tury, and bis principles were far in advance
of his time. — Monograj)b of the Abbe Ea-
vagnan ; CafB, Narrazione della vita e delle
opere del prete Giuseffo Zarliuo (Venice,
183G) ; do., Storia della musica sacra nella
gia cappella di San JIarco in Venezia (Ven-
ice, 1854), i. 129-151 ; Grove ; Mendel ; Fe-
tis.
ZAESKAJA SKISU (Life for the Czar),
Russian ojjera in five acts, with epilogue,
text by the Baron von Eosen, music by
INIichail Ivanovitch Glinka, first represented
in St. Petersburg, Dec. 9, 1836. This op-
era contains many melodies, and is very
popular in Eussia, but has won scant suc-
cess in other countries. It reached its five
hundredth representation in St. Petersburg
in 1880. It was performed in memory of
Glinka at Smolensk, Nov. 27, 1886 ; and
was first sung in London, at Covent Garden,
in four acts, July 12, 1887. Same subject,
Iwan Susanniuo, Russian opera by Caterino
Cavos, text by Schachowskoi, St. Petersburg,
1799.— Athenseum (1887), ii. 91.
ZAUBEKHAEFE, DIE (The Magic
Harp), melodrama in three acts, text by
Hofmann, music by Schubert, first rep-
resented in Vienna, Aug. 19, 1820. The
libretto is worthless, but Schubert con-
sidered the music among his best composi-
tions. Portions of the MS. are in Spina's
collection. The overture, the only number
published, appeared in 1828, as the overture
to Itosaniunde, ojx 26. — Kreissle von Hell-
born (Coleridge), Schubert, ii. 175 ; Allgem.
mus. Zeitg., xxii. 671 ; Frost, Schubert, 37.
ZAUBERFLOTE, DIE (The Magic Flute),
German opera in two acts, text by Emanuel
Schikaneder, music by Mozart, first repre-
sented at the Theater auf der Wieden, Vi-
enna, under Mozart's direction, Sept. 30,
1791. This, the composer's last opera, was
written during the last months of his life.
Although not received with extraordinary
favor, it soon became popular, and reached
its one hundredth rejoresentatiou, Nov. 23,
1792, and its two hundredth, Nov. 22, 1795.
Original cast : Astrafiammante, Queen of
Night, Mme Hofer ; Pamina, her daughter.
Mile Gottheb ; Sarastro, Herr Gerl ; Ta-
mino, Herr Schack ; Monostatos, Herr
Nouseul ; Papageno, Herr Schikaneder ;
Papagena, Mme Gerl. The story is from
"Lulu, or the Magic Flute," in Wieland's
" Dschinnistan." The scene is in Egyj)t.
The principal numbers include : the over-
ture, one of Mozart's finest instrumental
compositions ; Papageno's song, " Der Vo-
gelfiiuger bin ich ja ;" Tamino's aria, "Dies
Bildniss ist bezaubernd Schon ; " the grand
aria for the Queen of Night, " O zittre nicht
mein lieber Sohn ;" the "Padlock quintet,"
in which Papageno hums with a padlock
on his lips ; the duet, "Bei Milnnern welche
Liebe fiihlen," between Pamina and Papa-
geno ; Tamino's aria, " O dass ich doch im
Stande wiire," and "Kunnte jeder brave
Mann," a duet for Pamina and Papageno,
with chorus ; Sarastro's aria, " 0 Isis und
Osiris;" Monostato's aria, " Alles fiihlt der
Liebe Freuden ; " the second great aria for
the Queen of Night, " Der HOUe Eache
kocht ;" Sarastro's aria, "In diesen heil'gen
Hallen ; " " Ach ! ich fiihl's, es ist verschwun-
den," sung by Pamina; "Soil ich dich,
Theu'rer, nicht mehr seheu ? " a terzet for
Sarastro, Pamina, and Tamino ; Papageno's
melody, "Ein Madcheu oder Weibchen,"
taken from the last two lines of the choral,
" Nun lob mein' Seel' den Herren ; " a second
choral melody, "Der, welcher wandelt diese
Strasse," a scene between Tamino and the
two men in armour, originally " Ach Gott
vom Himmel;" a nonsense duet, "Papa-
Papageno," sung by Papageno and Papa-
gena ; and the final chorus, " Heil sei euch
Geweiten," sung by the priests. Although
the libretto is incongruous and absurd, the
607
ZAVEETAL
Zauberflote still keeps the stage, owing to
the music. The Queen of Night, one of the
most diflScult bravura parts in the literatui-e
of dramatic music, has been sung with suc-
cess by Adelina Patti, Dma de Murska,
Christine Nilsson, and Etelka Gerster. The
opera was first given in Berlin, May 12,
1794 ; in Hamburg, Nov. 19, 1794 ; in Leip-
sic in 1809 ; in Dresden, Oct. 27, 1818 ; and
at the 50th anniversai^ on the Berlin stage,
May 12, 1844. It was first sung in France
as Les 3Iijstures d'Isis, an arrangement of
Mozart's opera by Morel and Lachnith,
Academic Royale de Musique, Paris, Aug.
20, 1801 ; and as La fldte enchantce, text
by Nuitter and Beaumont, Theatre Lyrique,
M.W lAi
Etelka Gerster.
Feb. 23, 18G5. II flauto magico was first
given in Loudon in Italian at the King's
Theatre, for Naldi's benefit, June 6, 1811 ;
in English, at Drury Lane, March 10, 1838 ;
and in German, at Covent Garden, May 27,
1833. It was first sung in New York, in
Italian, Nov. 21, 1859, and, in English, at
the Academy of Music, Jan. 27, 1886. The
original score, owned by Andre, of Frank-
fort-on-th(>-]Main, was published by Sinirock
(Bonn, 1815) ; by Andre (Offenbach) ; by
Peters (Leipsic), by Breitkopf & Hartel
(ib.) ; by J. Frey (Paris) ; by Heugel (ib.,
18G5) ; for the pianoforte for four hands,
by Ebers (Lane, Berlin, 1827) ; and for the
pianoforte, by E. F. Bichter (Breitkopf &
Hartel, Leipsic, 1841). Breitkopf & Har-
tel, Mozart Wei-ke, Serie v.. No. 20. — Koch-
el, Verzeichniss, No. G20 ; Jahn, Mozart, iv.
591-679; do. (Hall), iii. 309; Nohl, do.
(Lady Wallace), ii. 239 ; Gehring, do. 12G ;
Hanslick, Moderne Oper, 54 ; Allgem. mus.
Zeitg., iii. 484 ; iv. 69, 817 ; xi. 454 ; xiii.
845 ; xvii. 247, 571, G25 ; xx. 839 ; xxvii.
228 ; xxix. 262 ; xxxvi. 462 ; xUi. 942 ; xliv.
366 ; xhd. 443 ; xlviii. 481 ; Ciicilia, i. 12 ;
Neue Zeitschr., xlv. 41 ; Clement et La-
rousse, 297 ; Grove, ii. 404, 519 ; iv. 503,
518 ; Krehbiel, Eeview (1885-86), 120 ; Up-
ton, Standard Operas, 181.
ZAVEETAL (Zavrtal, Zaverthal, Sawcr-
thal), JOZEF EUDOLPH, born at Polep,
near Leitmeritz, Bohemia, Nov. 5, 1819.
Violinist, pupil at the Couservatorium at
Prague ; band-master successively of two
Austrian regiments in 1840-50, of the Im-
perial Marines in 1850-64, director of mili-
tary music to Emperor Maximilian of Mex-
ico, 1864 ; band-master of the 4th British,
King's Own regiment, 1868, of the Eoyal
Engineers, 1871. "Works : Pastyrka, Servian
opera, 1847 ; Many pieces of military music,
marches, and dances ; Songs and chonises.
His nephew, Ladislav (bom in Milan, Sept.
29, 1849, still living, 1890), -was appointed
bandmaster of the Eoyal Artillery, Wool-
wich, England, in 1882. Works : Una notte
a Firenze, opera, Prague, 1886 ; IMyiTha,
do., ib., Nov. 7, 1886 ; Love's Magic, do.,
Woolwich, Feb. 18, 1890 ; and dance music.
ZAITZ, GIOV/VNNT VON, born at Fiume
in 1834, still living, 1890. Composer, pu-
pil of Lauro Rossi at the Milan Conserva-
torio in 1850-56. His father, Jan Zaytz,
a native of Prague, was bandmaster of a
regiment. lu 1856 he became music di-
rector of La Scala, Milan, and removed to
Vienna in 1862, after a short period spent
in Fiume. Since 1870 he has been Kapell-
meister of the theatre and teacher of sing-
ZECII
iug in the Conservatory at Agram, Croatia.
Works — Operas : La Tyrolese, Milan Coii-
servatorio, 1855 ; La sposa di Messina ;
Ailelia ; Amalia, Fiume, 18G1 ; Mannschaft
an Bord, Vienna, 1863 ; Fitzli-Putzli, ib.,
18G-1 ; Die Lazzaroni, Naples, ib., 18G5 ;
Die Hexe vou Boissy, burlesque, ib., 18GG ;
Naclitscbwurmer, ib., 18GG ; Das Kendez-
vous in der Schweiz, ib., 18G7 ; Das Gauge-
richt, ib., 18G7 ; Die Somnambule, ib.,
18G8 ; Nacli Mekka, ib., 18GS ; Mcister
Puff, ib., 18G9 ; Der Raub der Sabinerin-
iien, Berlin, 1870 ; Der gefangene Amor ;
Nicola Subic Zrinjski, Croatian opera,
Agram, 1S7G ; Ban Legat, do., ib., 1877 ;
Mislav, do., ib., 1878 ; Lizinka, do., ib., 1878 ;
and Pan Twardowski (Faust), ib., 1880.
Masses ; Choruses ; Songs ; Instrumental
and dance music.
