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i)flu0u Sobers' Cpdopebta
X
Author of
** Contemporary American Composers^** ** The
Love A fairs of Musicians" **Gyges*
Ping,'* " The Whirhffind;'
\3tc.
C|>tlopetiia
Containing a pronouncing and defining Dic-
tionary of Terms, Instruments, &c., including a
Key to the Pronunciation of sixteen Languages ;
many Charts; an Explanation of the Construc-
tion of Music for the Uninitiated; a pronoun-
cing Biographical Dictionary; the Stories of
the Operas; and numerous biographical and
critical Essays by distinguished Authorities
EorrED BY
Rupert Hughes^ mjl
Garden Cmr New York
DOUBLEDAY, PAGE & COMPANY
1912
Copyright^ 1912, ^
DOUBLEDAY, PaGE & CoMPANY
All rights uurvedt includini that of
translation into foreign languages,
including the Scandinavian
COVTSIQHT, I9Q3, BY MCCLURB, PHILLIPS Ik 00.
^
f^mit Sobers' Cpdopebta
PUBLISHER'S PREFACE TO THE REVISED
EDITION
yrW THEN the "Music Lovers* Cyclopedia" was first
m/m/ compiled, it was the editor's effort to make it the
T f most neariy complete reference work of its kind
in existence. That this effort did not fail is
proved by a comparison of the original ^tion with other
works since issued. A careful checking, iton by item, proves
that where other musical dictionaries and cyclopaedias, how-
ever vcJuminous) contain at most a few hundreds of bio-
graphies and definitions omitted from this work, the best
of them omit many thousands of biographies and definitions
contained in the "Music Lovers' Cyclopedia."
On account of the completeness of its contents and their
extremely convenient arrangement, the book at once took
its place on the reference shelves of libraries, public and
private, large and small; and everywhere the worn condition
of its bindings, and the testimony of its readers have proved
^ how invaluable it has been found.
|! Originally published in two volumes at six dollars, we are
X ' now able to issue it in one volume at one dollar and a half,
and the editor has seized the opportunity to bring it down
to date by the addition of several thousand biographies.
Great changes have taken place in music in the nine years
since the "Music Lovers* Cyclopedia" was published in
^903. Two widely contrasted instances will prove this:
Caruso, and "Parsifal.**
Caruso swam into the ken of London and New York just
T416i3
vi THE MUSICAL GUIDE
after the "Music Lovers' Cyclopedia" went to press.
"Parsifal" was, of course well known, but its libretto was
omitted from the "Stories of the Operas" for the reason
that it was then supposed to be the exclusive property of
Bayreuth. Only a few months later it was produced in New
York City, after a sensational controversy. The story of
Parsifal," therefore, appears in this new edition of the
Music Lovers* Cyclopedia," along with the stories of many
other operas that have since entered the repertoire of the
leading opera houses. This means that the "Music Lovers'
Cyclopedia " now contains the detailed plots of sixty operas.
Attention may be called again to the fact that the stories
as told here give the places and dates of original production,
and, where discoverable, the names of the creators of the
roles, the pronunciation of the names of the characters, and
a full outline of the plot as it is unfolded on the stage by exits
and entrances, with the titles of the principal musical num-
bers as they appear.
We beg to acknowledge here our indebtedness to G.
Schirmer for permission to give the plots of the following
operas whose American copyright he controls: "Louise,"
"Pelleas et Melisande," "Ariane et Barbe-Bleu," ^'Hansel
und Gretel," "I Pagliacci," "Le Cid," '"U Jongleur,"
*Thais," ^TVlanon," "I Giojelli della Madonna" and '^e
Donne Curiose.'*
The phonetic pronunciation of every proper name and
term is a further distinguishing feature.
Emphasis should also be laid on the number of special
contributions by the most eminent musical authorities in
PUBLISHER'S PREFACE vii
America and England, men of the calibre of Sir Hubert H.
Pany, Ernest Newman, James Huneker, W. J. Henderson,
Richard Aldrich, and many others of distinction.
The fault to be found with dictionaries in general is that
they are inclined to be provincial; those published in Eng-
land have been parsimonious of German, French, Italian,
and American names; and those published in these other
countries have returned the discourtesy. It has been the
ambition of the editor of the " Music Lovers' Cyclopedia"
to avoid this disproportion by collecting the greatest possible
number of important names from every country.
The compactness of the "Music Lovers* Cyclopedia"
compels a decided brevity of presentation, but this in itself
is rather a virtue than a fault, and it has been a great
source of gratification to be constantly informed by musi-
cians, both lay and professional, that the "Music Lovers*
Cyclopedia " is the book to which they refer first, and the
one in which they are least often disappointed.
It is a book compiled for the convenience of the lover of
music who seeks information on the simplest subjects, as
well as for the trained musician who has more abstruse
needs.
Now that it is possible to issue the work in one greatly
enlarged tome at one dollar and a half, the "Music Lovers*
Cyclopedia" can be confidently announced as a musical
reference book of unapproached completeness, a concise
musical library in itself, an invaluable addition to any musi-
cal collection, however large.
The Publishers.
Cfje preface
MUSIC is, indeed, the universal language. It
passes current everywhere like gold. But none
the less every nation puts a different stamp on
its coinage, and each new sovereign of the realm
makes some change in the design and the legend. In
consequence a musical dictionary becomes largely a poly-
glot affair.
The object of this book is to present in a condensed and
convenient form all the essential facts that may be required
to guide the student of music, or needed as a reference for
the professional musician.
To fit this work for the non^professional mind has been
no easy task, but it has been the chief effort, and an intro-
duction into the mysteries has been written especially for
the uninitiated, who wish to be told some necessary truths
without submitting to hard study or teaching.
The marriage of completeness with conciseness is a hard
knot to tie. The present work cannot hope to compete
with the great musical encyclopaedias in certain respects.
Yet, in other respects, it outdoes even the greatest of them.
It has more biographies and more definitions than any of
them. Each of the large encyclopaedias shows a distinct
bias toward one nation, period, or idea. The Music Lovers*
Cyclopedia has practically every (name and definition in
each of them; by its catholicity it covers man> fields quite
unnoticed by any one book, and it has many names and
definitions to be found in none of them.
Thf pronunciation of practically every name and term in
musical use, forms a unique feature of the Music Lovers*
Cyclopedia. This alone makes it a desirable and important
supplement to any musical library, however large. Not
only have general rules of pronunciation for sixteen lali-
u
THE MUSICAL GUIDE
guages been tabulated in a novel and convenient manner,
but the pronunciation of names, terms, and frequently of
phrases has been represented as closely as possible. Even
the "given names" have been pronounced, for it is of
little comfort, for instance, to be saved from calling "Bat'-
hof-en," " Bee-tho'-ven," and to be left to miscall his
first name. "Lud-wig" for "Loot'-vikh."
The Definitions are given as plainly as is compatible with
succinctness. Space has been greatly saved, not by sacri-
ficing fulness of explanation, but rather by grouping
together words of similar meaning in different languages, so
far as this could be done without undue violence to alpha-
betical arrangement. So far as possible the Music Lovers^
Cyclopedia avoids that exasperating abuse of cross-reference,
by which some of the Dictionaries bandy the reader from
one term to another in a wearisome zigzag, finally, at
times, to send him to a word that has been omitted.
In; the Biographies the scheme has been to crowd the
multitude of minor personages into very narrow space in
order that a hundred or more of the greatest should find
liberal room. The major dead musicians and those still
living, minor as well as major, have been chiefly favoured.
The work is particularly rich in living musicians, and the
great masters are given biographies which, although con-
densed, are quite complete. As to the rest, the mere list
of dates, with an abbreviated indication of special activities,
must suffice, compensation being found, it is hoped, in. the
great number of these names.
The Contributed Essays are in many respects the most
valuable part of the work, written as they are by notable
authorities who have reviewed certain subjects peculiarly
their own, in a brief yet luminous manner especially for the
layman. Nothing is a more valuable mental property than
a somewhat definite and decisive summing-up of the actual
THE PREFACE xi
meaning and the true proportions of the great personages,
schools, and phases of a subject; such a summing-up is
rare, largely because it is so difficult. As one contributor
wrote: "It is very hard to compress these oxen into cups
of beef-tea." That these prominent scholars have ex-
pressed themselves so definitely and with such rounded
completeness on the subjects explained here, is a matter of
greatest value in a work of this kind, and of greatest inter-
est to every one that cares for music.
The Stories of the Operas are told here in the only way in
which, surely, they should be told; and that is by telling the
story as it is unfolded on the stage, not by acts and by
scenes only, but by the entrances and exits and by the
principal songs. The pronunciations of the names of the
operas in different languages, and of the characters, have
also been given, as well as the dates and casts of the first
productions.
A few Charts of actual value have been preferred to the
mere ornaments of portraits. These latter would have to be
very numerous to be at all comprehensive, and their intro-
duction would defeat the prime purpose of the book,
which is to be informing within limited compass.
In fact, the one idea of the work has been to present as
much information as possible, as conveniently as possible
— andante quasi allegretto.
That mistakes occur is inevitable. Every dictionary the
Editor has examined has abounded in them, ranging from
what scientists call the personal equation to what they call
downright blunders. It is only to be hoped that most of
the errors of this book will be rather amusing than exas-
perating or misleading. In any case, corrections and
suggestions of any kind for future editions will be most
gratefully welcomed.
The code of pronunciation as used in the book is ex-
xii THE MUSICAL GUIDE
plained on the top line of the Table of Pronunciations.
It cannot hope to give more than approximate shades of
sound.
The Editor is indebted to Miss Annie C. Muirhead for
many valuable suggestions and a large contribution to the
accuracy of the work. The stories of the three operas,
"Louise," "La Bohfime," and "The Cid," are from her
pen. For everything else not specially signed or credited,
the Editor must be held responsible. He wishes here to
make grateful acknowledgment to his publishers, who first
suggested the idea of preparing such a work, and to the
distinguished gentlemen who have lent to the Music
Lovers^ Cyclopedia the prestige and value of their contribu-
tions.
Cable of Contente
PART I
PAOE
Publisher's Preface v
Editor's Preface to the Original Edition . . ix
List of Charts xix
List of Contributors xxi
Phonetic Meaning of the Letters and Symbols xxiii
An Introduction to Music for the Uninitiated . i
A List of Abbreviations, Titles, Dignities, In-
stitutions, Etc. . . X. 53
A Pronouncing and Defining Dictionary of
Terms 57
Essays by Special Contributors:
The National Schools of Music, E. Iren^us
Prime-Stevenson :
Italian Music 30
German Music • 34
French Music 37
English Music 40
Russian Music 42
Americai? Music. The Editor .... 45
The Great Instrumentalists. Louis C. Elson . 48
The Great Singers. Louis C. Elson .... 50
Acoustics. J. S. Shedlock 60
Altered Chords. Charles W. Pearce .... 66
Counterpoint. Homer A. Norris 104
FoLK-SoNG. H. E. Krehbiel 131
Form. John F. Runciman 133
Fugue. Homer A. Norris 140
Cha^ce. The EDntoR 147
Modern Harmony in Pi^cricp. A. J. Goodrich . 1 59
■••
XUl
xiv THE MUSICAL GUIDE
PACK
Harmonic Warnings for Composers. A. J. Good-
rich 164
Hymnology. H. E. Krehbiel 170
Leading-Motives. Gustave Kobbe 184
Modes, Greek and Ecclesiastic. The Editor . 199
Notation. The Editor 211
Opera. Ernest Newman 216
Oratorio. H. E. Krehbiel 220
The Orchestra and Orchestration. W. J. Hen-
derson 222
Organ. The Editor 225
Pianoforte. The Editor 23 «;
Piano Studies. James Huneker 237
Stories of the Operas 309
PART n
Pronouncing Dictionary of Given Names, Titles,
Epithets, Etc iii
Biographical Dictionary 379
Bach. Sir Charles Hubert H. Parry .... 395
Beethoven. H. E. Krehbiel 412
Berlioz. Ernest Newman 422
Bizet. Edward E. Ziegler 427
Brahms. James Huneker 438
Chopin. James Huneker 460
Franz. Henry T. Finck 509
Gluck. Ernest Newman 525
Gounod. Vernon Blackburn S3 1
Grieg. Henry T. Finck 536
Handel. John F. Runciman 545
Haydn. August Spanuth ... ^ ... . 553
Liszt. Henry T. Finck . 607
Mendelssohn. Vernon Blackburn . . . . . 628
TABLE OF CONTENTS xv
PAGE
Meyerbeer. E. Iren-^us Prime-Stevenson . .632
Mozart. Vernon Blackburn 643
Palestrina. W. J. Henderson 661
PuRCELL. John F. Runciman 682
Rossini. E. Iren-^us Prime-Stevenson . . . 702
Schubert. H. A. Scott 722
Schumann. Richard Aldrich 729
Strauss. James Huneker 753
Tschaikowsky. Ernest Newman 761
Verdi. W. J. Henderson 775
Wagner. Henry T. Finck 784
Supplementary Stories of the Operas . . .811
Supplementary Dictionary of Musicians . . . 845
Necrology 943
TPronunciation TabLe of Sixteen Languages . . 951
&torie0 of tift (i^era^:
PAGB
Beethoven. Fidelio 309
Bellini. Norma 310
" .La SONNAMBULA 3 II
Bizet. Carmen 312
BoiTO. Mefistofele 314
Charpentier. LfOuiSE 315
Debussy. Pelleas et Melisande 830
Delibes. Lakme 317
Dukas. Ariane et Barbe-bleue 840
Donizetti. La Favorita 318
" La FiGLiA del Reggimento . . . . 319
*^ Lucia di Lammermoor 320
Gluck. Orfeo ED Euridice 322
Gounod. Faust 322
** Romeo et Juliette 324
HUMPERDINCK. HanSEL UND GrETEL .... 325
" KONIGSKINDER 816
Leoncavallo. I Pagliacci 326
Mascagni. Cavalleria Rusticana 327
Massenet. Le Cid 328
" Manon 836
" Le Jongleur pe Notre Dame . . . 838
Thais 811
Meyerbeer. L'Africaine 330
Les Huguenots 331
Le Prophete 333
Robert le Diable 335
Mozart. Don Giovann;. . ., . . ...,.' 'v^vr,^ 337
Le NozzE DI ftpaS^^'^. "^ . ^. - .. 339
" Die Zauberflote 341
• •
XVII
xviii THE MUSICAL GUIDE
PAOI
Paderew'Ski. Manru 343
Puccini. La Boheme 345
La Tosca 825
Madama Butterfly 823
" The Girl of the Golden West . . . 827
Rossini. Il Barbiere di Siviglia 346
" Guglielmo Tell . 348
Smetana; The Bartered Bride 811
Spinelli. a Basso Porto 349
Strauss. Salome 813
" Elektra 815
Thomas. Mignon 350
Verdi. Aida 352
Otello 353
RiGOLETTO 355
La Traviata • 35^
Il Trovatore 358
Wagner. Der Fliegende Hollander .... 359
Die Meistersinger 361
Lohengrin 364
Tristan und Isolde 365
Tannhauser 367
Das Rheingold 369
" Die Walkure 371
" Siegfried 373
" Gotterdammerung 375
" Parsifal 819
Weber. Der Freischutz 377
Wolf-Ferrari. IGiojelli della Madonna . . 831
" Le Donne Curiose 834
a
it
a
a
ct
£i0t of Cfiam
PAGE
The Keyboard, Scales, and Intervals .... 4
Dance-Rhythms 108
Graces and Embellishments 148
Greek Modes 200
Ecclesiastical Modes 203
Signs and Symbols 267
Times and Rhythms 285
Absolute Pitch, and Compasses of Voices and In-
struments 949
^
Contributors and Subjects of Special Essays
jtll Essays will be found in their Alphabetical Sequence
Richard Aldrich Schumann.
Vernon Blacuiurn Gounod, Mendelssohn, Mozart.
Louis C. Elson Great Instrumentalists, Great Singers.
H. T. FiNCK Franz, Grieg, Liszt, Wagner.
A. J. Goodrich Modem Harmony in Practice, Harmonic
Warnings.
W. J. Henderson The Orchestra and Orchestration, Pales-
trina, Verdi.
James Huneker Piano Studies, Brahms, Chopin, Richard
Strauss.
GusTAVE Kobbe' Leading- Motives.
H. E. Krehbiel* Folk -Song, Hymnology, The Oratorio,
Beethoven.
Ernest Newman The Opera, Berlioz, Gluck, Tchaikovsky.
Homer A. Norru Counterpoint, Fugue.
Sir C. Hubert H. Parry . . The Art of Johann Sebastian Bach.
Dr. Charles W. Pearce . . . Altered Chords.
E. Iren.£us Prime-Stevenson . The National Schools, Meyerbeer, Rossini.
John F. Runciman Form, Handel, Purcell.
J. S. Shedlock Acoustics.
August Spanuth Haydn.
Edward E. Ziegler Bizet.
The Editor Music for the Uninitiated, The American
School, Graces, Modes, Notation, The
Organ, The Pianoforte.
xzi
Phonetic Meaning of the Letters and Symbols
Used in the Pronunciation of Names
if as in father ; tf as in fate ; <f as in
fat ; ah and dh as in French ^lan and
fin; see note i, vol. I, page 396.
^ as in bob.
c used only in ch^ as in church. The
Scotch and German guttural as in lock
and ich is indicated by kh ; see note
3. voL I.
</ as in deed ; dh as th in these ; dj as
in adjoin.
/ as in bean ; / as in pet — at the end of
words it is almost like H.
/as in fife.
/as in gig.
A as in hate.
s as in fight ; / as in pin.
/as in jug.
i as in kick ; kh is used here to indicate
the German or Scotch ch or g; see
note 3« vol. I.
/as in lull.
m as m mum.
n as in nun ; n indicates the French
nasal n ox m ; see note i, vol. I.
d as in note ; oi as in noise ; ^ as in
moon or foot ; ^ as in wrong ; ow as
in cow ; 6n as in French bon ; see
note I, vol. I.
/ as in pop.
r as in roar.
J as in sense.
/ as in tot ; tk as in think ; the sound of
tk in these is indicated by dk,
a always with the sound of you ; the
French u and the German long *i are
both indicated by tf/ see note 2,
vol. I.
V as in revive.
w as in will.
;r as in fix.
y as in yoke.
s as in zone.
•V
J
tAn
Sntrotiuction
to
» ^
f^mit
For the Uninitiated
A Free Translarion of its Technicalities into Untechnical
Language (especially for those who do not Read Music
and do not Care to Study it).
THERE is almost as much humbug about the
mysteries of music as there was about the
oracles of Delphi. And the vast majority of
music-lovers have as meek and uninquiring a
dread of the inner art and science of composition as the
old pagans had of priestcraft.
There is no deeper mystery about the tools and the trade
of music than about those of any other carpentry and
joinery. It is far easier for some people to write a melody
than to drive a nail straight. But anybody who will earn-
estly try, can learn to do the one as easily as the other.
And there are thousands of professional composers who
ought to be earning honest livings driving nails home instead
of starving to death dishonestly driving audiences home.
The one mystery of music is the one mystery of all art
and all other human intercourse — personality. Everybody
can write a novel or a play. Almost everybody does. So
everyone can write a sonata or a string-quartet. But the
number of those who possess the spai^ (divine, prenatal,
accidental or howsoever secured) — the spark of magnetism,
felicity, and eloquence, that number is small and is no more
THE MUSICAL GUIDE
; .. superabundant than on the day when little Hermes found
• *•' the old tonoise-shell and made the first harp out of it.
_ . ': rTBereison the Editor is desirous of taking the veil from
* certain ' of the arcana of music is not that he wishes to in-
crease the number of composers — Heaven forbid ! The
one object is to increase the number of those who will lis-
ten to music intelligently and know just what they are
hearing, and pretty well why they like this and dislike that.
For like and dislike by pure instinct are relics of mere
animalism.
The open highway. to _theL enjoyment of so-called, classic
music is theJi^anng^. it ia large quantities. There is a
short cut for those who lack the time or the inclination for
this long training — and it is by way of learning the ele-
m^ntsjef .jnuskal form. For it is the crystallisation, of
human passionjntp some graceful and powerful fornijh^t
gives music Jong life. Many wretched pedants think that
the number of forms is limited ; but this is a fallacy that is
disproved every day.
Some form, however, is as necessary in music as in sculp-
ture. And though the number and variety of forms avail-
able are as infinite and illimitable in music as in sculpture,
still some definite shape must be in the artist's mind and
must be discoverable by an unprejudiced, attentive, and
educated audiencr*
. If you do not already know the skeleton that underlies
the shapely contours and full, fair flesh of melody and har-
mony, you can find some enlightenment in the anatomical
lecture that follows, provided you will use your own scal-
pel, and carry out the suggestions made. It is not easy to
avoid asking the reader to master the language and sym-
bols of music, but *much that is important can be learned
from the following, without this long special study, if an
occasional general truth will be allowed to stand without
AN INTRODUCTION TO MUSIC 3
Stating its exceptions, and if permission be granted to arrive
at certain facts in a homely and button-hole manner.
I
FIRST, turn to a piano or organ — either of these is
more convenient for illustration than a bow or
wind-instrument. The highly-organized instru-
ment before you is the result of centuries of blind groping
in the dark, of unnumbered great failures for every little
triumph. This is true not only of the mechanism of strings,
hammers, keys, shape, size and materials of wood and
metal, but of the very music the instrument is intended to
send out upon the air.
If you will simply glide your finger-nail along the white
keys you will produce a scale which in itself is the result
not only of ages of experiment but of the bitterest conflict
between scholarly musicians, — a conflict still raging. But
this cannot be discussed here. Let us for the present take
the instrument as we find it.
On the opposite page will be found a picture of the
middle portion of the key-board, with the letter-names that
have been, for convenience' sake, given to the tones marked
on it They are easily recognisable by the alternation of
the black keys in groups of twos and threes. For con-
venience it might be well to transfer the letter-names to the
white keys with ink, which will be easily washed off with a
wet cloth.
The first thing noteworthy about the diagram is that this
series of letter-names is made of only seven letters and be-
gins over again at every eighth tone. This is because the
eighth tone (or octave) is produced by a string or a col-
umn of air making just twice as many vibrations as the
original tone ; the 15th tone by 4 times as many, etc., and
because each group of seven steps plus the octave or 8 th
THE MUSICAL GUIDE
Step, is built on a uniform model of ratios. The scries
from one letter-name to its reappearance, as from c to c', is
subdivided into 1 2 half-steps or semitones.
This extended series of tones thus divided into octaves
is the material from which all European and American
music is made. Save for a few changes and choices made
for convenience, this scale is based on human nature and
physical law, and is not likely to be materially altered in
our generation. Other fundamental facts will be discov-
ered on studying this array of whole-steps (white keys — ex-
cept e to f and b to c) and half-steps (from a black key to
the next white — also from b to c and e to f).
You will observe that the black keys carry the same
names as the white keys they interpose between, except
that the letter-name carries the symbol % (" sharp ") for the
key next below or the Symbol l^ (" flat ") for the key next
above. The same black key represents two white keys.
If you are advancing from f to g, for instance, the black
key between is a half-step above f ; it is said to " sharpen "
the note, by a half-step (or a " chromatic " degree) ; if,
however, you are moving down the scale from g to f the
bkck key is said to " flatten " the note g by a half-step (or
a "chromatic" degree). The same black key serves coji'^
veniently then both as fJf (f" sharp") and gt^ (g" flat") in
our system of music. Tones not thus " chromatically al-
tered " by a sharp or flat are said to be " natural." If
you have struck ^ or f ft and wish to reassert the white
key, the tone is now called gtl (g " natural ") or f
natural.
The signs, Jt's^ ^'s and U's are ^^Ued " sharps* flats and
naturals, ' or In general." chromatics."
Put your finger at random on any of the white keys and
move downwards on the white keys in strict succession.
You will find (if you have a normal ear) that, whatever the
THB CLOS.
ABSOLUTS PITCH.
KBT OP C MAJOK.
TABLB OP ttriK
H MVM .r f I f f I f I f
Mmm Triad (wtth (•• addad it teMUM tha DoMl^ S*VM(hX
l| !l[ i[j Hj
V
AN INTRODUCTION TO MUSIC 5
tone you sounded first, you do not feel a willingness to
stop till you reach a certain tone or one of its octaves.
That tone will invariably be one of the notes lettered C.
If now you begin at random on any note and move up-
ward keeping to the white keys except in the case of f, for
which you substitute f If, you will find that the fetter c no
longer gives a sense of repose, but that you unconsciously
desire and demand one of the letters marked g.
If you run a scale on all the white keys except b, and
substitute for this note the b!^, you will find no resting-place
except upon one of the letters marked f.
It is a physical fact^ then, that a scale with neither sharps
nor flats finds its end on the note cj a scale with one sharp
(which is always f) is based 0|i_ the note g; a scale with
oQfi^flat (b flat") is based on the nois £» Hence one speaks
of the ^ak.of.C,. or of G^.or of E.
If you try the substitution of some other single sharp
or flat for the f sharp or b flat, you will get no satisfactory
point of repose at all. But by keeping b flat and adding
e flat you will find b flat a comfortable pausing-place ; by
adding a flat to the hr and et^, you will find a pleasant scale
ending on eb. By adding flats in the following order (and
only in the following order), b, e, a, d, g, c, you will con-
struct symmetrical scales reposing always on the next to
the last flat added.
By substituting sharps for the natural tones of the origi-
nal scale of C, you build scales satisfactorily only by heap-
ing up sharps in the following order, f, c, g, d, a, e, which
scales are based respectively on the notes g, d, a, e, b, f,
the point of repose being in each case a half-tone above the
last sharp added.
The scales take their names from the note of repose. A
scale together with all the chords that can be built upon its
notes is called a key. The word "key" is often loosely
THE MUSICAL GUIDE
used (and has been used in this essay thus far) to indicate
a finger-lever which causes a string to sound ; this is better
called a " digital." From now on the word " key " will be
used only to designate a group of harmonies and a scale
belonging to some series of progressions ending on a cer-
tain note, as the " key of C/' the " key of G " (which con-
tains f sharp), the " key of D " (which contains f sharp and
c sharp), the " key of E flat " (which contains b flat, e flat
and a flat), and the others.
Since practically every musical composition has some principal key to which
it harks back as its home, however far or often it may wander away, so you
will find at the beginning of every new line of a composition a list of the
sharps or flats in that key which predominates, and these sharps or flats affect
every tone not otherwise marked throughout the composition. This group is
called the key-signature.
A convenient trick of deciding the key from the number of sharps or flats
is as follows : where there are flats the key is next to the last flat ; where
there are sharps the key is always the next letter-name above the last sharp.
Thb is true of every key except three which are easily remembered, F with
one flat, G with one sharp, C with neither flats nor sharps.
Before studying chords, it will be necessary to have an-
other look at the diagram of the key-board. We have
spoken of half-steps and whole steps. But it is possible
also (and often desirable) to desert the monotonous pro-
gression of whole and half-steps and skip several steps,
as one does in singing a tune. The space covered by a
skip is called an interval. As geography has its imaginary
equator, and as geometry has its imaginary lines without
breadth and its planes without depth, so music has one
imaginary interval which is no interval at all, but identity.
The distance from a note to the very same note is called a
prime. (This is sometimes useful when speaking, for in-
stance, of ab and ajf, which are a prime apart, and are called
primes of each other.) The interval from one white digital
to the next white digital is called a second^ the skip to the
V
AN INTRODUCTION TO MUSIC 7
next but one is called a third (the original note being always
numbered one), the skip to the third white digital is called
z four thy and so on ; the interval of an eighth being called
an octave. Also the tones separated by an interval may be
called by the names of the interval as c and g, or d and a
are called j^Ai ; f and d, or g and e are called sixths ^ etc.
It will greatly clear the belt of fog we are now going
through if you will pick out the examples on the key-board.
The skip from a white to a black digital results in an in-
terval which is either greater or less than the nearest inter-
val on the white digitals alone. The normal or greater of
two similarly named intervals as c to e is called a major
third, while c to eir is called a lesser or minor third. C to e)t
is greater even than the major and is called an augmented
third, while c to ebb ( " double flat " ) is a diminished third.
Owing to the elasticity of the letter-names of the notes,
an interval may be expressed or spelled in different ways,
thus c to eb is called a minor third, but the very same tones
may be called c to dJf, an augmented second, c-f bb a dimin-
ished fourth, Wt-djt a major third, etc. The name of the in-
terval depends upon the key we happen to have most in
mind at the time.
It is a curious fact that all scales are made up of exactly
the same intervals in exactly the same order. Try over any
of the scales you wish, and you will find that you move up-
ward by the following degrees, in the following order : ( i )
a whole step, (a) a wnole step, (3) a half-step, (4) a whole
step, (5) a whole step, (6) a whole step, (7) a half-step ; this
last bringing you to the octave of the note you started
from.
As earnestly as the soul demands that in the last act of a
play we shall see the villain sent to prison and the hero and
heroine locked in each other's arms, so our nature demands
this arrangement of tones, and when it says half-step or
8 THE MUSICAL GUIDE
whole step we must move so, or leave the key we started in
and take up another.
This explains why there is no black digital between the
notes, b-c, and e-f: the scale of C, which has no sharps
or flats, must still have its two half-steps at these points ;
there is accordingly no sharp or flat to be put there.
II
WE have now had a bird's-eye view of the natural
arrangement of tones, one at a time. But we
grow tired of one note at a time. Four men
singing along a midnight street or a picnic group riding
home in a moonstruck mood fall to singing favourite melo-
dies and naturally avoid singing in unison. They spon-
taneously sing in chords. These chords are formed in-
dividually and succeed one another according to certain
fundamental demands of the ear just as noticeably as the
tones of the scale followed a rigid pattern.
First, let us combine various tones. Take the middle
^ and strike this tone with the right thumb while another
finger strikes another tone above, c' and c'Jt do not sound
well together, nor yet c' and d'; c' and 6!% (or eV) is not
unpleasant, but rather sombre (it is indeed a minor har-
mony, the interval c'-eT^ being a minor third) ; c' and e'
make a pure, sweet concord, however. Let us keep o! and
e' and see if we can add another tone, c'-[- e'-f- f, is very
bad; c'-f- e'-|- fit is also rough; c'-[- e'-|-g' is very com-
fortable. We have now a three-tone chord, which we may
call a triad; it happens to be based on the ist, 3d and 5th
degrees of the scale.
Let us see if we can build triads on other tones of the
C scale. We find by trying all the combinations on the
note d', that while the triad d -f-a' is pleasant but sombre
AN INTRODUCTION TO MUSIC 9
(it is minor), the only clear harmony is d'-f Jf-a'; but as f jt
does not belong to the scale of C, we cannot include it.
On the note e' we find e'-g'-b', minor, and e'-g'jf-b' pleas-
ant ; this again is outlawed by the glf. On f , however, we
can form a triad f -a'-c', which has no foreign chromatics
and is yet satisfying. On g' we find another triad, g -b'-d",
which is native to the C scale and which impels us strongly
to substitute the e" above for the d", and c'^ for the b';
when we have done this we find we have the chord c'-e'-g'
agdn, only now arranged differently, as g'-c^'-e '^
If we rearrange the chord on g' differently, as b'-d"-g'',
we shall be impelled to move on to c''-e"-g'', which is
again our old friend the original triad on c' in its original
form.
This hankering after the original triad on the key-note
whenever we form a triad on the fifth tone of the scale, is
one of the most noteworthy and inescapable factors of the
chord-world.
But let us proceed with our triads ; on a' we find a'-c"-e"
to be minor ; the major chord b'-dtt"-f It" is doubly ruled
out; while b'-d"-f " is doubly minor, the fifth (b'-f ") be-
ing imperfect and the third (b'~d") being minor.
It may be well to state here a handy way of telling the majority or minor-
ity of intervals ; imagine the lower note to be the key-note ; if the upper note
would occur in a major scale on that key-note its interval is major or diatonic.
Thus on b : the key of B has 5 sharps, f, c, g, d, and a ; both d and f are
sharp, therefore b-dS-Q] has neither interval major.
Looking back over the chords of the scale of C, we find
the only major triads to be those on c', f and g^ Since
that on g' is so urgent in demanding the main triad on C,
it is called the dominant triad, and the tone g is called the
dominant of the scale of C. f ' being beneath it is called sub-
dominant^ and its chord the subdominant chord; the note c
^
lo THE MUSICAL GUIDE
being the foundation note of the whole scale and key is
called the tonic {tonus being an old name for scale).
The principal chord-material of any scale is, then, made
up of the triads on the tonic (or ist), the dominant (or
5th) and the subdominant (or 4th).
Try another Key, F for instance, which has blr. After
testing all the combinations on the key-note or tonic f '
we find only f '-a"-c" ; on g' the triad, to be in the key,
must be g'-r-bl^-d'^ (since bt? is a characteristic of the key
of F), and this is a minor chord ; a'-c"-e" is also minor,
but b'b-d'-f '' is a major triad; it is indeed a chord on the
subdominant. We should expect also to find a major triad
on the dominant (which, in the key of F, is the tone c),
and so we find c''"^"-g i which we recognise as the tonic
chord of the scale of C. But strange to say it offers no
repose in its new environment with the other chords of the
key of F ; on the contrary, we have an irresistible desire to
move on from it to c' -f '-a" (the same as the key-chord or
tonic chord, f-a'-c'', where we feel at home). The two re-
maining tones of the scale of F offer no satisfactory chords.
Let us try a key with one sharp in it, that is to say, the
key of G. Beginning on g' we find after groping about
that the only chord endurable is g -b'-d''. Building triads
on all the other tones, a, b, c, d, e and ity we find all of them
outlawed as unpleasant or at least minor, except two, which
again, are on the subdominant and the dominant tones of the
key of G, and are c"-e"-«", and d"-f 'Jf-a".
Taking the sum-total of the chords of these three keys,
c, f, and g, we have the following chords : (C) c-e-g, f-a— c,
g-b-d ; (F) f-a-c, bl^-d-f, c-e-g ; (G) g-b-d, c-e-g, d-f Jf~a.
You will see that each of the two subordinate keys has two
of the chords of the key of C. This will be found the
case with any group of three keys similarly differing only
by one sharp or flat, that is to say, having their tonics a fifth
AN INTRODUCTION TO MUSIC n
above or below. On this account the keys based on the
dominant and subdominant tones of the scale of any given
key are said to be closely related in the first degree of re-
lationship.
Add another flat and another sharp, that is, take the key
of Bb and the key of D, and we find the following princi-
pal chords : (Bb) bb -d-f, eb -g-bb and f-a-c ; (D) d-f It-a,
g-b-d, a-dt-e. Each of these keys has only one of the
chords belonging to the key of C. These keys are then
related J but only in the second degree
If we add three flats or three sharps and study the keys
of Eb and A we find the chords (E>) eb-g-bb, ab c-db,
bb-d-f ; (A) a-cjf-e, d-ftf-a, e-gj bb. None of these
chords occur in C, and these keys are said to be remote (torn
it. On the other hand comparing Eb with the key which had
only 2 flats (Bb), we find that Eb has two chords belonging
to Bb. We also find that A has two of the chords belong-
ing to the key with one sharp less, viz., D. We may
generalise, then, by saying that the most closely related keys
are those that differ by one flat or one sharp ; the next near-
est relations are those differing by two flats or sharps.
#
III
WHILE we arc on the subject of heredity take
another point of view of this family-tree :
The tone f, which is four steps above c', is
called its subdominant ; on looking below the note c, we find
another f, but where it was four tones above, it is five tones
below. The Key of F has added one flat to the key of C.
Counting five more whole steps down (always counting the
note you began on as first) we find the note Bb. The
scale on that tone has yet another flat, two more than C.
The tone a full fifth below (Eb) has three flats. So we
12 THE MUSICAL GUIDE
find that moving downward by fifths we add one flat every
step. Ab has 4, Dl^ has 5, and Q^ has 6 flats.
Now counting upwards from our starting point on c', we
find that the key based on the fifth (g') adds one sharp ;
a fifth above G is D, a key with two sharps ; a fifth above
is A with three sharps, a fifth further is E with four sharps,
and, as we continue, B with five sharps and Ft with six
sharps.
But the key of FJt on our piano or organ passes over
the very same digitals as the key of Git, is identical with it
in fact. We have therefore been personally conducted
through the grand tour of keys by way of the circle of fifths ^
twelve in all.
We see therefore that all keys are related, and by careful
procedure in chords a player can move through them all in
succession with the greatest smoothness. The more mod-
ern the composition the more widely does it rove from key
to key until in some works, Wagner's for instance, it is
sometimes hard to say just what key we are driving at>
Instead of keeping to the iron rails of one key as earlier
music aimed to do, and only leaving the main line at cer-
tain definite set switches, the art has recently left the hard
and fast railroad and taken to the pathless waters where, to
use Wagner's words, it " swims in a sea of tone."
- Some very, formal minds grow speedily sea-sick and pre-
fer the rigid -grooves of the older schooL Each one to his
tastes. But the broadest mind will find pleasure both in
land-travel and sea-change, insisting only that the composer
shall have a plan and know what he is about, and not send
his locomotives slashing and sinking in the buxom waves,
nor drag his yacht gratingly along the hard ground. Live
and let live is the best art motto.
One more point is worth noting in this increasingly im-
portant subject of key-relationships. Reverting for a mo-
AN INTRODUCTION TO MUSIC 13
mentto the key of C with its first cousins f and g, we find
if we take the tonic triads of the three keys and arrange
them as follows :
tonic,
I 1
f-a-c-e-g-b-d.
^1 1 I 1
subdominant dominant
These tones include the complete scale of C. So it will be
found of every key-scale that it contains within itself the
tonic triads of itself, of its subdominant and its dominant
keys.
This scale and key principle is further justified by a
study of the mathematics and physics of music. And the
Relationship of Keys is given a still greater importance in
the more recent writers on the theory of music, especially in
Riemann's beautiful theory of clang-keys (see this word in
the Dictionary of Definitions).
IV
NOW that we have laboriously picked out our triads,
they will be found more elastic than they look.
Take the triad c'-e'-g', the tonic triad of the key
of C, which is now said to be. in the root or first position,
c' being the root or generator of the triad. We can place
the C uppermost and have e'-g'-c", which is in effect the
same chord, though a chord is said to be inverted when
any note except its root is in the bass. The second inver-
sion places the fifth in the bass, as g'-c"-e" or g-c -e -g' or
g-^'-g'-c". These 3 positions are all we have for a 3 -tone
chord or triad. They can be sounded anywhere on the
key-board, however.
Still another possibility is to repeat some of these letter-
names, as to sound the triad c'-e'-g' with the right hand
14 THE MUSICAL GUIDE
and touch the tone c an octave below with the left hand ;
or the tones c-g with the left hand and e'-g'-c" with the
right. This process called doubling may be carried on in-
definitely. In a piano-duet, sometimes twenty notes or
more are struck, all of them repetitions of the inner kernel
or triad of three notes.
Strike the left hand note c first, then the right hand
triad c'-c-'g' twice ; then strike the note f with the left
hand and the subdominant triad c'-f-a' twice, now c and
the tonic triad again ; then strike g with the left hand and
the dominant triad b-d'-g' twice ; and return finally to C
and the tonic triad. This little plot in three instalments
constitutes the whole harmonic accompaniment of many
a modern popular song and many an old work of classic
reputation.
You can usually tell the key of a song by humming it
and picking out on the piano or organ its very last note ;
nine times in ten this will be the tonic or homenote of
the composition. Suppose this to be B!r. How shall
one find chords to accompany it ? Build a major triad on
b'l^ ; it will be b1^-d'-f '; build a triad on the dominant or
fifth (f), f-a'-c" ; build another on the subdominant or
fourth (el^), e> -g'-b>. Play these three notes (B!^, f,
d^) with the left hand, and use triads with the right, re-
arranging the three notes in any of the inversions as they
run most smoothly into one another. Your ear will help
you find the right order of the chords. This will serve as
a recipe for easy accompaniments.
More elaborate songs rove through so many keys with
so little warning that only trained ears and hands can pick
out their accompaniment ; but it will clear up a deal of the
construction of music if you will take some simple tune and
study out its accompaniment on these lines, however pain-
ful the operation may be to yourself and your neighbors.
AN INTRODUCTION TO MUSIC 15
(Familiar songs requiring only these three chords are " The
Star Spangled Banner," " God Save the Queen," " Home
Sweet Home," " Suwanee River," " Dixie," etc., and most
of the hymn-tunes.)
BUT the simple triads grow monotonous, and it is
desirable, if possible, to enrich them. Take the
all important dominant triad of the key of C
(namely, g'-b'-d'') and see if we can lay another third on
top of it like a musical brick. The next major third above
d" is fit. But fit does not belong to the key of C. The
minor third f "fi does beautifully, however, and we have a
warm rich chord which more than ever goads us on to the
tonic triad ; the g' holding over, the b and the d" both
merging into c", and the f" subsiding blissfully into e".
A chord of 4 tones is called a chorJ of the seventh or
seventh chords because the interval between the first and last
tones is a seventh (g'-f)- This chord, g'-b'-d"-f , is a
dominant 7th, then. If we wish, we can add another third,
a", and make a chord g-b-d-f-a, called a ninth chord. The
dominant 7th, however, is far the more useful. In fact it
is the most energetic chord in all music, and whatever key
you may be in, if you stray into the dominant seventh of a
foreign key, it drags you along eagerly and hales you into
that foreign key to which it belongs and for which it is a
most eager usher.
This seventh chord, pleasant as it is, is only a go-
between, it offers no point of repose, but requires an almost
immediate dissolution into another chord. The musical
term for one of these restless chords is dissonance ; the mu-
sical term for the necessity and process of merging it into
another is called resolution. The word dissonant does not
1
i6 THE MUSICAL GUIDE
necessarily mean " ugly " or " harsh " in music, but merely
implies lack of stability.
This dominant 7th chord has magical powers for transi-
tion. Take the tonic triad of the key of C major in the
second inversion, that is, touch g with the left hand and
e'-g -c" with the right. Now lift the finger off the upper
g' and place it on bl:^. Instantly you find it undesirable
to go back to the c'-e'-g' triad and you are impelled to
lower that b> to a', bring the e' up to f ', keep the c" where
it is and lower the g in the left hand to f. Now you feci
at rest ; if you will pause and look, you will find that the
b'fe, which is characteristic of the key of F, has led you into
the triad f-a'-c", which is the tonic triad of the key of F.
If you revert to the state of affairs existing when that for-
eigner bir entered the peaceful key of C, you will find that
the chord formed by its entrance could be arranged to read
c'-e'-g'-bb. This is a 7th chord on the tone c. But
while the tone c' is tonic of the key of C, it is the fifth or
dominant of the key of F. Yet, though this 7th chord was
built on the tonic of C, as it happened to be the dominant
of F, it forced the key over into the tonality of F. This
is the case with every dominant 7th chord.
It is possible by a slight diversion to throw the resolu-
tion of the chord into other keys, but this always comes as
a surprise to the hearer. It may be justified and it may be
pleasurable, but it is a surprise, and m a sense abnormal.
Going back to the first formation of the 7th chord, it
will be found that the 7th chord, on other tones than the
dominant, are rather murky or even distressing. These
are called secondary 7ths and must be handled in gingerly
manner.
AN INTRODUCTION TO MUSIC 17
VI
Now if we take our dominant 7th of the key of C,
that is, g-b'-d"-f ", and raise the g' a half-step
so that the chord reads g'jt b'-d' -f ", it will most
naturally resolve itself into this chord, a'-c"-e", a sombre
chord which is minor because its third from a-c is minor
(the major third being a-cjf, as cjt would be characteristic
of the key of A). This chord, a'-c"-e", has the look of a
chord in the key of C, but it seems to offer a sense of de-
jected repose and' makes no demand for progress to the
tonic chord, c'-e'-g'. We arrived at this chord by way of
a curious chord with f fl but gtt. The chord g'-b'-d"-f "'
had been a minor 7th (the interval from g' to r being less
than the major interval, which would be g' to fit), but this ^
chord, g'jt-b'-d'-f ", is even narrower than minor. It is
hence called a diminished yih chord.
We have been led to believe that the first sharp of a
major key was f, and that c followed, then g. This is true
of a major key, but here we are under a different flag.
You can construct a scale out of these two chords, the
diminished 7th and its resolution, and gjf-b-d-f; a-c-e
gives us a-b-c-d-e-f-gjt-a as an octave scale. This scale,
which is closely related to the C major scale, is founded on
a', which is a minor third below c '. So it will be found
that every major key has one of these disappointed relative
keys a minor third below and differing from it, for har-
monic purposes, only in the fact that the 7th tone of this
minor scale is raised a half-step above the tone of the same
name in the major scale (in the scale of A minor, the 7th
^^^^i gfc is the only tone foreign to the scale of C major,
and it is a half-tone higher than the tone g; the key of
i8 THE MUSICAL GUIDE
C minor corresponds exactly with the major key a minor
third above, that is Eb, except that where b is flattened
in the key of E|r major, it is made natural in the scale of
C minor). This is the case with every major and minor
key; the related minor key is a minor third below and
raises the yth tone of its major scale a half-step (as g to
g$; eb to etj). Thus far we have concerned ourselves
only with major scales, keys and intervals. But life would
be very monotonous if it were all sunshine, blue sky and
laughter. Music could not represent or stimulate human
emotion, as it does, without a large armoury of sombre
colours, bitter dissonances and, in place of a sense of cheer-
ful repose, a feeling of resigned despair.* These purposes
are subserved by the minor key.
In looking at scales and intervals we find that certain of
the intervals were to be distinguished as "greater" and
" lesser." The Latin words meaning greater and lesser are
major and minor. (And as the mediaeval Latinity of the Cath-
olic Church was the fountain-head of modern music, many
of its terms persist.) On the major scale there were indeed
four minor triads to only three major. There is abundance
of minor material then in music. Its arrangement into
scales and keys cannot be so easily explained as that of the
major mode ; indeed upon this subject scientists arc mutu-
ally discordant and commonly as " troubled " (betriibt) as
the great musical scientist Helmholtz found the minor scale
itself.
Where doctors disagree, the layman would do best to pass
by on the other side. Let us take the minor keys as we
find them and thank Heaven for their existence as mirrors
to the chillier, grayer moods of the mind. Music has in-
deed laid up something for a rainy day.
To go any further into the construction of chords would
be to write a text-book on Harmony.
AN INTRODUCTION TO MUSIC 19
Those who wish to pursue the subject of chord construction and progres-
don will find further information in such articles as Chord, Harmony,
Thorough-bass, Parallel, Covered, Anticipation, Suspension, Interval, Al-
tered, etc., in the Dictionary of Definitions.
VII
GIVEN the scales for melody and the chords for
harmony, with an unlimited variety of progres-
sions, the subject of rhythm enters. There
was a time when the music of the scholars was all in notes
of equal len^h; such music was well called plain-song
{planus meaning literally " smooth *'). But popular instinct
and popular music still had drum-rhythms and dances and
finally forced the music of the scholars to return to hu-
manity ; and so-called mensurable (i. e., measurable) music
began.
The definition of rhythm is so native and instinctive in
everyone that it would be impertinence to foist it on the
reader. It is to be noted, however, that in music it de-
pends on the relative accent and duration of notes follow-
ing a pattern more or less closely. The rhythm of a com-
position can be expressed by thumping it on a table with
your fingers, for rhythm is independent of height or low-
ness of the tone and the volume of sound. Strum out in
this way such tunes as " Comin' Thro' the Rye," " Yankee
Doodle," « We Won't Go Home Until Morning," or the
like, or airs of more dignity. If you mark the accents
forcefoUy, the regularity of the rhythmical pattern be-
comes evident, and almost as monotonous as certain styles
of wall-paper. If you tap with the left hand a regular beat
like a clock's, only faster, the rhythm of the air will assume
new vividness.
Take " Comin' Thro' the Rye " for example, the rhythm
20 THE MUSICAL GUIDE
could be expressed by underlining with the right hand a
series of numbers to be ticked off by the left hand :
If a bod-y meet a bod - y com - in' ihro* the rye
1-5, 8, 4-5, 6, 7-8, 9, lO-n, 12, 13-14, 15, 16-17, 18, 19, 20, 21, 22, 23, 24,
If a bod-y kiss a bod-y need a bod-y cry
25-26, 27, 28-29, 80, 81-32, ^, 34-S5, 86, 37-38, 89, 40-41, 42, 43,44,45,46, 47, 48
This covers two lines of the song, the rest of which fol-
lows the same model. We find 48 beats in the two lines
of verse, 24 to each line. The rhythm is almost exactly
stencilled all the way through ; it begins over again, after
every sixth count, each 7th count having a marked accent,
the 4th of each group of 6 having a lighter accent. If,
since the rhythm is the same, we simply repeat the first 6
numerals and cut off with a line every group of 6, we shall
have the song pictured in as simple a pattern as that of the
maid's own print gown.
If a body meet a body com-in' thro' the rye
/l-2y 3, 4, 5, 6/1-2, 3, 4-5, 6/1-2, 3, 4-5, 6 / 1, 2, 3, 4, 6, 6/
Call each of these groups a measure, the slanted line a
iary take a certain time or »c/^-value as the unit in place of
these numbers and you will have the musical terminology.
As the notes are short the quick eighth note (one-eighth of
a whole note) may be taken as the unit ; there are 6 of
these in each measure, and the lime of the song is said to
be six-eighths or 6-8 time. This is a combination of triple
and duple rhythm, for, while each measure contains 6
counts, these counts are divided into two groups of three
each and there are two accents to each measure, conse-
quently 6-8 time is sometimes used for marches.
But the typical march time for marches (as well as for
many other moods, as " Auld lang syne," etc.) is, as you
will find, divisible into measures of 4 counts each, with two
AN INTRODUCTION TO MUSIC 21
accents to each measure. As the whole note is taken as the
whole extent of each measure, the presence of four beats to
the measure gives each beat a fourth or quarter-note value.
It is therefore called 4.-4 time^ or simply common'time. Very
quick marches are sometimes written in 2-4 time with one
beat to the measure. Waltzes are written with 3 beats and
only one accent to the measure. This time is called 3-4
time. Other rhythms are 3-2, a slow time (with 3 half-
notes and 3 accents to the measure) ; 3-8 time (a light
quick time with 3 eighth notes and one accent to the meas-
ure) ; 6-4 time (a slower form of 6-8 measure, differing from
3-2 only in having two accents to the measure) ; 9-8 (with
9 eighth notes and 3 accents), &c. (v. article on Time).
VIII
NO way of submitting music to the all-devouring
decimal system has yet been brought into play.
-The measure-notes are all multiples of 2 and 4 ;
whole notes, haif, quarter, 8th, i6th, 3 ad, and 64th notes.
The larger divisions of music also fail to follow the deci-
mal systent. In the analysis of "Comin* Thro' the Rye"
themeasuresr themselves can be collected into groups of 2^
4 and '8. .There is a slight pause after every other meas-
ure, a perceptible pause at the end of the 4th measure, a
longer pause at the end of the Sth. The next group of 8
measures is likewise divisible into groups of 1 and 4.
Thw quality of divisibility into 4 and 8 measures is a
fundamental law of musical structure. Because it is such a
law many composers strive to hide its nakedness or re-shape
it to special purposes, but these are exceptions which by
their very sense of novelty and oddity prove and emphasise
the general rule.
22 THE MUSICAL GUIDE
A group of eight measures is called a period; this period
contains two phrases of four measures each ; each phrase
contains two sectionSy of 2 measures ; and each section is
generally divisible into its melodic or rhythmic motive or
subject. The song " Comin' Thro' the Rye " is especially
clean-cut in its divisions. They correspond in spirit to the
comma, semicolon, colon and period of ordinary prose,
but occur with far more regularity. Frequently the periods
themselves can be collected into larger groups or compound
periods corresponding to paragraphs. The first accent of a
measure has a stronger accent than the second or third. So
the first accent of the first measure of a period should re-
ceive a greater stress than the first accent of the first meas-
ure of a phrase, and so on. In the proper distribution of
accents lies the larger part of musical punctuation, or, as it
is called, phrasing.
IX
IN the first group of 8 measures of " Comin* Thro* the
Rye" there is a general upward tendency to the
melody. The second period b^ns on a high note
(at the words ^^Ilka body") and has a downward ten*
dency. This desire for a contrast is at the root of all
musical form. This song is condensed even beyond the
usual popular form, partly because of the stanza-form of
its poetry. " The Last Rose of Summer " fulfils the typical
song-form which contains a theme of one or more periods,
followed by a contrasting or subsidiary theme of one or more
periods, the song concluding with a repetition of the first
or principal theme. Practically the same idea governs the
typical dance-form though the themes are likely to be more
elaborate and the second theme is still stupidly called a trio
(from the fact that it was actually in old times given to a
AN INTRODUCTION TO MUSIC 23
trio of instruments in order to contrast its simple song-like
manner with the more ornate and broken progress of the
principal theme).
It would naturally occur to composers seeking variety,
to put this subsidiary theme into a different key, to empha-
sise the contrast. The key naturally chosen would be a
closely related key. This is usually the case, and the con-
trast of keys is a most important part of classic forms.
The elaboration or variation of the themes in a way to
show off the composer's scholarship and cleverness, was
also as inevitable as human pride in skill.
The word variations has, in the general mind, a thought
of " The Old Oaken Bucket " and " Nearer my God to
Thee " " with variations." " Variations '* is an incorrect
word here; the proper term for these cheap and gaudy
works being embellishments^ for the air is simply made a
trellis for all manner of running vines and frippery.
The true variation of a theme is its genuine manipula-
tion. Take the first 2 measures of "Comin' Thro' the
Rye " as a theme ; Ke., the notes to the words " Gin a
body meet a body," sit down again before the piano and
play this theme, picking out the notes as indicated fi'om
their letter-names as shown in the Chart.
Suppose the notes to be placed —
/c', c', c', e'/, d', c', d', e'/g g a g /c'.
If with the right hand you play the theme as indicated, and
shortly after follow in with the left hand (as you would fol-
low the leading voice in singing such a round as " Three
Blind Mice"), you will use the frequent device called for
evident reasons imitation, zs here :
Right hand/c' c' c' e'/d' c' d' c'/g g a g/c'- - -/&c.
Left hand / / /c c c e/d c d e/&c.
24 THE MUSICAL GUIDE
This is imitation at the octave and at two measures' dis-
tance ; imitation may be at a different interval and distance,
at the ^f thy for instance :
Right hand / c' c' c' e / d' c' d' eV &c.
Left hand / / f f f a / &c.
Imitation need not be so strict as this; it may hc/reej
the intervals being slightly changed to enrich the harmony,
for it is not every air that can be treated smoothly and strict-
ly at the same time. Here, for instance, the a in the left
hand might be reduced to a g. Imitation in the orchestra
has vast scope. The trombones may proclaim a splendid
phrase which the oboes will cackle over ludicrously, the
flutes whistle gaily, the clarinets echo gui^ngly, the 'cellos
bemoan nasally, and the violins murmur deliciously.
But in piano or organ composition, imitation is more
restricted. Sometimes a composer in mathematical mood
will set an elaborate air jogging, and when it has gone a few
spaces along, will start after it its very double. The two
will race like twin snakes.
When the imitation is exact, whole step by whole step,
skip by skip, whole note by whole note, and half-note by
half-note, the composition is said to be a canon. The canon
may set more than two snakes wriggling swiftly along at
always the same distance from head to head. Fugue is
only a special form of composition in which the canon plays
a large part, the word ^^fuga " meaning " flight."
AN INTRODUCTION TO MUSIC 25
X
THE devices for varying a theme are infinite. It
can be played in longer ^otes while another theme
chosen from another part of the song ripples
about it; or the duration of the jiotcs can be shortened.
The new treatment of a theme by lengthening its notes
is called augmentation : the shortening of the notes is dimi"
nution.
The upper of two themes can be made the lower at dif-
ferent intervals than the octave ; this is called inversion.
Another form of inversion is the turning of a theme upside
down, so that whenever it went up before, it goes down
now, and vice versa ; this is imitation by contrary motion.
A theme can be picked to pieces and different frag-
ments of it tossed to and fro with the skill of a juggler (and
about as much importance). The first 4 notes of " Comin'
Thro' the Rye " could be taken as a figure and repeated.
Thus:
c' c' c' e', e' c' e' g'jf, g'jf gt g'« b', etc.
This would be called a sequence. The themes could be
played in octaves, or in varied and key-changing chords as :
If a bod -y
d^-g-c% f-ab-c% g-bir-c% g-Ur-c*
It could be ornamented as :
If a bod -y
c', c', d', c', b , c', d', c', e', e', t\ t'.
26 THE MUSICAL GUIDE
In fact, there is no hinting here the dissection and recon-
struction of which a theme is capable. As opposed to a
melodious or lyric treatment, this method is called thematic.
Common names for this sort of treatment are " develop-
ment, elaboration, variation, working-out, free fantasy,"
&c., &c., the Germans calling it Durchfiihrung, ^^ going
through."
XI
THE highest and noblest form of strictly academic
and formal composition is the sonata^ for the
symphony is only a sonata for orchestra. We
have now arrived hastily at a point where a rough explana-
tion of this form is possible.
This is the way you should set about writing a sonata,
or rather, one of the ways, for the sonata is elastic and
has some room for individual tastes.
First you select a melody^ one with an elocutionary and
sententious manner, and containing many good texts to
develop. You write it out plainly and emphatically in the
key that suits it best. As a sidelight and a foil you se-
lect some more lyrical and song-like air, and for ^^ntrast
you put it in another key, naturally one of the related keys,
most naturally the nearest related key, or the dominant.
Or you might put the second melody in the relative minor.
Having stated your two subjects, you may choose to repeat
them word foe. word, or note for ngte, so that there shall be
no mistaking them ; you may then add a concluding reflec-
tion more or less elaborate. This is the first section of the
Having stated the two texts, xht principal and the subsid--
iaryy you now propose to show their true profoundness,
and your own true skill as an orator. You employ the de-
AN INTRODUCTION TO MUSIC 27
vices of elaboration mentioned above, and you play battle-
dore and shutdecock with the two themes in all the keys
you wish till they fly to pieces ; then you juggle the pieces ;
you modulate from grave to gay; n-om cold to tropical,
from whisper to shriek, from insinuation to fervid appeal,
from metaphor to homely paraphrase ; in fact, you invoke
every art and artifice you can borrow from the schools
or can find in the promptings of your own emotions.
When you have exhausted all the devices propriety or your
knowledge permits, you have finished the second section of
the sonata, the so-called Working-out, or Development, or
Free Fantasy, or Elaboration.
The third section consists of a re-statement of the first
theme in the original or tonic key, followed by the second
theme, not in its related key, but now in the same key as the
first themey in order that a definite key may be left in the
mind to give an eflFect of unity. A short peroration or
This is what is strictly called the sonata form. It is
reasonable and based on a natural and artistic arrangement
of ideas and their development.
The sonata is not complete in this- one .composition, or
jjgjjgjjgaLas it is called. Three or ugually four contrasted
movements are strung together. They usually have some
faint suggestion of similarity of theme^ but variety of mood
and Vgy i*^ the f^mef endeavor. A §low movenient (called
from its slowness by one of the Italian words meaning
" slow " — Andante, lento, largo), marked by deep pathos
or tragedy, usually follows the passionate outburst. Then
comes a lighter mood in one or two movements in the form
of (a) an optimistic and prettily braided Rondo with one
chief jheme and two attendant themes ; (b) a gallant Min-
uet ; or (c) a witty and jocose scherzo.
The soBata.jeiidl_with a Finale of stormy and brilliant
28 THE MUSICAL GUIDE
character generally built on the same scheme as _the,-rfirst
movement and written in the same key.
The whole group of three or fQyr_mQYgiflgnts makes up
a sonata. The first movement of the sonata is often also
called the " sonata-form/'
An qi^erture (excepting one that is a medley of airs)
is merely the first niovcmcnt of ^ ^9nP^^i written out for
an orchestra. A symphony is merely a whole sonata written
to take advantage of the enlarged opportunities of a great
orchestra of from 50 to 120 instrunients. The sonata-
formula is also the basis of the string-quartet^ -quintet, etc.,
and of_concertos for solo instruments with orchestra.
A symphonic poem is a symphony only in the breadth of
its orchestration and its high demands. Like many smaller
forms it forsakes the somewhat rigid arrangement of the
sonata and other classical forms and lets the moods or the
story it tells furnish the programme of musical events. A
composition which has some programme other than the
classic arrangement of keys and sections; — a programme for
instance representing musically a storm or the tragedy of
" Romeo and Juliet " — such a composition is said to be
proiramm^ music. In its worst form, when programme
music descends to cheap and unconvincing imitations of
natural sounds instead of contenting itself with an artistic
suggestion of them to the hearers' imagination, such music,
if music it can be called, becomes quite as hopeless trash as
that school of music which stoops to cheap and unconvinc-
ing imitations of classical masters and parrots devices which
only the original spontaneity of the old master himself can
keep alive. But generalisations are vain. What is poison
as one man serves it up, is meat from another's hands.
One failure or one triumph no more makes a rule than one
bluebird brings the spring.
m
AN INTRODUCTION TO MUSIC 29
This hasty and incomplete sketch will have failed in its
purpose if it leads its reader to the delusion that he need
investigate no further the real mysteries of the art of
music ; if it lead to the delusion that because the art is
founded on certain physical laws of inner and outer nat-
ure, the artistic imagination is to be hobbled to them ; or if
it lead to the delusion that any one form, symmetrical or
natural soever, can suffice for all generations or all moods,
or that any school of masters <»n hope to embody all that
is good and sbttd in the art.
The classic masters were once living, breathing, passion-
ate young artists, impatient of precedent and breaking rules
for sheer pleasure as wanton boys smash windows. He
who approaches them with intelligence and sympathy will
find them still made of bone and blood, sinew and spirit.
Bat once he has had the inestimable delight of their ac-
quaintance, he must, abpve all things, avoid the belief that art
and glpry died with them. He should approach every new
work, howsoever startling, with a readiness to be convinced
that the new trumpeter, standing on the outer hilltop which
we thought was the rim of the art, may,, after all, be looking
into a further world and be proclaiming to us new fields and
streams, and a new horizon. And though his music may
seem strange, blatant and incoherent to us at first, per-
haps the fauk is not with him, nor with us, but only with
the great new wonder-land he sees beyond.
Nlusic, like any other living speech, is always growing
and must always be newly studied. If we would not have
it a dead language we must be prepared for change, and be
willing to learn.
Five Essays
by
iRENiEUs Prime-Stevenson
With an Appendix on
the American School by the Editor
Italian Music
WHATEVER currents of emotion^ or of the me-
chanics of musiC) have varied and developed the
art in Italy, two traits have been fundamental to
distinctively Italianistic compositions — in each instance ap-
parently spontaneous vital pulsations and principles. The
first is the notion that without melody — especially sensuous,
warm, obvious melody — music has no eloquence for the
heart, no matter how admirable the harmonic structure may
be. The second trait is lyricalism — the tendency to keep
music ever in touch with the art of actual song, with the ex-
pressiveness that the human voice alone can afford.
It is true that in view of many widening phases of Italian
musical genius we cannot claim that on these two command-
ments have hung all the law and the prophets which set
Italy to creating For the rest of the world the most recentlyi
perfected of the arts ; that gave I taly her long-time so\
ereignty in music ; even now distinguish her in it. Stil
they are the quintessence of Italianism in all "schools
and phases really reproductive. Let us note, along wi
these two general Italian concepts of music, the tenden<
to unite melodic beauty with melodic strength, a feminin
30
THE NATIONAL SCHOOLS 31
not a masculine, emotionality and melodiousness, and a
failure, first and last, to reach in abstract music that inter-
est and dignity which Germany, Austria, France, Scan-
dinavia, and Russia have achieved. Thus we have two
other salient Italian traits before us. The Italian " schools **
of music, not excluding even the lofty ecclesiastical com-
rers, if compared with the workers in the North, stand
Music as a thing of mere human heart and nerves and
artless passion as contrasted with a vaguer, more mystic
psychologic message. Only Italy could produce a Rossini
or a Verdi ; we cannot think of an Italian Bach, Bee-
thoven, or Brahms ; and vice versa the feeling holds good.
It is logical, therefore, that we find Jtaly to be really
shining in only two forms of music. Both are her own
special discoveries, or re-creation. The firstJS JioLy phonic
church-music The secon4_Js_opera. Neither of these
forms is of the more abstract and independent utterances
of the art. But in each instance Italy has never been sur-
passed in dealing with them, either in principles or prac-
tice, and it is not likely that she ever will be, till music as a
science and as an emotion is revolutionised. Let us add,
in passing, that a third form — also lyric — is also Italy's di-
rect invention, the sacred oratojdo. But her accents in ora-
torio, as in her early developments of almost all other kinds
of music, have been so outdone by French and German
musicians that the Italian oratorio is to-day a fact for the
student, not the auditor.
It ivould be as impossible to essay even a general histor-
ical sketch of Italy in music in a few pages, as to condense
the story of Italian painting into equally few paragraphs.
In Italy, the modern ideas of music, sacred or secular, all
found creation or resurrection. All the rest of the world
owes the art, as it is to-day, to one or another phase of
Italy's early intense sensibility to it. Perhaps, indeed.
32 THE MUSICAL GUIDE
music is the Italian art, in chief, rather than any other. Out
of the mists of the early Christian Era, out of the thunders
of mediaeval wars and sieges, come to us the harsh but noble
chants of Saint Ambrose of Milan (a.d. 333-397) and of
Pope Gregory the Great (540-604) ; and as we reach the
fifteenth and sixteenth centuries, we hear, clear and full,
some of the most magnificent and pure church-song ever
written, in the masses, motets, anthems, psalms and other
great polyphonic works by the Roman masters of vocal scor-
ing, Palestrina (1524 ?-i594), and Allegri (1560-1652) and
their contemporaries. At the same time, sacred oratorios
began under Cavalieri (1550-15 — ) a course to which in a
course of 200 year^ Handel, Haydn, and Mendelssohn were
to give such dignity. But the great burst of Italian church-
music occurs after the beginning of the seventeenth century,
when Carissimi (i 604-1 674), the Venetian Marcello (1686—
1 73 9), the Neapolitans Durante (1684- 17 55) and Leo(i694—
1746), Pergolesi (1710-1736), Jommelli of Naples (1714—
1744) and Scarlatti, the Sicilian (1659-1725), shone out as
suns in Italian church-music, by styles and principles not
yet weakened. Thereafter, however, Italian church-music
declined in excellence ; and save for a few special and rela-
tively recent works by Zingarelli, Rossini, and Verdi
(quite of other voice and structure), its message has finished.
In early instrumental composition Domenico Scarlatti of
Naples (1683-1757) is of mark.
Opera, as has been observed, presents the phase of Italian
genius in music at its most prolific, most powerful and — ap-
parently— most natural eloquence. As is well known, it was
in trying to revive old Greek drama, with its musical ele-
ment, that, in 168 1, a group of wealthy Italian dilettanti
originated modern lyric drama. Under Caccini and P^eri,
by the broader ideas of Monteverde, Lotti, and others, the
structure of opera became firm. In Alessandro Scarlatti,
Pergolesi, Sacchini, and Piccini — mostly southern Italian^^-
THE NATIONAL SCHOOLS 33
an enormous Italian operatic growth occurred ; soon trans-
formed or grafted to France, Germany and Austria. The
consummation of the classical Italian opera appears in the
Austrian Mozart, whose operatic voice is — fundamentally
— Italian. From this point we pass, in Italian opera, to the
greater modernists and romanticists, always Italian in their
concept of opera, whatever their actual birth or locality —
Paesiello, Cimarosa, Salieri, Zingarelli, Spontini, Rossini,
Donizetti, Bellini, Mercadante, mostly Neapolitan or of
meridional Italy. Their works have given place, in large
measure, to the Contemporary School of Italian Opera,
strikingly eclectic and much influenced for better or worse by
Northern phases. The supremest and noblest figure here
met is the gigantic Verdi (1813-1901), beyond doubt, one
of the most astonishing and consummate emotional com-
Eosers in all the story of music. Verdi is elsewhere in this
ook so ftiUy treated, as are Rossini, Donizetti and Bellini,
as to need no long essay here on his merits and career. Of
his contemporaries, especially of what we may call the Neo-
Icalian *^ School" of operatic writing, the most important
arc Ponchielli, Boito, Cagnoni, Gomez, Puccini, Franchetti,
Cilta and Giordano; with less distinct merits attaching to two
other much advertised names, Mascagni and Leoncavallo.
At present, Italy is, beyond doubt, in the same plight
of musical decadence (creatively estimated and measured
by her past importance) as is almost every other land and
race in the art. Only in opera has the Italian composer
to-day a really attractive, spontaneous musical communi-
cation. For we can scarcely think that the few superior
Italian symphonists and pianoforte writers are of general
and real significance. Whether Italy can give any further
impetus, indeed, to a form of art that appears to be thought-
<TOt and written-out is a question : but if the Italian foil to-
day in his aesthetics it is easy to forgive the failure, consid-
ering his splendidly Hellenic utterances in the past
3
34 THE MUSICAL GUIDE
German Music
No other art is so indebted to distinctively Teutonic
influences, no other art has been so civilised and
dignified by the German minds and by the Ger-
man temperaments as music. A special office of the Teu-
tonic soul seems to be the bringing of intellect to bear on all
those things for which it possesses emotional receptiveness
and creative power. It is true that this very tendency some-
times ties down the wings of Pegasus, and dulls the lyre of
this or that muse. Sensuous beauty can be the less in its
being Germanized. But we can forgive the turgidness and
clumsiness that come often as if in an intellectual extreme,
when we think of Peter Fischer, of Albrecht Diirer, of the
architects who have built the Cologne Cathedral or St. Ste-
phen's, and of that sparkling galaxy of musicians whose
names are peculiarly linked to Austria — Haydn, Mozart,
Gluck, Beethoven, Schubert and Brahms ; and of the more
strictly German group that shows us as central figures Bach,
Handel, Mendelssohn, Weber, Schumann, and Wagner.
Whenever we ask ourselves what constitutes distinctive-
ly the high and true German school of musical creative-
ness, we are face to face with the same concept and result :
the making of music an intellectual matter ; a psychologi-
cal thing to a degree not originative in any other country.
The passion and fire of Italy's idea of music, as well as her
lighter sensuousness in it, these are seized by the German
heart and made into something deeper and more eloquent.
The dance-forms of the South are transformed to a Cia-
conna by Bach, a Minuet in Mozart's G minor symphony,
or to the mystery of a Scherzo in Beethoven's terrific utter-
ance. The symphony in German and Austrian concert-halls
reached the supreme disclosure of music yet known to us.
The love-ditties that merrily sighed or prattled or Ian-
THE NATIONAL SCHOOLS 35
guished, alia mandolinataj in less serious lands, grew under
the hand of Schubert and Schumann to be outcries from
the world's heart. A romantic ballad could reach the
height of tragedy, when Lowe gave it German voice. As
for opera, Mozart so infused Italian principles with the
force of his dramatic instinct as to give the world three
consummate advances on all Italian models preceding, ad*
vances beyond which music in operatic conditions never
has gone and never can go. Beethoven speaks with the
soul forever in the three acts of " Fidelio." Weber and
Marschner have built up the structure of a truly German-
romantic opera to perfect effect. Wagner has brought into
an absolutely stupendous demonstration a group of theories
as to the lyric-dramatic opera — theories which, with all their
error of expression even from so great a workman, are of
psychological power overwhelming to the mass of opera-
hearers to-day (not necessarily even musical) and which
have indeed put a period for the time to any new phase of
opera as drama.
In church-music and in religious music (to use a false
term) the Germans and the German- Austrians have said
what no other schools seem to have conceived in any eccle-
siastic or devotional or spiritually reflective connection. The
suave beauty of Italian polyphony as we find it in the
church-music of Palestrina and Leo and of Marcello and
Pergolesi grows colourless when our ears contrast it with
the Mass in B minor of Bach and the D minor Mass of
Beethoven. True, a lovely and devout Italianism created
oratorio ; but it was left for Handel to write " Israel in
Kgypt " and the " Messiah," and for Mendelssohn to con-
summate such a form of musical and of religious receptive-
ness as " Elijah."
In fact it IS through a subtle appeal to the very core and
essence of human nature just as it is, just as we meet it daily
36 THE MUSICAL GUIDE
about us, as we know it to be struggling or repressed in our
very selves, in our heart of hearts, that the German school
has so influenced music. Its voice is the voice of mystic
humanity in us ; and something more. Haydn, Mozart,
Gluck, Beethoven, Schumann, Schubert, and Brahms have
not degraded music in relation to our merely artistic ideal
of it. They have not laid violent hands on it as art, and
wrested it away from its earlier mysteriousness. They have
brought it near to us by a wonderful natural gift and in-
sight. But they have made music psychologically as near-
ly an articulate and organic thing as it is possible to make
it. From Bach to the second Johann Strauss this is out
of question. There is no clear outlook at present for any
further mastery over it — mystic and ever-elusive art that
it is — none for any more articulate soul messages. The
German has entered within the holy of holies of musical
art. To him has been granted the freest foot in its vague
realm yet granted to any mortal.
Whether after such a glorious and dominant past the
German is likely to go further for us than he has already
done, we may well believe is not in the bounds of even the
most thoughtful and the most psychologic of prophets in
aesthetics to decide for us. All the future of music is at
present a strange problem. We are certainly swinging back
to the highest ideals and the truest expressions of them, in
such large measure the express embodiments of German
composers. We do so daily not only because the " Ger-
man " symphony, concert overture, concerto, string quartet,
pianoforte sonata, song, oratorio and opera are what they
are, but because with the departure from the world of the
last set of greater " German " composers a twilight seems
to be settling down over all mortal musical creativeness.
The youngest, the most suddenly and prodigally fiorcs-
cent of all aesthetics, seems to demand a time of silence^ of
THE NATIONAL SCHOOLS 37
repose, of inaction. It seems to say^ ^' I have done enough
for awhile, I have given you enough for awhile. Let me
sleep for a century or more." And such being music's
good pleasure, we cannot deny that the German mind and
temperament have given the most beautiful and solemn
" last word " the art has published.
French Music
THE history and scholastic aspects of France in
music are like the relationship of France to the de-
velopment of the sister arts — of painting, of archi-
tecture, of sculpture, and even of literature. We do not find
the gift of high origination— of invention — of striking out a
new ground of principles — fresh forms and phrase. Instead,
we find that the mission of the French composers from the
first fruits of their musical creativeness (often so lavish and
rich) to our own day has been to clarify, to refine, to suggest,
often to imitate with a most subtle and elegant technical
improvement, what Germany and.Italy may have invented
in one or another form, but have not carried out in the
same degree of a lucid and logical eloquence. More than
that, in several of the most dignified forms of music, in
that music which approaches the abstract, as the symphony
and the deepest expressiveness of chamber-music approach
it, we find France has ever been singularly lacking in her
contributions ; and has not only made no advance on the
same foundation, no successflil rivalry, but has distinctly
fiuled to take a firm place and to win universal recognition.
Between the symphonies of Mozart or Beethoven and
those of Saint-Saens or Franck; between the songs of
Schubert and Brahms and the lyrics of Godard and Mas-
senet, from the string quartets of Haydn or Smetana to
38 THE MUSICAL GUIDE
the best works of the Gallic hand, there is a long musical
distance ; and in sonata-writing for the pianoforte the
French temperament has not in any wise distinguished
itself.
The French troubadour (corresponding to the minne-
singer of Germany's early musical day), a development un-
der Italian influences in the South of France, is now a
romantic and venerable figure before us as we study the
mediaeval growth of secular music in French social life.
If we include the Franco- Flemish masters of religious
church-music in the seventh, eighth, ninth and later cen-
turies until the close of the sixteenth, France offers a series
of composers for the Church of great learning and often
lastingly instructive work. Such are de Meurs (1300?-
1370?), Dufay (1350), Ockeghem (1430?- 149 5?) and Gou-
dimel (1505?-! 572). With this group, we are near to the
great Italian church-composers represented by Palestrina
(1 514?-! 594), who was taught by Goudimel.
The element of concrete, human emotion is strong in
French temperament and art. We are therefore not sur-
prised to find the opera* a vigourous phrase in France's
music-story ; but with the establishment of Italian opera in
France under Mazarin a foreign form for dramatic mu-
sic was seized on by French composers and soon made
into something their own, and unlike that which they im-
itated ; and such it has continued even to our day. Cam-
bert (1628 ?-i 677), pioneer, and the great founder of
French opera, Lulli (1633-1687), and the equally gifted
Rameau (i 683-1 764), defined opera for France with grace
and force.
The noble, sincere art of Gluck (who though a German
by birth belongs to France in his purest glory) is elo-
quent to us to-day, though his "Orphee" and " Iphi-
gonie *' and " Armide " date from the last year before the
THE NATIONAL SCHOOLS 39.
French Rcvolurion. Every dramatic and musical princi-
ple re-proclaimed by Wagner is contained in Giuck's best
scores. From Gluck we advance to the truly modern
epoch. The works of Lesueur (i 764-1 837) are not vital
now ; but Cherubini, " the French Beethoven," holds a
high place for his best operas and his austere Requiem, a
masterpiece of church-music. The galaxy of French opera-
writers is met herewith — Mehul (1763-18 17), Boieldieu
(1775-1834), Gretry (1741-1813), Auber (1782-1871),
Herold (1791-1833), Meyerbeer (1791-1864), the most
distinctively French composer as a styhst in opera of the
period, Halevy (i 799-1 862), and Berlioz (i 803-1 869).
With Berlioz (who is truly a Titanesque figure in modern
French music, either for opera or concert, but ever gran-
diose rather than grand) we are in quite our own epoch.
Gounod, Bizet, and Lalo are its strongest and most widely
recognized creators of serious lyric drama. " Faust ** and
" Carmen " are of universal acceptance. To these masters
has succeeded a prolific Germano-Gallic school of music,
both secular and religious, under Wagnerian or Neo-Ital-
ian or other influence. The most salient, if not always
vigorous expressions of this group, we soon find in the
scores of Massenet, Salvayre, Chabrier, Reyer, Saint-Saens,
and Franck, dc Lara, Leroux and Charpentier. We must
not forget that Oflfenbach, the creator of satiric opera-
boufTe, not only was a figure of brilliant originality under
the second Empire, but, like Johann Strauss in Austria,
seems destined to a longer vitality than was expected a
decade ago and has created a school of imitators of wide
vogue.
It is not likely that in any form of music France will
originate more in the future than her brilliant and most
representative composers have done in the past. But it is
something — a great thing — in modern music to hold our
.40 THE MUSICAL GUIDE
interest and admiration by the art with which a work, from
a song to a symphony, is written for us, the skill of mere
means even to an imitated purpose. In this gift it is not
likely that the French composers soon will fail us. We
can hear them with pleasure where their message is neither
new Aor valuable in itself— a racial trait and grace.
English Music
IT is under restricted meaning that we can speak at all of
an " English " school of musical art. However flexi-
bly the word " school " be employed in defining mu-
sical utterances, after all it should stand for a distinctive indi-
vidual product ; and in case of a country and race, for an
accent in symphony, oratorio, opera, chamber-music and
song, that is national and individualised. It should not be
reckoned as merely a product of influences from outside.
In England nearly every form of music has been an impor-
tation ; and almost every expression of the art that is effec-
tively represented in the present or the past history of musical
composition in England is derived or reflects Italy, France,
or Germany. Musical composition and musical taste in
England itself in the old-time of the art lagged behind
the popular developments in Wales, Scotland, and Ireland
(where the bardic expressions of music early were enjoyed
by all classes), and creative productiveness was proportion-
ately slow. The Italian musical influences in due course
obtained, as did Italian literary influences, and later the
German and French ; and English composition to-day is a
more or less disguised and eloquent product of Continen-
tal developments of the art, and English popular taste
for music in abeyance and instructed by the Continental
product.