ZECH, FREDERICK, born in Philadel-
phia, Pennsylvania, May 10, 1858, still liv-
ing, 1890. In 1877 he went to Berlin, where
he remained until 1882, studying the piano-
forte under Theodor Kullak, and musical
composition under Franz Neumann and Pro-
fessor Breslauer. In 1878-80 he taught the
pianoforte in Kullak's Conservatory of Mu-
sic, Berlin. On his return to America he
settled in San Francisco, where he is now a
teacher. He has appeared with success as
a pianist, and has conducted orchestral and
choral societies. "Works : Two symphonies;
Concert-overture for orchestra ; 2 concertos
for the pianoforte and orchestra ; Trio for
pianoforte, violin, and violoncello ; Piano-
forte fyieces ; Choruses with orchestra ;
Songs.
ZECKWER, RICHARD, born in Stendal,
Prussia, April 30, 1850, still living, 1890.
Pianist and composer, pupil of Hauptmanu,
Richter, Reinecke, and Papperitz in theory
and composition at the Leipsic Conserva-
torium, and of Moscheles and Papperitz on
the pianoforte and organ. He went to Phila-
delphia in 1870, and held the post of organ-
ist at St. Vincent de Paul's, Germantown, in
1870-77, and in the Cathedral of Phila-
delphia in 1878-80. In 1870-76 he taught
at the Philadelphia Musical Academy, of
which he has been director since 1876. He
has invented a metronome and a machine to
measure the muscular strength of the fin-
gers, and he is also the originator of the
operation to liberate the fourth finger of
pianists. Works : Bride of Messina, over-
ture for orchestra ; Festival overture for do.,
1880 ; Vocal and pianoforte compositions.
ZEHN GESETZE DER KUNST, DIE.
See The Teti Commandments.
ZELENIiA, JAN DISMAS, born at
Lannowiez, Bohemia, in 1681, died in Dres-
den, Dec. 23, 17tt5. In 1710 he became
double-bass player in the Royal Polish
Chapel in Dresden and was one of the
suite of the crown prince in his visit to Vi-
enna in 1716-17, and to Venice in 1718-19.
It is thought that he studied under A. Lotti
and J. J. Fux in Dresden, where he was as-
sistant conductor to David Heinichen, Hof-
Kapellmeister in Dresden, to which post he
was appointed upon the death of Heinichen.
In 1735 he was made comjooser of the
church. Works : Three oratorios, Die
eherne Schlange, Jesus auf Golgotha, and I
penitenti al sepolcro ; 20 Masses ; 3 Re-
quiems ; 2 Te Deum ; Responses ; Hymns ;
Psalms ; Suite for orchestra.
ZELINSia, LADISLAW, born in
Galicia, July G, 1837, still living, 1890.
Composer, jjupil of Franciszek Mirecki in
Cracow, of Josef KrejY'i in Prague, and of
Damcke in Paris. For many years he has
been professor of composition in the Con-
servatory of Warsaw. Works : Symjihony
for orchestra, first played at the ConseiTa-
tory of Pi'ague ; 2 cantatas with orchestra ;
Mass with organ ; String quartet ; Trio for
pianoforte, violin, and violoncello ; Varia-
tions for string quartet ; 3 string quintets ;
Pianoforte music.
ZELLNER, LEOPOLD ALEXANDER,
born at Agram, Croatia, Sept. 23, 1823,
still living, 1890. Instrumental composer,
pupil of his father, organist of the cathe-
dral of Agram. He studied the organ, vio-
loncello, and oboe, and when fifteen became
ZELLNEll
organist of the Katharineukirclie aud kettle-
drum player in the theatre at Agram.
After serving in the ai-my, he taught music
in Vienna, where in 1855 he established the
" Blatter fur Musik," which he edited until
1868. In 1859 he founded the historical
concerts and conducted them until 1868,
when he was appointed professor of theorj'
in the Vienna Conservatorium. He excels
as a harmonium player. Works : Piano-
forte pieces ; Violoncello pieces ; Choral
songs ; Harmonium music. — Mendel.
ZELLNER, JULIUS, born in Vienna iu
1832, still living, 1890. He abandoned
commerce for music, and began to study
seriously in 1851. His first composition of
importance, a symphony for orchestra in E,
was first performed by the Philharmonic
Society of Vienna iu 1870, with great suc-
cess. He is now a well-known teacher of
music iu Vienna. Works : Symphony for
orchestra in E ; do. in E-flat ; Music to Die
schone Melusiuc ; Im Hochgebirge, for
chorus, soli, and orchestra ; Songs and part-
songs ; Pianoforte music.
ZELMIRA, Italian opera seria iu two
acts, text by Tottola, music bj- Rossini,
first rejiresented at the Teatro Sau Carlo,
Naples, in December, 1821. The original
cast included : Mile Colbrau, Mile Cecconi,
Davidde, Nozzare, and Beuedetti. Carpaui
wrote the words for a new air, which Ros-
sini added to Zelmira for Mile EckerUn,
who sang the contralto part when it was
first given in Vienna, April 13, 1822. It
was first sung at the King's Theatre, Lon-
don, Jan. 24, 1824. — Edwards, Rossini,
226 ; Escudier, do., 158 ; Allgem. mus.
Zeitg., xxiv. 349 ; Grove, iii. 169.
ZELTER, K.VIIL FRIEDRICH, born in
Berlin, Dec. 11, 1758, died there, May 14,
1832. Composer and conductor, pupil of
Johanii Pliilipp Kirnberger and Karl Fried-
rich Cliristiau Fasch iu Berlin. His father
was a mason and apprenticed his son to the
same trade, which he abandoned for music.
He played the violin in Rellstab's concerts
in Berlin ; from 1792 till 1800 was accom-
panist for the Berlin Singakademie, and i-iu
the death of Fasch iu 1800 became its di-
rector, which post ho
held until his death.
In 1806 he was ap-
pointed assessor in
the Akademic, and
in 1807 conducted
the Ripienschule for
orchestra practice.
On Dec. 28, 1808, ho
founded in Berlin
the fii-st Liedertafel,
a society composed of musicians and poets,
which had many imitators. In 1809 ho
founded the Royal Institute for church
music, which he directed until his death.
Zelter's influence upon the music of Berlin
was strong and lasting. He was an enthusi-
astic worshipper of Bach, and the intimate
friend of Goethe and Mendelssohn. Works :
Cantata on the death of Frederick the
Great ; The Ascension, oratorio ; Requiem ;
Te Deum ; Choruses ; Songs and Part-
songs ; Many pianoforte comjjosltions. Ho
was known especially for his setting of
Goethe's and Schiller's songs. Literary
works : Karl Friedrich Christian Fascli
(Berlin, 1801) ; and Briefwechsel zwischeu
Goetho uiul Zelter (G vols., Berlin, 1833-
y\ 34 ; English translation by
CLQC.^^ D- Coleridge, 1887).
/I ' — Carl Friedrich Zelter, eino
Lebensbeschreibung, edited
by Dr. Wilhelm Riutel (Berlin, 18G1) ; Men-
del ; Fctis ; Riemann ; Grove.
ZfiMHtE ET iVZOR, comedie-focrio in
four acts, test by Marmontel, music by
Gretry, first represented at Fontainebleau,
Nov. 9, 1771. The story is the old fairy
tale of Beauty and the Beast. It was first
given in Paris, Dec. 10, 1771 ; at the King's
Theatre, London, in Italian, translation by
Signor Verazzi, in 1779, and in Vienna,
adapted for the German stage by Seyfried,
Jan. 8, 1818. It was reduced to two acts
by Scribe for the Opera Comique, Paris,
I Feb. 21, 1832, and was given there iu four
610
ZEMIRE
acts, June 29, 184:6, wlieu tbe score was re-
vised by Adolpbe Adam. — Clement et La-
rousse, 715 ; Gretry, Essais siir la musique,
i. 221 ; AUgem. mus. Zeitg., xx. 129 ; xlix. 336.
ZEMIKE UND AZOE, romantic German
opera in three acts, text by Ihk'e, music by
)Spolir, first represented in Fraukfort-on-the-
Maiu, April 4, 1819. Tbe libretto is a ver-
sion of Marmontel's text, set by Gretry. Tbe
best number of tbe opera is tbe beautiful
aria "Rose, wie bist du reizeud und mild,"
sung by Zemire wben sbe receives tbe rose.
An incantation scene from tbe composer's
Faust is introduced as tbe fiuale to tbe first
act, and a duet from Jessonda is inserted in
tbe tbird act. Tbe opera was first per-
formed in Amsterdam and Leipsic in 1820 ;
in Vienna in 1821 ; and first in London, at
Coven t Garden, Ajn-il 5, 1831. Publisbed
by Cranz (Hamburg, 1823). — Spobr, Auto-
biography, ii. 58 ; Allgein. mus. Zeitg., xxi.
310 ; xxiii. 360 ; xxv. 224, 458 ; Harmoni-
con (1831), i. 129 ; ii. 1.
ZENGER, MAX, born in Municb, Feb. 2,
1837, still living, 1890. Dramatic com-
poser, jjupil in Municb of Ludwig Stark,
and at tbe Leipsic Conservatorium. Ho
was Kapellmeister in Ratisbon in 1860 ;
music director of tbe Municb Hofoper in
1869 ; and Hof-Kajjellmeister in Carlsrube
in 1872. With imj^aired bealtb be returned
to Municb, wbere be was conductor of tbe
Oratorio Society in 1878-85. He was also
conductor of tbe singing society of tbe Aca-
demy, and of tbe Cboral Society in tbe
Royal school of music. Works — Ojicras :
Die Foscari, Municb, 1863 ; Ruy Bias,
Mannheim, June 4, 1868 ; Wieland der
Scbmied, Municb, Jan. 18, 1880. Kain, ora-
torio, ib., April 19, 1867 ; Festmarscb for
orchestra ; 2 scenes from Goethe's Faust
for do. ; Symphony for do. in D ; Tragische
Sympbonie for do. ; Overture for do., op.
42 ; Trio for pianoforte, violin, and violon-
cello, op. 15 ; Choruses for 2 sopranos, con-
tralto, tenor, and bass, op. 24 ; 5 songs for
soprano with pianoforte, op. 28 ; Songs ;
Pianoforte music.
ZENNER, KARL TRAUGOTT, born in
Dresden, April 28, 1775, died in Paris, Jan.
24, 1841. Pianist, pupil of Daniel Gottlob
Turk in Halle, and of Clementi in St.
Petersburg. In 1803 he appeared in eon-
certs in Paris, and lived in Vienna, Paris
St. Petersburg, and Dresden. Works : Two
concertos for pianoforte with orchestra ;
String-quartet ; Variations on a Russian
theme for pianoforte, violin, and violon-
cello ; Polonaises, fantasias, variations, and
other pieces for tbe pianoforte.
ZENOBIA, Italian 023era in three acts,
text by Metastasio, music bj' Picciuni, first
represented at tbe Teatro San Carlo, Na-
ples, in 1756. Tbe story is of Zenobia,
Queen of Palmyra, who was defeated by
Aurelian and taken captive to Rome in 273
A.D. Other Italian operas on this text : by
Luca Antonio Predieri, Vienna, Aug. 28,
1740 ; by Guglielmo Sbacci, Venice, 1740 ;
by Micbeli, ib., 1746 ; by David Perez,
Turin, 1751 ; by Coccbi, London, 1758 ; by
Sala, Naples, 1761 ; by J. A. Hasse, Vienna,
1763 ; by Schwanberg, Brunswick, 1767 ;
by Tozzi, Municb, 1773 ; by Calegari, Mo-
dena, 1779 ; by Sirotti, ib., 1783 ; and by
Jlinoja, Rome, 1788. Other operas of the
same title : by Boretti, Vienna, 1661 ; by
Georg Reutter, text by Pasquini, ib., Nov.
19, 1732 ; by Federici, London, 1795 ; by
Bianchi, ib., 1797 ; and by Richard, Earl
of Edgecombe, ib., 1800 ; Zenobia, regina
de' Palmireni, by Albinoni, text by Marchi,
Venice, 1694 ; Zenobia in Palmira, by Feo,
Naples, Jan. IS, 1713 ; by Leo, ib., 1725 ;
by Pasquale Anfossi, text by Gaetano Serta,
Venice, 1790 ; by Paisiello, same text, Naples,
1790 ; and Zenobia e Radamisto, by Gio-
vanni Legrenzi, text by Matteo Noris, Fer-
rara, 1665 ; by Cbelleri, same text, Naples,
1776 ; and by Pietro Raimondi, ib., 1817.
See Radamido.
ZENOBIA, English grand opera, in four
acts, text and music by Silas G. Pratt, first
sung at a concert in Chicago, June 16,
1882, by Annie Louise Cary, for whom
tbe part of Zenobia was written, Marie
zfipniRE
Litta, Charles KnoiT, James Gill, and W.
H. Clark. It was first represented dra-
matically at McVicker's Theatre, Chicago,
March 26, 1883, with the following cast :
Zeuobia, Dora Henninges ; Sindarina,
Agnes Shell ; Julia, Miss von Eisner ; Au-
relian, Charles Clark ; Zabdas, Charles
Kent ; Louginus, Charles Clarke ; and
Ghost of Odenatus, W. H. Pease. The
opera was given at the Twenty-third Street
Theatre, New York, Aug. 21, 1883. Score
published by Oliver Ditson & Co. (Boston,
1883).
ZEPHIRE, opera-ballet by Kameau, first
represented at the Academic Roj-ale de
Musique, Paris, in 175-1.
ZEPHYR DUET. See Nozze di Figaro.
ZERLINE, ou la corbeille d'oranges,
French ojjei-a in three acts, text by Scribe,
music by Auber, first represented at the
Acadi'mie Royale de IMusique, Paris, May
If), 1851. Scene in Palermo. Score pub-
lished by Brandus (Paris). — Clement et La-
rousse, 71G.
ZEESTORUNG JERUSALEMS, DIE
(The Destruction of Jerusalem), oratorio in
two jiarts for soli, chorus, and orchestra,
text by Dr. Steiiihciin, music by Ferdi-
nand Hiller, op. 24, first performed at the
Gewandhaus, Leipsic, under the composer's
direction, April 2, 1840. The subject is
Jeremiah's prophecy and the fall of Jeru-
salem. Characters represented : Zedekia,
King of Juda ; Charmital, his mother ;
Jeremias ; Achicam ; Hann.a, his sister. It
was given in BerHn and Vienna in 1842.
Published by Kistner, with score for the
pianoforte by the composer (Leipsic, 1841).
— .Vllgem. mus. Zeitg., xlii. 318 ; xliv. 113,
382 ; Neue Zeitschr., xii. 120 ; xiv. 2 ;
Schumann, Ges. Scbriften, ii. 148, 195.
ZERSTORUNG JERUSALEMS, DIE,
oratorio in two parts for soli, chorus, and
orchestra, text by G. Nicolai, music by
Loewe, first performed in Stettin, Sept. 14,
1830. The story is the destruction of
Jerusalem. The characters are : Agrippa,
King of the Jews (T.) ; Berenice, his sister
(S.) ; Phannias, high-priest (B.) ; Josephus
Flavins, Jewish general (Bar.) ; Titus, Ro-
man general (T.) ; Gessius Florus, Roman
governor inJudea (Bai-.) ; Auakletus, Chris-
tian bishop (T.) ; Johannes of Giscala (T.) ;
Simon of Gerasa (Bar.) ;-and Eleasar (B.) ;
Jewish leaders, and chorus of Romans,
priests, Jews, soldiers. Christians, and pro-
phets. The work was given in Berlin, June
IG, 1832. Published by Hofmeister (Leip-
sic, 1832). — Allgem. mus. Zeitg., xxx. G78 ;
xxxiv. 447 ; xxxv. 773.
ZL\NI, MARCO ANTONIO, born in Ven-
ice in 1653, died in Vienna, Jan. 22, 1715.
Dramatic composer, nephew of Pietro An-
drea Ziani, and his successor as Kapell-
meister to the Austrian court in Vienna.
Works — Operas : Candaule, Venice, 1079 ;
Alessaudro Magno in Sidone, ib., 1679 ; La
ninfa bizzan-a, ib., 1680 ; Alcibiadc, ib.,
1680 ; Damiro placato, ib., 1682 ; La virtii
sublimata del grande, 1683 ; Tullio Ostilio,
ib., 1685 ; L' iuganno regnante, 1688 ; II
gran Tamerlano, ib., 1G89 ; Creoute, ib.,
1690 ; Falsirena, ib., 1C90 ; L' amante eroe,
ib., 1690 ; Marte deluso, ib., 1691 ; La
virtii trionfanto dell' amorc e dell' odio, ib.,
1691 ; Rosalinda, 1693 ; Amor figlio del
merto, ib., 1693 ; La moglie nemica, ib.,
1694 ; La finta pazzia d' Ulisse, ib., 1694 ;
Domicio, ib., 1695 ; La Costanza in trionfo,
ib., 1696 ; Eumeno, ib., 1696 ; Odoardo,
ib., 1698 ; Egisto re di Cipro, ib., 1698 ; Gli
amori tra gli odi, ib., 1699 ; Teodosio, ib.,
1699 ; R duello d' amore e di vendetta, ib.,
1700 ; Giordano Pio, ib., 1700 ; Temistocle,
Vienna, June 9, 1701 ; Romolo, ib., June 9,
1702 ; Esopo, Venice, 1703 ; Cajo Popilio,
Vienna, 1704 ; Meleagro, Vienna, July 26,
1706; Alboino, ib., 1707; R campidoglio
ricuperato, ib., 1709 ; Chelonida, ib., 1709 ;
Andromeda, ib., 1714 ; and one act of Ate-
naidc, 1714. Oratorios : II giudizio di Salo-
mone, Venice, 1697 ; Le profezie adempiete e
le figure illustrate, Vienna, 1702 ; II mistico
Giobbe, ib., 1704 ; La morte vinta sul Cal-
vario, ib., 1706 ; R sacrifizio d' Isacco, ib.,
1707; La passione nell' orto, ib., 1708;
G»
ZIANI
Gesh flagellato, Vienna, 1709 ; La sapienza
umana illuminata dalla religione, ib., 1710 ;
II seijolcro nell' oito, ib., 1711 ; Santa Eu-
frosina, ib., 1713 ; Six trios for 2 vio-
lins and bass, iiublished by Eoger (Amster-
dam).
ZIANI, PIETRO ANDREA, born in 1G30,
died in Vienna, January, 1711. Dramatic
composer, successor of Cavalli as organist
of the second organ at San Marco, Venice,
and in 1G77 entered the service of Eleanor,
wife of Leopold I. of Austria, and remained
in Vienna until Lis death. Caffi says in his
" Storia della musica," that Ziani was disap-
pointed in not obtaining the post of maes-
tro di cappella at San Marco, left vacant by
the death of Cavalli, and removed to Naples,
where he died. Works — Of)eras : La guer-
riera Spartana, Venice, 1G54 ; Eupatra, ib.,
1G55 ; La fortuna di Rodope e di Dalmira,
ib., 1G57 ; Autigona delusa da Alceste, ib.,
16G0 ; Annibale in Capua, ib., IGGl ; Gli
scherzi di fortuna, ib., IGGl ; Le fatiche
d' Ercolc, ib., 1CG2 ; L'amore guerriero, ib.,
1GG3 ; L' invidia couculcata, Vienna, IGGl ;
Alcibiade, ib., 1GG7 ; Semiramide, Venice,
1670 ; Eraclio, ib., 1G71 ; Attila, ib., 1672 ;
La congiuradel vizio contra la virtu ; L' elice
per musica, La schiava fortunata (with
Cesti), Venice, 1C71 ; Leonida in Tegea
(with Draghi), Venice, 167G ; Lo lagrime
della Vergiue, oratorio, Venice, 1GG2 ; Sa-
CKB laudes for 5 voices and 2 instruments,
op. 6 (Venice, 1 G59) ; and Sonatas for 2, 3,
4, 5, and 6 instruments, op. 7 (Freiberg,
1G91).