THE NATIONAL SCHOOLS 41
There are, however, three exceptions to this general
sunimary. The English Ballad — the true ballad — with its
precise, definite rhythms and clear periods has an individ-
uality at once strong in song, and admirable in sincerity
and beauty. The Scotch and Irish lyric, or instrumental
expression, is also distinct ; and both interesting and beau-
tiful. The second exception is represented by the finest
developments of music for the organ and for its churchly
usage ; and the choral English anthem, and what apper-
tains to English liturgical offices in music. Here we can
review a noble musical structure. It was gradually per-
fected from the time of Elizabeth (in particular) as a prod-
uct of English, Italian and German musical art fused to-
gether. Bright lights in it have been Dunstable, Tallis,
Bird,and the gifted Purcell ; the majestic Gibbons and Blow ;
the great organist Bull; the English fraction of Handel's
work in oratorio and for the Protestant church service ; and
the busy group of contemporary English composers for the
oflfices of the National church, who are not much under
forergn influences of one sort or another. Although Han-
del is always to be reckoned as of England, and as develop-
ing the English " oratorio " to its climax, we cannot speak
of ** the great Saxon " as uttering an " English style," so
much as a modification of German and Italian musical
forms and accents, whether in an oratorio or an opera, a
cantata, a suite or an organ-piece. Purcell, after all, was
operatically Italian. Costa said little to be reckoned
** English.'* Nevertheless in one field of opera to-day
England has an assured and a brilliant individuality. It has
not come in the serious opera, whatever successes have been
won by such skilled workers as Benedict, Balfe, Stanford,
and MacKenzie, Goring Thomas and others; but in the
genius of Sir Arthur Sullivan for light opera. By Sullivan
and in a lesser degree by Cellier, an English operatic mea-
42 THE MUSICAL GUIDE
sage firmly and graciously has been given forth, allowing for
all suggestions of influences from abroad. Sullivan's ** Fin-
afore," "Mikado," "Ruddygore," and "The Yeoman of
the Guard," are masterpieces of invention and of musical
diction — not to be confused with Italian, French, or German
products.
In modern secular music for the orchestra some supe-
rior symphonic work has come from Bennet, Cowen, and
others; and particularly contemporaneous high lights in
composition in large form for the orchestra or choral choir
are Edward Elgar and Coleridge-Taylor. Both these vig-
orous writers are, however, of the modern German school
rather than of any English style !
Altogether we must accept the fact that in England music
IS not an original art-expression, compared with the products
in other and more genial lands. The English temperament
is not yet to the manner born, musical. Musical produc-
tivity is a process of kindly foreign sunshine and of enrich-
ment of a more or less England-born and England-working
musical talent. If a genius of world-wide importance is to
be expected from England and as " an English composer,"
he has been long on the way, and will now have hard work
•to win any " towering pride of place." Dignified national
productivity is not national originality ; nor a national voice
and school in aesthetics.
•vm
Russian Music
THE youngest school (as a strictly national develop-
ment of composition) of which the average student
of music must seriously take account at present^* is
that of Russia. It has, however, reached a clear and, in large
measure, a singularly impressive unfolding for the extra-
Slavic world's notice within the century, in which distinct*^
THE NATIONAL SCHOOLS 43
ively Russian musicianship has made its place good ifi the
concert-rooms, in the drawing-room, and in the operatic es-
tablishments of almost every corner of aesthetic Europe and
America.
Like the Italian, and the Hungarian, and the Pole, so
is the Russian, by nature, intensely musical. Often he is
morbidly so. The peasant and the prince alike are born
to quick musical Empfindlichkeit. The folk-songs and
folk-melodies for the dance or more serious mood are im-
memorial, beautiful, and countless. All truly Russian mel-
odies have a peculiar voice and character of their own — scale
and rhythms are rich in melancholy, in passionate gaiety, in
dramatic accent and in varied hints of the psychologic. A
strain of Orientalism is not absent. The Russian sings or
makes instrumental music by impulse and feels music by
impulse (the balaika^ a three-stringed guitar, is the original
musical instrument of Russia).
Such being the popular aspect noted, we turn to the
formal development of the art in Russia. This, as has
been mentioned, is little more than a century old in culti-
vated activity. Its chief classic is — curiously — an operatic
writer, Michel Glinka, of Smolensk (1804-1869),^ gifted
man in many other traits than music, a pupil of Dehn along
with the two Rubinsteins. His two finest operas, " A Life
for the Czar " and " Ruslan and Ludmilla," are, to Russian
lyric drama, what Mozart, Gluck, and Weber are to Italian,
French and German opera. Dargomizsky (18 13-1869) is
a link between Glinka and Anton Rubinstein. Anton Ru-
binstein, however, although popularly accounted as a Rus-
sian master-worker and although so great an influence for
music in Russia (I am not speaking here only of his career
as a pianist), was less a Russian than a German composer
in matter and manner. His best music is superb ; his birth
and works honour Russia, but in symphony, pianoforte
44 THE MUSICAL GUIDE
music and opera, Anton Rubinstein was Germanised early
and stayed thus to the end, nolens volens.
Far more national in " school " is Borodin, a writer of
the first order, whose opera, " Prince Igor," is a classic,
though its composer has been dead only some fourteen
years. Yet a further height of national Russian utterance
in music comes with BalakirefF, a native of Nijni-Novgorod,
whose heart ever turns toward the folk-tunes of all Russia
for thematic material. The most national Russian com-
poser, however, and a veritable giant in the technical use of
Slav themes is Tschaikowski, whose masterpieces are not to
be questioned as to their being Russian music and strong
developments of composition scientifically, measured by any
school.
The contemporary Russian movement is represented
especially in Rimsky-Korsakow, a giant for modern orches-
tration and a magician in orchestral effectiveness ; in C^sar
Cui, a brilliant operatic writer ; and in Alexander Glazounow,
a pupil of Rimsky-Korsakow, and a symphonist of strong
Slavic diction, as well as a technicist of orchestration equalled
only by the most eminent writers of the day.
The actual profession of composition in music is yet a
recent— one might almost say experimental— profession in
Russia. We find one distinguished composer is a soldier,
another a lawyer, another a marine officer, another a military
official by his legal standing. Which gives us rather a curi-
ous perspective of amateurism, if of magnificent amateurism.
However, this older aspect is each year passing away, the
Russian conservatory system is widening and taking root in
the greater cities ; and while the most girted contemporaries
are not always concentrated on their own home-material for
subjects, they have fairly impressed the world as a distinct
school. Often they have astonished and fascinated it.
THE NATIONAL SCHOOLS 45
American Music
THE youth and lack of uniformity of the United
States citizenry furnish excuses for the absence of
a strictly national art hitherto. But, after all,
there are not many countries that have preserved one form
of government so long as the Constitution has been presid-
ing over the assimilation of the world-pilgrims. Youth is
a disease for which time is an almost certain cure, and too
much uniformity of thought and character is favourable
rather to stagnation than life.
At last, however, American music has arrived. It is
only a healthy and somewhat bewildered child as yet, but
it has the beginnings of an accent quite its own. The
American composer has had a combination of advantage
and disadvantage in the thoroughly foreign nature of most
of his tuition. But so Germany and France took their start
in Italy. As they gradually learned the importance of mak-
ing their alien dexterity a medium for the expression of na-
tive and national emotions and personalities, so has Amer-
ica finally reached the stage of true introspection expressed
with outward polish of manner.
The high favour of the foreign executant as pianist, violin-
ist, 'cellist, opera and concert singer, and also as orchestral
leader and yeoman, has been an obstacle to the wide and
easy promulgation of the native composer's experiments
and achievements.
Through the fog of a thousand discouragements and dis-
tractions, however, the cause has groped until a few sturdy
figures have emerged already into prominence and even
into importance. The forms in which the earliest successes
have been found have naturally been the smaller. In
grand opera there has been absolutely nothing achieved in
a public sense, though doubtless there are enough manu-
46 THE MUSICAL GUIDE
script grand operas to bankrupt a dozen impresarios. In
the symphony there have been only a few works of large
worth, though John Knowles Paine's " Spring Sympho-
ny," Edgar S. Kelley's humourous symphony " Gulliver,"
and Henry K. Hadley's " Youth " are full of personality,
art, and genuine vitality. A number of overtures, sym-
phonic poems and prologues have shown a right to exist,
notably George W. Chadwick's " Melpomene," Arthur
Foote's "In the Mountains," Frank van der Stuck-
en's " RatclifFe," and various works by Johann H. Beck,
Harry Rowe Shelley, C. C. Converse, and Mrs. H. H. A.
Beach, while Edward MacDowell's " Indian Suite," Henry
Schoenefeld's " Sunny South Overture " and Kelley's
" Aladdin " have exploited fields of local colour in which
the American finds much novelty ready to hand. Various
symphonic poems and orchestral suites deserve the men-
tion space forbids them here. Of concertos there are
many, Henry H olden Huss having written an especially
excellent work for piano.
In the field of the sonata MacDowell has written two
masterworks, the sonatas " Eroica " and " Tragica," and a
piano " Fantasy " by Arthur Whiting is a notable innova-
tion in the free manipulation of the sonata form. The
religious choral works of Dudley Buck and Horatio W.
Parker deserve serious acceptance. The marches for brass
band written by John Philip Sousa have gained world-wide
note for their military fire and novelty. In the realm of
smaller piano pieces, cantatas, and songs, there is an em-
barrassment of riches. The piano-works of MacDowell,
who gains eminence in all fields, and of Harvey Worthing-
ton Loomis are genuine creations.
In the short-song form these two men collaborate with
such sterling individualities as Kelley, Ethelbert Nevin,
Foote, Wilson G. Smith, James H. Rogers, Fred Field
THE NATIONAL SCHOOLS 47
Bullard, Margaret Ruthven Lang, Ad. M. Foerster, Ho-
mer A. Norris, Howard Brockway and others, to give
America a song literature whose importance is not sur-
passed in contemporary composition. There is also a large
body of naturalised foreigners who, while hardly justifying
the epithet American, are yet aiding to make American
music^ life one of great activity, a life which has accom-
plished more than might have been fairly expected, and
gives promise most glowing.
by
Louis C- Elson
on
L The Great Instrumentalists.
IL The Great Singers,
I
Great Instrumentalists
IF the time of Beethoven, Schubert, and Haydn was a
golden epoch in the field of musical creation, the present
has become, in even a greater degree, the era of musical
execution, for we have attained a standard of musical excel-
lence far beyond anything ever dreamed of by the classical
composers. Feats which Beethoven's critics derided as
being too difficult for the violin (the high C in the " Eg-
mont " overture for example) are now readily within the
scope of all good orchestral players, and our concert pian-
ists have now definitely shelved the cadenzas which the old
masters wrote for their concertos as being too simple to
display the modern points of technique.
Piano technique, beginning with Bach's " Well-tempered
Clavichord," advancing with Clementi and Cramer, found
its transition period in the time of Moscheles, and then
culminated in two diverse ways — the poetry of Chopin and
the brilliancy of Liszt. All of the pianists cited in these
pages will be most easily measured by four standards, viz. :
— Bach, for intellectuality; Chopin, for emotion; Beet-
hoven, for a combination of both in equipoise ; and Liszt,
48
GREAT INSTRUMENTALISTS 49
in such works as the " Don Juan " Fantasie, for technique
pure and simple, or rather pure and difficult.
D' Albert achieves his chief triumphs in the Beethoven
school ; Von Biilow was pre-eminent in the last five Beet-
hoven sonatas; De Pachmann leads the Chopin band;
Paderewski is famous in Chopin as well as in the entire
modern school ; Rosenthal scintillates with all the pyro-
technics of the latest specialists. Occasionally one finds a
Liszt who is almost equally great in all the schools, or a
Rubinstein in whom intellectuality and emotion are well
combined.
Less diverse are the schools of violin-playing, for here
the evolution has taken two rather distinct roads : pyro-
technics on the one hand, and soullful expression on the
other. While these two styles are sometimes combined,
as for example, in the Mendelssohn concerto, they are
sufficiently distinct to enable one to classify every soloist
as belonging chiefly to the one or the other school.
Paganini, the greatest violinist that ever lived (as Liszt
might be called the greatest pianist), was distinctly de-
voted to technical display, in which he so entirely dis-
tanced all competitors that some of his cadenzas cannot
be played exactly as originally written by even the greatest
technicists of our time. He was able to produce the
twelfth harmonic with absolute clearness (his strings were
made especially thin for this effect), the most intricate
double harmonics had no terrors for him; special ways
of tuning were studied out by him for special effects ; but
we learn from contemporary authorities, that his tone was
neither broad nor especially sympathetic. Joachim, in our
own day, has held the violin sceptre, and combined tech-
nique and expression in a marvellous degree. A host of
woman-violinists has arisen, with Lady HalM at their head,
and as will be seen in other parts of this volume, the
4
so THE MUSICAL GUIDE
modern school has brought forth numerous young violinists
of both sexes, among whom it might be hard to select an
absolute monarch of violin-playing — such as Paganini un-
doubtedly was — from the technical side.
On other instruments, too, one can find definite leaders^
as for example, Servais, on the violoncello ; Dragonetti, on
the contrabass ; Thomas Harper, in trumpet-playing, etc. ;
all illustrating in a large degree the triumph of technical
skill and the modern tendency toward specialisation of
effort in the music of the last hundred years.
II
Great Singers
IF, as may be seen in the article on " Great Instrumental-
ists " (pages 48-50), their technique has been advancing
in modern times, almost the opposite may be said in
regard to the art of singing. The studies required of the
vocalist in the seventeenth and eighteenth centuries would
be appalling to the singers of to-day, and every operatic
manager finds more diflliculty in finding an adequate quar-
tette for the " Barber of Seville " than in selecting forces
for " La Boheme,'* or even such great works as " A'lda "
or ** Otello '* ; even Wagnerian singers are becoming more
plentiful than thorough coloratura singers.
The study of vocal art is the most ancient branch of
technical musical work. Gaditanian singers were trained
for performance in imperial Rome eighteen centuries ago ;
the Phonarci, vocal teachers of Athens, preceded even
these; the early Christians made vocal conservatories of
their orphan asylums in the third century ; Julian, a little
later, endeavoured (in opposition) to found a Pagan sing-
ing-school in Alexandria ; the Copts in earliest times gave
GREAT SINGERS 51
long cadenzas upon almost every syllable of their religious
songs ; Notker, in the tenth century, trained many digni-
taries of the Church in singing ; Guido, of Arezzo, in the
eleventh century, taught sight-singing and the vocal sylla-
bles ; the list might be carried on in an almost unbroken
line down to our own times.
But the period of greatest vocal development is found in
Italy in the seventeenth century. A whole race of vocal teach-
ers culminated in Nicolo Porpora, whose pupils, Farinelli,
Senesino, CafFarelli and many more, won the highest fame.
It may be mentioned en passant that Italy has always
been prolific in natural tenors, and Spain even more so.
Russia is the land of phenomenal basses; England is
the natural home of the alto; America of the soprano.
Whether such vocal characteristics are racial, alimentary or
climatic has not yet been decided.
Yet the greatest sopranos of the world, Catalani, Mali-
bran, Patti, do not belong to America. The highest soprano
that history tells us of was Agujari, sometimes called " La
Bastardella," who really sang, not squeaked, a full octave
higher than the highest of our famous sopranos of to-day,
and we have Mozart's authority for the good quality of her
high notes.
It is not our purpose in such a very brief synopsis to
speak of many of the famous singers, the list of whom
alone would form a long article ; we desire only to speak
of those who are especially representative of some epoch
or are recognised as absolute leaders in their field.
Such a leader was Luigi Lablache, the most wonderful of
all bass singers. His ponderous voice could easily overtop
the heaviest orchestra, yet was modulated with the skill
and flexibility of a flute ; the most showy cadenzas could
be sung by him as easily as if he were a soprano ieggieroy
yet he could also sing the Priest's part in "The Magic
52 THE MUSICAL GUIDE
Flute," or any r6le requiring ponderous majesty. Among
great altos one thinks first of Alboni.
The list of leading tenors would be a difficult one to
compile, yet Rubini, Mario, and the modern Jean de Reszke
are representative.
A special list of Wagnerian singers might be added,
but it may be observed that th^ title will soon lose its
especial meaning, for many of the Italian and French ar-
tists are entering this field and proving that the same ap-
plication of vocal technique is necessary in the singing of
Wagner's rdles that is required in Mozart or Rossini. One
may learn in Italy the vocal method to be applied to the
operas of Germany.
^A
of
Abbreviations, Titles, Dignities,
Institutions, Etc.
Acad., Academy.
a capp. (/., aeappelld)^ unaccompanied.
ace, accordingOy).
accomp*. accompaniment.
all^., aUg^ein. ((7., aligemein), uni-
versal, general.
app., appointed.
apt., appointment.
^ab., Arabian.
Axchbp., Archbishop. ^
arr., arranged, arrangement*
asst., as^tant.
D., Dora.
iMUidm., bandmaster.
bar., barytone.
B. D., used of the Biographical Dic-
tkmaiy in this volmne.
lMO^.t biography, biographicaL
c, oomposed.
ca, drca {L,X about.
cath., cathechnal.
CaT. (/., CttvalUre\ Chevalier.
cent., century, as jith cent
c£ (Z., amfer\ compare.
ch., church, chorus, choir.
chapelle (^.), chapel, choir.
Chey., Chevalier.
choiroL, choirmaster.
dar., clarinet.
coll., collected, collection, collector,
college,
collab., collaborated, collaboration.
comp(s)., compo8ition(s).
cono., coodncted, conductor (this abbre-
vlatioo is here used for the equivalents
in various languages, Kapellmeister^
maestro di eappella^ mattre de chapelle^
etc.).
Cons., Conservatory (Conservatoire,
Conservatorio, Conservatorium).
cpt., counterpoint.
cptist., contrapuntist (used of an early
composer of highly contrapuntal
works). •
Ct., court ; ct.-cond., court-conductor ;
ct.-Th., court-theatre; ct.-opera,
court-opera.
d., died.
D. D., used of the Dictionary of Defi-
nitions in this volume.
diet., dictionary.
dir., director.
do., ditto.
dram., dramatic.
Dr. jnr, (Z., doctor jur%s\ Doctor of
Law^s).
Dr. phii. (Z., doctor philosophici)^ Doc-
tor of Philosophy, h, e, (Z., honoris
causa^ i. e., honorarily.)
eccL, ecclesiastical.
ed., edited, editor, edition,
e. g;. (Z., exempli gratia) ^ for example.
cng., engaged.
Engl., England, English.
est., establ., established,
et seq. (Z., et sequenUs^ sequentici),
and the following.
F., Fr., French.
Fest., Festival.
S3
54
THE MUSICAL GUIDE
fl.» flute.
fragm., fragmentary ; fragment(s).
F. Jr.) C. O.. Fellow of the (Royal)
College of Organists, London.
Fri. (G,, FrSuUin), Miss.
G.y Gcr.y German.
ffen., general.
Govt., Government
Or., Greek.
jgr.y grand.
grossherzdg^lich (gr6s-h&r-tsakh-Ukh,
(7.), Grandducal.
GyiiL, Gymnasium.
harm., harmonv.
harps., harpsichord.
h. c. (Z., honoris causa), used of hon-
orary titles.
Heb., Hebrew.
herzdfl'lich (G.\ Ducal.
H. M/s Th,9 Her Majesty*s Theatre,
London.
Hochschnle (h6kh' - shoo - 1^, G.),
** High School," college, university,
Hof (hof , G.), court ; a frequent prefix,
as in Hof-kapelU, court-chapel, or
court-orchestra ; Hof Kapellmeis^
ter, court-conductor; Hofmusikin^
Undant, superintendent of the court-
music, etc.
hon., honorary.
Hun., Hungarian.
I., It., Ital., Italian.
ib., ibid. (Z., ibidem), in the same place.
id. (Z., ideni), the same.
i. ۥ (Z., id est), that is.
Imp., Imperial.
incid. mnsic, incidental music (to a
drama).
incl., including.
inst., institute, institution.
in8tr(8)., instrument(s), instrumental.
introd., introduction, introduced.
iny., invented, inventor.
Jap., Japanese.
L., Latin.
libr., librarian*
lit., literaUy.
lyr., lyric
m., married.
M(ae8tro) (/.), teacher, conductor ;
m» al cembalo, the conductor, who
formerly sat at the harpsichord ; m,
deipuUi, Master of the choir-bo3rs.
m. de chap. (F., mattre de ckappelU),
conductor.
m. di capp. (Z, maestro di cappelia),
conductor.
M. E., Methodist Episcopal.
melodr., melodrama.
Met. Op., Metropolitan Opera House,
New York.
mfr., manufacturer.
mj^., manager.
mid., middle.
min., minor.
mod., moderately.
m.-sopr., mezzo-soprano.
M. T. (N.) A., Music Teachers' (Na-
tional) Association.
mus., music, musical, musician.
Mas. Antiq. Soc, Musical Antiqua-
rian Society, London.
Mus: Bac (Doc.), Bachelor (Doctor)
of Music. Vide D. D.
n., near.
Nat. Cons., National Conservatory,
New York.
N. E. Cons., New England Conserva«
tory, Boston.
n. s., new style (referring to the use of
our calendar in place of the Russian
or old style).
N. y.. New York, U. S. A.
O., Ohio, U. S. A.
obbl., obbligato.
obs., obsolete.
op., opus, opera.
Op. com., opera-comique ; or the
Op^ra Comique at Paris.
Oper (G,), opera.
Op6ra,used of the Grand Op<fra at Paris,
orch., orchl., orchestra, orchestral.
org^., organ, organist.
o. s., old style, see n. s. above.
Oxon. (Z., Oxonia), of Oxford.
p., part.
pes., pieces.
LIST OF ABBREVIATIONS SS
P. E., Protestant Episcopal.
peiCi peiformed.
pCy pianoforte.
Philli.» Philharm., Philharmonic.
PoL, Polish.
pop., popular.
PcJrt., Portuguese.
m'es., president.
Presb., Presbyterian.
m^.y produced.
Prof., Professor (a special title of great
distinction in Germany).
pseud., pseudonym.
pt.. pianist.
pub., published, publisher.
R., Royal.
R. A. lyl., Royal Academy of Music,
London.
R. C, Roman Catholic.
R. C. M., Royal College of Music,
London.
Regius mnslcns, Royal musician,
ret., retired, retiring, returned.
rer., revised.
Rev., Reverend.
Rns., Russian.
sell., school.
sec., secretary.
soc, society.
s<^>r., soprano.
Sp.9 Spanish.
St., studied, studying, student.
succ, successfully, success.
supt., superintendent.
sjniph., symphonic, symphony.
t., teacher, taught.
th., theatre.
th., theorist (writer of treatises).
th.-cond., conductor of theatre-orches-
tra.
transcr., transcribed, transcription.
transl., translated, translation, trans-
lator.
Tur., Turkish.
Unit., Unitarian.
U. S., United States.
U., Univ., university.
v., I. (Z., vidf) see ; as v. 6. D., see the
Biographical part of this volume, v.
D. D., see the Defining Dictionary.
2. very, as v. succ, very successful*
(ly).
var(s), variation(s).
via., viola,
vln., violin,
vt., violinist.
w., with.
Wis., Wisconsin, U. S. A.
Ztg. ((7., Zeiiung), Gazette.
Pronouncing ^ Defining
Bictionarp
of
Musical Terms, Instruments
A(G. Si; F. /, & Sp. la.) i. A
musical pitch (435 vibrations
per second, according to the
standard adopted in France
- 1879 and at Vienna 1887, and called
diapason normal). 2. Any octave of
this pitch. 3. This tone desi^^ted
in Absolute Pitch (q.v.) as a' is mvari-
able on the oboe, and is accordingly
used as the tone to which the whole
orchestra is attuned. It is hence
called the normal tone. 4. The major
key with three sharps. 5. The minor
key relative to 'C major.
a, a or ab, Z. , /., F. By, from, for, to,
at, in, etc.*
ab (ap), G. " Off." Used of stops.
ab'acQS harmon'icas, L. i. A table
of notes. 2. The arrangement of
the keys and pedals of an instrument.
abanera (&-bi-na'-ra), Sp. Vide ha-
banera.
abandon (&-ban-d6n), F. Lack of all
restraint in emotion.
abbadare (Sb-biUda -r^), /. To take
care.
abbandonar'si, abbandonatamen'te,
abbando'ne, abbando'no, /. With
abandon.
abbassamen'to, /. Lowering. A. di
mano, (a) down-beat ; (b) the carry-
ing of one hand below the other in
> Phrases beginning with these and other
prepcmtioas wiD be found under their principal
words*
piano playing. A. di Toce (v5-ch£), /.
Lowering of the voice. Diminution.
abbatimen'to, /. Down-beat.
abbcllarc (ab-bel-la'-r«), /. To orna-
ment. abbelitura(e) (too'-ra), a-
bellimen'to(i). Embellishment(s).
abbetont (ap -ba-tont), G. With final
emphasis.
a-b-c-d-i(e)ren (a-ba-tsa-de'r^n), G,
To sing the notes by their letter
names.
Abend (r.b^nt), G. Evening, -g^locke.
Curfew, -lied (let). Even song.
-musik (moo-zek'). Evening music.
abenteuerlich (a'-b^n-toi-^r-llkh), G.
Venturesome.
abCeirien, G. To deteriorate, -s^ebro-
chen (ap'-g^-brokh-^n). Interrupted.
Vide CADENCB. Abg^esan^^ (&p'-
g£-z^gk). Refrain. It followed the
two StoUen in the songs of the Meis-
tersgnger. -gestossen (ap'-g£-
shtos-s^n). Staccato, -eleiten (ap-
gll-tdn). To slide the finger from a
black key to the next white key.
Abkiirzung^ (ap'-kQr-tsoongk). Ab-
breviation, -leiten (ap'-l^-t^n). To
derive from, -losen (ap'-la-z^n). To
change fingers on a sustained tone.
-nehmend (ap^-na-mdnt). Diminu-
endo.
abr^g^s (ab-ra-zha), F, Trackers.
abreichen (ap'-ri-kh€n), G, On the
violin, to extend the little, or draw
back the first, finger.
Abreissung (ap'-r!s-soongk), G, Sud-
den pause.
57
58
THE MUSICAL GUIDE
abrup'Uo, L. An abrupt halt.
Absatz (iip'-zats), C7. i. Cadence.
2. A phrase.
Abschnitt (ap'-shnlt), G, Section.
abschwellen (ap'-schv£l-len), G. Di-
minuendo.
absetzen (ap'-z£t-z^n), G, To strike
two keys successively with the same
finger.
absolute. Used of music that is self-
derived and complete in its own form,
meaning, and beauty, as opposed to
operatic or programme music.
abstammen (ap -shtam-men), G, To
be derived from.
Abstand (Sp'-shtant), G, Interval.
ab'stossen, G, To play staccato. Ab'-
stosszeichen (tsl-kh^n). Staccato
mark(s).
Abstrak'ten, G. Trackers.
Abstufung^ (Sp'-shtoo-foongk), G,
Shading.
abtdnen (ap'-ta-n^n), G, To err from
the key.
ab(h)ub (ii'-boob). A Hebrew horn.
abun^dans, Z. Augmented.
abwechselnd (ap'-vdkhs-£lnt), G. Al-
ternating.
Abweichung^ (ap'-vlkh-oongk), G, A
variant.
Abyssinian flute. A beak flute.
Abzug (fip'-tsookh). i. Lifting of a
finger or a bow. 2. The sliding
of the finger from one key to the
next.
acad^mie spirituelle (&k-&d-i-me
spTr-et-w51), F. A sacred concert.
acathis'tus, Gr. Ancient Greek Church
hymn in honor of the Virgin.
accademia (ak-kad-a-me'-^, /. i. An
Academy. 2. A concert.
accarezzevole (ak-ka-r€d-za'v5-l^), /.
Caressing. accarezze^olmen'te.
Pleadingly.
accell., acceldo. Abbr. of accele-
rando.
accelerando (at-cha-l^-rSn'-do), /.
Accelerating (the velocity), accele-
ratemen'te. Swiftly, accelerato,
(ra-to). Swift.
accent (in F., &k-s£n). accento (slt-
ch^n'-to), /. I. Emphasis, force, on
a tone, a chord, a beat. 2. An ac-
cent mark (q.v.). The first beat of
every measure receives a primary ac^
cent. In 4-4 time, the third beat re-
ceives a lighter or secondary or sub^
accent. 3. In 6-8 or 6-4 time the
fourth beat takes a secondary accent.
In 9-8 time the fourth beat has a
secondary a., and the seventh a terti-
ary a. still lighter. The regular skel-
etonic accent of the standard measure
is called the grammatical^ metrical^
natural or regular a,; this is modi-
fied by the rhythmical and the as-
thetic^ emotional^ pathetic^ poetical or
rhetorical accent.
accent-mark. One of the numerous
signs of stress ; as > sfzorzando or
A (strictly tenuto) ; 'or , used (a) to
indicate /iVM (q. v.) as c 'and C,, = c*
and Cs ; (b) as an abbreviation of
foot (q. v.) as 8'= 8-foot.
accent'or. Leader of a chorus.
accentuare (too-a'-r£), /. accentui(e)-
ren (ak-ts€n-too-e'-rdn), G, To ac-
cent. To accentuate, accentua'to.
With marked accent.
accentuation. The act or art of prop-
erly distributing emphasis.
accen'tus, Z. Portion(s) of the ritual
song of the Church, chanted by the
priest at the altar ; in contradistinc-
tion to the Concentus, simg by the
assistants or choir. A. ecclesiaa-
tid, L. Melodic formulae used in
the Church in reciting, the collects,
etc. They correspond with the com-
ma, semicolon, interrogation, etc., of
ordinary writing, and are of seven
kinds, called immutab'ilis^ monotone ;
me'dius^ a minor third ; gravis^ a
fifth ; acu'tusy sol mi mi sol ; modera'-
tus^ rising a second and returning ;
inter rogativus^ falling a second and
returning ; final' is^ sol la sol fa mi
re — thus closing in the Dorian key.
Accessis'ten, G. Unpaid choristers.
accessory notes. The subordinate
notes of an ornament, accessory
tones. Overtones.
acciaccato (ftt-chl-ftk-kH'-to), /. Vi-
olent.
DICTIONARY OF TERMS 59
Acciaccatur (at-tst-ak-ka-toor'), G.
The doubling of the 6-4 chord on
the dominant, the right hand alone
resolving it.
acciaccatura (St-chSk-ksUtoo'-rsi), /.
A short appoggiatura, usually a grace-
note, struck at the same time with its
principal, but instantly released.
accidentals, E, accidenti (St-tshl-
d«n'-te). /. accidents (ik-st-dan). F,
Sharps, flats, and naturals, foreign to
the key-sigfnature.
accolade (&k-k6-ULd). F, Brace.
accompagnamento (&k-kom-p§n-ya-
m&i'-to), /. Accompaniment ; figfured
bass, accompag^are (ysl'-rd). To
accompany, accompag^ato (yii'-
to). Accompanied.
accommodare (da -r£), /. To tune.
accompagner (&k-k6m-pin-ya), F.
To accompany. accompa£^6 i^-
kom-pin-ya). Accompanied. ac-
compagnement (&k-kdm-pin-yCi-
man). Accompaniment.
accompaniment. A part or parts
added to other principal parts. a«
ad libitum. Optional accompani-
ment, a. obbligato. Accompani-
ment essential, accompanist. One
who plays accompaniments.
accoppiato (ak-kop-pY-a -td), /. Tied.
accord, E (in /*., ak-k6r), i. Conso-
nance. 2. A chord; ^ I'DUTert, on the
open strings ; natural, a fundamental
chord ; parfait, a triad ; renvers6,
inverted ; de sixte ajout^e, chord
of the added sixth. Vide altered.
accordant (&k-k6r.dafi), F. In con-
cord, accorder (ak-kor-da). To
tune, accordeur (dfir). i. A tuner ;
2. a set of 12 tuning forks giving the
tempered scale. 3. Monochord. ac-
cordoir (ak-k6r-dw£r). A tuning-
key, hammer, or cone.
accordamen^to, accordanza (dan'-
tsa), /. Consonance.
accor' dance, accor'dature, E. ac*
cordatnra (too'-r^), /. The system
of tuning the stringy of an instrument ;
thus, the a. of a violin is g-d-a-e.
accordare (da-r^), /. To tune, ac-
cordan'do. Tuning ; in tune.
accor' deon. A free-reed instr. inv.
by Damian of Vienna, 1829. The
tone is produced by a double set of
bellows acting upon metallic tongues.
The right hand presses buttons or
keys giving an incomplete chromatic
scale ; the left hand has a few bass
tones.
accor'do, /. i. A chord. 2. An old
Italian instrument of twelve or more
strings.
accoupler (ak-koo-pla), F. To couple.
accouplez (&k-koo-pla). " Draw the
coupler."
accrescendo (ak-kr^shSn'-do). /.
Crescen'do. accrescimento (ac-cra-
sh§-m$n-t5). Augmentation as of a
fugal theme, punto d'a., the dot
placed after a note to prolong it. ac-
cresciuto (shoo'-to), /. Aug^ment-
ed.
acetab'ulum, Z. An ancient instr. of
percussion. Earthen vessels beaten
as drums or clashed as cymbals.
achromatic. Lacking accidentals and
modulations.
acht (akht), G, Eight. Achtfusston
(akht'-foos-ton) or 8-ftissig(fUs-stkh).
Eight-foot tone. 8-stimmig (shttm-
mlkh). For eight voices or instru-
ments.
Achtel (£khtl), Achtelnote, G. Eighth
note ; quaver. Achtelpause, G,
Eighth-rest.
A Chula (a choo'-la), Port, A dance
like the fandango.
ac'ocotl. A Mexican plant from whose
stalk an aboriginal wind-instr. of the
same name was made.
acolyth'ia, Gr. The order of service
in the Greek Church.
acous'tics (a-kow'-stix, or a-koo'stix),
E.y acoustique (a-koos-tek), F. The
science of sounds.
6o THE MUSICAL GUIDE
Acoustics.
By J. S. Shedlock.
THE term Acoustics is derived from a Greek verb signifying to hear,
and the science of acoustics tells us about the production and prop-
agation, also the comparison, of sounds. When a pianoforte string
is struck by a hammer or a violin string by a bow, it trembles, sways to and
fro and thus sets the surrounding air a- trembling ; the air-particles sway to
and fro producing a wave as a light breeze sets a corn-field waving; so we
speak of waving air, or waves of air. These waves strike the ear and their
motion is passed on to the brain and becomes what is called sound; but by
what wonderful process one changes into the other does not concern us here.
^When the swaying to and fro of the particles of an elastic body is steady
and sufficiently rapid, a musical sound results, otherwise, only noise. The
word sound indeed is generally understood to mean a musical one, hence
sound is contrasted with noise. We speak of the noise of thunder or of battle,
but of the sound of an instrument or of the human voice. Nature fi^quently
offers a mixture of sound and noise, as in a waterfall, in which sometimes the
one sometimes the other predominates. ^ Vibration is the name given to the
swaying to and fro of the parades of an elastic body, and of this motion the
clock pendulum gives a clear and simple idea. The parades only sway but
the motion is passed on. When a glass ball is pushed against one end of a
row of glass balls touching one another, the ball at the other end flies ofl^.
The motion of the first ball has been passed on from ball to ball until it has
reached the extreme one. Vibrations when steady and suffidently rapid
produce sounds which may be higher or lower, and the higher the sound the
greater the number of swayings to and fro, or vibrations, within a given time.
There are two special instruments by means of which air-vibrations can be
easily counted : one is Savart's toothed wheel, the other the Siren. When
one sound is higher than another, it is said to be of higher pitch ; when
lower, of lower pitch. The shorter a string, the higher its pitch. If a vio-
linist, setting one of the strings of his instrument in motion by means of the
bow, slides his finger along that string toward the bridge, the sound will be-
come continually of higher pitch : for the string is gradually shortened, the
ever-increasing portion behind the finger being cut off from the vibratory
movement caused by the bow. There is, therefore, a topsy-turvy connec-
tion between the number of vibrations produced by a string, and the length
of that string. ^Vibradon can be felt if a glass jar over which a bow has
been drawn is touched lighdy with the finger. Vibradon can be seen when
the string of a piano or violin is struck by a hammer or bow. Vibradon can
be shown by attaching a strip of sheet copper tapering to a point to one of the
DICTIONARY OF TERMS 61
prongs of a tuning-fork. If the latter be set in motion, and the copper point
be placed on a piece of smoked glass, it will give the exact record of the exact
swaying to and fix> of the fork. ^Strings sach as are used in the pianoforte
and violin when set in modon would of themselves create very faint sound-
waves. The sound has to be strengthened. In the pianofbne the modon
is not communicated direcdy to the air, but first to a massive sound-board.
In a violin the little sound-post plays an important part in passmg on the
vibradons from the string to the back of the instrument. The strengthening
of tone by such means is apt to be overlooked. ^Particles of air when set
in modon by a vibradng body first move from their point of rest to a certain
distance and then back through the point of rest to a similar distance in an
oppo^te direction ; the dbtance between these extreme points is the extent,
or as it b named, the amplitude of the vibranon. As the vibradng body
returns to a state of rest, that distance gradually diminishes and finally vanishes,
just as it does when, the chain giving out, die clock pendulum slows down
and finally stops. The degree of loudness or softness of a sound depends on
the extent or amplitude of the vibradon, the wider the one the louder the
other. Sound travels at freezing temperature at the rate of 1 090 feet per
second ; with increase of temperature there is increase of velocity, for the air
thus becomes more elastic. Sound travels faster in water than in air because the
former is more elasdc. The degree of closeness of the parddes of the medium,
air, water, gases of different kinds, through which sound travels has also an
influence on velocity. ^Sound diminishes in intensity according to the dis-
tance. Throw a stone into a pond and see how the expanding waves be-
come feebler and feebler in proportion as they are distant from the spot which
generated them. So it is with sound-waves. Intensity varies inversely as
the square of the distance, /.^., if a sound is heai'd twenty feet away fit>m the
instrument producing it, at forty feet, twice the distance, it wiU only be a
quarter as loud : the square of 2 = 4, and the relationship of the two sounds
is as one to four, or ^. This is of course theory; in practice sound is mosdy
mtensified m various ways, so that it does not lose its strength at this exact rate.
^A string set in modon, that is into a state of vibradon, produces a note
higher or lower according to its length. That note, however, is not a simple
sound, but one made up of many sounds. For in addition to the whole
string vibradng, it divides into two, three, four, and indeed into many por-
tions, all of which vibrate in themselves at the same time that the whole string
is vibrating. And these portions being shorter give out higher sounds than
that of the whole string, and they bear themselves the self-evident name of
Overtones. They are also called upper partials because they are higher
sounds produced by parts of the string. The swaying to and fro of these
parts is not so great as that of the whole string, therefore the sounds they pro-
62 THE MUSICAL GUIDE
duce are fainter. The halves give a louder sound thaii the thirds^ the thirds than
the quarters and so on. All these sounds mix so thoroughly
together as to give the impression of one simple sound, and it is
upon their order and number, which differ in different instru-
ments, that quality of tone depends. Here are the first eleven
notes of such a compound sound — they can be heard and ana-
•^ lyzed by pressing the "loud ' ' pedal of a pianoforte, striking the
low c indicated and listening intently and long. Out of the overtones which
are repeated we secure easily l(!\) f"^^ ^^^ simplest of all chords in har-
mony, ^If the key of the lowest note 1^ ^^ is pressed down on a
m
pianoforte without producing any soimd, and so held, then if the above chord
is struck sharply, the fingers after the blow being instantly removed from the
keys, then that chord will continue to sound, although the strings which pro-
duced it have ceased to vibrate. Portions of the string of the lowest -note have
been set swaying to and fi-o, for the key pressed down removing the damper
from its string left it free to vibrate. These portions vibrate by what is called
sympathetic attraction. Repeat the experiment, but immediately after the
chord has been struck, raise the key of the lowest note, and the chord is no
longer heard. ^It has already been stated that by means of certain instru-
ments the numbers of vibradons of sounds can be counted, and they can
therefore also be compared. Of any two notes an octave apart the upper
one has twice as many vibrations as the lower. Of any two notes a perfect
fifth apart the relationship between upper and lower is as 3 to 2. Of any
two notes a major third apart as 5 to 4, and a minor third as 6 to 5. We
sec then that the perfect consonances, the 8th, 5th, and 4th, ^ave the sim-
plest relationship, 2 to I, 3 to 2, 4 to 3. Next in order come the imperfect
consonances, the major and minor thirds, 5 to 4, and 6 to 5 ; in no case is a
higher figure than 6 required. From these reladonships the major diatonic
scale can easily be constructed, and then if the relationships between each note
of the scale and the succeeding one be taken, it will be found that the inter-
vals between c and d, f and g, a and b are equal, that d to e and g to a are
slightly smaller and that e to f and b to c are alike. The former are called
tones, either major or minor, and the last two semitones.
acte de cadence (&kt-d&-k$-dSns), P, actin'ophone. A device for producing^
A progression to or toward a ca- sound by means of actinic rays,
dence. act music. Cantatas composed by the
action. The mechanism of an instru- Professor of Music at Oxford for spe-
ment. cial occasions.
DICTIONARY OF TERMS
63
act-tune. Music between the acts of
a play.
acoit^ (ak-we-te), F, Acuteness.
acnstica (&-koos'-tl-k&), /., Acustik
(a-koos-tek), G. Acoustics, acus-
tisch (ttsh), G. Acoustical.
acuta (a-koo'-ta), /. i. Acute, shrill.
3. A shrill 2-ft. mixture-stop.
acu'tse daVeSy Z. The name given
by Guide to the tones from a to %,
acute. High in pitch, shrill.
acutoSy Z. Vide accentus.
ad, Z. To, for, at.
ada^o (a-da'.jo), /. i. Slow, slower
than andante, not so slow as lento.
2. A slow movement or division of a
symphonv or sonata, ada^etto (a-
d2-j£t'-td). A little faster than ada-
gio, adagissimo (jYs-sT-mo). Ex-
tremely slow.
adaptation, £., adattazione (i-dSt-
ta-tst-o'-ni), Z_ An arrangement or
transcription.
adasio (a^a'-sY-5), /. Adagio.
added lines. Ledger lines, added
sixth. Vide sixth.
additato (ad-dl-t^'-to), Z Fingered.
additional kejrs. Those above i'"
on the piano, additional accom-
paniments. Accompaniments or
parts added to a work by another
hand than that of the composer.
addolorato (^-do-ld-ra'-to), /. Mel-
ancholy.
Adel (&'.d^), G. Majesty.
Adi'aphone. Vide gabelklavier.
Adi'aphonon, G, A piano of perma-
nent tone, inv. in 1820 by Schuster.
The tone was produced by metal
bars.
adirato (a-dX-ra'-tS), /. Angry, adi-
ratamen'te. Angrily.
adjunct notes. Unaccented auxiliary
notes.
Adjnrant (&t'-yoo-f£nt), G, Assistant
to a chorister.
Adler (at'-Wr), G. A rarely used organ-
stop.
ado'nia. An ancient musical feast.
adomamefl'to (pi. -i), Z An embel-
lishment.
adoucir (it-doo-ser), F. To soften, to
flatten.
adquis'ta or adsuma'ta von^ L. The
extreme low tone.
adufe (a-dhoo'-fd), Sp, Tambourine.
adufero (fa'-ro). Player of it.
A-dur (fi-door), G. The key of A
major.
ae'rophone. A kind of harmonium.
aengstlich (£nkst-llkh), G. Anxious-
ly.
aeol'harmon'ica. A kind of seraphine.
^o'lian. I. Vide MODES. 2. The fifth
of the authentic Gregorian modes.
3. An automatic reed instrument in
which the performer controls the time,
the stops, and the expression.
^o'lian Harp or Lyre. An instr. inv.
by Kircher in the 17th century. It is
usually a box set in a window and fit-
ted with 6 or more strings of silk or
gut, tuned in unison, passing over
bridges about li^-inch high. The
strings are so arranged that the air
causes vibration among them. The
varying humours of the wind produce
a strangely sweet and various har-
mony, the different overtones being
audible in a shifting concord of eerie
beauty.
^olian mute. A combination of the
pitch-pipe and mute.
^olian pianoforte. A piano inv. by
T. Gilbert about 1850, and provided
with free reeds and a bellows for giv-
ing the piano a sustaining power.
eolina. i. A small free-reed mouth
instr., inv. by Wheatstone, 1829. 2.
An organ-stop.
aeolo'dicon or eolo'dion, Gr. A keyed
instr. in which the tone is produced
by steel springs, put in vibration by
bellows.
eolomelo'dicon. The same instru-
ment with brass tubes to reinforce the
^rings.
solopan'talon. An seolodicon com-
bined with a piano.
^olsharfe (aUls-har'-f«). G. Mo\-
ian harp.
^olsklavier (i'-61s-kia-fer), G, A
keyboard wind instr., inv. 1825, by
64
THE MUSICAL GUIDE
Schortmann, with reeds of wood in-
stead of metal.
JEoUl'tul, Gr, A small mouth instr.
of short metallic reeds.
Aqual (a-kwal), G„ from Lat., signify-
ing "8-ft." Vide STOP.
aMiuiso'nus, Z. Unison, aequiso'nans.
Concordant.
aequiva'gans, L, Simultaneously syn-
copated or varied in all the i>arts.
^quivoken (a-kwi-fd-kdn), G, Meis-
tersinger airs of the same name.
aere recunro., L, Bucena.
s'rophone. A French melodeon.
aeria (e'-vl-fi), Z. Abbr. (the vowels
only) of Alleluia.
affabtle (&f-fa'-bY.l«). 7. Affable, af-
£BibiUtlt (be-lT-tr). Cordiality, affa-
bilmen'te. Affably.
affanna'to, affano'so, /. Tormented,
distressed.
afifcctirt (fif-f«k.tert'), G, With affec-
tation.
affectueux (ftf-f«k-ttt-tt'), F. Affec-
tionate.
affettazione (tS-tsT^'-n£), /. Affec-
tation, affettatamen'te. Affectedly.
affet'to, /. Affection, affettuoso. Af-
fectionate. affettuosamente. Af-
fectionately, affetti^o (te'-vo). Af-
fecting.
affilar\ /. Vide filar.
affinity. Close relation (as of keys).
afflizionc (af-fle-tst-o -n€). Sorrow, af-
lit'to. Sorrowful.
affrettan'do. affrettate (t&'-t£). Hur-
rying. affretto'so. Hurried.
afo£Bi'. Portuguese fandango.
after-beat. Two notes used as end-
ing a trill, after note. A small
unaccented note taking its time from
the preceding.
age^ole (a-ja -v6-l«), /. Agile, age-
▼olmen'te. Nimbly, age^olezza
(i-ja-v6-16d'-za). Agfility.
ag^ustato (Sd-joos-ta-to), 7. Ad-
justed, arranged, adapted, agg^us-
tatamen'te. In strict time.
aggra^er la fugue (&g-gr&-va II fttg),
F, To augment the (subject of a)
fugue.
agiatamente (2-jfit-i-m£n'-tQ. Easily.
agiUtk (i-jel-Y-tr). 7. Agility, agil-
men'te. Nimbly.
agiUto (§-jY-ta'-t5), 7. Ap^iUted, hur-
ried. ag^tamen to, ag^tazione (a-
je-tfi'-tsl-o'-n€). Agitation.
agit^ (a-zhe-ta'), F. Agitated.
agli (al'-ye), 7 Vide al.
Agnus Dei. Z. *• Lamb of God."
Vide MASS.
*go'ge, Gr, I. The order of inter-
vals of melodic progression. 2.
Rhythmical order of accents and
duration. 3. Expression. Ago'gik,
G. The art of expression by nibato.
acceleration, &c. ago'g^c accent.
Expression mark.
agraffe (ft-gr&ff), F, A small pin to
check the vibration of a piano string.
agr6ments (&-gra-mfin), F. i. Em-
bellishments. 2. Incidental music and
dancing.
ai (a -e), 7. To the. Vide al.
aig^e (€gr), F. HarsH, sharp, aigre-
ment (€gr-miLn). Sharply.
aigu (5-gll), F, Acute, shrill.
air, E, and F, A melody, or tune ;
an aria. a. k boire (bwar). A drink-
ing song. a. k reprises (rfl-prez).
Catch, a. chantant (shan-tSn). A
lyric, a. d6tach^ (da-tii-sha). A sin-
gle air detached from a larger work,
a. rapide (rS-ped). A flourish, a.
▼ari^ (v4-rl-a). Theme with varia-
tions.
Ais (a-ts), G. The note or key " A "
sharp.
ais6 (^-z&), F. Easy, ais^ment (£-ca-
maA). Easily, freely.
aiuton (I'-u-tan), Gr. An organ made
of tuning-forks, inv. by Charles Clag-
get and guaranteed never to require
retuning.
ajakli-keman (a-y^'-Ie-ka-mfin). A
Turkish violin.
Akkord (ftk-k6rt'), G. A chord. A.-
passage. An arpeggio. A.-zither.
I. The auto-harp. 2. A set of instru-
ments.
Akromat (S-kr5-mSt'), G, A musician.
akromatisch (&-kr6-mfi'.tlsh), G, Ach-
romatic.
Aknstik (fi-koos'-tek), G, Acoustics.
DICTIONARY OF TERMS
65
k 1ft, an, anz, al, all', aila, alle,
alio, agU, ai, F, and /. Varying
combinations of the different genders
of the article **the" with the prepo-
sition " to," meaning ** in the manner
of,** as ^ /ii grecque^ and alia cappella,
a'lamotli, Ileb. Obscure and disputed
musical term in Psalm LXVIII, 25.
alar'nm, L, all' armi, /. A call to
arms.
albada (H-ba'-dhS), Sp, A morning
serenade.
Albert! Bass. A bass consisting of
monotonous simple broken chords.
So called after its alleged inventor.
Vide B.D.
alboc^e (&l-bo-ga'), Sp. An instr. of
the flute species.
Albnmblatt (M'.boom-blit). Album-
leaf. Plural, A.-biattcr (blfit-ter).
t^m"* (aUkoo'-na), /. Some ; as con
a. licenza, with some licence.
aleln'ja, Sp. Hallelujah.
alemana (il-^-mi'-n^), Sp, Old Span-
ish dance.
Alexandre ors^an. Vide American
ORGAN.
aliquot. Used of the parts into which
a vibrating string is subdivided in
producing overtones. Aliquotflii*
l^el, G, A piano inv. by BlQthner
with a sympathetic octave strine for
each note. Allqnottheorie (il'-I-
kwdt-ti^re), G, The theory of over-
tones.
al'la. Vide al.
aUargan'do, /. Gradually slower
and broader.
all' ova. Vide ottava.
alle (al'l£), G. All : alle Instmmente.
All the instruments ; tutti.
alle^^tiTO (al-largr5^te'-v5) ; alle-
gramen'te, allegran'te, /. / all^-
g^rement (ftl-la-gra-mih), F. Gayly
and qukkly.
allegrettino (al-li-gr^t-te'-nd), /. A
little slower than allegretto.
ailegret'to, /. Slower than allegro,
but blithe and cheery.
allegrexza (ai-la-grSd'-za) ; allegria
(gr€'-4), /. Joy, cheer.
ilggro (il-Ulgr5), /. Very fast,
though slower than Presto ; it usually
indicates a high rate of speed. This
may be modified by additional phrases
as allegro ma non troppo, allegri
di bravura (al-la-gre de bra-voora),
/. Compositions to display virtuos-
ity, allegrisaimamen'te, alleflTis'-
simo, /. Extremelv fast, allegro
con moto, /. a. oi molto. Very
fast. a. moderato, a. non molto,
a. non troppo, /. Moderately fast,
a. giusto Qoos'-to), /. Fast; but
exactly in time.
allein OU-Hn), G. Alone, single. A.-
sang. Solo. A.-siLnger, or -spieler.
Solo-singer (or player).
alleluia, allelujah (al-la-loo'-yfi),
Heb. •* Praise the Lord ; " Hallelujah.
Allemande (&l-mftnd), F. i. A Ger-
man national or peasant dance in 3-4
or 3-8 time ; in some places 2-4 time.
2. A French imitation of this dance.
3. A movement in the classic Suite of
Bach, etc. ; in 4-4 time, andantino,
with a short note on the up-take.
allentato (ta'.t5), allentamen'to, al-
lentan'do, /. Retarding.
allgemeiner Bass (Sl-kh£-mf-n£rbils),
G. Thorough bass.
allied. Accessory.
allmilhlich, allmihlig (al'-mi-llkh), (7.
Gradually.
allonger I'archet (&l-16n-zh& lir-sh&),
F. To prolong the bow stroke.
allo'ra, /. Then.
Almain, Alman, Almand. Allemande.
Alma Redemp'toris, Z. Hymn to
the Virgin.
al'penhorn, alp'hom. A horn used
by the Alpine herdsmen ; it is made
of strips of firwood from 3 to 8 feet
long. It has a limited range.
alphabet. The 7 letters used in music,
A-G.
alt (alt), 7. High. In alt is applied
to tones in the first octave above the
treble staff, as b"; in altissimo re-
fers to tones in the second octave
above the treble staff, as d " ',
al'ta, /., alt, G. Hisph, or alto; as
Althom. octava uta. An octave
above.
66 THE MUSICAL GUIDE
al'ta, 5/. An old Spanish dance. alterato (&l-t«-r&'.tO), /., alt€r€ (11-
alteraU (fi'-Ul), /. Scales with notes t&-ra), F., altered, £, Changed
foreifi^ to the Church modes. chromatically, especially applied to
altera tio, L, The doubling of the certain inverted chords.
time value.
Altered Chords.
By Charles W, Pbarce, Mus. Doc.
A CHORD originally formed by a combination of notes belonging
to the Diatonic Scale of any key can be chromatically altered by
the addition of an accidental f, b» or D, to one or more of its in-
tervals. A chord ceases to be chromatic when it induces modulation :
being then a diatonic chord in the new key. In modem harmony,
the combinational tendency of the Diatonic Scale is to arrange itself in
a perpendicular series of thirds above the 5 th degree
or dominant of the scale, according to this formula : JjL CB rfr^ E
^Reckoned from the lower note (or root) the intervals ^J f^f
arc: I. Major 3d ; 2. Perfect 5th; 3. Minor 7th; 4. p.^ ,._Thc tmaU
Major (or minor) 9th ; 5. Eleventh (compound 4th) ; biack notes indicate
6. Major (or minor) 13th (compound 6th). ^Thus thote intervals above
the first sign of chromatic alteration is the interchange- ^^ Dominant which
ability of the major and minor 3d and 6th of the scale. l^ch^^r^^
The harmonic formula shown in I^g. i can be built tion.
up on the dominant notes of the two adjacent keys,
(viz. : those keys having one sharp or one flat more or less than the signa-
ture of the tonic key). And as these additional -formulae can be used in
I jQ. hjt. the tonic key without modulation to either of its adjacent
lJl i^a ' : keys, their roots are conveniently called supertonic and
^J ^ tonic to show their relationship to the scale of the tonic.
Fig. a. — Supertonic ^The supertonic root is dominant of the next sharp
FormuU. y^y ^The tonic root is dominant of the next flat key.
^In the supertonic formula the necessary major 3d of
the root ( i of the series) is an invariable chromatic
alteration. The interchangeability of the major and
minor 3d of the scale (4 of the scries) is a confirma- Z. ^ . «
tion of No. 6 of the Dominant formula (Fig. i). The j^u^^
interchangeability of the major and minor 7th of the
scale (6 of the series) is the characteristic chromatic alteration of the super-
tonic formula. ^[In the tonic formula the necessary minor 7th of the root
(3 of the series) is an invariable chromatic alteration. The interchange-
ability of the major and minor 6th of the scale (6 of the series) b a
DICTIONARY OF TERMS
^7
finnation of No. 4 of the Dominant formula (Fig. i). The interchange-
ability of the major and minor 2d of the scale (4 of the series) is the
characteristic chromatic alteration of the tonic formula. ^From the harmonic
fornnibe shown in I^gs. i^ z, 3, the chromatic scale is derived. This
chromatic scale is the same for both major and minor keys having the same
tonic ; but the difference of key signature induces changes in the number of
accidentals used. Compare Figs. 4 and 5. ^With the introduction of the
f
-155: — \ij^ — tjo^
■a $Li
=g
:tfs:
jSSC.
I
Fig. 4* — Signature of C Major.
^
I
.^ fag^ pe>*
:|=:
-^
jBZ
11=
-^
s
23C
Fig. 5. — Signature of C Minor.
chromatic element into harmony , the absolute distinction of major and minor
disappears* and the key tonality becomes one. ^To ^cilitate the notational
convenience of the chromatic element in harmony, the enharmonic equiva-
lents of several degrees of the chromatic scale are freely admitted. ^Chro-
matic alteration is chiefly observable in triads and in chords of the seventh
with their inversions. ^Fig. 6 shows the triads on the seven degrees of
the diatonic scale. Fig. 7 shows how these triads may be chromatically
altered in the same key without necessitating modulation to any other key.
I II III IV
Fig. 6.
VI VII
Rg. 7.
^Of these Nos. 1, 4, 18, 19, and 28, show an enharmonic substitution of
C sharp for D flat ; Nos. 4, 5, 11, 22, and 25 have G sharp instead of A
flat ; Nos. 10, 21, 25, and 34 have D sharp for £ flat ; Nos. 3 and 15,
have G flat for F sharp ; and No. 30 has C flat for B. It may also be re-
marked that Nos. 30 and 1 5 are the only triads of the series which have all
68 THE MUSICAL GUIDE
three of their notes altered from the notation of the diatonic scale of C ; but
it will be observed that in No. 30 two of these^ altered notes (A flat and £
flat) are the notes shown in Fig. i to be those first susceptible of chromatic
alteration in the key of E ; and in No. 1 5 two of the altered notes belong to the
supertonic formula shown in Fig. 2. A glance at I^. 7 is sufficient to show
that ** enharmonic substitution " is only made use of in modem music in order
to throw the altered chords into an easily recognizable harmonic shape such at
triads or sevenths (or their inversions). ^Distinguishing names of a purely
fiuiciful character have been given to the first inversions of several of the
chords in Rg. 7 (see Fig. 8). ^One other triad containing three altered
Neafolitan Sixth. . Italian Sixths.
f
ij I s— S ^r^
x8t inversion of ist inversion of ist inversion of ist inversion of
No. 8, Fig. 7. No. 10, Fig. 7. No. ao, Fig. 7. No. 36, Fig. 7.
Fig. 8.
notes remains to be shown — this can be written either as the major triad of
the flattened dominant or its* enharmonic equivalent, the sharpened subdomi-
nant of the key, as in Fig. 9. ^Figure 9 exemplifies also the ordinary
j> t^a «L ; II III .iL^^
Rg. 9.
treatment of chromatically altered triads, viz. : they are usually followed by
some form of dominant harmony. ^The chords of the seventh built on the
seven degrees of the diatonic scale (see Fig. 10) may (like the triads in Fig.
6) undergo chromatic alteration. ^A chromatic alteration hi Fig. 10, I,
$
3
-r=i=^"^
^
II III IV V VI VII
Fig. 10.
Ill, V, VII, has already been shown in Fig. 3 by the flattening of the lead-
ing note of the scale ; and similar alterations of Fig. 10, II, and IV, have
been observed in Fig. 2 by the sharpening of the subdominant of the scale
(see Fig. If). ^Fig. 1 1 shows that a chord of the seventh may consbt of
\^ ^g t>i 4—^ II ^ ^m.
Ill V VII II IV
Fig. II
DICTIONARY OF TERMS 69
the following dificrent series of mtervals from the bass : ^1, and II» Major
3d : Perfect 5th : Minor 7th ; III, and IV, Minor 3d : Dim. 5th :
Minor 7th ; V, Minor 3d ; Perfect 5th : Mmor 7th ; VII, Major 3d :
Perfect 5th : Msgor 7th. ^A further reference to Figs, i, 2, and 3, shows
that the harmonic superposition of three minor 3ds one above the other — that
femiKflr combinadon of notes known as the chord of the Diminbhed 7 th — is
posnble over every note of the unaltered Diatonic Scale by chromatic or
cnhirmonic alteration without necessitating modulation. ^Accordingly each
Enharmonic Equivalents.
1^^^^^=^
n III IV
VI VII
Fig. I a.
note of the Diatonic Scale may bear the chromatic alteration of its own chord
of the 7th as shown in Fig. 1 3. ^And with the chromatic alteration (Fig. 1 4)
^ 1 ^1 tifct-%— 41
Fig. 13.
of the root itself the permutations are almost endless. ^It only remains to
giye the distinguishing names which have been Hmcifully applied to one or
two of the chromatically altered chords of the 7 th in an inverted shape.
French Sixth.
(a)
(3)
German Sixth.
ISg^
5f-
12
(4)
(5)
(6)
Tig. 14.
^Of these (1) is the second inversion of VII m Fig. 10, with the sixth of
its bass chromatically raised. (2) b the second inversbn of II in Fig. 1 1
with its bass chromatically lowered. (3) is the second inversion of V in
Fig. 10, with its bass chromatically lowered. (4) is the first inversion of
n in Rg. 10 with its root chromatically raised. (5) and (6) arc respect-
ively chromatic alterations of the first inversions of IV in Fig. 1 1 , and VII
in Rg. 12. ^It will be observed that th« distinguishing feature of the
chords in Fig. 1 4 is the interval of the Augmented 6th, In the usual reso-
hition of such chords, care should be taken to lee the two notes forming the
Augmented 6th proceed outwardly, each by step of a semitone.
70
THE MUSICAL GUIDE
mt^
aiterezza (£l.t«.rM'.zil), /. Haughti-
ness.
altemameii'te» alternan'do, /. Al-
ternating.
alternations. Tunes for bells.
altemativo (te-v5), /. i. Alterna-
tive ; a choice of methods. 2. A
short trio.
Altpcige (alt'-gl-khe), G. The viola.
Altnom. Vide saxhorn.
aitjeramente (tY-2'-rii), /. Haughtily.
alti naturali. Male altos, or counter-
tenors, as opposed to castrati.
altisonan'te, altiso'no. Sonorous.
aitis'onous. High-sounding, used of
the highest male voice.
altis'simo, L, Vide alt.
altist, altista (ftl-tes'-tii), /., altiste
(il-tcst), F, An alto singer.
Alt'klausel (Ilt'-klow-z^l), G. The
progression of the alto part in a ca-
dence.
alto (al'-to). /. I. High; originally
applied to the high range of the arti-
ficial or falsetto tenors {castrati^ alti
naturally tenori acuti^ fahetti^ coun-
ter-tenors). Thence the term has been
applied to the lower range of women's
or boys' voices, ordinarily extending
from g below the treble staff to c'
(an octave above middle C). 2. Viola,
also alto viola, a. primo, /. The
higher alto. a. secondo, T, The
lower alto. a. tenore, /. The
higher tenor.
al'to-basso, /. An obs. dulcimer with
a few gut strings, struck with a stick
in the left hand, while the performer
held a flageolet in the right hand.
alt'otta^a, /. Vide alta.
Altposanne (alt'-pd-zow-n£), G. Alto
trombone.
al'tra, al'tro, /. Another, altra
▼olta. Encore, altro modo. Al-
ternate manner.
Altsilnger (alt'-z«ng-er), G, Alto, or
counter-tenor.
AltschlUssel (alt-shltts'-s^l), G, The
alto clef.
Altviole, G. The viola.
al'tus, Z. Alto or counter-tenor.
alzamento (&l.ts&-m^'-to), /. An
elevating, as of the voice, a. di mano.
Up-beat.
alzando (al-tsan'do). /. Raising.
amabile (ft-mil'-bM^), /. Amiable,
amabilmen'te. Amiably, amabi-
litk (be-ll-ta). Tenderness.
amarezza (a-ma-r£d'-zii), /. Bitter-
ness, amaro (S-mli'-r5). Bitter,
amarissimamen'te, amarissimo.
Very bitter(ly).
amateur (am-«-ttir'), F. A *• lover"
of an art, who does not make it his
profession ; makes it rather an avoca-
tion than a vocation.
Amati. A violin made by the brothers
Amati. Vide B. D.
am'bira. An African wooden drum
with vibrating tongues of wood or
iron.
am'bitus, L, Compass or range.
am'bo or ambon. The platform
where canons were sung in the me-
diaeval Eastern Church.
Ambro'sian, Ambrosia'nus. Intro-
duced by Ambrose. Vide B. D. A.
Hymn. The **Te Deum" doubt-
fully credited to him.
ambubaja (fim-boo-ba'-ya). Z. A
strolling dute-player from Syria. Vide
ANBUBA.
ambulant (iih-btt-liiji), F, Vagabond
musician.
&me (£m), F, Soundpost.
amen (a-m«n'), Heb. *» So be it."
American fingering^. That system
of fingering in which x indicates the
thumb; in foreign fingering, the
thumb is called the first finger and
marked i.
American organ. Originally called
** Melodeon '^or ** Melodic." A free-
reed instrument differing from the
older harmonium (q. v.) in that the
air is drawn through the reeds by
suction, instead of forced outward
through them ; this gfives a superior
control and shading; inv. by Jere-
miah Carhart. Its superiority, recog-
nised in Europe more than at home,
is also due to the better voicing of
the reeds and the resonant air-cham-
DICTIONARY OF TERMS ^l
bers developed by Mason & Hamlin.
The stops are many, and imitate ya-
rioos instruments.
amore (&-mo -rd), /. Love ; affection.
amoreTole (ra'-v5-M), amore^ol-
men'te, amoroso, amorosamen-
tc, Loving(ly).
ampliichord. Lira barberina (q. v.).
Amorschall (&'.m6r-shlUl), Amora-
klanfi^, G. An imperfectly valved
French horn. inv. by Kolbel, 1760.
ampho'ter, Gr, A series of tones com-
mon to two registers.
ampollo'so, ampoUosamen'te, /. am-.
poul£ (a6-poo-li'). F, Pompous{ly).
amusement (i-mOz-m&A), F. A light
composition.
an (an), G. On (of an organ-stop) ;
•*draw."
anab asis, Gr, A series of ascending
tones.
anabath'mi, Gr, Certain antiphons
in the Greek Church.
anacm'siSy anakmsis, Gr, i. The
up-beat. 3. The up-take, or ac-
cented part of a measure beginning a
theme or air.
anajfil (a-ni-fel'), Sp, A Moorish pipe.
anafilero (fe-li-ro). A player of it.
anasaza (arua-gi'-thS), Sp, A bird-
caU.
anakamp'siSy anakamp'tos, Gr, A
series of descending tones.
anaka'ra, Gr, Ancient kettle-drum,
anakaris'ta, Gr, Kettle-drummer.
analisi (a-na-le-ze),/., analyse (ftn-S-
Icz), F, Analysis.
anbn'ba (ya). Syrian flute.
anche (ansh), /*. A reed, libre. Free-
reed, jen d'a., or a. d'orgoe. A
reed-stop.
ancia (an-che a), /. A reed.
anco'ra, /. Once more ; yet ; still, as
ancor pift mosso. Still more quick-
ly-
Andacht (§n'-d&kht), G, Devotion.
asdachtisr (an-d£kh^t1kh). Devo-
tional.
andamen'to, /. i. Rate of speed.
3. An episode as in a fugue. 3. A
fogal theme.
•adaiyU (to-d4n'-tQ, /. Literally-^
"going'*; moderately slow, repose-
ful. Often much qualified by other
words, as con moto^ largo^ maestoso^ piU
tosto oiUgretto^ntaLtiy allegre^o),
andaotino, /. Literally, slower than
Andante ; but usually considered to
mean slightlv faster.
andare (&n-da -ra), /. To move ; as a.
diritto, go straight on ; a, a tempo,
keep strict time.
anemochord or aaim'ocorde. An
instr. inv. by Schnell, 1789, aiming to
imitate the iEolian harp by means
of keys pressing bellows and forcing
air against strings.
anemom'eter. Wind-gauge.
ane'sis, Gr, i. Descent from a higher
to a lower tone. 2. The lowering of
the pitch of strings. Reverse of ep-
itasis.
Anfan^ (in'-filngk), G, Beginning.
yom K,t=. Da cafo, Aniiinger
(&n'-f^ng-<r). A begmner. Anfangs-
grunde. Rudiments. An&uigsri-
tornell. Prelude.
Anflihrer (to'-ftt-rihr), G, Conductor,
leader.
angeben (fin'ga-b^n), G, To give,
dea Ton a, to give the pitch.
Angelica (ftn-ja'^T-kft). G. ang^lique
(an-zha-lek), aag^lot (ftn-zhfl-lo), F,
I. An organ-stop. Vide vox. 2. A
17th century keyboard instr. with 17
strings.
angerophone. Early form of har->
monium.
angemes'sen, G, Appropriate.
angeaehm (fin'-kh^-n&m), 6*. Pleas-
ing.
angklonng (ftnk'-loong). A Javanese
xylophone.
anglaise (£i^-gl£z), F,^ anglico (fin-
glc'-ko), /. I. In the ** English"
style. 2. An English country dance,
ballad or hornpipe. 3. A sprightly
French dance in 3-4 time.
ango're (Sn-gd'-r£), angosda (in-
go'-sha), /. Anguish.
angosce^ole (Sn-go-sha'-vo-l^), an-
gosciamea'te, aagosciosamen'te,
angoscio'so, /, With an^ish or
anxiety,
72
THE MUSICAL GUIDE
UnraUich (tegsht' ITkh), G, Aoxious-
, anluUteiid ^'-h^-t^nt), G. Contin-
uous, a. Cadens. A pedal point or
prolong^ed cadence.
Anluuis: (iUi'.hilngk), G, Coda.
am'ma, /. Soul spirit.
animan'do, animato (a'-to), /., ani-
me' (&n-Y-ma), /I Animated, anima-
sione (a-nl-ma-tsY-o'-n£), /. Anima-
tion.
aiiimo(&n'-Y-mo), /. Spirit, animo'so,
animosameii te, /. Boldly.
animocorde. Vide anemochord.
An'klanff, G. Harmony.
Anlage (kn'-U-kh^), G. Outline.
anlanten (iln'-low-fen), G. To in-
crease ; to swell.
Anleitnng (an'-lT-toongk), G, Intro-
duction ; instruction.
Anmitth (an'moot), G. Sweetness,
grace, anmuthig (an'-moo-tYkh).
Sweetly, anmuthvoll (f6I). Full of
grace.
anom'alj. Deviation from exactitude
due to temperament (q. v.). anom-
alous. As a chord ; characterized by
a much tempered interval.
anonner (&-niin-na), F. To hesitate,
blunder.
anpfeifen (in'-pft-fen), G, To whistle
at ; to hiss.
An'sa. In Hindu music the note cor-
responding to our tonic.
Ansatz (an'-zslts), 6^. i. Embouchure.
2. Attack.
Anschlac: (fin'-shiakh), G. i. Touch.
3. A short double appoggiatura.
antchwellen (&n-'shv£l-T£n), G. To
increase ; swell.
an'sing^en, G. To greet with song.
antio'so, ansiosamen'te, /. Anx-
iously.
antpielen (fin'-shpe-lSn), G, To play
first.
Ansprache (ftn'-sprikh-^), (7. ** Speak-
ing " or intonation.
an'sprechen, anstimmen, G. To
speak ; sound.
Anstimmnng (In'-shttm-moongk), G.
Intonation.
answer. Vide fugue.
anteln'dinm, Z. A prelude,
antece'dent. i. A subject. 3. Vide
FUGUE.
anthem. In the Anglican Church ser-
vice, a sacred vocal work with or
without accompaniment. * * There are
five species of anthems, i. Verse
and chorus a., consisting of verae
and chorus, but beginning in chorus.
2. Verse a., containing verse (i. e.
solo) and chorus, but begrinning in
verse. $. Foil a., consisting wholly
of chorus. 4. Solo a., consisting
• of solos and choruses, but without
verse, and 5. Instrumental a."
\Busby\
anthe'ma. Greek dance with song.
Antholog^e (&n-td-lo-zhe'), Antholo'-
gium, F. and G, The collection of
hymns, prayers, and lections of the
Greek Church.
an'thropoglossa, Gr, The vox hu-
mana ; a stop.
anticipation, anticipamento (in-te-
che-pS-men -to), or anticipazione
(to-te-che-pa'-tsX-6'-n«), /. The sound-
ing of one or more parts of a har-
mony before the natural and ex-
pected place.
antico (kn-te'-kd), /. Ancient, all'
a. In the ancient style.
antienne (ilfts-y£n), /*., antifona (Sa-
te'fd-nS), 7. Anthem , antiphoa.
atifona'rio, /., atifonero (an-tT-fd-
n&'-ro), Sp* A precentor; anthem
singer.
anti&nal\ Sp, A book of anthems.
an'tiphon, an'tiphone, antipho^noo,
antiph'onj. i. In Greek music,
accompaniments in the octave, a.
Responsive singing by parts of a (U-
vided choir, or cong^r^ation. . 3. A
short scriptural sentence sung before
and after the Psalms or Qinticles.
The chant or alternate singings in
churches and cathedrals.
antiphona, Gr. An anthem.
antiphonal, antiphonaire (aAtY-f6-
xAx\ F., antiphona'rinm,Z.. an'ti*
phonary. A collection of Catholic
antiphons.
antiphoneL Vide planchettb.
DICTIONARY OF TERMS
73
aa'tiplMHiic Not in unison ; made up
of 2 or more parts.
antistro'la. An ancient Spanish dance.
antith'ests. i. Contrast. 2. Coun-
tersabject. 3. In fugues applied to
iht answer.
Aiito'de, Gr. Responsive singing.
Afltwort (Snt'-T6rt), G. Answer.
anwachseul (in'vakh-z5nt), G. Cres-
cendo.
aoi'doSy Gr. Singer.
apca^to, /. I. Open, broad. 2. In
piano music, *' use the damper pedal.**
aper'tiiSy L, Open ; as diapason, ca-
non, pipes.
Apfek^^ml (£p7«l.rakh-&l), {?. ** Ap-
pie-register,** an obsolete reed-stop.
l^'ofij, aphonie (ft-f5-ne), F. Dumb-
ness, aph'onons. Without voice.
apO|rfiiatiinL Vide appoggiatura.
apouino, Gr. An invention combin-
ing the qualities of several instru-
ments.
aiMflo, aporion. A 20-stringed lute
inv. in 1678, by Prompt, of Paris.
mpMo lyrtL An improvement made
by Schmidt in i832,on the Psalmmelo-
dicon ^q. v.).
apoUo'mcoa. A gigantic orchestrion
exhibited in 1817, by Flight & Robson,
and containing 5 manuals, 45 stops,
1,900 pipes, and kettle-drums. It
could be played automatically or by
fnre performers at once.
«4K>llonion. Aninstr. inv. byVollerin
1800 ; a piano with double key- board,
organ-pipes and automatic performer.
apos'tnmne. In singing, used to mark
a breauing-place.
i^Mit'ome, Gr, A major semitone, in
Greek music.
appassionato (2p-p5s'-sY-5-n&'-td), ap-
passionatamente, /. Passionate-
appean (&p-pd), F. Bird-like tone.
i^pel (2p-pSl'), F. & G. Dmm call ;
assembly.
appenato (ap-pS^n&'-to), /. Dis-
iq»plicatio& (ftp-^Y-kls-y66), F., ap-
pllcatnra (fip-pu-kiUtoo'-ra), /., Ap-
plikatnr (toor), G, Fingering.
appoggiando ' (&p-p6d-jftn'-do), ap*
poggiato (j&'-to), /. Leaning upon,
as a tone that slides into the next
appoggiatura (ap-pM-jH-too'-ril), pi.
c, /. '* Leaning note." i. The
short or lesser a., or g^ce note, is
written small with a line through its
hook, it receives the -accent, but has
the minimum of duration ; the double,
or compound a., contains more than
one note and follows the same rule,
the first note taking the stress; the
unaccented a. (Nachschla^ follows
its principal, is connected with it by a
slur, and like other grace notes bor-
rows its time from the principal, but
unlike them has no accent. 2. The
long a. was written small in old music
but played at its full value. It is now
written large as an unprepared sus-
pension. Almost any dissonantial
note can be introduced unprepared as
an a. 3. A superior a. is one placed
above its principal ; an inferior a. one
below. Vide grace.
apprestare (&p-pra-sta-r£), /., ap-
preti(e)ren (ap-pre-te'-r€n), (7. To
prepare, as an instrument.
Appretur (Hp-prg-toor'), G, The prop^
er set-up of an instrument.
&pre (Ipr), F. Harsh, iprement (apr-
m&n). Harshly. &pret6 (llp-rii-ta).
Harshness.
Ar (ar), Port. All.
Arabeske (ar-S-b^s'-k^, G., ara-
besque (&r-S-b^k), F. I. An em-
bellishment. 2. A light and graceful
form of music, resembling the rondo.
arbit'rio. Pleasure. A suo a.=ad lib.
arbit'rii (trY-e). Embellishments im-
provised at pleasure while singing.
arc, /. The bow ; an abbr. of arco.
areata (Sr-ka'-ta). Use of the bow.
arca'to. Played with the bow.
Arche (&r-kh^), G. Sounding-board.
arch-, E. & F., archi-, Z., arci-
/. A prefix, meaning •'chief, prin-
cipal**; of instruments **the great-
est.**
archeggiare (Ir-k^d-ja-r^), /. To
use the bow, to fiddle.
74
THE MUSICAL GUIDE
archet (ftr-sha), F,, afchetto (ar-ket'-
to), /. Violin bow.
archlute, archiluth f&r-shMat), F,^
arciliuto (ar-chel-yoo -to), /. A the-
orbo in which the bass strings were
doubled with an octave and the small
strings with a unison.
arcicembalo (&r-chT.ch&m'-ba-ld), /.
A harpsicho/d inv, by Vincentino in
the i6th century with 6 key-boards
and a diatonic, chromatic, and en-
harmonic scale. He also inv. the so-
called arci-organ.
arco (Ir'-kd), /. The bow. a pun'ta
or colla pnnta d'arco. With the
point of the bow. coll' arco, or
simply arco after pizzicato.
** Resume the bow." a. in g^il (joo).
Down-bow. a. in8u(soo). Up-bow.
contr' arco. Bowing against the rule.
arden'te» ardentemen'te, ardentis'-
simOy /. Ardent(ly).
arditezza (ar-di-tdd'-za), /. Boldness.
ardito, arditameii'te. Bold(ly).
Aretin'ian. Concerning Guido D'Arez-
zo or Aretinus, as the A. syllables.
Vide SOLMISATION (and guido in the
B. D).
argentin (ar-zhan-tdn), F, Silvery.
arg^hool'. An Egyptian cane pipe with
reed mouthpiece.
aria («'-rI-a) (pi. e), /. A song ; a me-
lodic composition for a solo voice with
instrumental accompaniment. It is
usually elaborate. The a. da capo
with two parts (the first repeated af-
ter the second) was the first important
form, though the rondo and even the
sonata idea have been used. Various
sorts of aria are a. buffa (boof'-fa),
humorous ; cantabile, lyrical ; con-
crrtan'e (c6n-chdr-tan'-t*) or da
concur' o, for concert use, elaborately
accompanied; d'abilitjl (dsl-be-le-ta),
for a display of virtuosity ; d'entra-
t a (ddn-tra -ta), or sor ita (s6r-te'-ta),
for the first appearance or entrance
of an operatic character ; di bravura,
highly florid ; da chiesa, for church
with accompaniments of full orches-
tra ; fuga'ta parlan'te, declama-
tory ; tedes'ca, with closely related
accompaniment. A. d'ostinazione
(dos-tl-na'-tsl-o -ni), /. An aria with
a basso ostinato, a^g^unte. One
introduced into an opera, ariettina
(te'-na), ariet'ta, /. A short air or
melody.
ariette (ir-t-dt). F. Literally " a short
aria,** actually a grand aria.
ari^t (ft-rl-gd), F, A fife.
ario'sa (or-o), /. MelodiousOy), can-
tabile. ariose cantate (&-rl-d'sd kin-
ta'td), /. Airs in a style between
a song and recitative, introducing
frequent changes in time and manner,
ario'so. In the style of an air ; be-
tween an aria and a recitation. A
rather melodious declamaHon.
arm. Iron end-piece in an oi^n-
' roller.
Armandine (ilr-miili-den), F, A grand
piano with gut-strings and no key-
board, invented by Pascal Taskin,
and named after the singer MUe.
Armand.
arma'rius, L. Precentor.
armer la clef (&r-ma Id kli), F, To
mark the signature on the clef.
Armgeige (arm'-gl-khd), G. Viola da
braccia.
armoneggiau'e (&r-m5-n£d-ji'-Hf), /.
To harmonize.
armonia (ar-mo-ne'-I), /. Harmony;
union, a. militare. Military band,
armonia' CO (d'-k5), armonia'le, ar-
monia'to, armo'nico, armonio'so,
armoniosamen'te, /. Harmonized ;
harmonious(ly).
armo'nica, /. i. Earlv form of the
accordeon. 2. Musical glasses. Vide
HARMONICA, armonica g^da (gpv^-
da). Text-book in harmony.
armure (ftr-mUr), F. i. The key sig-
nature. 2. Action, mechanism.
ar'pa(pl. e), /. Harp. a. d'eolo. ^o.
lianharp. a.doppia. i. Formerly a
harp with double stringy for each tone.