ZIGEUNERBARON, DER (The Gypsy
Baron), operetta in three acts, text by J.
Schnitzer after a romance by Jokai, music
by Johann Strauss, first represented in Vi-
enna, Oct. 21, 1885. An English version,
The Gypisy Baron, was given at the Casino,
New York, Feb. 15, 1886.
ZIGEUNERWEISEN (Gipsy Melodies),
concert piece for the violin with orchestral
accompaniment, by Pablo de Sarasate, op.
20, dedicated to Freduric Szarvady. It was
performed by the composer at the Gewand-
haus, Leipsic, Jan. 31, 1878. Published by
Seuff (Leipsic, 1877) ; also arranged with
pianoforte accompaniment (ib.). — Signale
(1878), 97, 205.
ZIMMERMAN, PIERRE JOSEPH
GUILLAUME, born in Paris, March 19,
1785, died there, Oct. 29, 1853. Pianist,
pupil at the Paris Conservatoii-e, on the pi-
anoforte of Boieldieu, and in harmony of
Rey, Catel, and Cherubini. In 1800 he re-
ceived the first prize for the pianoforte, and
in 1802 the first prize for harmony. In
1816 he became professor of the pianoforte
in the Conservatoire, and in 1821 was of-
fered the professorship of counterpoint and
fugue, but he declined. In 1818 he retired
with the office of honorary inspector of pi-
anoforte classes. He was made chevalier
of the Logion d'Honneur. His daughter,
married to Gounod, inherited his fine mu-
sical collection and library. Works : L'en-
16vement, opera-comique in three acts,
text by Saint- Victor, Scribe, and d'Epagnj',
OpOra Comique, Paris, Oct. 26, 1830 ; Nau-
sicaa, do., written for the Academie, but not
represented ; Concerto for pianoforte with
orchestra, dedicated to Cherubini ; Sonata
for the pianoforte, op. 5 ; Fantaisie for do.
on the air "Salut," op. 3 ; Rondeau tyro-
lien, on a waltz in Auber's Emma, for do.;
Variations and finale on an air from Emma,
for do.; Badinage on the air "Au clair de
la lune," op. 8 ; Rondeau brillant for do.
in A.; Variations on the romance " S'il est
vrai que d'etre deux," op. 2 ; do. on the
theme, " Guardami un poco," op. G ; Ro-
mance by Blangini, " II est trop tard," with
10 variations and prelude, op. 7 ; Le bouquet
de romarin, variations, op. 12 ; La Gasconne,
bluette, with variations ; Rondeau from an
air in Auber's Serment, op. 27 ; 24 etudes
for do., in two books, op. 21 ; Les delices
de Paris, contredanses with variations ; 6
collections of romances, with pianoforte ac-
companiment. His Encyclopedic du Pia-
niste, his most important work, is a complete
method of pianoforte instruction, with a
treatise on harmony and counterpoint.
613
ZIMMERMANN
— Labat, Zimmerman et 1 ecole frauyaise de
piano (Moutauban, 1865).
ZIJIjVIEKJIANN, AGNES, boru in Co-
logne, July 5, 1847, stiU living, 1890, in
London. Pianist, pupil of Cipriani Potter,
Steggall, Pauer, and Sir George A. Macfar-
ren at the Royal Academy of Music, Lon-
don. She gained the King's scholarship in
18G0 and 18G2, and made her first appear-
ance as a pianist at the Crystal Palace, Dec.
5, 18C3. In 1SG4 she played at the Ge-
wandhaus, Leipsic, and again in the seasons
of 1879-80 and 1882-83, when she travelled
through the continent. She has devoted
herself to the classic school, which her com-
Ijositions follow. Works : Barcarolle for
pianoforte, op. 8 ; Bolero for do., op. 9 ;
Mazurka for do., op. 11 ; Mai-ch for do.,
op. 13 ; Gavotte for do., op. 14 ; Presto
alia tarantella for do., op. 15 ; 3 sonatas
for pianoforte and violin, op. 16, 21, and
23 ; Trio for i)ianoforte, violin, and violon-
cello, op. 19 ; Sonata for jjianoforte, op.
22 ; Canons, sarabandes, gigues, caprices,
transcriptions, and arrangements for do.;
Songs; Part-songs.
ZIMMERMANN, ANTON, bora at Pres-
burg in 1741, died there, Oct. 8, 1781.
For many years he was Kapellmeister to
Prince Bathyani, Presburg, and organist of
the cathedral. Works : Three sonatas for
the pianoforte and viohn, op. 1 (Vienna) ;
6 sonatas for do., op. 2 (Lyons) ; Concerto
for the pianoforte, op. 3 (Vienna, 1783) ; 6
violin duets (Lyons) ; 6 string-quartets ;
Andromeda und Pei-seus, Singspiel (Vienna,
1781) ; Die Belagerung von Valenciennes,
for pianoforte and violin (Vienna). Works
in MS.: Narcisse und Pierre, operetta ; 14
symphonies ; 12 string-quartets ; 12 quin-
tets for flute with strings ; 6 duets for vio-
lin and viola ; 6 sonatas for violin ; Concer-
tos for various instruments.
ZINGARELLI, NICOLA ANTONIO, born
in Naples, April 4, 1752, died at Torre del
Greco, near Naples, May 5, 1837. Drama-
tic composer, son of Riccardo Tota Zinga-
relli (tenor singer and teacher, died 1759) ;
pupil on the violin at the Musical College
of Sta. Maria di Loreto, and of Fedele
Fenaroli and Speranza in coimterpoint and
composition. He produced his first opera,
I quattro pazzi, before leaving the Conser-
vatorio, where it was given by the pupils.
Under the patronage of the Duchess of Cas-
telPagano, he gave the cantata Pimmalionc
at the Teatro San Carlo in 1779. He soon
went to Milan, recommended to the Ai'cli-
duchess Beatrix of Austria, and wrote there
many operas, for which Carpani wrote most
of the libretti. In 1789 he went to Paris,
where he wrote Antigone, which was coldly
received. In 1792 he became the success-
ful competitor for maestro di cappella at the
Cathedral of Jlilan, where he remained un-
til 1794, when he was apjiointed to a similar
post at Loreto, where he served until 1804.
In that year he succeeded Guglielmi as
maestro di cappella of the Sixtine Chapel,
Rome. When Napoleon pronounced his
son King of Rome he ordered a Te Deuni
to be sung at St. Peter's, for which Zinga-
relli refused his services. He was therefore
arrested and taken to Paris, but Napoleon,
who had heard his music in Italy, set him
free and gave him a pension. He also or-
dered Zingarelli to conqiose a mass which
could be perfoimed in twenty minutes,
and he was so delighted with the compo-
sition that he gave him 6,000 francs. In
July, 1810, he left Paris, and having been
supplanted by Fioravanti in Rome, went to
Naples, where he was appointed director of
the Royal College of Music of San Sebas-
tiano, and in 1816 succeeded Paisiello as
maestro di cappella of the Cathedral of
Naples. He held both places until his death.
Zingarelli was the last master of the Nea-
poUtan school, and numbered among his
scholars Bellini, Mercadante, the two Riccis,
Manfroce, and Conti. He was a member of
the Academies des Beaux-Arts of Paris and
of Berlin, and of many societies of Italy.
Works. I. Operas : I quattro pazzi. Conser-
vatory, Naples, 1771 ; Montezuma, Naples,
Aug. 13, 1781 ; Alsinda, Milan, 1785 ; Rici-
m
ZIJSGAIU
mero, Venice, 1785 ; Aj-mida, Rome, 178G ;
Ifigenia in Aulide, text by Moretti, Milan,
1787 ; Auuibale, Turin, 1787 ; Antigone,
test by Marmoutel, Paris, 1790 ; La morte
di Cesare, MOan, 1791 ; L' oracolo Sannito,
Turin, 1792 ; Pirro, ru d' Epiro, three acts,
text by Gamerra, Milan, 1792 ; II mercato di
Manfregoso, two acts, ib., 1792 ; Le seccbia
rapita, ib., 1793 ; Apelle e Campaspe, Ven-
ice, 179-t ; Artaserse, Turin, 1794 ; II conte
di Saldagua, Venice, 1795 ; Gli Orazi ed i
Curiazi, two acts, Turin, 1794 ; Giulietta e
Eomeo, three acts, text by Foppa, Milan,
Jan. 30, 1796; Le Danaidi, ib., 1796;
Meleagro, ib., 1796 ; La morte di Mitbri-
date, Venice, 1797 ; Carolina o Menzikoff,
Venice, 1798 ; Edipo a Colono, text by So-
grafi, ib., 1799 ; II ritratto, text by Roma-
neUi, Milan, 1799 ; II ratto delle Sabine,
two acts, text by Rossi, Venice, 1800 ; Cli-
tenuestra, text by Salfi, Milan, 1801 ; II
bevitore fortunate, Milan, 1803 ; Inez do
Castro, ib., 1803 ; Baldovino, Rome, 1810 ;
Berenice, Rome, 1811. II. Oratorios and
cantatas : Pimmalioue, Naples, 1779 ; Al-
ceste, Milan, 1786 ; Hero, ib., 1786 ; Sap-
pho, ib., 1786 ; The Passion, ib., 1787 ;
Nice d' Elpino, ib., 1787 ; L' amor iiliale,
ib., 1787 ; Alcide al bivio, ib., 1787 ; Tele-
macco, text by Moretti, ib., 1787 ; Oreste,
ib., 1788 ; R trionfo di Davidde, Naples,
1788 ; Francesca da Rimini, Rome, 1804 ;
11 conte Ugolino, ib., 1804 ; Tancredi al
sepolcro di Cloriuda, Naples, 1805 ; La dis-
truzzione di Gerusalemme, Rome, 1805 ; La
riediflcazione di Gerusalemme, Florence,
1812 ; Isaiah, Birmingham, England, 1829 ;
Saul, Rome, 1833 ; Hymn of Inauguration,
Philharmonic Society, Najjles ; La fuga in
Egitto, ib., 1837 ; La danza ; Ero, mono-
logue ; Alceste, four voices with chorus ;
L' amicizia, three voices with chorus ; Can-
tata for Saint-Ga6tan, three voices ; Sulle
rovine cn-ibili, four voices ; Galatea, for
two soprani with pianoforte ; II sacrificio
d' Abramo, soprano with do. ; 2 Christmas
cantatas for tenors with do. ; Berenice che
far? sojjrano and string-quartet. HI.
Church music : Miserere for 4 voices, Na-
ples Conserv'atorio ; 38 Masses for men's
voices with orchestra ; 66 do. for mixed
voices with organ ; 25 Masses for 2 and
3 voices with instruments ; about 20 4-part
Masses with orchestra ; 7 Masses for 2 cho-
ruses ; 3 requiems ; 16 3 and 4-part Credo
with orchestra ; 5 do. with organ ; 84 Dixit
for 3, 4, and 8 voices with organ ; 36 Bea-
tus vir with orchestra, or organ ; 49 Con-
fitebor, 73 Magnificat for 2 and 3 voices
with orchestra, or organ ; 21 Passion hours
for 1, 2, 3, and 4 voices with instruments ;
29 Te Deum ; 28 Stabat Mater ; Psalms ;
Vespers ; Hymns ; Litanies ; Motets ; Re-
sponses ; Antiphons ; Graduals ; and Offer-
tories. His MSS., about 541 in number,
are in the "Annuale di Loreto," and a list
of this collection is in the Royal College of
Music, London. — Rafale Liberatore, Necro-
logia di Nicolo Zingarelli (N.-qjles, 1837) ;
Villarosa, Elogio di Nicolo Zingarelli (ib.,
1837) ; Eaimondo Guarini, Cenni storici di
NicoK) Zingarelli (ib., 1837) ; Anonymous,
Notizie biografiche di Nicolo Zingarelli (ib.,
1837) ; Antonio Miughetti, Discorso per le
solenni esequie del cavaliere Nicolo Zinga-
relli (Padua, 1841) ; Francesco Florimo,
Cenni storici sulla scuola musicale di Na-
poli ; Adrien de la Farge, Zingarelli (Revue
universelle, Sept. 20, 1837) ; Fetis ; do..
Supplement ; Mendel ; Riemann ; Grove.
ZINGARI IN FIERA, I (The Gypsies at
the Fair), Italian comic ojDcra in two acts,
text by Palomba, music by Giovanni Pai-
siello, first represented in Naples in 1789 ;
given in Paris, May 3, 1802.
ZINKEISEN, KONRAD LUDWIG
DIETRICH, born at Hanover, June 3, 1779,
died in Brunswick, Nov. 28, 1838. Com-
poser, pupil of his father and of Rode in
Wolfenbfittel. He was oboist in an in-
fantry regiment in Liineburg, and went to
Gottingen in 1803, where he became Con-
zertmeister at the academy and taught mu-
615
ZION
sic. In 1819 he was made Kammermu-
siker in the court orchestra in Brunswick.
Works : Four overtures for orchestra ; 6
concertos for the violin ; Duo concertante
for vioHn and viola ; Variations for violin
and string-trio ; 2 Duets for vioUn and viola ;
3 string-quartets ; Variations for flute and
string-quartet ; Concerto for oboe ; do. for
clarinet ; Pieces for clarinet and orchestra ;
do. for oboe and string-quartet ; Variations
for 2 horns with orchestra ; Militai-y music ;
Choruses.
ZION, sacred cantata for bai-itone solo
and chorus, with orchestra, by Niels W.
Gade, op. 49, first performed at the Bir-
mingham (England) Festival, Aug. 29, 187G.
The test from the Bible describes the chil-
dren of Israel in Egypt, their captivitj-, jjas-
sage through the sea, return to Zion, and
the prophecy of the New Jerusalem. Pub-
lished by Novello, Ewer & Co. (London,
187G); by Breitkopf & Hiirtel (Leipsic,
1880).— Athenwum (187G), ii.; Mus. \Vo-
chenblatt (1880), 143.
ZITTI, ZITTI. See Barhiere di Siviglia ;
HigoleUo.
ZOELLEE, Ci\IlLI, born in Berlin, March
28, 1849, died in Lou-
don, August, 188 9.
Dramatic composer, pu-
pil at the Royal Acad-
emy, Berlin, of Hubert
Ries on the violin, of
W. Garich in harmony
and instrumentation,
and of Eduard Grell
in countei-point. After
travelling with opera
companies through Germany, he settled in
1873 in London, and in 1879 was appointed
bandmaster of the 7th (Queen's Own) Hus-
sars. Elected member of the Royal Acad-
emy, Sta. Cecilia, class of Maestro de' com-
positori, Rome, 1884 ; honorary member of
the Royal Institute of Music, Florence,
1885, and fellow of the Society of Sciences,
Arts, and Letters, London, 1886. Works :
The Missing Heir, comic operetta in one
act, text by Rita ; Mary Stuart at Fother-
ingay, lyrical mouodraina, chorus by Fred-
eric Maro ; The Rhine King's Daughter,
scene for soprano, with orchestra, text by
Frederic Maro ; Ecclesiastical overture, in
A minor; Military overture, B-flat major ;
Queen Marie Stuart's Hunt, overture in E-
flat major ; Dramatic overtui-e, D minor ;
Original theme and variations for orchestra ;
3 voluntaries for orchestra and organ ; Al-
wina, characteristic piece for orchestra ;
Stray Leaves from the Album of an Old
Musical Conductor, for orchestra ; Concerto
dramatique, for violin and orchestra ; Quin-
tet for flute, oboe, clarinet, horn, and pi-
anoforte ; Quartet for 2 violins, viola, and
violoncello ; Romance for violoncello, with
orchestra ; Serenade for violoncello, with
strings ; Grand solo for flute, on Schubert's
Serenade, with orchestra ; 2 Concertinos
for viole d'amour, with orchestra ; Intro-
duction and rondo for do. ; Adagio religioso
for do. ; Hymn to St. Cecilia, for do. ;
Masses, Anthems, and other church music ;
Pianoforte music ; Songs ; Transcriptions
and arrangements for nearly every kind of
musical instrument in use. He was editor
also of the United Service Military Band
Journal, and author of several didactic
works, including the " Viole d' Amour, its
Origin, History, etc.," an instrument which
he labored hard to revive.
ZOILO, ANNIB.VLE, Italian composer
of the 16th centuiy. In 1561-70 he was
maestro di cappella at San Giovanni in La-
terano, Rome, and on July 5, 1570, was ap-
pointed to the choir of the Pontifical Chapel.
His manuscripts, in the archives of the Pon-
tifical Chapel, include masses and sixteen
responses for the Tenebrse, to be sung dur-
ing Holy Week. Published works : Do-
dici affetti, madrigali a 5 voci (Venice,
1585) ; Melodia olympica di diversi eccel-
lentissimi musici, 4, 5, 6, e 8 voci (Antwerp,
1594) ; De' floridi virtuosi d' Italia il terzo
libro di madrigali a 5 voci (Venice, 1596) ;
Paradiso musicale di madrigali et canzoni a
5 voci (ib., 1596) ; Selectse cantiones excel-
616
ZOLLNER
lentissimorum auctorum octoriis vocibus
concinendfc a Fabio Costantino, etc., which
includes a Salve Kegiua for 12 voices
(Rome, 1596).
ZOLLNER, HEINRICH, born in Leip-
sic, July 4, 185-1, still living, 1890. Com-
poser, son of Karl Friedrich Zullner ; pu-
pil of Eeiuecke, Jadassohn, Eichter, and
Wenzel, at the Leipsic Conservatorium. In
1878 he vi'as appointed music director in
the University of Dorjsat, and in 1885 be-
came conductor of the Miiunergesangvereiu
in Cologne, and professor in the Conserva-
torium. 'Works : Choruses for men's voices,
op. 1, 4, 5, and G ; Songs, op. 2, 7, and 8 ;
Hunnenschlacht, chorus, Leipsic, 1880 ;
Symjjhony for orchestra, op. 20 ; Sommer-
fahrt episode for do., op. 15 ; Frithjof, op-
era, text by the composer, Cologne, 1884 ;
and Faust, music drama in four acts and
prelude, Munich, Oct. 19, 1887.
ZOLLNER, KARL FRIEDRICH, born
at Mittelhausen, Thu-
ringia, March 17, 1800,
died in Leipsic, Sept.
25, 1860. Vocal com-
poser, son of Karl
Heiuricli ZOllner ; pu-
pil of Johanu Gott-
fried Schicht in Leijj-
sic. He received his
education at the Gym-
nasium, Eisenach, and at the Thonias-
schule, Leipsic. In 1820 he became teach-
er of singing in the Rathsfreischule, and in
1822 aided in directing a musical institute.
In 1830 he began to compose part-songs,
and in 1833 founded the Zijllner-Verein, a
male chorus society out of which grew simi-
lar societies. Twenty of these united in
1859, and gave a festival under his direction
in Leipsic. After hia death these choruses
called themselves the ZOllner-Bund. In
1868 a monument was erected to his mem-
ory in Leipsic. Works : Songs ; Part-
songs ; Choruses ; Motets, etc.