2. Now a double-action, arpanet'-
ta, arpinel'la. A small harp or lute.
Vide SPITZHARFE.
arp^ge (&r-p$zh), arp^^ement (ftr-
Szh-mSn), F. Arpeggio, arpe^er
r-p€-zha). To arpeggiate.
DICTIONARY OF TERMS 75
arpeg^ (ir-pW-jc), /. PI. of Arpeg-
gio.
arp^^giare (ar-pW-ja'rt), /. i. To
play the harp. 2. To play chords in
harp-manner, i. e., waved, broken.
arpeg^amento (Sr-pM-jii-mdn'-td),
arpegg^an'do (pM-j&n'-dd), aipe^-
jriato (ja'-to). Played arpeggio, m
imitation of the harp.
arpeggiatnra (too'-rd), /. A series
of arpeggi.
aipeggio (ar-pW-j6). /. i. The play,
mg of the notes of a chord quickly,
one after another, in the harp style,
ripplingly. 2. Such a chord written
out.
mrptgffione (jd'-ni). A small 6-
stringed *cello tuned like a guitar,
inv. by Stauffer in 1823.
arpicor do, 7. Harpsichord.
arpo'ne, /. A harp with horizontal
strings, inv. in the i8th century by
Barbieri.
airangemeiit. The translation of a
composition to an instr. or instrs. for
which it was not originally written.
arranger (&r-rSA-zha), F. arrangiren
(ar-ran-zh^r'en), G. To arrange.
ar'siSy Gr. A raising as opposed to
thesb. In accent it means the stress ;
in metre it means the up-beat, and
therefore the unaccented part. It is
musically most common in the latter
sense.
ars masica* Z. The art of music.
Art (irt), G, Species, quality, as Ton-
art, key.
articolare (ar-te-ko-la -r^), /. articn-
ler (ar-tS-kti-li), F., artiknliren
(ar-td-koo-ld'-rSn). G. To articulate.
articolato (U'td), /. Articulated.
articolazione (U'.tsY-d'.n«), /. Ex-
act and distinct pronunciation ; articu-
lation.
artific'iaL Vide harmonic.
artiglich (ir'ttkh-llkh), G. Ncat(lv).
As (2s), G. The note A flat. Asas,
or Asea. The note A double flat.
ascanlos or askanlos, Gr. A bag-
pipe.
As-dor (as-door), G. The key of A
flat major.
Ashantee trumpet. One made of
the tusk of an elephant.
asheor (^'shd-dr). Hebrew instr. of
10 strins^s.
Aa-moll (ks-mdll), G. The key of A
flat minor.
Asper'ges me, L. "Cleanse me."
The opening of the Catholic Mass.
aspirare (as-pl-rfi'-r*), /. To breathe
audiblv.
aspira'tion. i. The dot indicating
Spiccaio, 2. An obsolete grace note
having the effect of a beat in a sus-
tained tone.
asprexza (as-pHkl'-zi), 7. Harshness.
assai (fis-sft'-e), /. Very ; as allegro
a., very fast.
assemblage (iis-sitA-blizh), F, Double
tonguing ; rapid execution.
assembly. A rallying call for troops.
assex (^s2), F. Enough ; rather.
assoluto (loo'-to), /. Al^lute ; alone ;
of a chief singer.
as'sonant, £., assonan'te, 7. Having
resembUunce in sounds, concordant.
Assonanz (2s-s5-n&nts'), (7., asso-
nanza (is-s5-n&n'-tsa), 7. Conso-
nance.
assourdir (ils-soor-dir), F. To muf-
fle; to deafen, assonrdissant (dYs-
sSn). Deafening.
at'abal. A large Moorish drum.
Athem (sL'tim), G. Breath. a.-los.
Breathless. A.-sug (tsookh). Res-
piration.
atnmen (&t'-m&n), G, To blow soft-
ly.
atUcca (^t-tiik'-k&), 7., attaquer (^t-
ta-ka'), F. To attack, attacca su-
bito, 7. Attack or begin what fol-
lows immediately. attacca-Ansatz,
G. The attack-touch, a quick stroke
from near the keys.
attacco, 7, attaqne (ftt-tik), F. i.
A brief fugue theme. 2. A subject
for imitation in fug^e.
attack. The manner or act of begin-
ning a tone, a phrase or a movement.
attendant. Related.
atto (at'-ta), 7. An act. a. di ca-
denza. Point where a cadence may
occur.
76
THE MUSICAL GUIDE
an (5), F, '* To the ; in the style of
the." Vide al, etc.
anbade (o-b&d), F. Morning music ;
a day-break serenade.
audace (^Uoo-d&t'-che), /. Audacious.
auf (owf), G. On, upon, in, at, etc.
-blassen. To blow upon, -iaa-
sung. Conception ; interpretation.
-fUhrung (fa-roongk). Performance,
-geregt (-ge-rakht). Agitated, -ge-
weckt (-g(-vdkt). Lively, -geweck-
theil(tli). Cheer.
anihalten, G, To reurd, to suspend.
Aufhaltung (owf'-h&i-toongk), G.
A suspension. Vorhalt.
Auflage (owf-la-khi), G. Edition.
aufldsen (owf-la'-zdn). To resolve.
Aufldsung (owf'-la-zoongk). i. Res-
olution. 2. The solution of a riddle
canon. 3. A natural (11) sign.
Aufsatz (owf'-sults), G, Tube (of a
reed-pipe).
Aufschlag (owf -shliikh), G, Up-beat.
Anfschnitt (owf'-shnYtt), G. Mouth
(of a pipe).
aufsteigende (owf-shtl'-khSn-dd), G.
Ascending.
Aufstrich (owf'-shtrYkh), G, An up-
bow.
Auftakt, G, Anacrusis; up-take.
Auf tritt, G, A scene.
Aufzug (owf-'tzookh), G, An act.
aujgmentant, en (&-n5g.maii-tiin), F.
Crescendo.
augmenta'tio, Z., augmenta'tlon (in
F. 6g-mah-tas'-y6A). Increase. I.
Of interval (q. v.) a semitone larger
than major, as an au^^ented fifth.
2. Of note-values, as m counterpoint,
where a theme may appear with quar-
ter notes changed to half, etc.
augmented, £., augments (og-man-
ta), F. Used of i. Intervals a
semitone greater than major. 2.
Chords containing such intervals.
Vide ALTERED CHORDS.
aul'os, Gr. Most important Greek
instrument, probably a flute, possibly
like the oboe, aul'etes. Flute-
player.
aulozo num, Gr, The tuning-wire of
reeds.
aus(ows),(7. From, out of. -«rb«itiui|^
(-&r-bI-toongk). Elaboration, -deh-
nnng (-d&-noongk). Development.
-dnick (-drook). Expression.
-dnicksToU. Full of expression,
-ftthrung (fa-roongk). Performance ;
exposition. -fUllui]^. The middle
parts. 'V^ (-g£-bd). Edition,
-gang. Exit ; conclusion, -gehal-
ten. Sostenuto. -geigen (gf-khen).
To finish, -gelassen. Wild; un-
governable. Ans'gelassenheit (hit).
Extravi^nce ; wantonness, -hai-
ten. To sustain. Ans'haltnng.
Sustaining. Anshaltnngazeichen
(tsl-khdn). The fermate. -Idsnns^
(-U-zoongk). The device that releases
the hammer of a piano.
Unsserste Stimmen (Is'-s^r-std shtYm-
mdn). G. Extreme parts.
ausweichen (ows-vikh n), G. To mod-
ulate. Answeichnng (vT-khoongk),
G, Modulation ; transition.
authentic, E.^ antentico (ft-oo-t^n'-tV-
ko), /., authentl8ch(ow-ten'-tYsh),(7.
That part of a scale between the tonic
and the dominant above ; the part be-
tween the tonic and the dominant be-
low being called PlagaL Vide modes.
a. cadence. Vide cadence, a.
melody. One whose range covers the
octave above its tonic or final.
an'toharp. A zither whose strings are
stopped by a series of dampers so ar-
ranged that pressing one down, leaves
free certain strings. When these are
swept with the plectrum a chord re-
sults.
au'tophon. A barrel-organ, whose
music is cut in heavy pasteboard.
autos sacrementale (&'-oo-tos sUc-
ra-m^n-t&'-li), Sp, Oratorio, or pas-
sion music.
auxiliary. Said of tones one degree
above or below the true harmonic tone,
particularly in a grace ; of scales be-
longing to auxiliary or related keys.
aTanera. Vide habanera.
aTe (r-va), Z. ** Hatt." ATe Bia-
ria. ** Hail Mary,'* the saluUtion of
the angel at the Annunciation, which,
with the words of Elizabeth (Luke i.
DICTIONARY OF TERMS
77
42) and a oonchiding h]nnn, has
formed a favorite text for music since
the 7th century. ATe maris Stella, Z..
'* HaU, star of the sea.'* A Catholic
hymn.
(3Uv€k), /•. With.
aTe'na, L. A reed ; a pipe.
aTicin'iunL A bird-like organ-stop.
KTOtded. Prepared and then omitted,
as a cadence (q. v.).
KToir da retentissement (ft-vwir.
dii rfl.t2n.tes.m2n), F. To be re.
peated and echoed.
mztone sacra (2'.tsX.d-n^ si'-kr&).
Oratorio ; passion music.
B
Bi. A musical pitch, one whole
step his/her than A, and its
octaves. In France and Italy
called **si.*' In Germany B
natural is called H (ha), and the term
B (bft) confined to B flat. 2. The major
kev having five sharps ; the minor key
reutive to D major. In old worla
(and modem German] square B (or B
qnadratnm or qnadniin or dnnmi,
in F. B6 carr6) sunds both for B nat-
mal and for the natural sign (fi) itself.
3 rotandnm (or molle, in F^ b^
mol) stands for B flat, and for the flat
sign itself (t^), the tone B having been
the first to be chromatically lowered.
B cancellatum stands for the sharp
sien (#) first formed by crossing the flat
(p) and originally equivalent merely to
nullifying or naturalizing the flat.
In old solmization B SaX was B fa ;
B natural, B mi, •
As abbr. B — basso; c. b. — €ol
hasso ; C. B. — C^tUrabasso, Mus. B.
— Bachelor of musu,
baas (bis) or base dance. A dance
resembling the minuet.
baaxas (biUzi), F. A kind of guitar.
babara (b&.ba'.rft), ^. A Spanish
country dance.
babocawa, bab'orak. Bohemian
dances of eccentric rhythm.
baccalanrens mnsiciB, Z., bachel-
ier (blsh.fll-y&), /: Bachelor of Mu-
sic. A degree granted to those who
have proved a certain standard of
proficiency. Inferior to Doctor of
Music.
bacchanale (n&l), F, A Bacchic revel.
bacchanalian songs. Drinking
songs.
baccma. A Kamschatkan dance in
2-4 time.
bacciocolo (bftt.tchY.d-kdM5), /. A
Tuscan guitar.
bachelor. Vide baccalaureus.
back-block. Wrest-block.
badinagre (bft-dl.nSzh), F. Banter.
baga'na. lo-stringed Abyssinian lyre.
back. The under side of a violin.
back-£alL i. An obsolete sign and the
grace note it indicated. Vide graces.
2. A lever in the organ.
back-tum. Vide turn.
bagatelle (b&g.iUt«l), F, A trifle.
ba|pipe(s). An instr. of great antiq-
uity and wide favour, consisting of
a series of pipes furnished with wind
from a bag in the player's mouth or
a bellows under his arm, or both. It
has usually one chanter or melody-
pipe with a reed, and 6 or 8 holes,
played with the fingers ; 3 drone
pipes sounding continuously an octave
and a fifth.
baguette (b&.g^t), F. i. A drumstick.
2 Bow
baiie (bfi.V.l«), ^. National Spanish
dances.
baisser (b^sa), F. To lower, as the
pitch.
iMU'afo. A Senegambian xylophone.
balalaika (bil.UUl!'.ka). A rude Rus-
sian or Gipsy g^tar with 2 to 4
strings.
balancement (b&I-^ns-miUi), F. A
tremolo (as of a violinist's finger).
balance-rail. The wooden strip on
which piano keys are balanced.
Bal(c)ken (bal'-ken), G. i. Bass-bar.
2. The heavy lines connecting the
stems of a series of small notes.
-Balg (b&lkh), G, Bellows. B.-sng.
Bellows-stop.
ballabile (b^.la'.bMS), /. In a dance
manner.
78
THE MUSICAL GUIDE
t>al'Ud, BaUade {bSdAid'), F, (b&l-
U'dd), G. t>alUta (b&l-U'.til), /.
Originallv a dance tune (from ballare^
to dance) ; it now means a simple
song of popular tone. In instrument-
al work, it may be as elaborate as
" Chopin's Dallades," but it still has
an idea of directness and melodious-
ness, if not narrative, balladen-
milssir (m^sYkh), G. Ballad style.
ballaa of iMdlads. Solomon's song,
ballad opera. Light tuneful opera,
alia ballata. In ballad style, balla^
tella. baUatetta. A short ballata.
l>allet(bftl-Ul), F., BaUett (b&l-ia), G.,
ballet'to, /. I. An elaborate dance
by professionals, often spectacular
and narrative. 2. A light glee of the
i6th cent. Vide fa-la. 3. bal-
letto was used by Bach for an alle-
gretto in common time.
bu'lo (pl-i), /. A dance, or dance tune,
as b. deila stira, Styrian dance like
the waltz ; b. ungaresi, a syncopated
2-4 Hungarian dance ; da ballo, in
dance style.
ballonchio (bSl-16n'kI-d), /. A coun-
try dance.
band. A group of instrumentalists,
usually a military band, sometimes an
orchestra ; oftener a part of the or-
chestra, as the string-band. band«
master. The leader of a band.
Band (b&nt), G, A volume.
ban'da, /. i. The brass and the
drums of a theatre-orchestra. 2. An
orchestra on the stage.
Bande (bin'-de, G,, baftd. F.). i. The
24 court-violins. 2. A strolling band.
bando'la, bandolon. bandalo're,
bandelo're. bando'ra, bandura
(ban-doo'ra), /. Instrs. of the lute
kind, played with a plectrum.
bando'nion. A concertina named af-
ter the Hcinrich Band, invented by
Uhlig, 1830.
bandnrria (bfin-dooi^-rY-a), Sp, A wire-
strung guitar.
ban'ia, ban'ja. African instrs. from
which the banjo may have been de-
rived.
banjo. A long-necked stringed instru-
ment with a broad, round body, cov-
ered with a tight skin, which gives the
five to nine strings a quaint sound.
Biinkel8iUi|:er (b^k'el-zdng-er), G,
** Bench-smger(s)," vagabond musi-
cian(s).
bar. I. A vertical line drawn across
the stave just before the major accent
of each measure ; since the bar sep-
arates the measures, the word is in-
correctly used to denote the measure
itself. In psalmody used to mark the
end of lines and phrases. 2. A gen«
eral division of the song of the Meis-
tersanger; it included 2 StoUen and
an Abgesang. 3. Vide barker.
bar'baro, /. Barbarous(ly).
barbarism. Crudeness of progression
or combination.
barbet', bar'biton, bar'bitos. i. An-
cient Greek l3rre. 2. In i6th cent, a
violin.
barcaro'la, barcamola (b^r-k£-roor6'-
U), barca'ta, /., barcarolle (Mr-kiL-
r61), F, I. An air sung by gondoliers,
or boatmen. 2. Hence, a Ivrical in-
strumental composition usually in 6-8
time (Chopin's are in 12-8).
bard. A Celtic minstrel.
bardd alan (bard-a'-ian). A Welsh
prof, of music.
Bardlet, Bardit (b^r-det'), G. Ancient
German war-song.
bardo'ne, /. Vide barytonb.
bare. Open ; parallel, as bare fifths.
Barem (bii'-rftm), G. Obs. soft organ-
stop.
B&rentanz (btr'-«n-tiUits), G, Bear-
dance.
bargaret, bargeret, barg^net. Vide
BERGERET.
baribas'so. A deep barytone.
bariolage (bdr-l-d-ljlzh), F. i. A med-
ley. 2. A rapid passage showing a
distinct design, or " waist-coat pat-
tern."
bar'itenor. The deeper tenor voice.
bariton(e). Vide baryton.
baroc'co, /., barock', G.^ baroqne (b&.
rok), F, Eccentric ; uncouth.
BUrpfeife (bSr'.pfl-fe), G. Bear-pipe,
an old growling organ-st(^.
'
DICTIONARY OF TERMS 79
barqnade (bftr-idUl). F. Old form of
barcarotle.
bar'ra, /. Bar.
barra^ (Mr-rSzh), F, Vide barrer.
barre (bftr), F. i. A bar; also b. de
mesore; b. de r^p^tition, repeti-
tion marlE. 2. A brid^.
barrd (b&r-ri), F. Vide barrer.
barred C. The mark for common time.
C with a bar through it ; a mark of
barreL The body of a bell.
barrel chime. Portion of a mechanism
rln^ng a chime of bells.
barrel org^an. i. An instrument, com-
monly portable, in which the bellows
are worked, the pipes blown and the
tune automatically played by a crank
taming a cylinder set with pegs, so
arranged as to open valves in melodic
and harmonic order. 2. The same
principle is used in street-pianos, the
pegs ^releasing hammers which strike
wires.
(b&r-ra), F, To bar. Pressing
the stringy of a guitar or lute with the
forefinger of the left hand to raise
their pitch ; great , or g^and b.» press-
ing all the strings ; small b., pressing
2 or 3 strings ; hence barr6 and bar-
b, G, Ear, as of an organ-pipe.
bar'ytonCe), £., barvton (b^-l-tdn),
Baryton (bS-rt-tdn), G., barito no,
/. I. The male voice, between bass
and tenor, with a compass between low
G and g (vide pitch). If low in qual-
ity it is basa-barjton, if high, tenor-
barjion« 2. A brass valved instr.
(vide sax-horn). 3. The viola di
bordone {or bardone). An obsolete
l8th cent, instr. resembling the viola
da gamba ; its 6 gut-strings being re-
enforced by the sympathetic vibration
of from 8 to 27 wires. 4. An epithet
for anv instr. between bass and tenor,
as b. clarinet. 5. b. del The obso-
lete F clef on the 3d line.
barz (bSrz), IVeUh, A Welsh bard.
baa (bi), F. Low. baa-dessus (dds-
sQ). Mezzo-soprano.
base, bass, E., Bass (b^), C7., basse
(bfts), /*., basso (biis'-sd), /. i. The
base or lowest part of a chord, pro-
gression, chorus, etc. 2. An epithet
denoting the deepest instr. of a class,
as bass clarinet. The double-bass,
q. V. 3. Formerlv an instr. of 5 or 6
strings between cello and double-
bass. 4. Affixed to the name of an
organ-pipe or stop, it restricts it to the
pedal. 5. The lowest male voice,
ranging usually from low F to mid. C ;
basse chantante (shsUi-t&nt), basso
canUn'te, a flexible *Myric" bass
voice ; basse-contre (kontr), basso
proiiiiido (pro-foon'-do), a very low
voice ; basse taille (tl-yii), a high
bass; basso buffo, bass comedian.
6. Thorough bass, continued bass,
fifi^ed bass, Generalbass (ga-nd-
r^'-b^), bezifferte Bass, basse
chiffr^e (shlf-fr&), basse continue
(kdA-t&n-Q), basse figur6e (fe-gu-
ra), basso contin'uo, basso figura'-
to, basso numera'to— a species of
musical shorthand in which only the
bass-part is written with Arabic and
Roman numerals indicating the chords
(vide chord>. 7. Fundamentalbass,
basse fonaamentale, basso fon-
damentalo, vide fundamental. 8.
Ground-bass, drone-bass, basse
contrainte (kdn-tr&iit), basso con-
stnitto, basso ostinato, basso te-
nato, a bass phrase or figure obsti-
nately repeated. 9. basse-contre,
a very deep voice ; also the double-
bass ; b. de cremo(r)ne, or, de cro-
morne or d'hautbois or de flfite
traversi^re, old names for the bas-
soon ; b. de cornet, the serpent ;
b. d'harmonie, the ophicleide; b.
guerri^re, a bass clarinet ; bass
orgue, an instr. inv. in 18 12 by
Sautermuiter. 10. Bassfldte, an
obsolete bassoon ; an 8-foot orean-
stop on the pedal. Bassgeige,
*cello; gjosse Bassgeige, doub-
le-bass. Bass-schliissel, or -zei-
chen — F clef. 11. basso concer-
tante, the principal bass in recitatives,
etc. ; also florid music for the lower
strings ; basso obbligato, a neces-
8o
THE MUSICAL GUIDE
sary bass-part ; b. OttaTa, aa octave
lower ; b. ripieno, vide ripibno ; b.
rivoltato, inverted bass. 12. bass
clef, the F clef. Albert! bass, vide
ALBERTi. ^ven bass, a bass on which
harmony is to be built, supposed
bass, a bass tone not the root of the
chord, murkj bass, vide murky.
bassanello, an obsolete instr. bass-
bar, bass-Dram, in violins, etc., a
strip of wood glued inside the belly
near the bass string.
basset horn. An obsolete clarinet.
Bassett , bassettl, Bass'l, G. i. Old
name for *cello. 2. As a prefix =
tenor. 3. A 4-ft. flute-stop on the
pedal.
basset' to, /. i. The little bass. 2.
An obsolete instr. with 4 strings. 3.
An 8 or 16 ft. reed-stop. 4. The
lowest voice when the bass is si-
lent.
Bassklausel (biis'-klow-zel). The pro-
gression of the bass in a cadence.
Basslade (blLs'-li.d«). G. Soundboard.
basson (b^s6h); F. Bassoon, b.
quart (k&r). One whose tones are
a fourth lower, b. quinte (k&fit).
One whose tones are a fifth higher.
bassoon. The bass voice of the wood-
wind. A 9-foot conical tube doubled
on itself, with a long double-reed
mouth-piece. Its original was the
long bombardon, from which it was
derived in 1539. I^ is the bass of the
oboes ; its natural scale is G major ;
its music is written in the F clef,
save for higher notes which use the
tenor clef. All keys are available by
means of cross fingering, and it is
capable of considerable brilliance. It
has three registers, the lowest being
very reedv, the highest resembling
partly a cello and partly a tenor
voice, the medium is rather colourless.
The compass B'h-c" (sometimes to
f"). ^
basta, bastante, /. * Enough ! stop ! "
bastardilla (b^tiir-del'-yi), ^. A
kind of flute.
bath'jphon, Gr, An obsolete clarinet
inv. 1829.
batil'lns, Z. An Armenian instr. used
in the place of bells ; a board struck
with a nammer.
battant(e) (bllt-tftn(t) ), F. Beating.
b&ton de mesure (b&-td& dil mii-zQr),
F, I. Stick used in beatii^ time.
2. A conductor's manner. 3. A rest
of 2 or more measures. 4. b&ton.
The thick line of a measure-rest. b.
de reprise. Repeat.
battement (b&t'-m&n), F. battimen'-
to, /. Beat.
battere (biit'-t^-rj), /. The down stroke.
batterie (b&t.re), F. i. The roU of
the drum. 2. Smiting the guitar
strings. 3. Broken chwds on string
instrs. 4. The group of percussion
instruments.
battery. A harpsichord effect amount-
ing to a quick sharp repetition of a
chord.
battre (b&tr), F, To beat.
battuU (bfit-too'-tft), /. I. A beat;
so a b., with the beat, strictly a Um^
po. 2. A measure. 3. A progression
from the loth on an up-beat to the
octave on the down, forbidden in old
counterpoint.
Ban (bow), G, Construction.
biiuerisch (bf-^r-Ysh), G, Rustic;
coarse.
Bauemfldte (bow'-lm-fla-tS), Bauem-
pfeife, B&uerlein, G, i. Rustic
flute. 2. A stopped register in old
organs.
Bauemlied (bow'-£m-l€t), (7. A rustic
ballad.
bazondUo (bftx.5n.th€r-y5), Sp. i.
Small bassoon. 2. Open diapason
stop.
bayla, bayle (bft'-^U), ^. A dance.
b b (ba-bij, (7. Double fiat.
B-cancellatum. Vide B.
B-dur (ba-door), (7. B. dnmm, Z..
The key of B flat major.
bearbeitet (b«.&r'.bl.t«t), (7. Ar-
ranged. Bearbeitun^ (bf-tooi^).
Adaptation.
beards. Small pirojections on the side
of, or beneath, the mouth of a pipe,
to im];>rove the ^)eech ; hence*
and side-bearoa.
DICTIONARY OF TERMS 8i
bearings. The tones and intervals
firtt established by a tuner as a
beat, beating, i. The hand-motions
of a conductor. 3. That part of a
noeasure marked by one beat. 3.
One pulsation of a trill. 4. An old
ornament consisting of a short prelim-
inary trill with the next note below.
Vide GRACES. 5. The throb produced
by the interference of two tones of
slightly different pitch. Vide acous-
tics.
bebisation. Vide solmisation.
Bebnng(ba'-boongk), (7. i. A tremolo;
on the clavichord, a tremolo made by
vibrating the finger upon the key. a.
Abo, German orean-stop.
bee (b«k). F., bee CO, /. The mouth-
piece, as of a clarinet, beeco polac-
eo. A lai^e bagpipe.
b^earre (ba-kiLr), F. The natural
agn(®.
Becher (Mfkh'^r), G, i. The cup or
bell of a wind-instr. a. The tube of a
reed-pipe.
Beeken (bA-n), G. Cymbals.
bedeckt'y G. Covered ; stopped.
bedon (bfi-ddA), F, Old name for
drum. b. de Biseaje. A tam-
bourine.
Be (bi), (7. B flat. Be-be. B doa-
ble flat.
beflfroi (bttf-frwa), F. i. Belfry, a.
Tocsin.
befilzen (b^-fel'-ts^), G, To put felt
on. Befilznnff. Felt.
B^geittening (b^-gTs'-tdr-oongk), G,
Enthusiasm.
begleiten (b^-glf-tSn), G, To accom-
pany. Beeleitung. Accompani-
ment. Beg^eitstinimen. The ac-
companying parts. beglei'tete
Fn'ge. A fugue with free parts.
besde (br.d«), G. Both, usuaUy die
Beiden.
Beispiel (bf-shpel), G. Example.
Beisser (bls's^r), G, A mordent.
Beit5ne (bf-ti-n^, (7. Accessory
tones ; harmonics.
BeUeiehen (bT-t^-kh^n), G. Acci-
doitals.
bekielen (b«.k€'.l«n), G, To fit with
quills.
beklemmt', G. Oppressed.
bel (b«I), /. Beautiful, perfect, as il
bel canto. The perfect (art of) song.
belebend (b«-la'-b«nt), G, Accelerat-
ing, belebt (b£-lapt). Lively. Be-
lebtheit (hit). Belebong. Vivac-
ity.
beledern (b«-li'-d«m), G, To cover
with leather or felt. Beledening.
Felt.
belegt (b«-l&kht'), G, Hoarse ; veUed.
belieben (b«-le -b«n), G, Pleasure ; at
pleasure.
beliebig (Mf-le'-bYkh), G. At pleasure.
bell. I. A hollow metallic instrument
set in vibration by a clapper, or ball,
within, or by hammers from outside,
a. The wide opening of horns, etc.
3. B. diapason. A diapason stop
with flaring pipes, b.-gamba. A stop
whose pipes are topped with a bell,
b.-harp. An old form of harp which
was swung when played, b.-metro-
nome. A met. with a bell-indicator.
b.-scale. A diapason for testing bells.
b.-piano. Vide glockenspiel.
bellezza (b«I-lM'za). /. Beauty.
bellico'so, bellicotamen'te, /. Belli-
cose(ly).
bello'nion. An automatic instr. inv. in
18 la, consisting of 34 trumpets and a
drums.
bel' lows. A pneumatic device for sup-
plving air to various instruments.
bel ly. A soundboard of an instr.,
violin or piano, over which strings are
stretched.
bemerk'bar, G. Marked.
b6mol (b&-mai), F,, bemolle (ba-m61-
1«), /. The mark called a flat (b). b^
moliser (ba-m6-lY-za), F., bemol-
Uzzare (ba-m6l-ltd-za'r«), /. To
mark with a flat. b6molis^fzi).
Flattened.
ben (ban), bene (ba'-n€). /. Well,
good ; as ben tennto, well-sustained ;
abeneplacito,at the good pleasure.
Benedic'ite, Omnia Opera. '* All ye
works (of the Lord) praise Him," Z.
A canticle for morning prayer.
82
THE MUSICAL GUIDE
'* Benedictus, Domine/' Blessed be
Thou, O Lord. A canticle. Bene-
dic'tus Qui Venit, Z. ** Blessed is
He that cometh," vide mass.
bequadro (ba-kwii'drd), /. The natural
sign (fi).
berceuse (b£r-sttz), F, A cradle-song ;
hence, an instrumental piece in that
spirit.
bergamask, E,^ berg^amas'ca, /.,
bergamasque (m&sk), F, A rustic
dance, imitating the clumsy peasants
of Bergamask in Italy.
bergeret (bCr-zhd-ra), F, A rustic
song or dance.
Bers^kreijen, Berg^eigen (bftrkh-il'-
khen), G, Mountain melodies.
berling^ozza (b2r-lin-g6d'z&), /. A
rustic dance.
Bes (b&s), G. The note B double
flat.
besaiten (b^-zT'-tfo), G. To string.
beschleunip^end (b^-shloi'-nY-gdnt), G.
Accelerating.
befiedem (ba-fe'-d€m), G. To quill.
bestimmt (b^.shtlmt), G. Distinct.
B.-helt (hit),c;. Precision.
betonend, betont (b^-tdnt), G, Ac-
cented. Betonung. Accentuation.
betrtibt (b«-triipt), G, Troubled.
Bet'tlerleier (ll-«r). G. Hurdy-gurdy ;
Bettleroper. ** Beggar's opera."
bewegen (Wf-va'-khCn), G, To agi-
tate, bewegt (vakht). Agitated.
Bewegung. Motion, emotion. Be*
wegungfsart. Tempo, a movement.
beziffert (b€-tslf.fCrt), G, Figured.
Vide BASS
Bezug (be-tsookh), C7. The set of
strings for an instrument.
bhat. A Hindu bard.
bianca (bl-an'-ka). /. A *' white" or
half note.
bibi (be-be), /*. A pianette.
Bible-regal. A regal that folded up
into the size of a tome.
bichord, L. An instr. (a) having two
strings, (b) Having two strings to
each note.
bicin'inm. A 2-part composition.
bien (bVih), F. Well.
bifara (be'-f&.r&), biffiara, bif rm, /. A
stop with paired pipes slightly out of
tune, so as to produce a tremolo.
biju'ga. The two-necked cither.
bina. Vide vina.
bimmoUe (blm-m6r-l«), /. B flat;
the flat mark.
bin'ary. Two-fold ; two-part. b.
form. A movement with 2 chief
themes or sections, b. measure.
Common time with its two accents.
bind. A line, usually curved, binding
two notes into a sustained tone ; or the
brace binding staves.
Bindebogen (bln'-di-bd-khin), G, A
slur.
bin'den, G, To bind ; to perform U-
gatp. Bindung. A slur; hence, a
suspension or syncopation ; the legato
manner. Bindmigszeichen. The
slur.
biquadro (bS-kw&'-dro), /. The nat-
ural sign.
bird-organ. A small oigan for teach-
ing tunes to birds.
Bim(e) (ber n«), G. The socket of a
mouthpiece.
bis (bes), Z. i. Twice, bis nnca, i6th
note. 3. Used by the French in-
stead of our pseudo-French ''en-
core ! " meaning ** please repeat.**
biscan'to, /. A duet.
bischero (bes'-ka-ro), /. A peg or
pin.
biscroma (b€s-kro'-ma), /., biscrome
(bcs-krom). F, A i6th note.
bisdiapa'son, L, A double octave, or
fifteenth.
bisean (be-s5), F, Stopper of a pipe.
bisin'ium, Z. A duet.
bisogna (be-sdn'-yii), Z *' It is neces-
sary.**
bisqua'dro (kwfi'-drd), Z A natural
sign.
bissare (bls-sft'-r<), Z, bisser (bes-sa).
F, To encore.
bis'sex, Z. A 12-stringed guitar.
bit. A small tube to supplement a
crook.
Bit'terkeit (kit), G, Bitterness.
bizzarria (bid-zfir-re'-i), Z Eccentric
ity. bizzar'ro. Curious, bissmr-
ramen'te. Oddly.
DICTIONARY OF TERMS
83
blanche (blSAsh), F. A ''white'* or
half note.
BUsebals: (bir.z«.bfilkh), (7. Bel.
lows.
blasen (bU'-zfo), (?. To blow. BU'-
S€r. A blower; an instrument for
blowing. Blasemnsik. Music for
wind instrs. BUs'instrument. A
wind-instrument.
Blatt (bllt), (7. A leaf ; a reed.
Blechinstmmeiite (bl£kh'-Tn-stroo-
mte>tQ, G, The brass instruments.
bUnd (btlnt), G. " Blind/' simulated.
as a dummy pipe.
Blockildte (bldk'.ai-tQ, G, i. A stop,
of large-scale pipes. 2. A i6th cen-
tury flute.
b-mol (be.m6l), F. The flat mark \^.
ATide BEMOL
B-moU (b&^mdl), G, The key of B
flat minor.
blocks. Supporting strips in violins,
etc.
bottt^songs. Water-music, vocal or
instrumental.
bob. The changes to which a set of
bells can be rung ; 6 bells give bob
minor ; 8, b. nmjor ; 10, b. royal ;
12, b. mazimns.
bo'biaation, bocoditation. Vide sol-
MJSATION.
bocal (b6.kil), /*., boc'ca, /. Mouth-
piece ; mouth. bocca ridente.
*' Smiling mouth," believed to aid the
production of pure tone, con bocca
chinsa (kT-oo'-zfi). With mouth
closed, humming, bocchino (ke'no),
/. Mouthpiece.
bodna (bd-thd'-nft), Sp, A large trum-
Bockpfeile (bdk'.pft-f«), G, A bag-
ocbtriUi
BockatriUer(b6ks'.ti11.1«r),(7. A goat-
ish bleat.
Boden (b5'.d«n), (7. The back (of vio-
Uns, etc.).
Boehm Fldte (bSm flr-t«). An im-
proved flute inv. 1834 by Boehm, in
which a series of keys simplify the
fingetii^ and intonation ; the sjrstem
is also fitted to oboes and clarinets.
Vide the B. D.
Bogen (b5'-kh€n), G. i. A bow. 2. A
slur, as Haltebogen, BogenfUhrung.
Bowing. Bogenstrich. A stroke of the
bow. Bogeninstrumente. Stringed
instruments. Bogenfliigel, -ham-
merklavier, or -klavier. Pidno-
violin.
boi8(bw&), F, Wood, les (la) bois.
The wood-wind.
boite (bw^t). Box ; swell box. ouvrez
(fermez) la b. Open (close) the swell.
bolero (bd-Ia'-r5), Sp. A lively Span-
ish dance, in 3-4 time, with castanets.
See chart of dance-rhythms.
bom'bard, E., bombarde (b6n-b&rd),
F,, bombar'do» /. i. A very long
obsolete shawm, the original of the
bassoon (q. v.). 2. A powerful reed-
stop of i6-ft. tone.
bombar'don, E, (in F. bdA-b&r-don ;
in G, b6m-bar-d6n'). i. A large,
valved bass trumpet. 2. The bass
saxhorn. 3. A i6^ft. reed-stop.
bom'bix, Gr, Ancient Greek reed
instrument.
Bom'bart, bom'mert, G. Bombard.
bom'bOy /. A figure in repeated tones.
bon (bdn), F, Good, bon temps de
la mesure, F, The accented part of
a measure.
bonang. A Javanese series of gong^.
bones. Castanets made of bone.
Bonn's bridge. A violin bridge inv. by
Bonn of London with a foot under
each string, aiming at more reso-
nance for the interior stringy.
boot. The foot of a reed-pipe.
bo'ra. A tin trumpet used by the Turk-
ish.
bordone (b6r-do'-n£), /., Bordun(bdr'.
doon), G. I. A covered i6-ft. or 32-
ft. stop ; the French have 4 and 8
foot bourdons. 2. The lowest string
of 'cello and double bass ; the free
string of a hurdy-gurdy. 3. A great-
bell. 4. A drone bass. B. Fldte,
G. A stop, bourdon de comemuse
(-kdm-mUz), or bourdon de musettOi
F. The drone of a bagpipe.
bonch6 (boo-sha), F, i. Stopped (of
horn, etc., tones). 2. Covered
pipes).
(of
(of
84
THE MUSICAL GUIDE
boache femi^e (boosh fdr-ma), F.
With closed mouth ; humming,
bottffe (boof), /^. A buffoon, opera b.
Comic opera.
boiilon. A Senegambian harp.
bonr'doii, E, (in F., boor^dn). Vide
BORDONE.
boniT6e (boor-ra), F. A lively old
Spanish or French dance in 4-4 or 2-4
time. The second and fourth quar-
ters of the measure divided. Us^ as
an alia breve movt. in old suites.
See chart of dance-rhythms.
boutade (boo-Uld), F, i. An instru-
mental spectacular fantasia. 2. An
old French dance. 3. A short ballet,
impromptu.
bow. An elastic wooden rod with horse-
hairs (in recent cases, gut-thread)
stretched from the bent head or point
to a movable nut ; the hair being
drawn over strings sets them in vibra-
tion, bowhair. Hair used in mak-
ing the bows, bowhand. The right
hand, bowing i. The art of using
the boW.%. 2. The sign for bowing.
The direction in which the bow is
drawn is indicated by down-bow
(marked i^) from nut to point ; or up-
bow (marked V or A ) from point to
nut. The back of the bow is sometimes
used, and indicated by sul or col legno^
•* with the wood." The bow may be
allowed to bounce on the strings (the
bounding or springing bow), the spic^
cato (marked by dots over the notes)
being played with a loose wrist near
the middle of the bow ; the saltato be-
ing with higher leaps, bow instru-
ments. String instruments played
with a bow. bow guitar. A violin
shaped like a guitar ; vide also piano-
violin, and BOW-ZITHER.
boyau ^bwa-yo), F, Gut-strings, bo-
jaudier (bw&-y5d-ya). A maker of
them.
bozsetto (b6d-z«t'-t6), /. Sketch.
B-qnadrattiin, B-quadnim, L. i.
Vide B. 2. B-natural.
braban^onne (br&-ban-stin). The Bel-
gian or Brabantine national hymn.
bracdo (brftt'-sho), /. '^Arm." A
term applied to instnmients held op
to the neck, as Tiola da b., an arm-
cello. Vide VIOLA.
brace, i. A character used to connect
staves. 2. Leather slides on dnim-
cords.
branches. Parts of a trumpet that con-
duct the air.
bran de ing^laterra (br&n d£ en-gli-
t€r'-ra), Sp, An old Spanish dance ;
the English Brawl.
bran(8)le (brah'-ltt), F, A lively old
dance, 4-4 time, led in turn by
couples.
brass. General term for the instrs.
made of brass (or brass^wind).
brass-band. A military band of only
brass instnunents.
Bratsche (brfit'-sh«) (pi. -en), G, Vi-
ola.
Brautlied (browt'let), G. A wedding,
song. Brautmease. Music before
the wedding.
BraTOur ^brii-foor'). G, Bravura. Brar
▼our-ane or -stiick, G. A florid
song or piece.
bravura (bra-voo'rfi), /., brayoure
(brii-voor), F, Dexterity, dash, aria
di b. A show-piece, con b. With
brilliancy, b. mezsa. Medium difli-
culty.
brawl(e). An old dance in a circle.
break, i.- The point at which one reg-
ister ends and another begins. 2.
Slips of various kinds in tone produc-
tion. 3. In a stop, the abrupt return
to an octave lower, due to insufficient
pipes. 4. In compound-stops, a point
where the relative pitch changes.
breakdown. An hilarious negro clog.
breit (brlt), G, Broad, slow.
Brettgeige (br£t'-gi-gd), G, A pock-
et addle.
breve (^., brev — ^in /., bra'v*). br^e
(brdv), F, I. Formerly the shortest
note, now the longest, equal to two
whole notes. 2. In old music — one-
half the longa. alia breve. To the
breve, i. e., a half note to each b^it,
formerly four minims to the measure,
and in quick time ; it is indicated by
a common-time signature, with a ver-
DICTIONARY OF TERMS
85
ticai bar through it ; also called alia
cappella, or tempo maggiore.
bre'viaiy. A book of matins, lauds,
and vespers.
Bre'vis, Z. and G. A breve.
brid^^ I. A piece of wood on which
strings rest ; itself rests on the reso-
nance box or board, to which it trans-
mits vibrations.
Mef. I. A bass-viol bridge. 2. Breve.
brillaiit(e) (bre-yafi(t) in F,, in /. br!l-
Un't^. Brilliant.
BriUenbasse (brtlM^n.b^s^), G.
'• Spectacle basses/* on accoui^t of
its resemblance to a pair of spectacles ;
a name for the abbreviated form of a
bass tremolo, two half notes with thick
connecting bar.
brindisi (brln'-de-zS), /. A drinking-
song.
brio (brc'o), /. Vigour ; fire, con brio,
or brio'so. With spirit ; vivacity.
bris€ (bre-zS), F. Broken, as chords.
cadence b. A trilling grace.
broacb« An old instr. played with a
crank.
broderiea (br6d-rS), F, Ornaments.
broken. Vide ( interrupted) cadence ;
of chords whose notes are not taken
stmultaneoiisly, but in arpeggio ; so
broken octaTes.
tffdk'kinjg. Quavering.
B^rotnndnm, Z. i. Flat sign, b. 2.
The note B flat
Bntmmeisen (broom'ml-zSn), G. Jew's
harp.
bnunmen (broom'm^n), G, To hum, to
drum. Bninmier. Drone. Bnimm-
ton. Drone. Brummstimmen.
Humming voices.
brnscamen'te, Z, brosquement
(t>r1isk-mSfi), F, Brusquely.
Bffist (broost), G. The breast or chest,
bence B>ton or -ttimme. Chest
voice. Bmst'werk The middle
pipes of an organ.
baca (boo'-ka), I, Sound-hole.
bace'na, Z., bnccina (boot-che'-na), /.
An ancient curved trumpet.
Bllchse (bukh'-s^), G, Boot (q. v.).
Bnch'stabentonschrift, (7. Alpha-
betical notation.
bucoric, E,, buccol'ica, Z, bncolique
(bu-k6-lek), F. Pastoral.
buffa (boof'fS), or (-0), Z Comic ; a
comic singer, buffo carica'to. Comic
character, aria buffa. Comic aria.
opera bnfia. Comic opera, buf-
fo'ne. Comic singer, onffonesco,
-amente. Burlesque(ly).
buffet. Organ case, buffet organ.
A small organ.
bug^le. I. A hunting and military horn
in 3 or more keys (Bb, C, Eb) having
7 harmonic tones. 2. The key-bugle
with 6 keys (inv. in 181 5 by Halliday,
and named by him after the Duke of
Kent) has a chromatic compass b-c ' ' '.
3. Valve-bugle. Vide saxhorn.
bugle horn. A hunting-horn.
Bimnenweihfestspiel (ba'-ndn-vi-
f^ht-shpel), G. *• Stage-consecrat-
ing-festival-piece." Wagner^s name
for his opera *' Parsifal.'
Bund (boont), G. Fret, bundfirei.
Fret free. Vide clavichord.
Bunge (boong-^), G. A kettle-drum.
bungen (boong'-£n), G, To drum.
buonaccordo (boo-on-ak-kor'-do), Z
A child's spinet.
buono(-a) (boo-5-n5(a)), Z Good. b.
nota. Aji accented note. b. mano.
A skilful hand.
buras'ca, Z A comp. descriptive of
a storm.
bur'den. i. A regular refrain. 2.
The bass. 3. The drone.
burla (boor' -la), Z A quip, burlan'-
do, buries' CO, burlescamen'te. Fa-
cetious(ly). burles'ca, Z , burlesque
(bOr-lfisk), F, A travesty, burlet'-
ta, Z A light farcical work.
burre (bar), F. A dance melody.
bur'then. Burden.
busain (bQ-s&n), /*., Busaun (boo-
zown'), G. A i6-ft. reed-stop on the
pedal.
busna (boos'na), Z A species of trum-
pet.
bussone (boos-sd'-nd), Z Obs. instr.
of bassoon type.
button. I. The knob on a violin-base,
etc. 2. An accordeon-key. 3. A
leather-disk on the wire of a tracker.
86
THE MUSICAL GUIDE
bnx'ea tibia, bnx'us, Z. Ancient 3-
holed flute.
bys'syng^e songes. Early English
lullabies.
(For Gennan words not found here
look under K.)
C(G., C (tsa), /-.. ut; /..do.)
I. A musical pitch (mid-C or
c ' has 256 vibrations, ** philo-
sophical pitch " ; c", 522, in-
ternational pitch), c ' called middle-
C from its position on the piano
key-board, is the tonic or key-note of
the normal major scale. 2. All the
octaves of this pitch. 3. The major
key having neither flats nor sharps;
the minor key relative to E flat major.
C reversed, an old sig^ indicating a
decrease of one half of the note-
values. 4. Vide Time and Notation.
cabalet'ta, /. "A little horse." Hence
a song (usually a rondo with varia-
tions) with an accompaniment in trip*
lets suggesting hoof-beats.
cabinet d'org^e (k&b-i-na d6rg), F.
Organ-case.
cabinet organ. A small reed-organ.
cabinet pianoforte. An upright pi-
ano.
cabis'cola, L. Precentor.
caccia (kat'chsl), /. A hunt, alia c.
In hunting style.
Cach6e (kd-sha), F, Hidden (as
fifths).
cachucha (ki-choo'-chS), Sp. A dance
like the bolero.
cacofonia (ka-kd-fd-n€'-&), /., caco-
phonie (k&k-d-fd-ne), F., cacoph'-
ony, E. Discord, cacofon'ico, /.
Discordant.
ca'dence, E. (in F. ka-dins), ca'-
dens, L., cadenza (ka-d«n-tsa), /.,
Kadenz (ka-d^nts'), G. i. Literally
"a fall," hence, the subsidence of
a melody or harmony to a point of
rest ; thence any concluding strain,
rising or falling. Harmonic cadences
are of the following sorts : (a) When
the chord of the dominant is followed
by the chord of the tonic, with the
roots of both chords in the bass and
the root of the second chord doubled
in the highest voice, it is called a per-
fect authentic cadence ; when the
first chord has other than the root in
the bass, or when the hip^hest voice
does not take the tonic m the last
chord (takes the third for instance),
this cadence is called an imperfect
authentic cadence. Other names
for the authentic cadence are,
whole, p^ect, foil or complete
cadence; cadence parfiaite (pftr-
fSt), F, Toirkommene, or eigent-
liche (I-'kh«At-llkh-«)Kadenx, G, (b)
When the cadence is formed by a sub-
dominant chord followed with a tonic,
the cadence is called plagal (popularly
church or amen cadence) : cadence
plagale (pU-gftl), F.; Plagal'ka-
denx» G. (c) When a subdominant
chord is followed by a dominant and a
tonic, it is called a mixed cadence, (d)
When the mediant is prominent the c.
is called a medial cadence, (e) When
the tonic or some other chord is fol-
lowed by the dominant the cadence is
called a half-cadence« semi-ca-
dence, imperfect cadence, half-
dose ; c. imparfaite (ft6-^-f It) or c
sur la dominante or c. trr^guU^re
(ir-rig-nl-yftr), F, ; nnrollkommene
or MHtel Kadenx, C. (0 When the
chord of the dominant apparently pre-
paring a close, is followed by other
than the tonic harmony the progression
is called a deceptiTe, aToided, bro-
ken, interrupted, irregular or aur-
prise cadence; cadence ^vitte
(i-vY-t&) or interrompne (ftft-ter-
rdA-pa), or rompne, /. / cadenaa
d'ingann'o, c ainrgita (sfood-j2'-
ti) or fin'ta, /. ; Tmr'kadenz or
-schluss, or ab'gebrocnene K., G.
(g) When various modulations are in*
troduced between the dominant and
its tonic, the cadence is said to be
suspended ; or sospesa (sds-p&'-za).
/. (h) When any dissonant harmony is
followed by a consonance the French
call this a cadence pleine (plfo).
DICTIONARY OF TERMS
87
(i) A cadence of any Idnd in which the
chords have their roots in the bass is
called a radical cadence.
2. When the cadence is highly ornate
it is called fioritn'ra or fiorita (fe-o-
Te'-t2). So the word cadensa has
in English and Italian, and the word-
Kadenz in German, a wide use for
designating the florid passage preced-
ing the actual cadence. This may
be vocal or instrumental, may go up
as well as down, and may be written
cot by the composer or some other
musician or left to the skill of the
performer. This cadenza usually fol-
lows a sustained chord in the second
inversion (a 6-4 chord) with a fermate
or hold-mark over it (in F. poinU
d^orgut). The Germans accord-
xvs^y call this an anf's^haltene
Kadenz, the F, call it a pointe
d'orne.
3. Tne French use cadence of a
brief trilling ornament as c. brillan-
te, or c perl6e ; c. pleine is a trill.
4. Cadence is used of rhythm and
velocity also as the ** cadence** of
double-time in a military sense, is 180
steps to the minute.
'dent. An old ornament like a short
anticipation.
c(a)esura» ^., /., and Z. caesure
(s^-zQr), F, I. A minor rhythmic pause
dividing a line or period ; hence, 2.
The la^t accented note preceding a
caesnra. ctedetca. Aio-stringed
zither.
caisse (kfe), F, A drum. c. plate
(put). A shallow side-drum, g^sse
(grds) c The bass-drum, c roulan-
te (-roo-Unt). The side-drum, of
wood, caisses claires (k«s-klSr).
The drums.
cal'amnsy c. pastoralis, or tibialis,
L, A reed used by shepherds.
calan'do, /. Diminishing and retard-
ing.
calandro'ne, /. A small clarinet.
calaacione (ki-lii-shi-5'-n«), /. A 2-
stringed guitar of lower Italy.
calaU (kft-U'-ti). /. A lively dance in
2-4 time.
calcando (kal-kiin'-do), /. Hurrying.
Calcant (k&l'-k&nt), G, Bellows-tread-
er.
Calli'ope. i. The Greek muse of
heroic verse. 2. An instr. played by
an engine that Alls its metal pipes
with steam instead of air.
callithump'ian. Vide shivaree.
calma (k&l-mi), /. Calm, calma'to.
With calm.
calore (kS.l6'-r«), /. Warmth. Calo-
ro'so. Animated.
cambiare (kam-b!-ft'r^, /. To change.
nota cambia'ta. Changing note.
cam'era, /. Chamber, used in dis-
tinction from a large auditorium, as
musica di r., sonata di r., alia c.
camminan'do, /. Andante.
campana (k&m-pii'-nll), /. A bell.
campanel la (or o), /. A little bell.
campanile (ne-l€), */. A belfrey.
campanorogy. The art of nn^ng
or making bells, campano'ne, /
A great bell, campana'rum con-
certus, or modula'tio, L. Chimes.
campanarum pulsa'tor, Z. A ring-
er of bells.
canarder (kS-n&r-di). F. To imitate a
duck ; to couac.
canarie (ki-nft-re), F., cana'ry, ca-
na'ries, £., canario (kil-nS'-rY-o), /.
A lively old dance in 3-8, 6-8 or 12-8
time. Named from the Canary Isl-
ands.
cancan (kfti^-kan). A boisterous French
dance.
cancel. The natural sign, 9. cancel-
latum, L. Vide b.
Cancellen (k&n'-tsel-l£n), (7. Grooves
in an organ.
can'ciizans, cancrica'nus, Z., can-
crizzante (kan'-krtd-zfin'-t«), /. Re-
trograde. Vide CANON.
canere (ka'n^-r^), L. To sing ; to play.
cangiare (kan-jii'-r^), /. To change ;
to alter.
can'na, /. A reed, or pipe. c. d'an-
ima. Flue-pipe. c. a lingua. Reed-
})ipe.
cannon-drum. East Indian tomtom.
can'on (in F.^ kft-ndA), canone (kii-
n5'-n£), /., G, Canon or Kanon (k&'-
88
THE MUSICAL GUIDE
n5a). The most rigid form of imi-
tation, a subject (antecedent) being
followed accurately by an . answer
(consequent); once the playground of
musical ingenuity, all forms of com-
plication being indulged in. A ca-
non written put completely was full
or aper'to. Often only the anl;ece-
dent (or canon) was written out, the
consequent (now called fuga or con-
sequenza) being left to the perform-
er's skill ; this was called close or
chiuso (kt-oo'-zo) . I f the entraAces of
the other parts were indicated by cab-
alistic siens, it was a riddle-canon
(Riithsel-Kanon), or enigmatical
or enigmatico. Canons were named
by the interval between .answer and
antecedent and by the general treat-
ment as in Imitation (q. v.).
canonic hour% Vide hoilc.
cano'nici, L. The Pythagoreans, who
developed musical science from the
abstract mathematics of intervals ;
opposed to Aristoxenos and the har-
monici, who developed it from the
actual practice of music.
canUbile (kiln-ta -blf-ld), /. Lyrical.
cantajuolo (kan-t£-yoo-d'-lo), can-
tamban'ca, /. A street singer.
cantamen'to, /. Air ; cantilena.
cantan'do (k&n-tan'-do), /. In a melo-
dious, singing style.
can'tans, L. Singing.
cantan'te, /. A singer ; also a vocal
part. c. ariose. A form of melody
transitional between air and recita-
tive.
cantare (ta'-r€), /. To sing. c. di
maniera (man-ya'-ra) or maniera'-
ta. To sing with mannerism, c* a
orecchio (o-rfik'-kT-o). To sing by
ear. c. a aria. To sing with impro-
vised cadenzas.
cantarina (re'-na), Sp. A woman-
singer.
cantaU (k£n-ta'-ta), /., cantate (kiifi-
tat). F., Canute (kan-ta-t«), G.
1. Originally, something sung, in dis-
tinction to something played {sonata).
2. Now a work for chorus and solo,
often with orchestral accompaniment;
a short oratorio of a narrative style ;
a short opera not meant for the the-
atre, c. amoro'sa, /. A cantata hav-
ing love for its subject, c mora'le
or spiritua'le. A sacred cantata de-
signed for the church, cantatiria,
cantatille (te'-y(i), cantati'na. A
short cantata ; an air preceded by a
recitative.
canta'tor, L. A singer ; a chanter.
cantato're. /. A mate singer, can-
tatrice (tre-ch£). A female singer.
c. buffa. A woman who sings in
comic opera.
cantato'num, L. The Roman Oath-
olic book containing the music of the
Antiphonary and Gradual.
Canterei (kan'-t6-ri). G. i. The dwell-
ing-house of the cantor. 2. A class
of choristers.
canterellare (kin-t€-r«l-lfi'-r«), /. To
sing softly, canterellan'do. Sing-
ing softly.
canti camasdaleschi (c&r-n^sh2-l&'-
k£), canti camevali (k&r-n^va'-l€),/.
Songs of the carnival week.
canticles, E., can'tico^ /., cao-
tique (kan-tek), F. , can'ticum, L. i .
Biblical lyrics, the Song of Songs
(canticum canticorum). 2. A sa-
cred chant with scriptural text. 3.
The cantica majora include the
Magnificat, Benedictus and Nunc
dimittis. The cantica minora are
seven texts from the Old Testament.
can'tillate, E, To recite with occa-
sional musical tones ; hence, cantil-
lation.
cantilena (kan-tt-la'-nS), /. The mel-
ody ; air.
cantilla'tio, L, A singing style of
declamation.
cantino (te'-n5), /. The smallest
string.
can' to, /. I. A song ; a melody ; the
voice, col canto. *' With** (i. e.,
adopting the time and expression oQ
the voice or melody. 2. The art of
singling, as il bel canto, the old art
of allegedly perfect production. 3.
The highest part in concert music. 4.
The soprano voice. 5. The higb«*
DICTIONARY OF TERMS 89
csl string of an instrument, c a
Ci^^pella. Vocal music without ac-
companiment, c ambrosuuio. Am-
brosian chant (Vide cantus). c
Amonico. A part song, c del
The C clef on the first line, c coa-
certante (kdn-^rh^r-tan'-t^. The
treble of the principal concerting
parts, c cromat'ico. Chromatic
- melody, c. fermo. i. A chant or
melody. 2. Choral unison. 3. Can-
tos firmus. c. figurato. A fig-
ured melody instead of figured bass
(q. v.). c fiofit'to. A much
ornamented air. c fnne'bre. Fu-
neral song, c grego'riano. The
Gregorian chant, c piano. Plain
chant, c necesaa'rio. A princi]Md
part, c primo. The first treble or
soprano, c redtatiTO. Recita*
tive. c. ripie'no. Vide ripieno.
c nTdUi'to, The treble inverted,
c aecondo. The second treble, c
aimiilice. A simple song.
^aatolla'iio, Sp. Precentor.
taator, L, Singer, c chofalis. Pre-
centor. cantori are the singers that
sit near the cantor, .on the left side ;
opposite to decani, those on the dean*s
side.
can'tns, Z. i. A song ; a melody. 2.
The treble or soprano part. c. Am-
brosia'nns. The four chants intro-
duced by St. Ambrose, in the fourth
century, supposed to be derived from
Greek melodies, c. figura'lis (or
fi^^oratna). Mensurable music ; mel-
odv with figurate embellishment, c.
firmos. {a) The melody originally
given to the tenors, later to the so-
pranos ; (b) plain song ; (c) a theme
or air chosen for counterpoint ; this
air remains the same, i. e., ** firm," as
the different voices take it, while the
accompanying voices always change ;
in distinction to the c L they are
called the counterpciut (q. v.).
C cononataSy A c, fractus when
accompanied by a fa-burden, c
4ms. A song modulating into a
key with one or more sharps, almost
the tame as "major key.** c ecde-
•iasticiia. Church-music, particu-
lariy plain song ; also the singing of
the liturgv. clintctns. Broken mek>-
dy. c Gregorianns. A melody in-
troduced by St. Gregory, c planus.
Plain song. c. mensnrabilis. Reg-
ular, or measured, melody. Vide
MENSURABLE MUSIC. C. mollis. Soug
in the minor.
ca'mm, Tur, A Turkish zither.
cansona, canzone (k&n-tso'-nd), /.
1. A folk-song. 2. A part-song. 3.
An instrumental work, in two or three
parts, with passages in imitation,
somewhat like the madrigal, can-
sonaccia (nfit'-chli). A low song.
canzoncina (che'-n&). A short can-
zone, or song. c. sacra. A sacred
song, cansonety cansonnet'ta,
canzonina. A short canzone, can-
zoniere (tson-ya'-r£). A song-book.
caoine, caoineadh (kfi-en'-e-fi), Irish,
A funeral song.
capis'col. A precentor.
capis'tnim. A face bandage worn by
ancient trumpeters.
capo (k&'-po), /. The head or begin-
ning, da capo (return and play again),
from the beginning, capo a'opera,
capo-laToro. Master-piece, chief
work. c. Tiolino. The first violin.
capo-dastro, c. di tasto. Vide
CAPOTASTO. c d'instmmenti.
Leader, c. d 'orchestra. The con-
ductor.
capodastre (k&p-d-d&str), F. Capo-
tasto.
capo'na. A Spanish dance.
capotasto (ki-po-tiis'-to), /. i. The nut
of a fingerboard. 2. A strip fastened
across a fretted fingerboard and serv-
ing as a movable nut to raise the
pitch of all the strings at once.
cappel'la, /. i. A chapel, or church.
2. A band of musicians. A c. or
alia c (a) Without instrumental ac-
companiment, (b) Alia breve, da c
In solemn church style.
cappello Chinese (ke-ni'-z£), /. Vide
CHAPEAU.
caprice, £, and F., capricdo (kfi-
pret'-chd), /. A whimsical work of ir-
90
THE MUSICAL GUIDE
regular form, capricdetto (cMt'-t6),
/. A short caprice, capricciosamen'-
te, capriccio'soi /., capridense-
ment (kft-pres-jraz'-m^), capricieax
(Idl-pres-ytt), F. Capriciou8(ly).
captan'dum, ad, Z. Takingly, brill-
iantly. .
caput sdio'lae, L. Precentor.
caract^res de musique (k&r-ik-tAr
dii mtt-zik), F, Musical s>'mbol8.
caramillo (ka-r&.mery5), Sp, A flag-
eolet.
carattere (ka-rat'-tft-r€), /. Character,
dignity.
caressant (k&-r^siii'), F,, cares-
zando (kii-r£d-zlln'-do), caresse-
▼ole (za'-v6-W), /. Caressing ; ten-
der.
carica'to (ki'-to), /. Exaggerated.
carillon (kjUre-yd6), F, i . A set of fixed
bells on which tunes may be played
by hand or mechanism. 3. A com-
position suggesting or using bells.
3. The simultaneous clashing of
many large bells. 4. A bell-like stop,
c. k clavier, F, A set of kevs and
pedals, acting on bells, carillonner
(ka-re-y6-na'), F, To ring bells.
carillonneur (nOr), F. A bell-
ringer.
carita (kfi-re-tft'), /. Tenderness.
Carmagnole (kir-mln-ydl), F, A fa-
mous French revolutionary song.
It derived its name from the town
Carmagnola.
carmen, L. A song. c. natalitinm.
A carol of the Nativity.
carol. I. A song of joy and devotion.
2. Ballads for Christmas and Easter.
3. An old circling dance.
caro'la, /. A circling dance, resem-
bling the Carmagnole, carolet'ta.
A little dance.
Carrie (k^r-ra), F, A breve.
carrure des phrases (k&r-rOr-da fr&z),
F. The balance of the phrases.
cart'el, £., cartellc (kir-tdl), F. i.
The Brst draft of a score. 2. A sheet
of hide or varnished cloth on which
music could be sketched and erased.
cartellone (lo -n£), /. A catalogue of
operas to be peiformed.
cas'sa, /. The drum, c grmnde, c
militare. The great drum. c. ar-
monica. The body (as of a *cello).
cassa'tio, Z., cassasione (k2s-sii'-
tsl-o-ni), /. I. The final number.
2. A serenade consisting of instru-
mental pieces.
castas^netta (kis-tin-y£t'ta), /., cas-
tanettes (k&s-an-y^t), /*., castag:-
noTe (kis-tftn-v5'-ld), casUfiet-
as (k&s-tftn-vatfts), castannelas
(klU-tiUi-yoo-a-lAs), Sp.^ castanhe-
ta (kis-tftny&'-ta). Port., castanets,
E. Small, concave shells of ivory or
hard wood, carried in the hand and
rhythmically snapped by dancers in
Spain and other countries.
castrato (kils-tr&'-td), /. An artificial
male soprano or alto ; a eunuch.
catch. A round in which the singers
catch up their lines at the cue ; usu-
ally with humourous and ambiguous
effect.
catena di trilli (kft-U'-nfi), /. A chain
of trills.
catgut. A small string for violins,
made of the intestines of sheep and
lambs, rarely of cats.
catling. A lute-string of smallest size.
cattivo (kfit-te'-v6), /. ** Bad." c
tempo. The weak beat.
catzoze'rath. Hebrew trumpet.
Cauda, L, The tail of a note.
cayallet'to, /. i. A cabaletta. 2. A
small bridge. 3. The break in the
registers.
cavata (kiUvil'-ta), /. i. Tone-pro-
duction. 2. A redtative ; a cava-
tina.
cavatina (kft-vS-te'nft), /., cavatine
(k&v-&-ten), F, A melody of one
strain only.
c-barr6 (Ut-bJlr-ri), /". Vide barred c
c-clef. The tenor clef ; wherever it
stands it indicates middle C.
C-dur (tsa-door), G. The key of C
major.
cebeir. A theme in common time with
variations and alternation of high and
low notes. A sort of English gavotte.
cedlium (stt-se'-ll-tt6), F. A key-board
reed instr. the size and shape of a
DICTIONARY OF TERMS
9»
*oello, the left hand playing keys, the
right working bellows.
cedes (si-da), ^. Decrease !
celamnstel (sa-la-ma-st^l), F, A bar-
momum with unusual imitative stops.
celere (cha -la-re), /. Rapid, celenti
(rt-ta). Rapidity.
ctieste (sa-l£st), jF, Celestial, applied
to stops of soft, sweet tone, and to a
piano pedal of the same effect.
celestina (cha-l^te'na), /. i. A 4-ft.
stop. 2. A tremolo stop in reed or-
mms.
cell. Vide ellis (b. d.).
'cello (ch^rio). Abbr. and common
Dame of vioUnuello. cello'iie. A
'cello inv. by Stelzner gaining in-
creased sonority by its methc^ of
strinfixM^.
cembalo (cham'b£-16), cembolo (cham'-
b6-15), /., cembal (siUi-biU), F. i. A
harpsichord. 2. Ac3rmbal. cembalis-
ta, /. A player on either, cembal d'-
amonr, F. A very large harpsichord.
tutto il c, /. Loud pedal, c onni'-
cordo, /. Proteus, cembalist, E,
A player on the harpsichord.
cembanel'la, cennameria, /. A
flute.
cent, E. The hundredth part of an
equal semitone. Vide Ellis (b. d.).
cento (chin'-td), cento'ne, /., centon
(sin-tdn), F. I. The Gregorian an-
dphonary. 2. A patchwork or med-
ley.
cercare (ch&r-kil'-r£), /. To search, c.
lanota. A common effect in sing-
ing where a note taken by skip is
li^tly anticipated with a short g^ce.
cerValet, cerrelat. An obsolete clari-
net.
Ces (ts^), G. The note C flat. Ces-
es. C double flat.
cesnra, cesore. Vide C/Csura.
cetera (cha'-t«-ra), /. A cittern.
C i Abbr. of Canius firmus,
cha chi (chi-che), Chinese, A chro-
matic kin.
Chacon a (ch£-k5'-nil), Sp.^ chaconne
(sh&-kftn), A, daccona (chftk-kd'-
na), /. A slow dance probably Span-
ish in origin; in 3-4 time with a
groundbass ; almost alwajrs in major,
in contrast with \!ti^ passacof^Ua ; and
generally in form of variations.
cnair org^an. Vide choir organ.
chalameau, E,, chalumeau (sh&l-tt-
m5), F., Chaiamau, Chaliimaus
(shal'-i-mows), G. i. An ancient
pipe blown through a calamus, or
reed. 2. The low register of the
clarinet ; as a direction it means ''an
octave lower," being cancelled by
clar, or clarinet, 3. The chanter of
a bag-pipe.
chalil (ka-lel), Heb, Hebrew pipe or
flute.
chalotte (shU-ldt'). A tube to receive
a reed.
chamber music. Music composed for
a small auditorium, as a string quartet
or a pianoforte trio.
chamber-organ. A cabinet organ.
Chang. A Persian harp.
change, i. A tune rung on a chime.
2. Vide MODULATION. 3. Mutation.
4. (a) changing-note. A note for-
eign to the immediate harmony and
entering (unlike the passing-note) on
a strong beat ; when two or more ap-
pear simultaneously they make a
changing^hord. (b) In old counter-
point, a passing discord entering un-
accented and then skipping.
changeable. Used of chants that may
be sung either in the major or minor
mode.
changer de jeu (sh^-zha dtt zhfi), F,
To chanee the stops.
chanson (shfin-sd6), F, A song; a
ballad, c. bachique (b^-shek). A
drinking-song. c. des rues (da-rtt).
A street-song ; a vandeville. chan-
sonnette (n^t). A little or short
song, chansonnier (stin-ya). A
song-writer ; a book of songs.
chant. I. Originally a song, and still
so meant in the French word (vide be-
low), since the Gregorian time used of
vocal music marked by the recitation
of many syllables on one tone, and
employed tor prose texts such as the
Canticles and Psalms. There are two
sorts of chant, the Gregorian and the
92
THE MUSICAL GUIDE
Angrlican. (a) The Gregorian is a short
tune to be repeated in successive sec-
tions of prose ; it has 8 tones and is in
four parts ; the intonatiou (or incko-
atio) or opening notes ; ihit first recit-
ing note (or dominant) ; the mediation ;
the second reciting note (ox dominant) ;
the termination Ending or cadence),
(b) The Anglican omits the intonation
and differs in the rhythm and mode
but has the same monotone recitation
with modulations in the middle (me-
diation) and end (termination). The
Anglican has two parts of 3 and 4
measures, 7 in all ; this is the single
chant, there are also double^ ^^ipU^
and quadruple forms of proportionate
length. In chanting, the fitting of the
unequal phrases to the music is called
, pointings and consists of reciting them
strictly within the duration of the notes
except those of the ist and 4th meas-
ures which are enlarged to fit the
words. Words to be sung to the ca-
dence are cut off from Uiose to be
sung to the reciting-note, by a verti-
cal line called the cadence-mark. 2.
Any recitation of chant-like character.
3. A tone. 4. A cantus firmus.
5. Vide PLAIN-CHANT. 6. Vide
CHANGEABLE. 7. Free-chaiit. A
form in which the hemistichs consist
of only 2 measures. 8. Roman Chant-
Gregorian. 9. Phi7(rian dutnt.
One intended to provoke wrath.
chant (sh&A), F, Song; tune; vocal
part. c. amoureux. Love song. c.
d'^glise, or er^gorien. Gregorian
chant, c. 6gal, c. en ison. Chant on
one tone, or with one interval of two
tones, c. fignir6. Figured counter-
point, c. fnnebre. Funeral song. c.
royal, A sacred song ; or a prayer
for the monarch ; the mode in which
such prayer was sung, c snr le llTre,
i. e., ** on the book," vocal counter-
point extemporized on a printed
cantus firmus.
chanter, E. i. One who chants.
arch-c. The leader of the chants,
s. The tenor, or melodic pipe of a
bag-pipe.
chanter (shSA-tfl), F, To sing, c 4
liTre ooTert (ft liv-roov^). To sing
at sight. chantant(e). Lyric, basse
c Vide BASS. caf6 c. (ki.fft.4iift6-
tftA). A music hall. chant6(e) (shftA-
t&). Sung, chanteor (ense). A
male (female) singer, chantoiiner.
Canterellare.
chanterelle (shftnt-i&-r«l). F, The
highest and smallest string of an
instrument.
chanterie (shftJi-trS), F. chantry, E.
A chapel endowed for daily mass.
chanterres (shiii-t£r), F, loth cen-
turv ballad-singers.
Chan tor, E. A singer in a cathedral
choir.
chantre (shftAtr), F, Choir- leader,
grand c Precentor, second c« A
chorister.
chapean (shft.p5), ^. A *' hat ; *' a tie.
c chinois (sh€n-wft). A set of small
bells arranged on a frame like a Chi-
nese hat. Cf . CRESCENT.
chapel. Musicians in the retinue of a
great personage.
chapelle (shft-pil), /*. Cappella.
characteristic. Strongly individual
in character, or mood, used of a com-
position (as Charakterstiick, ^.). c
note or tone. The leading-tone or
any tone peculiar to a key. c chord*
The principal chord. Charakter-
stimme, G, A solo-stop.
charivari (shft-rY-vft'-rT), F, ATide
SHIVARBE.
chasse (shfts), F, The hunt. 4 la c
In hunting style.
chatsoteroth. A Hebrew trumpet.
che (k&), /. Than, that, which.
che chi (kft-ke). One of the eight
species of Chinese music.
chef (sh«0> ^' Leader, chief, chef-
d'attaqne (d&t-tftk). i. The leader.
or first violin. 2. Leader of a cfaoms.
chef-d'cenTre (sha-diivr). Master*
piece, chef-d'orchestre (sh€f-d^.
kfotr). The leader, ch. dn chaat.
Leader of an opera chorus,
cheipour. A Persian trumpet.
chendonising. Singing a spring or
*' swallow song.**
DICTIONARY OF TERMS
93
ch^js. I. Vide LYRB. s. Old name
for TioL
cheof^ (chtej:). A Chinese mouth-or-
gan, a goivd with many free reeds ;
H suggested the inrention of the har-
«
monnm.
cImbs^ chi (chfog-che). One of the
e^nt species of Chinese mosic.
ckcmb'ical hjmii. The Prisagion.
chest of viols. A group or set of
▼iols, two basses, two tenors, and two
trebles.
chest tone, chest voice. The lowest
register of the voice.
chevalet (sh^r-i-U), F, Bridge.
cheviUe (sh^ve'-yS). F, Peg.
chevroter (sh^v-r^U), F. To bleat
Hke a goat, hence, chevrotemeiit
(sh£-Trdt-md6). A tremor or shake
in singing.
chiaresta'at, /. An Italian country
chiarina (k€.«-T« ni), /. A cUrion.
chiaffO(ke-i'-rd), /. Clear, pure, chia-
famea'te. Brightly, purely, chia^
resxa (riki'-zt). Clearness, di c
Clearly.
chiaTO (ke.i'-T<), /. i. A clef. 2.
Key. 3. Tuning-k^. 4. A failure.
5. c naestro. The fundamenul
key or note.
chiavette (vdt'-t«), /. //. Transposing
clefs of the i6th century ; of which
the hig^h c indicated that its line was
to be read a third higher, the low c,
a third lower. Thus the C clef might
indicate e or eh ; or a, or alt
cUcketa (kS'-k^-ril) or chikaiah. A
Hindu bow instrument.
cfaiesa (ke-&'-z2), /. A church, da c
For the church, or in sacred style, as
s^maia or concerto da chiisa^
€bUb^ (shtfr). F, A figure in thor-
ough bass, basse chifr^(shlf-fri).
Figured bass.
chUbaie (shd-f&.n€'). F- Old name
lor hofdy-gurdy.
cUne. A set of bells tuned to a scal^.
cfatflM-barreL Portion of the mech-
anism for ringing a chime.
chteaej. A tube in the cap of a
stopped pipe.
Chinese Ante. Bamboo flute.
Chinese hat. Vide chapsau.
Chinese scale. Five notes without
semitones ; the music is written on
five perpendicular lines, the pitches
indicated by distinctive names.
chinnor, chinor. Vide kinnor.
chirimia (che-re-me'-ft), Sp. The oboe ;
clarion.
chirogym'nast. A mechanical con-
trivance for exercising the fingers.
chi'roplast (kfrd). A device of gloves
and bars, inv. 18 14 by Logier, to
keep the hands and finp^ers of piano-
players in the right position.
chitarra (ke-t&r'-r&), /. i. A guitar, a
dthara. c coll' arco. A violin with
guitar-shaped body, chitarris'ta.
One who plays on the guitar, chit-
tarrina (re'-n&). Small Neapoliun
euitar. chitarro'ne. A double guiur.
cmtema (k€-t^r'.n&), /. Quintema.
chinso (ke-oo'-zd), /. Ck>sed. Vide
CANON and bocca. chinden'do.
Closing.
Chladni^s figures. Vide nodal fig-
URBS.
choeur (kttr), F, Choir, chorus. 4
grand c For full chorus.
choice note. An alternative note.
choir. I. A body o( singers usually in a
church. 3. Their place in the church.
3. A subdivision of a chorus or or-
chestra, c organ. Vide organ.
ffrand C The combination of all
Uie reed-stops.
Chor (kdr), (7. Same as Choir i, 2, 3 ;
also on the piano, or or^an, a unison,
i. e., all the strings or pipes belon^ng
to one digital or pipe ; nence a piano
with 3 strings to each tone is drei-
chdrig.
chora'g^Sy chore' g^s (ko). The do-
nor of a choral or dramatic work. At
Oxford the director of Church music.
cho'ral. Pertaining to a choir or cho-
rus, choral service. A service in
which the entire liturgy is intoned or
chanted.
chorale, Choral (kd-riU), (7. i. Chor-
al psalm or hymn. a. Early German-
Protestant hymn.
94
THE MUSICAL GUIDE
chora'leon. Vide .colomslodicon.
choraliter (kd-ril'-Y-t^r), cboralmas-
sig^ (m$s-sikh), G, In choral style.
Choramt (k6r'-&int), G. Choral ser-
vice.
choraul'es. A Greek flutist.
chord. I. A string. 2. Vide vocal c.
3. A combination of three or more
tones, whether pleasant or discord-
ant.
The chords which are the building.ma-
terial of all our music are made up of
thirds laid brick-wise one upon an-
other. A single third is not counted
a chord, two thirds (for instance the
two intervals, g-b-d) make up a triad ;
another third (d to f) makes a chord,
called a seTenth (g-b-d-f) because the
interval (q. v.) from g to f is a sev-
enth ; adding another third gives a
chord of the ninth or a ninth
chord (g-b-d-f-a), two other additions
give the chords of the eleventh and
thirteenth (g-b-d-f-a-c-e) (these last
are usually cacophonous, and their
existence as special chords is denied
by some theorists). To add another
third brings us back, on the tempered
scale, to g, from which the chord grew
and which is known as the fnnda-
mental or root of the chord.
Chords are distinguished in mode, as
major or minor, from the majori^ or
minority of their intervals, a minor
triad differing from a major in hav-
ing a minor tMrd, the fifth being per-
fect in both cases. When the chord
has been constructed as above ^-b-
d-f) it is said to be in the first or
root or fundamental or perfect po-
sition; it may re-appear with any
of its notes as the lowest (though %
always remains the root). When the
3d (b) is in the bass, it is said to be
in the 2d position; when the fifth (d), it
is in its 3d position. With any of its
notes other than the root in the bass
the chord is said to be inverted. The
names of these iuTersions have been
cumbrously taken from the intervals
between the lowest note and the others,
no interval being statec^ in terms of
over an octave, the greatest interval
being named first, and some of the in-
tervals being unmentioned, especially
those of doubled notes : thus the in-
tervals in that inversion of a seventh
chord in which the seventh is in the
bass might be, counting upward, 11
(-4), 16 (-2), 20 (^), but it woold be
called, for short, a 4«2 chord, or chord
of the second and fourth.
In the following table the names of all the inversions are given. In thorough-
bass these inversions are indicated by Arabic numerals above the bass notes.
5 8
A triad in the root or fundamental position is marked — % or 3 or 5.
3
A triad in the ist inversion is called a chord of the ^h and marked 6.
A triad in the 2d inversion is called a chord of the 4th and 6th or a six-four
6
chord and marked 4. 7
A 7th chord in the root or fundamental position is marked 7 or 5.
3
A 7th chord in the ist inversion is called a chord of the 5th and 6th or a siz-fire
6 6
chord, and marked 5 or 5.
3
A 7th chord in the 2d inversion is called a chord of the 3d, 4th and 6U1, or a
6
four-three chord and marked 4 or 4.
3
mmmum
DICTIONARY OF TERMS
95
A 7th chord in the 3d inversion is called a chord of the 2d and 4th or a four-
4 6
t^ro chord and marked 2 or 4.
2 99
A 9th chord in the root or fundamental position is marked 9 or 7 5 according as the
3 3
5th or 7th is omitted.
A line or dash through any Arabic nu-
meral as 2^ means that the note it
represents Is sharpened; it may be
also preceded by a natural or flat.
A sharp or flat standing over a bass
note means that the tAird of the
chord is to be sharpened or flattened ;
a dash or horizontal line following a
numeral continues its tone in the next
chord.
The character (but not the inversion)
of chords majr be indicated by Roman
numerals indicating the d^^ee of the
scale on which they are foimded, the
scale being noted by a large letter for
major (as C), and a small for minor
(as c). Thus IV means a triad on
the fourth dc^pree with a major third
and perfect mth ; iv. a triad on the
fourth ^egrree with minor 3d and per-
fect fifth. An accent after the numeral
Indicates an augmented fifth, as IV';
a small cipher indicates a diminished
fifth, as VII^ ; a small 7 indicates a
chord of the seventh. These devices
are an heirloom from an age of little
modulation and formal counterpoint ;
they were shorthand then, but to our
music they are handcuffs. They have
only a dry text-book career, and alert
theorists are rapidly denying them
the right even to this existence.
Other kinds of chords are character-
istic, the leading chord ; chromatic,
containing a chromatic tone ; com-
moiiy a triad ; accidental, produced
by anticipati<Mi or suspension ; al-
tered, having some tone chromatical-
ly changed with modulatory effect (one
of the bugaboos of the theorists), vide
altered; anomalous, vide anom-
aly; auffmented, having an aug-
mented fifth ; broken, vide broken ;
dtfinttiTe, formed by inversion ; di-
atonic, a triad ; diminished, having
an imperfect 5th and diminished 7th ;
dominant, the triad or 7th chord on
the dominant ; doubtful, equivocal,
resolvable in many ways, as the di-
minished 7th ; imperfect, having an
imperfect fifth, or having some tone
omitted ; leading, the dominant
chord ; related or relative, con-
taining a tone in common ; solid,
opposed to broken ; threefold, a
triad ; transient, modulatory.
chord's, L. A string; a note. c.
characteristics. The leading note.
c dominant septima. The domi-
nant chord of the seventh ; no'na, the
ninth, chordae essentia'les. The
tonic, third and fifth, chordae Toca'-
les. Vocal chords.
chordaulo'dian, chordomelo'dion. A
large automatic barrel organ, inv. by
Kaufmann, 18 12.