ZOLLNER, KARL HEINRICH, born at
Oels, Silesia, May 5, 1792, died at Wands-
beck, near Hamburg, July 2, 1836. Or-
ganist, travelled through Germany as a
virtuoso on the organ until 1833, when he
settled in Hamburg. Works : Kunz von
Kaufungen, opera, Vienna, about 1825 ; Ein
Uhr, melodrama ; Masses ; Sonatas for the
pianoforte ; Organ pieces ; Psalms ; Songs ;
Part-songs ; School for the pianoforte ;
School for the violin.
ZORAHAYDE, a legend for orchestra,
by Johan Severin Svensden, op. 11. The
subject is the Legend of the Rose, from
Washington Irving's Alhambra. Published
by Warmuth (Christiania).
ZORAIDE. See Ahenccrages.
ZORAIME ET Z ULNAR, drame-
lyrique in three acts, text by Saint- Just,
music by Boieldieu, first represented at
the Opera Comique, Paris, May 16, 1798.
The libretto is founded on Florian's ro-
mance " Gonsalve de Cordoue."
ZOROASTRE, tragedie-lyrique in five
acts, text by Cahusac, music by Rameau,
first represented at the Academic Royale
de Musique, Paris, Nov. 5, 1749. It is one
of Rameau's best works. The music is
fi'om the composer's opera, Samson, for
which Voltaire wrote the text, and which
was declined by the Academic Royale de
Musique. The chorus of Zoroastre's magi
is one of Rameau's best insjairations. — Cle-
ment et Larousse, 718 ; Lajarte, i. 213.
ZU Dm WALL' ICH, MEIN JESUS
CHRIST. See Tannhiiuser.
ZUFRIEDENGESTELLE ^OLUS,
DER (JEolus Pacified), dramatic cantata,
text by Picander, music by Johann Sebas-
tian Bach, composed in honor of the name-
day of Dr. August F. Miiller, Doctor of
Philosophy in the University of Leipsic.
The original score in the KOnigliche Bib-
liothek, Berlin, which is dedicated to him,
is dated Aug. 3, 1725. Published by the
Bachgesellschaft (Year XI.). Bach used
this cantata again, with an altered text,
when Friedrich August H. was crowned
King of Poland in Cracow, Jan. 17, 1734.
— Spitta, Bach, ii. 455 ; do. (Bell), ii. 624.
617
ZUMPE
ZUIVIPE, HER:MANN, bom at Tauben-
heim, Upper Lusatia, April 9, 1850, still liv-
ing, 1890. Dramatic composer, pupil of
the Lehrerseminar iu Bautzen. In 1870-71
he taught in Weigsdorf, whence he went to
Leipsic, taught in the third Burgerschule,
jjlayed the triangle in the Stadt-theater,
and studied under Carl Albert Tottmann.
In 1873-76 he was in Bayreuth, and aided
Wagner in the preparation of the Nibelun-
gen scores, and was afterwards Kapellmeis-
ter in the theatres in Salzburg, WUrzburg,
Magdeburg, Frankfort-on-the-Main, and
Hamburg. He is now employed in prepar-
ing singers for the stage, and in composing.
"Works : Overture to Wallensteius Tod ; An-
ahna, opera, Berlin, 1880 ; Die verwiinscheno
Prinzessin, romantic opera-comique (MS.) ;
Farinelli, operetta, Hamburg, 1886 ; Songs.
ZUMSTEEG, JOHx\Js^N RUDOLF, born
,' '"^^j^ at Sachsenflur, in the
Odenwald, Jan. 10,
.^^ ^_ 17G0, died in Stutt-
Li^ ,:^^^ gart, Jan. 27, 1802.
^ »^..*r. Dramatic composer
and violoncellist, pu-
pil of Poli, Mazzanti,
Borani, and in theory
and composition of
Matthison and Marpurg. His father was
valet to Duke Carl of Wurtcmberg, and he
was admitted to the Carlschule at "The
Solitude," near Stuttgart, where he met
Schiller, with whom he formed a close
friendship. Ho was intended for a sculp-
tor, but he devoted himself to music, and
in 1792 succeeded Poli as Kapellmeister in
Stuttgart. He was the pioneer of the Ger-
man balhul. Works : Das tartarische Ge-
setz, opera, Stuttgart, about 1790 ; Rinald
uud Armida, do., ib., 1790 ; Tamira, do.,
ib., 1701 ; El Bondokoni oder der Kaliph
von Bagdad, do., ib., 1792 ; Zaalor, do.,
ib., about 179-4 ; Die Geisterinsel (Shake-
speare's Tempest), do., ib., 1798 ; derSchuss
von Gansewitz, do., ib.; Das Pfaueufest, do.
in two acts, text by W^erthes, ib., 1801 ; 18
dramatic cantatas ; 20 cantatas or ballads
for one voice with pianoforte, including
Biirger's Lenore ; Schiller's Maria Stuart ;
Goethe's Colma ; Bitter Toggenburg ; Die
Biissende ; Des Pfarrers Tochter von Tau-
benhayn ; Choruses to Schiller's Die Riiu-
ber ; Concerto for the violoncello (Gombart,
Augsburg) ; Duos for do. (Breitkopf AHiirtel,
Leipsic) ; Sonatas for do. — Grove ; ]\Icndel ;
Ft-tis ; Riemann ; Ambros, Bunte Blatter, ii.
ZUR HERBSTZEIT (In the Autumn),
symphony in F minor by Joachim Raflf, op.
2 1 2, first performed at the Philharmonic, Ber-
lin, in 1882. It was given iu Leipsic in 1884.
ZVONAft, JOSEPH LEOPOLD, born at
Kublov, near Prague, Jan. 22, 1824, died iu
Prague, Nov. 23, 1865. Contrapuntist, pu-
pil at the Organistenschule, Prague, and
afterwards teacher in and director of the
same. In 1859 he became director of the
Sophien-Akademic, then chorus-master of
Trinitiltskirche and music teacher in the
high TOchterschule. He was the first to
teach harmony and counterpoint in the Bohe-
mian language. Works : Zaboj, opera, not
represented; Songs; Choruses ; Part-songs.
ZWEIKAMPF MIT DER GELIEBTEN,
DER (The Duel of the Lovers), German
ojseretta in one act, text by Schink, music
by Spohr, first represented in Hamburg,
Nov. 15, 1811 ; revived in Cassel, Feb. 7,
1841. Score published by Bohu (Hamburg,
1811). — Spohr, Autobiography, i. 152 ; All-
gem, mus. Zeitg., xlii. 198.
ZWILLINGSBRUDER, DIE (The Twin
Brothers), operetta in one act, text by Hof-
mann from the French, music by Schubert,
first represented at the K;lrnthnerthor-The-
ater, Vienna, June 14, 1820. The story is
of the mistaken identity of two brothers,
Franz and Friedrich Spiess. It was com-
posed iu 1818-19, and consists of an over-
ture and ten numbers. It was given only
six times. The autograph, in possession of
the Gesellschaft der Musikfreunde of Vi-
enna, was published by Peters (Leipsic,
1872).— Kreissle von Hellborn (Coleridge),
Schubert, 168-175 ; Frost, do., 36 ; Allgem.
mus. Zeitg., xxii. 560.
eis
SUPPLEMENT.
Containing names omitted, corrections, and additions to i8go. Articles preceded by
an AsterisI; (*) are supplementary to articles in tl)e text.
*AERTS, FjfiLIX, died iu Nivelles, Bel-
gium, Jauunry, 1889.
*ALARD, DELPHIN, died iu Paris, Feb.
22, 1888.
*ALBERT, EUGEN D'. Add to works :
Ten songs for one voice with i^ianoforte, op.
3 ; Symphony for orchestra iu F, op. 4 ;
8 Clavierstiicke, op. 5 ; Waltz for the pi-
anoforte for 4 hands, op. G ; Quartet for
strings in A minor, op. 7 ; Ouverture for or-
chestra to Grillparzer's Esther, op. 8 ; 5
songs, op. 9.
*ARBAN, JOSEPH JEAN BAPTISTS
LAURENT, died in Paris, April 8, 1889.
*ASCANIO IN ALBA. Vol. I., page 80,
hne 4, for 1711 read 1771.
*BARBIER, FRfiDfiRIC £TIENNE,
died iu Paris in 1889.
*BARNETT, JOHN, died at Cheltenham,
April 17, 1890.
*BAZZINI, ANTONIO. He was ap-
pointed director of the Milan Conservatorio
in 1880. Add to works : Francesca da Ri-
mini, symphonic poem, op. 77.
*BOTTESINI, GIOVANNI, died in
Parma, July 6, 1889.
*BRAHMS, JOHANNES. Add to works :
Pianoforte concerto in B-flat, op. 83 ; Ro-
mances and songs for one or two voices, op.
84 ; 6 songs for one voice, op. 85 ; do., op.
86 ; 2 songs for alto with violin obligate,
op. 91 ; 4 vocal quartets with pianoforte,
op. 92 ; Songs and romances for 4-part
chorus, op. 93 ; do., a cappella, op. 93a ; Ta-
feUied, op. 93b ; 5 songs for low voice, op.
94 ; 7 songs, op. 95 ; 4 songs, op. 9G ; G
sougs, op. 97 ; Sonata for violoncello and
pianoforte iu F, op. 99 ; Sonata for violin
and pianoforte in A, op. 100 ; Trio for pi-
anoforte and strings iu C minor, op. 101 ;
Concerto for violin and violoncello in C
with orchestra, op. 102, played by Joachim
and Hausmauu iu Cologne, iu 1887 ; 8
Zigeunerlieder, for voice and pianoforte,
op. 103 ; Sonata for violin and pianoforte
in D minor, op. 108 ; Rom.ances from Tieck's
" Magelone," for one voice with pianoforte,
op. 33.
*BRUCH, MAX. Add to works : Das
Feuerkreutz, dramatic cantata for chorus,
soli, and orchestra, op. 52, text by Heinrich
Bulthaupt from Scott's "Lady of the Lake."
*BRULL, IGNAZ. Add to works : 7
songs for one voice with pianoforte, op. 5G ;
5 Clavierstiicke, op. 57 ; Suite for piano-
forte, op. 58.
CAPOCCI, FILIPPO, Italian composer,
contemporary. Organist of S. Giovanni iu
Laterano, Rome. Works : Sonata No. 1, in
D miuor ; Sonata No. 2, in A minor ; So-
nata No. 3, in G miuor ; Offertorio, in B-
flat ; Scherzo, in D ; Capriccio, iu B-flat ;
Grau coro trioufale, iu E-flat ; do., iu F ;
Andante con moto, iu D ; Solo di oboe ;
Preghiera, iu A- flat ; Prelude and fugue, in
D miuor ; Meuuetto, iu B-flat ; do., iu B ;
Melodia, iu B-flat ; Larghetto, in G minor,
etc.
*CLAY, FREDERICK, died iu Loudon,
Nov. 26, 1889.
619
COLBOENE
*COLBORNE, LANGDON, died in
Hereford, England, Sept. 26, 1889.
*CONVEKSE, CHARLES CROZAT.
Add to works : American concert overture,
in D, for orchestra, on Hail Columbia, given
at the Peace Jubilee, Boston, 18G9, under
direction of P. S. Gilmore ; Cantata, for soli,
chorus, and orchestra, on Psalm exxvi., in
three parts, two numbers of which were
given at the Music Teachers' National As-
sociation, Chicago, 1888, under direction of
Theodore Thomas. A selection from Mr.
Converse's unpublished oratorio, The Cap-
tivity, is in Sterling Anthems.
*CORDER, FREDERICK. Add to
works : A Storm in a Tea-cup, operetta,
1880 ; River Songs, trios for female voices,
1881 ; Nocturne for orchestra, 1882 ; Dream-
land, ode for chorus and orchestra, 1883 ;
Roumanian Dances for violin and jjianoforte,
1883 ; The Nabob's Pickle, operetta, 1883 ;
The Noble Savage, do., 1885 ; Prospero,
overture for orchestra, 1885 ; Orchestral
scenes for The Tempest, 1886 ; The Biidal
of Triermain, cantata, Wolverhampton Fes-
tival, 1886 ; Nordisa, opera in three acts,
Liverpool, Jan. 26, 1887, Drurj- Lane, Lon-
don, May 4, 1887 ; Roumanian suite for
orchestra, 1887 ; The Minstrel's Curse, bal-
lad for declamation, with orchestra, Crystal
Palace, iMarch 10, 1888 ; O Sun, that wak-
enest all (Tennyson), song, 1888 ; and The
Sword of Argantyr, dramatic cantata in four
scenes, given at the Leeds (England) Fes-
tival, Oct. 9, 1889.
*COWEN, FREDERIC HYMEN. Add
to works : Saint John's Eve, cantata for
chorus, soli, and orchestra, Crystal Palace,
London, Dec. li, 1889 ; Thorgi-im, opera in
four acts, text by Joseph Bennett, from
Magnisson and jMorris's " Vigluud the
Fair," Drurj' Lane, ib., April 22, 1890.
*CZ/VE IJND ZIMMERMANN. Inline'
4, for Berlin in 1854, read Leipsic, Dec. 22,
1837.
*DA\1D0FF, KARL, died in St. Peters-
burg, Feb. 24, 1889. Add to works : Die
I Gaben des Terek, symphonic picture for or-
chestra after ajjoem by Lermontofl', op. 21 ;
3 Romances for voice with pianoforte, op.
26 ; 6 do., op. 28 ; Sextet for 2 violins, 2
violas, and 2 violoncelli, op. 35 ; 2 Salon-
stucke for pianoforte and violin, op. 37 ;
j Quartet for strings, op. 38 ; Quintet for
pianoforte and strings, op. 40 ; 2 Russian
romances for violoncello and pianoforte.
*DONT, JMvOB, died in Vienna, Nov.
' 18, 1888.
I *DRAESEKE, FELIX. Add to works :
Requiem in B minor, soli, chorus, and or-
] chestra, op. 22 ; Quintet for strings and
pianoforte, op. 40 ; Serenata in D (1.
March ; 2. Serenade ; 3. Love scene ; 4.
Polonaise ; 5. Finale), 1889, given in Amer-
ica first by New York Symphony Society,
Nov. 23, 1889 ; Symphony for orchesti-a in
F, oji. 25, 1889 ; Sinfonia tragica for or-
chestra, 1889.
*DVOflAK, ANTON IN. Add to works :
Die Jakobiner, opera in three acts, text by
Jline Marie Cervinka-Rieger, Bohemian
National Theatre, Prague, Feb. 12, 1889.
*EMPEROR CONCERTO. For op. 75
in line 4, read oji. 73 and add : I. Allegro ;
IL Adagio ; IH. Rondo. Composed in
1809, dedicated to the Archduke Rudolph,
and first published by Breitkopf & Hiirtel
(Leipsic, 1811). Breitkopf & Hartel, Beet-
hoven Werke, Serie ix., No. 5. — Thayer,
Verzeichniss, No. 144 ; Leuz, Beethoven, ii.
part i. 159.
FINTA FRASCATANA, LA, Italian opera
by Leo, left unfinished, completed by Ca-
pranica, and first represented at the Teatro
Nuovo, Naples, 1744.
*FRANZ, ROBERT. Add to works:
Three songs for mixed chorus, text by
Eduard Morike, op. 53.
*FREISCHUTZ, DER. Vol. I., page 28,
line 1, for Wie nahte, etc., read Nie nahte.
*GODARD, BENJAMIN. Add to
works : Incidental music to Much Ado
GOLDMARK
about Nothing, Odeon, Paris, Dec. 8, 1887 ;
Dante, opera in four acts, Paris, 1890.
*GOLDMAKK, KARL. Add to works :
Im Friihling, overture for orchestra, op. 36 ;
8 songs for one voice with pianoforte,, op.
37 ; Prometheus Bound, overture for or-
chestra. Philharmonic Concert, Berlin, Nov.
25, 1889.
*GRIEG, EDVARD. Add to works : Olaf
Trjgvason, three scenes from an unfinished
drama by Bjornson, given at Christiania,
1889 ; 6 songs, op. 48 ; Alexander, opera,
text by Glucksmann.
*GUITAERRO, LE, French opera-com-
ique in three acts, text by Scribe, music by
Halcvy, first represented at the Opera Co-
mique, Paris, Jan. 21, 1841. — Clement et
Larousse, 334.
*GUNG'L, JOSEPH, died in Weimar,
Jan. 31, 1889.
*HASSE, JOHANN ADOLPH. Vol. H.,
page 235, line 16, for 1774 read 1771 ; page
236, line 8, for 1770 read 1771.
*HENSCHEL, GEORG. Add to works :
Three choruses for men's voices, I. Treu ;
IT. Gate Nacht ; DI. Natur die Trosterin,
op. 42.
*HENSELT, ADOLF VON, died in
Warmbrunn, Silesia, Oct. 10, 1889.
*HENTSCHEL, FRANZ, died in Berlin,
May 11, 1889.
*KRUG, ARNOLD. Add to works : Si-
gurd, cantata for soli, chorus, and orches-
tra, op. 25, text by Theodor Souchay from
Geibel's " Konig Sigurd's Brautfahrt."
*LACHNER, FRANZ, died in Munich,
Jan. 20, 1890. Add to works : Stabat Ma-
ter, op. 154 ; Mass for 5-part chorus, soli,
and orchestra, op. 155.
*LALO, ifiDOUAED, born (instead of
1831) at Lille, Jan. 27, 1823.
LAMBERT, ALEXANDER, born in War-
saw, Poland, Nov. 1, 1862, still living, 1890.
Pianist ; pupil of his father, Henry Lambert
(violinist), of Julius Einstein at the Vienna
Conservatorium, of Liszt at Weimar on the
pianoforte, and of Bruckner in composition.
He first apjDeared as a pianist at Steinway
Hall, New York, in 1880, played in concerts
with Joachim and Teresina Tua in Germany
in 1883 ; and in 1884 assisted Sarasate in
Warsaw and other cities. In 1883 he be-
came professor of the pianoforte in the
Neue Akademie der Tonkunst, Berlin, and
since 1887 has been director of the New
York College of Music. His compositions,
published in Berlin and New York, are
chiefly for the pianoforte.
*LASSEN, EDUARD. Add to works :
Music to Goethe's Pandora, op. 86, Weimar,
1886 ; Concerto for violin with orchestra,
op. 87, 1889.
*MAAS, LOUIS, died in Boston, Mass.,
Sept. 18, 1889.
*MACCUNN, HAMISH. Add to works :
The Cameronian's Dream, cantata, 1889 ;
Bonnie Kilmenj', do., 1889.
*MACDOWELL, EDWARD ALEX-
ANDER. Add to works: 6 songs from
Heine, oj). 31 ; Marionetten, 6 short pieces
for the pianoforte, op. 38.
*MAID OF ARTOIS, THE. Vol. H., page
505, line 16, for Kennej', read Kennedy.
*MAID OF HONOUR, THE. Vol. H,
page 505, line 22, for Kenney, read Ken-
nedy.
*MASSENET, JULES. Ad.l to works :
Esclarmonde, opera in four acts, text by
Alfred Blau and Louis de Gramont, first
represented at the Opera Comique, Paris,
May 16, 1889.
*MERMET, AUGUSTE, died in Paris in
1889.
*MfiTRA, OLIVIER, died in Pai-is, Oct.
22, 1889.