Chordienst (kdr'-dinst), G. Choral
service. Chordirektor. A director
who trains a chorus at the opera
house.
chordom'eter. A gauge for measuring
strings.
Ch5re (kir'«), G. plural. Choirs, cho-
ruses.
Chorist', (7., choriste (kd-rest), F.,
chorister, £. i . A leader of a choir.
2. A choral singer. Chorsiinger,
C.-schttler, C.-knabe (k6r'.kna.b€),
G. Choir-bov.
Chorstimme (k6r-shtYm-m£), G. Cho-
rus part.
Chorton (kdr-ton), G, ' ' Choir-pitch.'*
I. The pitch at which choruses for-
merly sang in Germany. 2. Choral
tune.
chorus. I. A company of singers ; es-
pecially in opera, etc., the support-
ing body of vocalists who do not
96
THE MUSICAL GUIDE
sing solos. 2. A composition for a
chorus, usually in 4 parts — a " dou-
ble chorus *' requires 8 parts. 3. A
refrain. 4. The compound stops. 5.
The bagpipe, or drone-pipe. 7. Ma-
rine trumpet. 8. The free-staves of
the crwth. chorusmaster. The
chief singer in a chorus.
chontarah. Vide tamboura.
Chris'te eleison (i.U'»€-s5n), Gr,
** Christ have mercy;** part of the
Kyrie.
Chnstmeste, Christmette (krest'*
m^-t£), G, Christmas matins.
chro'ina, Gr. i. A chromatic modifi-
cation of the Greek tetrachord. 2. A
sharp or a flat. c. duplex. A double
sharp. 3. c. diesis. A semitone.
4. (Or c. simplex.) An eighth note.
c. duplex. A i6th note.
chromam'eter. A tuning-fork.
chromat'ic, chromatique (tek), F.^
chromatisch (m&'-tYsh), G., cro-
mat'ico, /. i. Literally, ** col-
oured** and implying a foreign or
added tinge, specifically that given to
the sober diatonic notes natural to
a key, by an unrelated sharp, flat or
natural that is not of modulatory
effect. A whole scale may be chro-
matic (i. e., progress by semitones) ;
a chord, an interval or a progpression
altered by a flat or sharp is called
chromatic, and the process of so mod-
ifying it is called c. alteration ; an
instr. plaving semitones is called C,
and the signs themselves that sharpen
or flatten a tone are called c sigfiis,
or chromatics. 2. Vide modes.
chronom'eter. Metronome, particu-
larly Godfrey Weber*s.
chronom^tre (kr6n.6-m^tr), F. A form
of monochord inv. 1827, by Raller, to
teach piano-tuning.
chrotta (krot'ta). Vide crowd.
church cadence. The plagal cadence.
church modes. Vide modes.
chute (shut), F. An obsolete sliding
embellishment.
daconne. Vide chaconnb.
ciaramella (ch&-rJUm€l'.U), /. A bag-
pipe.
cicMrna (ch£-c5n-yft), /. Mouthpiece,
dcu^ L, A Pan*s pipe.
cicutrenna (che-koo-trSn'-na), /. A
pipe,
dfral
Lto (che-frft'-to), /. Figured.
dmt>alo (chem'-biUlo), /. i. Cymbal.
2. Tambourine. 3. Harpsichord or
dulcimer.
cimt>alon. Vide czimbalon.
Cimbd (tslm'-bdl), G. A high mixt-
ure stop. Cimbelstem. A group
of star-shaped cymbals attached u>
old organs.
dnelli ^he.n«r-le), /., Cinellen (ts^
n«r-l«n), G. Cymbals.
Cink(tsYnk), G. i. A small reed-stop.
2. Vide ziNK.
dnq (s&&k), F„ dnqne (chen'kw€)» I.
Five ; the fifth voice or part in a
quintet, a c.~~in 5 parts, dnqne*
pace (s&nk-p^). Old French dance
m quintuple time.
dn'Tra. Old name for harp.
dpherin^. The sounding of organ
pipes, ¥dien the kevs are not toadied,
due to leakage, cipher system. An
old notation using numerals instead of
letters.
drde of fifths. A method of modo-
lation by dominants. Vide temper-
ament and preliminary essay, intro-
duction TO MUSIC.
circular canon. A canon gdn^
through the major kejrs.
circular scale. The curved row of tun-
ine-pins.
Cis (tses), G. The note C sharp. Ci»*
is. C double sharp. Cis-dur. C #
major. Cis-moll. C # minor,
dstel'la, L. A dulcimer.
dstre (sestr), F. Cither.
dstrum, L, Vide sistrum.
dtara (chc-ti'-r«), /. Cither,
dtaredo (the-tS-r&'-dhd), i^.,
(che-Ui-res'-til), /. A minstrel, a player
upon the harp or cittern,
dtema (che-t<r'-n&), /. Quintema.
dth'ara, L. The lai^ lyre_from yr^oAfAk
the euitar and zither are derived, c
biiu ea. A 2-necked c c liispsanica.
The Spanish guitar, keyed c The
, davidtherium. dth'aria, Tbetlie-
DICTIONARY OF TERMS
97
ofbo. dtharoe'dns. A singing lu-
csth'er, csthen, dthern, dttem,
cjtlioni. An old guitar-like instr.,
strm^ with wire and played with a
plectrom ; sometimes with a bow, or
oy means of keys.
ctto'le. A dulcimer.
ctt'tam. Ancient English guitar.
dretteria (che.v«t.te-r€'4l), /. Co-
qnetry.
dur(kUr), /: Clear, shrill, loud.
dAircylindre (kUlr^U&dr), F, Vide
CLAVICYUNDBK.
dairon (kUr^, F. i. Trumpet, a.
Reed-stop. 3. Vide clarinet. 4.
A bugler.
daagr. I. A bell-tone. 3. In acous-
tics a fundamental tone with its group
of over and under-tones, their com-
pleteness giving the danjg'-coloiir or
danc^iiit, Tyndall's word.
dangn-kej, £., Klangsdilttssel, G,
Riemann's word for his system of
chord designation intended to supplant
tboroagfa-Dass as a better method of
describing a combination by its quali-
ties. Intervals are reckoned, not from
the bass, but from the principal tone
of each chord. He uses Arabian fig-
ures for major, Roman for minor
chords, the former indicating an inter-
val upwards from a tone, the lat-
ter an interval below, as follows:
I (I). Principal tone. . 2 (II). Major
ad. 3 (III). Major 3d. 4 (Iv).
Perfect 4th. 5 (V). Perfect 5th.
6 (VI). Major 6th. 7 (VII). Mi-
nor 7th, 8 (VIID. Octave. 9 (IX).
Major gth. 10 (X). Major loth.
< indicates raising a tone by a semi-
tone. > Lowering it a semitone;
** tones doubly rais^ or lowered be-
ing inconcdvable musically." The
major chord (or upper-clang) is ab-
breviated 4- (for 5-3-1), the minor
chord (or under-dang) is abbr. o (for
I-III-V)— thus a+ or ao. Feeling that,
for instance, the tone C in the major
triad ab-c-ct^ has a different meaning
from dbe tone c in the minor triad
he has coined for this "sob-
stitation of citings ** the word
Klangrertretnng (klfing'-f^-tra'-
toongk). dang^snccession is a
chord-progression with regard to its
dang-meaning, that is, a tonality
which does not consider every chord
in its proper absolute key but in its
relation to some other chord to which
it plavs the part of prindpal or re-
iatea dang. Fuller particulars of
this interesting philosophy must be
sought in Riemann's Dictionary of
Music, and other of his writings.
daqnebois (kUk-bwfi), F, A xyk>-
phone.
dar. Abbr. of Clarinet,
darabd'la, /.. A soft-voiced wood
organ-stop.
danbel flute, i. A flute. 3. A 4-ft.
clarabella.
dar'idiord, darico'lo, dar'igold. An
old harp, or a clavichord.
Clarin (kUUren'. G. InF, klllr-^). i.
A clarion. 2. A 4-ft reed-stop.
Clarinblasen. Soft notes of the
trumpet.
dar'inet, darinette (na), F, dari-
netto, /. An important wood-wind
instr. with a single beating reed, cylin-
drical tube and bell. It is in effect a
stopped pipe (q. v.) and sounds an
octave lower than other wood-wind
of its length ; it has only the odd-
numbered partials in the overtone-
scale, and requires a different fin-
gering from the oboe, etc. It has
id holes, including 13 with keys, by
means of which it has a range of
3 octaves and a sixth, which range
is sharply divided into four distinct
qualities of tone: i. The highest,
or superacute, being (in the normal
soprano clarinet in C) d'" -c"". 2. The
high or clarinetto or clarion regis-
ter (whence the instr. took its name)
b'-c'". 3. The medium, f -b>. 4. The
chalumeau (shiU'-u-md) or SduUmei
(shal-ml) g-e ; the qualities being re-
spectively. I. Shrill. 2. Liquid and
clear. 3. Veiled and feeble. 4. Rich
and sonorous like a contralto voice.
The clarinet is a transposing instr.
HfeiAi
98
THE MUSICAL GUIDE
written in the C clef ; it is made in
many sizes to adapt it to different
keys ; the lar^^ soprano in C, Bb (of-
ten called simply '* clarinet in B *') and
A ; the small soprano in D, £, F,
A|> ; the alto or barytone in F and
£|7, the bass (an octave lower than
the sopranos) in C, B b and A. The
soprano in B [^ is the most brilliant ;
the soprano in A is very tender in tone.
The small sopranos are too shrill
for use except in military bands in
which the clarinet group serves the
substantial purpose served by the
strings in the orchestra.
The clarinet is an improvement (made
by Dcnner of NUmberg, 1700) upon
the old chalumeau or Schalmei,
whose name still persists in the low
register of the clarinet. The ch. had
a single, beating reed, a cylindrical
tube and nine holes, each of which
produced a tone giving a compass of
these natural tones, f -a'. By plac-
ing a hole and a key at a nodal point
dividing the tube into 3 equal parts,
overblowing became possible in the
twelfth, i. e., the 3d partials (vide
acoustics). This new register was
called claritutto or clarion for its
clarity of tone, and from this word
came the present name of the instr.,
all of whose gaps have been filled by
means of the B5hm key-mechanism,
etc., though the fingering is still dif-
ficult and a slip gives a squawk called
the ** goose " or couac,
2. A soft 8-ft. reed-stop, clarinet
flute. A flue-stop with holes in the
cover.
clarino (klil-re'-no), /., clarion, E,
(in F. kl&r-ydn). i. A small trum-
pet. 2. A 4-foot organ reed-stop, an
octave above the trumpet. 3. The
trumpet parts in score, c. harmon-
ique. A reed-stop.
clarionet. Obsolescent spelling of
clarinet.
clarionet-flute. A stop.
clarone (kla-ro'-n£), /. A clarinet.
cl&rseach (kl£r'-siikh). clarseth (kUr^.
sQ. The old Irish harp.
claus'ula, L. A dance.
clavecin (kliv-sfth), F. i. The harpsi-
chord. 2. The keys a bell-ringer
plays on. c. acousticjue. An instr.
of the i8th cent, imitating various
instruments.
Claviatur (kla-ff-a-toor), G. The
key-board.
clavichord. Protot3rpe of the piano,
the strings being set in vibration not
by hammers, but by small brass
wedges (called tangents) on the ends
of the keys ; these set only one sec-
tion of the string in vibration.
davicyl'inder. An instr. inv. by
Chladni, about 1800, "tonsisting of
cylinders of glass attuned.
davicymbalum, Z., davicem'balo, /.
The harpsichord.
clavicythe'rium, Z. An upright harp-
sichord of the 13th Century.
Clavier (clftv-ya. /'.. in ^. kUl-fer).
I. The key-board. 2. An old name for
the clavichord. 3. c. de r6cit. The
swell manual. 4. In French use, the
gamut included in the stave. 5. Vide
KLAVIER.
clav'iSy L, and G, i. A key. 2.
A clef. 3. A note. 4. Handle of a
bellows
cl6 (kl&),'clef (kla), F, (In English
pron. ••kl€f.") A florid form of a
letter, used as a symbol with a fixed
note-meaning, from which it takes its
name, as the so-called ** c " clef de-
noting that whichever line it £^ps is
middle C (c'). The most conmaon
clefs are the " G^** (or treble c or
clef soil or clef descant, or vio-
lin c.) which is always seen now on
the 2d line; the F. (or bass or c
de fay). (These two are those used
in piano music.) The C (or clef d*at)
is used movably and is called the
soprano (or German soprano) or
discant c. ; or the alto ; or the tenor
(or mean or counter-tenor) clef, ac-
cording as it is placed on the first,
the 3d or the 4th line, in each of
which cases it marks middle C. The
C clef is found in various forms and
is still used in music for the *cello and
DICTIONARY OF TERMS
99
Other instruments and in contrapuntal
writing.
The obsolete clefs are "the F on the
3d line (the barjrtone clef), the C on
the 2d line (the mezzo soprano), the
G on the ist line (the French ▼iolin,
or French treble cleO*
dear flute. Organ-stop.
clef d'accordenr (d&k-k6r^tir), F,
Tuning-hammer.
doc'ca, L., cloche (klosh), F. A bell.
dochette. A hand-bell.
dock. To swing the clapper of a sta-
tionary bell.
dog, Irish, A shuffling dance.
doro'ne, /. Alto clarinet.
dose (kloz). A cadence.
dose harmony or position. That in
which the chords spread over little
^ce ; when a chord extends beyond
an octave it is said to be in open po-
sition.
dose play. Lute-playing in which the
fingers remain on the strings.
dose score. That with more than one
voice on a stave.
C-moll (tsa-mdl), G. The key of C
minor.
c. o. Abbr. of choir-organ.
coalotino (k6-a-16t-te'n6), /. Concer-
tino.
cocchina (k5k-ke'-na), /. An Italian
country-dance.
coda. /. *• Tail." i. An additional
termination to the body of a compo-
sition, ranging from a few chords to
a long passage. 2. The stem of a
note.
codet'ta. i. A short coda. 2. A
short passage in fug^e, between the
end of the subject and the entry of
the answer.
co'don, Gr. i. A little bell. 2. The
bell of a trumpet.
coelesti'no (or-a). A name formerly
applied to various keyed instruments.
coffire (k5fr), F, The frame of an
instrument.
cogli (kdl'-ve). coi (ko -e), col, coll*,
colUt, coUo, /. Forms of the prepo-
sition **con," and the definite article
meaning "with the."
colachon (kd-l&-shdn), F, An instr. like
a lute with longer neck.
colascione. Vide calascione.
collet (kdl-la), F. The neck, as of a vio-
lin.
collinet (kdl-lY-na). A flageolet, named
from a famous virtuoso on it.
colofo'nia, /., colophane (kdl-o-f&n),
F., Colophonium (k6-16-fo'-nY-oom),
G,, corophony, E. Resin.
colorato (ko-lo-rfi'-to), /. Florid.
coloratura (kd-15-ra-too'ri^) (pi e), /.,
Coloraturen (k6-16-ra-too'-Hfn), G,
Ornaments and ornamental passages,
in vocal or instrumental music ; brill-
iant vocalization.
colons (ko-lo-re'), A, Colorit (ret'),
G. The •* colour "-scheme of a work.
colour. I. Vide notation. 2. Timbre.
3. Literally colour ; to some minds
each tone, or each key, has a distinc-
tive actual colour, as C is red to some,
C # scarlet, C fl blood red, C (? darker,
etc. The Editor has even met a
painter who claimed the ability to play
any picture or paint any composition.
colpo, <)i> /. "At a blow," abruptly.
combinational tones. Vide result-
ant TONES.
combination mode. The ambiguous
mode resulting from resolving a dom-
inant chord in a minor key to the
tonic major.
combination pedals. Vide compo-
sition PEDALS.
come (ko m^), /. As, like, the same as.
c. prima. As before, as at first, c
sopra. As above, c. sta. Exactly
as it stands.
co'mes, L. i. In fugue, the companion
or answer, to the dux (leader), or sub-
ject. 2. In canon, the consequent.
comiquement (k5-m€k-man), F. C^om-
ically.
com'ma. i. A breathing-mark. 2. A
theoretical term indicating the minute
difference between two tones nearly
identical, (a) The comma synto-
num, or c. of Didymus, is that be-
tween a major and a minor tone 80 : 81.
(b) The comma ditonicum, or c of
Pythagoras, is that by which six
lOO
THE MUSICAL GUIDE
whole notes with the ratio 9 : 8 exceed
the octave, or 531 + : 524 +.
com(m)odameii'te» comXm)odo, /.
With ease.
common. Vide chord and turn. c.
measure or time. 4-4 time.
compass. Range of a voice or instr.
compiacevole (kdm-p!ii-cha'-vo-l^),
compiacevolmen'te, /. Pleasant-
Oy).
complainte (kd6-pl&nt), F, A religious
ballad.
com'plement. That quantity or inter-
val which fills up an octave, as a
fourth is c to a fifth.
complementary part. In fugue, the
part added to the subject and counter-
subject.
complete. Vide cadence.
completo'rium, Z., com'pletory, E.
I. An Ambrosian anthem supplement-
ary to the antiphon. 2. A compline.
complin(e), L. Vide Horae canon-
ICAE.
componis'ta, /. A composer.
compo'num. A machine inv. by Win-
kel to present a g^ven them^ in end-
less variety of forms.
composition, /. The act, art or sci-
ence of writing origfinal music.
composition pedals. Pedals inv. by
J. C. Bishop, connected with a mech-
anism for bringing into use several
stops simultaneously.
composizione di tavolino (k6m-p5-z£-
tsI-6'-n« de ta-v5-le'-n6), /. Table-
music.
compos' to, /. Composed, quiet.
compound. Of intervals, those ex-
ceeding the octave, c. stop. One
having more than one rank of pipes.
c. measures or times. Those which
contain more than one principal ac-
cent, as 6-4, 9-8, etc.
compressed score. Close score.
comprimaria (k6m-pre-mS'-ri-sl), /.
The next in rank to a prima donna.
con (kon), /. ** With ; ** it is often com-
bined with the article **the," vide
COGLI, etc. con. Sva^ vide ottava.
concave pedals. Radiating pedals.
concealed. Vide hidden.
concento (kdn-ch^n'-to), /. i. Concord.
2. Non-arpeggiation.
concen'tus, Z.. i. Concord, vide ac-
CENTUS.
concert (in F. k6&-s&r'). i. A pubUc
performance. 3. c spifltuel. Sa-
cred concert. Dutch c An impro-
vised chorus of little regularity and
much hilarity. 3. A concerto. 4. A
set of instrs. of different size, vide
CHEST OF VIOLS.
concertante (k6n-ch£r-tan'-tQ, /. i.
A piece in which each part is alter-
nately principal, as a duo concern
tante. 2. A concerto for two or
more instrs., with orchestral accomp.
c. style. In brilliant concert style.
c parts. Parts for solo instrs. in an
orchestral work.
concertato (tfi'-to), /., concerted, E,
Used of music for several voices or
instruments.
concert-grand. The largest sixe of
the piano.
concertina (kdn-s^r-te'na). Chas.
Wheatstone's improved accordeon
(q. V.) inv. 1829. It is double-action,
producing tone on being drawn out
or compressed. Its 2 key-boards are
hexagonal, and the English trebU c.
(much superior to the German) has a
range of four octaves from g below
middle C with all the chromatic tones.
The c is to be had also in alto^ Umor^
bass and double-bass ranges.
concertino (k5n-ch£r-te'-no), /. i. A
small concerto. 2. Principal as op-
posed to ripieno^ e. g., violino c,
principal violin. 3. The first-violin
part.
concertis'ta, /. Virtuoso.
Concertmeister (k6n-ts^rt-mlsht^r),
G. I. The leader. 2. The 6r5t of
the 6rst-violins.
concerto (kdn-ch£r'-t5), /. i. A con-
cert. 2. A composition for one —
two (double) three (triple) — or more
solo instruments with orchestral ac-
companiment. It is usually in sonata
form with modifications to allow
of virtuositv, notably the cadenzas
played by the performer of the sok>
DICTIONARY OF TERxM^ loi
part JQSt before the concluding tutti
of the first and last movement. For-
meriy the word was applied to con-
certante. Torelli is credited with
the modem form. The C. without
orchestral accompaniment (c. a. solo)
iSTeryrare. c. da camera. Cham-
ber concerto, opposed Vogrosso. c da
chiesa(kl-a'-zii) or c. ecclesiastico.
(a) In Viadana'swork, merelv motets
with accomp. for organ, (b) A con-
certo for church use. c. doppio. a
C for two or more instruments, c.
|fro8'so. A composition for full or-
chestra, c spiritnale. Sacred con-
cert.
concert pitch. Vide A, of which the
French standard is now generally
adopted. By this all the tones are
regulated. In England c. p. refers
to a pitch almost half a tone higher
than the international pitch.
Coiicertapieler(kdn-ts£rt'-shpe-l£r), G.
A solo or concerto player. Con-
cert'stflck (shtak). i. A concert-
piece. 3. A concerto.
condtato (kdnM:hI-t&'-to), /. Agi-
tated.
conclnsione (kloo-zl-5'-n£), /. Con-
clusion.
concord. An harmonious combina-
tion, concordant, i. Harmonious.
2. In French use (pron. kdn-kdr-dfiA),
a barytone.
ODii-dissonant. Used of a triad which
is consonant with each of two mutual-
ly dissonant triads.
Coiidocten(dook'.t«n), G. Wind-tubes.
condoctor. The time-beater and direc-
tor of a chorus or orchestra.
condncf OS, Z. That form of discant
in the 12th century in which not only
the improvised counterpoint of the
singers was original, but the central
melody (or cantus firmus) also.
conduit (kdd-dwe), F. i. A wind-
tnmk. 2. Conducttts.
cone gnmba. The bell-gamba.
fonfifMil. Vide final.
coajointy or conjunct, E.^ congiunto
(joon'-to), /. I. Used of notes lying
immediately next to each other; of
motion or jiifi^xW:?^ proccte^ing^ieetk-
larly by single degrees. 2. Applied
by the Greeks to tetrachords, in which
the highest note of the lower, was also
the lowest note of the upper, tetra-
chord.
connecting note. One common to
successive chords.
consecutive. Following in immediate
succession. Chiefly applied to pro-
g^ressions of intervals such as perfect
fifths and octaves, strictly forbidden
in most cases.
conseguente (gw£n'-t£), /., con'se-
quent, E, In fugue or canon, the
imitation or answer of the subject.
conservatoire (kon-sdr-vft-twar), F.,
conservato'rio, /., Conservato-
rium (00m), G.y conservatory^ E,
A school of music.
consolan'te, /. Consoling, consola-
tamen'te. Cheeringly.
con'sonance, E., consonanza (nan'-
ts^), /. An accord of sounds, not
only agreeable but restful, cf. disso-
nance, imperfect c. A major or
minor third or sixth, perfect c. An
octave, fifth or fourth, consonant.
Harmonious, c. chord. One with-
out a dissonant interval.
consort, i. To be in accord. 2. A set,
as of viols, cf. CHEST.
constituents. Partial tones.
cont. Abbr. of contano.
contadines'co, /. Rustic.
contano, /. *' They count," of instrs.
which **rest."
continua'to(tTn-oo-fi'-t6), /. Sustained.
continued bass. Vide bass (6).
continue, /. Vide bass (6).
con'tra. Against or under. As a pre-
fix to names of instruments, or of or-
gan-stops, it indicates a pitch an
octave lower than the standard, as
Contraposaune, contra - octave.
(Vide PITCH), contra-arco. Bowing
against the rule. contra-tempo.
Syncopation, contrabass (k6n-trg-
b^). The double-bass, contrabom-
barde. A 32-ft. stop in the pedal.
contraddanza (kdn-trad-d&n'tsa), /.
A country-dance.
102- vffHE MUSICAL GUIDE
;ca41x-idtbL(Bnaiil^t6))V. The deepest
female voice. The tenn means lower
than the alto (high), the former name
of male soprano.
contrappunto (poon'-t5), /. Counter-
point, contrappuntista. One skilled
in cpt. c. alia decima. . Double
counterpoint in the tenth, c. alia
mente. Improvised cpt. alia zop-
pa, or syncopata. Syncopated cpt.
c. doppio. Double cpt. c. doppio
alia duo decima. Double cpt. in
the twelfth, c. sciolto (shdl'-to).
Free cpt. c. sopra (sotto) 11 sog;-
(retto (sod-jfit'-to). Cpt. above (be-
low) the subject.
contrapunct us, L, Counterpoint, c
flo'ridum, L. Florid cpt. c. in
decima gradi. Double cpt. in
which the parts move in tenths or
thirds below the subject, c. simplex.
Simple cpt.
con'trapuntal. Relating to counter-
point, contrapunt'ist. One skilled
in counterpoint.
contrario (tra -r!-o), /. Contrary. Vide
MOTION, contrary bow. A re-
versed stroke.
contrasogetto (s6d-j£t'-to), /. Coun-
ter-subject.
contratenor. Vide counter-tenor.
Contratdne (kdn'trS-ta-n^), G, The
deeper bass tones.
contraviolo'ne, /. Double-bass.
contre (kdhtr), F, Contra, or coun-
ter, as contrebasse. Double-bass.
c. Pelisse. Lining, c. partie. A part
contrasted with another, as bass
and soprano, contrepoint (kdntr-
pw&n). Counterpoint, contresujet.
Counter-subject, contre-temps. Syn-
copation.
contredanse (kdh-trti-dahs), F, A
country-dance, in which the dancers
stand m opposite ranks.
conver'sio, L. Inversion.
coper' to, /. I. Covered (as fifths). 2.
Muffled (as drums).
cop'ula, /. I. A coupler. 2. A stop
requiring a coupler.
cor, Abbr. of cornet.
cor (kdr), F, Horn, cor-alt. Alta
horn, cor-basse. Bass-horn, c-an-
S^lais. *' English horn," in reality
an alto oboe (q. v.). c de basset.
Basset-horn. c. de chasse (shiis).
Hunting-horn ; the French horn. c.
de postilion. Postilion*s horn. c.
de sig;nal. A bugle, c. de nuit.
The Cremona stop, c de vaches.
Cow-horn. c. omnitonique. A Sax-
horn.
corale (k6-ra 1«), /. Chora.
coranto (k5-riln'-to), /. Vide cou-
RANTR.
corda (kdr'-dli), /. A string ; una corda^
one string, i. e., the soft pedal ; due
(two) or tre (three) or tutte (all) U
eorde (the strings), ** release the soft
pedal ! " In violin-playing, due-corde,
means ' ' play the same note on 2 strings
simultaneously ; " ima. 2da^ jaa^ or
4ta corda^ means that the passage is
all to be played on the string indi-
cated.
cordatura (too'-ra), /. Vide ac-
cord (3).
corde (k6rd). F. A. A string, c &
boyau. Catgut, c. & jour (zhoor).
c. & vide (ved). Open string, c
deluth. A lute-string, c &usse
^fos). A false string, c. sourde.
(soord). A mute-string.
cordier (k6rd-ya), F. cordiera (kor-
d!-a-rji'), /. Tail-piece.
cordom^tre (kor-do-mfitr), F, String-
gauge.
corifeo (k6-r!-fa'-6), /. Leader of a
ballet, corimagistro (m^jes'-trd).
Leader of a chorus.
corista (ko-res'-ta), /. i. Chorister. 2.
Tuning-fork or pitch-pipe.
cormome. i. A soft-toned horn. 2.
A reed-stop.
com (kom). Welsh, Horn.
comamusa (kor-nS-moo'-zS), /., cor^
nemuse (k6m-maz), F, Bagpipe.
cor'net (not comet'), E, (in F. kor-ni),
Comett', G, i. Loosely used of the
cornet h pistons (q. v.) 2. An obso-
lete wind instr. of the 15th cent, made
straight (diritto or muto) and bent
{curvo or torto) ; the latter was also
called cornon or cometto basso
DICTIONARY OF TERMS 103
and was the orig^al of the serpent.
3. Various reed-stops as echo c,
moonted c, g^rand c» c de r^cit,
C. dreifiach (or 3-ranked).
coroeU (kor-na'-ta), comet'to» /. A
i6-ft. reed-stop.
cornet & bonqnin (boo-k&n), F, Bugle-
hora.
comet ^ pistons (kdr-na tS pes-tdh),
F. A 3-valved chromatic brass in-
strument of the trumpet family. It
has a plebeian voice of great agility.
It is a transposing instr. written in
the G clef. It is usually in B[>, and
has crooks (A, At>, G). It has a
chromatic compass, f# -c'"
cor'no, /. Horn, c alto. A horn
of high pitch. C basso« A bass-
horn, c di bastet'to. i. The bas-
set-horn. 2. A soft-reed stop, c di
caccia (kat'-ch&). The hunting or
French horn, c dolce (dol'chd).
An organ-stop. c. in B basso. A
tow B horn, c ing^lese (en-gla z£).
The English horn (vide oboe), c
ventile ^£n-te'-ld). Chromatic horn.
C sor'do. A horn with dampers.
comope'an. i. Comet 4 pistons. 2.
An 8-ft. reed-stop.
co'ro, /. and .5^. Chorus, c della
chiesa, /. Church-choir, c. primo.
The first chorus.
coro'na, /. A pause or fermate (O).
coronach (k6r -6-n£kh). A Gaelic
dirge.
corps (k6r), F, Body (as of an instru-
ment), c. de ballet (b&l-la). All
the dancers in a ballet, c d'har-
monie (d^-md-ne). A fundament-
al chord, c de mnsique. A band,
c de r^change. The crook of a
bom. c de voiz. Body or range
of a voice.
corren'te» /. Vide courante.
Cwyphaeus, G, i. The conductor of
the choms. 2. At Oxford, a special
instractor in music.
coryph^ (k6-rt-fa), F, i. The leader
of dancers. 2. A ballet-dancer.
cosaque (ko-s&k), F. The Cossack
dance.
cotiUon (kd-ti-ydA). F, ** Petticoat."
An elaborate ceremonial dance of
many couples, not unlike the Ger-
man.
couac (kwik), F, Vide goose.
couched harp. Spinet.
C0ul6 (koo-U). P' I- Slurred. 2. A
gprace note consisting of two or three
sliding notes, indicated by a dash be-
tween the notes.
coulisse (koo-les), /^. i. Slide (vide
"trombone). 2. Side-scene, wing (of
a theatre).
count. A beat. To count time^ to
measure the beats audibly or men-
tally.
counter-. A prefix indicating contrast,
as counter-tenor (once a name for the
alto voice), is higher than the usual
tenor ; often falsetto or artificial tenor ;
counter-bass is lower than the usual
bass ; counter-tenor clef, vide clef ;
counter-subject, vide FUGUE.
counterpoint. Originally notes were
called ** points;*' the literal meaning
of counterpoint is therefore "note
against (or in accompaniment with)
note ; " it is loosely used of the combi-
nation of independent voices as in a
quartet. It is more strictly used (a) of
the art of writing simultaneous melo-
dies or (b) of the melodic part added to
a given part called the cantus firmus
(q. v.). The contrapuntal style dif-
fers from the harmonic in that while
the latter consists of melody accom-
panied by chords, the former is a com-,
bination of melodic parts. The su-
preme contrapuntal forms are Canon
and Fugue, Of counterpoint there
are five species : i. Note against note
— a semibreve against a semibreve.
2. Two notes against one; 3. Four
notes against one. 4. Syncopation.
5. Florid counterpoint — a mixture of
the preceding species. Counterpoint
is also Simple and Double. In the
latter, the parts are invertible, i. e.,
may be transposed an octave, or
ninth, tenth, twelfth, etc., above or
below one another. Counterpoint is
triple (or quadruple) when 3 or 4
parts are mutually invertible.
104
THE MUSICAL GUIDE
Counterpoint.
By Homer A. Norris.
THE art ^^ ^fimH"^"C '"''^^*^' UralUH ^tptgrpoint. When a pianist
« plays ' Old Hundred ' in one hand, and < Yankee Doodle * in the
other " he illustrates the contrapuntal idea. Weingartner's arrange-
ment of Weber's "Invitation to the Dance" represents most ingenioas
counterpoint. In strict (plain, simple) counterpoint, no combination of
notes representing more than three sounds is allowed ; no dissonances except
passing notes ; no chromatics. ^[Counterpoint is double when it may be
correctly used either as an upper, or a lower part ; i. e., when it admits of
double employment. Double counterpoint may be so written as to invert in
the 8th, 9th, 1 2th, or any other interval. The following is an example of
ii» J f J-^
3
^
ti±
g
m
^
g
/IN
t—Z |r r I -T: r 1^* I J ^^
Inversion of above example.
I J I
^
double counterpoint. ^I^^^^"* ^* confines of strict counterpoint ecclesiastical
music reached its loftiest expression through Palestrina, in about 1 600. ^In
modem harmony chords may be built up of three, four, five, and even more
different sounds. When the contrapuntal idea is applied to modem harmony.
DICTIONARY OF TERMS 105
the result is called /r// coonterpomt. Free counterpoint is simply a contra-
puntal manipulation of modem harmony, as opposed to strict counterpoint
which is limited to chords of three sounds. Bach re-es^-^^^lish^^ ^^^ rniinri»r-
piUnt of PaleStrina O^ th** rnnA/-m harmnnir tviftj^ Tn ^\^ (il£T^*'« *^^ ^onfra,
pnntal.Lor polyphonic^ idea is feund in ita most perfect form. ^The very
eaience ofWaenePs music ig co^terpQint. When the melodies of ** Die
Meistcrsingcr " are brought together in the overture it is modem counter-
point ; not an end in itself, but as a means to direct, emotional expression.
^So ^m out this old counterpoint has come a new, which to-day permeates
aJQ music. Neither Brahms nor Richard Strauss could exist but for the industry
of those early savants, who, piling notes upon notes, laid a fbundadon for
die cathedral of music which has risen majesdcally under Bach, Handel,
Mozart, Beethoven, Brahms, and Wagner. It is modem counterpoint,
counterpobt with a soul in it, which distinguishes all great work to-day and
stamps it for posterity.
connterynjpre ye songe (kown'-t£r-
ing the song) (old E.). Descant.
COimtfy-dance. Whatever the ety-
mology, a country-dance is a contra-
dance (in duple or triple time) in
whkh partners are ranged opposite
each other.
coop (koo), F. Blow. c. d'archet
(dkr-sha). A stroke of the bow. c.
de srlotte (glot). A snappy vocal at-
tack, donble c de langiie. Double-
tonguing. c. de baguette (bS-g^t).
Beat of the drum, c de cloche
(kl6sh}. Stroke of a bell.
conper le snjet (koo-pi Id 900-zha), F,
To cut or contract the subject.
cOQp'ler. An organ mechanism con-
necting 2 manuals, or manuals with
pedals.
couplet. Two notes occupying the time
of a triplet.
conrante (koo-rant), F, "Running,"
an old dance in 3-2 and 6-4 time.
Hence an instrumental piece in the
same style. Vide Sxhte. The sec-
ond part of the suite, usually in pas-
sage work.
covronne (koo-rfin), F, A hold.
coorse. A group of strings sounding
in unison.
coortal (koor-UU), coartaad (koor-td),
courtaut (koor-to), F, An old short
bassoon.
couTre-feu (koovr-fti), F, Curfew.
covered, i. Hidden, used of progres-
sions (q. v.). 2. Used of pipes and
stops (q. v.). 3. Used of strings
wrapped with fine wire.
C. p. Abbr. of collaparUy or counter^
point.
cr., cres., cresc. Abbr. of crescendo,
crackle. In lute-playing, to play chords
brokenly.
cracoTiak, Pol., cracoTienne (kdU
k6'vl-«n), F. A Polish dance in
syncopated 2-4 time.
creanluidh (kran'-loo-e). Vide pi-
BROCH
Crc'do, Z. *• I believe." Vide mass.
crem'balum, Z. Jew^s harp.
Cremona (kra-mo -n£), Z i. A town in
Italy, hence an instr. made there by
the Stradivari, the Amati, or Guar*
nerius. 2. A corrupt form of crom-
hom.
cremom. Vide crom*horn.
crepitac'nlum or crepttn'dia, Z.
Ancient frictional castanets.
crescendo (kr£-sh<n'-dd), Z ' ' Increas-
ing," i. e., in loudness, c il tenipo.
Increasing in speed. C-zvfft G. The
swell-box, or crescendo pew.
io6
THE MUSICAL GUIDE
cres'cent. A Turkish instr. of crescent-
shaped metal plates hung on a pavil-
ion ; or small bells on an inverted cres-
cent.
criard(e) (kre-ar(d)), F. Bawling.
crib' rum, Z. Sound-board.
croche (kr6sh), F. An eighth note.
c. double. Sixteenth note. c. quad-
ruple. A sixty-fourth note. c
tnple. 32d note.
crochet (kr5-sha), F, The hook of a
note, croche'ta, L, A quarter
note.
croisement (kwaz-min), F, Crossing
(as of parts).
croma (kr6'-ma) (pi. e), /. An eighth
note. " cromc, written under notes
of larger value indicates that they are
to be played as eighth notes.
cromat ica, /. Chromatic.
crom'-hom. i. A melancholy double-
reed wood-Mrind instr. of the i6th
cent. 2. A 4, 8 or i6-ft. reed-stop.
crorn'mo, /. A choral dirge.
cromor'na, /.. cromorne (kr5-mdm),
F. Crom-hom.
cronach. Same as coronach.
crook. I. A curved tube inserted in
horns, etc., altering the length of the
tube, therefore the key. 2. The
mouth-piece of a bassoon. 3. A de-
vice in old harps for raising a string
a half tone.
crooked flute. An Egyptian instru-
ment.
crooked horn or trumpet. Buccina.
crope'zia, Gr. Wooden clogs worn
by the Greeks in beating time.
croque-note (kr6k-n6t), F. An unin-
telligent virtuoso.
cross. I. The head of a lute. 2.
Vide FINGERING.
cross-beards. Vide beards.
cross-fingering. A method of play-
ing old flutes.
cross flute. A transverse flute.
cross-relation. Vide false.
crotale (kro-tai), F., crota'lo, /.,
cro'talum, L. An ancient small
cymbal or castanet.
crot'chet. A quarter note, crot'-
chet rest. A quarter rest.
crowd. The crwth (q. v.).
crowie. Old English instr. of the
bassoon type.
CrucJfiz'us, Z. '* Crucified," part of
the Credo. Vide mass.
emit (kru'tt), Irish. OW Irish Cnnth.
crush-note. Acciaccatura.
crutch'etam. Name originally given
to the crotchet.
crwth (krooth), Welsh. An old instr.
of Welsh or Irish origin ; it was
somewhat lyre-shaped, had six
strings, and was the first European
instr. played with a bow.
c. 8. Abbr. of Con sordino.
csirdis (ts&r-dslsh), Magyar. A Hun-
garian ^Magyar) dance in 2-4 or 4-4
time. Triple time is very excepj-
tional, and not true to the national
character. The Csardas (from csar-
da, *' inn on the heath ") is often pre-
ceded by a moderate movement called
lassu (from lassan^ slow). The quick
movement is called fris or friska
(cf. the German frisch^ fresh, brisk,
lively).
C-Schliissel (tsa'-shlQs-s^l), G. C
clef (vide clef).
cto. Abbr. of Concerto.
cue. Notes from another part inserted
as a guide.
cuivre (kwevr), F. les cuivres. The
brasses, faire cuivrer (fir kwev-ra).
To half -stop a French horn with clan-
gourous effect.
Cum sancto spiritu, Z. ** With the
Holy Ghost." Part of the Gloria.
Vide MASS.
cupo (koo'-po), 7. Dark, reserved.
Currenda'ner, Curren'de, G. Young
carol-singers.
cushion dance. An old English round
dance in triple time, each dancer
placing before another of his or her
choice a cushion on which both kneel
and kiss.
custo (koos'-t6), Z, custos, Z. A
direct.
cuvette (kU-vdt), F. Pedestal of a
harp.
cycle. A complete set (as of songs).
cyclical forms ((?. cyclische For-
DICTIONARY OF TERMS 107
men). Those made up of a set or
cycle of movements, as the sonata,
suite or symphony.
Cyi'inder, G, Ventil piston.
qfm'bals, E., cymbales (s&ii-Ml), F.
I. Circular metal plates, clashed to-
gether. 2. J^ steel triangle with a
number of rings. 3. A high-pitched
mixture-stop.
cjmbalnm, L. i. Cymbal. 2. A medi-
aeval series of eieht drums to a scale.
cgiikan (tshak'-an). A Bohemian bam-
boo flute.
czardas (tshar'-d&sh). Vide csArdIs.
czimken (tschlm'-k^n). A Polish
country-dance.
czymbalom (tshYm'-bl[-16m). The
Hungarian dulcimer.
D
Din G. pron. da, F, xt (ra),
/. re (ra). i. A musical pitch,
the next full step above C in
all its octaves. 2. The ma-
jor key having two sharps ; the minor
key relative to F major. 3. Abbr. d —
discantuSy or cUssus , in da cafo^ dcU
segno ^ main droits mano drttto^ d*
abbr. of de before a vowel.
da (da), L. By, from, for, through, in
the style of, etc.
dabbuda (dab-boo'-da), /. A psaltery.
da capo (da ka -po), /. ** From the
beginning." A sign of repetition.
Dach (dakh), G. ** Roof." The belly
of a violin, etc.
Dachschweller (dakh'-shv^l-ler), G.
Swell-box.
dactyrion, Gr. An apparatus of 10
rings hung from steel springs above
the key-bcwird, used to strengthen the
fingers ; inv. by Herz, 1835.
dada. A term in drum music — the left
hand.
daddj-mammy. A colloquial term
for a roll on the side-drum.
da^li (dal-ye). dai (da-e), dal, dall',
dalle, dal'lo, /. Combinations of
the prep, da with the article ** the."
daina (da-e'-na), dainos, A tender
Lithuanian folk-song.
daire (da-e'-ra), /. The tambourine.
dal, /. Vide dagli.
dalzimr. An Egyptian reed instru-
ment.
damenisa'tion. Vide solmisation.
damper, i. In pianos a cushion which
when raised by the touch of the key
or the use of the damper pedal (often
called the " loud pedal") permits the
vibration of strings ; when released
it silences the vibration. 2. A mute
for brass instruments.
d&mpfen (dSmp'-fen), (7. To muffle.
DiLmp'fer. A mute or damper.
D&mpTunf^. Damping mechanism.
Danklied (dank'-let), G, A thanks-
giving song.
danse (dins), F, A dance, or dance-
tune, contre d. (kontr). A country-
dance, a quadrille, d. de matelot
(mit-lo). A horn-pipe, danseries
(dans-re). Dance-tunes.
danza (dSn'-tsa), /. A dance or dance-
tune, danzet'ta. A little dance.
daraboo'ka or darabuk keh. A small
Arabian drum.
dar la voce (dar la vo'-chS), /. Give
the key-note.
Darmsaite (darm'zl-tS) (pi. en), G.
Gut-string. ■
Darsteller (dar'-shtdl-ler), G. A per-
former. Darstellung. Performance.
dash. I. A staccato mark. 2. Vide
CHORD. 3. Vide coul6.
Da'sian-notierung, G. Hucbald's no-
tation, using forms of the letter F for
14 tones.
Dauer (dow-^r), G. Duration.
Daumen (dow'-m^n), G. Thie thumb.
D.-aufsatz. Thumb-position. D.-
klapper. Castanet.
D. C. Abbr. of da capo.
D-dur (da-door), G. D major.
de (dtt), F, Of, in, from, by. De plus
en plus vite. More and more quickly.
dead march. Funeral march.
debile, debole (da'-bo-la), /. Feeble.
dec'achord, decachor'don, deca-
cor'do, L. An ancient harp or gui.
tar with ten strings.
dec'ad. Vide ellis (B. D.).
d^'cani, L, pi. Vide cantori.
io8
THE MUSICAL GUIDE
Chart of Dance-Rhythms.
( Spanish national dance. A pan-
BOLERO. -< tomime in honor of Cupid, ac-
( companied with castanets.
J=88.
Theme. ~
f ( French or Spanish. Theperi-
BOURREE. •< ods commence on the fourth
f and end on the third beat
AUesrro. or
( MoorishfSpanish, or Italian.
Chacon(N)E. \ Besrins on the second beat ;
/ contains a basso ostinato.
Moderato. or
Polish. Pull of syncopa-
Cracovienne. •{ tions and unexpected ac-
cent.
iUesrro,
5.-^ti
AUe^
CZARDAS.
' Hun^rarian national dance, be-
srinnmg with a slow, sad Las-
san. followed by a fiercely
rapid Friska. The rhythm is
too varied to plot, but
germ usually appears :
this
(Spanish dance with guitar
Fandango. \ and castanets, performed be<
( tweeo verses.
Allegro,
Gavotte.
{Old French. Periods begin on
the third and end upon the
second beat. It is generally
combined with a Musette.
or
Habanera.
Theme.
' Cuban national dance. Ac-
companiment of marked
rhytnm. theme greatly va-
. ried and syncopated,
or or
Labndlbr. Slow Tyrolese waits.
( Polish national dance of atate-
Mazurka. •< ly character, with varied ac-
f cents.
( Old French,of stately character.
Minuet. \ The third beat is slightly ao-
f cented.
I ft Moderatp.
I* r r
' Old French dance,now nsnal-
ly part of the Gavotte. Its
bag-pipe origin gives it a
drone-oass. See Gavotte,
Polka JBo^®™'<^n ^"^ Polish) ntidd
* ( round dance.
Ar
Musette.
Polonaise.
Moderato,
Polish dance, formerly very
stately. It commences witn
a strong accent and closes
on the last beat, thus :
' ( Italian and Spapish danoe
SALTARELLO.Kof leaping and bonndinc:
( style.
GAo^nAwnv j Spanish or Moorish daaoo of
Sarabande. -j m^jj solemnity.
Andante, , ,
Tarantella.
Old Italian dance of great
violence, said either to be
the result of. or lu anti>
dote for, the tarantula
bite. Also said to^be of
Tarentine origin,
and
Wat T7 i A. dance of uncertain origin and
w ALTZ. -J varied speed.
Vienna, or '
Quick Waltz.
German^ or
Slow Walts.
Ttvo Step,
DICTIONARY OF TERMS 109
Decern (da-ts^m), G, Vide decima (2).
deceptiTe. Vide cadence.
d6c]uuit (da-sh&n), F, Discant.
d6cid6 (di^se-da), d^dd^meiit (da-se-
diUm^A), F. Decisive(ly).
dec'imat L. i. A tenth. 2. Anoi^n-
stop sounding the tenth, d. pfena
de tonis. A major tenth, d. non
plena de tonis. A minor tenth, d.
tertia, quarta, qninta. Intervals
of the 13th, 14th, 15th.
D6'cime (da sgm), F. (da-tsem'), G, A
tenth.
dec'Imole. A group of ten equal
notes.
46'cisif (da-se-seOt d^dsiTement
(sev-mln), F, Decisive(ly).
decisione (da-che'-zl-d'n^), /. Decis-
ion. decisiTO (di-chl-se'vo). de-
ciao (da-che'-zd). In a bold manner,
decisively.
Decke (dSk'£), G, i. Sound-board. 2.
Belly. 3. Cover or top for organ-
stops.
dedaman'do (da^Ui-miui'-dd)» /. With
declamatory expression.
declamation, dedamazione (da-kliU
ma-tsT-d'-n^), /. Singing in declam-
atory style.
d^daTer (da-kU-vi), F. To change
the key.
d6compos6 (di-k6ii-p5-z^, F, Dis-
connected.
d^compter (da-k66-ta)r F, To use
the portamento. ^
decoration (di-ko-rji^ydn), F, The
signature.
decoratiTe notes. Notes of embel-
lishment.
dteonplez (dl-koo-pli), F. Uncouple.
d6conan(e) (da-koo-sQ), F. Disjointed.
decr.y decres. Abbr. of decresceiu
do.
decrescendo (da-kr^h-te'-dd), /. Di-
minishing in loudness.
dec'oplet. A group of ten equal
notes.
dedicate (di^.kii't5), /., d«di« (dad-
yi), F, Dedicated.
dedocflOt L, I. Resolution. 3. In
Gnido d*Arezzo*s hezachords, the as-
cending series.
deficiendo (da-fe-ch£n'-dd), /. Dying
away.
deffU (dal'-ye), dei (da-e). del, ddl\
del'la, dd'le, del'lo, /. Of the ;
than the.
degr^ (da-gra), F,^ degree, E. i.
Line or space on the staff. 2. One
of the diatonic tones of a' scale.
dehnen (da-n^n), G. To extend.
Ksdehnt (g£-d&nt). Prolonged, slow.
ehnung. Prolongation. Deh-
nungsstrich. i. The line or dot in
vocsd music holding one syllable over
several notes. 2. A long bow-stroke.
d^lassement (di-lis-min), /^ A light
piece,
ddiberato (di-le-b^-rH'-to), ddiber-
atamen'te, /. Deliberate(ly).
d^catesse (da-lY-ka-t^s), /., deli-
catezza (da-lI-k^-t^'-zS), /. DeU-
cacy.
delicate (da-ll-ka'-t5), delicatamen-
te, /. Delicate(ly). delicatissima-
men'te, delicatis'simo. Most del-
icate{ly).
d^lie (dal-ya), F, Light, easy,
ddir'io. /. Frenzy, excitement.
ddizio so or -amente, /. Delicious-
(ly).
dem (dam), G. *' To the." Dative of
" the."
d^mancher (da-m&A-sha), F. To
change or cross hands ; to shift on
the 'cello or violin; hence d^man-
ch6, d^manchement (dii-m&j&sh*
mUn).
demande (dfl-milnd), F. The ** ques.
tion," subject of a fug^e.
demi (dii-me), F, Half. d.-baton-
(b&-t6n). A semibreve ; or 2-meas-
ure rest, d.-cadence (ka-dlihs). A
half cadence. d.-crodie. A i6th
note, d.-jeu. With half power, mf.
d.-me8ure. Half measure, d.-stac-
cato. Lightly staccato. d.-pause.
A half rest, d.-quart de soupir.
A 32d rest. d.-soupir. An 8th rest.
d.-temp8. A half beat. d.-ton. A
half tone.
demi-dit'onns, Z. A minor 3d.
demi-quaTer. A i6th note, or semi-
quaver.
no
THE MUSICAL GUIDE
dem'isemiquaver. A 32d note.
dem'itone. A semitone.
demoiselle (d^m-wa-zfil), F, Tracker.
Denis d'or (dttn-e-d6r). A piano with
pedals and many qualities of sound,
inv. 1762 by Procopius Divis.
depen'dent^ Used of a chord requir-
ing resolution.
depres'sio, /. Lowering, as of the
hand in time-beating ; or of a tone
chromatically.
De profun'dis, L. ** From the depths.*'
One of the penitential psalms.
der (der), (7. i. The. 2. Of the.
derivative, i. The root of a chord.
2. An inversion.
d6riv6 (da-re-va), F. i. Derivative.
2. An inversion. 3. Inverted.
derni^re (d^m-yilr). F. Last. d. foit.
The last time.
Dcs (d^s), G. I. The note Dj?. 2.
From the ; of the.
d6saccorder (da-z^k-kor-da), F. To
untune. d6sacco^d6. Untuned.
des'cant. Vide discant.
descend. To pass from higher to low-
er pitch, descent. Such a pass-
ing.
descendere (da-sh^n'-dfi-rS), /., dc-
scendre (dtt-sandr), F. To descend.
d. d*un ton. To descend a step.
descendant (da-san-dan). Descend-
ing.
deschant (dd-shSn), F. Discant.
Desdes (dasdas) or Deses (dasas), G.
D double flat.
Des-dur (das' door), G. D[? major.
desiderio (da-se-da-rt-6), /. Desire,
passion.
desinvolturato (v6l-too-ra-to), /.,
avec d^sinvolture (&-vdk da-s^-
vol-tUr), F. Free, easy.
Des-moll (das-mol), G. Dp minor.
desperazione. Vide disperazione.
Dessauer Marsch (dds' sow-er mfirsh),
G. One of the national march-songs
of Germany.
dessin (dus-safi), F. Sign.
dessus (dfls-sU), F, i. Treble or up-
per part. 2. Old name for violin.
desto (das' -to), /. Brisk, sprightly.
desterit^ (ta-r^-ta'), /. Dexterity.
destra (das'-tra), /. Right, d. mano.
Right hand. coUa d. With the right
hand.
detach* (da-ti-sha), F. Detached;
with separate bow movements, but
not staccato, grand d. With a
whole bow-stroke to each note.
determinazione (da-t^r-mT-na-tst-o' -
nd), /. Determination, determina-
te (na -to). Determined, resolute.
detoni(e)ren (da-to-ne'-rSn), G., d6-
tonner (da-tttn-na), F. To sing or
play off the kev ; hence d^tonna-
tion (da-tun-nlls -yon).
detto (d^t'-to), /. The same ; ditto.
deut'erus. Vide modes.
deutlich (doit'-llkh), (7. Distinctly.
Deutsch (doitsh), G. ** German."
deutsche Fldte. The German or
transverse flute, deutscher Bass.
An obsolete 5 or 6 stringed double-
bass, deutsche Tabulatur. Vide
TABLATURE. deutsche Tiinze. Old
slow waltzes.
deux(dtt),/'. Two. Jl deuxhuit (dfiz-
wet). In 2-8 time, k d. mains.
For 2 hands, d.-quatre. 2-4 time,
d. -temps. The two-step, or a fast
waltz with two measures to the beat,
also called Valse it d. t. deux fois.
twice.
deuxi^me (dttz-y^m), F. Second, d.
position (po-zes-yon). i. The sec-
ond fret. 2. The second position or
half-shift.
development. Working out ; free fan-
tasy. Vide FORM.
devo to, /. Devout, devozione (da-
v6-tst-o'-nS). Devotion.
dex'tra, Z., dextre (d^xtr), F. i.
Right; the right hand. 2. Vide tibia.
Dezem (da-tsam'), G. Vide decima.
Dezime (da -tse-m5), G. A tenth.
di (de), /. Of, with, for, from, by. etc.
di molto. Extremely, as allegro di
motto.
di'a, Gr. Through.
diacon'icon, Gr, Collects in the Greek
Church.
di'adrom, Gr. Vibration.
diagonal bellows. The old form with
slanting flap.
DICTIONARY OF TERMS in
diagrarn'ma, (7r. Diagram, i. The
GiB^k scale. 2. The stafif. 3. A
score.
dialogo (de-a-15'-g5), /., dialogue (de-
a-I6g), F, Dialogue ; a duet.
diamond-shaped notes. Vide har-
monics.
diana (de^'-na). /., Diane (dI4ln), F,
The reveille.
diap. Abbr. of diapason.
diapa'sbn, Gr. pron., in E, (dl-fi-pi'-
s5n ; in /*., de-iip-a-s6A). i. An oc-
tave, d. (cum) diapente. An octave
with the fifth — a twelfth, d. con di-
atesseron. An octave with the fourth
— an eleventh. 2. Range. 3. Abso-
lute pitch, as d. normal, internation-
al pitch, vide a (i). 4. In the organ,
the sonorous chief foundation-stops,
one of 8 and one of 16-foot pitch on
the manual, on the pedal, 1 6-foot ;
the open d. has metal pipes open at
the top, the stopped d. has wooden
pipes closed at the top. In other
countries they are called principal,
diapen'te, Gr, A perfect fifth ; vide
DIAPASON (4). d. col dito'no. A ma-
jor 7th. d. col semidito'no. A mi-
nor 7th. d. cnm semito'nio. A
minor 6th. d. cum tono. A major
6th.
diapentisa're, Mediaval L. i. To
discant at the interval of a 5th. 2.
To proceed by 5ths. 3. To tune by
5ths. 4. In French usage, discant at
the intervals of the 2d, 3d, 6th, and
7th.
diaphonics. The science of refracted
sounds.
diaph'ony. i. In Greek music, dis-
sonance. 2. In the middle ages, the
earliest form of 2-voiced counter-
point.
diapla'sion. Vide vis-a-vis.
diaschis'ma or diaskhisma, Gr.
Vide SCHISM A and ellis (B. D.).
dias'tema, Gr. An interval.
diastoHc(8), Gr., Diastolik (lek), G.
Art of phrasing.
diates'seron, Gr. Interval of a fourth.
diaton'tc, E., diato'nico, /., diaton-
iqne (dc-&-t6n-ek), F.^ diatonisch
(de-fi-tdn'-Ish), G. i. Going through,
or confined to, the tones of any one key,
with no flats, sharps, or naturals be-
longing to another key— opposed to
chromatic; hence a d. scale is the regu-
lar scale of any predominant key ; a d.
interval, chord, or progression is an
unaltered interval, chord, or progres-
sion containing no tones foreign to the
key ; a d. melody or harmony clings to
one scale ; a d. instrument sounds only
the tones of the one key from which it
takes its name ; a d. modulation goes
to the nearest related key. 2. One of
the three genera in Greek music.
Vide MODES.
diaul'os, Gr. A double flute with 2
tubes, I mouthpiece.
diazeuz'is, Gr. The separation of two
tetrachords by a tone ; the tone sep-
arating them ; hence the adjective
diazeuc'tic. Vide modes.
di'chord. An instrument (a) with 2
strings; (b) with 2 strings to each
note.
dicta'tion, dlct^e musicale (dek-ta
mO-zI-k&l), F. The performance of
musical phrases to be written on
paper by the listener(s).
die (de), G. The.
die, E, A steel punch for engraving
music.
diecetto (de-a-chdt'-to), /. A compo-
sition for 10 instruments.
diesare (de-a-sa -r$), /., di^ser (de-i-
zi), F. To sharpen a tone or note.
di^se or difczc (de-Sz), F. Sharp (#).
Dies i'r«, L. ** Day of wrath," sec-
ond movement of the Requiem.
diesis (de-asTs), Gr. and /., diesis (dl-
ase), F. 1. The sharp (#). 2. The
enharmonic d. is the difference be-
tween a diatonic and a chromatic semi-
tone (ratio 128 : 125), or between 3
major thirds and one octave. 3. A
quarter tone, the unit of tone-division
in Aristotle's system. 4. The Pytha-
gorean semitone or limma.
diezeug'menon, Gr. Disjunct. Vide
modes.
difference tones. Vide resultant
TONES.
112
THE MUSICAL GUIDE
dUferen'tiale or distinct'io tononiai,
L. Differenzen («n'-tsfo), G, The
different cadences available lor the
•aecnlorum amen of each psalm-
tone.
difficile (dlf.fi'ch£.U), /. (dlf-fl^l). F.
DifBcult.
diff'ital. A key to.be pressed by a
linger (as opposed to pedal ^ loot-
key).
dinto'rituiL A dumb instr. with five
keys for exercising the fingers.
dignity (ddn-yl-tft), diffnita'de, dig-
niUte (tft'-t«), /. Dignity.
digresaio'ne, /. Deviation.
dilettante) (dM£t-tin(t)). /. An am-
ateur.
dilettosamen'te. /. Pleasantly.
dilicato (de-lt-kft-td), dilicatamen'te,
/. DelicateOy). dilicatesza (t«d'.
z&). Delicateness. dilicatis'simo.
Most delicate.
dilifi:enxa (de-lI-j^n'-tsA). /. Diligence,
care.
diln'dium, Z. An interlude.
diluendo (dS-loo-en'd6), /. Fading
awav.
dim, dimin. Abbr. of diminuendo,
diminished. 1. Used of intervals
which are a semitone smaller than
the minor intervals; used also of
chords containing such intervals.
Fourths, fifths and octaves, however,
being called '* perfect** instead of
** major,** arc, when contracted a
semitone, said to be, not '* minor,'*
but diminished. When inverted, d,
intervals become augmented and vice
versa. A d. triad contains a minor
3d and an imperfect (or diminished)
fifth. The chord of the d, seventh
is the 7th chord built on the leading
tone of a minor key. d, imitation^
subject or theme ^ is used when the an-
swer reappears in notes of lessened
time-value.
diminuendo (de-md-noo-dn'-d5), /. Di-
minishing gradually in loudness, d.
molto. With extreme diminution of
power.
diminner (dt.m$.nO-&), F, To dimin-
ish. diminn^ (dY-min-O-ft). Di-
minished. en diminnant beancoop.
Diminuendo molto. •
diminu'tion, E, (in F, d€-m^nas-
ydA), diminuzione (dS-ml-noo-tal-
d'-n£), /. In cpt., the repetition or
imitation of a theme, in notes of shorter
duration ; opposed to augmentation*
dioz'ia, Gr, Diapente.
dip. The extent to which a key or
pedal may be depressed.
dipho'niom. A vocal duet.
direct', i. A mark placed at the end
of a staff (a) to indicate the position of
the note next following (m/) ; (b) •—
&c. a. Vide turn. 3. To c6nduct.
d. motion. Similar or parallel mo-
' tion.
directenr (dl-r^k-tfir). /^, diretto're»
/. Director ; conductor.
diriger (de-re-zh&), /*., dirigirea
(dc-re-je'-r*n), G, To conduct.
dirit'to(a), /. Direct, ailad. Straight
on.
Dis (des), G, The note D sharp.
disaccenUto (2t-ch«n-U'-td). / Un-
accented.
ditarmo'nico, /. Discordant. di»-
armonia (ne'-ft). Discord.
dis'cant,^.,di8cant'n8,Z. " Direrse
son^.** I. The early form of cpt,, the
addition, usually by improvisation, of
one or more parts to a given melody.
Contrary motion was much used and
elaborate rules made. Double^ MpU,
quadruple d, refer to the number of
parts. 2. The highest part, voice or
register; the highest of a family of in-
strs. d. clef. The soprano clef.
ditcendere (de.sh&n'-d£-r€), /. To de-
scend.
disdolto (d«.sh6rt5), /. SkUful, dex-
terous.
discord, E., discorde (d^kdrd), ^.,
discor'dia, Z., discordansa (din'-
tsa), /. I. Ugliness of sound; an
inharmonious combination of tones.
2. Loosely used for dissonance (q. v.).
discordan'te, discordantemen'te,
/. Discordant(lv).
discreto (dTs-kra -td), /. Diacre^.
discresione (dYs-kri-t^-d'nC).
cretion.
DICTIONARY OF TERMS 113
disdiapft'son. In mediseval music, a
doable octave, a 15th.
Di»-dis (des-des), G. D double sharp.
Dis-dor (des-door), G, Dj( major.
Disharmonie (des-hSr-m5-ne'), G, Dis-
cord, disharmo'nisdi (nish). Dis-
cordant.
disiiiTorto, disioToltnrato (ydl-too-
ri'-td), /. Easy. disiOTOltitra
(too'-ri). Ease.
Disis (des-es), G, D double sharp.
dtsjimct'. Disjoined. A term applied
by the Greeks to tetrachords where
the lowest sound of the upper was
ooe degree higher than the highest
sound of the lower. Vide modes.
disjunct tnccesston. A succession of
skips.
Diskant (d^kint'), G. Discant i.
and 3. D.-schltissel. The soprano
clef. D.-geige. The soprano of
the strings, i. e., the violin. Diskan'*
tist. D.-sftnger. Treble singer. D.-
regiater, D.-stimme. Half-stops.
D.-saite. The highest string.
Dis-moll (d^mol), G, D# minor.
disfiar'te, /. Aside.
diapeia'to (fl'-t5), /. Desperate, dis-
perazione (dls-p<-r&-tsl-d'-n£), /.
I>eq>air.
dispersed. Used of chords or har-
monies whose elements are at wide
intervals.
disposition, i. Arrangement of parts
of a score, chorus, or orchestra. 2.
Estimate as to make-up and cost of
sm organ.
dissonance, E, (F. dYs-so-nSAs), Dts-
sonanz (des-so-nSnts'), G,^ disso-
nansa (dTs-so-niln'-tsa), /. i. Loose-
Vf used for discord. 3. In acoustics
used oC combinations producing
beats. 3. In composition used of
tones or combinations (irrespective
of their pleasantness or unpleasant-
ness of efifect) that do not give a
sense of rest, but demand motion and
resolution in some other tone or
chord.
dis'sonant, E, {F. dVs-s6-nSJi), disso-
aan'te, /. Dissonant.
dissooare (dls-so-^ii'-riO, /., dissoner
(dis-s5-n2), /*., disaoniren (dls-sO-
ne'-HSn), G, To form dissonance.
distance. Interval.
distanza (des-t^'-tssl), /. Interval,
distance, in d. In the distance.
distinct'io. i. Vide differentials. 3.
A jpause in Gregorian vocal music.
distin'to, distintamen'te, /. Dis-
tinct(ly).
distonare (t5-n&'-r£), /., distoniren
(des-t5-ne'-rfe), G, To be out of
tune.
distro'pha. In plain-song, a double
square note of lesser stress than the
tristropha.
di'tal. A key raising the string of a
lute or guitar a semitone, d. narp.
A chromatic lute with a dital to each
of its 12 to 18 strings ; in v. by Light,
1778.
diteggiatora (d€-t«d.jS-too'-rft), /.
Fingerine.
dith'yramb, E., dithyrambe .(de-tl-
r&mb), /*., Dithyrambe (de-t^-rlUn'-
b«), G,, ditirambo (de-te-riUn'-bd),
/. A rhapsody in honour of Bacchus ;
a wine-rapture.
dito (de'td), /. Finger, d. grosso.
The thumb.
di'tone, E.. diton (d^dn), F,, dito-
no (de-t5-n5), /., dito'nus, Z. A
Pythagorean major third greater by a
comma than our major third.
ditty. A naYve little song.
div. Abbr. of divisi,
diver'bia, Z., diver'bio, /. A mu-
sical dialogue.
divertimen'to, /., divertisaement
(dl-vdr'-tes-maA), F. i. A musical di-
version ; a potpourri, a series of
songs or dances inserted in operas
and plays ; a short ballet, in one or
several movements. 2. In fugue, an
episode.
dmde. Vide division.
divisi (de-vS'-ze), /. Divided. When
2 parts are written on one stave, to
ensure their not being played as doub-
le-stops by one instr. they are
marked '* divisi," When a single
note is to be played by two instrs. uie
sign is a due, separated.
114
THE MUSICAL GUIDE
divisio modi» Z. A point fonnerly
serving the purpose of the present
bar.
division, i. A variation. 2. A long
note divided into short notes. 3. A
series of notes sung to one syllable.
To " divide " or '* run a division " is
to execute such a series, d.-viol. The
viola da gamba. division-mark. A
figure and a slur binding a number of
notes of foreign rhythm, as a triplet
or quintole.
division (d€-vez'-y6n), F, A double
bar.
divo'to, divotamen'te, 7. Devout(ly).
divozione (de-vo-ts!-6'-n€). Devo-
tion.
dizi^me (dez-y^m), F. A tenth.
d. m. Abbr. of destra mano.
D-moll (da-mol), G. D minor,
do (d5), /. I. A syllable applied to
the first note of a scale in solmisation.
In, (he *^* fixed do''* system, the name
do is always applied to C. In the
^* movabU do*^ system, do is always
the tonic or key-note ; it has dis-
placed the original syllable «/. Vide
SOLMISATION. 2. In France and
Italv, the name for C.
Dock e (dok'-^), G. A wooden jack.
Doctor of Music. The highest mu-
sical degree, generally honorary, fre-
quently meaningless. In England
secured by examination.
dodechachor'don, 6^r. i. Thebissex.
2. Vide GLAREANUS in the B. D.
dodec'upla di cro'me, /. 12-8 time.
d. di semicrome. 12-16 time.
dodec'uplet. A group of 12 equal
notes.
doglia (dSl'.ya), /. Grief.
don (do). Vide tonic-sol-fa.
doig^ (dwa), F. Finger. doig^6 (dwa-
ta). Fingered, or fingering, doigter
(dwa-ta). To finger ; the art otfin-
eerine any instrument, doig^^s
fourcnus (dwa-ti foor-shtt). Cross-
fingerings.
dol. Abbr. of do/ce.
dolce (dol'-ch«), /. Sweet, soft, dol-
cezza (dol-chSd'-za). Sweetness.
dolcemen'te. Softly, dolcis'simo.
I. With extreme sweetness. 2. A
very soft flute-stop.
Dolcian (dol-tsT-an). (7., dolciana
(o) (d61-ch«-a'-na), doldno (dol-
che-no), /. i. An obsolete small bas-
soon. 2. A reed-stop.
dolciato (dol-cha'-to), /. Softened.
dolciss. Abbr. of dokissimo.
dolemment (do-l£m-m^n), F, Dole-
fully.
dolen'do, dolente, /. Sad. dolente-
men'te. Sadly.
dolent (d5-lii6), F, Sorrowful, mourn-
ful.
dolor e (do-lo'r^), /. Grief, sorrow,
doloro'so, dolor osamen'te. Sor-
rowful(ly).
Dolzfldte (d61ts'-fla.t«), G. i. An
obsolete flute. 2. A flute-stop.
Dom (dom) or Domkirche (ker'-kh$),
G. A cathedral. Domchor (kor).
The cathedral choir.
dominant, E., dominante (d5m-Y-
nant) , /v. , Dominant e(d5-ml-nSn'-t$) ,
G.& /, I. The fifth tone of a scale, so
called because it is the principal tone
after the tonic and its chord or har-
mony indicates the key and demands
resolution in the tonic ; hence d.
chord, the triad or the 7th chord
built on the dominant. 2. The key
whose tonic is the dominant of the
principal key ; hence the expression,
" to modulate to the dominant," thus
the key of G is the dominant to the
key of C. In the sonata formula the
dominant key is the one usually chosen
for the contrasting second subject,
after which the tonic key is re-estab-
lished ; hence the dominant section.
3. Vide CHANT (i) a.
Domine, salvum fac, L, ** I^rd,
make him hale,'* first words of a Cath-
olic prayer for the health of the sov-
ereign.
Dominical! Psalmi, L. Psalms in the
Vespers.
Do'na nobis pa'cem, Z. "Grant us
Thy peace." Vide mass.
donna, /. Lady, prima donna.
Leading lady in opera.
do'po, /. After.
DICTIONARY OF TERMS 115
doppel (ddp'l). G. Double, doppel-
B or doppel-Be (dop'M-ba). The
doable flat (bt?). D.-blatt. Double
reed. D.-chor, Double chorus. D.-
£agott. Double bassoon. D.-fldte.
1. Double flute. 2. A stop-pipe with
two mouths. D.-fnge. Double
fugue. D.-flfig^I. I. Videvis-A-vis.
2. Vide PIANO A CLAVIERS REN-
VERSES. d.-eedeckt. Double-stopped
diapason. D.-g^eige. An organ-stop.
D.-g^riff. Double stop on the violin,
etc. ; paired notes on other instru-
ments. D.-kanon. Canon with two
subjects. D.-kreuz (kroits). The
double sharp. D.-oktk've. Double
octave. D.-pankt. Double dot after
a note. D.-quintpommer. A large
bombard. U.-schlag. A double
beat, a turn. D.-8Chritt. A quick
march. D.-zunge. Double tongu-
ing.
doppelt (dop'-plt), G. Doubled, d.
Trillerlam. Double cadence, dop-
peltgestrichene Note. A i6th
note, doppelte Noten. Double
notes.
dop'pio (or a), /. Double ; sometimes
used to mean '* play also the octave " ;
with names of instrs. it means larger
and deeper, d. movimento or d.
tempo. Twice as fast. d. pedale.
Playing the pedals in octaves, d.
lyra. A double lyre.
do-re-mi. Vide solmisation.
Dorian, Doric, E,, dorien (dd-il-Sfi),
F. Vide MODES.
dossologia (d6s.s5-ld'-jS), /. Doxol-
ogy-
dot. I. A point placed after a note to
increase its duration one half, double
dot. Two dots placed after a note to
increase its duration three fourths. 2.
A point placed above or below a note
tomdicate that it is to be played stac*
cato ; if slurred, mezzo-staccato. 3. A
series of dots above a note indicate
that it is to be divided into that num-
ber of small notes. 4. Vide repeat.
doable. As a ftoun. i. A repetition.
2. A variation. 3. Any 16-foot stop.
4. A change rung on 5 bells. As a
verb. I. To add the superior or in-
ferior octave to the written tones of
any part. 2. To give the same tones
to different instrs.
As an adjective, i. Doubled, paired,
as the 2-mouthed d. flageolet. 2.
Repeated in the octave or in other
instrs. 3. Vide pitch, concerning
double C, double octave, d. chant,
vide CHANT lb. d. drum. One beaten
at both ends, d.reed. The combina-
tion of 2 reeds in the mouthpiece of one
instr. d. flute, (a) A flute capable of
producing two tones at once, (b) An
organ-stop. d. s^and pianoforte.
An instr. inv. by James Pierson, of
New York, with a set of keys at either
end. d. action harp. Vide harp.
d. lyre. A double lyre. d. demi-
semiquaver. A 64th note, double
flat. A symbol of two flats Q^t^) low-
ering its note two semitones, dou*
ble sharp. A symbol ( x ) raising a
note two semitones, d. note. A
breve, d. time, (a) 2-4 time, (b) In
the army a running step or cadence of
180 to the minute, d. concerto or
sonata. A concerto or sonata for two
solo instrs., as violin and piano, d.
octave. An interval of a isth or 2
octaves, d. quartet. Eight singers.
d. chorus. Two choirs, d. after-
note. 2 after-notes, d. beat. A beat
repeated, d. shake or trill. Two
notes (3ds or 6ths) shaken together, d.
backfall. An old grace, d. relish,
vide relish, d. suspension. The
suspension of two notes of a chord.
d. triplet. A sextole. d. pedal.
Pedal-point on 2 notes, double bar.
Two thin or thick lines vertically cleav-
ing the stave to show the end of a
major part, or of the whole composi-
tion.
" doubled ** is used of notes rep)eated
in the octave or in other instruments,
as **the 'cellos are d. by the bas-
soons."
Concerning the double letters (AA,
BB, etc., or D.A, D.B, etc.), vide
PITCH. In England d. is applied to
the tones from G to F inclusive.
ii6
THE MUSICAL GUIDE
4. Deeper by an octave, d. bassoon.
An instr. an octave lower than the
bassoon. Its compass extends from
B,j> to F. d. bouraon. A 32-ft. stop.
d. diapason* A stop an octave below
diapason, i6-ft. on the manuals, 32-ft.
on the pedals, d. dulciana. A i6-ft.
dulciana. d. hautboy. A i6.ft. stop.
5. doable counterpoint and d. des-
cant refer to parts so written that
they may be inverted. Vide coun-
terpoint, d. fug^e. A fugue with
2 subjects.
6. double stopping^. The playing of
two or more notes at once on a stringed
instr. d.-stopped diapason. A doub-
le diapason with covered pipes, doub-
le tongmng or d. tong^ingr. In flute
and trumpet playing, the production
of rapid staccato tones by striking
the upper teeth and the hard palate
alternately with the tongue, double
trouble. A quick shuffle of the feet in
The breakdown, doable travaie.
The trill of a tambourine made by
drawing the wet thumb across it.
d. tw^fth. A stop sounding the fifth
above the foundation-stops. The dou-
ble-bass got its name from an ob-
solete higher instr., the dass of the
stringed instrs., and of the orchestra.
Its compass is from E. or G, to a, its
3 strings being tuned by the Italian
and French system, G,-D-A, by the
English, A,-D-G. With 4 strings it
is tuned E,-A,-D.-G. Its music is
written an octave higher than it
sounds.
doable (doo-bl), F. i. Repetition with
variations, pi. doubles. Obsolete. 2.
In the minuet, a short trio with the
main harmonies of the first subject
retained. As an adjective. Double,
d.-bafTe. Double bar. D.-b6mol.
Double flat. d.-corde. (a) Double
stopping, (b) Playing the same note
on 2 strings simultaneously, d.^'coup
de langrue (koo-dtt Ung). Double
tonsruing. d. croche. A i6th note.
d. di^se. Double sharp, d. main.
An octave-coupler. d. octave.
Double octave, d. tonche (toosh).
In harmoniums, etc., a key-fall ad-
justable at two heights to regulate the
volume of tone. d. triple. 3-2 time.
doubU (doo-bla), F, i. A turn. 2.
Doubled.
doublette'(«t), F. i. A2.ft.st0p. 2. A
stop with 2 ranks of pipes. Vide fif-
teenth.
doublophone. A combinadon of
euphonium and trombone in v. by
Besson, Paris, 1891.
doubtful. Vide equivocal.
douleur (doo-ldr), F, Grief, donlou-
reus (doo-loo-di'). Sad. donloo-
reusement (doo-loor-ilz-m&ti). Sad-
ly.
douz (doo), douce (doos), F, Soft,
sweet, doucement (doos-man). Soft-
ly.
douzi^me (dooz-y^m), F, A twelfth.
downbeat, i. The fall of the hand in
rime-beating, marking the major ac-
cent of the measure. 2. The accent
itself, or thesis.
downbow. Vide bow.
dozolo'^a, £., dozolorie (d6x-dr5-
zhe), 7*., dozorogy, E, A sacred
hymn of praise ; strictly, the Greater
(or major or magna) D. is the g^lo-
ria in ezcelsis. The Lesser (or mi-
nor or parva) D. is the g^loria Patri.
drag. I. A retardation. 2. In lute-
music, a portamento downward.
Drahtsaite (drlit'-zl-t^), G. Wire
string.
dramma lir'ico or per masica (moo'-
zY-ka), /. An opera or musical
drama.
drammat'ico, /. Dramaric. dram*
maticamen'te. Dramatically.
driingend (drSng'-^nt), G. Hurr3ring.
drawknob or drawstop. In the
organ a knob which when pulled ad-
mits the wind to a stop, or couples
certain stops, d. s. action. The
mechanism of stops.
Dreher (dra'^r), G. An obsolete Aus-
trian waltz like the L&ndler.
Drehorgel (dri'-6rg^l), (7. Barrel-or-
gan.
Drehsessel (drsL'-z^s-s^l), Drehstnhl
(dra-shtool), G, A music-stool.
DICTIONARY OF TERMS 117
drei (dil), G. Three. Dreiachtel-
tact (dri.2kht'^l-Ukt). 3^ time.
•Undig (hfo-dYkh). For three hands.
Huurel (drf-2ng-el). Triangle.
•choris^(kar-Ikh). Three-choired. Ap-
plied to (a) pianos having three strings
to each note, (b) Compositions for
three choirs, -ffesang (dri'ge-zSng).
Trio. -restriclieiL 3-lin^ ; vide
PITCH, -klang. A triad. -maJ (drf-
mil). Thrice, -spiel (drf'shpel). A
trio, •stimmig. Three-voiced. Drei-
▼ierteltakt (drf-fer't^-takt). 3.4
time. Dreizweiteltakt (dri-tsvi'-tel-
takt). 3-2 time.
dreist (drtsht), G, Brave, confident.
Dreistigkeit (dits'tlkh-ldt). Bold.
drem'lA, Pol. A Jew*s harp.
dsingend (drtng'dnt), (7. Hastening.
Dritte (drit'-t«). G, Third.
drit'to, /. Right, manod. Right
hand.
dfli'ving note. A S3mcopated note.
droit (dwi), droite (dwSt), F, Right.
main droite. Right hand.
Drommete (drdm-ma't£), G, A trum-
pet.
drone or drone-pipe. Vide bagpipe.
drone-bass. A form of monotonous
pedal-point suggesting a bagpipe.
vide MUSETTE.
drdnen (dra'n£n>, G. To drone.
Dmcker (drook er), (7. i. A tour-de-
force in performance. 2. Sticker.
Dmckwerk (v£rk), G. In an organ,
an action exerted through stickers.
Dmckbalr (drook-b^kh). A con-
cussion beuows.
dnun. An instr. of percussion, of great
antiquity and vanety ; it consists of
one or two membranes stretched taut
over the ends of a hollowed chamber
of wood or metal. The tightness of
this membrane regulates the pitch of
the one tone of which it is capable.
Many drums do not produce a musi-
cal tone, but are merely of riiythmic
▼alue ; besides the savage forms, there
are (a) the small, shrill side dnun
(or tenor-dnun) with two heads, the
npper only being beaten with two
wooden sticks ; this is capable of a
sharp rattling roll, which may be
empnasized by drawing strings (or
snares) of gut across the lower head;
the drum is then called a snare-
drum ; (b) the tambonrine ; (c) the
big deep-booming bass-drum beaten
on both sides or on one, with padded
sticks. The musical drum is the
kettle-drum (q. v.). drum-major.
The officer conducting a band on the
march.
dm' ma, Irish. A drum.
drum-bass. The monotonous giving
out of the tonic and dominant in
double-bass music.
D. S. Abbr. of Dal Segno.
duc'tuSy L. Melodic progression, i.
d. rectus. Ascending. 2. d. rcTsr^
sus or reyertens. Descending ; or
3. d. circumcurrens. Ascending
and descending.
Dudeler (doo'ddl-er), G. A wretched
singer or player.
Du'delkasten, G. Barrel-organ.
Dudelsack (doo'd'1-zik), Dudelkas-
tensack, G. A bagpipe.
due (doo'-^), /. Two ; in two parts.
Vide Divisi. d. corde. Vide corda.
d. cori. Two choirs or choruses.
d. pedali, /. Both pedals to be used,
due Tolti. Twice. A due^ vide
DIVISI.
duet, Duett (doo-et'), (7., doet'to, /.
A composition for two singers, or in-
strumentalists; a 2-hand piece fof
two manuals of an organ, duettino
(tc'no), /. A short duet.
dul^iina (dool-s^l^'na). Port, A beak
flute. Also do9aina.
dulcet. A stop.
dulcian. i. Vide dolcian. 2. An
or^an-stop.
dulciana stop, dolcan, doldn, dul-
can, or dulzain. i. An 8-ft. stop of
soft sweet quality, d. principal. A
4-ft. stop. 2. A dolcian.
dulcimer. A very ancient instr. with
a wooden frame, a sound-board with
sound-holes, two bridges, and wire
strings. It is played upon with two
padded hammers ; compass g to d."
ii8
THE MUSICAL GUIDE
The czimbalom is a very familiar
form.
dulzaina (dool-thsl-e'-nS), Sp. A small
trumpet.
dumb piano, dumb spinet. A key-
board without strings or hammers
meant for silent practice.
dummy pipes. Ornamental organ
pipes that make no sound.
dump. An obsolete slow dance in 4-4
time.
dumpf (doompf), dumpfig (doomp'-
ftkh), G. Dull, muffled. Dump-
figkeit (kit). Dulness.
duo (doo' 6), /. Two ; in two parts ;
a duet, especially of 2 voices or instrs.
of the same kind. d. concertante*
A duo in which each part is alternate-
ly principal.
duodecima (doo-5-da chY-ma), /. The
twelfth ; a stop, a twelfth above the
diapasons, d. acuta, L, A twelfth
above, d. gravi, Z. A twelfth be-
low.
duodecimole, /. A group of twelve
equal notes.
duodenal, duodena' rium, duodena'-
tion. See A. J. Ellis in the B. D.
duodram'ma, /. A dramatic piece for
2 actors or singers.
duoi (doo-6'e), /. Two.
duole, G, Vide couplet.
duolo (doo-6'l6), /. Sorrow, gfrief.
duomo (doc-o'md), /. A cathedral.
dupla (doo'-pla), L, Double. Vide
NOTATION.
duple time. Double time ; 2 beats to
the measure. Vide time.
duplex long^a. Vide notation.
duplication. Doubling.
duplo (doo-plo), /. Double.
dur (door), G. Major, as A-dur.
dur (dUr), F. i. Hard, harsh of tone.
2. Major.
durament'te (doo-ra-m£n'-t£), /.
Sternly.
durchaus (doorkh-ows), (7. Through-
out.
durchdringend (doorkh'-drlng £nt), G,
Penetrating, shrill.
Durch'ftihrung (fur-oongk), G. Devel-
opment ; working out. Vide FORM.
Dorchg^ng (g^ng), G, Passage.
Durch'gangston. Passing note, or
changing note, called regdmdssig^
when on a weak beat; unregeimdssig,
on a strong beat (or schwerer Durck-
gang),
durchgehend (doorkh'ga-^nt). G, i.
Passing, transitional 2. Complete.
d. Stimmen. Complete organ-stops.
durch'komponirt (nert), (7. "Com-
posed through," used of a song whose
every stanza has individual treat-
ment. Through-composed.
durchschlagende (shlakh-^nt-^), (7.
Free (of a reed).
durchstechen (st^kh-^n), G. Vide
RUN (2). D.-stecher. Notes made
by running.
dur6e (dU-ra), /^ Length, duration.
durezza (doo-rW-za), /. Hardness,
harshness.
dur-moU Tonart (door'-mol-tdn'-art),
G, Major-minor-mode. Vide com-
bination MODE. *
duro(a) (dooro), /. Rude, harsh.
durus, Z. I. Major, as cantus d, 2.
Natural, as b> durum.
Dutch concert. Vide concert.
Dtttchen (dttt'-kh^n), (7. A smaU cor-
net.
duten (doo'-ten), G. To toot.
dux, L, *• Leader, guide;" the sub-
ject of a fugue (q. v.)
dy'ad. A concord of two tones.
dynamics. The theory of the diflfcr-
ent degrees of power applied to notes.
Dystonie (des-to-ne'), (7. and Gr. Bad
intonation.
Pron. a in 6"./ in F, and /.
called mi (me), i. A musical
pitch, two full steps above O
2. All its octaves. 3. The
scale having four sharps ; the
scale relative to G major.
And ; written ed before vow-
A projecting metal plate on
side of the mouth of organ-
2. A musical sense of pitch,
DICTIONARY OF TERMS 119
interval, etc; the capability of dis-
tin^ishlng between tone-qualities.
eboUizione (a-b6I-let-tst-5'-n^), /.
Ebullition, overflow of emotion.
ebollimen'to. Ebulliently).
^caxt (a-kftr), /*. A long stretch on the
piano.
ecbole, Gr, The sharpening of a
tone.
eccedente (*t-che-d«n'-t€), /. Aug-
mented.
ecclesia (^-kU'zl-S), L, and /•
Church, ecclesiastical modes.
Vide MODES, ecclesiastico, /. Ec-
clesiastic.
ecco (ik'-ko). I. Behold. 2. Echo.
^chappement (a-sh&p-m&n), F. Re-
lease, double €, Repeating-mech-
anism.
eche^^are (a-k«d-ja -r«), /. To echo.
echeion (pi. a), Gr. i. A drum or
gong. 2. A sound-screen. 3. Res-
onance-box of a lyre.
^chelette (ash-l€t), F, Xylophone.
^chelle (a-sh«l), F, The scale or
gamut.
tenelon (ash-16n), F, A degree.
echo (in F. a-ko). i. An imitation of an
echo. 2. An echo-stop. 3. A harpsi-
chord-stop, e. cornet, e. dalciana.
Organ-stops, e. organ. A set of
pipes inside a box or at a distance
giving an echo effect.
ecn'ometer. A device for measuring
the power of an echo.
Pelisses (a-kles), F, Ribs (of a violin,
etc.).
ec'log^e. A pastoral.
ec' lysis, Gr, The flattening of a tone.
ceo (S-ko), /. Echo.
6cole (a-Wil), F. School, method.
^cossais (i-kos-sa), 6cossaise (^-kos-
s*z), /:, EcossAse (a-kds-sa z«), G,
** Scotch." I. A grave old dance, in
3-2 or 3-4 time. 2. A lively countiry-
dance in 2-4 time.
toi (I-kQ), F. A shield on the face of
mandolins, etc.
ed («d), /. And.
edel (^dl), G. Noble.
E-dnr (sUdoor), (7. E major.
Effekt', C, effet (^.fi), F., effet'-
to, /. Effect. Efifekt-piano, G.
The effect marked ** fp " (forte piano).
effort («f-fdr), F, A guttural vocal
attack.
€^alement (a-gill-mSA), F. Equally,
evenly. €galit€ (a-gil-1-ta), F.
Equality-, evenness.
cgloga (al'yo-ga), /., ^glogue (Sg-
1^» ^- A pastoral.
eguale (&-goo-S'l£), /. i. Equal, even.
2. Applied to a composition for
voices or instrs. of one kind, as female
voices only, eeualezza (I^d'zi),
egualanza (2ln -tsS). Evenness.
ejg^almen'te. Evenly, alike.
ei'domnsikon. A melogp^ph.
eifrig (If'-rlkh), (7. Ardent.
eJgentlich (Ikh'-^nt-llkh), G. Right,
strict, in perfect time. e. Fugc. A
strict fugue, e. Kadenz. Perfect
cadence.
Eigenton (I'-kh^n-ton), G. The tone
natural to a wind or other instr. , its
** own tone."
eieht or 8. The octave, con Sva.
with the octave below or above.
Vide OTTAVA.
eighteenth. A double octave plus a
fourth.
eight-foot. 8-ft. Vide foot.
eighth. I. An octave. 2. An eighth
note, eighth note. A quaver, of half
the value of a quarter note, eighth
rest. A rest of an eighth-note dura-
tion.
eilen (I'l^n), G. To hurry, eilend
(lint). Accelerating, eilig (i'-Ukh).
Swift.
ein (In), eine (I'ni), eins (Ins), G.
One, once, einchorig (ka'-r!kh).
Used, I. Of an instr. which has but
one string to each note. 2. Of a
comp. for one choir, eingestrichen
(In-ghi-strlkh'-in). Once-accented.
Vide PITCH.
einfach (In-fakh), G. Simple, plain.
einfache Kontrapunkt. Simple
counterpoint. Eintalt. Simplicity.
Einj^ang (In'-g5ng), G. Introduction.
Emgang der Messe. The Introit.
Eingang'schlttssel. Introductory
key.
120
THE MUSICAL GUIDE
ciiij:rcifcn(In'-grt-fen), G, (a) To strike
(of strings), (b) To interlace (of the
fingers in piano-playing).
Einheit (In -hit), G. Unity, einhel-
fen. To prompt. Einhelfer. Prompt-
er. eiiiire(ii) (I'nlkh-£n). Some,
any. Eimgkeit (kit). Unity, har-
mony. Einklan^ (In'kl&ng). Uni-
son. Einlag^e (Tn-l&kh-£). A short
interpolation. Einleitunr^ ^ (In'U-
toongk). Introduction. jEinleit-
nnnsatz (z&ts) or spiel. Overture,
prelude, eininal (Tn-m£l). Once.
Eimnflthigkeit (In-mat'-Ikh-klt).
Unanimity. Einsaiter (zl'-ter). The
monochord. Einsang. A solo.
Einsatz. (a) Attack, (b) Entrance.
Einsatxstflck. Crook. Einsats-
seichen (In'zfttz-tslkh'n). i. The
sign the leader gives the performers
to commence. 2. In a canon the
mark indicating the entrance of the
imitating voice, einschlagen. To
strike in. einschlafend. Dying
away, einschmeichelnd (shmlkh-
Slnt). Insinuating. Elnschnitt
(shnlt). A phrase, einsetzen. To
enter, attack, einsetzender Hom-
ist. A horn-player, whose thick lips
must surround, instead of press the
mouthpiece, einsingen. (a) To learn
singing b^ practice, (b) To lull to
sleep, einspielen. (a) To get an
instr. in good working order, (b) To
attain command of a piece, ein-
ttimmen. To tune, einstimmig.
For one part Einstimmigkeu.
Literally, one-voiced-ness. eintdnig.
Monotonous. Eintracht. Accord.
eintriichtig (tr«kh-tYkh). Concord-
ant. eintretend (tri-tdnt). Enter-
ing. Eintritt. Entrance, entry,
banning. EinTerstJiiidniss (fer-
sht^nt-nTs). Agreement
Els (a -es), G. E sharp. Elsit. E
double sharp.
Eisenvioline (I-'z^n), G. A nail-fid-
dle.
Eisteddfod (^'-t^.fdd), Welsh. An
assemblage of Welsh bards and mu-
sicians ; first held in 1078.
Bklog(ii)e (ftk'-ldkh-«), G. Eclogne.
^la. Name of the highest tone in the
Aretinian scale ; e".
electric organ. One having elec-
tric connections in place of trackers.
electric piano. A piano inv. 1851,
and unsuccessfully attempted often
since, till Dr. Eisenmann of Berlin in
1891 succeeded in obtaining an instr.
capable of swelling on a sustained
tone, and securing many beautiful ef-
fects.
61^gamment (&l-£^gftm-m2&), /I, ele-
gantemen'te, /. Elegantly, grace-
fully, elegante (&l-^-giin't«), /. Ele-
^nt. eleganza (al-^-gfin'ts&), /.,
Elegance, grace.
elegia (i-U-je'-ft), /., 61^gie (i-UL-
zhe). /-., Elegie (M-«-je'). (;., elegy,
E. A mournful composition or dirge,
elegiaco (j^-^)* ^^^ ti^giaqne
(&-la-zhftk), F. elegiac
^l€ment (a-l&-m2&), F. The series of
tones in a scale. €. m^triqne. A
measure-note.
eleTamen'to, eleratezza (al-a-vitM'-
zft), /., eletazione (v£-tsl-d'nd). Ele-
vation, elevato (vft'to). Elevated,
exalted, sublime.
eieva'tio, Z., eleration. i. The
upbeat. 2. The rising of a melody
beyond the compass of a mode. 3. A
motet or other comp. performed dur-
ing the elevation of the Host
eleventh. An octave plus a fourth.
Elite («lf tO, G. Eleventh.
EUenlUnge (^lUn-ltog-^), G. An eU
(in pipe-measuring).
Ellis^s ^stem. See A. J. Ellis in
the B. f>.
embellir(ft6.b«Uer). /: To embellish,
embellissement (les-m&ii), F, Em-
bellishment
embellishment. Ornament, decora-
tion. Vide GRACK.
embouchure (aA-boo-shttr), F, i. The
mouthpiece of a wind instr. a. The
position the mouth assumes in play-
ing the instrument
E-moll ^&-m61), G, E minor.
emmelei'a, Gr, i. Consonance, a.
A tragic dance.
emozione (a-m6-tsI-6'-n5), /• Emotioiw
DICTIONARY OF TERMS 121
empkttr les sons (Sn-pi-Ul li s6h), F,
10 produce a legato, ez^cntion or
▼otz emi>&t€e. A blurred style.
Emp&idimg (top-fYnt'-oongk), G,
Feeling, emotion, e. sroU. Full of
feeling.
Emphase ((7. Sm-fi'-z^, F fiA-f&z).
Emphasis, emphasis. Stress or ac-
cent.
emphatiqtie (i{i.f&-tek), F, emphat-
isch (dm-fi'-tlsh), G, Emphatic
emphatiqneineiit (tek-mlA), F.
Emphatically.
empitb (£m'-pe-td), /. Impetuosity.
empitoosamen'te. Impetuously.
einport6 (Sn-pdr-ta), F, Passionate,
harried, emportement (p6rt-m2£i).
Passion, transport.
empress^ (an-pr^sa), F. Hurried,
empressement (pr^mil6), /^. ZeaL
en (^), F, In ; often used with the
participle, as tn descendants descend-
ing ; en badmant^ scherzando.
enanno'iiicOt /. Enharmonic
enclavure da maiiche (26-kI&-vOr do
miLnsh). Space for the insertion of
the neck (of a violin) into the belly.
encore (Sn-kdr), F, Again ; a recall.
Used by the English to demand a
repetition ; the French use ** bis,'^
Ende (tet'Q, G, End, conclusion.
end-man. One of the chief negro min-
strels who sits at either end of their
semicircle.
energ^ia (fo-^-je'a), /., eneri^ie (^n-
€r-zhe), F,^ Energy, energico («n-
Jb<jT-kd), energ^camen'te, /. En-
ergetic(ally^ energiqne (^n-^r-zhek),
F.y energisch (^n-&rzhYsh), G, En-
ergetic energiqaement (zhek-mftn),
F, Energetically.
enCasi (^-fS'ze), /• Emphasis.
en£at'ico, enfaticamen'te, /. Em-
phatic(ally).
eimatamente (fo-fe-&'-t&-m^'-t£), /.
Proudly.
(£6-02), F, To swell, increase.
_ (iHigk), {/• Close, compressed ; ap-
pBcKl, (a) to the stretto in fugue, (b)
to narrow straight organ-pipes, enge
Hannonie (or Lage). Close har-
mony.
Engelstimme (£ng'Sl-shtIm-m€), (7.
*' Angel voice.*' Angelica ; a stop.
EngfUhrung (eSng'-far-oongk), G.
Stretto.
enfflisch (^ng'llsh), (7. English, e.
Hom. English horn. e. Median-
ik, in pianos, the English action, e.
Tanz. Vide anglaise. e. VioUet
(vc-6-ltt'). (a) An old way of tuning
the violin— e-a-e'-a'. (b) An obsolete
viola a^amore with 14 sympathetic
strings beneath the others.
English fingering. Same as Ameri-
can fingering.
English horn. A species of oboe
(q. v.^
engnichore (SA-ge-shar), F, Embou-
chure.
enharmonic, enharmon'icus, Z., en-
harmonique (^n-&r-m6n-ek), /*., en-
harmonisch (^n-hftr-md'-n!sh), G, i.
Differing in name or notation, but
not in sound, as c sharp and d flat.
Mathematically and actually c % and
dt^ differ by an appreciable inter-
val, but for convenience' sake and
in the name of temperament (q. v.)
they are the same tone on the key-
board instruments and, by contagion,
have become so in singling and the
playing of stringed and wind instru-
ments. Tones that are identical in
our present artificial scale, but not in
actuality or acoustics, are called en-
harmonic ; hence chords and inters
vals written differently and sound-
ing alike are called enharmonic, and
the change of the ke^ by such chords
is called enharmomc modulation ;
the writing of the same chord in 2
notations is e. change. Instruments
have been frequently invented mak-
ing a distinction between such tones
as c sharp and d flat, and giving them
separate digitals. These instrs. are
called enharmonic. The e. scale
is, strictly, a scale with more than
the twelve semitones of our usual
scale ; the term is loosely applied to
scales a^ c sharp and d flat, having
the same sound. 2. Vide modes.
3. Vide DIESIS.
122
THE MUSICAL GUIDE
enigmatical. Vide canon.
^noncer (a-n6ii-sll), F, To enunciate.
dnonciation (a-non-siLs-yoii). Enun>
ciation.
eno'plia, Gr, Spartan war-music
ensemble (fin.siln'bl), F. i. Together ;
the whole ; all the factors considered
as a unit. 2. The quality of their
co-operation. morceau d'e. A
number requiring more than one per-
former.
ent£;eg:en(^nt-ga'kh£n),e.-s:e8etzt» (7.
Contrary, opposite.
entr'acte (an-trHkt), F» Music played
between the acts, or of such charac-
ter.
entran'te, entrata (^n-tra'-tH), /., en-
trada (^n-tra'-dha), 5^., entree (£n.
tra), F. I . Entrance ; introduction, or
music of such character, as in a ballet.
2. An old polonaise-like dance in 4-4
time.
entre-chats (fint-rti-sh£), F. The enter-
ing bounds of a dancer.
entremese (£n-tr£-ma'-sa), Sp, A bur-
lesque interlude.
entremets (fint-r{&-ma), F, Slight in-
terlude.
entry (obs^. An act
Entscheiaung (£nt'-shT-doongk), G.
Decision. entschieden (£nt-she'-
ddn), G* Decided.
entschlafen (£nt.shla'f£n), G. To die
away (lit. to fall asleep).
Entschliessang (£nt'-shles-soongk),
G» Resolution.
entschlossen (£nt-shl6s's^n), G. Res-
olute. Entschluss (dnt'-shloos), G.
Resolution.
Entwurf (5nt'-voorf), G, Sketch, out-
line.
enunciate (§-noon-chY-£'-t6), /. Enun-
ciated, enunciazione (a -tsl-d'-n^),
/. Enunciation.
envoy. Postscript, or ending, of a
ballad.
Eolia (e-o'lt-a), Eolian (e-olt-an), /.
Vide EOLIAN.
epic^de (£p-i-s£d), F,, epicedio (£p-Y-
chadl-d), /., epice'dium, Z. An
elegy, dirge, funeral-song, or ode.
epigonion, (7r., epigo'niom, Z. An
ancient Greek lyre, with 40 strings,
named from Epigon.
epile'nia, Gr, Vineyard songs.
epinic'ion, Gr, i. A triumphal song.
2. The Triumphal Sanctus in the
Greek Church.
epio'dion, Gr, A dirge.
episode, Episode (a-pe-s6d), F,, epi-
SO'diOy /. All incidental portions of
composition. Vide fugue, episo-
disch («p-I.zd-dlsh), G. Episodic.
epistle side. The left or south side
of the altar ; the ris^^t or north is
the g^ospel side.
epis'trophe, Gr, A refrain.
epitalamio (^p-Y-tS-li'ml-o), /., epi-
th'alme («p-Y-t&lm), /*., epitha-
lami'on, C7r., epithalamium, epi-
thal'amy, L, and E. Wedding-ode.
epit'asis, Gr. Vide anesis.
. epito'nion, Gr, i. A pitch-pipe. 2.
A tuning-wrench.
ep'ode, Gr. After-song. i. A refrain.
2. The conclusion of an ode. 3. A
retraction.
ep'tacorde (€p-tfi-k6rd), /"., eptacor'-
dOy /. I. A heptachord. 2. A
seventh. 3. A scale of seven notes.
equabile (a-kw&'bl-la), /. Equal, alike,
equabilmen'te. Smoothly.
equal, i. Of counterpoint, consisting
of notes of equal duration. 2. Vide
TEMPERAMENT. 3. Of voiccs, alike
(all male, for instance) ; not mixed.
e'qnisonance, eqnisonnance (a-ke-
stin-nans), F, Unison, as of octaves,
e'qnisonant. Of like st>und ; in uni-
son. In guitar music used of differ-
ent wa3rs of stopping the same note,
equiso'no (a-kwe'so-nd), /. In the
unison or octave.
equiv'ocal. Used of chords which
may by slight change in notation be-
long to more than one key.
Erard action. Vide harp.
erbeb, Arab. Rebec.
erfreulich (5r-froi'-Ukh), G. Joyous.
ergrif fen, G, Stirred, affected. £-heit
(hit). Agitation.
erhaben (dr-hiib^n), G, Exalted, sub-
lime. Erhabenheit (hit). Sublim-
ity.
DICTIONARY OF TERMS 123
erheben (^r-ha'Mn), G, To raise, to
elevate ; as the hand, in beating time.
erhdhen (dr-ha en), G. To raise. Er-
htthang (£r-ha'oongk), G, Raising,
sharpening. E.-szeichen. Sharps,
doable sharps, or naturals following
flats.
ermattet (er-mSt'-t«t), G, Exhausted.
Emiedrigung^ (£r-ne'-drtkh-oongk), G,
Depression by means of a flat or
natural. E.-szeichen. A sign for
lowering a note.
emst (emsht), erasthaft (^mst'hilft),
ۥ Earnest. Ernsthaftirkeit
(dmst'haf-tikh.kit), Ernstlichkeit
(llkh-kft). Earnestness.
Erntelied (£m't«-let), G. Harvest-
song.
Erdflmung (^-^fnoongk), G, Open-
ing, beginning. E.-sstiick. Over-
ture.
eroico (i-ro'Y-k5 or -a), /. Heroic.
•• Sinfonia eroica^ Beethoven's 3d
symphony.
erot'ico, /., ^rotique (a-rd-tek), /*.,
erot'ic. i. Amorous. 2. An am-
orous composition.
erst (teht), (7. First, erate Mai.
First time.
ersterben, G* To die away.
ert5iien (£r-ta'-ndn), (7. To sound.
EnRreckangr (dr-vdk'oongk), G, An-
imation.
enireitem (&:-vf-t^m),(7. To develop,
expand, erweitert. Expanded, as
enreiterte Harmonie. Open har-
mony, efweiterter Satz. A move-
ment fully developed thematically.
Hrweitemng. The widening of an
interval in a fugal theme.
ErziLhler («r.tsa^l«r), G, The narra-
tor in Passion music.
Erzlaflte (^rts'-low-t^, G. The arch-
late.
Es (fe), G. The note E flat.
Lcordo (a-sS-kdr'do), /. i. Hexa-
chord. a. A sixth.
Lt'to, /. Exact, strict.
Ea-dnr (j^s-door), G, E flat major.
esecnzione (ils-«-koot-sl-o'nO> /• Ex-
ecution, esecuto're. Performer.
esefl^re (i-sil-goo-e'-r£). To execute.
esem'pio, /. Example.
esercizio (&-s^r-che tsY-d) (pi. 1), /.
An exercise.
Es-es (£s-«s), G. E double flat.
esitamento (a-se-ta-m^n'td), esita-
zione (a-se-ta-tsl-6'nd), /. Hesita-
tion.
Es-moU (^mol), G, E flat minor.
espace (&s-p^), F. A space in the
staff.
espagnol (£s-pln-y61), F.^ espagnu-
olo (€s-pin-yoo-o 16), /. " Spanish ; "
in Spanish style.
esper'to, /. Expert.
espiran'do, /. Dying.
espr., espress. Abbr. of Esprgssivo,
espressione (st-onS), /. Expression
feeling, espressivo (se'vo), /. Ex
pressive.
espringale (£s-prTn-ga'-l£), /. Spring
dance.
essem'pio, /. Example.
essen'tial. (a) Of harmonies, the thre«
chief harmonies in any key, vit.^ thi
tonic, dominant, and subdominant.
(b) Of notes^ those that make up a
chord, in distinction from ornamen-
tal, and other foreign notes, e. sev-
enth, (a) The leading note, (b) The
7th chord in the dominant.
estemporale (rS'ld), estemporaneo
(r5'-n5-6), /. Extemporaneous.
estingfuendo (£s-tTn-goo-dn'dd), /.
Dying away.
estinto (fe-ten'-to) (or a). /. Extin-
guished, almost inaudible.
estravaganza (^s-Cra-va-gan'tsS), /.
Extravaganza.
estremamente (^s-tra-mS-men'-t^), /.
Extremely.
estribilho (gs-trt-bel'-yo). A familiar
Portugese air.
estrinciendo (^s-tren-chan'd5), /.
Playing incisively.
estriniendo (€s-tren-yan'd6), /. Very
legato.
es'tro, /. Poetic fire.
et, L. And.
et (a), F, And.
^talon (a-ta-ldn), F, Vide scale 3.
^teinte (a-tdAt), F. Almost inaudi-
ble.
124
THE MUSICAL GUIDE
6tendre (a-tSiidr), F. To extend,
spread, ^tendue (a-tiln-dQ). Com-
pass.
Et Incama'tos, Z. '* And He was
born," etc. Part of the Credo.
€tofi€ (a.t6f-fa), F. Having ** body."
as a voice.
6toiiffer (a-toof-fi), F. To deaden the
tone. 6tonff(6 (i-toof-fa). Stifled,
muffled ; in harp-playing a deadening
of the tones by touching the strings.
^touffoir (i-toof-w&r). Damper.
itre en r6p6tition (^t'riln ra-pa-tes-
yoA), F, To be in rehearsal.
Et Res'urrexit, Z. ** And rose again."
A part of the Credo.
•et'to (or a), /. Little; an Italian
suffix, as trombetta, A little trum-
pet.
et tacordo, 7. Instr. with 7 strings.
6tude (a-tad), F. A study. A comp.
outwardly intended for practice and
facility in son\e special difficulty of
technic ; often marked with much
art, and in the ^. de concert (dd-
k66-silr), concert-study, intended for
public display, ^tudier (a-tud-ya).
To study, to practise. Vide study.
Et Vi'tam, Z. ' * And life everiasting."
Part of the Credo.
etwas (dt'v^), G* Some, somewhat,
e. lang^samer. A little slower.
eufonia (a-oo-fo-ne'a), /. Euphony.
eufo'nico. Harmonious.
eoharmon'ic (Ci). Producing harmony
or concordant sounds. WelUhar-
monied, not tempered, e. organ.
An instr. of American origin, inv. by
H. W. Poole, 1848, and containing
the untem[>ered intervals. Vide en-
HARMONIC.
eoouae. The vowels in the words
** Seculorum, Amen," at the end of
the ** Gloria Patri ; " (a) the trope of
the Gregorian Lesser Doxology ; (b)
any trope (q. v.)
Eopnon (yoo-fdn). A elass harmonica
(compass from c to f" j inv. by Chlad-
ni, about 1790 ; the tone produced
by rubbing with wet fingers strips of
glass, connected with metal rods ;
also called eupho'nium.
eupho'niad. An instr. of American
origin, containing thirty keys, and
tones of the organ, horn, bassoon,
clarinet, and violin.
euphonic-horn, eupho'nion. Somme-
rophone.
eupno'nious. Harmonious.
eupho'nium. A bass brass instr. used
in military bands. It has two tubes,
played from a single mouthpiece.
Euter'pe, (7. The seventh muse,
patroness of flute-music and song.
eTacua'tio, Z. In old notation, the
reduction by one-half of a solid note^s
value by writing only its outline.
Evakuant (a-vak-oo-ant), G. The
exhaust-pallet ; also eTacuant, E,
^▼eill^ (a-va-ya), F. Gay, sprightly.
evening, or even, song. Evenin^^
service in the Anglican Church.
ever'sio, Z. In cpt., inversion.
evirato (a-ve-rii'-to), /. A eunuch
with a soprano or alto voice.
evolu'tio, Z. In cpt., inversion.
evovae. Vide euouab.
executant (^x-a-ka-tan), F. A per-
former.
exe'quiae, Z., Exequien (&c-a'kwY.
€n), G* Obsequies ; requiems.
exercice (£x-^r-ses), /*., Exercit'inm
(£x-£r-tse'tsY-oom), (7., exercise. A
practice piece ; a problem in compo-
sition, or technic.
exhaust pallet or valve. A stop
opening a valve which exhausts the
bellows of an organ.
exposi'tion. Development ; the work-
ing out of a theme. Vide form and
FUGUE.
expressif (£x-priis-eO, F, Expressive.
expres'sion (in F. €x-priis-y6n). The
psychological and spiritual elements
of music, its message and eloquence.
The delivery of a composition with
fidelity to its meaning. Hence an
expression-mark is any sign that
will aid in the interpretation of a
composition. In French the word e.
is also used specifically of the vibrato
effect, expression-stop. An har-
monium-stop giving the pedals close
control of the expression.
DICTIONARY OF TERMS 125
enresslTe-organ, ExpresssTorg^
(^f-or-kh£l), C, orgfue expresaif^
F'. The harmonium.
eztempora' neons. Without premed-
ttation. eztem'pore, L. Impro-
▼ised; off-hand, eztempocize. To
improvise. eztemponzing ma-
chine. A melograph for recording
extemporization.
eztoided. I. Dispersed, as a chord.
2. Enlarged, as a development, e.
phrase. One with three measures
instead of the usual two, etc. e. sec-
tion. One containing from 5 to 8
measores.
extension (H-XMiis-yt^t), F, Stretch,
or compass on the violin ; the exten-
»on of the forefinger or little finger
of the left hand, extension pedaL
Loud pedal.
eztra'neous. Foreign to the key. e.
modnlation. Transition to an un-
related key.
eztraTaganza (£x-tr£-vI-gSn'tsS), /.
I. An ornament in bad taste. 2. A
musical burlesque, usually spectac-
ular.
extreme, extreme (^x-trSm), F, i.
The h^hest and lowest parts. 2.
Augmented, chord of the e. sixth.
An altered chord. (Vide altered.)
FE. and (7. ; in F. and /. called
A (fS). I. A musical pitch,
a pMprfect fourth above C in
all its octaves. 2. The major
key having one flat ; the minor ke^
relative to A flat minor. F def^ r
Schlfissel, G. The bass clef grip-
C'ng the line F. t holes (in G, F.
dcher (^f-l^kh-^r) ; in F. les F. (la-
z^f). The f-shaped sound-holes in
the belly of violins, etc. f^ fi^ £ff, etc.
Abbr. oi forte Z.X1A fortissimo,
la (fi), /. I. The fourth of the sylla-
bles of solmisation (q. v.). 2. Name
of F. in France and Italy, fa-feint
(f&6), F., la fint'o,/., la fict'um, L,
Obsolete term for any flatted note.
is wL Formerly the descent of half
a tone from F to E ; now any such
descent, lab^mol, F flat, ladi^se.
F sharp, laburden. i. A counter-
point of thirds and sixths added by
esLT to A cantus Jirmus. 2. Later any
improvised accompaniment. 3. A
burden. 4. A drone-bass. 5. In-
tonation of the Psalms.
labliau (f&b.lI-6), F, An old narrative
poem, lablier (11-&). A trouv^e.
laces d'nn accord (f&s d'i&n &k-kdr),
F. The positions of a chord ; a triad
has 3, a seventh 4, etc.
lach (fakh), G. (lit. -fold). Ranked ;
as drei&ch. Three-ranked (of
pipes).
fiicherfi>rmicres Pedal (f^kh'-^r-f^r-
mYkh-^pa-d£l), (7. A fan-shaped ped-
al-board.
lacile (f&.Ul), F.. ladle (fa'-chS-ld).
Light, easy. lacilitH (fft-che-lY-tii'),
/., facility (fa-sel-l-ta), F. i. Facil-
ity. 2. An easier arrangement of a
piece or passage, ladlement (f&-sel-
mSA), F, lacilmente (fii-chel-mefn'-
ta), /. Easily.
Fackeltanz (f&k'«l-tants). G. Dance
with flambeaux in a minuet form, 4-4
time.
lacture (fftk-tar), F., Faktur (f&k-
toor'), G, I. Scheme or construction,
workmanship. 2. The scale of pipes.
-fiidiff (fa-dTkh), G. Threaded (of
vioHn-strings), as Tierfftdi^. 4-
threaded.
lading (fild'-Ing), IrisA, A dance ; a
refrain.
fag. Abbr. of fagotti,
lagot, £,, Fagott (fa-g6t'),(;., lagot'-
to, /. I. A bassoon. 2. A reed-stop
(also Fagottzug). Dsigottino (te'no),
/. A small bassoon. Fagottist
(fS-g6t-test'), G. fagottista (tes'-
t&), /. A performer on the bassoon.
fagotto contro, /. A bassoon, an
octave, a fifth, or a fourth lower.
Dftgotto'ne. A large obs. bassoon,
an octave lower.
fish. Fa in Tonic sol-fa.
F&hnenmarsch (f&'-n^n-marsh), G.
The march played when the colours
are lodged.
126
THE MUSICAL GUIDE
fkible (f^b'l) F. Weak, temps!
Weak-beat.
iaire (f&r), F. To do, make, t des
fredons. A trill, faites bien sen-
tir la m^lodie (f^t-bl.&h-s&A-terlil
mi-lo-de), F. Keep the melody very
distinct.
ia-la. I. An old refrain. 2. A song
with such refrain, or a dance. £alal«
el'la, /. A nonsense song.
fall. I. A cadence. 2. Vide fly.
falo'tico, /. Fantastic.
falsa (f^r-sii) (or o), /., false, E,,
ialsch (falsh), G. False, wrong, out
of tune, false accent. Accent re-
moved from the Brst to the second or
fourth beat, t bordone. (a) Fa-
burden, (b) The reciting-notes. f. ca-
dence. An imperfect or interrupted
cadence, f. fiftn. An imperfect fifth.
f. relation, (a) The appearance sim-
ultaneously or consecutively in differ-
ent voices of the same notes chromat-
ically altered, as C sharp and C flat,
implying a disagreement or incom-
patibility, (b) The appearance of the
tritone (q. v.) in different voices.
Though strictly forbidden in the text-
books, late composers ignore the rule
altogether, f. string. An ill-made
string gfiving a bad tone. f. triad.
The diminished triad having a false
fifth.
Falsett (fti-z^t'), G,, falsetto, /.
I. The top or artificial register of the
voice, having an unnatural or effem-
inate sound. 2. One who uses this
register.
Can'cy. i. A slight tune. 2. A fan-
tasy.
Candan'go, Sp, A popular Spanish
dance in triple time, accompanied
with castanets (or tambourine) and
guitar, the dance being interpolated
between vocal couplets.
fanfare, E. (pron. in F, faft-fir),
£an£sra (fan-fii'-ra), /. i. A trumpet-
flourish. 2. A brass-band.
fantaisie (fah.t^-ze). F., fantasia (fan-
ta-ze'a), /., Fantasie (fSn-ta-ze), G.
I. Fantasy, caprice, a composition
free in spirit and form. 3. An ar-
peggiated prelude. 3. A potpourri.
4. An improvisation. 5. Formerly
a work, vocal or instrumental, full of
free imitation free fantasia or
fantasy, same as Development.
Vide FORM, fantasio'so, /. Fan-
tastic. £antasiren (ze'r€n), G. To
improvise.
fantas'tico, fantasticamen'te, /.,
fantastique (f&n-t^tek), F, , fanta»>
tisch (fsLn-t^'-tlsh), G, Capricious.
fiarandola, /., farandole (f&r-an-doi).
fiarandoule (f&r-£h-dool), F. A cir-
cle dance in 6-8 time.
fianieticamen'te, /. Deliriously.
farsa in musica (moo'zi-ka), /. A
burletta.
farsia (f^'sY-ft), /. A canticle in
Italian and Latin sung at Catholic
festivals.
fiascia (f£'-sh&), /. i. A tie. 2. A
rib.
fasto'so, fastosamen'te, /. Pom-
pous(ly).
faitura (fat-too'-ra), /. Vide facture.
faucette (f5-s£t), fausset (fd-sa), F.^
Falsetto.
faux (fo) or fausse (fds), F, False,
out of tune. f. accord (fo zHk-kdr).
A dissonance. L bourdon (fo-boor-
d6n). Vide faburdrn. f. quinte*
Imperfect fifth.
F clef. The bass-clef. Vide clef.
F-dur (Cf-door), G, F major.
feathering. The bowing of swift
staccato.
Federklavier (fa-der-kla-fer), G.
Spinet
feeders. Small bellows to supply
large.
Feier (fl'^r), G. Festival, celebration.
F.-s^esan£f. Anthem, feierlich.
Festive, solemn. F.-keit. Solem-
nity.
feirned Toice. Falsetto voice*
feilen (fl-ldn), G, Topolifli.^
fein (fin), G, Fine, refined.
feint. In drum music, a figfure.
feinte (f£nt), F. Old name for semi-
tone ; accidental.
Feld (felt), G, Field. F. adte. A
peasant flute. F. Knnstpfeiler
DICTIONARY OF TERMS 127
(koonst'pft-f^r). A military musician.
Feldmnsik (f£lt-moo-zek'). Military
music. Feldrohr (rdr), G, A rural
pipe. F.-stiick. A cavalry call
r . -ton. The key-note of a military
wind instr. F. •trompete. Military
tnmipet.
fe'riaL Non-festal, secular.
fer'ma, /. Firm, fermamen'te, /.
Firmly.
fermare il taono. Vide messa di
VOCB.
fier'niate. E, Cp G. Vtt-m^Aje), fei^
mata (fdr-m£'-ta), /. i. A symbol ^
or ^ above or below a note, rest or
bar indicating a long pause upon it ;
f, ad libitum^ often occurring before
a cadenza. 2. A stop, on the vio-
lin.
fermato (mi'-t5), /. Firmly, fer^
mezza ff^-m^'-zS). Firmness, fer-
mo (f*rmo). Firm. Vide cantus
FIRMUS.
fermement (f^hm-mSA), F. Firmly.
Feme (f£r'n£), (7. Distance, wie
ans dcr F. (v$-ows-dgr). As if from
the distance. Fem-fldte. A covered
8-ft.stop. Fem-werk. Echo-organ.
leroce (f&-r5'-ch^, ferocemen'te, /.
Ficrce(ly). ferocity (fa-r5-cht-t5')»
Fierceness.
fertie<f*r-tlkh). G. Ready, nimble. F.-
keit (kit). Dexterity.
ferremmeiit (flr-vd-maii). /*• Fervent-
ly.
ferren'tey fcr'vido, /. Fervent, fer-
Tentemen'te, femdamen'te. Ve-
hemently.
Fes (ffe), (7. The note F>. Feses
{i^H), F double flat.
Pest (f^^t), G, I. Feast, festival. 2.
Finn, steady. Festirkeit (f«s.
tfkh-krt). Firmness, steadmess. fest-
licb (f^-ltkh). Festive, solemn.
Pestlichkeit. Solemnity. Fest-
lied. A festive-song. Festouver-
t&re. A'URlliant overture. Fest-
seit (tdt). Festival-time.
lestiTo (f6s-t8'v5), festivamen'te, /.
GayO);). fcstivitJl (ffc-te-vl-ta').
Festivity, gayety.
festo'tOv /. Merry, cheerful, gay.
Feuer (foi'«r), G Fire, ardour, pas-
sion, feurig (rikh). Ardent, pas-
sionate.
fSL Abb. of Fortissimo,
F holes. Vide f.
fiacco (fY-ak'ko), /. Feeble, languish-
ing.
fiasco (ft-Ss'-kd), /. A failure ; not so
used in Italy.
fiato (fY-a'-to). /. Breath; voice.
fictu8(aHnm), Z. ** Feigned." i.
Vide FA. 2. musica ficta. For-
mer name for music transposed.
fiddle. Violin, iron f. An arrange-
ment of nails or rods played with a
bow, inv. by Jn. Wilde, i8th cent.
fiddler. Violinist, commonly a poor
player, fiddlestick. Violin-bow.
Fidel (fe'.d€l), G. Violin.
fi'des, Z. I. A string. 2. A stringed
instr. fid'icen. One who plays a
stringed instr. fidicina. A woman-
player.
fidic'ula, Z. A small lute.
fiducia (B-doo'-chd), /. Confidence.
Fiedel (fe'dl), G, A violin. Stroh-
fiedel. Xylophone. F.-bogen (bdkh'-
6n). A violin-bow. F.-brett (brdt).
A squeaky violin. Fiedler (fatM£r).
A fiddler.
fiel. An old name for violin.
field-music. Martial music.
fier (fe-ir), fifere (fT-ftr), F. Proud,
lofty, fierce, fi^rement (ft-ir-mSA).
Fiercely. fi^6 (fyir-ta'). Fierce-
ness.
fiero (fe-i'-r5), fieramen'te, /. Fierce-
Oy). fierez2a(rW-za). Fierceness.
fife. I. A 6-holed octave cross-flute,
usually in the key of F or BI7, chiefly
used in military music, differing from
the piccolo in lacking keys ; compass
d'-d ". 2. A 2-foot stop.
fif faro, Z Fife.
fifre (fefr), /^ i. A fife. 2. A fifer.
3. An harmonium-stop.
fifteenth, i. An interval of two oc-
taves. 2. A 2-ft. stop, two octaves
above the diapasons.
fifth. I. The fifth tone of a scale, the
dominant 2. An interval contain-
ing five tones, the extremes inclQded«
128
THE MUSICAL GUIDE
as C-G (the ratio being a : 3). The
tonic and the dominant of a key con-
stitute a perfect (or less strictly, ma-
jor) fifth. To widen the interval by
lowering the lower (or raising the up-
per) tone a half-step results in an aug'
mented (or superfluous^ extreme^
sharp ox pluperfect) fifths as c-g#, or
ct^-g ; to narrow the interval a semi-
tone by raising the lower or lowering
the upper tone a half-step results
in a diminished (or imperfect^ false ^
flat^ minor or defective) fifth. Two
parts or voices according to the rules
may not progress by perfect fifths
either in consecutive or parallel man-
ner, whether the fifths are open or
{covered^ concealed)^ hidden^ (q. v.).
Though this rule is the very ABC
of harmonic law, it is not justified by
science, by history, or by latest prac-
tice. Circle of fiifths. Vide tem-
perament, fifthy. With the second
partial (a fifth) noticeably marked.
Figur (fe-goor ), G. A figure, or num-
eral.
figara (fe-goo'-r&), Z. and /. Vide
FIGURE, f. lira'ta. A ligature. L
mata (moo-u). A rest. L obirqna.
In old music, an oblique symbol in-
dicating that two superimposed notes
ias g-b) were to be sung obliquely
thus g-b-b-g).
fiiraral, E, (in G, fe-goo-nU'). Fig-
urate. F.-gesang. Cantus figura-
tus, counterpoint.
figuration, i. The use of figures or
ornamented passages in the variation
of a theme. 2. The writing or the
filling out of figured bass. 3. In
cpt. the interpolation of figures,
changing notes, etc.
figarato (fe-goo-rsi'-td), /., fignr^ (fe-
gU-ra), F, figurate, or figured, i.
Ornamented with figures, hence
florid, free. 2. Provided with numer-
als, as figured bass. Vide bass 6,
and CHORD.
figure, E, (in F, pron. fY-gtlr). i. A
pattern or design in grouped notes
which may be repeated variously. 3.
A irameraL L of diminntioii. A
number diminishing the duration of a
note.
fil (f el), F. Thiead (of a strine).
filar il tuono or la Toce (fe-lir €1
too-5'-nd or la v5' ch£), /., filer an
son or la yoix (fe-U rfin sbt or 12
vwa), F, To draw the tone out to a
thread of sound.
filarmo'nico, /. Music-loving.
filet de Toix (fe-la da vwi), F. A
mere thread of tone.
filling-up. I. Of parts, those of bar-
monic but not melodic use. 2. Of
stops, mutation.
filo (fe'-lo), /. Thread, t di Toce.
Softest possible tone.
filpen (fel -p«n), (7. Vide fistuuren.
fi'fum, Z. Stem, of a note.
fin (f&n). F. The end ; fine, t k q«L
(f&nike). Endhei^.
fi'nal. The note of rest in church-
modes corresponding to our Tonic ;
in authentic modes the /*. is on the
first degree ; in plagal, on the 4th.
These are called regular' finals.
Others occur frequently and are irreg-
ular or confinaU, Vide modes, X
close. A finishing cadence.
finale (fe-n&'-lS, /. / in F, ft-nil). i.
The conclusion, usually elaborate, as
the closing chorus of an act in operm ;
in sonatas, symphonies, an indfpend*
ent movement. 2. A finaL
final'is, Z. Vide accentus scclesi-
ASTICI.
fine (fe'-n^), /. The end ; it may ap.
pear sometimes before a da ca^
sign, in which case the movement is
to be played to the repeat-bar and
then repeated to the Fine, where it
ends.
Finger (In E, ftn^'-gir ; in G, ftng'-
£r). Finger. F.-bildner, finger-oe-
▼eloper. A .device for keeping the
last joint of the fingers up ; inv.
by Seebcr. F.*brett. Finger-board.
F.-fertigkeit. Agility. F.-leiter
OTt'-«r). The chiroplast. F.-sats,
F.-setzung. Fingering. Enger or
gedehnter, Fin^rsats. Close (or
stretched) fingering. F.-wechsel
(v^khs'l). Change of fingers, finger-
DICTIONARY OF TERMS 129
IXMU'd. In a stringed instr. the neck
on which the strings are stopped.
finger-cymtMUs. Tiny cymbals
fixed on the fingers, finger-holes.
The holes on wind-instrs. by which
the pitch is regulated.
fingering, i. The manner of using
the fingers on instrs. 2. The symbols
indicating a fingering. In the Ger-
man F, the thumb is marked i, the
fingers 2, 3, 4, 5 ; in an older German
method the thumb was marked by a
circle O ; in the English^ ox Ameri-
can F, the thumb is marked with a
cross, the fingers, i, 2, 3, 4.
finire il tuono, /. Vide messa di
VOCB.
fi'nite. Of a canon, not repeated, end-
ing with the finish of the theme ; not
'- infinite."
finito(a) (fY-ne'-t5), /. Finished.
lino (fe -no), /. To, as far as, till.
fiato(a) (fen -to), /. Feigned cadenza
L Vide CADENCE (f). fa finto. Vide
FA.
lioco(a) (f!-6'-k6), /. Hoarse, faint.
fiochetto. Rather hoarse, fiochez-
%9L (fe-5-k£d'-za). Hoarseness.
fiore (fY-d'-r«), /. Flower, a t di
labbre. Lightly on the lip.
fioregnare (fc-6-r€d.ja'-r€), /. To
add figures to.
fioret'to, /. A little ornament.
fiofiacente (fe-d-rt.sh«n'-t«), /., fiorito
(fc-5-rc'-t6). Florid, fioritecza (fe-5-
rt-t6d'-zfi). Embellishment.
fiofitora (fc-o-rl-too'ra) (pi. e). /.
Florid ornament.
first. I. The highest voice-part or
stxii^ ; the lowest line or space. 2.
A unison or prime.
Fis (fcs). G, The note F#. Fis-dur
(fSs-door). Fft major. Fis-fis. The
note F double sharp. Fis-moU. Fjt
minor.
Fistel (flsh-tel), G, Falsetto (also F.-
atunme).
FtstoU (fes'-td-U). /., fis'tula, Z.
A reed, a pipe, i dulcis. The }fj^//
i h€€. f. germanica. German flute.
1 pania or t nastoralis. The Pan-
dean pipes. L pattorica. An oaten
pipe used in Roman theatres to ex-
gress disapprobation, fistnlator, Z.,
stulato're, /. A piper, fistuli-
ren (fls-too-le'rfin), G. i. To sing fal-
setto. 2. Of organ-pipes, to over-blow.
fith'ele. Old English name for fiddle.
fixed-Do. That system of solmisation
in which the syllables are fixed, i. e.,
do is given always to C (sharp, flat,
or natural), re to D, etc.
fixed tone or intonation. Used of
the piano and instrs. in which the
player cannot change the pitch of a
tone, as on the violin, etc.
Flachfldte (fl&kh'fla-t^), (7. i. FUge-
olet. 2. An organ-stop.
flag. I. Abbr. for flageolet^ or flage^
olet tones, 2. A hook.
flageolet', E. (F, flftzh-d-la), Flage-
olett (fl£-j^.54dt'), (7., flagioletU
(fla^jd-Ut'ta), /. I. A small flute plaved
at the end, compass g'-b" nat
donble t An instr. with 2 different-
sized flageolets meeting in one mouth-
piece, inv. by Bainbridge, i8oa 2.
flageolet or flageolet-tones or
T5ne. Vide harmonics. 3. A i-
or 2-ft stop.
flam. In drum music a grace note,
close f.^ as short as possible ; openf,^
with a brief interval
Fla'minenorgel, G* Pyrophone.
Flaschinett (flash'I-net), G, The
flageolet.
flat. I. A symbol (h) lowering the note
before which it is placed one semi-
tone ; placed in the signature it af-
fects every note occurring on its line
or space. The double fiat (b^),
formerly a great flat, lowers the note
two semitones, flat fifth. Vide
FIFTH, flat tuning. Of a lute tuned
to the former lower French pitch, a.
As a verbf to lower a note a semi-
tone ; preferably to flatten.
flatter U corde (flit-ta la' kord), F.
To flatter or caress the string.
flautando (fl&.oo.tiin'dd), flautato
(ta to), /. I. Drawing the bow gent-
ly across the strings near the bridge,
producing a ** fluty" tone. a. Pro*
ducing harmooici.
130
THE MUSICAL GUIDE
flaoto (aa'oo.t5), /. Flute, flautis-
ta. Performer on the flute, flau-
tino (te'-no). i. A small octave-
flute. 2. A piccolo. 3. Same as
flautando, t piccolo. The shrill
octave-flute. £ a bec'co. Beak-
flute. 1 alto. A tenor-flute used in
bands. L ainabile. An organ-stop.
1 amoroso. A 4-foot organ-stop.
t dolce. I. A beak-flute. 2. An
organ-stop, fiaato'ne. A large bass-
flute. C tedesco, transTerso, tnu
▼erso. !• The German or transverse
flute. 2. An organ-stop.
flebile (flr-bM«). flebilmen'te, /. Sad-
(ly). doleful(ly).
fletsibile (fl^s-se -bY-la), /. Flexible.
aestibiliUi (U-ta'), /. Flexibility.
Flick' opera, t7. An opera with new
words to old tunes.
flin^. A Scotch Highland dance in 4-4
time.
F-Ldcher, G. F holes. Vide f.
flon-flon (fl6n-fl6ii), F, A refrain to
old vaudevilles ; hence, trash.
flor'id. Ornamental, embellished.
F15te (fl&'t£), G, Flute, fldtchen (fl^t'-
kh«n). A little flute. F.-bass. A
bass-flute, fldten. To play the
flute. F.-spieler. A flute-player.
F.-stinune, F.-su^. A flute-stop.
Fldtenwerk. A small organ with
only flue-pipes. F. trayerso. i.
The transverse flute. 2. An organ-
stop. Fldtist (fla'-test). A flute-
player.
floorlsh. I. A trumpet-fanfare. 3.
An embellishment
flflchtiflr (flttkh'tlkh), (7. Light(ly).
Flflcntigkeit (kit). Fleetness.
flue-pipe-stop-work. Vide pipe.
Fliigel (fla'.g«l), G, ** Wing," hence.
I. A wing-shaped instr. ; or the
modem grand piano. 2. The ear of
a pipe. F.-harfe. A small table-
harp with upright sound-board. F.-
hom. I. A bugle. 2. A keyed
bugle or other keyed brass instru-
ment.
Ante, E., flu'ta, Z., flfite (flat), /^ i.
Now generally used of the transverse
(or cross ^ or German) flute* The beak'
(or direct) flute (in various sizes) is
obsolete. This latter was blown at
one end. The cross-flute is blown
through a hole in the side near the
larger end. It is a long tube (for-
merly slightly conical) with the lai^ger
end clos^. Usually made of wood,
it is sometimes of silver or other met-
als. The principle is that of the flue-
pipe (vide PIPE), and the tone is
clear, pur?, and especially rich in the
lower range, which is too little used.
A very ancient instrument (appear-
ing often with two tubes and one
mouthpiece as the double-flute^ one
tube furnishing probably a mere
drone-bass); it^ modem form owes
much to the improvements of Boehm,
and controls with its keys fourteen
orifices, with an extreme range of
b-c""l . It is made in six sizes (in-
cluding the piccolo^ or octave-^vx^)
and sounds as written, is non-trans-
posing. The normal flute is the C ;
there are two others in D flat and E
flat. lYit piccolo is in the same keys,
but the lower octave is not used ; it
is written an octave lower than it
sounds. A fourth (or quart) flute
sounds a fourth higher than the nor-
mal flute. 2. An organ-stop, flnte*
work. Vide stop, harmonic £ or
f. armoniqtie. An organ-stop. oc*
taTe-t The piccolo, pastoral or
shepherd's £. A short beak-flute,
f. & bee (ii b«k), A, Schnabel-
fldte (shnii-b«l), G, Beak-flute. C
allemande (&l-m&nd), F. The cross-
flute, t conique (k6n-ek), F, i.
Conical flute. 2. An organ-stop,
f. d'amoor (dH-moor). i. An ob-
solete flute in A or in B flat. 2.
A 4- or 8-ft. stop. L d'Ao^^ie.
terre (d£n.glii-t&r). The flageolet,
f. du Poitoa( da pwi-too). The ba^-
pipe, t douce (doos). The beak-
flute, f. minor (me-nor). A 2- or
4-foot stop. i. octayiante (6k-ti-
v!-fint). Octave-flute ; an organ-
stop, f. ooTerte (oo-vftrt). An c^)en
stop. C traverti^re (triUvar-sS-Ir).
The cross-flute*
DICTIONARY OF TERMS 131
iftte, F. As a dirtcfum--** rise bar-
monies.*" flfit^e (ta). Fluty.
fly. The lid covering a key-board.
F-moll («f-m6l), G. F minor.
fo'cOy /. Fire, passion, focosameti -
tc Ardently, focosis'simo. Very
ardent, fbcoso. Passionate.
fbg^lietto (f61-y€t'-to), /. A part which
contains all the obbligato passages,
used often by conductors instead of a
score.
loire des enfiaiits (fwar-di-zafi-fan), F,
•• Children's fair." Toy symphony.
Ibis (fwsl), F. Time, premiere t
(nrilm.vlr). The first time, deox-
leme t (di&z-y£m). The second time.
deux t (dtt-fwa). Twice, demi-
se f. The last time.
folia (fd-le'-ft), Sp., follia(e) di spagna
(span-ya), /., folies d'espagne
(f6-le-d^spln), F. i. A slow Span-
ish solo-dance in 3-4 time. 2. A
species of air with variations.
folia'ted. Ornamented.
folk-music The body of folk-songs,
dances, etc.
folk-song. A strongly racial popular
song that has become a tradition.
Folk-Song.
By H. £. Krehbiel.
THE beating which Folk-music (ue,. Folk-song and Folk-dance) has
on nadonal schools of composition gives propriety to an attempt at
accurate definition of the subject to which this ardcle is devoted.
Folk-song is not popular song in the sense in which the word is most fre-
quently used, but the song of the folk ; not only the song admired of the
people but, in a strict sense, the song created by the people. It is a body of
poetry and music which has coms into existence without the influence of
conscious art, as a ^ntaneous utterance, filled with characteristic expression
of the feelings of a people. Such songs are marked by certain peculiarides of
rli3rthm, form, and melody which are traceable, more or less clearly, to racial
(or national) temperament, modes of life, climadc and polidcal condidons,
geographical environment and language. Some of these elements, the spirit-
ual, are elusive, but others can be determined and classified. Peoples living
in northern climates, for instance, are predisposed to the minor mode, which
has melancholy for its most marked characterisdc. Here the influence is
generally climadc and geographical. But peoples living in cheerful and salu-
brious climes may also be dominated by gloom if they have long suffered under
oppressive polidcal and social condidons. ^Both proposidons are illustrated
in the case of Russian Folk-song, which is overwhelmingly minor in spite of
the fiurt that the Czar's empire extends over nearly thirty degrees of latitude
and has a mean temperature varying from thirty-two degrees Fahrenheit at
Archangel, to fifty-eight degrees in the Caucasus. It would seem to be a
paradox, moreover, that heavy-hearted song should be paired almost univer-
sally with singularly boisterous and energedc dances ; but the reason of this
becomes plain when it is remembered that a measured and decorous mode of
132
THE MUSICAL GUIDE
popular amusement is the general expression of equable popular life, whUe
wild and desperate gayety is frequently the sign of reaction from suffering.
There it a gayety of despair as well as of contentment and happiness.
^Imervallic peculiarities are more difficult to explain than rhythmic, and
may be said to be survivals of primitive artistic conditions. The modem
scale was an evoludon, not an inspiration, and the study of savage music dis-
closes many rudimentary forms of it. The most idiomatic music of the Finns
is confined to the first five tones of the minor scale, which was the compass
of the ancient Finnish harp — the kantele. Old Irish and Scotch songs share
the pentatonic scale (/./.j the modern diatonic scale omitting the fourth and
seventh steps) with the popular music of China, Japan, and Siam. In the
songs of the negro slaves of America, I have found the same scale, a major
scale with a flat seventh and a minor scale with a raised sixth, to be predomi-
nant. Cesar Cui mentions the prevalence in Russia of two major scales, one
without the fourth, the other without the third and seventh. Hungarian
melodies make frequent use of the interval called the augmented second,
which compasses three semitones and is common to Oriental music. There
is a hint in this of the origin of the Magyars, who are not Slavs, as is so com-
monly supposed, but Scythians ; they belong to the Finno-Ungrian stock,
and are more nearly related to* the Turks than to their neighbours, the Poles
and Russians. The profusion of ornament which characterises Hungarian
music is an importadon from the Orient by the Gypsies who, while the
nadonal musicians of Hungary, are nevertheless a Hindu people. ^These
Bicts, gathered at random from the vast but as yet unexplored storehouse of
Folk-music indicate the possibib'ty of using the study as an aid in the deter-
minadon of many things in ethnology and ethnography ; for Folk-song
elements have a marvellous tenacity of life. In the study of Folk-music,
however, the purpose of the student should be primarily to discover and, if
possible, account for the elements which difFerendate the creadons of one
race, people, or tribe from those of another. This done it wiU be possible to
explain and describe the disdnguishing characteristics of the national schools
of composidon based upon Folk-song idioms, such as the Scandinavian,
Russian, Pob'sh, Bohemian, and Hungarian.
folk«tone. The folk-song manner or
spirit (cf. Volkston).
foiidamental(e), (f6n-d&-mSA.t&l) F.,
fondamentale (tal^), /. Funda-
mental, son f. Root, basse, or bas-
so, f. Vide BASS 6.
fondamen'to, /. Fundamental bass.
fbnds d'org^ne (fdh dorg), F. The
foundation-stops.
foot. I. The unit of metre, a distinct
rhythmic unit of two or more sylla-
bles. 2. Of a pipe, the part below the
mouth. 3. Old term for a refrain.or a
drone-bass. 4. A unit for the desig-
nation of the pitch of pip>esand instrs.
arrived at as follows. Sound travels
1056 feet per second, the tone C„ has
33 vibrations a second ; 1056 -t- 33«"
DICTIONARY OF TERMS
33
32 feet, the length of one sound-
waTC ; a 32*foot pipe will therefore
sound C,,- The pipe giving C (two
octayes below middle C) is about 8
feet long. This is taken as the nor-
ma] lengrth, and while the pipes that
make up a so-called 8-foot stop (q. v.)
decrease in length as they ascend the
scale, they are considered as belong-
ing to the 8-foot tone and they sound
as written or played, i. e., when an
&-foot stop is on and the key of
mid. C is depressed, mid. C sounds,
etc. If this key is depressed when a
4-foot stop is on, the tone an octave
higher sounds ; when a 32-foot is on, a
tone two octaves lower sounds ; the
2-foot and i-foot stops produce tones
respectively two and three octaves
higher than the key depressed. ^A
stop then is named from the length
of its longest pipe and lowest tone.
From this use arises the designation
of instruments by foot-measure, or
foot-time ; an instr. sounding as writ-
ten (e. g., the flute) is called an 8-foot
instr., one sounding an octave higher
(e. g., the piccolo-flute) is called a
4-foot instr. Furthermore, this desig-
nation is used of octaves ; the letters
in the great octave (vide pitch) are
known as 8-foot (as 8-ft C, D» etc.),
those in the small octave, as 4-ft. ^, ^,
etc ; those in the once-accented as a-
foot, and those in the twice-accented
as i-foot. The woTdfoot is sometimes
abbreviated by an ( ) as 8', 16'.
The metrical system has been ap-
pUed with much inaccuracy ; 8-feet
5 r S ■
= - metre ; 4-feet = - m. ; 2-feet =
2 4
5 m. ; i6-ft. = 5 m. ; 32-ft. = 10 m. ;
^ . ,2121 ,2
Qumte (10 - 5 z 2 z I ^ and -
jf J* jt ji J
'•"^ =f I. !.»'"'<* S """*"*•
spectively.
Tierce (6 f 3 ^ i ? and ^ feet) =
J (or 2), I (or I), j*„ (i), and ^ (i)
metres respectively.
foot-key. Pedal-key.
forbidden. Contrary to musical gram-
mar. Vide HARMONY.
foreign. Alien to the given key, or
tonality.
forlana (fOr-lii'-n&), /., forlane (fdr-
Iftn), F. A lively Venetian dance in
6-8 or 6-4 time.
Form.
By John F. Runciman.
A DEFINITION of Form would have this disadvantage : that it
would convey absolutely nothing save to those who understood
perfectly what the meaning is ; and, further, it would occupy much
more space than is here available. So instead of trying to reach a perfect
definition, let us try what is a much better plan from the lay point of view —
let us trace the growth of the mass of principles and their methods of appli-
cation which arc included in this one comprehensive term Form. ^In the
beginnings we may assume, music was without Form, though not always
quite void. The savage tootled his melody, caring nothing about repeating
phrases, nothing about middle sections, nothing about development. But in
^ earliest traditional melodies that come down to us we find the germ of all
that is now known as Form. ^In any collection of popular songs the reader
134 THE MUSICAL GUIDE
will find examples built on the following plan : — first a strain is delivered ;
then another strain, in another key, b delivered ; and finally the first strain is
repeated, bringing the whole thing to a satbfactory close. Let us consider
for a moment the inwardness of this arrangement. No one wants to sing only
one strain and be done with it. To sing a second strain in the same Ley
would prove tiresome, so a kclmgjiLxciM, of jvyrjety is prodncecj when the
thmg is lengthened by the addition of a second strain in a new k^y. But to
end in the new key would be quite unsatisfactory : it would be like breaking
off in the middle of a sentence. So the firsts key is re-intnuluced and the
whole sojig, rounded off and made to end with a sense Df perfect compltte-
ness by a repetition of the first strain in the first key. ^Frgm this sample
example, then, we may infer the whole object of Form : itjs to secure,
whether in songs or in instrumental movements or in choruses, a piece of
mu5.i£.5sfficicnt!y JoD^-ani-fiOmbmiog Y^ri^lyj^ith uoity. ^Length, variety,
andjuut^ — to attain^tljcscLiSj^so /^r as imtnuDcntal jousic, music without
words, is concerned, the whole aim and object. of Form. When once music
is used in association with words, other than the simplest lyrics, other con-
siderations enter. These we will touch upon later ; let us fiir the pt-esent
try to get as fur as the first instrumental music written in anything approach-
ing regular Form. Naturally this grew out ^f the pftlyph^ni^ v^y^l imi^.
which came before it. If we examme the old music, in a great deal of it
we find nothing corresponding to Form as we understand the word to-day.
A phrase is delivered by one voice. Let us call that phrase A ; it may be
two, four, or six bars, or indeed any length. After the first voice has supf^
it a second voice takes itjig^ while the first voice proceeds to a second ^h^m^
or strain which we will call B- — a third voice cntersjKUlLA, the second takgs
up B, while the fii;pt proceeds to yet another ,ne\y strain ^ CL Roughly, thb
is the way in which whole movements are spun out. The modulations are
more or less haphazard and dictated endrely by the composer's desire to
achieve expression : there is nothing done in obedience to any rule. The
first instrumental pieces are built after this plan. ^I'^^^se pieces may be
compared to the harmless amoeba, the tiny speck of protoplasm which swims
about, sans eyes, ears, mouth or limbs : simply a shapeless bit of life capable
of existing, so long as it remains small. But even the older composers were
not content to let their musical creations remain small. They wanted to
display their skill in weaving a longer web of music ; some- of them had
something to say, something which demanded length ; most of them had the
architectonical instinct which forces man to build out of any material he can
lay his hands on. Now a lonp movement^ a too long movement^ spun on
the old plan necessarily becomes tedious, monotonous and dlQculiJfiLibllow —
it is at best like a very long sentence or paragraph with never a comma or a
DICTIONARY OF TERMS 135
period. Moreover, if the music b all the same, if it is homogeneous, it b
obvious that one of the prinripg) ip^K/v^* exf^ C^»»'"g ^ypraaamn^ COOtrgSt, b
ruled out. Last, no musical architecture b possible with a mere series of
musical phrases that can only be compared with a lot of strips of wood more
or less carelessly nailed together. So gradually the principle nf f\\t[ p^^puhr
long qlrM^y rfarcd ^^ ^»* flHnpti^H, prnhflhiy, n^y, r<>r;flin1jf^qnifg iinrnn-
sciously, and there was evolved a very simple and useful Form, one which
has been vastly used by all composers and will doubdess be used constandy
in the future, however music may develop. ^In place of the one strain of
the simple song one secdon consbting of many strains was introduced. Fol-
lowing that, m a new key, for the sake of variety, came a second section,
also consbting of many strains. Finally the first secdon was repeated in the
original key, bringing the whole movement to a sadsfying conclusion. Of
thb form there are hundreds of examples in the shorter movements of Haydn,
Mozart and Beethoven. When a more modem composer uses it, however,
he by no means sdcks to a couple of keys. Our sense of tonality has grown,
we perceive relations between keys, which our fbreBithers were totally unable
to perceive ; and the first and second secdons may both pass through many
keys. But the general principle remains the same. Now thb very excel-
lent Form b also very primitive. In Haydn's time, and before it, the in-
stinct to build, to crystallbe, music was still at work ; more than ever com-
posers wanted to express something ; and more than ever it was necessary to
secure contrast. ^So what b commonly called sonata form came to be
invented. In the simplest examples of tins a first theme — corresponding to
the first strain of a popular song, as aforesaid — b announced. Tlien comet
die second thqpf in a fi-gah k^y. But after that, instead of a repeddon of
die first secdon, there b what b called a develotmen^ or working-out section.
in which both first and second themes are treated with all the skill and fiincy
die composer possesses and shown in a dozen or more unsuspected lights.
Only after that does the first themg r^mm, and then the second theme.
Thb b called the Reprise. But the second theme, if repeated in the key in
which it first appeared, would of course end the work inconclusively: where-
fore it b placed, on its last appearance, in the key of the first theme. ^The
mgenious reader will observe that if variety is obtained only by change of
key then there would be no more variety fi-om the beginning of what b called
the reprise. Nor, for that matter, b the mere change fiY>m the original key
to that of the dominant enough to produce any great variety. The second
theme therefore b nuide as unlike the first in every respect as possible : if the
first b bold and rugged, the second may be gentle and soothing ; if the first
moves rapidly, the second may be long drawn out ; if rhythm b strongly
marked in the first, the second is in a more subde and elusive rhythm — in
6ct contrast b lecgred by any of the thousand ways open to thp composer.
136 THE MUSICAL GUIDE
and quite easily understood when heard, though anything but easy to de-
scribe. ^Now if we take a symphonic movement of Mozart we finjja Jiiat
theme of marked character ; after its delivery (and perhaps brief expansion)
all the orchestra goes to work at a cadence in a Jifimm<»r-^»^^-T^**gti fa^^^in
and lets you know unmistakably that you have reached the ^nd of a section.
Then the second theme is announced, dearly. Then we have " develop-
ment " in which the old tunes are turned into new ones as J^!j^ ^^^ ^^^ **
possible, yet obviously growing out of them.* Finally we have the reprise,
and then the codojjL few bars in the case of Haydn and Mozart-Stuck on to
make an effective conclusion. 51"^^^^ ^ IK'P^^f ^9?^^^ form. There was an
enormous lot of waste in it : those thumping conventional series of chords at
the end of each section, for example, never mean and never did mean any-
thing. At the time they were written the tendency to formulate music, to
get conscious control of the material of music, was at its strongest ; one of
the most powerful desires of Mozart and Haydn was to make their form as
clear and distinct as possible ; and to that everything else was, in an emer-
gency, sacrificed. In fact, composers of that time seem to have felt as keen a
pleasure in the mere regularity and balance of the various parts of movements
as in the poetic and sheer musical quality of the parts, even when the balance
was secured by the introducdon of convendonal padding altogether at war
with beauty and expression, quite destructive of both. ^With Beethoven
came a change. His music must at first have been very difficult to under-
stand, for instead of the trumpet and drum passages marking the close of the
different secdons, one secdon leads straight into another by means, of passages
of a* high iT^nsi^al and pnefir quality as any Other portions of his movements.
Further, he went in for third themes following the second (the second and
third being so proportioned as to balance the first), and he mightily extended
the coda. Instead of a few noisy bars to end up each movement he started
out and developed his theme in new ways, thus adding a fourth main section
to the three existing before his time — the first, in which the jhcmwwiea^
nounced ; the second, in which they are developed ; the third, in""wHidi
they are repeated. This was an inevitable corollary of the enormous increase
he made in the size of the forms he used. After such huge themes, audi
lengthy developments, a few chords were not suffident to wind up ; a tail
was needed by the symphonic movement before it could be felt to be sads-
fiictory, just as much as a tail is needed by a kite before it will ascend.
^Let us pause for a moment to sum up. In the early days music had form
as a flower or a blade of grass has form ; each piece grew more or less by
haphazard into some shape, starting ff-om its one theme. The utmost that
could be done in that way was done by Bach in his fugues. But the fixgue
itself was the result of the tendency to formulate music, to press it into the
bonds (^strict rule, to get a consdous mastery of the material. That ten-
DICTIONARY OF TERMS 137
dency, together with the desire to express more complex emotions and the
Dttursl instinct of mm to build, resulted in certain clearly defined forms, with
bard outlines, so to speak. Beethoven came and softened the outlines, hiding
the bones of music, as it were, under a beautiful expressive veil of tone.
Hie form b there just the same, and can easily be grasped by anyone who
takes the trouble to listen carefully. The &ct that for the sake of expression,
he prodigiously varied hb themes on their repetidon, does not alter the Bict
that they are repeated in a satbfying way. The reader who can follow the
form of say the first movement of the Eroica symphony (a symphony being
only an orcbesQaL 9onata) understands not only the abstract principles of
form but the manner of applying those principles to the concrete. ^The
results of these applications are various forms — the Rondo, the Minuet and
so on : all are based on one of the two plans ; in short pieces one theme b
used, set forth and finished with ; in longer pieces variety and unity are se-
cured by two or three (or even more) themes of dififerent character placed
in difierent keys. The mere setdng of themes one after another can silways
secure variety of a kind ; but whether there is at the same time unity depends
ennrely upon whether the composer b or b not an artbt. There b no rule
br that : only genius can solve the problem. So much then for pure music.
^The application of the principles may be widened in a^ thousand ways ;
ten themes nuy be used instead of two or three or four, the order and rela-
tion of the keys used may be altered and added to ; but the principles remain'
the same. ^But when music ceases to be pure music, when words are
added to it, or it is intended to tell a story, then these principles can no
kmger be applied — or rather, there b no longer any need to apply them.
Instead of fbUowing the architectonical fiiculty, the composer must follow the
dicutcs of the dramadc or lyrical faculty. The number, character, mode of
development, etc., of the themes b derived from the thing to be conveyed to
the listener ; and then we get what is called Programme music. But just as
in a fine novel the writer reveab architectonical sense, so in a really fine piece
of Programme it b revealed. There b very litde difference in form, for
example — at any rate no essential difference — between a Bach fiigue and the
Valkyries* Ride of Wagner ; the themes are stated and developed in a certain
order, and all one's faculdes are sadsfied — the emodons, the sense of pure
beauty in melody and harmony, the architectonical sense, the intellectual
appreciation of right handling of the material. ^Whether music is pure
music or Programme music, it must satisfy all these. And though, in the
future, we may use quarters and eighths of tones, and though we may arrive
at complexides unknown to-day and be able to express subdedes of feelings
as yet never felt, the principles by which our feelings are expressed in noble
and beautifiil Form cannot but renudn the same.
»38
THE MUSICAL GUIDE
formare il tuono. Vide messa di
VOCE.
formula. A word respectfully submit-
ted by the editor to obviate the loose
use of ** sonata-form/* which is em-
ployed both of a movement and a
S^oup of movements — both for the
part and the whole ; by speaking of
the dual-theme movement as written
in the sonata formula and the group
of formulae, largo, rondo, etc., as in
the sonzxai'form much ambiguity will
be avoided.
fort, G, Off (of an organ-stop).
fort (fdr), forte (fort). F. i. Loud.
2. Temps C Strong beat.
fortbien (fdrb-y&n). F, A modification
of the oM fortepiano, by Friederici,
^ 1758.
forte (for'-ti). /. i. Loud. (Abbr. f.)
f. possibile. As loud as possible.
{>ii!l f. Louder, poco f. Rather
oud. f. piano. (Abbr. fp.) Loud,
then immediately soft, fortamen'te*
Loudly.
fortement (fdrt-maA), F. Loudly.
forte-piano. i. Vide pianoforte.
2. Loud ! then soft !
fortezza (fdr'-t«d'-za). Force.
fortiss. Abbr. oi fortissimo,
fortissimo (for-tes'-sl-mo). /. Very
loud, fortissis simo. Double super-
lative of forte, f. quanto possioile
(kwdn'-to pOs-se'-b1-ld). As loud as
possible.
FortrUcken (f6rt'.rQk«n). G. The ad-
vance of the hand (as in ascending
figuration) with the same finger-
ing.
Fortschreituag (fort'shrf-toongk), G,
Progression. F. einer Uissonanz.
Resolution. fortschreiten. To
progress.
Forts Hzung (f6rt'2«t-zoongk), G,
Continuation, development.
forza (for'-tsa), /. Force, power,
forzaa'do, forzato (for-tsa'-to).
Forced, sharply emphasized (marked
V A >). forzare (f6r-tsft'-r«). To
strengthen, f. la voce (14 vo ch*).
To force the voice.
fouadatioa-stop. Vide stop.
fourchette tonique (foor-sh€t td&-ek),
F, Tuning-fork.
foumitare (foor-nl-tar), F. A mixture-
stop.
four-part. Written for four parts.
fourth. I. The fourth tone of a scale,
the subdominant. 2. An interval
containing four tones, the extremes
included, as d-g, the ratio being 3 : 4.
Fourths are perfect and imperfect
rather than major or miner. An
augmented {superfluous ^ extreme ^
sharp or pluperfect) fourth is one
whose upper tone has been raised a
half. step, or its lower lowered. A
diminished {imperfect^ fctlse^ miner
or defective) fourth one whose upper
tone has been lowered half a step or its
lower raised (cf. fifth). Chord of
the second and fourth, chord of
the 3d, 4th, and 6th, chord of
the Ath and 6th. Vide chord.
four-tnree» four-two. Vide chord.
L flute, f. shift. Vide flute and
shiff.
fjp. Abbr. Vide forte (2).
fran^ais (fraii-s^'), firan9aise (frIA-
sdz), F. I. French. 2. A country-
dance in w time.
francamen te, /. Frankly, boldly.
franchezza (frfin-k^d'-zi), /., fran-
chise (fr&h-shez), F, Boldness,
frankness.
firanzese (fr&n-tsH'z^, /., firanzttsisch
(frfin-tsa-z!sh). G, *• French ;- in
French style. Franzton (frintston),
G. French pitch.
frappe (frftp). F. A manner of beat-
ing time with force. £rapp<§ (fri^
pa). The down-beat.
frapper (frdp-pa), F, To strike ; to
beat time,
frase (fra'-z§) (pi. i). /. A phrase, fr.
larga. With broad phrasing, fra*
seggiare(frit-z«d-jar'r«). To phrase.
Frauenstimme (frow'-«n-shtlm'm€),
G, Female voice.
freddo (fr£d'-d5), fireddamen'te, /.
Cold(ly). freddezza (fr<d.d«d'cfi).
Coldness.
Iredon (fra-ddn), F. A trill, or other
ornament, firedonnement (frft-dlln-
DICTIONARY OF TERMS 139
mih). Hamming, trilling. fre-
donner (frtt-dtLn-nfi). To trill, also
to horn.
Unrestrained, not according to
strict rule, as /. composition^ or
style, L liig^e. Vide fugue. L
reed. Vide reed, t part. An in-
dependent part added to fill up the
harmony of canon or fugue, f. chant.
A form of reciting the Psalms or Can-
ticles using a g^oup of two chords for
each hemistich. Vide fret-free.
freemen's song^. Little compositions
for three or four voices, in use about
1600.
(fra-ia'r*), /. To adorn.
itnra (too' rfi). An ornament.
G. Free. Freiheit (frl-
hlt). License, f. Schreibart (shrfp'-
Srt). Free composition.
French horn, vide horn. French
sixth. Vide altered.
French treble det The G on the
lowest line of the staff.
fresco (fr£s'-ko), /., frescamen'te
FreshOy).
fret. One of the thin projecting ridges
across the neck of stringed instrs.
to divide the strings into differ-
ent lengths, thus producing different
pitches, on pressure, fretted and
nret-free. In the early precursors of
the piano, there were fewer strings
than keys, each string serving for
several notes, through the action of
tangents acting as frets. These were
called tied or fretted or gebunden.
Later instruments were given a string
to each note, and these were called
bttndfrei^ or ungebunden or free or
fret'-free.
fretean, fretian, frestel, fretel (fril-
ti9), firetUe, fretetel. A Pan's pipe.
fret'ta, /. Haste.
Frende (froi'-d5), G, Joy, rejoicing.
Frendens^esang. Song of joy.
frendi? (froi'dllrti). Joyfully. Frcu-
dii^ceit (kit). Joyfulness.
fricass^ (fre-Uis-sa), F. A dance with
pantomime in the i8th cent. In the
i6th cent, a part-song, each part hav-
ing different words.
Fries (frcs), G, Purfling.
frisch (frish), G, Fresh, lively.
fris'ka (frtsh'-ka). The quick move-
ment in the Czardas, and the Hun-
garian Rhapsody.
frivolo (fre'v6-lo), /. Trifling, trashy.
frdhlich (fra-llkh), G, Toyous, gay.
F.-kcit (kit). Gaycty. Frohgesan^^
(fr5-kh^-zfing). Song of joy.
Frohnamt (fron'amt), G. High Mass.
Frontpfeife (fr6nt'-pfi-f«), G, Front
pipes of an organ.
Frosch (fr6sh), G, Nut (of a bow).
froUola (fr6t'-t6.1ft), /. A i6th cen-
tury ballad.