MILLARD, HARRISON, bom in Bos
ton, Massachusetts, Nov. 27, 1830, still liv-
ing, 1890, in New York. Song writer and
singer ; sang when a boy in a church choir,
and when ten years old as alto in the chonis
of the Handel and Haydn Society, Boston.
In 1851 he went to Europe, studied three
C21
MIRY
years in Italy, appeared in concerts as a
tenor, and made a tour in Great Britain
with Catherine Hayes. He returned to
Boston in 1854 and removed in 1856 to New
York, where he settled as a singing teacher,
singer, and composer. He sei-ved in the
civil war as an officer in a New York regi-
ment, was wounded at Chickamauga and
sent home, and afterwards had a position in
the custom house. New York. Works :
Deborah, Italian opera in four acts (MS.) ;
Grand Mass ; Church services ; 4 Te Deum ;
300 songs, and many adaptations from the
French, German, and Italian.
*MIKY, CHAELES, died in Ghent, Bel-
gium, in 1889.
*MULLERLIEDER. For Miillerinn in
second line read Miilleriu, and for "Wenzel
in third line read Wilhelm.
*NESSLER, VICTOR ERNST, died in
Leipsic, May 28, 1890. Add to works:
Otto der Schiitz, Leipsic, 1887 ; Die Rose
von Strassburg, Munich, 1890.
PADEREWSKI, J. J., born in Poland {?),
still living, 1890. Pianist and composer.
Works : Pracludium and ]\Iinuetto for the
pianoforte, op. 1 ; Ek'gie, for do., op. 4 ;
Danses polonaises, do., op. 5 ; Introduction
et toccata, do., op. 6 ; 4 Lieder for voice
with pianoforte, op. 7 ; Chants du voyageur,
for pianoforte, o-p. 8 ; Danses polonaises,
for do., op. 9 ; Album demai, do., op. 10 ;
Variations et fugue, do., op. 11 ; Sonata
for violin and pianoforte, op. 13 ; Humo-
resques de concert for pianoforte, op. 14 ;
Dans le desert, for do., op. 15 ; 3 jjieces
for the pianoforte, Legende, Jlclodie, and
Theme varie, op. 16 ; and concerto for pi-
anoforte and orchestra in A minor, op. 17.
PIZZI, EmLIO, born in Verona, Italy,
in 18G2, still living, 1890. Dramatic com-
poser, pupil at the Liceo of Bergamo, where
he was gi-aduated in 1881 ; then entered
the Milan Conservatorio and was again
gi-aduated in 1884, after two years' study
under Ponchielli, winning the first prize with
a two-act opera entitled Liua. He then went
to Scotland to gather material for a new
opera, Guglielmo RatcHflfe, text by Zanar-
dini, on a theme drawn from Scottish his-
tory. On Oct. 31, 1889, this opera, which
was awarded the prize of 5,000 lire in the
Baruzzi competition at Bologna, was pro-
duced at the Teatro Comunale, in that
city, with great success. Two string quar-
tets, composed about the same time, were
also awarded the first and second prizes in
a competition in Florence.
*PROUT, EBENEZER. Add to works :
Damon and Phiutias, cantata for men's
voices and orchestra, first given at Oxford,
May 31, 1889.
*PUGET, LOiSA, died in Pau, France,
Nov. 27, 1889.
*REINECKE, KARL. Add to works :
Von der Wiege bis zuni Grabe, cyclus for
orchestra, op. 202 ; Symphony for orches-
tra in C minor, JIoscow, March 29, 1889 ;
3 songs from Fritz Reuter, op. 205.
*REQUIEM. Vol. m., page 204, line 12,
for Pohl, read Pole.
*RHEINBERGER, JOSEF. Add to
works : Mass for mi.'ced chorus, op. 151 ; Das
Zauberwort, Siugsijiel in two acts, text by
F. von Hoffnaass, op. 153 ; for 3-part fe-
male chorus with organ, op. 155 ; 12 Cha-
racterstUcke for organ, op. 156 ; Mass for
mixed chorus with organ, op. 159 ; Ave
Maria (1889).
*RrBINSTErNf, ANTON. Add to works :
Conzertstiick for pianoforte and orchestra,
op. 113 ; and Gorjuscha, Russian ojjera in
four acts, on the occasion of the composer's
jubilee, St. Petersburg, Dec. 3, 1889.
*SiUNT-SAfiNS, CAMILLE. Add to
works : Ascauio, opera in five acts and
seven tableaux, text by Paul Meurice and
Louis Gallet from the drama Benvenuto
Cellini, Opora, Paris, March 21, 1890.
STOECKEL, GUSTAVE JACOB, born
at Maikammer, Bavarian Palatinate, Ger-
many, Nov. 9, 1819, still living, 1890, in
)t99
WELD
New Haveu, Connecticut. Dramatic com-
poser, jjupil of Johanu Ziegler, of Louis
Stoeckel on the pianoforte and organ, and
of Joseph Krebs in composition. He re-
moved to the United States in 1847, and in
1848 settletl in New Haven ; became in
1852 instructor in vocal music in Yale Col-
lege, in 1854 chajjel organist, and in 1890
Battell ijrofessor of music in Yale Univer-
sity. He has been also director of the New
Haven jMusical Association, antl of the Men-
delssohn Society of New Haven, has super-
intended the production in that city of the
standard oratorios and many other classical
vforks, and has given there a large number
of orchestral concerts. In 1864 he received
fi'om Yale the degree of Doctor of Music. In
187G he attended the Bayreuth festival as
the representative of the New Englander.
"Works : Lichstenstein, opera in three acts,
text by comjjoser ; Mahomet, do., do.; Miles
Staudish, do., do., after Longfellow ; Misko-
dita, do., do., after Longfellow. All these are
in MS. Overtures : Lichstenstein ; Studen-
tenleben ; Mahomet ; Miles Standish, Tam
o' Shanter, a sinfouietta. The first tlu'eo
overtures have been given by Carl Anschiitz
and Theodore Thomas in New York, at the
Symphony concerts in New Haven, 1868,
and the Beethoven festival in 1870. Die
grosste Kiinstleriu im Kiinstlerthum, can-
tata for solo and chorus, with grand or-
chestra ; Pianoforte compositions ; Songs,
etc. He has published also the following :
" Stoeckel's Sacred Songs ; " and " College
Hymnbook for Male Voices, "used in Battell
Chapel, Yale University.
W^ELD, ARTHUR (CYRIL GORDON),
born of American parents, in Jamaica Plain,
Massachusetts, March 4, 1862, still U\-ing,
1890. He early showed a tasto for music,
and began to take pianoforte lessons at the
age of nine. In 1879 he went to Germany,
where he studied harmony, counterpoint,
and composition for three years, in Dres-
den under Rupert Becker, Adolph Foerster,
and von Comiar-Fiedlitz, and in Berlin un-
der Franz Neumann. From 1883 to 1887
he studied counterpoint, composition and
orchestration under Joseph Rheinberger at
the Konigliche Musikschule in Munich, be-
sides studying conducting under Abel and
Levi. From this institution he was graduated
with honors in composition, and conducting
in 1887, and soon returned to America. In
April, 1889, he was appointed musical critic
on the Boston Post. Works : String quar-
tet in C, Munich, Musikschule, 1885, a
movement from which was given in Boston,
Kneisel Quartet, 1890 ; Romanza for small
orchestra, Munich, 1886, Boston, Music Hall,
1887-88 ; Andante and scherzo for septet,
Munich, 1886; Suite for orchestra, "Italia,"
ib., 1887, Worcester (Mass.) Festival, 1888,
and by the Boston Symphony Orchestra in
Boston and Washington, 1890 ; Benedictus
DominuB Israel, for soli, double-quartet,
chorus, and orchestra, in A-flat ; 4 Madri-
gals, of which one was given in Boston,
1890 ; Ode in Time of Peace, for double-
quartet and organ, ib., 1890 ; Many songs,
of which eleven are isublished (Boston,
Arthur P. Schmidt).
WOOLF, BENJAMIN EDU2IRD, born
in London, Feb. 16, 1836, stiU hving, 1890.
He went to America with his parents in
1839 ; studied harmony, counterjJoint com-
position, violin, viola, violoncello, double-
bass, and pianoforte under his father (an
experienced musician, who had conducted
theatre orchestras in England), and organ
under William R. Bristow, of New York
(father of George Frederick Bristow). For
a time he conducted theatre orchestras in
Boston, Philadelphia, and New Orleans,
writing overtures, choruses, and incidental
music to plays, and also music for many
ballets. He is author also of several plays,
of which The Mighty Dollar (written for
Mr. and Mrs. Florence) held the stage for
many years, although it underwent changes,
from time to time, for which he was not re-
sponsible. In 1870 he gave up the prac-
tice of music as a profession, for musical
and dramatic criticism, first on the Boston
623
WOOLF
Globe, and theu on the Saturday Evening
Gazette, wbicli post he still liolds, and in
wliicb he has won a conspicuous influence.
He did not, however, give up composing,
and his comic opera. Pounce & Co., of
which he wrote both test and music, had a
successful run of six weeks in Boston, with
Gertrude Franklin and Heniy E. Dixey in
the cast. This operetta may rank with the
best of its kind that have been written in
America. Works : Lawn Tennis, or Djakh
and Djill, operatic comedietta, Boston,
Park Theatre, Sept. 30, 1880 ; Pounce & Co.,
comic opera in 2 acts, ib., Bijou Theatre,
April 19, 1883 ; Once on a Time, comic op-
era (not given) ; The Lord of the Fairies,
do. (do.) ; The King's Frolic, do. (do.) ;
Overture to The Comedy of Errors, Boston
Popular Concerts, 1887 ; Overtures and in-
cidental music to many dramas, ballets,
etc.; Chamber music, such as string quar-
tets, pianoforte trios, etc., many of which
have been pubUcly performed ; Many
songs.
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