Friihlins:slied(frtt'lings.let),(;. Spring,
song.
Friihmesse (frO'm£s-s«). Frtthstttck
(frO'shtak), G, Matins.
F-Schlttssel (^-sblus'^l), G. The F-
clef.
fiiga (foo'-ga), Z. and /. *' A flight."
vide FUGUE, t ad quintam (octav-
am). Fugue (also canon) at the 5th (oc-
tave), f. aequalis motus (or recta).
In similar motion, the answer conform-
ing to the ascent and descent of the
subject, f. al contrario (or riverso
or roves'cio) or fura contraria (or
per motum contranum). One whose
answer is the subject inverted, t,
authentica. A fugue with an as-
cending subject. £ canonica (or
inconseguensa or perpetua or
totalis). A canon, f. compo-
sita (or inaequalis). One whose
subject moves by degrees, not by
leaps, as does f. incomposita f. del
tuono, /. A tonal fugue, opposed
to L reale, a real fugue. 1 dop«
pia,/. A double fugue, f.homopho'-
na« One whose answer is at the
unison, f. impro'pria (or irregu*
laris or sciolta or soluta). An ir-
regular free fug^e. f. in contrario
tempo (or per ar'sin et the'sin).
One in which the accented notes of
the subject are the unaccented of the
answer, and vice versa, f. in nomine.
A fugue ** in name only," i. e., a free
fugue, f. inversa. One in double
counterpoint and contrary motion.
140
THE MUSICAL GUIDE
L libera. One with free episodes,
opposed to t ligata (or obbligata),
whose episodes are entirely derived.
f. mixta. One whose answer is
varied by augmentation, etc. L par-
tialis (or periodica). One without
full and perpetual canonic imitation,
the usual fugue, f. per an«nentap
tionem (or diminutionein). One
whose answer is by augmentation
(diminution), f. per imitationem
intemiptam. One whose answer is
broken by rests, etc. f. plag^is. One
with subjects descendmg below the
key-note, t propria (or re^laris).
One in regular form. f. reddita or
redita. One in which canonic pro-
ression occurs at the middle or end.
retrogjada. One whose answer
is in retrograde progression, f. retro-
grada per motum contrarium. One
whose answer is in contrary motion as
well as retrog^de progression. L
ricercata (ret-ch£r-ka -t^). A fugue
of the highest development,
fug^ra (foo-ga'-r&), /. A 4- or 8-ft.
organ-stop.
1. Freely
2. A
fogato (foo-gft'-to), /.
the manner of fugue,
in such manner.
Fuge (foo'-kh*), (7. Fugue. F. gal-
ante (g2-Un't«), G. A free fugue in
chamber-music style.
foggire la cadenxa (food-je-rQ, /. To
write'a deceptive cadence.
ftigfaetta (foo'g€t'.U), /. A short
fugue.
ftigirt (foo-gert'), G, In fugue style ;
also used of the ranks of a mixture-
stop.
fngne (E. fiig, in F, fag). See below,
counter C One whose subjects move
in contrary directions, double £ A
fugue on two subjects. C renvera^
(raA-vdr-s4), F, An inverted fugue,
strict f. One in which the fi^fal
form and its laws are strictly observed.
perpetual fl A canon, f. simple,/^.
A fugue containing but a single sub-
ject, fufued (fugd) or ftigumg. In
fugue ^rm, or loosely in Tugue
manner, fuguist. A composer or
performer of fugues. Also vide
FUGA.
Fugue.
By Homer A. Norms.
A FUGUE is a composition in which a theme, called the suhjtcu »
announced by one voice and imitated by other voic^. The word
comes from the Latin fuga (a flight), suggesting' the thought of
one part starting alone after which the others enter in pursuit. A fiigue may
be written for any number of voices, but wc shall here discuss a four-voiced
fugue ^['^hc subject is usually_short and of such marked character as to fix
itself readily on the mind, and is usually so constructed as to admit of over-
lapping; /./., so that a second voice may enter without musical fincdon
before the first voice has completed the phrase. This overlapping process u
called s tret to, 51 '^^^ subject may be announced by any voice. At its
completion there comes a very short passage called jj£^f//g, after which a
second voice sings the subject-matter in another keyTTms is called the
answer, ^In the majority of fugues the answer is a transposition of the sub-
ject into the key a perfect fifth above the subject, so that subject and answer
correspond to the keys of tonic and dominant. Certain subjects instead of
DICTIONARY OF TERMS 141
reprodaced literally are changed. Subjecu which are changed are
known as tonal subjects ; subjects which remain unchanged are known as real
sabjects. ^WhUe the second voice is singing the answer, the first voice
accompanies it, and usually in one of the forms of double counterpoint. It
is then intended for subsequent use. Such an accompanying part is called
counter-subject, ^The answer is followed by another codetta, leading back
to the original key, where a third voice sings the subject, but in a different
octave than that in which the first voice announced it. The other voices
continue with contrapuntal accompaniment. Another codetta follows, leading
to a fourth voice which sings the answer in the dominant. The part of the
fbgoe that we have discussed is called the exposition. The exposition closes
the first of the three big divisions of the fiigue. 51^^^^ exposition is followed
by the first episode. In the episode the composer has more freedom than in
any other portion of the fiigue. New material may be presented ; brief
modulations to related keys introduced, together with fi-ee imitation. ^After
the first episode comes the middle section, 51^^^ ^^ ^"^ voices again
present the subject-matter in somewhat the same order as in the first section
bat in other keys. The principal keys are altogether avoided or only inci-
dentally touched. In this group often occur variations of the subject ; it
may be shortened or lengthened ; the answer may be presented in contrary
motion, etc. ^In the third, and (usually) final section a return is made
to the original keys. Here the subject and answer are generally combined
m stretto. ^A strict fugue is one in which there are either no episodes,
or in which the episodic material is drawn entirely from the subject or countcr-
a«bjcct. Nearly aU the fiigues m Bach's "Das Wohltemperirte Clavier" are
strict fiigues. ^In z free fugue the episodes are constructed of new material.
^In a fugato passage one voice announces a theme, after which other voices
enter in free imitation. ^A fughetta is to a fiigue what a sonatina is to a
tonata : /'./., it is a little fiigue. ^An academic fiigue is the most elaborate,
artificial, and purely intellectual expression of musical art.
Fllhrer (ftt-r€r), G. i. Conductor, a.
Subject of a fugue.
FfiU- (W), (7. Filling. F.-fldte. •'Fill.
\ng flute/* a 4-ft. stop. F.^feife
(plff^. A dummy pipe. F.«^ainte.
A shrill quint-stop useful only m com-
bination. F.-8telle. Padding. F.-
•timme. i. A part used to fill out
harmony. 2. A mutation-stop a 3d
or 5th above normal pitch. 3. A
part doubling another m the octave
or unison.
full. For the voices or instrs. complete.
f. anthem.. Vide anthem, f. band.
A complete band or orchestra, f.
cadence or close. Vide cadence.
L chord. A complete chord ; in
part-music, one in which all the parts
join. f. score. Vide score, f.
stop (on the lute). A chord using all
the fingers ; full chord followed by a
pause, full choir (or great or swell).
*• Draw all the stops of the choir (or
great or swell) organ." fiill organ.
142
THE MUSICAL GUIDE
**Draw all the stops and couplers.'*
f. service, i. One for the whole
choir. 2. An office using music as far
as permissible, f. orchestra. One
in which all the instrs. are employed.
fundamental, i. The root of a chord.
a. The generator of a series of par-
tials. r position. Vide position.
f. tone. I. A generator of partials.
2. One of the three principal tones,
tonic, dominant or subdominant. f«
bass. Vide base.
Fundamentalbass (foon-da-m^n-tsl'-
bSs), G. Vide bask. F.-ton. Fun-
damental tone.
ftinfcbre (fu-ndbr), F., funebre (foo-na-
br«), /.. funcrale (foo-n«-ra'.l«), /.,
funereo (foo-na -r*-6), /. Funereal ;
mournful, marcia f. Funeral march.
fUnf (fInO. G. Five. H-fJach. Five-
fold, in five ranks, of pipes. f.-stim-
mi^. For five voices. f.-stufige.
Pentatonic. Fflnfte (ftnf'-tfi). Fifth.
Fttnfzehnte (flnftsan-td). Fif-
teenth.
fttnzioni (foon-tsY-o n£), /. (pi.) Masses,
and other sacred music in the R. C.
Church.
faoco (fo-o'ko), /. Fire, energy, pas-
sion, fuoco'so. Fiery.
fllr (fttr), G,, preposition. For.
fareur(ftl-rGr), /*., furia (foo'-rt-fi), /.
Fury, passion. Furiant (foo'r!-fint),
t7., furie (foo-re), F. A quick Bo-
hemian dance with irregular rhythm
and accent, furibon'do, fiirioso, /.
Furious, mad. furieusement (far-
yi&z-man), /*., furiosamen'te, /. Fu-
riously, madly.
furlando (foor-lan'-do), furlano (foor-
li'-no), /. Forlana.
furniture stop. Vide stop.
furore (foo-r5'-rd), /. Rage ; a great
success.
fu'sa, L., fuse (fUz), /*., Fusel (foo-
z*I'), G, An eighth note.
fus6e (fU-za), F, A roulade or rapid
passage, a skip or slide.
fusel'la, L. A 32d note, fusel'lala.
A 64th note.
Fuss (foos), pi. Fiisse (fls-se), G,
Foot (q. v.). Fussklavier. The
pedals of an organ. fiis8ig^(ftts-sikfa),
G. Foot,zsS'/asstg,S'foot. Fuss-
ton (foos-ton). Foot-tone, as AcAt*
f us 5 ton ^ 8-foot tone.
fut (fttt), F. Barrel (of a drum).
Fiitteruns: (fat'-t«r-oongk), G. Lin-
ings.
Future, music of the. Vide zu-
KUNFTSMUSIK.
it. Abbr. of Fornamb,
GPron. in (?. gi ; in -F. and /.
sol(siilin/\,s61in/.). i. A
musical pitch, a perfect fifth
above C ; all its octaves.
2. The major key having one sharp ;
the minor key relative to B flat major.
G clef. The treble clef.
%, Abbr. for main gauche ^ left hand,
or grand orgue^ f uU, or great-organ.
Gabel (ga bSl), G, A fork. G.-ton.
The fork-tone, a' used for tuning.
G.-grif fe. Cross-fingering. Stinun-
g. Tuning-fork. G.-klavier (ga'-
b'l-kia-fer). A key-board instr. with
a scale of tuning-forks, and a sympa-
thetic fork an octave higher for each
tone; inv. by Fischer & Fritzsch,
Leipzig, 1882.
gagliarda (gal-ySr'da), /., Gag^liarde
(gal-y&r'-d€), G. A gallUrd.
gag^liardo (gill-yar'-do), gagiiard*-
men'te, /. Gayly.
gaillarde (gl-y4rd), F i. Merry. 2.
A galliard. ^aillardement (gf-yilrd-
man). Memly.
gaio (ga'1-6), /. Gay.
gaita (ga-e-ta), Sp. i. Bagpipe. 2.
A flageolet, gaitero (gfi-c-ta'-ro).
A player on the street-organ.
gajo (ga'-yo), /. Gay. gajamen'te.
Gayly.
gala (ga'la), /. Gala. dig. Gayly.
galamment (g^U-^-m^), F, galan-
temente (t€-men-t«), /. Graciously.
galant(e) (ga.lgn(t)), F, galante (gi-
lan'-te), /. Graceful, galknt gal-
antemen'te, /. Gallantly, galan-
tria (ga-Un-trc'-fi), /. Gallantry.
galant (ga-lSnt), G. Free. G. StU (or
DICTIONARY OF TERMS 143
Schretbart). The free (as opp. to the
gebmuUner or strictly contrapuntal)
style of harpsichord composition in the
1 8th century. GaUnterien (gsi-liUi-
tare'-^n). Ornaments in old harpsi-
chord music. GaUnteriestiick (jg:a-
Un-td-re'stak). A piece in the orna-
mental style.
I^alliard (gil-yard), E. An old dance
similar to the Pavan.
I^'op, E. (in F, gil-o), galopade
(g41-6-pad). P., Galopp (ga-lop). G.,
nlop po» /. A hopping round-
dance in 2-4 time.
galouM (gi-loo-ba), g^oubet (gi-
loo-ba'), F, A small fife with three
holes and range of 17 notes, found in
Provence.
gmmte (gam'-ba), /., gambe (gamb),
y%. Gambe (gSm'-b*), G, i. Leg;
hence, viol di g. Vide viola. 2. An
organ-stop ; the whole family of stops
named after stringed instrs. Gamben-
stimme. A gamba-stop. Gamben-
urerk. A piano-violin. Gambabass.
A i6-ft. stop on the pedals. G.
major. A i6-ft. stop. Gambette
(gSm-b£t'-tQ, G. An octave gamba-
stop. Gambist'. A player on the
G. Gambriole (g&mp.fe.d'l«), G.
Viol di gamba.
I^ambeta (gam-ba'-ti), Sp, An ancient
dance, a caper.
I'ma, Gr.^ flramme (g&m), F. The
Greek G (T). i. The lowest note
(G)of the Aretinian scale. 2. The
name of that scale. 3. Scale gener-
ally. 4. Compass. 5. A clef for
the scale of G. (^. cbromatique
(deacendante, montante). Chro-
matic (descending, ascending) scale.
punmes (gim). Scale-exercises.
Gamma nt or r nt. G, in the old solmi-
sation.
gamnt. (From gamma ut.) i. The
scale of any key. 2. The staff. 3.
In old English church-music, the key
of G. gamut G. The G on the
first line of the bass staff. Gnido's
g. The scale of two octaves and a
sixth introduced by Guido of Arezzo :
the tones called by name, ut, re, mi,
fa, sol, la, and written in the first
octave r (gamma) (the lowest tone)
A, B to G, in the second g-g ; and in
the upper sixth gg-dd.
ganascione (gi-nii-sho nd), /. A lute.
vang (gang), G, i. Rate of movement.
2. A passage.
ganz O^&nts), G, Whole, all, very.
Ganzmstrumente. Those brass
instrs. of such width that they speak
the lowest sound natural to the tube,
i. e., they reach the depth of an open
organ-pipe of equal length. hfar-
rower instrs. speak only the octave
above this natural tone and are called
Halbinstrumente. ganzlangsam.
Very slowly, ganze Note (gan'tsi
no'tS). A whole note. ganzer
Ton (g&n'-tser-ton). Ganzton. A
whole tone. Vide second, ganzes
Werk. The full organ. Ganz.
tchluss. Final cadence, ganzver-
hallend (f^r-h^l'lent). Dying away
entirely.
garbo (g^r'-bo), /. Grace, elegance.
garbato (b2'-t5), garbatamen'te«
Graceful(ly).
garibo (gi-re'-bo), /. Dance, ball.
gari^lione (gil-rel-y5'nd), /. Chime.
gamir (e&r-ner), F, To string a violin.
garrirc(gar-re'r*), /. To chirp, war-
ble.
Gassenhaner (giis'-s^n-hower), G,
Street-song, trash. Gatsennauer-
lin (len). Popular songs of the i6th
century.
Gastrollen (gSst'rdl-l^n), G. To go
'* guesting," i. e., ••starring."
gathering note. A pause on a final
note of recitation to give time for the
chorus to gather.
gauche (gdsh), F, Left, main g.
(m4A). The left hand.
gaudente (g^oo-ddn'-td), gaudio'so,
gaudentemen'te, /. Joyful(ly).
Gaumenton (gow'-m^n-ton), G, Gut-
tural tone.
gavot\ E., gavot'ta, /., gavotte
(gJl-v6t), F. An old French dance
(named probably from the people of
Gap, called Gavots). It is in 4-4
time, strongly marked ; begins on the
L_
144
THE MUSICAL GUIDE
weak half of a measure and ends on
the accented ; no notes smaller than
eighth notes occur.
gtiZtV, A piece with a brief constant
refrain.
gtLZzaLTTti (gad-ziLr'-rfi), /. A f^e with
music and cannon.
G clef. The treble clef.
G-dur (^-door), G. G major.
Gebl&se (g$.bla'-z«), G. Bellows.
grebrochen (gS-bro'-khCn), G. Bro-
ken.
grebunden (g«-boon'd«n). G. i. Tied,
e. Dissonanz. A prepared (and tied)
dissonance, g. Spiel. Legato-play-
ing, g. StiL Stnct, connected style.
2 \^ide FRETTED
Gcburtsiicd (g«-boorts'let), G, Birth-
day-song.
gedackt(g$.dakt'), g:edeckt(ge-d«kt'),
G, Stopped, of pipes. Gedackt-
stimmen. Stops with covered pipes.
G.-fl5te. Stopped flute, in an oi^n.
gediimpft (g£-d£mpft), G. Muffled,
muted.
g^edehnt (ge-dint'), G. Lengthened,
slow.
Gefkhrte (g«-far'-tc), G. Answer (in
fugue).
Gefialleii (g£-f^'Un). Pleasure, nach
G. Ad libitum.
gtmiig (gfi.fal'lTkh), G. Pleasing(ly),
agreeably.
Gcfiedcl (g«-fe'd«l), G. Fiddling.
GefUhl (ge-ful'), G. Feeling, expres-
sion, mit G. or g^efUhlvoll. With
feeling.
gtgta (ga'-kh^), G. Against, con-
trary, contrasted with. G.-beweg^ng
(be-vakh'-oongk). Contrary motion.
G.-fiis^e. A fugue whose answer is
an inversion of the subject. G.-ffe-
sang^. Antiphony. G.-hall, G.-
schalL Resonance, echo. G.-har-
monie. Counter-subject in fugue.
Geg^enpnnkt (poonkt). Counter-
point. G.-satz. I. Contrast. 2. A
movement. G.-stimme. i. Coun-
ter-tenor or alto. 2. Counter-subject.
3. Any contrapuntal part, g.-stim-
mig^. Dissonant. G.-subjekt. Coun-
ter-subject, in a fugue.
Soffit' tertes B. B. cancellatam, vide b.
eenend (ga'-dnt), G, Andante.
Gehdrle&e (g«.har'.li-r«), G, Acous-
tics. geh5rspielen. To play br ear.
Gtigt (gT'-kh«) (pi. en), (7. Viotin.
Seig^n (gl'-khen). To plaj on
le violin. G.-blatt. Finger-board
of a violin. G.-bog;eii (bd'khn).
Bow. G.-daTicymbel or G.-kla*
vier. Bow-piano. G.-fotter (foot'-
ter). Case for a violin. G.-luils.
The neck of a violin. G.-liaJY
(h&rts). Resin. G.-holz (h61ts), C.
Wood used in making violins. G.-
macher (m&kh'-^). A violin-maker.
G.-principal. A diapason stop. G.-
•aite. Violin-string. G.-tattel, G.-
wttg (stakh). Bridge of a violin. G.-
•chule. A violin method. G.-atrich
(strlkh). A stroke of the bow. G.-
stiick. A comp. for the violin. G.-
werk. I. Piano-violin, a. A 4-ft.
organ-stop. G.-wirbel (ver'-bel). A
violin-peg. G.-aettel (tsdt'-t€l).
The violin-maker's label. G.-sn^.
Aviolin-stop. Geig^er(gl'kh€r). Vio-
lin-player.
Geist (gTst), Gr. Spirit, soul, mind, ge-
nius, r.-reich (ilkh), r.-voU (fol).
Spiritual. Geisterham. i£olian
harp. g^ittlich. Ecclesiastical,
sacred. G.-g^s&iig^ Psalms, hjrnuis.
Geklingrel (g£-klln^.«l), G. Tinkling.
gekneipt (g^-knlpt ), G, Pizzicato.
gelassen (g^-las'-sen), G. Cahn, quiet-
ly. G.-heit (hit). Tranquillity.
greliiufie (g^-lfftkh), G, Easy, rapid.
G.-keit (kit). Fluency, ease.
Geliiut (g«-llt), (7. A peal.
g^elinde (g«-11n'-de), G. Soft, gentle.
Gelindig^keit. Sweetness.
gellen (g^l'l^n), G. To sound loudly.
G.-fl5te, G. Clarinet.
Geltung (g^l'-toongk), G, Value, pro-
portion (of a not^.
gemUchlich (g«-m«kh'-llkh), remach-
sam (g£-makh'zim), G, Quiet(ly).
calm slow.
gemilhlig: (g^ma'lYkh), (7. GradoaUy.
gemiiasigt (g«-m£s.slkht), G. Mod-
erato. g^emes'sen. Measured, mod-
erato.
^
DICTIONARY OF TERMS hs
Gemisdi (g«-mlsh'), G. Mixture (of
stops).
Gemshom (g&ns'-hdm), ^. i. A pipe
made of a chamois horn. 2. A stop
with tapering pipes, 2, 4, 8-ft. on
the manuals, i6-ft. on the pedals.
G.-quinte. A quint-stop of this
class
Gemfit(h} ^^-mQt), G. Mind, soul
gem&tltd? (llkh). Expressive.
grenera, plural of p^enus (q. v.).
(general (ga-n£-ral ), G, General. G.-
bass ^-n^-ral'-bSs). Thorough-
bass. G.-b.-schrift. Thorough-bass
notation. G.-pause (pow-ze). A
rest or pause for all the instrs. C-
probe. A general rehearsal.
gen'erator, ^., s^^a6rateur (zha-na-Hl-
t&r), F. Root, fundamental.
I^enere (ji'-n£-WO, /. i. A mode or key.
2. A genus.
I^enero'so (ji-nJ{-r5'so), /. Noble, dig-
nified.
g^mlal'ia, L. Cymbals.
g€snt (zha-ne). A, Genie (g&'-ne), G.,
S^enio (ja -nl-d), /. Genius, talent,
spirit.
g^nonillire (zhttn-wT-yir), F, Knee-
lever.
irenre (zha6r), F. i. Style, r. ex-
press The expressive st)Te. 2.
Genus, as g, chromatique, g, dia*
toniqne, g. eoharmoniqne.
gentUae) (zhah.te(l)), F., gentile (j«n.
tc'-MOf /. Graceful, elegant, genti-
lezza (\id'-zS), /. Refinement of
style, rentilmen'te. Gracefully.
I^'nns, pL genera, L, i. Greek clas-
sification of tetrachords. Vide modes.
2. A scale or mode. 3. Class, g. in-
flattie. Wind instrs. * g. percussi-
bile. Instrs. of percussion, g. ten-
sile. Stringed instruments.
I^efade (g«.rft'-d«), G, Straight, reg-
ular. G.-bewegnng (be-va khoong)'
Similar motion. G.-taktart or ge-
fader Takt. Common time.
Gennan. Vide fingering, flute. G.
pedals. Pedal key-board. G. scale.
A, H, C. D, E, F, G. (Vide h.)
G. siacth. Vide altered chords.
G* soprano clef. Vide clef.
Ges igH), G. The note G flat Ge-
ses (g^s'-^). G double flat.
Gesang (g£-zang'), pL Gesftnge
(zdne ^), G, Song, melody, air. G.-
bucH (bookh). Song-book. G.-
kunst. Art of song. G.-(s)niteslg
(m^sYkh). Adapted for or congenial
to the voice. G.-sg^ppe (groop-pe).
Song-group ; the second subject of a
sonata formula, which should be lyri-
cal in nature. g.-8weise (vT-ze). In
the style of song. G.-verein (fftr-
!n). A choral society.
Geschlecht (g«-shl£kht'), G, Genus.
geschleift (g^-shlift), G. Slurred, le-
gato.
Geschmack (geS-shmSks), G. Taste.
g.-voU. Tasteful.
geschw&nzte Noten (g$-shv£nts't£
no't«n), G, Notes with tails.
g^schwind (g^-shvlnt), G, Quick,
rapid. G.-igkeit (Idt). Rapidity.
Geschwindmarsch. A quick-step.
Ges-dnr (g^$s-door), ^. Major. Geses
(ges-^), G, G double flat.
Gesicht (ge-ztkht'), G. Face, front (of
an organ). G.-spfeifen. Front pipes.
Gesinge (g^-zlng'£), G, Bad sing-
ing, sing-song.
gesponnen (g£-shp6n'-n£n),(7. Spun,
gesponnene saite. Covered string.
gesponnener Ton. A tone drawn
out to a mere thread.
gesteigert (g£-shtl'-kh^), G. Cres*
cendo.
gestossen ^-shtds'sfo), G. Sepa-
rated, detached.
gestrichen (g€-strtkh'*n), G, i. Hav-
ing hooks (as notes). 2. Having
lines or accents, as eing, Oktave^
one-lined octave. Vide pitch. 3.
Crossed, as a numeral, raising the in-
terval a half-tone. Vide chord. 4.
Cut, as a movement or scene.
g^t'em. g^t'ron. The cittern.
get(h)eilt(g«-tllt'), f7. Divided. Vide
divisi. g. Stimmen. Partial stops.
Getdn (g€-tan), <7. Clamour.
getragen (g«-tra'kh^n), G. Sustained.
getrost fg«-tr6st'), (7. Confident
gewichtig(ge-virkh'.tlkh), G. Heavy.
gewidmet (gS-vet'-m^t), G. Dedicated.
146
THE MUSICAL GUIDE
Gewirbel (g^ver'b^l), G. Roll of
drums.
g^wiss (g*-vls'), G. Firm, sure. G.-
heit (hit). Firmness.
(reworfener Strich (g$-v6rf'-fo-£r
strikh), G, A springing bow-stroke.
Vide BOW.
gexiert (e^-tsert'), G. Affected, prim.
geyta'ran. Eastern guiur.
ghasel', Arab. A piece with simple
recurrent theme.
ghiribizzi (ge-rX-bed'-zY). /• Unex-
pected intervals, fantastic passages.
^hiribizzo'so. Fantastic.
ghironda (ge-rdn'-da), /. Hurdy-
^urdy.
gmt'tem. Old name for cittern.
g^cheroso (je-k*-r6'-so), /. Merry,
Gigrne Qeg^), G. i. Ji^. 2. Old
form of viol, gtg^hardo (^h-g^'-db),
/. A jig.
pgclira (Jc.g«-irrfi), /. Xylophone.
ging'larns, ging'ras. or gingn'na. A
small Phoenician flute.
gioco (j6'-ko), /. A joke, merriment.
riocoso, giocosamen'te. Jocose-
(ly). giochcvole{j6-ka'v5-I*). Merry.
giocolarmen'te. Merrily.
giocondo (j5-kdn'-do), giocondamen'-
tc, /. Checrful(ly).
gioja (j6'-ya). /. Joy. giojan'te, g^o-
jo'so, g^ojosamen'te. Joyful(ly).
giovialc go-vl-U'li), /. Jovial, gio-
▼ialitii (I-tal). Gayety.
giraffe (jl-rif). An upright spinet.
giro (je'-r6), /. A turn.
is (ges), G, G sharp. Gisis (ges-
es). G double sharp. Gis-moll» G.
sharp minor.
gitana (he-tH'-nii), Sp, A gipsy.
gittana (j^t-tH'-na), /. A Spanish
dance.
git'tem, git'teron, git'tron. Cittern.
gittcth (jlt'tfith). Heb. An instr. of
the harp kind.
giubilazione (joo-bY-la-tsY-5 n$). giu-
bilio (joo-bl-le'-d), ^ubilo (joo'bl-
15), /. Jubilation, g^ubbilo'so. Ju-
bilant
giucante i^oo-Vis^-x^), g^nchevole
(joo-ka'-vo-l^), /. Merry, joyful.
ginlivo (joo-le'vd), ginlivamen'te, /•
Joyful(ly).
gittoco (joo-6'k5), /. I. A joke, sport.
2. A stop. giaoco'so» gninocan'te.
Playful.
gitttto (joos'-to), /. Exact, precise,
proper, tempo g. Strict time;,
allegro g. Rather fast, gtustai-
men te. Strictly.
giyen bass. A figured bass.
glais (gU)> ^' The passing-belL g.
ftin^bre. A knelL
gliinzend (gl^n'-ts^nt), G. Brilliant.
rlapissant (^U-pIs-s&n), F, ShrilL
Glas'liarmoiuka» G, Vide harmonica.
glasses, musical. Goblets tuned by
partial filling with water and played
by rubbing Uieir edges evenly with a
wet finger.
glatt (gUt), G. Smooth, even. Gl&tte
(gldt ti). Smoothness.
glee. An unaccompanied secular comp.
for three or more voices ; its mood ma^
be grave or gay, its counterpoint is
not usually elaborate.
gleich (gllkh), G. Equal, alike
consonant, gleicher Klane. Con-
sonance, unison, gleicher Kontra-
punkt. Equal cpt. gleichschweb-
ende Temperatur (shva'-b^n-d^).
Equal temperament, gleiche Stim-
men. Voices of the same sort, as
maU, gleichstimmig (shtlm-mlkh).
Harmonious.
gleiten (gli't^n), G, To glide the fin-
gers.
gli(lc), /. PI. The.
glicibarifona (gle-che-b« rl-fa'-nfi), /.
A wind-instr. inv. by Catterini, 1827 ;
a small expressive oigan.
glide. Portamento; glissando.
Glied (glet), G, Link.
glissade (glYs-s&d), /*., gUssan'do,
glissato (glYs-s&'to), glissican'dOt
glissicato (ki'to), /., p^lissement
(gles-mah), F, Gliding, 1. e., by slid-
ing the finger quickly along the keys
or the strings ; in piano-playing it
is done with the finger-nail usually,
glisser (glYs-sa), F„ gUtschen (glYt'-
sh£n), G, I. To glide. 2. An em-
bellishment executed by glissando^
DICTIONARY OF TERMS 147
rlissex U ponce (glls-sa lii-poos), F,
Slide the thumb.
Glocke (gl6k'£), G. A beU. Glock-
engelliate (g:ld'k£n-g«-ll-t£). The
lining or chiming of bells. Clock'-
cmst. Bell-ringer. G.-klanff. The
sound of bells. G.-spiel. i. Chimes.
3. A stop imitating bells, or causing
them to tinkle. 3. An orchestral
instr. of bells or tuned steel rods
struck with a hammer. Glockchen
(gl^'khfo). A little bell. gl5ck-
eln (gl£k'-€hi). To ring little bells.
Glockner (gldk'ner). Bell-ringer.
Glockleiiiton (gl6k'-l!n-tdn). An
of^gan-stop of very small scale and
wide measure.
Glo'ria or Gloria in excel'sis Deo, Z.
'• Glory to God in the highest," Vide
MASS and doxology.
Glo'ria Pa'tri» Z. "Glory to the
Father." Vide doxology.
glotte (gldt), A The glottis, conpde
f . (koo da). A short snappy attack
sought by some vocal teachers, but
generally believed to be pernicious.
glottis (gUlt'tis). I. The upper part
of the wind-pipe, an aperture in the
larynx controlling vocal production.
3. A reed used by ancient flutists.
|rUUiend (gla'dnt), G, Ardent, glowing.
u-moll (ga-mdl). G minor.
gnaccare (nak-k&'^-rfi), /. Casunets.
gnmcchera (nik-k&'rfi), /. A tambou-
rine, kettle-drum.
gnomo (nd'-m6). In neumatic nota*
tlon, a long Inr used to indicate a
sustained note.
goathom. Vide Gemshorn.
goia Cg^o'la), /. I. Throat. 2. A gut-
tural voice.
goll trompo. Trumpet used by Danes,
Normans, etc.
Gondellied (gdn'd£l-let), (7., gondo-
liera (g6n-d61-ya'ra), /., gondolier-
song. Song Composed and sung by
the Venetian gondoliers ; barcarolle.
2. Music in the same style.
gon'dolin. An instr. of the zither-
class with four octaves of strings and
one octave of piano-keys above them.
The pressure of one key submits
one tone in all its octaves to the
sweep of the plectrum. Chords can
thus be played in different posi-
tions.
gong. A Chinese instr., a circular
plate of metal struck M'ith a padded
stick. Also called tam-tam.
goose. A squawk accidentally occur-
ring in the tone of an oboe or other
reed instrument.
gorgheggiare (g6r-g«d-ja'r€), /. To
trill, shake, gorghegg^amen'to.
Trilling ; the art of florid song, gor-
gheggio (^Sd'jo). A trill, a shake.
gorgnegg^. Rapid vocalises.
gos'ba. An Arabian flute.
gospel side. Vide epistle side.
go'to. Japanese dulcimer.
Gottesdienst (got'tte-denst), G, Di-
vine service.
goiit (goo), F. Taste, judgment.
gorerning ker. Principal key.
Grabgesang (grSp'-g^zang), G. lied
(let), G, Dirge.
Grace.
Br THE Editor.
ONE of the innumerable decorative details of melodic progression.
Grace notes are musical parasites borrowing their entire sustenance
and duranon from the note to which they are tied by a slur. They
•re consequently vitally affected by the rapidity of the tempo. They are
shnott invariably written small^ and are frequently abbreviated, or indicated
by some form o^f musical shorthand. It is to be noted in playing old music
that the appoggiatura was written small merely as a bit of academic hypocrisy
143
THE MUSICAL GUIDE
Modern Graces.
Acci«catiifm« or Short A|>pog-
gUtuim, I. and B. Kurzer Vor-
achlaf or Zusammenscblag G.
Fined 6toaff^, P. (Sometimes
struck simtiltaneously and in-
stantly released.)
Long Apponiatura. Langer Vorschlag or Vorhalt.
(Written small but taking Its full valueO
Written.
Played.
flf II ^e II ^fl
etc.
II rMi r r « ^r^
Double Appoggiatnra, or Slide, B. Anschlag, or
Schleifer, or Scnneller. G.
Unaccented Appog^atora, or
After-beat. Nacnschlag or Nach-
schleifer. (Also double N.)
Written.
LJp — MJc=pj^r II r^-u^
Played.
Shake, or Trill. B. Trillo, I. Trille. P. Triller, G. [Old abbreviations, A -f, (i*^, G^vs
*^, etc.] (The length of the trill vanes with the^length of the note and the teiU|k>.)
tr
A>WW«»JM»A^
/r
/^AAAA^AA
Written
^^
^
iir^ — w
f^^n^.HJ*J*J>JKf<^KA>JK
/r,
A^VA<W^A<»<MW»<S/S/»<»
I
P
Begun on the Begun on the With After- «r,.», . «h-^,««*i^ o«cr«
principal. auxiliary. beat. With a chromatic sign.
Played.
Chain of Trills, B. Catena di trilli, I. Trillerkette, G.. (May be with or without the
afterbeat, at discretion.)
Written.
^
Played.
DICTIONARY OF TERMS 149
The Mordent, B.
Mordent or Beis-
Tbft TmM^ng Shake, or Inverted Mor- ser, G. Pinc^, P. The Double Mordent (dop-
dent. Praller, Pralltriller, or Scbnell- [Old sigrns, ♦{♦^ pelteM;pinc6doabl^). Given
er, G. Pinc^ renvers^ or mordant, P. or '.] here with a chromatic.
Written.
Played.
The Tom
^
I J . .p I
or (in fast tempo.)
^
J 11 I J J I _ I
, B. Doppelichlag, G. Groupe, P. Gmppetto, I.
ft or 2^ DOW used for back-tum.
[Sign, 0^ or <^ formerly
(a) With sign over the note, (b) With sign following a note.
Written. I
5
^m
^
Ts:
%
m
"■^■"i.jjji; j-^jjjjjj^ II
With chromatic sign. Back turn
Donble turn.
Written.
Played.
Old Graces.
Written. ^E
{Tkou used in Bach*s works from his own explanation.)
Trillo and Doable or
Trillo. Mordant. Mordant. Cadence. Doppelt Cadence.
i
^^
iFr=ff
Played.
Doppelt Doppelt Cadence Doppelt Cadence Doppelt Cadence
Cadence. and Mordant. and Mordant. and Mordant.
Written
i
(*«*,<
£
I
^±
11=:
wk
m
Played.
ins
150
THE MUSICAL GUIDE
Accent Accent
tteigend fikllend Accent and
(a8ceDaing).(de8cending). Mordant.
Accent and Tiillo. Accent and Trillo.
a}v
)
(^
Written. ^^1^=1
m
mm
m
Played.
Frffm Couperin's List (1713).
Pinci simple. Pinci doubli.
-fc— „— d
Port de
vols simple.
Port de
voiz coul^.
Written.
Played. ^^=f5^^-^-j|_j^.J4^^:^^||
m
Written
3=1
•^
Port de voiz Tremblement ap-
double. puyi et Hi. Tremblement onvsrt.
Played.
I
1
^
Tremblement \\k tant
Tremblement lirmi 4tre appuyi. Tremblement ditacbi.
Written
i
r
J^rt
zs:
g^gEgiiaii£=^^
Played.
=1
^mm-m --■
r^h"
la^w
X
s
Written.
Arpigement Arpigement
Accent. en montant. en descendant. Pinci ditei. Pincte bimollie^e.
J D b
/~J'-\ >*nI<*s 4>>^>«>
IF
iiN^mriM^zf^
Played. — — 1
DICTIONARY OF TERMS 151
Tremblemcnt contina.
/re-
written.
Played. ^ffffrf^-i^^^-^'^^^ffffTfffT
Coulte, dont \— points nuirquent
que la seconde note de eheque Tieroe coulie Tierce coulie
tempe doit fttre plus sppuyi. en ihontent. en descendant. Doubli.
P-^, ,n^. ^'^^
Written.
Mm^^^
^i^~r r_j
(Slurs whose dots indicate that the second note
of each beat should be more dwelt upon.)
Played. |
Written. 3r?
Aspiration.
Unlsson.
Suspension.
/ j !>, n tj=^!j^^
PUtjred
• ^
H H jl
3i>i"rS=^g
:S=±r
'^^^
j -^
t-lJK
Cadsoce.
J^rom /fameau*s List,
Cadence appuyie. Double Cadence.
Pinc6.
Written
I
hCZ
!
3=:
1§
U L
'^— "
Played.
f^f^^^
■■''''■
Port ds veiz. Coulte.
Written. ^=l^^il^^=jlz|H^
Son SuspeU'
Pinci et port de voix. coupi. sion.
I
zq^jfssz.
'^
Played.
a^-rf-rggj^rflzg^B^-gigj
152 THE MUSICAL GUIDE
Arp4f»na*nt simple. Arp^gement ftffurft.
Written. EE3— 3
Played
Cadence Hie.
Written.
^m
Played.
^^.,
r=^
I
Pinch lih.
Liaison.
'^
I
^^^^^Mh'f-^^-fjH
Written.
Additional Graces (Obsolete),
Acdaccaturat. Appogfiaturaa. Backfiilla.
or . 1 ,
T-frTT-l
Played.
^J^S^ISfHI-
Backftdl. Double Backfall. Shaked Backfall. Balancement.
Written.
^-
g^
^
— r^
r
s_ ...
Played. { ^
^^g'nfl^M
Cadent.
Shaked Cadent.
•!•
Written
^:
Chute. Chute et Pinc^
SE
•♦' — I-
Played.
DICTIONARY OF TERMS 153
Coalh.
Written.
^
Double sur une tierce. p^j ^hj^g, "^ ^
m
I ■ f' r I
5:
Tuioitsly.
Blevatton.
Written.
^^
Shaked Blevetioii.
H^
i^
^
Meitellement
simple.
3:
3i.
I
Trr r-f-f-f^r-^-^^
Triple.
V V V
Written. ri
Sinffle Relish. Doable Relish.
f \V or ff
I
^
i-
^
Played.
-=i-il r\g¥=^
Slides.
Written. -^^
or
^
Springer. Plain Beat. Shaked Beat.
• ■
-I I
I
:^-^i>-g:
1-
1^^
Played.
Passing Shake.
1-^ B
Beat.
-r — 1
0
l_^ 1
Trill with
Appoggiatura.
X \
Trill without
After-beat.
-Written! — 1 §
H 1
1 r '
^ ff
-1
Plavcd
ll^Sgig
154
THE MUSICAL GUIDE
to smuggle in thus tn unprepared suspension. Though written small it was
given one-half (sometimes only a third) the value of the note it was bound
to, and two-thirds of the vaiue if the note were dotted. ^The Chart
gives first the modern graces, as written and executed, then a series of old
graces made up from Bach's own list, and from those of Couperin and
Rameau. ^Composers who desire to escape the wide diversity of intcrprc-
tadon put on all grace-abbreviations are coming, more and more, to write
their ornaments out in full, a procedure for which there is every reason but
the one of laziness.
Grad (grat), G. Step, degree.
gradare (da' re), /. To descend by de-
grees.
grada'tion. A series of diatonic chords
ascending or descending.
gradation (gr&-diLs-ydn), F,, gradazi-
one (gra-dft-tsT-6'n«), /. A gradual
increase or diminution of speed or
volume.
gradevole (gr&-da'-v5-l^, gradevole-
men'te, /. Graceful(ly). gradita-
men'te, graditis'simo. Very sweet-
ly-
gradire (grli-de'-rQ, /. To ascend by
degrees.
Gradleiter (grat'-l!-t«r), G. A scale.
grado (grii'-do), /. A degree; single
step. g. ascendente (or descen-
dente). Ascending (or descending)
degree, di grado. Moving by step,
opposed to di salto, moving by skip.
graaual, E., gradua'le, Z. i. Part
of the R. C. service sung between the
Epistle and Gospel, anciently sung on
the altar-steps. 2. A book contain-
ing the gradual and other antiphons.
The Roman G or Graduale Koma*
num. A celebrated ancient volume
of ritual music of the i6th century.
3. gfradual modulation. That m
which the principal modulating chord
is reached by others.
gradualmen'te, g^raduatamen'te, /.,
fradueilement (grad-tt-£l-m&fi), F,
y degrees.
g^aduare (gra-doo-a'r^), 7. To divide
into degrees, g^raduazione, /. Vide
GRADAZioNE. gradweise (grSt-vI-
^}, G. Gradually, by de^es.
gra'dus ad Pamas'snm, Z. " The
road to Parnassus.*' Name applied
by Fux to his text-book in counter-
point; by Clementi to his book of
etudes ; hence, any text-book.
giaha (grfi'.h&), Hindu. The open-
ing tone of a song.
grafl (gnU). Early E, The Roman
gradual
gntiilement (grjf-yfi-mfiA), F. A
hoarse sound.
grammar. Rules of composition.
grammatical accent. Vide accent.
gran(grfin), Z Great, grand, g. cassa
or tamburo. The great, or bass-
drum, g, proya. Final rehearsal.
grand. Abbr. of Grand pianc. Vide
piANa g. action. The action of a
grand piano, ^rand opera. Seri-
ous opera in which there is no spoken
dialogue, g. stave. Vide staff, g.
choir. Union of all the reed-stops.
g. comet. i6-ft. reed-stop. g. so-
nata. An extended sonata.
grand(e) (griLn(d)), F,^ grande (grSn'-
d€),Z Grand, great, g.barr^,/; Vide
BARRi. g. bourdon. A 32-ft. stop
on the pedal, g. chantre (sh&dtr).
Precentor, g. choeur (ktir). Full
organ, all the stops, g. orgue (gran-
dorg). I. Great organ. 2. Full or-
gan, g. jeu. I. Full organ. 2. A
stop bringing all the stops of an har-
monivun into play. r. messe. High
Mass. g. mesure a deux temps.
Duple time. g. orchestre (graA-
d6r-k€str). Full orchestra.
grandeur (gr^-diir), F* i. Grandenr.
9, Width (of intervals).
DICTIONARY OF TERMS 155
S^nmdezxa (grSn-did'-zdi), L Grand-
cur.
Srnmdlo'so, /. Noble, grandison-
an'te. Sonorous.
I^nuidsire. Changes on 5 bells. Vide
DOUBLE (4).
g^rannlato (gra-noo-U'-t5), /. Slightly
staccato.
grappa (grap'pa), /. Brace.
frrasseyer (gras-sil-ya), F, To pro-
nounce the r or / thickly ; hence,
grasseyement (griis-yii-m&n), such
pronunciation.
Gra'tias a^imns, L. " We give
thanks to Thee." Vide mass.
p^tioso (grll'-tsi-5'so), /. Gracious.
grave (gra've in /. / in F, grSv).
I. Grave, deep, slow. 2. A slow
movement. g^ve harmonics.
Combinational tones, g^avement
(grilv.min), F, gravemente (grS-v*-
mdn'ti), /. Gravely, gravezza (gra-
vW-za). /. Gravity.
gravicembalo (gril-ve-cham'-bll-ld), /.,
gravicem'bolo, /., gravecem bal-
mn, Z. Harpsichord.
gra'vis, Z. Heavy. Vide accbntus
ECCLESIASTICI.
gravisonan'te, /. Loud-sounding.
gravity (gr5-vl-tr). /., Gravitilt (gri-
fe-tat'). C, gravity (gri-vX-ta). F,
I. Solemnity. 2. Relative depth of a
tone.
grayle (gral). Early E, The ** Ro-
man gradual.**
grazia (gnlts'-yft), /., grazie (grats-
ya), G. Grace, elegance, grazids
(grS-tsl-as), 6^., grazio'so, 7. Grace-
ful, graziosamen'te. Gracefully.
greater. Major (of a scale, sixth, or
third).
great octave. Vide pitch, peat
organ. Vide organ, great sixth.
A 6-5 chord with perfect 5th and ma-
jor 6th.
grec (gr^k),^ F, Greek. Chorus h la
C. A chorus at the end of an act, as
in Greek tragedy.
Greek Modes and Music. Vide
MODES.
Grego'rian, gregorianisch fgr^-go-rl-
ftiT-l^), C7., gr^gori'ano ^r&-go-rY-
a'no), /., gr^gorien (gri-go-rl-SA), F,
Introduced or reg^ated by Pope
Gregory I. in the sixth century (vide
his name in the B. D.). Chiefly
used as a synonym for plain-chant.
Gevaert in his *' Les origines du chant
lyrique,*' 1890, has shown how little
reason there is for continuing the tra-
ditional view of St. Gregory as a
great innovator ; he may have been a
codifier of music. Much credit be-
longing to St. Ambrose has been
given to him ; he did not originate
the notation by letters (a-g), some-
times called the Gregorian letters.
The so-called Gregorian chant or
song is diatonic, without definite
rhythm (the words dictating the me-
tre) and keeping to the Church modes.
Of Gregorian chanty modes^ tones^
etc. Vide plain-chant, and modes.
greifen (grl'-f«n), G, To take, to
finger, to play; to stop (of violin-
playing) ; to stretch.
grcl (gr«l), G, ShriU. G.-heit (hit).
Sharpness.
S'elot (grii-16), F. A small bell.
riff (griO> G. Touch, manipulation,
fingering, stretch. G.-brett. Finger-
board. G.-loch (16kh). Hole (as of
a flute). G.-saite (zl-te). A stopped,
or melody, string as opposed to a
sympathetic string.
griilig (grTl'-lYkh), G. Capricious.
gringotter (graft-g6-ta), F, To hum.
grisoiler (gre-s6-la), F, To warble.
grob (gr6p), G. Coarse, deep, broad.
As a prefix (of organ-pipes); '*of
broad scale.** G.-geoackt. A
stopped diapason of full, rough tone.
grop po, gfroppet'to. Vide gruppo,
GRUPPETTO.
gros (gro), F, Great, g. tambour.
Great drum.
gros-fa (gro-f&). The old square nota-
tion.
gross (gr6s), (7., grosse (gros), F,
Great, major, g^rosse caisse (gr6s
kSs), F. The great drum. Grosse-
nazard, G, A stop a fifth above the
diapasons, grosse Oktave. The
great ocuve. Vide pitch, grosse
156
THE MUSICAL GUIDE
Qulnte, groB9t9 Qnintenbass. A
stop in the pedals, a fifth or twelfth
to the great bass, grosse Sonate.
Grand sonata, grosses Principal.
A 32-ft. stop, grosses Terz. Ma-
jor third, gfrosse Tierce. Stop
producing the third or tenth above
the foundation-stops, grosse Trom-
mel. The great drum, gjossge-
dackt (g£-dakt). Double-stopped
i6-ft. diapason.
grosso (gros'-so), /. Full, great,
grand.
Groasvatertanz (gr6s'fS-t^r-ti(nts), G,
** Grandfather's dance " ; an old-fash-
ioned dance.
grottes'co, /. Grotesque.
ground bass. Vide base (8).
group. I. A series of short notes tied,
or sung to one syllable. 2. A divis-
ion or run. 3. A set of instruments,
as th^ brass. 4. The arrangement of
parts in score.
Grand (groont), G. Ground, founda-
tion. G.-akkord. An uninverted
chord. G.-bass. Fundamental bass.
G.-laee. Fundamental position. G.-
ton. Root ; tonic. Fundamental of
a compound tone. G.-tonart. The
prevailing key. G.-stimme. The
bass part.
gnippo (groop'po), /. A group, for-
merly a trill, shake, or turn, grup-
pet'to. I. A small group. 2. A turn.
G-Schl&ssel (ga'-shltis-s^l), G, The
G clef. Vide clef.
guaracha (gwa-ra chS), Sp, A Span-
ish dance, with one part in triple and
one in 2-4 time, the dancer often
accompanying himself on the guitar.
gnaranita (gwsl-rS-ne -ta), Sp, A small
guitar.
Guamerius. Vide the B. D.
guddok (goo-d6k), Rus. A 3-stringed
violin.
gue. An obsolete Shetland violin with
2 horsehair strings played 'cello-
fashion.
guerriero (goo-ifr-r!-a'-r6), /. Martial.
gnet (g€), F. A trumpet flourish.
gnia (ge'-S), Sp, Fugue ; conductor ;
leader.
gnida (goo-e'-d&), /. (a) Guide i, 2, 3.
(b) Vide PRESA. (c) Also, a tone
through which the voice glides in
singing an interval legato.
guide. I. Subject, of fugue. 2. An-
tecedent of imitation. 3. A direct.
guide (ged), F, Guide i, 2. guide-
main (min). A chiroplast, inv. by
Kalkbrenner.
giidon ^e-ddA), F, A direct.
nido'nian. Relating to Guido d'Arez.
zo. (Vide B. D.) G. band. A diagram
on an outstretched left hand of the
Areteman syllables. Vide solmisa-
TION.
guil'tem (grr-tem). Cither.
guimbard, guimbarde (g&h-b&r(d)), F,
A Jew's harp,
guion (g€'-5n), Sp, A repeat sign.
guitar,^., ruitare (gT-tir), /\,guit«r-
ra (gc-tar^rfi), Sp., Guitarre (gl-tir'-
r*), G, A modem form of the lute,
long-necked with frets ; six-stringed ;
compass E-a" (plus an octave of
harmonics). The accordature is £.
A-d-g-b-e' (or E-B-e-g-b-e'). Its
' music is written an octave higher than
it sounds, g. d 'amour. Vide arpeg-
GIONE. g. lyre. A French six-
stringed instr. of lyre-shape.
guiteme (ge-tdm), F. Ancient guitar.
gn'nibry. A 2-stringed guitar.
unst (goonst), G. Grace, tender-
ness.
guracho (goo-ri'-cho), Sp, Vide guar-
acha.
gusla (goosh'-la). Servian i-stringed
instr. with skin sound-board.
gusli, gussel. A Russian zither.
gusto ^oos-to), /. Taste, expression,
gran g. The grand manner. ga9-
toso (goos-to'so), gustosamente.
Tasteful(ly).
G-nt. Vide gamma ut.
gut. Strings made of entrails of sheep.
gut (goot), G. Good. ' gutdiinken
(dttnk'^n). At pleasure. guter
Takteil. Strong beat.
gutturale (goot-too-rS'lQ, gnttnral-
men'te, /. Gutteral(ly).
gyta'rah. Nubian guitar, g. Imup*
barjch. The Berber guitar.
DICTIONARY OF TERMS 157
H
H(In G, pron. hS). German
name for B-natural ; B be-
ing reserved for B flat,
h. Abbr. for hirn^ ketl^
hand.
Habanera (2-bi-na'-rS), Sp. A dance
popular in Havana ; it is in 2-4 time
with the first eighth note dotted ;
sjrocopation and caprice play a large
part. Vide dance-rhythms.
HabefTohr(hS'-b£r-rdr), (7. Shepherd's
flute.
Hackbrett (hSk'-brSt), G. Dnldmer.
halb (hilp), (;. Half, lesser. halbeAp-
pUkatnr. Half.shift. Halb4Mtss,
-cello, or violine. A small double-
bass, *cello or violin. H.-Tiolon. A
tmaU double-bass, balbeedackt
(fi^-diUEt). Half covered ((? stops).
H.-instnimeiite. Vide ganzinstru-
MENTE. H.-kadenz or -schluss.
Half-cadence. H.-mond. Crescent.
H.-iiote. Half-note, or H.-taktnote.
Hand-note ; in horn-playing, a
stopped note. H.-oi^el, or -werk«
An oif^n with no stops lower than
S-ft. pitch. H.-piinzipal. An obso-
lete 4-ft. stop. H.-rildenhorn. Vide
HIKFHORN. Ii.-ttark« Mezzoforte.
H.-stimme. A half or partial stop.
H.-ton, or halber Ton. Semitone.
hall-cadence or half-close. Vide
CADiNCK. half^iote. A minim.
batf-aote rest. A oause equal to a
half-note, half-shih. Vide shift.
haif-step. The smallest interval
used, half-stop. Vide stop.
hal'iL VideKHALiL.
Hall (hil), G, Sound, clang, hallen
(hSl'Un). To sound, to clai^:. Hall-
drommete (drdm-ma-te) or -trom-
pete. A powerful trumpet.
iMOlelnjah (h21-l«4oo'y&), Heb. Al-
leluia.
hal'Uns^. Norwegian country-dance.
HalmfSeife (pfffQ, G, Shepherd's
pipe.
Hals (h£b). G. i. Neck (of a violin,
etc.). a. Throat. 3. Stem.
Halt (hilt), G. A pause, a hold.
Hammer (pron. in (7. h2m'm^). i . That
part of the mechanism of a piano
which strikes the strings and produces
the tone. 2. Mallet for plaving the
dulcimer. 3. The striker of a bell.
tuning h. An instr. for tightening
the pegs of a piano or harp. Ham-
merklavier (kU-fer'), (7. The mod-
em piano.
hanacca (hii-nSk'-kfi), /., hanaise
(i-ndz),/*., Hanakisch (ha-na'-klsh).
G, A rapid polonaise-like Moravian
dance in 3-4 time.
Hand, harmonic Vide guidonian.
hand-gnide. Chiroplast. h.-har-
monic. Accordeon. h.-hom. One
without valves or pistons, h.-organ.
A portable barrel organ (q. v.). h.-
note. In hom-playing, a stopped note.
Hand (h2nt), pi. H&nde (h£nt'-«). G.
Hand. H.-oassl. An obsolete instr.
between viola and *cello. H.-bildner
(or -leiter). A chiroplast. H.-lage.
Position of the hand. H.-stiicke.
Finger>exercises. H.-trommel. Tam-
bourine.
handle-piano. Vide barrel organ 2.
Harfe (hftr'-f«), G. A harp. Harfen
bass (hir f£n-b4ss). A bass of
broken chords. Harfensaite. Harp-
string. Harfenspieler. Harpist.
Harfenett. Vide spitzharfb. Har-
feninstmmente. Instrs. whose
strings are plucked. H.-laute. Vide
dital.
Harke (h&r'-ke), G. Fork for ruling
staves.
Harmo'nia, Z. Daughter of Mars
and Venus ; music in general.
Harmonic. As an adjective. Musical,
concordant ; relating to harmony (i. e. ,
to chords, etc. as opposed to melodv)
and to the theory of music, h.
chord. A generator and its harmon*
ics. (Vide below.) h. curve. The
figure described by a string in vibra-
tion, b. figuration. Broken chords,
often with passing notes, h. hand.
Vide GUIDONIAN. h. mark. A
small circle over a note to be played
as an harmonic, h. note, tone,
vide the noun harmonic, h. scale.
158
THE MUSICAL GUIDE
The series of partials(vide acoustics).
h. stop. A flute or reed stop having
its pipes pierced midway, so that the
harmonics predominate over the fun-
damental tone, hence h. Ante and
h. reed. h. triad. Major triad.
h. trumpet. The sackbut.
As a noun (frequently used in the
plural). I. One of the many partial
tones that go to make up the com-
pound vibration we call tone, this
compound being called by the name
of its generator. (Vide acoustics.)
2. A vibrating string when lightly
touched at a nodal point (as that
of a half, 3d, 4th, or 5th, etc., of
the string's length) will vibrate in
divisions (2, 3, 4, or 5, etc.), each
division sounding the same tone
respectively an octave, a 12th, 15th or
I7tn, etc., higher than the string.
These produce a choir-like unison of
exquisite sweetness whose flutiness
has given them the name flageolet-
tones. These harmonics if produced
from an open string are called nat-
nral ; from a stopped string, arti-
ficial. Harmonics are called for by
the word flageolet or its abbr. fl.; or
the ^oidsflautando^ flautato^ oxflAte^
or by a small circle (o) called the
harmonic-mark over the note to
be touched, or bv writing a black
note indicating the open string, a
diamond-headed note above it show-
ing where the string is to be touched,
and a small note above to indicate
the actual sound. Grave Harmon-
ics. Combinational tones. '* Prop-
erly speaking, the harmonics of any
compound tone are other compound
tones of which the primes are partials
of the original compound tone of
which they are said to be harmonics.**
— A. J. Ellis.
Harmon'ica. i. An arrangement by
Benj. Franklin of musical glasses in
a scale, on a spindle turned by a
treadle. The glasses were moistened
in a trough, and as they revolved
melodies and chords could be played.
F. called his device armooica. 2.
The month-harmonica or bar-
monicon is a reed mouth-instr. pro-
ducing different tones when the
breath is inhaled and exhaled. 3. A
delicate stop. Harmonicariithe-
risch (&'-t€Msh), C, A delicate mixt-
ure-stop, hannonichord. Vide
PIANO- VIOUN.
harmoniceilo (ch^l'-ld). A *cello-like
instr. with 15 strings (5 of them wire)
inv. by J. K. Bischo£f, Ndmberg,
1 8th century.
harmonid. Vide canonici.
harmon'icon. i. Vide harmonica. 2.
A keyed harmonica with flue-stop, inv.
by W.C. Mailer. 3. An orchestrion.
harmoni-cor, F. A wind-instr. with
harmonium-like reeds in a clarinet-like
tube, inv. by Jaulin, Paris.
harmo'nicum. An improved bando-
nion ; virtually an accordeon worlced
with treadles, inv. by Brendl and
Klosser, Saxony, 1893.
Harmonie (h&r-md-ne), C. i. Har^
mony. 2. A chord. 3. (a) The wind-
instruments collectively, or (b) mxisic
for them, h.-eigen, Chordal ; appro-
priate or native to the harmony ; op-
posed to li.-£remd,fordgn. H.-lehre
(l&-r£). Theory of music. H.-mnaik.
Vide HARMONiB 3. H.-trompete. A
trumpet employing stopped tones with
success. H.-yerstlndiger(f«r^sht^n'-
d¥kh'-r). A harmonist, harmoni-
ren (hftr-m6-n€'-r*n). To harmonise,
harmo'nisch. Harmonious.
harmonist. One versed in the laws
of music.
harmonie (ir-mft-nc), F. i. Harmony.
2. Harmonics, harmonieuz (ir*
mdn-yil'). Harmonious, harmoni-
eusement (yiiz*miii). Harmontoas-
Harmo'nika» G. i. Accordeon. 2.
Concertina. H.-tOne. Vide harmon-
ics.
Harmo'niker, G, Harmonici.
harmon'iphon. An instr. with key-
board, inv. 1837, by Panis, of Paris, to
supply the place of oboes in orches-
tras. The sounds are produced from
reeds acted upon by currents of air.
DICTIONARY OF TERMS 159
hamioiiiqiie (ftr'm5-nek), F, Har-
monic, applied to pipes of double
length.
hannoniqnemeiit (fti^m5-n€k-miA), F,
Harmonically.
harmo'iuiiiii. Vide reed-organ.
harmonise. To combine two or more
parts in accordance with the laws of
music ; to add accompanying chords
to a melody.
harmonooi'eter. A monochord.
harmofiy, chromatic (or diatonic).
That characterised by chromatic (or
diatonic) progression, close h« That
in which the 3 highest parts do not
cover more than an octave ; opposed
to open, dispersed, or extended
h. compound h. That in which
some of the tones are doubled ; op-
posed to simple h. essential h«
(a) The fundamental chords of a key.
(b) The harmonic outline stripped of
embellishment, figured h. That in
which the chord progressions are em-
bellished variously ; opposed to plain
or natural h., the common triad.
forbidden h. A chord whose con-
struction or approach is contrary to
the rules of Harmony, suspended h.
That in which one ^r more notes is
suspended, pure h. (as of a string-
quintet). Opposed to tempered h.,
as of a piano. Vide tempera-
ment, strict h. That which is rig-
idly obedient to the rules ; opposed
to free h. Two-part (etc.) h.
That in which two (or more) parts
appear.
Modem Harmony in Practice.
By a. J. Goodrich.
[NoTi. — Mtoy of the terms touched upon here will be found treated in more dettU under
then* names. — Ed,'\
IN its brosder sense Harmony embraces the origm and classification of
chords, their rearnmgement, inversion, tnd progression ; modulation,
resolution, transidon, ^dse relation, sequence, suspension, chromadc
harmonisadon and other topics too numerous to mendon here. Yet the
fimdamental ptindplet of harmony may be easily explained and readily under-
stood. ^We beg^ with concords because they are most euphonious and
not fubject to the somewhat complex theories of resoludon. A concord or
consonant triad consists of a normal ('< perfect ") 5th and a major or minor
3d from the root. When the mtervals stand in thb order the lowest note
is the root, or the name-note of the chord. It would thus appear to the eye
mil kf9n lines $r all ufM spaces: thus G b d form the chcu'd of G
major. G, b Jlat, and d, would form the chord of G minor. ^ Every
major key bears six concords, the imperfect triad on the leading note not be-
ing a concord. ^The reader may now sound upon a piano or organ these
six concords, etch in its first or root posidon. After sounding the first chord
and before proceeding to the next, ascertain the gender, — that is, whether it
is mascnfine (major), or fominine (minor). These distinctions should be
determined by the auricular sense, and also by the visual sense. Pracdce
aad theory should be thus combined. ^From the theory of scales and keys
i6o THE MUSICAL GUIDE
and btervals [vide these terms] the reader is supposed to know whether a
given chord represents a major or a minor key. The ist» 3d, and 5thy of
every major scale form a major concord : the same numbers in a minor key
yield a minor concord. But it is still more important that the ear shall be
trained to distinguish between these genders, because music appeals moat
directly to the auricular faculties.
Concords Classified.
When all the concords have been sounded and their characteristict recog-
nised, they should be clasdfied. How many major ? How many minor ?
Which degrees of the scale bear major and which minor concords ? ' ^Tech-
nical terms may be then applied : chord of the tonic, i ; chord of the sob-
dominant, 4 ; chord of the dominant, 5 ; chord of the super-dominant (relative
minor of the tonic), 6 ; chord of the super-tonic, 2 ; chord of the mediant, 3.
In other words we have as elemental material, the chords of the tonic, sub-
dominant, and dommant (always major in a major key) and the relative
minors [vide RELATIVE] of these. This process should be repeated in all
the major keys*
Concords Rearranged.
A chord has as many close positions as it has letters. In the first pontion
the root is lowest. In the second position the root is highest, while the third
is below. In the third position the root is in the middle, the 5th being
below and the 3d above. ^At first the different positions are to be effected
by rearranging the letters thus : C, e, g, root position of the C chord.
Place the Clast (an octave higher), and the second position will result /, g, C.
Now place the e last (an octave higher), and the third positbn will appear.
— gf C, e. Since no new element has been introduced it is evident that the
chord still remains and that C is the root. The capital letter serves to indi-
cate to the eye whether the theoretical root is below, in the middle, or at
the top. (A distinction is to be made between these simple rearrangements
of concords and the actual inversion of chords. Inversion comes much later. )
Every concord in the key is to be rearranged by means of letters, as indi-
cated, and the different positions are to be numbered in regular order i, 2, 3.
^The six concords are now to be rearranged on the key-board, using the
letter schemes as a preliminary guide. After the six chords have thus been
played in their three close positions the process should be continued in other
keys without the aid of letters or written notes. ^Care must be ezerdsed
not to add any new element to the tones of a given chord while its rearrange-
ments are being played. For instance, in the second posidon of the F chcMrd
pupils sometimes produce the A minor triad by playing 4, C, e^ instead oi
.. ^.^■..
DICTIONARY OF TERMS 161
Sf i, F. Sound all the concords in their three close positions in every major
kqr. (See Ex. i.) ^Also it is desirable to play the rearrangements in this
manner descending, as well as ascending. (Interesting examples in this style
may be invented.)
Preuminary Harmonisation.
The six rearranged chords in any given key are now selected as a guide.
These must appear in notation. Every tone in the major scale of C is to be
harmonised with as many concords as contain the note to be illustrated.
This is to be accomplished at the instrument, i. Select r" (an octave
above middle r). This is a stationary tone representing; for instance, a soprano
part. 2. How many of the six concords in this key contain c? (Examine
the chart of rearranged chords in C, always beginning with the first chord,
and ascertain how many contain r, — whether above or below is immaterial. )
3. What is the first chord that contains z c? What position has c at the
top? 4. Play this. 5. What is the next chord containing r^ 6. What
position has c uppermost? 7. Play this, keeping the same finger (5) upon
3d space (". 8. What is the third chord containing c? In what position
b c uppermost ? 9. Play this, the c being still in the soprano part, highest.
If this much has been correctly executed the following results will appear :
The C chord will be in its second position, the F chord in its first position,
and the A minor chord in its third position, ^, A, c. Each chord is to be
sounded simultaneously, the letters which represent notes are read fi-om below,
upward, therefore /, gp C, indicate that the chord of C is to be struck, C
being uppermost. Repeat the process at the piano : C chord, 2. /" chord, i.
5 5 5
J minor chord, 3. The fingering should be 2 3 3. (See Ex. 2.) ^The
I I I
Example II.
^ ^ r-S C2-_E7
S
a a.
m
etc.
second chord of the scale is now selected, and this is to be harmonically illus-
trated in the same manner, i . How many concords in the key of C con-
tain d? (Do not use the imperfect triad in any of these elementary exercises.)
2. What is the first chord containing d f 3. What position has d at the
im
162
THE MUSICAL GUIDE
top ? 4. Play this. 5. What is the other chord having a ^ / (Mention the
letter-name of the chord and say whether it be masculine or feminine. ) 6.
What position of the G chord has ^ at the top ? 7. Play it, then repeat.
In this manner every tone in the key of C should be harmonically iHustrated.
Only the six concords in this key are to be used, though each one may be
played in any of its three close positions, according to circumstances. Trans-
pose to other major keys.
Simple Theory of Strict Chord Progression.
Any tone which occurs in any two difierent chords is called a conmciing
tone. Every connecdng tone is played by the same finger in both chords or
sung by the same voice. When there are two notes in common between two
chords in progression, the connecting tones are retained, or remain stationary
— ded or played by the same finger. (The previous elementary progres-
sions agree with this theory.) ^Now arrange a score of four staves, the
bass staff below and -three treble staves above. On the first treble staff* write
the progression C, F, A minor, keeping the connecting notes stationary.
On the second treble staff write the Cdiord in its next position above, g^ C, e.
Then write the F chord (with r in the middle) and the A minor chord with
a and c ded from the preceding. On the third or highest treble staff write
the C chord in its first position and proceed to make the same progression,
/'. ^., C to Ft and F to A^ It is to be understood that the progressions on the
two upper staves are similar to those on the lowest treble staff, 2 and 3 being
rearrangements of i. In each instance the same principles are to be applied.
Example III.
• Write an octave lower when the parts run too kig^h.
For instance m progressing fix>m the C to the F the connecting note (r) will
appear alternately in the soprano, mezzo-soprano, and contralto parts. When
the first measure b completed in the three treble parts, vertically, add the
roots in the bass staff immediately beneath the treble chords. The btst part
DICTIONARY OF TERMS 163
moves fundamentally^ from root to root, while the treble parts progress
mekxiically, that is without skipping. Do not skip the bass part up or down
m^re than a §tb. ^Proceed to harmonise d with the two concords which
iccompany it : then write two rearrangements above. Observe strictly the
connecting-note principle. When the second measure is completed in the
treble parts add the roots in the bass as before. Every tone in the scale is
to be treated similarly — 2, 4 and 7 having but two chords each as accom-
panying harmonies. (See Ex. 3.) ^ After this scheme has been worked
out on paper, choose another key and proceed to make a similar example at
die key-board, without the aid of notes except perhaps the rearranged chords,
which may be used as a chart. Continue this process in several other major
keys, until the progressions can be played readily and correctly.
Melodic Skips of a 30.
When the melody skips up or down a 3d the accompanying harmony
remains the same. In other words the melody skip may be accompanied by
any chord in the key which contains both notes of the melodic interval. This
has been partially illustrated in the rearrangement of concords. Therefore
r and ^ may be accompanied by the C chord or the A minor chord, but not
ij h$tb thirds. When the melody skips, the bass remains stationary as a con-
necting note. Consequently there is always a connectmg note either above
or below in the present examples. A skipping theme is given and this should
be harmonised at the piano and on paper. (See Ex. 4. )
Example IV.
J ■i I' \
^
(Continuous.)
I
is:
-^
Skips of a 4TH.
These are harmonised by the same principle, though a skip of a fourth
admits but one chord as accompaniment : that chord which contains both
Qoces of the skip furnishes the solution. During the skip the bass remams,
and acts as a connectmg note. Example 5 is to be harmonised practically
and theoretically, as explained.
Example V.
r ^ ^ ''^'^ r^\^r'^ fr ^{f^r {^ (
(8-measure theme.)
1
i64 THE MUSICAL GUIDE
Harmonic Warnings for Composers.
By a. J. Goodrich.
1. Don't use any intervals in parallel movement except these :
{a) Unisons, and octaves when the latter are above or below, with no
harmony between the octaves.
(i) Major or minor thirds, ascending or descending diatonically.
(r) Minor thirds ascending or descending chromatically.
{d^ Major thirds ascending or descending chromatically. (These were
formerly forbidden, but modern composers use them freely for certain pur-
poses. They are, however, rather harsh and incisive. )
(/) Major or minor sixths ascendbg or descending diatonically — like the
thirds.
(y) Major sixths up or down chromatically.
(^) Minor sixths up or down chromatically. (These are inversions of
the major thirds, and therefore the same remarks apply.)
(Jji) Augmented fourths may ascend or descend chromatically where they
form parts of diminished chords in succession. (The exigencies of notation
will require that the imperfect fifth — which is an harmonic equivalent of the
augmented fourth — shall appear occasionally in place of the latter. Thus, c
and y sharp may be followed by b and y natural. Practically the two inter-
vals are identical and interchangeable.)
(/) Descending augmented fourths may occur in a series of dominant
seventh chords proceeding according to the dominant relation — up a fourth or
down a fifth.
2. Don't use j/ry of these intervals in parallel movement :
(j) Major or minor seconds, ascending or descending.
(i) Normal or* 'perfect" fifths, especially between bass and soprano, or
contralto and soprano. The imperfect may follow the perfect fifth. But the
reverse of this is rather rough and generally inefl^cctive.
(r) [Normal fourths, when they are accompanied by diatonic thirds,
above or below, have been fi*equently employed. A succession of triads in
their second or third close positions necessarily involves parallel fourths, as in
the Fmale to Beethoven's op. 2, //.] Parallel fourths ought to be excluded
from strict two-part counterpoint, as they are too much inclined to vacuousness.
(^) Major or minor sevenths are not to be used m parallel succession.
Diminished sevenths sound like major sixths^ Therefore these two intervals
may succeed each other alternately.
{i) Parallel octaves have always been forbidden, and usually their efiect is
awkward or confusing. Yet hundreds of instances might be quoted from the
DICTIONARY OF TERMS 165
nasten. A simple illustration is the little Romance fi-om Schtmiann usually
coupled with his **Traumerei" — the theme above is doubled by a solo
boss part below.
(/) Cross relation or false relation is another pixhUl into which the young
composer is likely to stumble. The effect is sometimes very unpleasant and
at other times perfectly satis&ctory. ^The student should avoid at all times
all interdicted or suspicious progressions, even though the ^^ evil " be more
hnaed than real. If he becomes a creative artist he must eventually act on
bis own responsibility. Bee and independent of all prescription and fermula.
hMrpfE., harpe (arp), F, A stringed
triangiilar instr. of great antiquity
and variety. The g^t-strings wnich
are plucked with both hands are nec-
essarily diatonic. In the old single-
action harp (key of E flat, compass
F-d"") the notes could be raised a half-
tone by the use of pedals. Thanks
to the ingenuity of Sebastian Erard,
who in 1820 perfected the ** double-
action harp/' all keys are obtainable
on the modem harp in fairly quick suc-
cession, by the manipulation of seven
pedals each raising a string and all its
octaves a half or a whole tone. Thus
■ by sharpening or flattening the proper
tones, any key may be obtained. The
natural scale is CP, and the more
sharps in the key the less the sonor-
ity ; double fiats and sharps are im-
possible, and remote modulation diffi-
cult. There are 46 (or 47) strings,
compss C flat-f"" (or g"" flat).
donole h. One with 2 rows of dif-
ferently tuned strings, triple h.
(such as the Welsh) . One with 3 rows.
JEolian h., h. 6olienne. Vide
vEOUAN. conched h. The spinet.
pointed h. Vide spitzharfe. chro-
nutic h. Inv. by Pf ranger ; it has,
however, too many strings. Jew's
harp. A small mstr. with metal
tongue, played upon by placing it
between the teeth, and striking with
the tongue and the finger ; the breath
determines the tone; known in the
trade as "Irish harp." h. instni-
menta. Those whose strings are not
bowed.
harpechorde (arp-kord), /^, harpi-
cordo (Sr-pT-kor'-do), /. The harp-
sichord.
harpeggiren (hSr-pdd-je'r^n), G. Vide
ARPEGGIATE.
harpe-lute. Vide dital. harp-pedal.
The soft pedal of a piano.
harpo-lyre. A 3-necked, 21-stringed
guitar, inv. by Salomon, 1829.
harp'secol. Vide harpsichord.
harp'sichord. A precursor of the mod-
ern piano, whose strings were set in
vibration by jacks canying quills or
bits of hard leather (instead of tan-
gents, as in the clavichord). Sometimes
it had^ more than one key-board as in
the vis-^-vis (ve-za-ve), which had
a key-board at each end. The double
h. had 2 unison strings and an octave
for each tone ; and stops for vary-
ing the use of these. The harmon-
ica h. is an harmonica with key-
board.
harp-style. Arpeggio style.
harp-way tuning. Early English ac-
cordatures of the viol da gamba fa-
cilitating arpeggios.
harsur or hasur (ha'-zoor), I/fd. A
Hebrew instr. of 10 strings.
hart, G. Major; hard; unprepared, h.
verminderter Dreiklang. A triad
with major 3d and diminished 5th.
hartklingend. Harsh-sounding.
h4te (at), F. Haste, speed.
haubois (6-bwil), F. An oboe.
Haupt (howpt), G. Head, principal.
H. -accent. Principal accent. H.-
akkord. Fundamental triad. H.-ge-
sang, H.-melodie. Principal mel-
i66
THE MUSICAL GUIDE
ody. H.-kadenz. Full cadence.
H.-kirche. Cathedral. H.-manual.
The great manual ; the g^eat organ.
H.-note. I. The principal note in a
shake, turn or trill. 2. The chord-
note. 3. Accented note. 4. Melody-
note. H.-periode. Principal period.
H. -probe. The final rehearsal. H.-
satz. Principal theme, subject or
idea. H.-scnluss. Final cadence.
H.-septime. Dominant 7th. H.-
stimme. Principal part. H.-thema.
Principal theme. H.-ton. i. Funda*
mental or principal tone. 2. The
tonic. 3. The 5th in a minor triad.
H.-tonart. The principal key. H.-
werk. Great organ.
hausse (os), F. Nut of a bow.
hausser (5s-sa), F, To raise the
pitch.
haut (0), haute (ote), /^ Acute,
shrill, high, haute-contre (dt-
kontr). High tenor, haute-dessus
(5t-d^stt). High treble, soprano.
hautement (ot-maii). Haughtily.
haute-taille (5t-ta-e). High tenor.
hautb. Abbr. of Hautboy,
hautbois (5-bw^), /^, hautboy (ho'-
boy), E, I. The oboe. 2. An 8-ft.
reed-stop, h.-d'amour. An or^an-
stop. Vide OBOE, hautboy-clanon.
Vide OCTAVE hautboy.
H.-bes (ha-bfe), G. B double flat. H.-
dur (ha-door). B major.
head. i. ,The part of the note which
marks its position on the staff. 2.
Point of a bow. 3. Membrane of a
drum. 4. The part above the neck of
violins, etc., containing the pegs.
head voice. The upper or highest
register of the voice.
heel. The wooden brace fastening the
neck of violins, etc., to the body.
Heerhorn (har'-hom), G. A military
trumpet. Heerpauke (har'pow-ke),
G. Old kettle-drum, tymbal. Heer-
pauker. Kettle-drummer.
heftig (h«f'-ttkh), G. Boisterous, pas-
sionate. Heftigkeit (kit). Vehe-
mence.
heimlich (hIm'-Wkh), C. Secret,
stealthy, mysterious.
heiss (his), G. Hot, ardent.
heiter (hft^r), G. Serene, glad.
Heldenlied (h^l'ddn-let), G, Hero-
song. heldeiimiithig(ma-tTkh). He-
roic. Heldentenor. Dramatic tenor.
helicon, E., Hel'ikoii, G, i. A mil-
itary bass brass wind-instr., carried
over the shoulder ; scales, F, £ flat,
C and B flat (the lowest tone of the
bass of which is B,,), 2. Ancient 9-
stringed device showing the theory of
intervals.
hell (hdl), C7. Clear, bright.
helper. An octave-pipe set beside one
of 8-ft. pitch to add to its brilliance.
hem'i, G. Half, hetnidemisemi-
quaver (-rest). A 64th note (or rest),
hemidiapen'te. Diminished fifth,
hemidit onos, Gr, Minor third.
hemio'la, hemio'lia, Gr. i. The ratio
3 : 2. 2. Quintuple time. 3. Inter-
val of a 5th. 4. A triplet. 5. Vide
NOTATION (colour).
hemiope, Gr, An ancient three-holed
flute.
hemiphrase. One bar of a phrase.
hemito'nium, Gr, A semitone in Greek
music (ratio 256 : 243).
heptachord, i. Interval of a seventy.
2. A 7-stringed instr. 3. A Greek
series of 7 tones with half-tone step
between the 3d and 4th.
heptade (h€p'-t&d), hep'tadechord, E.
Vide ELLIS.
heptam'eris, Gr, A seventh part of a
meris.
Herabstrich (har'-fip'strfkh). G, Down-
bow. Heraufstrich (har'-owf-strlkh).
Up-bow.
heraufgehen (hir-owfgain), G, To
ascend.
heroic, E,, beroisch (har'-o-tsh), {?.,
h^roique (a-ro-ek), F, Bold, brave.
Vide EROiCA.
Herstrich (har-strikh), G, Down-bow
(on 'cello and double-bass). Henm-
terstrich, G, Down-bow (on the vio-
lin, etc.).
henrorgehoben (har-fdr'gh^h5'ben),
hervorhebend (ha'bfo^f henror-
tretend (tra-ttot), G. With empha-
sis.
DICTIONARY OF TERMS 167
Hc« (hirts), G. •* Heart." Vide tas-
SEAU.
herzigr (hj<rts-ikh), herzUch OYkh), G,
Tender.
Hes (hfe), G, B flat when directly
derived from B natural (or H).
Heses, B double flat.
healen (hoi'-l*n), G, To cipher.
hexachord, Gr,^ hexachorde {H-'ir
k6rd), F, i. A scale, or system, of
six sounds. 2. A sixth. 3. A six-
stringed lyre.
hexam'eron, Gr, Group of six pieces.
hex'aphonic. Composed of six voices.
hej oe guise (£-d&-geze), F, A
country-dance.
hia'ttts. A gap.
hidden, i. Obscured, covered, yet im-
plied; thus in the skip, say, from
e to g^ the tone / is implied though
not struck or dwelt on ; it could be
called hidden. But the term is used
rather of intervals similarly implied,
thus in the progression, say from e-c
to g-d, the tone / is passed over,
and as/* makes with c the same in-
terval as g with dy that is, a perfect
fifth, the progression becomes a hid-
den or implied fifth, and is put
under the same ban by stricter theo-
rists, though auctioned by free prac-
tice. Similarly a progression, as of
g-b' to c-c' contains hidden octaves.
2. h. canon. Close canon.
Hief (heO, Hiefstoss (sht6ss), /;.
Sound of the hunting-horn. Hief-
horn, Hifthorn (hm), Hiifthorn
(hlft). A wooden hunt-horn with 2
or 3 notes, and in 3 pitches : H.-
sinke (tsYnk-k^). Hi^h. Rttden-
horn (rttd'-n). Low. Halb-riiden-
hom. Medium.
hierophon (her'-o-fon), Gr. Singer of
hymns.
hiffg^'on se'lahy ffeb. A term, per-
haps calling for stringed instr. and
trumpets.
high. I. Acute in pitch. 2. Upper,
or first, as h. soprano, high bass.
A baritone, higher rhythm. A
rhythm composed of smaller ones.
High mass. Vide mass, htteogr.
Counter-tenor, h. treble clet The
G clef on the first line.
hilfs-. Same as hiilfs-.
Hinaufstrich (Mn-owf'strfkh), G, Up-
bow on the violin, etc. Hlnstrich
(htn'-strikh), G. Up-bow on 'cello
and double-bass.
HintersatZy G. An old mixture-stop,
re-enforcing the open diapason.
Hirtenfldte (htrt'-«n-fla'-t«), G. Shep-
herd's flute. Hirtengedicht (g«-
dtkht). Pastoral poem. H.-lied (letj.
Pastoral song. H.-pfeife (pfl-fe).
Pastoral pipe. hirtUch ( Wrt-llkh).
Pastoral, rural.
His (hts), G, Bl. hisis (hts'fe), G. B
double sharp.
H.-moll (ha'mol), G. B minor.
Hoboe (h6-b6'-«), Hoboy (h5-b6e), G,
Oboe. Hobo ist, G. Oboist.
hoch ('hokh), G, High, sharp, very.
Hocnamt (hdkh'amt). High Mass.
h. feierlich (fi'-er-likh). Very sol-
emn. H.-gesangy H.-lied (let).
Ode, hymn. H.-hom. Oboe. H.-
muth (moot). Elevation, pride.
Hochzeitsgedicht (tsits), Hoch-
zeitslied. Wedding-song. Hoch-
zeitsmarsch. Wedding - march.
hbchsten (h^kh'-sht^n), G, Highest.
hock'ety hocqu'etus. i. An abrupt
rest. 2. Old English part-music full
of rests and abruptness.
Hof (hoQ, G. Court; hence, H.-kapelle
(Konzert). Court orchestra (concert).
H.-musikant (moo-zi-kant). Court
musician. H.-org^ist. Court or-
ganist.
hdflich (hgf'lTkh), G. Graceful. Hof-
lichkeit (kit). Grace.
H5he (ha'e), G, Height, acuteness;
upper register of ; as Oboen-hdhe.
hoheit (ho'hit), (7. Dignity, lofti-
ness.
Hohlfldte (hSl'fla-te), (7. "Hollow-
toned flute." Open flue-stop of vari-
ous pitches; in the smaller called
Hohlpfeifen. The mutation-stop in
the fifth is called Hohlquinte.
hok'et, hock'et. A quint*stop.
hold (holt), G. Pleasing, sweet.
hoMt The fermate. holdiug-not^.
i68
THE MUSICAL GUIDE
A note sustained while others are in
motion.
holding. Old R. Burden.
HolzblZser (holts'bla-z^r), G, Play
er(s) on Holz'blasinstrumente, or
wood-wind instruments.
hdlzeraes Gel&chter (h£Its'.«r-n«s
g€-lfikh'-t*r), G. Xylophone.
HoUfldte (holts'fla-td), G. " Wood-
flute " ; a stop.
Holz'harmonika, G. Xylophone.
hom'ophone. A letter or character de-
noting the same sound as another ;
thus al and biz are homophones.
homophon'ic, homoph'onous. i.
Noncontrapuntal, lyric, marked by
one melody in predominance. Vide
POLYPHONIC. 2. In unison. Vide
A^TiPHONic. homoph'ony, E,^
homophonie (6m-6f-6n-e), F, Mu-
sic that is homophonie i or 2^
hook. The stroke added to the stem of
notes smaller than \ notes.
hop'per. In piano action, the escape-
ment-lever.
Hop'ser, Hops-tanz (tants), G. Coun-
try-dance. Hopswalzer (hops' v&I-
ts^r), G. Quick waltzes.
hoq'uetus. Hocket.
hora (pi. horae), L. Hour(s). horae
canonicae. Canonic hours, those at
which services are held : lauds.
Sunrise, prime. First hour (6 a.m.).
tierce (or terce). 3d (9 a.m.). Sext.
6th (noon), nones, gth (3 p.m.).
vespers. Evening, compline. Final.
Services during the night are called
noctums ; the word matins includes
both noctums and lauds, horae
reg^lares. Chant sung at regular
hours.
horn ((7. pi. Hdmer) (hSrn'^r), E. &G.
General name for all metal wind-in-
struments. Specifically, the French
horn, a brass conical tube variously
curved, with a flaring bell at one
end, and a cupped mouthpiece at the
other ; the shape of this mouthpiece,
and the ratio of the width to the
length of the tube determining the
quality of the instr. The old ttatural
horn was diatonic, producing only the
tones of its natural scale, some inter-
mediate tones being obtained by put-
ting the hand in the bell, or ** stop-
ping " the tone. The key of the horn
was changed by taking out one sec-
tion of its tube (a crooF), and inserting
a section longer or shorter, thus low-
ering or raising the key. The tone
series was thi^ incomplete, and the
stopped tones were inaccurate. The
natural tones depend on the amount
of wind-pressure (or in F, embou-
chure, lipping) which must vary with
each note according to the natural
scale (see acoustics).
The horn of this century has gradu*
ally displaced the natural horn. It is
providwl with valves (or auxiliary
tubes), which practically lengthen or
shorten the tube instantaneously.
The tone is produced by embouchore
combined with valve-manipulation
until a complete chromatic scale is
obtainable. Stopped tones are now
not necessary, though available for
special effects ; they are called for by
the sig^ -h, by the word ** stopped,
or by ♦* son bouch€ " (son boo-shi),
and are weirdly tragic or romantic.
The range of the horn depends upon
its key, the scale of each consisting
of a fundamental tout, and the nat-
ural series of partials (vide acous-
tics), the intermediate tones between
the 3d and the i6th partial being ob-
tained by valves or stopping. The
horn in C thus sounds C, r, g-^'\
from g X.Q c" being nearly complete
chromatically, the upper notes being
risky. The other horns are lower by
the interval between their key and C ;
they are B flat. A, A flat, G. F. E,
E flat, D, C basso, B flat basso. The
keys Y% (G flat), C| (D flat), B and A
basso are obtained not by changing
crooks, but by drawing out a special
slide which lowers the key a semi-
tone. In valve-horns the F horn is by
far most common. Music for horns
is now always written in the G clef,
the F clef being used for the low
notes, which are always written an
DICTIONARY OF TERMS 169
octave lower than they sound. For
convenience of embouchure, the notes
are written as if the horn were always
in C, and the player so plays it ; but
the crook used governs the tone, and
a C on the stafiF sounds as the F below
on an F hoiHy as A flat on the A flat
bom, etc. Aipiiie h. A wooden horn
8 ft. long, basset h. Vide basset.
hnntiii^^-h. The primitive natural
or French horn, bom-band. A
band of trumpeters. A Russian H"
B. is one in which each hunting-horn
plays but one note, boming. Vide
SHiVAREE. Hommnsik'y G. Music for
the brass. Homqainteii, G, The hid-
den fifths prevalent in music for two
boms. Honisordin',C7. A conical or
pear-shaped mute inserted in the bell.
hornpipe. A old £. shawm with a
bell of horn ; hence, an old £. dance
<rf great vivacity, in 3-4 or 4-4 time.
Hosan'na, Hosian'na, //c^. **Save,
I pray," an interjection in prayer,
hence part of the Sanctus. Vide mass.
Hose (hd'-z«), G. Boot of a pipe.
boot (howl). A Persian military drum.
hoars. Vide HORiC.
hreol (wra'61), A Danish peasant-dance.
H. S. Abbr. for Hauptsatt.
buebuetl, bnebuitl (wft-wat'-'l). An
Aztec drum 3 feet hi^h with a mem-
brane that could be tightened at will,
changing the pitch and furnishing an
harmonic bass.
Hftfthorn (h]ft-h6ra), (7. Bugle-hom.
bn^^gab, Heb, i. An organ. 2. Pan's
pipes.
hmtpied (wct-pl-a), F, Eight feet (of
stops), hnitpieds. An organ with
no stops larger than 8 ft.
Hnldignng^smarscb (hool-dY-goongks-
mSrsh), G, A solemn march for re-
views.
Htilfs- (hllfs),(;. Auxiliary. HOlfsUnien
(le'-nt-«n). Ledger-lines. H.-note,
H.-ton. Auxiliarv, accessory note.
H.-stimme (shtim m€). A mutation-
stop.
Hnmmel (hoom'mel), Hiimmelchen
(hlm'm^l-kh^n), G, i. A bagpipe.
2. In or^ns the thorough-bass drone.
3. The Balalaika, because it had a
sympathetic or drone-string. 4. The
drones in a hurdy-cfurdy.
bummen (hoom'm^n), G. To hum.
Humor (hoo'-mor), C7. Humour, whim.
Hiunoreske (hoo'mo-r^s'ke), 6^., bu-
moresque (Um6r-dsk), F. A humor.
ous or whimsical composition.
bnnting^born. A bugle or French
horn. bnnting-sonr. Song in
praise of the chase. bunt*s-up. A
boisterous moming-song.
bnrdy-gnrdy. An old instr. with
four strings, acted on by a wheel
rubbed in resin. Two of the strings
are stopped by certain keys, the
others act as a drone-bass ; compass
hurry. Premonitory roll of drum or
tremolo of strings in stage-music.
burtig (hoor'tTkh), G, Quick, allegro.
H.-kcit (kit). Agility.
bydrauricon, hydraulic organ. An
instr. older than the wind-organ, inv.
180 B.C., by Ktesibios of Alexandria,
the wind-pressure being regulated by
water.
hymn, /^, bjrmne (emn), /*., Hymne
(hem'nS), G. A sacred or patriotic
song. b. vesper. A hymn sung in
the R. C. Vesper service, hymnal,
hymn-book. A collection of hymns,
hymnology, hymnolog^e (em-nM-
6-zhe). Vide next page.
hymnus, L, A hymn. h. Ambro-
sianns. The Ambrosian chant.
170 THE MUSICAL GUIDE
H
Hymnology.
By H. E. Krehbiel.
YMNS^ in the sense in which we apply the term, at an tdjunct of
Christian worship, appear to have been used fix>m the earliest days
of the Church. The early Christians naturally borrowed their
music from their fbre&thers in Judea, Greece, and Rome, and the Church thus
was quite lacking in any uniformity in this element of worship. Not till the
various branches of the Church in the Roman Empire were united under a
Christian Emperor, Constantine, is there evidence of attempts to form a system.
The first result of this was the Ambrosian chant, and later, the Gregorian, at first
congregational, later confined exclusively to the priest. Famous Latin hymns,
like the **Te Dcum," "Magnificat,*' ** Benedictus," etc., were in uae
from very early days of the Church, being sung to plain-chant melodies. In
the period of the great Church composers — Josquin des Pres, Palestrina,
Orlando di Lasso, and others, these hymn-tunes were ofren used as canti
fermi for masses and motets ; and Palestrina also used them as the basis f^
a set of "Hymns for the Entire Year," one of the most important of his
works. ^In the meandme a more popular development of hymnal music
had been going on in the Mysteries and Miracle-plays, outside the immediate
supervision of the Church, that were so conspicuous a feature of popular life and
worship in the Middle Ages. In the Church itself the music had been en-
tirely in the hands of the priests and the regular choirs. At the time of the
Reformation, however, Luther introduced a great change in this respect, fi>r
which the ground was already prepared by the popular development of hymn-
singing just mentioned. The chief note of the Reformation was individuality
in worship, the transfer of its chief features from the priest to the congrega-
tion ; and in line with this principle Luther laid great stress on the reintro-
duction of congregational singing, which had been abandoned since the early
days of the Church. Luther produced a great number of hynms, the words
of which he fitted to popular melodies of the day. The first Lutheran hymn-
book was published in 1524; it was in the vernacular and its popularity in
Germany soon became enormous, leading to the speedy issue of innumerable
other works of the same kmd. Luther not only used the melodies of folk-
songs for these hymns, but caused new tunes to be written, and some of
them — notably the most famous, ** Ein' feste Burg ist unser Gott,** — he is
said to have composed himself. It ought to be said, however, that his au-
thorship of the music of this ** Batde Hymn of the Refbrmadon " has been
disputed. They were all broad choral tunes simply harmonised, such at re-
main to-day in constant use in Germany, and formed the model fbr the hymns
DICTIONARY OF TERMS 171
of the whole Protestant Church. In France the metrical psalms of Marot
and Beza were as enthusiastically received by the Protestants as Luther's
liymns in Germany ; they were originally sung to popular tunes of the day
tt contained in a psalter published m 1 542, by Calvin, in Geneva. There-
after numerous other collections were published, notably one by Claude Gou-
(&nel, in 1565. ^In England the general cultivation of part-singing in the
madrigals made the acceptance of popular hymnody as a part of the new
religioos movement hale and speedy. Here, as in France, the first hymns
were metrical versions of the Psalms in English, and numerous collections of
them were published in the last half of the sixteenth century, at first for one
part only. ''The Whole Psalmes in fbure parts," harmonised m the sim-
plest manner possible, published in 1563, was the first harmonised collection
of English hymn-tunes. Numerous collections of such tunes were issued
thereafter, the most notable bemg Ravenscroft's, in 1621, and Play ford's,
m 1 67 1. ^With the composition of hymns by Wesley and his followers in
the d^tecnth century came a new poetic material of which musicians were
HOC sbw to avail themselves, and which resulted in new hymn-tunes of greater
warmth of feelmg, difiering entirely from the older school of hymns in both
mekxiy and harmony. These have had a great, if not always beneficial, in-
Aience on the modem development of hymnal music. ^Hymnology has
held a notable place in the history of American music. The stern piety of
the Puritan immigrants in New England developed a great activity m this
branch of muacal art, after it had been fi-eed from the shackles that at first
confined it, and the number of early American hymn-tune composers was
large. Among these were William Billings (who in 1770 published ''The
American Psalm Singer : or American Chorister," containing hymns of his
own composition), Samuel Holyoke, Andrew Law, Jacob Kimball, Oliver
Holden, and others. In the earlier years of the nmeteenth century Thomas
Hastings, LoweU Mason — ^whose influence in a secular way on the develop-
ment of music and musical taste m America was marked — and Nathaniel
Gould were the most prominent.
Iqr'iMlte, Gr. The uppermost lyre-string
m the lowest in tone, nypaton.
Lowest tetrachord. Vide modes.
bjMtho'ides. The lower tones in the
Greek scale.
kjper (hf-per), Gr. Over, above, of in-
tervals, "super," or "upper" (as hy-
perdiapa'son, the ocuve above ; h.-
diapen te, the 5th above ; h.-dito'-
noa, the 3d above, etc.) ; of the Greek
transposition scales and ecclesiastical
octave ^>ecies, "a fourth higher "; the
Greek octave species '* a fifth higher,"
or " a fourth lower." Vide modes for
such words as hyper-solian, etc.
hypo, Gr, Below, under ; of intervals,
"sub," or "lower." hypodiapa'son.
The lower octave, h-diapen'te. The
fifth below, h-dito'nos. The third
l)elow. For the names of the Greek
transposition scales and ecclesiastical
modes, as hypoaeo'lian, etc., vide
MODES.
Hzbl. Abbr. of Holzbliiser (q. v.).
172
THE MUSICAL GUIDE
/
1(e) /., t>l. ** The." Also the letter
is used by Kiraberger, to indicate
a major seventh, as Min place of
bl^ in the 7th chord on c. Tartini
used H,
las'tian, Gr, The Ionian mode.
ic'ttts, Gr. Stress, accent, emphasis.
idea. A theme, subject, figure, or mo-
tive.
id€t fixe (e-da f§x), F, Berlioz*s name
for a recurring theme or motive.
idyl, idillio (c-del'U-o), /., idylle
(c-de-ytt in /".. in G, e-d!l'ie). A
pastoral.
il (el). /. The. il pift (el pe-00'). The
most, e. g., fV/i^ forte possibiU,
As loud as possible.
ilaritJt (c-ia-n-ta ), /. Hilarity.
imboccatnra (Tm-bok-kS-too'rS), /. i.
Mouthpiece. 2. Embouchure.
imbroglio (Jm-brol'yd), /. "Confu-
sion, a passage of complicated
rhythms.
imitando (Ym-Y-tSn'd5), /. Imiuting.
i. la voce (v5'-ch£). Imitating the
voice.
imitation (pron. in F, Ym-Y-t&s-y6h),
imitatio (em-t-ta'tsI-6), /. The rep-
etition by a second voice (the con-
sequent or answer) of a figure, sub-
ject or theme first announced by
another (the antecedent or subject).
If this repetition be exact, interval
for interval, note- value for note-value,
the imitation is strict or canotde^
vide CANON ; otherwise /r^^. i. at
the 5th, octave, etc. That in which
the answer follows the subject at the
interval of a 5th, octave, etc. i.
augmented or i. by augmenta-
tion. That in which the answer is
in notes of greater value than those
of the subject, diminished i. or i.
by diminution. A style of imitation
in which the answer is g^ven in notes
of less value than those of the sub-
ject freely inverted i. That in
which the order of successive notes is
not strictly retained, i. in contrary
motion* That in which the rising
intervals of the subject descend in
the answer and vice versa. L in di^
ferent divisions. That in which
the subject is answered in a different
division of a measure; for instance,
beginning on the accented is an-
swered on the unaccented, i. in sim-
ilar motion. That in which the
answer retains the order of notes of
the subject, retrograde i. (or i.
- per recte e retro), cancrizans, or
cancrizante. That in which the
subject is taken backwards in the
answer, reversed retrograde L
That in which the subject is taken
backwards and also in contrary mo-
tion in the answer, strictly invert-
ed i. That in which note-values are
precisely answered in contrary mo-
tion, tonal i. That which does not
alter the key.
imitation pipes and draw-knobs are
dummies of more beauty than use.
imitative music. That aiming to
mimic the operations of nature, as
water-falls, thunder, etc.
imitato (Ym-Y-tS'to), /. Imitated, im-
itasione (tli-tsI-5'nQ. Imiution.
immer (tm'm^r), G> Always, ever,
constantlv.
immutab'ilis, Z. Vide accenttts
ECCLESIASnCl.
impar£ait (&A-p&r-f£'), F. Imperfect
impaziente (Im-p&t-sY-^n'-t€), /. Im-
patient, impazientemen'te. Hur-
riedly.
imperfect. Not perfect or complete.
Vide CADENCE and INTERVAL, i. con-
cords, consonances. Thirds and
sixths, so called because they change
from major to minor, still remaining
consonant i. measure. Old term
for two-fold measure, i. time. Old
term for common time. L triad.
The chord of the third, fifth and
eighth, on the seventh d^^ree ; it
consists of two minor thirds.
imperfection, i. Vide ligature. 2.
Vide NOTATION.
imperfet'to, /. Imperfect.
imperioso (Ym-pa-rY-o'-so), /. Pom-
pous, imperiosamen'te. Imperiously.
DICTIONARY OF TERMS 173
impertnrbabile (Im-p^r-toor-b&'bM£),
/. Qoict
ifflpeto (im'-p£-to). impetuosity (im-
pa-too-6-zl-ta'), /. Impetuosity, ve-
hemence, impetuo'so, impetuosa-
men'te. Impetuous(iy).
imponente (n£n't£), /. Imposingly.
implied discord. A concord con-
tained in a dissonant chord as a major
third in an augmented 5th (as f-a-Q|).
implied interval. One not speciHcaliy
indicated by its numeral but implied l^
another numeral. Vide hidden.
impresario (Ym-prJ$-sa'-rI-o), /. Man-
agcr of opera, concerts, etc.
impromp'ta (in F. ftn-pron-tU). An
extemporaneous compi, or one having
a spirit of informalitv and caprice.
imprope'ria, L, ** Reproaches." In
R. C. ritual, a series of antiphons
and responses for Good Friday morn-
ing. In Rome sung to old Faux
bourdons arranged by Palestrina ;
elsewhere to plain-song from the
Graduate Romanum.
imp(Opii'etas. Vide ligature.
im promise, impro(v)visare (za rQ, /.,
improviser (in-pro-vc-za), F. To
sing or play without premeditation.
improvisateur (in-pr6-ve-za-tiir'),
improYisatrice (tres), /*., Impro-
risator (Im-pro-fi-za'-tor), G.^ Im-
proTvisato're, /. An improviser.
improvisation. Extemporaneous per-
formance. Improvisier maschine
(im-pro-fT-zer' ma-she'-nd), C7. A
melograph. improwisata (za ta), /.
An extempore composition. im-
prowiso (!m-pr6v-ve'-z6), improv-
visamen' te, /. £xtemporaneous(ly).
in (en), /., G. and A In, into, in the.
inacutire (in-a-koo-te-r€), /. To
sharpen.
in'betont, G. With medial emphasis.
Inbnmst (In'broonst), G. Fervour,
inbrftnstig (Tn-brln'-shtikh). Ar-
dent.
incalzando (Tn-kll-tsfin'do), /. Has-
tening.
Incama'tns» Z. " Was bom " (of the
Virgin Mary). Part of the Credo.
Vide MASS.
inch (of wind). In an oi^gan, wind-
pressure is gauged by a graduated U
tube in which water rises, the mean
pressure being 3 inches.
inchoa'tio, Z. Vide chant.
incisore (ln-chT-s6'-r€), 7. Engraver
of music.
inconsoia'to (la -to), 7. Mournful.
incordare (dil -rd), 7. To string.
incrociamen'to (kro-chS), 7. Crossing.
indeciso (ln-d€-che'-z5), 7. Undecidwl
(implying slight changes of time, a
somewhat capricious tempo).
indegnato (Yn-dan-ya-to), indegna-
tamen'te, 7. Wrathful(ly).
independent. Used of non-dissonant
harmony requiring no resolution.
index. I. A direct 2. Forefinger.
indifference (r£n'-t^), indifferente-
men'te, 7. Indifferent(ly). indiffer-
enza (r£n'-tsa), 7. Indifference.
infantile (In-fan-te'l«), I, Child-like
(of the quality of upper notes of some
voices).
infe'rior, Z. Lower.
infemale (In-f£r-n^'le), 7. Infernal.
infervorato (ra'-to), 7. Fervent.
infiammatamen'te, 7. Ardently.
infinite, E,, infinito (In-ft-nc -to), 7.
Used of canon which can be contin-
ued indefinitely unless given a special
cadence.
inflatil'ia, Z. Instrs. of inflation ; wind-
instruments.
inflection, i. Modification in the
pitch of the voice. 2. In chanting a
change from the monotone.
in'fra, Z. Beneath. Infirabass, G,
Sub-bass.
infiiriante (Yn-foo-rY-IUi't£), infuriato
(a -to), 7. Furious.
ingauino (Tn-gan'-no), 7. ** Decep-
tion " ; applied to a deceptive ca-
dence ; also to unexpected resolutions
or modulations, d inganno. Un-
expected.
in'^emination. Old term for repeti-
tion of words.
inrressa. Vide introit.
Inhalt (In'h<), G, Contents ; idea.
inharmonic relation. Vide false
RELATION.
»74
THE MUSICAL GUIDE
inner, i. Used of the alto or tenor
part as distinguished from the bass
and soprano. 2. Used of a pedal-
point on an inner part.
innig, innig^lich (In'-nYkh-lIkh), G.
Sincere, tender, heartfelt. Innigkeit
(kit). Deep feeling.
inno (In'-n5), /. A h3rmn, canticle,
ode.
innocent e (Yn-no-ch^n't^), innocent-
emen'te, /. Innocent(ly), artless-
(ly). innocenza (Yn-no-chdn'-tsU).
Innocence.
inquieto (tn-kwY-a -to), /. Restless.
insensible (ln-s£n-se'bl-ld), insensi-
bilmen'te, /. Imperceptibly, by
small degrees.
insisten'do, /. Urgent, insistenxa
(t£n'-tsa). Insistence.
instHndig (tn-shten'dlkh), G, Urgent,
pressing.
instante (Yn-st^'t$), instantemen'te,
/. Vehement(ly), urgent(ly).
in'strument (in F, &n- strO-miA). A
sonorous body constructed for the
production of musical sounds, i. ^
cordes (a-kord). A stringed instr.
i. ^ Tarchet (&-lir-shi). Instr. played
with a bow. i. ^ percussion (& p^r-
ktts-ydh). Instr. of percussion, i. ^
▼ent (a vSM. Wind-instrument.
instrumental, E,, instnimentale (tn-
stroo-m^n-ta'15), /. Of music for
instrs. as opposed to vocal music.
instnimentare (tS'rd), /. To compose
instrumental music.
in'strumenta'tioh (in F, iln-stru-m£n-
t&s'ydn), instrumentazione (ta-tsY-
on€), /., Instnimenti(e)rttng (Yn-
stroo-m^n-te'-roongk), (7. The art or
act of writing or arranging a compo-
sition for instrs., particularly the or-
chestra (vide article on the orches-
tra AND orchestration); sometimes
used of piano-playing that produces
the effect of other instrs. Instru-
mentenmacher (m^h'^r), (7. An
instr. -maker.
instrumen'to, /., An instnunent. i.
d'arco (or a corda) (dar'-ko). A
stringed instrument, i. da campa^
nel'la. Glockenspiel, i. da fiato
(fY-&'-t5). Wind-instr. LdaqnU'Uu
A spinet.
intavolare (Yn-tfi-v5-U'-r£), 7. To
write out or copy music. intaToUk-
tora (l^-too'-ra). i. NoUtion. a.
Figured bass. 3. Tablature.
integer valor (notantm), L, ** The
integral value" (of notes), i. e.» their
average duration at a moderate
movement. Michael Pretorius set
the i. ▼. of the brevis at about iHr of
a minute (i. e., 80 to 7^ minutes).
intendant (&n-tiiA-d&ii), F., intea-
den'te. /. Director, conductor.
intenzionato (Yn-ten-tsY-o-nfi'-t5). Em-
phatic.
in terlude. i. A piece, usually short,
played between acts, movements,
stanzas, or portions of service, a.
A short operetta.
interltt'dium, £., intermMe (In-t^r-
m£d), F. , intermedio (Yn-tdr-ma'dI-5),
intermezzo (Yn-t£r-m£d'-zd), /. An
interlude.
interme'diate. i. Accidental. 2.
Transitional.
intermedieUo (Yn-t£r-m&'dl-«t-td). /•
A short interlude.
interronti'Tus. Vide accentus bccl.
interroUo (rdt'-to), /. Interrupted.
interrupted. Vide cadence.
interruzione (root-sY-6'n«), A Inter-
ruption.
interval, Intervall (Yn-t«r.fai'), C, in-
tervale (&n-t«r-viU), /*., interrmllo
(vai'16), /., interval'lum, Z. The
distance, or difference in pitch, be-
tween tones, reckoned upwards (unless
specially sUted). The intervals are,
the ^rsi or /rtW (which is identity, C
for instance being its own prime) ; the
second (siS c-d) ; 3ie third or tierce (as
c-c) ; Xht fourth or quart (as c-Q ; the
fifth or quint (as c-g) ; the xf xM or
sext (as c-a) ; the seventh or sept ^s
c-b) ; the eighth or octave (as c-c^ ;
the ninth (as c-d'), etc. Those with-
in the octave are called simple ; those
over the octave, compound^ since a
tenth is an octave plus a third, etc.
Intervals are quaUiied also by their
mode ; those in the major key of their
DICTIONARY OF TERMS 175
lower tone (as a-cf) being called major ^
those a semitone greater than major
are augmented or extreme^ superflw^
#Kr, redundant or sharp; those a
semitone less than major are minor
(as a-c) ; those a semitone less than
Tcaxyot9J%dimimskedoxJlat (asa-dlt).
The first, fourth, fifth and octave are
called perfect instead of major, be-
cause they do not change their quality
as do the others on inversion (q. v.).
Other names for intervals are chro'
matie^ containing a note foreign to
the key, opposed to diatonic^ dis*
sonant, necMding resolution ; opposed
to consonant, enharmonic (q. v.) ;
Jksrmonic when struck simultaneous-
ly instead of separately, hence op-
posed to melodic. ForHdden, Con-
trary to the rules of Harmony {s\. v.).
Consecutive (q. v.). A natural mter-
▼ai is that between two tones of a
major scale.
The ratios of the vibrations of diaton-
ic intervals are prime, 1:1; second,
8:9; third, 4:5; fourth, 3:4; fifth,
2:3; sixth, 3:5; seventh, 8 : 15 ;
ocuve, 1 : 2.
istcfTeniiil^. Intermediate (of a fugue
subject).
intimo (In'-tl-m5), /. Intimate, ex-
pressive. intimis'sifflO. Most ex-
pressive.
istonare (In-t5-nfi'W0, /. To m-
tone.
itttooa'tion. i. The production of
soimd by voice or instr., as regards
quality and futch. false i. That
whkh is untrue to the key or pitch.
3. The initial phrase of the antiphon.
3. Method of singing plain-chant. 4.
Vide CUAKT. fixed L Vide fixed
TOWK.
tstonato (fn-t5-nfi'-t5), /. Tuned, set
to music.
ta'tooator. Monochord.
(In-td-nfi-too'rS), intona-
(bi-t5-n2-tsl-d'n£), /. Intona-
tioii.
iatofu(e)reii (In-t5-nS'r€n), G, i. To
tntooe. 3. To voice, as pipes. 3.
Tl^eTpicing.
latonireisen (n§r'-I-z^n), G, A knife
used in trimming and tuning pipes.
latrade (In-tr&'-d£), G, A prelude or
entrance-music
intrecdo (In-trit'-chS), /. ** Intrigue."
A short dramatic work.
intrepidezxa (ln-tra-pl<l^'-z&), /. In-
trepidity, intrepido (Yn-tra -p^<l5),
intrepidamen'te. Boid(Iy).
introduc'tion, E,, introducimen'to
(doo-chi), introdozione (doo-tsl-d'-
n£), /. The preliminary measures,
or movement preparatory for the
main subject.
intro'it (in F, &6-trwfi), introito (In-
tr6-e'-to), /., intro'itns, Z. " En-
trance " ; a hymn or antiphon sung
in R. C. service while the priest goes
to the altar ; in the Anglican Church
Communion, when the minister goes
to the table. In the Ambrosian rit-
ual called Jngressa,
intnonare (in-too-6-na *r«), /. To in-
tone.
inven'tion (in /*. ftfi-vSns-y6i!i), in-
▼enzione (Tn-v€n-tsT-o'-n6), /. A
short informal contrapuntal study
with one theme.
Inventions (horn) (Yn-v£n'tsY-dns), F,
A Waldhom fitted with crooks by
Werner, 176a
inver'siOy Z., inver'sion, E, The
transposition of the elements of (a),
chords, (b) intervals, (c) themes, (d)
parts, (a) The triad is ** inverted"
from its fundamental position with
the root in the bass, to the first in-
version with the 3d in the bass, and
the second i. when the fifth is in the
bass (a 6-4 chord), etc., vide chord.
(b) The inversion of intervals is the
lowering of the upper tone an octave,
thus bringing the lower note above,
and the upper below ; for example,
to invert a major 6th, /t-^', we lower
c' an octave, securing c-e'h^ a minor
3d. The new product of an inver-
sion is always the difference between
the first interval and the number 9,
e. g.. a 6th inverted becomes a 3d,
a 5th inverted becomes a 4th, etc.
The result of inversion is to change
176
THE MUSICAL GUIDE
major intervals to minor, and vice
versa ; and augmented to diminish,
and vice versa ; but perfect remain
perfect, (c) A theme is inverted by
being repeated backwards, hence,
retroerade inversion, or inversio
cancnzans, *' crab-like." (d) Two
parts are inverted when the lower is
raised by an octave (inversio in oc-
tavam acntam), or by a 6fth, tenth,
twelfth, etc., or when the higher is
lowered by an octave (inversio in
octavam gravem, or inferiorem),
a fifth, tenth, twelfth, etc. (vide coun-
ter-point).
invert, inverted. Vide inversion.
A pedal-point in any part other than
the lowest is called inverted. A turn
commencing with the lowest note is
inverted.
invi'tatorv, E., invitato'rio, Sp., in-
vitato'nnm, Z. i. An antiphon in
the R. C. Matins. 2. In the Anglican
Church, the versicle ** Praise ye the
Lord,** and the response sung at
matins. 3. In the Greek Church the
** O come let us worship " sung thrice
before the psalms at the canonical
hours.
invocazione (kft-tsY-5'-nd), /. Invoca-
tion.
lo'nian, lon'ic. Vide modes.
ira (e'-rft), I. Anger, wrath, irato
(8-r2'-t5), iratamen'te. Passion*
ate(ly).
Irish narp^ i. An ancient instr. having
more stnngs than the lyre. 2. Trade
name for •* Jew's harp."
irlandais (Sr-UA-d^'), F., irlilndisch
(er'-lSnt-Tsh), G. An air or dance in
the Irish style.
iron harp. A semicircular arrange-
ment of tuned iron rods which vi-
brate sympathetically when a violin
is played.
ironico (c-r6'-nt-k6), /., ironicamen'-
te. Ironical(ly).
irregular, E., irregolare ($r-ri-g5-
Ur^, /. Not according to strict
rule or practice. Vide cadence.
irresolttto (er-rfi-z6-loo'-t6), /. Irres-
olute.
isderno (es-dan'-yo), 7. Indignation.
i'sochronal, Gr., isochronous. Uni-
form in time.
i'son. In Greek Church chant, the
movable tonic.
isotonic Used of a system of inter-
vals in which all concords are tem-
pered alike, and contain twelve equal
semitones.
istes'so, /. The same. i. tempo. The
same time (as before).
istrepito (es-tra-pe'-to), I. Noise, blus-
ter.
istrionica (es-trl-6'nl-ka), 7. Histri-
onic.
istrumentale (es-troo-m«n-ta'l«), 7.
Instrumental, istrumentazione (Ul-
tsY-5'n€). Instrumentation, istrn-
men'to. An instrument.
Italian mordent. Shake or trill of a
tone with the next above. Italian
sixth. Vide altered chords.
Italian string. Catgut strings
largely made in Rome.
italiano (eta-l¥-r-nd), 7., italienisch
(e-ta-lT-i'-nYsh), (;.,italien(ne) (€-tU-
yfin [or-yin]), F, Italian.
i'te, mis'sa est (ecclesia), L. "De-
part, the cong^regation is dismissed.'*
Vide MASS ; from the word misfa the
word mass is derived.
JACK, 7. 1. An upright slip of wood
on the back end of a key-lever,
carrving a crow-quill or piece of
hard leather which projected at
right angles (in the harpsicnord), or
a metal tangent (in the clavichord),
and which struck and set in motion
a string. The quill or the leather
served as a plectrum. 2. The "hop-
per.
Jagd (yfikht), G. Hunt, hunting. Jagd-
hom, Jagdzink (tsYnk). Huntine-
hom, bugle-horn. Jagdmf (looti.
Sound of the horn. J-lied 0^0-
Hunting-song. J-sinfonie (sln-fo-
ne'). A S3rmphony of the hunt. - J-
stiick. A hunting-piece.
DICTIONARY OF TERMS 177
Ja^rchor (ja -khir-kSr), G. Chorus
of hunters. Jilgerhorn. Hunting-
horn.
jailta^ (yal'-taj). The sole musical
instr. of Tartary, a slender box of fir,
about 4 ft. long, over which six wire
strings are stretched. It is played
with both hands.
jaleo (ha-la'-o), Sp. A Spanish dance
in 3-8 time, rooderato, for one pei^
son.
Jalonsieschweller (yUl-oo-zS'-shv^l-
Idr). C, '• Venetian-blind " swell.
Janitscharenmusik (ya-nlt-sha'r^n-
raoo-zek'), ^.,jan'izar7 music. Mil-
itary music for cymbals, triangles,
etc.
Jaiik6. Vide key-board.
jCtt (zhfl) pi. jcux (zhfi), F. I. Play ;
style of playing on an instr. 2. A
stop on the organ, harmonium, etc.
3. The orran-power, as gjand j.
^rSA), or plain j. (plftn). Full organ.
demi-j. Half-power, j. d. bouche (a
boosh). Flue-stop. j. c61este (sa-
l^st). Vide CELESTE, i. d'anche
(dSnsh). Reed-stop. j. d'anres
(d2nzh). Vox angelica, j. d'6cEos
(da'-ko). Echo-stop. i. de flfites
!flat). Flute-stop. J. de matation
mQ-tas-y6n). Mutation, or a mixt-
ure-stop, j. de timbres (t^nbr).
Glockenspiel, j. de Tioles (ve-61).
Consort of viols, j. de voix hu-
maine (twS Q-m£n). Vox humana.
j. d'orgues (d6rg). Register, or
row of pipes, jeux forts (fdr). Loud
stops.
Jew's harp or Jewstmmp. Vide
HARP.
ji£^. A light, brisk dance in 6-8 or 12-8
time. Vide suite.
jto^^les. The disks of metal on a tam-
bourine.
jobel (yo'-bdl), Heb, Trumpets or
horns.
joc'olator. A jongleur.
Jodler (yot'-Wr), G. A style of sing-
ing affected by the T)nrolese, falsetto
alternating rapidly with chest-regis-
ter, jodeln (yd'd^ln). To sing in
such style.
jongleur (zh6n-gliir), F, A hired or
strolling musician. Vide trouba-
dour.
jota (h5'-ta), Sp. A Spanish dance in
rapid 3-8 time.
joaer de (zhoo-a-dtt), F, To play
upon (as an instr.).
jour (zhoor), F. ** Day." corde It j.
Open string,
ja'ba. Part of the breakdown dance of
the American negro.
Jubal (yoo'-bfil), G. A 2 or 4 ft.
stop.
Jubelfldte (yoo-b«l-fla'.t€). G. A stop.
Jubelgesanr, JubelUed (l€t). Song
of jubUee. Jubelhom. Key-bugle.
jabelnd (yoo'-Mlnt), G. Rejoicing.
Jubilate, Z. *• Be joyful." The name
for the loth Psalm in the Anglican
Church.
jubila'tio, L. The cadence on the last
syllable of ** Alleluia " in R. C. music.
jubiloso (yoo-bM6'-s6), /. Jubilant,
ju'bilus, Z. I. An elaborate passage
sung to one vowel. 2. Jubilatio.
Jndenharfe (yoo'-d^n), G. Jew's harp,
ula (yoo'-la), G. An old 5 J-ft. stop,
jump. I. A progression by a skip. 2.
Vide DUMP.
Jungfemreg^l (yoonk-fftm-ri'<*gftl) or
J-stimme, G. Vox angelica.
Jupiter symphony. Mozart's 49th,
in C major.
just. Used of consonant intervals,
voices, strings, pipes, etc. , that speak '
or sound with exactness,
juste (zhQst), F. Accurate, perfect (of
intervals), jnstesse (zhtts-tfe'). Ex-
actness of intonation.
K
[NOTE. — Many German words are
speU either with *'€'' or '' K^' prefer-
ably the latter. ^
KABARO (k&-ba'.r5). A small
Egyptian drum.
Kadenz (k^-dents'), G. i.
Cadence (q. v.). 2. Cadenxa.
kalamaika (k&l-a-ma'-kS). A lively
Hungarian dance in 2-4 time.
178
THE MUSICAL GUIDE
Kalkant (kll-kfint'), G. Bellows-tread-
er. K.-glocker. Signal-bell to the
blower.
Kammer (kam'-m^r), G. Chamber
(q. v.). K.-kantatc (kan-til-t*).
Chamber-canuu. K. komponist.
Court-composer. K. konzert. Cham-
ber-concert, or concerto. K. doet.
C. duet. K. mnsik. K. spiel (shpel).
Chamber-music. K. musikus (moo'-
zl-koos). Member of a princess pri-
vate band. K. siUger (zin^-ix).
Court-singer. K. stil (sht€l). Style of
chamber-music. K. suiten. Cham-
ber-suites. Vide SUITE. K. ton.
International pitch. K. Tirtuose.
Court-virtuoso.
kampoul (kam-pool'). A Malay
gong.
kandele (k&n-da'-l£). i. Ancient Fin-
nish harp. 2. A dulcimer.
Kanoa (ka'-ndn)» G. ** A rule.** i. A
canon. 2. A monochord with mov-
able bridge ; sometimes it had a sec-
ond string in unison, kanonik (kft-
no'-nek). Canonic.
kanoon', kanua'. Turkish instr. of
the dulcimer variety ; the canun.
KanUte (kiln.tii'-t«), G. CanUU.
Kan'tofy G. Cantor.
Kanxelle (k&n.ts«l'-l«), G. Groove in
a wind-chest.
Kanxellied (let), G. Hymn before
the sermon.
Kansone (k&n-ts5'-n£). G. Canzone.
Kapelle (kii-p«r-l«). G, A chapel, i.
A musical establishment, a choir or
a band connected with a church or
court. 2. Any orchestra. Kapell-
knabe(ii) (kni'-b^n). Choir-boy(s).
Kapellmeister (kii-p^l'-mlsh-ter), G,
I. Conductor. 2. Chapel - master.
Kapellmeister-musik. Music full
of such strains as must sound reminis-
cent to the conductor. K. stil (kii-
p^l'-shtel), G. Same as A cappelia^
i.e., unaccompanied.
Kapodas'ter, G. Capousto.
Karfreitag (kar.frT'-tiikh), G, Good
Friday.
KassatioQ (kas-s#'-tsl-dn), G. Cassa-
Uon,
Kastagnetten (kls-t&i-y^t'-Ufn), C,
Castanets.
Kat'senmosik (moo-zik), G. **Cat.
music." Charivari.
Kavatine (k£v.&.t€'-n«), G. Cavatina.
kasoo'. A tube with a vibrating string
which gives the voice an amusing
quality when spoken or sung through.
keck (k£k), (7. Fresh, bold. Keck-
heit (k«k'-hlt). Boldness, vigor.
keen'ers. Irish paid mourners.
Kehle (ka-l«), G, The voice, the
throat. K.-fertirkeit (f«r-t!kh-k!t).
Vocal agility. lC.-kopfl Larynx.
K.-sclilajg (shl&kh). Coup de glotte.
K.-laut (lowt). A guttural sound.
Kehrab (k&r'-ilp), Kehrans (ows), G.
Colloquial term, for the final dance of
a ball.
kemangeh (k^-m&n-g&h'). A Turk-
ish stringed instrument.
kenet (k€n'-£t). Abyssinian trumpet.
Ken'ner, G. A connoisseur, **onc
who knows.**
Kent bugle ((7., Kenthorn). Vide
BUGLE. So named in honor of the
Duke of Kent.
kerana (kl^-r&'-nft). A Persian horn
sounded at sunset and midnight.
ker'anim. Vide keren.
ke'ras, Gr, A horn.
Keraulophon (k£-row'-16-f5n), G, Aa
8-ft. stop, a small round hole bored
in the pipe near the top promoting
the overtones; in v. by Gray and
Davidson.
keren (k£r'-dn), pi. keranim, Heh, A
horn. keren-Jebel (ya-bel). Ju-
bilee horn.
Kern (k&m), G, The languid (q. v.).
K. stimmen« The fundamental
stops.
kerrena (k^r-ri'-nS). The kerana.
Kes'sely G. Cup (of a mouthpiece).
Kesselpauke (pow - k£). Kettle-
drum.
ketch. Old name for catch.
Kettentriller, G. Chain of trills.
ket'tledrum. A brass or copper ket-
tle over the top of which is stretched
a head of vellum, tightened by a ring
and tuned by screws, or by cords and
ri»
DICTIONARY OF TERMS 179
braces. Kettledmms are usually
played in pairs with sticks having
flexible handles and soft knobs.
Each has a compass of a fifth ; the
lower may be tuned to any note from
F to c, and the higher B flat to f .
key. I. A family of chords and a
chain of tones (i. e., a scale) finding
their centre and point of rest in a cer-
tain tone (the tonic) from which the
key takes its name. All keys con-
form to the standard for major keys,
or to that for minor keys. The
signature in which the number of
sharps or flats of a major key is
written serves as the signature for
its reiattd minor key, the tonic
of which is a minor third below.
The key of C has neither sharps nor
fiats, the key a fifth above (G) has
one sharp, the key a fifth below (F)
has one flat, and so the progression con-
tinues, forming (in a tempered instru-
ment. Vide temperament) what is
called the circle of fifths, as Fl and G^
are enharmonic keys traversing the
same tones. The f ollovring ingenious
chart from Riemann*s Dictionary
tabulates the keys and their signatures
concisely, the flats and sharps ap-
pearing in the same order on the
signatures as here :
Major Keys.
Fkti.
A tuning-hammer. 6. A lever con-
trolling organ-pallets.
key-action. The entire mechanism
of a keyed instr.
key-board. The series of digitals or
pedals of a piano, organ or such instr.
The idea of having a key-board so
arranged that each digital can be
struck in 3 different places seems to
have occurred first to Paul von Jank6,
who in 1882 inv. the Jank6 key-
board, which has the look of six
contiguous key-boards on a rising
plane. The advantages are that all
scales are fingered alike and that the
reach of theluind is greatly increased,
so that a good hand can cover 14 digi-
tals. The consequent simplification
and enrichment of piano-resources
are inestimably valuable. It may
be applied to any key-board and is
sometimes called a chromatic key-
board.
key-bngle. Vide bugle.
key-chord. The triad on the tonic.
keyed. Furnished with keys, as a
flute, or piano, keyed Tiolin. Pi-
ano-violin.
key-stop violin. One having a finger-
board fitted with thirty-three keys
acting as stops perpendicularly upon
the strings.
Sharps.
I
76 54 32IOI234567
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765432101234567
FUts.
Minor Keys.
Sharps.
attendaiit, or related k. Vide re-
lated, chromatic k. One with
sharps or flats, opposed to natural
k« extreme k. A remote, unrelated
k. parallel k. a. Related, b. Used
of a major and a minor key with the
same tonic but different signatures.
2. Old name for clef. 3. A me-
chanical lever for controlling tone,
whether digital or foot-key. 4. One
of such keys as those on the outside
of a flute covering certain holes. 5.
key-harp. An adjustment of tuning-
forks over cavities of sonorous metal,
with piano-key action, inv. by Dietz
and Second, 18 19.
key-note, key-tone. The tonic, key-
ship. Tonality.
key-trumpet. One with keys or
valves.
khal'il. Hebrew flute or oboe.
khasan (kh&'z&n). Heh, Chief singer
in a synagogue.
Kicks, G. Vide goose.
i8o
THE MUSICAL GUIDE
Kielflttsrel (kel'-flu-khgi), G. Wing-
shaped harpsichord.
kin cni (kTn che). A Chinese dulcimer
with 5 to 23 sillc strings.
Kinderscenen (kYnt'-^r-za-n^n), G.
Childhood scenes. Kinderstttck
(shtQk). An easy piece.
chi (king che). A Chinese instr.
wfth sixteen pendent stones gradu-
ated and struck with a hammer.
kinnor (kin'-ndr), Heb, A small harp,
or lyre.
kin'taL Small Indian cabals.
Kirche (ker -kh£), G, (m compounds
Kirchen). Church. K. kantate
(k2n-ta'-t£). A cantata for church
service. K. komponist'. Com-
poser of church music. K. dienst
(denst). Church service. K. feat
(fisht). Church festival. K. gesang
J«-zilng), K. lied (let). Canticle,
psalm, or hymn. K. musik (moo-
zek'). Church music. K. achluta
ishloos). Plagal cadence. K. atil
shtcl). *' Church style " ; in an ec-
clesiastical mode. iC. t5ne (tan'-<).
The church modes.
kis^sar. 5-stringed Nubian lyre.
kit. A small pocket violin, with 3
strings, e'-g-cT,
kitra (kl-trr). A guitar-like instr. of
the Arabs.
kitha'ra, Gr, Greek lyre.
Klage (kla'-kh«). G, LamenUtion.
K.-s:edicht (g^-dTkht), K.-lied (let).
Elegy. K.-ton (ton). Plaintive tune,
or melody. klagend (kl&'-kh^nt).
Plaintive.
Klang (kl&ig), pi. KUlnge (kl«ng'-«),
(7. I. Sound, ringing. 2. Vide
CLANG. K.-boden. Sound-board.
K. -far '-be. Sound-color, clang-tint.
K.-ge8chlecht (g$-shl£kht). A ge-
nus, or mode. K.-lehre (la-ri).
Acoustics. K.-folge (f61-kh£>. A
chord-progression in point of ton-
ality. K.-fig^ren (ft-goo'-r«n). No-
dal figures. K.-leiter (ll-t€r). A
scale. K.-saal (zal). Concert-room.
K.-schliissel, K.-yertretung. Vide
KLANG-KEY. klailglOS (kl^g'lds),
G, Soundless.
Klappe (kUp'p^), G. Valve (of a wind-
inst.). Klappeiifliis:eUioni (fla'g^l).
G, Keved bufle. Klappenhom.
Keyed horn. Klapptrompete. A
keyed trumpet.
klar (klar), G. Clear, bright. Klar-
heit (klar'-hit). Clearness, plainness,
kl&riich (kl^r-ltkh), (7. Clearly, dis-
tinctly.
Klarinette (klS-rl-n«t'-t£), G. Clari-
inet.
klassisch (klas'slsh), G. Classi-
cal.
Klansel (klow'-z^l), (7. A cadence.
Bassklausel. The progression of the
bass in a final cadence from dominant
to tonic.
Klaviatur (kl^-fl-a-toor), G. Kev-
board. K. harfe (or Klavier-harf e).
A harp inv. by Lutz, Vienna, 1893,
in which the strings are plucked by
plectra manipulate by a key-board.
The same man in the same year inv.
the K.-sither, a small piano witli
single strings, plucked by means of a
key-board.
Klavier (kla-fer ). i. Key-board. 2.
Key-board instr., especially the clav-
ichord (formerly the piano). KlaTl*
erauszug (ows-tzookh). Arrange-
ment for piano. K.-harfe. Vide
KLAViATUR-HARFE. K.-harmoniom.
An harmonium shaped like a grand
piano, inv. by '\AK)roniecki, 1893.
K.-hoboe. The harmoniphon. K.«
mUssig (m^s-sYkh). Suitable for, in
the style of the plana K.-satas,
Piano-music, or manner. K.*sonate
(kla-fer' -s6-nfi-t^). Piano-sonata. K.-
Mieler (shpe'-l£r), G, Piano-player.
K.-Tioloncello. A 'cello in a frame
with a key-board arrangement for the
left hand, of special advantages ; inv.
by de Vlaminck, Brussels, 1893. K.-
Tiola. A viola with key-board at-
tachment
klein (klTn), G. Small, minor. K.-
bass (klln-bas), K.-basseeig;e (gi'-
kh£), G, Violoncello. Klemes^
daoit. A flute-stop, kleinlant
(lowt),C7. Small or low in tone or
voice.
DICTIONARY OF TERMS 181
Hingbar (ktYng'-bUr), (7. Resonant.
Kfingrel (kIYns:'^l). A bell, kllngeln
(klln^-^ln). To jingle, klin^end
(kllng-^nt). Ringing, klingende
Stimme. Speaking (as opposed to
dummy) pipes. KlTn^klang (kUng-
kling). Tinkling, bad mtisic.
Klntter (kloot'-tdr). G. A bird-call.
Knab^stimme (knft'.b^n.shtYm-m€),
(7. •* Boy's voice," counter-tenor.
knee-stop. A lever worked by the
knee, and (a) controlling the wind,
(b) opening the swell-box, (c) drawing
all the stops.
knell. The tolling of a bell.
Knie (kne, not n^. Knee. K.*gfiti*
tarre. Guitarre d*amour. K.-zug^
(tsookh). Knee-stop. K.-gei^(kne-
gr-kh«), G, Viol da gamba. K.-
rohre (ro-riS), G, A mitred pipe.
Knopfre^al (kn6pf-r&'-gSl), G, An
obs. reed-stop.
Knote (kno -t£). (7. Node. K.-punkt.
Nodal point.
kobsa (k6b'-sh&), Rus, A crude lute-
Uke instrument.
Kollectivzu^ (k61-l$k-tef'-tsookh), or
Kombmationspedale (kdm-bY-nsU
tsY-5ns-p£-dft'-l£), G, . Combination
pedal.
koUo (kdl'-lo), Ai/. A Japanese harp.
kol'lem, G. To sing in a thin reedy
voice.
Kolophon'. Resin.
Kambinationstdne (kdm-bY-na-tsY-
5ns'-ta-nQ. Resultant tones. Vide
also KOLLEKTIVZUG.
Komiker (kd'-ml-k^r), G. A writer of
burlettas; comic performer.
komisch (ko'.-mlsh), G, Comical.
Komma (kdm'-mi), G. Comma.
kompoiii(e)re]i (kdm-po-ne'-r€n), G,
To compose. koinpoiii(e)rt. Com-
posed. Komponist'. A composer.
Komposition (kdm-po-ze'-tsY-dn^, G,
A composition. Kompositionsiehre
(fiUW^). The art of composition.
Konseryatorium (to'-rl-oom), G, A
conservatory.
kcm'tim, G. Contra. Kontrabass.
Double-bass. K.-£a£^tt. Double
bassoon. K»-oktave. Contra-octave.
K.-punkt. Counterpoint K. -
sabjekt. Counter-subject. K.-t5ne
(ta-n$). The deepest tones of a bass
voice.
Konzert (kdn-ts&rt'). Concert; con-
certo. K.-meister (m!-sht£r). First
violin ; leader. K.-oper. Concert
opera. K.-stiick (shtttk). A free
concerto in one movement, or any
short concert-solo.
koous. A Persian brass drum.
Kopfstimme (kdpf'-shtYm-m€), G, Fal-
setto.
Koppel (kdp'-pel), G, Coupler, coup-
ling-stop. K. ab (or an). ** Coupler
off (or on)."
Koraett (kor-n^t'), G. Comet.
koryphae'uSy Gr, Chief, or leader of
the dances.
kos (kdz), I/un. A Hungarian dance.
Kosake (k5-s2i'-k£). A national dance
of the Cossacks in 2-4 time.
ko'to. Japanese zither with 13 silk
strings, compass 2 octaves.
Kraft (krfift), G, Power, energjj. krilf-
tig (kr^f'-ttkh). Powerful, vigorous.
Kragen (kr&'-kh^n), G. Lute peg-b6x.
Krausel (kil'-z^l), G, Mordent.
Krakoviak (krS-kd'-vY-Sk), Krako-
▼icnnc (krfi-k6.vl-«n), F. The cra-
covienne.
krebsgdng^lg (krips'-geng-Ykh), G.
* * Crab-going " ; retrograde imitation.
Krebskanoa. Canon cancrizans.
kreischend (kn'-sh^nt), G. Shrieking.
Kreisfiire (kris'-foo-khS), G, A canon.
Kreislenana (krrs'-la-rt-a'-na), G, A
series of piano pieces by Schumann,
named after an eccentric conductor
called Kreisler, in one of Hoffman's
novels.
Kreistanz (kns'-tSnts), G. Dance in a
circle.
kreol (kra'-61). A Danish reel.
Kreuz (kroits), G. A sharp, dop*
pelt K. A double sharp. K.-
saitig (z!-ttkh). Overstrung. K.*
tonart. Sharp key.
Krie^gesang (krSkhs'-gS-zSng),
Knegslied (let), G, A war-song.
K.-spieler (shpe'-ler). A militaxy
musician.
"
l82
THE MUSICAL GUIDE
kriererisch (kr€'. khdr - Ysh). Mar-
tial
Krome (kr6'-m«), G. Vide chroma.
kro'talon, Gr, Crotalum.
kmmm (kroom), G, Crooked, curved,
bent. IC-bogen (b6'.kh«n). A
crook. K.-horn. Crooked horn.
I. An obs. wind-instr. resembling a
small comet ; it had a range of nine
notes, and was made in several sizes ;
its plaintive tone has led to its imita-
tion in (2) an organ-stop of 4 and
8 ft. pitch (and in the Krummhom-
Imim, of 16 ft.). Same as crom-
horn.
knistische Instnunente (kroos'-tlsh-
2), G, Instr. of percussion.
kiihii (koon), G, Bold, decided.
Kuhhom (koo-h6m), G, Swiss " cow-
horn."
Knh-kok (koo'-kook), G, The cuckoo
used in toy symphonies.
Knhreigen (koo'.r!.kh£n), (7. ** Cow.
round-up.** Vide ranz des vaches.
knit'-nu Kitra.
Knnst (koonst), (7. Art, skill. K.-
luge (foo-khe), fuga ricercaia. Vide
FUGUE. Kttiistler (klnst'-lr). Ar-
tist. K.-lied (let). An art (as opp.
to a folk) song. IC.-pfeifer (pff-f^r).
Street musician. Kuiittwerk der
Zoknnft (koonst' -virk d^r tsoo'-
koonft). "Art work of the future.*'
A term given by Richard Wagner to
his theory of music.
kn'min. Curved trumpet of the West-
em Nile.
knrs (koorts), G, Short, detached,
staccato. kfLrzen. To abridge.
kurser Mordent. Short mordent.
korse Okta^e. Short-ocUve. kur^
ser Sinresats. Cavatina. Kftr-
snng (kQr-tsoongk). Abbreviation.
Kiirsungtzeichen (tsl'-khen). Sign
of abbreviation.
ktttsir (ktts-ser), /*. Turkish instru-
ment.
Kjrie eleiton (k^'-rl-i i-la -^s5n), Gr,
** Lord, have mercy (upon us).** Vide
MASS.
kyrielle (kc.r€.«l), F, Liuny.
l^riok. Old E. for Carol
LAbbr. for Left (G., Links). 1. h.,
/«// AanJ, l\ abbr. for le or
/a, *'the.'*
U. I. Vide SOLMISATION. 2.
The note A {F. and /.). U bemoi,
or bemoUe, alt ; U di^te (1& dl-«z),
/:. al.
U (U). /. and F. The.
labecediMi'tion. Vide solmisation.
labial. Lipped (of flue-pipes). La-
bialstimme (iS-bT-al'-shtlm-m;), or
pfeife (pfl'-f«). G. Flue-stops.
laDiMi'tion. Vide solmisation.
Labien (U -bt-dn), pi., G. Pipes.
Labium (la'-bl-oom), L. and G. The
lip of a pipe.
lacrimando (li-krY-mSn'-do), lacri-
mo'so, /. Mournful.
LacrimoMi (li-krT.mo'-sa), Z. **Weep.
ing.** An occasional part of the Re-
quiem.
Lade (U'-d£), G. Wind-chest of an
organ.
Lage (l&'-kh^, G. Position, i. Of
a chord. 2. Of the hand in violin
shifts, eng^'e L. Close harmony,
opposed to weite (vl'-t^), open.
Lagenwechsel (v«khs-«l), 6\ Shift-
ing.
larnoso (lan-yd'-s6), /. Plaintive, dole-
ful.
lagrimando (la-grY-mfin'-do), la^^
mo' 80, /. Weeping.
lah. Vide tonic sol-fa.
lai (1«). /*. Lay, ditty.
lament'. Old name for harp mu^ or
songs of pathos.
lamenUbile (U-mdn-t&'-bl-l^), lamen-
tabilmen'te, /. Moumful(lv). la-
mentan'do, lamentevole (la-m^n-
ta'-v&-l«), lamento'to. Plaintive.
Lamenta'tions. Words from Jere-
miah sung at Vespers in Passion
week.
lampon (lSn-p6A), F, Drinking.son|r.
lan'cerSy £., landers (lihs-ya), F. A
set of quadrilles.
LiLnderer(l«n'-d€.r«r), Liindler (l^nt*-
l£r), G. Slow German or Austrian
waltz in 3-4 or 3-8 time, the last notes
DICTIONARY OF TERMS 183
of eadi measure a dotted 8th and a
i6ch note,
linderisch 0^'-<l^-Ysh), G. In the
Undler style.
UUuUich (lent'.tlkh). G, Rural.
Landlied (lint'-let), G, Rustic-song.
landa (lin'-doo). Port, A Portuguese
dance in duple -time.
landnms (Iftn -dooms), Port, Portu-
guese music of sentimental tone.
lang (ling), G, Long,
langsam (lang'-zim), G. Slow(ly),
largo. langsamer (ling'-zam-^r).
Slower.
language, lanpiid. In a flue-pii)e a
horizontal stnp of metal or wood just
inside the mouth.
langnendo (lin-gw^n'-do), languen'-
te, lan^ido (liin-gwe'-d5), /. Lan-
guishing. languenren'te. Lan-
guishingly.
lannette (l&A-ge^t), F. i. The tongue
of reed-pipes. 2. Pallet. 3. Key on •
a wind-instr. 4. Tongue carrying the
quill of a jack.
lan'gitid. Vide language.
hui'tmn. A large hurdygurdy with
rotary bellows and reeds played by
buttons.
lapid'eon. A scale of flint-stones
played with hammers ; inv. by Bau-
dry.
larg^amente (lir-ga-m£n'-t£). Broadly,
nobly. Vide largo.
largando (lar-gin'-dd), /. Broadening,
becoming largo (q. v.).
lar^. The longest note in ancient
mu^c equal to four breves (eight of
our whole notes). Vide notation.
\BXf^ (lilrzh), F, Broad, largo, large-
ment (Urzh-mih). Broadly.
larghetto (Ur-g«t'.t5), /. Not quite
so slow as largo.
larsrbexsa (lir.g«d'.zi), /. Breadth,
slowness, larghissimo (lir-gYs'-sI-
m6). Very slow.
lar^ (lir'-gd), /. Slow, noble, broad,
usoally taken as slower than lento.
L astai (is-sft'-i), 1. di molto (d^-
m6r«to). Very slow. 1. ma non
tnqppo. Slow, but not too slow. 1.
im pOCO (oon po'.k5). Rather slow.
larigot (lftr.I.g5), F, i. Shepherd's
pipe. 2. A very shrill i^^-ft. stop.
laringe (li-ren'.j£), /. Larynx.
larmoyant <lftrm-w&-yfln), F, Weep-
ing.
lar'ynx. Upper part of the trachea or
wind-pipe ; a human reed-pipe vary-
ing at will the tones of the voice.
laud (UUoodh), Sp, Lute.
laud, landa (li'-oo-dft), /. and Z.. /. pi.
laiuU^ L. pi. laudfs. i. Hymn(s) of
praise. 2. Vide hora.
Landa Si'on, Saiyato'rem. " Zion,
praise the Saviour " ; a sequence sung
at the High Mass of Corpus Christi.
landis'ti, L. Psalm-singers.
Landa'mns Te, Z. ** We praise Thee.**
Part of the Gloria. Vide mass.
Lauf (lowO, G. I. Peg-box. 2. A
run, a trill. Lanftanx (lowf'-t&nts).
A running dance, corante. L&nte
(ll'.fd). Rapid divisions. Liiufer(ll'-
f*r). A run, trill, or shake.
Lannenstiick (low'-n£n-shtUk), G. A
voluntary.
launig (low'-nYkh). Humorous.
Ianr6ate (l5-ra-&t), F. A winner of
the Grand Prix de Rome (q. v.).
laut (lowt), G. I. Loud. 2. A sound.
lantlos (lowt-los). Soundless, mute.
Laute (lowt-^), G. The lute. Laut-
enist'j Lantenschlliger (shU'-kh^r),
or spieler (shp€-l^r), G. Lutenist.
Lautenfutter (foot-ter), lautenkas-
ten. Lute-case. Lanteninstrn-
mente. Instrs. whose strings are
plucked. L.-f^eige. Viol. L.-zu^.
Lute compass. L.-macher(mil'-kh€r)*
Lutemaker.
Ulnten (li'-t^n). To toll, to sound.
lavol'ta. Old Italian waltz.
lay. Song.
le (Itt). /*., le (la), /., pi. The.
lead (led), i. The announcement by
one part of a theme to reappear in
others. 2. A sig^ giving the cue for
the entry of the various parts of a
canon, etc.
leader, i. Conductor, director. In
older times the first violinist was the
actual conductor and is still called
** leader** though he has lost his
i84
THE MUSICAL GUIDE
function as conductor. 2. The first
comet (in bands). 3. The first so-
prano (in chorus).
leading^. 1, As a noun, A melodic
precession or tendency, a. As an
adjective. Guiding, compelling, char-
acteristic, predominant. l.-€hord«
The dominant. l.-toiie, or note.
The 7th degree of a scale (because it
leads in and demands the tonic).
L-melody. The chief melody,
leading-motiye. A musical phrase or
figure (as those in Wagner*s (^>eras),
used as a sort of autograph or trade-
mark of a certain character, mood or
sentiment, and recurring whenever
that character or mood is to
or is remembered.
Leading-Motives.
By Gustave Kobbe.
OTHER composers before Wagner have used typicil phrases to
express some personal characteristic or idea, and have repeated them
in a manner which suggests what is now termed a leading-motive.
Such is the *^ Id/e fixe** in Berlioz's ''Fantastique" symphony; or the
phrase in Weber's **Euryanthe " which occasionally even is spoken of as
the '* Tomb Motive." I, however, have always considered that Beethoven
in the use he made of the opening theme of his Fifth Symphony more nearly
approached the leading-motive than any of Wagner's predecessors. The
theme recurs with great variety of effect throughout the symphony, the
second movement excepted. It is found as a mysterious threatening figure
accompanying the second theme of the first movement, while in the Allegro,
the scherzo of the symphony, it partakes of a joyous character, to reappear
as a disturbing element in the finale. It has the plasticity of a leading-
^^
J iJ J
P
^^1
^
^
^
^
zz:
motive, but it may be questioned whether Beethoven intended to use it for anj
other than a purely musical effect. In fact any suggestions Wagner maj
DICTIONARY OF TERMS 185
have received from other composers were so slight that the leading-motive
in the modem sense may unhesitatingly be said to be his invention. ^It
is easier to say what a leading-motive is not, than to give it a fixed defi-
nidon. The first idea to disabuse one's self of is that a leading-motive
is anything like a label. The *'Walhalla" motive in the " Rbg of the
Nibelung" is not a guide-post which reads '*Walhalla to the right — 3
miles" — ^nor does it even represent Walhalla as a pile of masonry. It
expresses, in its simple yet lofty measures, the rulership of Wotan^ the
hegemonia of the gods. A leading-motive is a musical searchlight or X-ray
which illuminates and enables us to look deep into every character, thought,
mood, purpose, idea, and impulse in the drama. Even conscience itself
docs not escape Wagner. Witness how he lays it bare with his scalpel of
leading-motives in the first meeting of Siegfried and Hagen in *' Goetterdaem-
mening ** with the Curse Motive, which hmts at Hagen* s fell purpose,
darkening the noble Siegfried Motive. The use of the Curse in this episode
dearly foreshadows the death of the Volsung hero at Hagen* s hand and lays
the gloom of impendmg tragedy heavily upon the hearer's soul. ^How
plastic a leading-modve may be, how closely welded to the ever-changing
phases of the drama and how clearly it expresses them, the wonderful
variants of the motive of Siegfried the Fearless — the call Siegfried sounds on
his silver horn — will show. Joyous and buoyant in its simplest form, it
becomes when he takes leave of BrUnhilde to sally forth in quest of adven-
ture, heroically grand, and in the Death Music, that strain of triumphant
mourning which thrills every hearer and stamps the episode as the greatest
climax ever achieved in a musical work for the stage. Indeed, the whole
scene is a triumph for the leading-motive idea, since here, as Siegfried* $ life-
i86
THE MUSICAL GUIDE
less body is borne up on the mountain crest, the orchestra gives a musical
epitome of his career by voicing successively the motives most intimately
relating to him which have been heard in the cycle of music-dramas. ^But
Wagner's use of leading-motives singly and in complex combinations ac-
cording to the trend of the drama however interesting analytically would
wholly have failed were not the motives themselves musically valuable. They
are enunciated chiefly by the orchestra (which thus forms a constant com-
mentary upon the proceedings of the stage) and they are considered by those
who are in the van of musical opinion to have resulted in the most eloquent
and sublime — if at times the most tedious — scores ever penned. To ap-
preciate what a genius Wagner really was, it is only necessary to listen to the
works of some of his imitators.
Liszt in his Symphonic Poems has adapted the leading-motive to instru-
mental music, in which respect Richard Strauss may be regarded as follow-
ing him.
lean'ing note. Appoggiatura.
leap. I. Skip. 2. In piano-playing a
long jump for the hand. 3. A dis-
tance composed of several interme-
diate intervals.
Leben (la'-Wn), G. Life, vivacity. Ic-
bendig (la'.b«n-d!kh), lebhaft (lap.
haft). Lively. Lebhaltigkeit (kit).
Vivacity.
le^on (ia-s6n), F. Lesson, exercise.
ledger line, leger line. A short ad-
ditional line above or below the staff,
for notes too high or too low to
be written on the staff. 1. 1. are
counted away from the staff, the
nearest being the first, ledger space.
The space l^tween two 1. T.
Icerc Saiten (la-rd zl'-tcn), G. Open
strings.
Icgabilc (le-ga'-bM5), legan'do, /.
Legato.
legare (le-ga-re). To bind, or tie.
legato (Id-ga-to), /. ''Bound." In
a smooth, connected manner, opposed
to staccato, and indicated by a slur, or
legato-mark {G., legato-bogen)
thus, ^. L. touch. A touch pro-
longing the tone, till it exactly con-
nects with the next, legatis'simg.
Exceedingly legato.
legatura (la-ga-too'-ra), /. i. A slur.
2. Syncopation. 1. di voce. Vide
LIGATURK (2).
legend, Ugende (la-zh&nd). F., Le-
gende (la-gin'-dfi), G, A composi-
tion in romantic or narrative style,
im Le'gendenton, G. In the ro-
mance manner.
leger. Vide lkdg^k.
leeer (la-zha), legate (la-zhftr), /'.
Light, nimble. leg^rement (man).
Lightly, leg^ret^ (la-zhlr-ta). Agil-
ity.
leggenda (lM-j«n'-da), /. A legend.
leggeramente (ldd-j<(r-a-m6n'-te), leg-
germen'te, /. Lightly, leggeran-
za (l^d-j^r-an'-tsa). leggerexza
(ldd.j6r-dd'-za). Lightness.
leggiadro (Idd-jS'-dro), legg^adra-
men'te, /. Graceful(ly).
legpere (IW-ja'-rd), legg^ero, leg^
f:ieramen'te, leggiennen'te, /.
.ight(ly). leggier ezza (l^-j«-rtki'-
za). Delicacy.
Icggieruco lo. Rather light.
legno (lan'-y5), /. Wood. col. 1.
To be played with the back or wood
of the bow.
Lehrer (la-r^r), feminine l^elirenni
Qt Teacher, master,
DICTIONARY OF TERMS 187
Leich (llkh), G. A lay.
Leichenmasik (ll'-kh^n-moo-zek'), 6'.
Funeral-music. Leichenton (ton).
A lugubrious sound.
leicht (iTkht), G, Light, easy, facile.
L. bewert (b^-vakht), (a) delicately
swift, (b) agitatedly. Leichtheit
(hit), Leichtigrkcit (iTkh'-tlkh-kit).
I.ightness, facility. leichtfertig
(f«r-tlkh). Light(ly). careless(ly).
Leidenschaft (H'-d^n.sh&ft), G. Pas-
5don. leidenschaftlich (Ukh). Pas-
sionate.
Leier ^If-er), G. A lyre. L.-kasten
(kast en). A hurdyeurdy. Lcicr-
mjidchen (m&t'-kh^n). A girl who
plays on a hurdygurdy. Leiermann
(man). A male player of a hurdy-
gurdy. Leierorgel (ll'-*r-6rkh-€l).
Hand-organ. Leierspieler (shpc-
Wh"). One who plays on a lyre.
Leine (li'-n^), G. A line on the staff.
leise (It-zd), G. Low, soft, gentle. L
wie ftr sich (ve for zlkh). Softly, as
if to one's self.
Leitakkord (iTt'-Sk-kord), G. A har-
mony progressing naturally to an-
other, as the dominant. Leitmotiy
(Iit'-m6-td0. I^eading-motive (q. v.).
Leitton (llt'-ton). The leading note.
Letter (ll'-tSr), G. i. Leader. 2.
** ladder," the scale of any key.
leitereigen (lI-t<r-Tkh'-n). Proper and
peculiar to a key, opposed to foreign
notes which are l.-fremd (frtot).
lene. Old term for a note sustained,
while other parts move.
leno (la -no), /. Weak, feeble, faint.
lenesza (li-nM'-za). Gentleness.
lentO^).^- Slow, lentement (l&nt-
man). F. Slowly. lentcur (iSn-
tfir'). Slowness, delay.
lentando (l«n-tan'.d5), /. Retarding.
lento (l*n'-t6), /. Slow ; usually con-
sidered between andante and largo.
1. assaiy 1. di molto (de mdl'-to), 1.
lento. Very slow, lentis'simo.
Extremely slow, lentamen'te, len-
temen'te. Slowly, lentezza (l^n-
tCJd'-za). Slowness.
lesser. Minor, as the L third. 1.
appogi^atnra. Vide appogg.
1. barbiton. The kit. 1. comma.
The diaschisma.
lesson. A piece of two or three move-
ments for the harpsichord or piano-
forte, often combined into a suite.
lesto (l*s'-u")), /. Lively, lestissimo.
Very quick, lestessa (les-tdd'-zii),
/. Agility.
letterale (l«t-t^-rS'.l«), letteralmen-
te, /. Litcral(ly). Exactly as written.
letter-name. A letter designating a
tone, key, etc., as a, b, c. Letter-no-
tation is old as the Greeks.
leuto (la-oo'-to), /. Lute.
leva (la'-vS), /. Lift, release, si leva
U sordino^ **lift the mute**; si /p-
vano I sordini^ ** release the damp-
ers.'*
Iev6 (la-va'), F. Up-beat.
levet. A blast of a trumpet ; reveille.
lerezza (IC-vW-za), /. Lightness.
leyier pneumatique (l£v-T-a'-nti-m&-
tek'), F. The pneumatic lever.
leziosamen'te (la-tsl-o), /. Affected-
lezzioni (lW-z!-o-ne), /., pi. Les-
sons.,
Leyer (ll'-^r), G. Lyre.
L. H. Abbr. for *' left hand.*'
liaison (lc-*z'-6n), F. i. A bind or
tie. 2 Vide ligature, 2. 3. 1. d'har-
monie (dftr-mo-ne). Syncopation.
1. de chant (dQ shSn). Sostenuto
singing.
libero (le'-b^-rd), liberamen'te, A
Free(ly)^ unrestrained(ly).
libitum, L. Pleasure, will, ad libitum.
At the pleasure of the performer,
who may decide tempo, expression,
etc., or even omit the section so
marked.
librement (lebr-mfin), F. Freely.
libret'to. The text of an opera, ora-
torio, etc. Hbret'tist. A writer of
such texts.
li'cence (in F. l^-sfins), licenza (le-
chfin'-tsfi), /. A deviation from the
. rules, con' alcuna (al-koo'-nii) li-
cenza. With some freedom.
liceo (le-cha'-6), /. Lyceum ; academy.
-Hch- (Ukh), G. Suffix, equivalent to
"-like,**or*My."
i88
THE MUSICAL GUIDE
lich'anoSy Gr, Vide lyre.
Ii6(l€-i'), F, Smooth(lv). legato. Ii6
coulant (koo-lafi). Slurred but flow-
ing.
LiebesUtd (le'-b^s-I£t). Love-song.
Liebe«fl5te. A flute-stop. LieD-
haber (lep'-hll-b^r). Amateur.
lieblich (lep'-ltkh). Lovely, charm-
ing. Lieblichg^dacht (g£-dakht).
A stopped-diapason organ register.
Lied (let), pi. Liedcr (le'-d«r), G,
Loosely, any song; technically, a
song uis opposed to the ballad or
Strophenlied), in which -the text
predominates over merely melodic
rights, and the music interprets, rather
tluin disregards, the words. Such a
song in which each stanza has special
music is often called durchkompon-
i(e)rtes (doorkh-k6m-p5-ner'-t^), or
one " composed all through." Lied
(or lieder) ohne Worte (6'-n6
v6r'-t^), G. Song (or songs) without
words. Lied form (f6rm). The form,
or theme of a song. Liedchen (let'-
khSn). A short song. Liederbuch
(bookh). A song or hymn-boolc. L.*
bund (boont). A society of singers.
L.-cydas (ts^'-kloos). A cycle of
SQngs. L.-dichter (dtkh'-t«r). A
song -writer. L. -kranz (krants).
Glee-club. L.-kreis (krls). A
*' wreath" of songs. L.-sammlung
(z&m'-loongk). Collection of songs.
L.-8iinger (z£ng'-£r). A ballad-
singer. L.-spiel (shpel). An oper-
etta. L.-sprache (spra -kh^). Words
adapted to songs. L.-tafel (t&'-fgl).
** Song-table " ; a glee-club of male
voices. L.-tafler (t$f'-l«r). Glee-
singers. L.-tana (tiints). A dance
with songs.
Uer (ler), Dutch. A lyre.
ligare (it-ga-rC), ligato (le.ga'-t6).
Vide LEGARE, LEGATO.
Lijratur (le-ga-toor), 6^., ligatura
(le-ga-too'-ra), /.,lig'ature, E, (pron.
in F, le-ga-tQr'). i. A succession of
notes sung to one syllable or in one
breath, or played with one stroke of
the bow. 3. A tie. 3. A syncopa-
tion. 4. In old music a succession of
notes sung to one syllable. Vide
NOTATION.
ligne(len'-yu),/'. Aline. 1. addition-
nelle (kd-des-yi&-n£l), or ajoat^
(ii-zhoo-t&'), or postiche (p6s-tesh),
or suppl6mentaire (sQp-pla-mfiA-
t&r'). A ledger line.
lig'neam psalte'rium, Z. Xylophone.
limite (le'-ml-t*), /. Limit.
lim'ma, Gr, An interval in Greek
music, less by a conmia than a major
semitone.
linea (le'-n£-&), /. A Une of the suff.
line. One of the five lines making up
the staff (q. v.). added, or leofi^r
line. Vide ledger.
lingua (iTn-gwil), /. i. The tongue in
a reed. 2. The reed itself.
Lingualpfeife (len-goo-fil'-pfl-fd), G,
A reed-pipe.
lin'^la, Z. Glottis.
Lime (le'-ne), pi. Linien, G, Line(s).
Liniensystem (le'-nY-dn-zes-tam).
The staff.
lining-out. The old practice of read-
ing out one or two lines of a hymn
before singing them.
li'nings. The supporting strips glued
to the ribs of violins, etc.
link (link), links (links), G. Left.
Hnke Hand (hant). The left hand.
lines, C7r. I. A rustic air. 2. A
dirge.
lip, ^., Lippe (ttp'-p«), G. i. The
flat surface above or below the mouth
of a flue-pipe. 2. Vide embouchues.
Lippenpfeife. A flue-pipe.
lira (le'-ri), /. i. The Greek lyre. 2.
In i6th-i8th cent a viol, hence, L
barberi'na. A small viol inv. by
Doni in 17th century. 1. da braccio
(da br&t'-sh5). Obsolete instr. like
the tenor viol, with seven strings.
1. da gam'ba. An instr. held be-
tween the knees and having 12 to 16
strings. 1. dop'pia. Double lyre.
1. f^ande (gran'-d£). A viol with six
strings, formerly used in Germany.
1. pagana (pa-ga -nft), 1. rustlca
(roos'-tl-kfi), L tedesca (U-dds'-Ul).
A hurdygurdy.
lire (ler), F. To read.
DICTIONARY OF TERMS 189
Uressa Ge-r&'-s&). A bad lyre.
Urico (lc'-ri-k6), /. Lyric.
Urone (Ie-r5'>n£), /. The large bass
▼iol with 24 strings.
Uscio Ge -sho), /. Smooth.
lispelnd (Us'-p^Uit), G, Lisping.
Tmesso (Ies-t£s'-sd), /. The same.
liUneia, Gr,, Utania Ge-tiUne-i).
L. and /., litanie (ll-ta-ne'). F„
LiUnei (le-U-nl), G., litany,^. A
solemn form of supplication, the min-
ister offering prayers, to which the
congregation add ** Lord have mer-
cy." kyrU eUison is the lesser 1.
Ut'terae significa'tiTae, Z. Letters
of doubtful meaning, used in neu-
matic notation.
lit'uus, Z. A kind of trumpet
liitto He-oo'-to), /. A lute.
livre (levr), F. A book ; It 1* onvert
(oo-v&r). At first sight.
ttrret (le'-vra), F, A Ubretto.
lo (16). /. The.
Lobg^eaang (idp-g^-z2ng), Loblied
(Idp'-let), G, A hvmn of praise.
Loch Ookh) in der Stlmme, G,
" Hole in the voice," used of that
part of a register where certain tones
are weak or wanting.
loco Qo'-ko), /. "Place." i. A word
nulHfying Sva or all ottava^ and
meaning that the notes are to be
plaved as written, not an octave
higner or lower as before. 2. A sig^
for a violinist to return to his original
position, form or shift
Locrian Oo'-ki1-2n), lokrisch Qd'-
kifsch), (7. Vide modes.
k/^nniy £• I. A stage. 2. A motet.
LoKiei^iAn system. The system of in-
struction of John Bernard Logier,
including class-work, harmony, etc,
and use of the chiroplast.
lombar'do. A dance of Lombardy.
lon|^» longa^ Z. An obsolete note half
the length of the large^ or eaual to
foor of our whole notes, lon^ double.
An old character equal to four breves.
As adjective^ long appoggiatura.
An accented app. of a single note
forming part of thetheme, and borrow-
ing half the length of the next note. 1.
dnun. The bass-drum of military
bands. 1. mordent. A mordent
of four notes. L roll. A drumbeat
to arms. 1. spiel. An ancient long
and narrow Icelandic bow instrument.
tongue pause (16iig'-pdz), F, A long
pause.
lontano 0^n-tft'-n5), /• DisUnt. re-
mote, da 1. At a distance, lon-
tananza (16n-tii-nlUi'-ts4). Dis-
tance.
loop. I. The vibrating part between 3
nodes. 2. The chord binding the tail-
pieces of violins, etc., to the button.
L5sung, fortschreitende (fdrt-shri-
tdn-d6-la'*zoongk), G. Resolution.
loud pedal. Vide damper.
lonrde (loord), F, Heavy, lourdemest
(man). Heavily.
lonre (loor), F. i. An old F. bagpipe,
thence ; 2. A slow dance in 6-4 time,
strongly accented.
lour^ (loo-ra'), F. SmoothQy), legata
louvre (loovr), F, Applied to an air,
called " L* Amiable Vainqueur," a
favourite of Louis XIV. ; thence a
dance.
In'dus, Z. Play, ludi moderator.
Organist ludi spiritnali. Miracle-
plavs.
luguore (loo-goo'-bri), L Lugubrious,
sad.
luinig. A plaintive song of the Heb-
rides sung by the women at work.
lul'laby. A cradle-song.
lu-lu. The Chinese official laws of
music.
Itmdu floon'-doo), Port, A Portuguese
dance in duple time.
Itmga (loon'-ga), pi. lunghe (loon-ge).
7. Long, prolonged.
luogo (loo-6'-gd), Z Same as loco.
lur (loor), Dan, I. A birch-bark instr.
similar to the alp-horn. 2. A pre-
historic curved and conical bronze
instr. 5 to 7 feet long, with cupped
mouthpiece, and, instead of a bell, a
circular flat plate, ornamented with
bosses and bronze tassels.
lusing. An abbr. of lusingato.
lusingando (loo-sen-gin'-dd), lusln-
gan'te, lusingato (ga'-to), Inaiii-
190
THE MUSICAL GUIDE
ghevole (ga .v5>l$), /., laslnrhiere
or o (gT-i'-r£). Coaxingr lusingneyol-
mente. Insinuatingly, persuasive-
ly.
Instig (loos'-ttkh), (7. Merry, cheer-
ful.
Lustlied (loost'-let), G. A gay song.
lute (lut, not loot), E., lut or luth
(lot), F. A very ancient string instr.
now obsolete except in the small form
of the mandolin and the modified
form of the guitar. It was pear-
shaped, and had a neck with fretted
finger-board. The stringing was va-
rious ; the largest form having paired
strings tuned in unisons, and, besides,
a series of strings that did not cross
the finger-board but were played upon
as a bass. This form required a
double neck and was called a theor-
bo, arch-lute, or chitarrone. The
strings, sometimes as many as 13
pairs, were played as in the guitar.
Lute-music was written in tablature.
Lute -players were called lutists,
Inters, lutanists, lutenists, or In-
tinists. A lute-maker was a luthier
(iQt-yi), a name also given then,
and now, to violin-makers. The
trade and its product are called lu-
therie (lt)t-re ). lutina. A small
lute, or mandolin.
Inttuoso (loot-too-d'-s5), luttnoMi-
men'te, /. Moumful(ly).
Lydian, E.. lydisch (let'-ish), G. Vide
MODES. Lydian cnant. A chant
of .1 sorrowful, melancholy style.
Lyon catlins. Thick bass-strings.
lyre (l!r in E, ; in F. ler), lyra (le'-ri).
/v., /., and G. i. A most ancient
instr. consisting of a sound-box or
board with 2 long curved arms carry-
ing a cross-bar from which descend-
ed, across a bridge, the 3 to 10
strings, struck with a plectrum. On
the 8-stringed lyre, the strings were
thus named, banning nearest the
body: hy'pate (hl'-pS-te) (the low-
est m tone), parhy'pate, lich'anos,
ffle'se, par'amese, trite (tre'-t$),
paranete, nete (na'-td). The largest
lyre was the cithara, the treble was
the chelys. A large 20-stringed
instr. on which octaves were played
was the magadls. 2. The modem
lyra is a rebec, and various bow-
instrs. have been called lyres, or lyre-
Tiols, since the 14th cent ; some
have a double neck or bijuga like
the theorbo (Vide lutk), including
the lyra di braccio (brSt'-cho) or
arm- viol and archeTiole di 1., or L
doppia. The 1. di gamba is a leg-
viol. 1. barbarina. An old instr.
resembling the guitar, but played
with the bow. L hez'achordis, Cr,
A six-stringed lyre. 1. mendico'rum,
L. ** Beggar's lyre,** a hurdygur-
dy. Lyra-siln^er (z^ng'-^r). or
-spieler (shpe'-l«r), G. Performer on
the lyre. 3. The modem Stahlspiel.
lyric, lyr'ical, lyrisch (llr'-Tsh), G.
** Fitted to be sung to the lyre,"
hence used of subjective moods, usu-
ally brief and enthusiastic as opposed
to narrative, dramatic, or epic lyric
drama is opera, lyric tragedy. A
tragic opera. 1. comedy. Comic
opera. 1. opera. A ballad opera.
M
MAbbr. of Metto^ Metronome^
ManOy Main; m. f., for
MettO'forte ; m. ^.^Mezto^
piano ; m. v., Sfftto-voce*
M. M. Aobr. for MaelzeKs Metro-
nome (q. v.).
ma (ma), /. But ; as allegro ma non
troppoy quick, but not too much so.
machalath (m^-ka-lath), Heb, A term
employed in the Psalms, supposed by
some to mean a flute, but by others
to indicate familiar tunes.
mach&te (m5-sh«'-t«). Port. A small
guitar with 4 strings, tuned tt-F'
o-e .
mach-icotare (m&sh-Y-ko-tSzh), F.,
macicota ticum, L. Embellishment
added to the cantus finuus of plain-
chant, customary in France in the
1 8th cent. The clergy alone sang
the embellished or machicot^e
(miish-l-kd-ta) plain-song, and were
DICTIONARY OF TERMS 191
called machicots (mish-Mc6) or ma-
cidco'iiici. The choir sang the
eantus firtnus without embellishment
(si'ne macicota'tico).
machine-head. A rack and pinion
appliance to be used in place of ordi-
nary tuning-pegs.
machol (ma'-kdl), Heb, Instr. sup-
posed to be either string or pulsatile.
Madre, alia (&1'-U mfid'-rd). *' To the
Mother." Used of hymns to the Vir-
gin.
madriale (m£-drT.r.l«), /. Madrigal.
madrialet'to. A short madrigal.
madrigal (in F. m&d-rY-gill ; in G. ma-
dn-hal), madrigale (m^-ri-g&l'-d),
/. I. Loosely, a short amorous or pas-
toral lyric. 2. Strictly an unaccom-
panied chorus in from 2 to 8 parts,
based on ^cantus firmus, and written
with elaborate counterpoint. Begin-
ning in Italy in the 15th cent, it
spread all over Europe, madrig^-
es'co, /. Pertaining to the raadri-
gral.
maSsta (ma-as'-ta). mai^stade (m&-
a5-til'-d«), maJSstate (ta-te). /.
Majesty, grandeur. maSsterole
(ta-vd-l^), maiSsteyolmen'te, ma-
^sto'so, maifstosamen'te. Majes-
tic(ally), noble (nobly).
maestna (mli-ts-tre'-&), /. Mastery,
skilL
maestro (m^-as'-trd), fem., maestra
(mi-as'-tra), /. Master, m. al
cembale. A conductor, since he
formeriy sat at the harpsichord.
m. al piano. Pianist of an orches-
tra, m. del coro. Master of the
choir, m. di camera. Conduc-
tor of chamber-music. m. di
canto. A singing-master, m. di
cappella (dc kap-pdl'-lli). i. Chap-
el-master. 2. (Conductor.
mag'adis, Gr. i. Vide lyre. 2.
i6th cent, name for monochord.
mag'adizing. A vocal performance in
octaves.
mag'as, Cr. i. Bridge. 2. Fret. 3.
Vide MAGADIS, 2.
Magaxinbalg (miikh-ii-tsen-b&lkh), G.
Retervoir-bellowt,
maggiolata (m^-j5-U'-tii), /. A song
in praise of May.
maggiore (mfid-j6'-re), /. ** Greater,"
major.
maggot. An impH-omptu fantasy,
magistrate (miljls-tr£'-l£), /. Vide
MAESTRALR.
Magnificat, L. A part of the Vespers
from '' Magnificat anima mea Domi-
num," My soul magnifies the Lord.
main (miin), F. The hand. m. droite
(drwat). Right hand. m. gauche
(gosh). Left hand. m. harmonique
(mft-nftr-mfin-ek). Harmonic hand.
maitre (mdtr), F. A master, a director.
m. de chappelle (sh&-p^l). Chapel-
master ; conductor ; director of a
choir, m. de musique (dfl mtt-zek').
Musical director, or teacher.
maitrise (mdt-rcz), F. A music school
connected with a cathedral.
majestit (ma-yas-t^), /., majest6 (m&-
zh^ta), /*. Majesty, majestueuz
(m&-zh£st-y{i'). Majestic majestii-
tisch (ma-yds-ta'-tlsh), (7. Majestic.
major, E., majeur (mft«zhQr), F,
*' Greater," as opp. to minor (*' less "),
and used of intervals greater by a
semitone than the minor (though less
by a semitone than the augmented);
hence, those major chords and major
scales and keys in which major inter-
vals predominate, m. triad. One with
a major 3d and perfect 5th. m. ca-
dence. One ending on a m. triad.
Mai (m&l), (7. Time, as sum ersten
M., for the first time.
malagnefia (ma-l&-gwan'-yil), Sp. A
fandango.
malanconia (ma-Iiin-ko-ne'-a), malin-
coni'a, /. Melancholy, malenco'-
nico, malincol'ico, malinco'nico,
malinconio'so, malincono'to, ma-
linconicamen'te, /. In a melan-
choly style.
mama (m&'-ma), /. In drum-music the
right hand.
manca (man'-ka). /. The left.
mancando (msin-kan'-do), /. Decreas-
ing and retarding.
manche (milnsh), F, Neck (of a vio-
lin, etc).
192
THE MUSICAL GUIDE
iiuuidolin(e) (miln'-d5-Iln), E.^ mando-
lino (man-dd-le'-no), /. A small lute
with fretted neck, and paired strings
played with a plectrum. The com-
pass g-g.'" The Neapolitan (man'
dolino napolitdno) has 4 pairs tuned
g-d'-a'-e ; the Milanese {m. lorn-
bardd) has five or six pairs tuned
g-c'-a'^"-e", or g-b-e'-a'^"-e".
mandolinata (&'-t£). To be placed
with mandolin-Uke effect, mando la,
mando'ra, mando' re. A large man-
dolin.
mangeot (m&n-zhd), F, A piano h
claviers renversd»
manico (mi'ni-ko), /. Neck (of vio-
lin, etc).
man'ichord, E., manichord'ium, Z.,
manichord'on, Gr. An old term for
various string instrs. Manichor-
diendraht (dr&t), G, Wire for the
manichord.
maniera (ma-nY-a-r&), /., mani^re
(m&n-y&r), F. Manner, style, m.
affettata (af-f£t-ta'-ta), /. Affected
delivery, m. lans^ida (lan'gwi-da),
/. A languid style.
Manier (mil-ner'), pi. Manieren (ma-
nc'-r^n), G, Grace(s), embellish-
ment(s).
man'ifold fng^e. One with two or
more subjects.
Milnnerchor (m^n-n^r-kdr), G: Male
chorus. MUnnergesang^erein (g£-
zang'-f^r-Tn). A male choral society.
MiLn'nerstimmen. Male voices.
mano (ma'-no), /. The hand. m.
destra (das'-tra), m. diritta (dl-rYt'-
ta), or dritta (drlt'-ta). The right
hand. m. sinistra (sl-nes'-tra). The
left hand.
man'ual, E,, Manual (mi.noo-&l'), C7.,
manuale (ma-noo-a -1^), /. and Z. i.
Key-board of an organ. 2. A digital,
especially man'ual-key. manual'-
iter. without pedals, '* on the man-
uals alone." M.-koppel, G, A coup-
ler connecting one manual with
another, m.-mente (m^noo-al-m^n'-
t^), /. Manually. M.-untersatz
(oon-tSr-zSts), G. A 32-ft. stop.
maimbrio (nUUnoo'-bil-d), /., Man-
ubrien (ma-noo'-bri-«n), pi., G. The
handle(s) by which a stop is drawn.
M. koppel. A draw-stop collar.
marcan do, marcato (mar-ka'-to), /.
Marked, accented, marcatis'simo.
Very strongly marked.
marcn. A composition to accompany
marching. There are two kinds, the
quick m. or quicksteps and the solenu
processional, funeral or dead m.
Usually in 4-4 time, the m. may be in
2-4, 3-4 or 6-8 time. The march
usually includes a second part, or trio,
and a repetition of the first subject.
The second part is often lyrical rather
than rhythmic. The cadence for the
quick step in the American army is
120 to the minute.
marche (mftrsh), F. i. A march. 2.
A progression, as m« harmoniqae
(^-miin-ek).
marcia (mar'-cbS), 7. A march, m.
fun^bre (foo-na'-br£). Funeral-
march, marciale, or marsiale
(miU--tsI-a -1£), or alia m« In march*
style, marciata (mar-ch&'-ti). A
inarch.
marked. Accented.
mark. A sign, cadence-m. Vide
CHANT, harmonic-m. Vide har-
monic, metronomic-m. Vide met>
RONOMB. expression-m. Vide ex-
pression, tempo-m. Vide tempo.
markiren (m&r-ke -ren), G., marquer
(mir-ka), F. To mark, emphasize,
markirt (mar-kert'), (7., marqu^
(m&rka'), /*. Well marked, marques
un pen la mdlodie (m^-ka an pft
la ma -16-de'), F. ** Emphasize the
melody slightlv."
Marsch (marsh), pi. miLrsche (mar'-
sh£), G. March(es). marschartig^
(marsh'-ar-tikh). In the style of a
march.
Marseillaise, la (U mir-s^y&), F.
The French national anthem, written
and composed by Capt. Rouget de
Lisle, April 24, 1792, and called by
him *' Chant de guerre de Tarmee du
Rhin," but first popularized by, and
always named after, the soldiers from
Marseilles.
DICTIONARY OF TERMS 193
maftean (mlr-td), F. i. Hammer, in
piano-action. 2. Tuning-key.
martel^ (miir-tii.la'), F,, martellato
(mar-t£l-la-td), martellando, 7.
Strongly marking the notes, as if
hammering.
marteUemeiit (m&r-tSl-miin), F. i.
Played with the acciacatura. 2. In
old music a mordent.
marziale (mar-tsI-&'-lS), 7. Vide mar-
CIA,
mascherata (ma-sk£-rS'-tI). Masque-
rade.
(m2'-sk2-ra), 7. A mask.
inen (ma-she'-n^n), G. Pistons.
Vide VALVE. M.-pauken. Kettle-
drums with a mechanical adjuster of
pitch.
mask, E.^ masque (misk), /*., Mas-
keospiel (mas'-kto-shpel), G, A spec-
tacular entertainment usually allegor-
ical and dramatic, with music. Very
elaborately done in Elizabethan
times.
In the R. C. service, that por-
tion accompanying the consecration
of the Host, ^fore this service,
those not permitted to take part are
dismissed with the words, ** Ite
missa est " (vide ite) — hence, by cor-
ruption, the name ** mass." The
service up to the dismissal was called
** Mass of the catechumens," that
after it, "Mass of the faithful"
{Missa fidelum). A mass without
music is low m. ; with music high
in* The musical service is as follows :
I. The kjiie, (a) Kyrie Eleison, (b)
Christe Eleison, (c) Kyrie Eleison.
a. The gloria, or dozology, (a)
Gfatias agimus, (b) Qui tolTis, (c)
Quoniam, (d) Cum sancto spintu. 3.
The credo, (a) Et incamatus, (b)
Crndfixus, (c) Et resurrexit. 4. The
sanctus. Benedictus and Hosanna.
5. The agnus del, and Dona Nobis.
These divisions are named from the
first words of their text (which will be
found translated under the separate
heads).
The short m« is that of tne Protes-
tant Church, which uses only the kyrie
or tbs gloria.
Masses have been written in all elab-
orations from simple unison to fullest
counterpoint and to choral works in
from 8 to 32 parts with orchestral ac-
companiment. (Vide PALESTRINA in
the B. D.)
Mass (mas), G, Measure, time.
miissig (mfe'-sYkh), G. i. Moderato,
moderate(ly). 2. Asa suffix, ** appro-
priate to," as klaviermdssig^ etc.
massima (mSs'-sY-mS), 7. The ** great-
est." I. A whole note. 2. Augmented
intervals. 3. A maxim. Vide nota-
tion.
master chord. The dominant, m.
fugue. An elaborate fnga ricercata.
m. note. The leading-tone. m«*
singer. Vide meistersingbr.
Masure (mI-zoo'-r«), G., Masure(c)k
(mS.zoo'-r€k), PoL, Masnrka (mi-
zoor'-ka), G. Vide mazurka.
matachin (m&-t&-chen'), Sp* A gro-
tesque Merry Andrew dance.
mat'alan. A small Indian flute.
matassins (mil-t&s-s&fi), F. i. Ma-
tachin. 2. The dancers of it.
matelotte (m&t-ldt), F, Sailor's hom-
• pipe.
matinare (mil-tY-nS'-r£), 7. To sing
matins.
matiaata (mS-tlrn^'-tii), 7. Morning
serenade.
mat'ins. The first morning service in
the R. C. Church. Vide hoRwC
Matiltrommel (mowr-tr6m-mdl), G,
A Jew's harp. M.-t.-klavier. Me-
lodicon.
maz'im(a), L. Vide notation.
Mazourk (mft-tsoork'). Mas(o)arka
(ma-tsoor'-k^), mazur (ma-tsoor'V
Mazur'ca, Mazurek (mS-tsoo'-r£k),
Mazurka (ma-tsoor'-k& ; pi. Maaur^
ke, m&-tsoor'-k£), G. mazurka^ E,
(mH-zoor'-ka). A Polish national
dance of whimsical mood ; in triple
time with the 3d beat variously
treated.
m. d. Abbr. of Main Droite, right hand.
me. Vide tonic-sol-pa.
mean. Inner, as tenor, or alto (of
voices) ; as the dox a strings (of a vio-
lin), meanclet Tenor clef, mean*
tone sxtten. Vide tucpiramhix
19+
THE MUSICAL GUIDE
measurable. Vide mensurable.
meas'ore. i. The unit of rhythm,
corresponding to the metrical foot
and including the notes between two
bars ; each measure has one and only
one major accent. Vide time. 2.
Loosely for tempo. 3. A stately
dance as the passy m., a cinque-pace.
measure-note, the typical standard
note of a measure, as the 8th note in
3-8 time, measure-rest. Vide rest.
m^canisme (ma-k&n-ezm), F, Tech-
nic.
Mechanik (md-ka -nek), G. i. Action.
2. Machine-head. 3. The mechan-
ism of fingering and wrist-action. 4.
Technic.
mech'anism. i. Action. 2. Finger
and wrist action.
medesimo (m€-di'-sY-m5), medes'mo,
/. The same. m. tempo. The same
time, as before.
me'diail. i. Concerning the Mediant.
2. Intermediate or secondary (of ac-
cent). Vide cadence.
mediant, m^diante (ma'-dY-ftnt), F.^
mediante (m&-di-iln'-t«), G. and /.
I. The third note of the scale. 2.
One of the 3 pivotal tones of a mode,
midway between final and dominant.
mediation. Vide chant.
medius. Vide accentus eccl.
medley. A conglomerate of unrelated
and usually familiar tunes.
Meertrompete (mar-trdm-pa'-td),
Meerhom, G. Sea-trumpet.
mehr (mar), G. More. m. chdrig
(ka-rikh). For several choruses, mehr-
tach (m&r-f^h). Manifold, of an in-
terval, a canon, or a compound stop.
mehrstimmig (shtVm'-mikh). For
several voices. Mehrstimmigkeit
dnrch Brechung (klt-doorkh-br^kh-
oongk). Polyphony that consists
only of broken chords.
Meister (ml'.st«r), G, Master. M.
fuge (foo'-ge). A ricercata fugue.
M.-gesang (g^-r&ng'). Minstrel-
song. lyT-silnger (z$ng-£r), or
singer (zVng-^r). A member of the
singing guild founded at Mainz in the
14th cent, and lasting till 1839 at
Ulm. Wagner's opera describes
their strict and elaborate rules or
Tabulator. (Vide Stories of the
Operas, '* Die Meistersinger.") Meis-
terstUck (shtQk). Masterpiece.
melancolia (mi-lSn-ko-Ie'-ii), /., in6-
lancolie (ma-ldh-kd-le), F, Melan-
choly.
melange (ma-lanzh), F, A medley.
melis'ma, Gr, i. A vocal embellish-
ment or run. 2. melismat'ic ftong^.
That in which one syllable is sung
to many notes, opposed to syllabic
song.
melode (ma-lo -dd), or melodia (mi-
lo-dc'-i), /. I. Melody. 2. A stop
much like the clarabella.
melo'deon. Vide American organ.
melod'ic interval, or step. One in
which the tones are taken in succes-
sion, as opposed to harmonic, in
which they are simultaneously taken.
melo'dica. A tiny pipe-organ with
compass of 3-!' octaves, inv. 1770, by
Stein, of Augsburg.
melodico (ma-ld'-dl-k5). Cantando.
melod'icon. A key-board instr., inv.
by RifTel, in Copenhac^en, the tones
produced from tuning-forks.
melod'ics. Theory of melody.
m^lodie (ma-16-de), F. Melody, air.
m. bien sentie (bT-&n saii-te'). The
melody well accented.
m^lodieuse (ma-lod-ytlz). Melodious.
m61odieusement (m&n). Melodi-
ously.
Melodik (m«-lo'-dek), G. Vide MeijC
Dies.
melo'diograph. Melograph.
melo'dion. A key-board instr. with
range of 6 octaves inv. by Dietx, of
Emmerich, the tone produced by
tuned steel bars pressed by a rotating
cylinder.
melodio'so (m^-lo-dT-o-so), /., melo*
disch (m$-l6'-dlsh), G, Melodious.
melodista (ma-16-des'-ts), /., m^lo-
diste (ma-l6-dest), F. Melodist.
Melodistik (mMo-des'-tek). G. Melo-
dies.
melo'dium. i. American organ, s.
Alexandre organ.
DICTIONARY OF TERMS 195
mei'odrama. E., Melodram (ma'-Id-
dram), (7., m^lodrame (ma-lo^r&m),
F.^ melodramma (ma-ld-dram'-ma),
/. I. Originally opera. 2. Spoken
drama accompanied with instr. music,
hence the music accompanying action.
3. A play of sensational nature.
mel'ody. i. A tune. 2. A succession
of tones, rhythmically and symmetri-
cally arranged, as opposed to har-
mony, a combination 01 simultaneous
tones. 3. The leading part, lead*
ing m. A principal melody.
me'lc^^ph. A piano inv. 1827, which
recorded what was improvised. Many
attempts of this sort have been made,
the most successful an electric m., the
Phonaui ograph, by Fenby, of Eng-
land, recording after the manner of
telegraphy. This record cut into
cardboard is run through a key-board
attachment, the melotropey to repro-
duce the music.
mel olog^e. Recitative and music
mel'oman, Gr., m^lomane (mi'-15-
nUn), /*., MeldminiJlc, E, A pas-
sionate lover of music, me'lomanie
(mi-lo-mft-ne), F., meromany. Mu-
sic mania.
melopea (ma-15-pft'-a), /., m^lop^e
(ma-16-pi), F. The art of melody.
mel'ophare. A lantern with oiled
music paper sides for use in sere-
nades.
mel'opiano. A device inv. 1870 by
Caldera, of Turin, for giving the
piano power to increase the volume
of a sustained tone. A treadle works
small hammers acting rapidly on the
strings.
fflel'oplaste (m^r-d-pl&st). Pierre Gal-
ias*s simplified method of teaching the
mdiments by singing popular airs and
pointing the place of the notes on the
staff, and by using two metronomes
for beats and measures.
melopoea (m^-ld-pe'-ii), Gr. Art of
Composition.
Melos (ma-15s). Melody. Used by
Wagner for the melody, also the en-
tire implied harmony, the musical
idea. Vide recitative.
mel'Dtrope. Vide melograph.
meme (m€m), F. The same. 4 la m.
tempo. In the original tempo,
men (man), /. Abbr. of meno before
a vowel, men allegro. Less quick.
men^strel (ma-nis-trdl'), F. Minstrel.
Vide TROUBADOUR.
men^'trier (ma'n&-trY-i), /^ A min-
strel or rustic musician. Vide trou-
badour.
meno (ma'-n6), /. Less ; not so fast.
m. mosso. Less speed.
Mensor (m^n-zoor'), G, Measure, of
time, intervals, scale of pipes, and
sizes of instr. strings, etc.
men'sara. L. Measure, time.
men'surable, E,^ mensural (m€n-
zoo-ral'), G. The original plain-
chant was in notes of equal duration ;
in the 12th cent, the old square
notes were modified and jfiven a
** measurable *' value. The first men-
surable notes were the maxima,
longUy brevis and semibrevis ; in
1300, the minima and semiminima
were added. In the 15th cent, white
notes displaced the black, which were
chiefly used for smaller values. The
music so written, or mensurable
music, was governed by many com-
plicated laws. Vide notation.
mente (m£n'-t€). Mind, alia m« Im-
provised.
menuet (mti-noo-i'), F., Menuett
(m«n-oo-*t'), G., menuetto (ma-
noo-dt'-to), /. Minuet.
mer'ula, L. A set of pipes in water
producing a warbling tone.
me'ris, Gr. The 6th part of an oc-
tave.
mesau'lion, Gr, Symphony, ritor-
nello.
m^s'cal. A Turkish instr. of twenty-
three cane pipes, each giving three
different sounds.
mescolanza (m^s-kd-ldn'-tsi), /. A
medley.^
me'se, me' son, Gr. Vide chart of
GREEK MODES and LYRE.
me'sotonic. i. Mean-tone. Vide tem-
perament. 2. Vide LYRE,
mes'sa, /. A mass.
196
THE MUSICAL GUIDE
messa di voce (m^s'-sa dY v6'-ch£), /.
The gradual swelling and diminishing
of a tone ; to attack and swell is for-
mare il tuono (f6r.mii'-r€ el to6-o'-
nd) ; to sustain loudly is fermare 11
t. (f£r-mli'-r€) ; to diminish is finire
(fc-ne'-rt) il t.
mettanza (m£s-sSn'-ts&), /. Quodli-
bet (q. v.).
messe (mis), F., Metse (mis'-s£), G.
A 'mass.
mf'stl^Arab, "Measure.** TheAra-
bian method of reckoning intervals,
the lower notes receiving greater
values than the higher because the
vibrating portion of the string which
produces them is longer.
mesto (mas'-to), /. Melancholy, mes-
to'so. Sad.
mesure (mii-zUr'), F. Measure. & la
m. In time. m. k deux temps (dd
XSA). Common time. m. k trois
tempt (trw£ tSA), Triple time. m.
demi (d*me). Half measure.
met. Abbr. of Metronome.
metal (ma-t&l'), Sp, Strength, compass
of the voice.
meUUico (m^-talMl-kd), /. (Of a voice)
** metallic'* in a good sense, clear,
ringing, hence metal'lo, "metal."
metamor'phoses. Variations.
meter, or metre, £., m^tre (m€tr), F,
In music as in verse, the arrange-
ment of rhythmic units, or measures.
The m. of hymns is classified by the
number of syllables to a line, the met-
rical foot and the number of lines to a
stanza. In Iambic m. are common
m. (C. M.), 4 lines alternately 8 and
6 syllables lons^; common partic-
ular, or hallelujah m. (C. P. M.),
886886 ; longm. (L. M.), 4 lines of 8
syllables; long particular m. (L.
P. M.), or long m. six lines, 6
lines of 8 ; short m. (S. M.), 6686 ;
short particular m. (S. P. M.,),
668668 ; stanzas of 8 lines are called
double (C. M. D. ; L. M. D. ; S. M.
D.). Other line-lengths are sevens
and sizes (7676), tens (four io*s),
hallelujah (666688, or 66664444).
In trochaic m. are sixes (four 6*s),
sixes and fives (6565), sevens
(four 7*s), eis^hts and sevens (8787).
In Dactylic m. are eights, eights,
sevens and fours, etc. ; elevens
(four ii*s), and elevens and tens
(11, 10, II, 10), etc. Classic and
French metres depend on quantity
or length of syllables, instead of on
their stress or accentuation as with
us. Vide FOOT.
method, £., mdthode (ma-tod), 7^,
metodo (ma -to-do), /. A course of
instruction ; classification ; system.
Metrik (mat'-rek), G, Metrical art.
metrisch (m£t'-rlsh). Metrical.
metro (ma -tro), /. and Sp. Metre.
Metrometer (m£-tr5-ma'-t^r), G., in6-
trom^tre (ma-tr6-m€tr), F., metro-
metro (ma-trd-ma-tro), /. Metro-
nome.
met'ronome, E., Metronom (mi-
tro-nom), (7., metronome (ma-tr5-
niim), /*., metronomo (ma-tro^no-
m6), /. A pendulum worked by
clock-work, and weighted below ; pro-
vided with a movable slide, and so
graduated that its rate of vibration
per minute can be fixed by the slider ;
with the slider at 60 it beats 60 times
a minute, etc. It moves with an au-
dible click ; the bell-metronome has
also a bell which rings every third or
fourth, etc., beat. Perfected by Win-
kel it was put on the market by
Maelzel (vide B. D.), and is called
MaelzePs metronome(abbr. M.M.).
It is useful as a composer*s indica-
tion of the standard time of a compo-
sition ; hence the metronome-mark,
thus M. M. J -90, means a rate for
quarter notes equal to 90 per minute,
as indicated by the slider set at 90.
It is used also to beat time for stu-
dents. It is made also in watch-
form as a pocket m.
met' rum, L. Metre.
Mettc (met'-t«), G. Matins.
metter la voce, /. Same as messa di
voce.
mettere in musica (m£t'-t£-r$ ¥n moo'-
zl-ka), /. To set to music.
mettez (m^t-ta). F. " Draw (a stop)."
mettre d'accord (m^tr d^-kor), F,
To tune. m. en musique (S£i-ma-
DICTIONARY OF TERMS 197
zek). To set to music, m. en r6-
p6titioii (ra-pa.tes'-y6n). To put in
rehearsal.
met'zilloth, metziUtheim^ Heb, Cym-
bals.
Abbr. of Mezzo.
(mW-z6), /. Medium, half.
m. aria. Vide aria parlante. m.
bravura. Moderate difficulty, m.
forza (f6r'-tsa). Moderately loud.
in. manica (ma -nY-ka). The half,
shift, mezzana (mdd-za -nil). Middle
string of a lute. m. orchestra. Half
the string-band. m. voce (v6'-ch€),
/. Half the voice, with moderate
tone. m. forte (for'-td). Moderately
loud. m. piano (pl-&'-no), /. Rather
soft. m. soprano. A voice lower
than soprano, higher than contralto.
mezzo soprano clefl The C clef on
the second line, in old church-music
or madrigals. The treble, or soprano,
clef now supplies its place, m. stac-
cato. A little detached, m. teno're.
A low tenor voice, nearly barytone, m.
tnono (too-o'-no), /. A semi- tone.
m« 1 Abbr. of mezzo forte.
m« g^. Abbr. of main gauche i)A{X
hand).
mi (me), /. and F. i. The note E.
mi b(6mol (ba -mol). £ Hat. mi
difese (dl-^z'). The note E sharp.
2. Vide SOLMISATION. 3. The 3d
of the scale, mi contra fa est diabo-
lus in musica^ " mi against fa is the
devil in music,'' was the mediaeval ob-
jurgation against the tritone (q. v.),
mi being B natural in the hard hexa-
chord, fa being F in the natural
hexachord. mi-re-ut. Vide octave.
mi'crophone. An instr. for the mag-
nifying of sounds.
mid- c, or middle c. c (vide pitch),
because it is in the centre of the piano
and between the treble and bass
staves.
middle voices. Tenor and alto.
mig^on (men-y6n), F, i. Favourite,
pet. 2. Delicate.
militaire (mll-Y-t&r), F,, militare (me-
II.tr-r<^), /., militairement (mll-I-
t&r'-m&n), /\., militarmen'te, /.
Martial(ly).
Milit&rmnsik (mi-lY-tir^-moo-z^k).
Military band or music.
military band. An orchestra for out-
of-doors, substituting for stringed
instrs. additional and more powerful
clarinets, and using saxophones, cor-
nets, etc., freely.
milote (me.ld'.t«), Sp, An Indian
dance.
mi'modrama, £., mimodrame (md-
m5-drim'), F, Pantomime.
minacciando (me-nIt-chSn'-d5), min-
accievole (cha'-v5-l£), minaccio'so,
minaccie'volmente, minaccio'sa-
mente. Threatening(ly).
minag^ghinim (ml-nHngd'-gY-nYm),
Heb, A table over which was stretched
an iron chain and a hempen cord
through balls of wood or brass ; strik-
ing against the table they made a
ringing sound.
minder (mYnt'-£r), G. Minor, less.
mineur (me-nttr'), F, Minor.
minim, minima (me'-nY-ma), /., min-
ime (mYn-em'), F. A half-note. Vide
NOTATION.
Minnedichter (mYn'-nS-dYkh'-tJ^r), M.-
silnger (z£ng-$r), M.-singer (zYng-
«r), G, From the 12th to the 14th
century a German troubadour of
noble birth celebrating pure love in
song (Minne-gesang). The sing-
ers wrote both words and music, sing-
ing and playing on the arpanetta or
the viol. Their festivals of contest
are reproduced in Wagner's **Tann-
hSuser.** They were less formulaic
than their successor the ** Meister-
singer." In the opera of the latter
name, Wagner (vide '* Stories of the
Operas " in this book) shows Walter
the Minnesinger in conflict with the
dogmas of the Meistersinger.
mi'nor, E,, minore (me-no-rS), /.
"Smaller," of intervals, etc., as op-
posed to major. Vide interval, ma-
jor, MODE, SCALE, m. tone. The
lesser whole tone, 10:9. m. triad.
One with minor 3d and perfect 5th.
min'strels. Singers, usually of a servile
or vagabond class, sometimes acting
as attendants on the trouv^res and
troubadours (q. v.), and generally play-
198
THE MUSICAL GUIDE
^^^■BKi*^'^"
ing the rebec, nerro bl One who
gives an imitation (usually remote) of
the songs, dances, etc., of the Amer-
ican negro.
minae (me-noo4L'), Sp, A minuet.
miniiet (mYn-u-^t),^., minuetto (me-
noo-dt'-to), /. A stately and delib-
erate dance (originating probably in
Poitou in the 17th centunr) in triple
time, with gallant and amorous
spirit. As one of the most important
music-forms, it contains usually a
principal subject and a trio each in
contrasted sections. Appearing first
as a movement in the suite and par-
tita it became a part of the sonata and
symphony, Beethoven substituting for
it the Scherzo, and Tchaikovsky, in
one case, a Viennese waltz, minuet*
tina (te'na^, /. A little minuet.
miracle, miracle-play. Vide mys-
tery.
mi-re-ut. Vide octave.
miscel'la, L. Mixture-stop.
mise de voiz (mez-dii-vw&). Vide mes-
SA DI VOCE.
miserere (mc-z^-ra'-r<5), L. First word
of Psalm L I. beginning miserere mei»
domiae, ** Pity me. Lord." Hence
a setting of this Psalm sung in the
R. C. service for the dead, and dur-
ing Holy Week.
misericordia (me'-za-rY-k6r'-dY-a), Z.
A miserere.
misk'in. A little bagpipe.
mis'sa, Z. and /. A mass (q. v.).
m. brevis. Short mass. m. can'on-
ica. A canonical mass. m. cantata.
Chanted mass. m. pro defimc'tis.
"Mass for the dead." Requiem.
m. solen'nis. High mass.
mis' sal, A., missa'le, £., Missel
(mis'-sdl), G. The mass-book contain-
ing the forms of the year.
misshiiUig, or missnellig (mYs-h^K-
lYkh), G. Discordant. Misshallig-
kett (kit). Dissonance. Missklang
(kUng). Discord. missklingen
(mYs -klYng-^n), misslauten (low-
tdn). To be discordant. Misslaut
(lowt). Discordant sound. Miss-
lautead (low-tdnt). Dissonant, dis-
cordant, misstimmen (shtlm'-m€n).
To put out of tune.
misterio (mYs-ta'-rY-o), mistero (mls-
ta'-ro), /. Mystery, misterio'so,
misteriosamen'te. Mysteriously).
mistichanza (mes-tY-kan'-tsa), /.
Quodlibet (q. v.).
mis' to, Gr. Mixed. Vide modes.
misura (me-soo'-ra), 7. Measure, mis-
nrato (me-soo-rft'-to), /. In strict
time.
mit (mYt), G. With, by.
Mitklang (mYt'-kltog), G, Resonance,
mitklingende Tdne (mYt'-kllng-
€nt-€ ta'-n5). Overtones.
Mitlaut (mYt'-lowt), C. Mitlauter
(mYt'-low-ter). Concord, consonance,
mitlauten. To sound with.
mltleidsvoll (mYt'-Uts-fol), G. Compas-
sionate.
Mittel (mYt'-t^l), G. Middle, half,
mittel c. (tsa). Middle C. Mittel-
kadenz (ka-ddnts). A half-cadence.
Vide CADENCE. Mittel-laut (lowt).
Middle sound, mittelmilssig^. In-
different. M.-stimme (shtlm'-m^).
Inner part.
mixed. Vide cadence, m. canon.
Vide CANON, m. chorus, etc. One
with both male and female voices, m.
in organ, the mixture-stops.
mix'olydian. Vide modes.
mixture, £,, mixtu'ra, Z., Mixtur
(mex-toor'), G. A compound flue-
stop consisting of 2 to 6 ranks of
pipes, giving 2 to 6 harmonics of any
tone. The m. is auxiliary only,
usually sounding only the octave and
the fifth, and aiming to brighten the
foundation-stO{>s. Ancient m.'s had
from 8 to 24 ranks, the result doubt-
less being atrocious discord.
mobile (mo'-bY-ld), 7. Facile, impul-
sive, fickle.
moderato (mo-d^-ra'-to), /. Moderate,
in time. moderatis'simo, or m.
assai (as-sa'-e). In very moderate
time, moderamen'te. Moderately,
moderanza (ran'-tsii), moderazione
(ra-tsY-6'-n€). Moderation.
modema, alia {HI' AH mo-d^r'-nS), /.
In the modem style.
DICTIONARY OF TERMS 199
Modes.
Br THE Editor.
PERHAPS the most graphic definition of modes to the modern mind
would be :— overlapping portions of the C major scale : or succes-
sive octave-stretches along the white keys of the pianoforte. Eccle-
siastical modes were the Middle Age perversion of the Greek Modes. While
overthrown by Nineteenth Century scales and tonality, traces of their
influence persevere, and many of the old chants still in use in the Roman
Catholic and Anglican services are more or less exact specimens of the
capabilities of the modes. The Twenty-first Century will probably qualify
and develop our own system of keys out of shape and recognition. The
complete overthrow of the ideas of tonality and modulation of me earlier part
of the Twentieth Century is indeed even now beginning. We are already
over the doorsill of the nullitonic or omnitonic harmonies, and the multitude
of accidental sharps and flats and naturals required to notate the highly
chromatic music of our day renders mevitable some radical change in the
system of keys ; meanwhile, the obsolete modal systems have at least a keen
Idstorical interest and importance. There is place here for only an allusion
to a few of the salient points. Full statement of the detaiU and the contro-
versies on them would fill a large library. ^Though the Greeks properly
gave music a very high place m thdr educational system, they were too
much engrossed in theories, rules, and restrictions to build up large material.
Their musical resources were of the slenderest. While their noble tragedies
were exactly Wagner's idea of opera, the music to which they were set
seems to have been of the most limited range and variety ; and furthermore,
absolutely lacking in harmony even in the Middle Age sense. ^Thc Greek
system differs from ours in being all of a minor tendency, in having the
notes named downwards, and in paying attention only to melody and not at
all to chords. The white piano keys from e' (just above middle C) to the
E an octave below, represent their oldest and central mode, the Dorian. By
remembering that all these steps are whole tones except the two semitones
fit>m c' to b and F to E, and by representing a whole step by a ( -h ) and a
half step by a ( — ), it will be seen that this Dorian mode descends by the
following steps, -f H h H — • These make two similar groups of three
steps or four notes, which were called tetrachords. The word chord with
them meant ** string " not ** harmony,** for their whole music took its rise
from their lyre, a stiff and limited, unfretted instrument of many poetical
assodations but stinted in practical possibilities. The pattern of tetrachord
( -f H — ) mto which this Dorian mode divided was called the Dorian tetra-
dOO
THE MUSICAL GUIDE
Chart of the Greek Modes.
S a
J3 ■*-•
« « • « j2
0) a "d c .^
•S II I II 2
llli'gll
^ CI <^ -S V
< w ■ i2 i^ ^
»^ 4> r^ K» ^5l
u
O
a
o
a
S
6
a
o
J3
U
4
op
o'H
•£«
^«
•a tfi
•- 2
o-c
a
3"
a>
eS
c"0
•0.5
ca-J
u -
05 H
a -o
o o
•d a
o o
2 y
0)
a
a
u
V
2i «
>5
a;
a
0U
4)
4>
C
rj
nt
0,
C *-*
oJi
ll
O en
4)
V
e
2
^
s
o
a
01
c8
10
o
c
a
cS
0.
«8
a
o
c
E
o
c
ce
j3
E
J2
o
«• 4-.r' 4- /"* - ^' + ^' + <^* + ^
+ .r+/-^ + ^ + r- ^+.4
++ +
-f 6. Hyper- Phrygian (or Locrian) a^-a.
Hypo-phrygian (or Ionian)^' -^.
— H- + —
I. Dorian (<•'-<?)(- Hypo- 4- 4.
mixo-lydian).
H yi>er-lydian (^' -g-).
_4- -H +•!• 9- Hypo-lydian (/'./).
4* + H- -+- —
2. Phrygian id^-d). 4. —
3. Lydian(ir •-<:). — -|- -+- + + + +
4. Mixo-lydian (^-^). «Z« -|- 4-4- — 4_4_ —
5. (iEolian or) Hypo-dorian (a-^). -1-4- — 4- 4.
The whoU sUps are indicated by -h , the half -steps by — ; the Diaztuxis
is indicated by tf$.
DICTIONARY OF TERMS 201
chord. They superimposed on the top note e^ a dmilar tetrachord of the tones
•', g', r, e, tnd added below another e, d, c, B. To these they added the
low A as a supplementary (in Greek proslambanomenos). The outer couples
of tetrachords overlap. Between the middle two is an imaginary line of sep-
aration {iiaxeuxis). Each of these was therefore a " disjunct " {diazeng-
mnum) tetrachord. The "complete system " (^systema teleion) of two octaves
(a' down to A) was divided thus into four tetrachords, each of them given
the name which (with its English translation) is shown in the chart here-
with. For purposes of moduladon they laid across the middle of this system
an ovokpping or ** conjunct ** (^synemmenon) tetrachord in which the b was
Battened, d', c', bfe, a (-+- H — ). ^The octave from e' down to E was,
as already stated, called the Dorian mode. Other pordons ai the system a
were given other names, d to D being called the Phrygian, d to Q the
LydidH, and b to B the Mixo-Lydian, ^They conceived a way of extend-
ing these octaves by duplicatmg one of the tetrachords below (in Greek
** hyfo^*). Thus, if the upper tetrachord (e' to a) of the Dorian mode
be transforred an octave below, and fastened to the lower tetrachord, we
shall no longer have e', d', c', b, a, g, f, e, ( -|- H f- H — ) but a, g,
f, e, d, c, B, A, which also is -\- '\ 1- H — > with the added step 4-
(frosiambanomenos). This is called the Hypo- Dorian mode. ^The Phryg-
ian, Lydian, and Mixo-Lydian modes do not descend by the same whole
and half steps as the Dorian, but as follows : Phrygian (H-— + -f-| h)>
Lydian (—+ + — + + —), Mixo-Lydian (+ + + _-f -f —). It will
be found, however, that these modes are capable of the same ^j^^^-treatment,
thus making two more modes. Hypo- Phrygian and Hypo- Lydian , — for the
Mixo-Lydian (b to B) being too low to add a tetrachord beneath, it is
added above, giving ^ to /, which is identical with the Dorian. The
principal note (jonic) of the regular modes was the top note. Each hypo-
mode kept for its chief note the chief note of the original (or its octave).
The names and ranges of these seven modes with two others added later are
shown in the chart, which shows also the names (and their translations) given
each note and each tetrachord. ^With this system as a foundation and
with the use of the conjunct tetrachord and its b flat as an entering wedge,
the Greeks gradually added several notes above and below their systema, and
inserted half steps between the foil steps unnl they acquired a complete
chromadc scale on which they transposed their scales with much melodic
freedom. Harmony, of course, they did not have. These transposed scales
were not named like the original modes from their chief notes, but were
given the name of the scale whose steps they resembled. By making use of
the -f and ^ , or other signs for indicadng half or whole steps, it is easy to
I^ oat the steps of any scale and find its prototype and its name in the
202 THE MUSICAL GUIDE
original modes. ^The Greek notation was by letters and symbols. It is
too complicated to explain here. ^A method of manipulating their scale
melodically may be mentioned. The tetrachords as described were called
diatonic, but in the Dorian e, d, c, b, if the d were omitted, the tetrachord
became e — c, b, and was called the older enharmonic. A later plan was to
keep the d, but lower it by half a tone (that is, to tune the d string to c
sharp), nuking the four strings e, c){, c, b. This was the chromatic genas.
A still later plan, called the netaer enharmonic, was to tune the d to a pure
third with the e, making the tetrachord e, c, c, b ; the two c strings differ-
ing slightly in tone (see the word comma). ^This group of three tones, c,
c, b, or c5, c, b, was the pyknon (plurad pykna). Other variations m the
treatment wece called chroai (colourings). Definite melodies were given
definite names, a melody being a nomos (i. e., arrangement, order, or set-
ting). ^(Jpon this fiilse, but elaborate, system, enormous ingenuity was
spent, and appalling complexity and scholarship of a kind were made possible,
to the delight of the typical theorist. In respect of melody the Greek modes
offered far more freedom than the church modes, which, however, possessed
the modern invention of harmony.
ECCLESIASTICAL MODES.
Music, along with all the other early Christian arts, borrowed largely
from the Greeks, but rejected theu- warmth and ornate sophistication for a
stark rigidity. ^Early church musicians took the Greek modes as best they
could understand them, making as many mistakes as was usual in the de-
generate classicism of those times. The Byzantine school perverted Greek
music and passed it along, as it had done with painting and architecture.
The range and the chromatic graces of later Greek melody were deserted for
a heavy march through one octave of one key. Furthermore, the scale was
considered now as ascending, instead of descending. %^t' Ambrose is tra-
ditionally credited with establishing four modes for church music. From
these St. Gregory was believed to have derived four new modes. The
original four are called Authentic, i. c., "governing," or "chief." The
latter four are called Piagai, i. e., "oblique" or "inferior." To these
were added other modes, some of them being denied a right to exist. As
with all the old Greek modes, all the church modes are to be found on the
white keys of the piano ; no chromatic was allowed except, finally, b flat,
which was admitted to avoid the forbidden tricone and the diminished fifth.
A melody that did not stray out of its octave mode was called perfect / one
that did not use all of its range was imperfect ; one that overstepped iu
octave was superfluous; one that used up both a mode and its plagal was in a
mixed mode. ^ Greek names were used for the church modes, but with
DICTIONARY OF TERMS J03
AUTHENTIC MODES,
MODI AUTHENTIC!.
not* or Aaalls of both.
tolbot
PLAGAL MODES,
MODI PLAGALBS.
3 I
204
THE MUSICAL GUIDE
many differences from the old nomenclature. ^An authendc mode is based
on its Final or lowest note ; the next most important note, usuaUy a fifth or
a third above, is its dominant, A plagal mode u found a fourth below its
authendc, and the final of the authendc serves also for the plagal. Xhe
dominant of a plagal is a tlurd below tha( of iu authendc (save where it fidls
on b, in which case c is used). ^Curiously enough, the two modem keys
which we think of as white keys, c major and a minor, were not added until the
sixteenth century, and then as the Ionian and iEolian modes. ^F^^^^
many impressive hymns the church modes have been unconsciously allowed
to fit many popular modem tunes. It is not hard to test the mode-ship of
any air. First, if necessary, bring the melody into a range requiring no key-
signature. If it now contains any accidentals save b flat, it is not in any of
the modes. Otherwise note the tone on which the air ends. Thb will be
the final of its mode. If this is the lowest, or almost the lowest note used,
and if the melody does not soar higher than an octave above it, the air is in an
authentic mode. If the final is in approximately the centre of the melodic
range, and if the range does not exceed the fifth above, or the fourth below,
it is in a plagal mode, or it may be in a mixeJ mode. The name of the
final indicates the mode. The airs ** God save the King" (or ** America**)
and the '* Blue Bells of Scodand ** are authentic melodies. The *« Old
looth*' and *' Eileen Aroon** zxt plagal, *'Jock o* Hazeldean " is in a
mixed mode, ^Much of the music in the old church modes is as shocking
to the modem sense of tonality as our modern music would seem anarchistic
to an old master. Superb treasures were given to immortality in those stiff
and arbitrary forms. Yet, after all, the modes deserve their eternal obsolete-
ness. They were unsatisfactory and arbitrary in their own day. They arc
hopelessly inappropriate to the modem musical ideas and ideals. The ma-
jesdc beaudes of some of their results are but as the impressive fossils of earlier
evolution. Their fate should wam us against stolid sadsfaction with our
own musical system.
modesto ^md-d&s'-to), modettamente.
Modest(ly).
mod'ificatioji. Temperament (q. v.).
modificazioni (mo-de-fl-kii-tsY-d'-ne),
/., pi. Slight alterations.
modinha (m5-d€n'.a), Port. A short
song.
mod. Abbr. of Moderate.
modo (mS'-do), /. and Sp. Mode, scale.
style.
moato. Abbr. of Moderato.
modolare (mo-do-la'-r€), modulare
(mo-doo-la'-r^, /. To modulate,
modulan'te. Moduladnz.
nuHfulate^ E., moduler (mdd-a-la), F.
To effect a modulation.
modula'tion. i. .Change of key, to-
nality, or mode (usually to a relat-
ed key by means of chords on the
dominant of the new major, or on the
leading-tone of the new minor key).
The m. may be transient, transi-
tory, or passing, when it leads to
still a third key or back to the first ;
SB
DICTIONARY OF TERMS 205
it may be final when it establishes a
new tonality, enharmonic m. is that
by means of enharmonic (q. v.)
cnani^ of notation. 2. Obsolete,
Melodic, or rhythmic measurement,
inflection.
modtila'tor. Vide tonic-sol-pa.
modnlatore (mo-doo-lA^t5'-r£), /. i.
Siiu[er. 2. Tuner.
nodmazione (m5-doo-UUtsI-d'-n£), /.
Modulation.
nodoliren (md-doo-l^'-r^n), G, To
modulate.
mo'dns, L. Key, mode, scale.
mdslich (makh'-llkh), G. Possible.
so rasch wie m« (zd-rSsh-ve). As
fast as possible.
mohinda (mo-en'-da). A short Portu-
guese love-song.
Mohrentans (md-r£n-tAnts), G» Mo-
risco.
moins (mwS&), F, Less.
moU (m6n, G, Minor. Mollakkord,
or Molldfeiklang, Minor chord or
triad, etc.
moUa (mdr-U), /. A key (of the flute),
etc.
flu^'le, Z. Soft. I. Vide **b." 2.
Used of the hexachord f-d in which
b flat was substituted for the older
b natural. 3. Minor.
moUe (mdl), F, Soft, delicate.
moUemente (mdl-l^-m^n'-tQ, /. Softly,
gently.
mol'lis, Z. Vide molle.
Molltonait (m6r-t5n-&rt), G, Minor
key. MoUtonldter (tl-t^r). Minor
scale.
moltisonante (m51-te-sd-nin'-t£), /.
Resounding, very sonorous.
molto (mdl'-to), /. Much, very, di m.
Extremely, m. adagio. Very slow,
m. allegro. Very quick, etc.
fliomen'ttiliim» Z. A i6th rest. *
OMMnen'tiim, Z. An 8th rest.
Bonao'los, Gr, An ancient beak-
flute.
monocordo (mo.n&-k6r'-d5),Z, mon'-
ocbord, E,y monochorde (mdn-5-
kdrd), F. I. An instr. of one string
with a movable bridge, for determin-
ing intervals and pitch. 2. Marine
trumpet. 3. A clavichord. 4. A
German i-stringed zither with fretted
fingei>board and resonance-box. 5.
a monocordo = " on one string,'*
i. e., with the soft (or monochord)
pedal down.
monferina (mdn-f^-re'-nfi), 7. Lively
dance in 6-8 time.
monodia (m6-n5-de'-a), /., Monodie
(mdn-o-de), F. and G. Monody.
monod'ic. For one voice ; or with one
voice predominant.
monodra'ma, monodrame (dr&m). A
musical drama with only one actor.
mon'ody. Homophony.
monophon'ic. Homophonic.
monoph'onons. Producing but one
tone, as the drum.
mon'otone. i. Uniformity of sound.
2. Recitation on one tone.
Monotonie (mo-n6-td-ne'), G. Monot-
ony.
monot'onons. Monophonous ; lack-
ing variety.
montant (m6n-tiih), F, Ascending.
monter (m6n-ti), F. i. To string. 2,
To tune. 3. To put an instr. to-
gether. 4. To ascend.
montre (mdntr), F. The pipes (usu-
ally the diapason) erected and
** shown " at the front of the organ.
Moor'ish drum. A tambourine.
Moralitiiten (m5riU-Y-ta'.t$n), G., mo-
raliUs (m6-r&l-Y.ta ), F., moralities,
E. Allegorical moral plavs of the
middle ages, a later form of the mys-
teries.
morbidezza (mdr-bl-d^'-zfi), /. Lux-
urious delicacy.
morceau (m6r-s6), F. A ** piece."
I. A short composition. 2. A phrase.
m. d'ensemble (d£n-s^hbl). A piece
harmonised for voices, m. de genre
(dii zhShr). Characteristic piece.
mordant (mor-dsUi), F, A trilled
grace (q. v.).
mor'dent,^., Mordent', (7., mordent e
(m6r-d^n'-t^), /. A grace (q. v.), hng,
shorty or inverted,
moren'do, moriente (m5-ry-ln'-tS), I.
Dying away ; diminishing in volume
and speed.
2o6
THE MUSICAL GUIDE
moretCA (in6-r€s'-k&), /., moresque
(m6-rj^), F» Moorish dance with
Jingling anklets and clashing swords.
iBors^engetang (m6r'gen-g£-z&ng),
If.-lied (let), G, Morning song. fit.
-sUndchen (sht£nt'-khdn). Morn-
inf^ serenade.
monsco (m6-res'-kd), /. Moorish. Vide
MOKBSCA.
mo'risk. Morris-dance.
Bormoramen'to, /. A murmur, mor-
morando (ran'-do), mormorevole
(ri'.v5-l£). mormoro'so. Gently
murmuring.
monice-dance, morris-dance, mor-
riske-dance. An English country-
dance of supposedly Moorish origin
in 4-4 time, the dancers wearing
ankle-bells and grotesque costumes.
mort (in F, mdr). A tune at **the
death ** of the game.
mosso (mos'-so). /. ** Moved," rapid.
molto HI. Very fast, meno m.
Less fast, etc.
mottra (mos'-trS), /. A direct.
mot (md>, F, A note or strain on the
bugle.
motct(t). ^., Motette (m5-tet'-t«). C7..
motet (md-t&), /*., motet to, /. i.
An almost always unaccompanied vo-
cal composition contrapuntally devel-
oped, and using biblicaltext ; a sacred
madrigal 2. Loosely, an anthem.
mote'tas, L. i. A motet. 2. An
obscure mediaeval term.
motif (mo-tef), F. Motive, subject.
motion. Progression, i. Of a single
part bv degrees (conjunct m.), or by
skip (disjunct m.). 2. Of two parts
relatively considered ; contrary or
opposite if one ascends as the other
descends; oblique, if one is sta-
tionarv while the other progresses;
parallel or consecutive, if both
move in the same direction by the
same interval ; similar, if both move
in the same direction by unequal in-
tervals (the latter terms are loosely
used as synonymous); mixed, if, in
the case of several parts, two of the
above motions occur simultaneously
between different parts. 3. perpet-
ual m. Vide perpetual. 4. polae-
motion. That in which the prevail-
ing tone-length is that of the standard
note of the measure, as \ notes pre-
dominating in 3-2 time ; half-pulse,
that in which the prevailing motion is
in notes of half the pulse- value, as ^
notes in 3-2 time, etc. 5. eighth-note
motion. That in which the prevailing
entrances of tones fall uniformly On
eighth notes.
motive, E.^ Motiv (mo-tef), (7., mo-
tivo (mo-te'-vo), /. i. Theme, sub-
ject, a brief phrase or figure. 2. Vide
LEADING-MOTIVE. 3. In Form, a
measure, measure-m. One whose
accent is that of the measure.
moto (mo -to), /. i. Motion (q. v.).
2. Speed, con moto. With motion,
rather fast. m. contrario (kon-tra -
lY-o). Contrary motion, m. mis'to.
Mixed motion, m. obliquo (6I>.
le'-kwo). Oblique motion, m. ret -
to. Parallel motion, m. perpet'uo.
Vide PERPETUAL, m. precidente
(pri-chY-d£n'-tQ. The same time as
the preceding movement, m. primo
(pre -md). The same time as the first.
motteggiando (m6t-t£d-jan'-d6), /.
Mocking(ly), jocose(ly).
mottetto (m6t-t€t'-t6), /. Motet.
mo'tus, L. I. Motion (q. v.). 2. Move-
ment, m. contrarius. Contrary
motion, m. obliquus. Oblique mo-
tion.
mouth. The openings in the front of a
pipe, m.-harmonica, or m. or^an.
I. Vide HARMONICA. 2. Pan's pipes.
mouth'piece. The part of a wind-
instr. applied to the lips.
mouvement (moov-mah), /*., movi-
men to, /. i. Motion. 2. Move-
ment, m. de Tarchet (da-lir'-sha),
• F. Bowing, bien mouvement^
(b'y&h moov-man-ta). Rhythmically
elegant ; well regulated.
movement, i. Rate of speed. 2.
Style of rhythm, as wa/Zi-m. 3. A
major division of a composition, hav-
ing a certain integrity in itself, as the
slow or the 2d m. of a symphony
etc.
DICTIONARY OF TERMS 207
m. p. Abbr. of Mezzo-piano.
m. s. Abbr. of Mano Sinistra (1^^^
hand).
mnance (mQ-ifis). F. A change or
Yariation of note. Vide mutation
(2).
mne (mQ). F. See mutation.
mnet (mQ-a). F, Mute.
Mond (moont), G. Mouth. M. har-
monika. Mouth-harmonica. Vide
HARMONICA. M.-loch (lokh). Mouth
of a pipe. M. stUck (shtQk). Mouth-
piece.
mn&eira (moon-ya-e'-ra), Sp, A mod-
erately fast Galician dance, in 2-4
time, beginning on the unaccented
beat, with the strong beat in casta-
net-rhythm.
mnnter fmoon'-t5r) , G, Lively, spright-
ly. Munterkeit (kit). Vivacity.
murk' J. Used of a harpsichord comp.
having a bass in broken octaves
(called murky-bass).
nmrmelii (moor'-mSln), G. To mur-
mur, mnrmelnd (moor'melAt). Mur-
muring.
llns. Bac. Abbr. of Bachelor (q. v.)
of Music.
llus. Doc. Abbr. of Doctor (q. v.) of
Music.
nrase (muz), i. One of the nine gfod-
desses of art. 2. The muzzle or tube
of a bagpipe.
mnsetta (moo-z£t'-t§), /., musette (in
E, mu-zet'. in F. mQ-z^t). i. A
small, imperfect oboe. 2. A bag-
pipe with bellows. 3. Hence, a short
pastoral dance-tune (often part of the
(Gavotte) in duple or triple time with
a drone-bass. 4. A reed-stop.
musica (moo'-zl-ks), L. and /. Music.
OL da camera (da ka'-m£-ra). Cham-
ber-music, m. da teatro (ta-il'-trd).
Dramatic music, m. di g^t'ti.
"Cat-music." Vide charivari, m.
plana. Plain-chant.
nmsicale (moo-zT-ka'-l^), musical-
men' te, /. Musical(ly).
nmsicale (mu'-zT-k&l). An *' at home "
concert.
music-box. A box containing an au-
tomatic musical instr. The Swiss
m. b. has a steel comb of graduated
teeth set in vibration by small pegs in
a revolving cylinder.
music-drama. An opera (particularly
of the Wagnerian school) in which
the text and the action determine
the music, and are not interrupted by
set arias, duets, etc.
musicien (mO-zes'-ysin), /*. Musician.
musicista (moo-zI-che'-stS), /. Musi-
cian.
musico (moo'-zY-ko), /. i. Musician.
2. A male soprano, particularly a
eunuch.
musicone (moo-zI-k5'-n£), /. A great
musician.
music-pen. i. A 5-pointed pen for
ruling the staff. 2. A broad-pointed
pen for writing music.
music-recorder. A melograph.
music-timekeeper. An English instr.
enabling a performer to keep time.
Musik (moo-zek), G. Music. Mu-
siker(moo'-zY-k£r). Mnsikus (koos').
A musician. Mnsikalien (kaU'-Y-dn).
Trade name for compositions. Mu-
sikant (moo-zY-kint ). A vagabond
musician. M.-fest. A musical festival.
Mttsiic'bande, or Musikanten-
bande (b&n-de). A band of strolling
musicians. Musik'diktilt (dek-tat).
Vide dictation. M.-direktor. Con-
ductor. M.-lehrer (la -rdr). Music-
teacher. M.-meister (m!-sht$r).
Bandmaster. M.-probe (pro'-b^).
Rehearsal. M.-verein (f£-rfn). A
musical society. M.-zeituns^ (tsi-
toongk). A musical periodical.
musique (mU-z€k'), F., Music, m.
d'^glise (da-glez). Church-music.
musiquette (ma-zi-k^t). i. A short
composition. 2. Light music.
muta (moo'-ta). *' Change ! ** A di-
rection in scores to change the crooks
or tuning of an instr. in preparation
for a change of key.
mutation, £. (in F, mtt-tas'-y6n),
mutazione (moo-tii-tsY-5'-n£), /. i.
The transformation of the male voice
at puberty (in F, mue (mU)). 2. Vide
SOLMISATION. 3. Shifting. 4. As
prefix^ used of all tierce, quint, etc.,
2o8
THE MUSICAL GUIDE
stops not producing the unison or
octave of the foundation-stop.
mute. A device for muffling tone ; in
string-instrs. a clamp of brass, wood
or ivory placed on the bridge and
deadening the resonance; in wind-
instrs. a pear-shaped leather pad, a
cylinder of perforated wood or a
pasteboard cone introduced into the
beU.
mut(h)ig(moo'-tYkh), G. Courageous,
spirited.
muthwillig; (moot'-vlMikh), G, Mis-
chievous.
Muternng^ (moo'-t£-roongk), G, Mu-
tation, I.
myst^res (mts-tir), F., Mysterien
(me-3ta-r»-«n). C7., mysteries, E.
Mediaeval sacred dramas dealing with
the Last Judgment and other myster-
ies, as the moralities dealt with alle-
gorical virtues and vices, and miracle-
^lays with the miracles of Christ.
The idea persists in the Passion Play
dealing with Christ's sufferings. In
these dramas, often accompanied with
music, oratorio had its beginning.
N
NABLA (nfi'-bU), lleb. The
nebel.
nacaire (na-Idlr), F., nacara
(nil-k&'-ra), /. An obs.
kettledrum.
naccara (n&k-kft'-ra), nacchera (n&k-
ka'-ra), /. Kettledrum.
nach (nakh), G, After ; according to.
Nach'ahman^ (sl-moongk). Imita-
tion, nach Belieben (b£-Ieb'n). Ad
libitum. Nachdnick (drook). Em-
phasis, accent, nachdrilcklicii (drilk-
Hkh), nachdnicksToU (drooks'f61).
Emphatic. iiachg^(e)biger (ge'-blkh-
tfr). More slow and sustained.
Nachhall(h£l), Nachklanfl; (klang).
Resonance, echo. luumklingen
(klYng-dn), nachlassend (las'-s«nt).
Slackening in time, nachl&ssie
(l^s-slkh). Carelessly. Nachru
(rooQ. A farewell. Nachsatz (zats).
The second part of a period, follow-
ing the Vordersatz. Nach slag
(shUkh). (a) An after-note, an ap-
pogg^atura following its principal note
(the opposite of VorsckUtg). (b)
An auxiliary note at the end of a
shake, also Nachschliefe (shle-fe).
Nachspiel (shpel). Postlude. iulcIi
und nach (oont). By degrees. N&dh-
tanz (tSnts), F. Second movement
of a dance.
n&chtsverwandte Tttne (n^fkhst'f^.
vfint'-t€-ta -n«), G. The nearest rel-
ative kevs.
Nacht (nilkht). Night. N.-hora, N.-
schali. An8-ft. flue-stop. N.-hom-
bass. The same stop on the pedal.
N.-musikstiindcben, N.-stfick
(shtQk). Nocturne, serenade.
NachtschUl^er (nakht'-shlakher),
Nachtigafl (nakht'-T^al), G.
Nightingale ; an imitative instrument.
nae'nia, Gr, A dirge.
nafie (nd'-fe). A Persian trumpet.
nafiri (n£-fe'-re). An Indian trumpet.
nagarah (nS-ga'-ra), nagaret', nm-
gareet'. Oriental kettledrums.
nag'uar. An Indian drum.
Nagelgeige (nfikh'-^l-gf-khQ, nail-
fiddle. Vide FIDDLE (Iron).
naif (na-ef), F,, fem. naive (nS-ev), F.
naiv (niL-ef), G, Artless, natural,
naivement (nS-ev-ma6). Naturally,
naivete (n&-ev-ta). Artlessness, sim-
plicity.
nued. Of intervals, as fourths or
fifths lacking the third or other ac-
companiment.
na'ker, nakeres. Old E, Small
metal drum(s).
nakokus (ni-ko'-kiis), Egypt, Two
brass plates suspended and struck.
nan'^a. Negro harp.
Nanien (na-nl-£n), G. Dirges.
narrante (nfir-r&n'-t^), /. In narrative
style.
narra'tor. The chief performer in an
oratorio or Passion Play.
Narrentanz (nar'-r^ntSnts), G Fool's
dance.
nasard (nii-z^), /'..Nas(s)at'(nas.z&t'),
G, , nazard'. An old name for a stop
DICTIONARY OF TERMS 209
taned a twelfth above the diapasons.
nasar'dOy /. and Sp,, nasarde (na-
zSrd), F,^ nassart (nas'-sart), na'-sil-
lanL A 2^-foot stop. The Grosnas-
ard (gro-nSL-zSa), F., or Grossnasat
(gros-na-zat'), (7., is a quint-stop on
manual or pedal, petit-nasard (p'te),
orlarig^ot, is a i^-ft. stop.
na'son. A 4-ft. flute-stop.
Nationallied (nS-tsl-o-nal'-Iet), G. Na-
tional song.
Natnr (nil-toor'), G. Nature. N. horn.
A valveless Waldhbm. N.-8cala.
Natural scale. N.«tone. Vide nat-
ural TONS. N. trompete. Valve-
less trumpet, natiiruche (nfi-tOr'-
Ukh^). Natural. Naturalist'. A
self-taught singer, naturalistiscb
(!st'-feh). Untrained.
nat'oral. i. The sign 9 nullifying a
sharp or flat. 2. A white digital.
n. harmonics. Those on an open
string, n. hexachord. That based
on C. n. modes. The authentic
church modes, n. modulation.
That to a nearly related key. n. kev,
or scale. That of C major, n. pitch.
That of a pipe not overblown, n.
tones. Those producible on a wind-
instr., as the horn, without altering
the length of the tube with valves,
keys, etc., hence natural horn, etc.,
one producing tones without valves
or kevs.
natnrale (n2-too-ra'-l^, /. Natural.
oatnrali snoni (soo-o -ne). Sounds in
the compass of the voice, natural-
men'te. Naturally.
oatnral'iSy L. Natural ; Cantus n.,
music in the hexachordum N. (the
hexachord based on C).
nattirel(le) (n&t-O-r^l), /^ Natural.
nanblnm (nd' -bloom), Heb, Vide
NEREL.
nay (na). A Turkish flute.
Neapolitan sixth. Vide alterrd
CHORDS.
nebel (n2-b«l), nebel nassor (ni-b^l-
D2s'-s6r)y Heb. Ten-stringed harp.
neben (na'-b€n), G. Accessory. N.-
dominant. The dominant of the
domlnaot. N.-dreiklang. Second-
ary triad. N.-gedattke. Subsidiary
theme, or idea. N.-klang. Acces-
sory tone. N.-note. Auxiliary note.
N.-reg^ister, N.-ziig^e (tsQ.kh«).
Acessory stops. N.-septimeoak-
korde. Secondary sevenths. N.-
stimme. Subordinate voice or part.
N.-werk. Choir-organ.
necessario (na-ch^sH'-rY-o), /. Nec-
essary.
nechiloth (n«k'.Mdt), neg(h)inoth
(n6'-gl-n6t), Heb. A wind-instru-
ment.
neck. That part of an instr. which
carries the finger-board.
ne'fer. Egyptian guitar.
negligente (nal-ye-j^n'-tO. negligent-
emen'te, /. NegligentOy). negli-
genza (j^n'-tsS). Carelessness.
negli (nal -ye), nei (na'-e), /., pi. In
the.
nei (na -e), Tur, A flute made of cane.
nekeb (na'-kfib), Heb, A wind-iostr.
formed of a single tube.
nei, nella, nelle, nello, nell', /. In
the, at the.
nenia. Vide naenia.
neo-German. Used of the program-
matic school.
nero (na-ro), /. *' Black." A quarter
note.
nete (na-t«), Gr, Vide lyre and
MODE.
net (n^t), nette (n«t), F,, nctt (n«t),
G.^ net' to, /. Neat, clear, nettet^
(n5t-ta), F., Nettheit (n«t-hlt),
Nettigkeit (n^t'-Ukh-klt), G. Neat-
ness, distinctness, nettamen'te, /.
Crisply.
neu (noi), G. New. n.-deutsche
Schule (doit-sh£ shool'-d). Vide neo-
GERMAN SCHOOL.
neu'ma, neume (num). i. One of the
characters in the early notation by
points, commas, hooks, etc. Lines
were introduced later, but they were
always rather an aid to memory than
a notation. 2. Melisma. 3. A slur.
The neumes somewhat resembled
modem shorthand and served some-
what the same function. The earlier
forms before Unes are quite iodeciph-
210
THE MUSICAL GUIDE
erable. A single note was called
Virga^ virgula^ punctus, or punc*
turn ; a rising inflection sign, pes^ or
podatus ; a falling inflection, cltnis or
flexa ; various nuances of perform-
ance and special note values were the
apuus, bivirga, cephalicus^ distropha
epiphonus^ gnomo^ oriscus^ ptica
(turn), quilisma (shake), stmivocalis^
sinuosa^ strophicus^ tratnea^ tremula^
trivirga^ etc.
neun (noin), G. Nine. Neonachtel-
takt (ftkh'-teUtfikt), G, Nine-eighth
rime. Neunte (noin -t£). A ninth.
Neunzehnte (tsan-t^). Nineteenth.
neuTi^me (ni&v-y^m'), F. A ninth.
nexus, Z. A binding together.
nicht (ntkht). G. Not.
nicolo (ne'-k5-lo). A 17th cent, bom-
bardon.
nieder (ne'-d^r), G, Down. N.-schla^^.
Down-beat, or accented part. ^•.•
strich. The down bow.
niedrig; (ne'-drfkh), G. Deep, in voice.
nina (ne'-nii), /. Lullaby (or, ninna-
nanna). nlnnare (nln-n&'-r£). To
sing a lullaby.
nine-eighth. Vide time.
nineteenth, i. An interval of two oc-
taves and a fifth. 2. A stop tuned a
nineteenth above the diapasons.
Vide LARIGOT.
ninth. I. An interval of an octave and
a second. 2. Vide chord.
nobile (n5'-bY-l«) , nobilmente, /. , noble
(ndbl). noblement (nd-blCi-mafi). F,
Noble (nobly). nobiHtJt(n6-be-l!-tfi'),
/. Nobility.
nocb (n6kh), (7. Still, yet ; as noch
schneller (shn«I'-ler). Srill quicker.
nocturn(e), E., nocturne (nok-tam)
F., nottumo (ndt-toor'-no), /. i.
Term first used by John Field for a
composition of dreamy, night-like
mood. 2. Vide hor^ canoniC/C.
node, nodalpoint, no'do, /. One of
the axis-like points or lines in a vi-
brating body, where there is no vi-
bration (cf. LOOP), nodal figures.
The chart of vibration produced by
sand strewn upon a flat vibrating
plate ; discovered by Chladni.
nodus, Z. '* A knot,** an enigmarical
canon.
no^l (n5-«r), F, A Christmas carol.
Vide NOWELL.
noeud (n(i). F. x. A turn. 2. A node.
no fer. Vide nkfer.
noire (nw&r), F, *' Black,"* a quarter
note.
noise. Early E, i. Music. 2. A
band.
no lae, L. Tintinnabulse.
nomes (ndmz), Gr, i. Airs anciently
sung to Cybfele, Pan, and other divin-
ities. 2. Compositions regulated by
inviolable rules, as canon. 3. A can-
on. Vide NOMOS.
nomine, in (in n6'-mT-n&), L, i. " In
the name *' (of the Lord). A motet. 2.
Vide FUGA.
no'mos, pi. nomoi, Gr. Law(s). Greek
songs fulfiUine all the rules.
non (n5n), /. Not, no.
nona (no -nii), /., None (n5'.nf), G. A
ninth (interval). Nonachora'-Oy /.,
No'nenakkord, (7. A ninth. Vide
CHORD.
nones. Vide HORi€ CANONiCiC.
nonet(t)', E., Nonett', G,, nonet'to,
/. Music for 9 parts.
Non'neneeige (gl-kh«). '"NunVfid-
dle.*' Vide marine trumpet.
Nonole (n5-n6'-lS), G. Nonuplet.
nonny hey nonny. An old E. refrain.
non'uplet. A group of nine equal
notes.
normal (in G. n6r-mfil'). Normal,
standard. Normalton (t5n), G. The
tone A. Normaltonleiter (H-tSr),
G, The natural scale (of C).
nota (nd'-ta), /. and L. Note. n.
bianca. " White ** or half-note, etc.
n. bnona(boo-5'-n&). Accented note.
n. cambiata (kim-bT-i'-tS), or cam'-
bita, /. I. A changing note. 2.
Resolution by skip. n. caratteris'-
tica. Leading-note. n. cattiva
(kiit-te'-v^). Unaccented note, nota
contra notam. ** Note against
note.** Vide counterpoint. n.
corona'ta. A note marked with a
hold. n. d*abbellimen'to. A note
of embellishment, n. di passaggio
^
DICTIONARY OF TERMS 21 1
(de pds-sad'-jd). A passing note. ta). Staccato, n. sensible (s£n-se'-
n. di pUcere (de.pl.S^ha'.r^). An bl-l£), /., sensi'bilis, Z. The lead-
optional embellishment, n. £slsa. A ing-note. n. dig^na'ta, L. A note
changing note. n. prindpale (pren- marked with a sign. n. sostennta
chl-i^'-ld). Principal note. n. quad- (sds-t£-noo -ti). A susuined note.
ra'ta. A plain-song note. n. ro* nota tion (in F. nd-t&s'-yon), notazi-
ma'iia. A netmie. n. scolta (shol'- one (n6-t&'-tsi-o -n^), /. Notation.
Notation.
By the Editor.
THE musical parallel of writing and printing as the means of express-
ing in universal and permanent symbols the ideas, emotions and
memories of the mind. ^The Greeks, having only unharmonised
mdodies to record, made use of the letters of the alphabet in positions and
combinations of a most complex yet definitive variety. These letters had
reference to tetrachords and transpositions of the most subtle sort (see
modes). The business-like Romans swept away a mass of detail by giving
each letter a definite position on the whole scale without reference to tetra*
chord relations. These letters were written on a straight line over the text
to be sung. In the Eighth Century this alphabetical notation had given way
before a system of symbols looking much like the hooks and curves of modem
shorthand. These were called neuma (q. v. ) and were of numberless sorts
and names. Thus a short single note was a punctum ; two or three of these in
a group were hipunctum or tripunctum ; the standard long note was the virgM
which could be grouped as bivirga or trivirga. Other terms were podatus
(a low note joined to a higher), and its reverse called clivis^ clinis, ox fiexa;
the scandicus (three ascending notes) and its reverse, dimacus ; the qutlisma
(a repeated note), the gnomo, ancus^ distropha and many others. These
neurox were written over the text and were set higher or lower in a rough
fi>rm of melodic contour. They were only an aid to the memory and fre-
quendy defy decipherment. In time, a few letters were added as abbreviations
of speed or force. ^But about the year 900 a genius (who in his way was
almost as great as the inventor of the wheel) hit upon the inspiration of ruling
above the text a thia red line and calling it <' F." Every neuma on this
line stood positively for the tone F, and those above or below the lines were
of higher or lower pitch. The genius was soon followed by a man of
talent who ruled a yellow line a little higher and called it " C." The
ornamental letters set at the head of these lines soon took the forms known
to-day u the clefs. Not long after, the monk Hucbald erected a series of
lines and used the spaces between them to indicate definite pitches, writing at
the beginning 7^ for a whole step and S for a semitone. The hymn to be
212 THE MUSICAL GUIDE
sung was written in these spaces, each syllable being placed on its proper
space. (This gave the verse a stepladder effect resembling the refrains of cer-
tain modem humorous poems.) Spaces were added above or below as the
melody needed them and each voice had its own set of shelves. ^This
awkward plan suggested the use of the lines instead of the spaces, for notet
instead of syllables. Each line was given a definite pitch marked by a letter.
^Recurrence was now made to the two-line system and somebody (Guido
of Arezzo was usuaUy credited with the scheme) added two black lines and
made a 4-line staiF in which both lines and spaces had fixed pitch values. It
only needed the later addition of one more line to give the five-lined staff* we
still use to-day. ^The neumse gradually exchanged their scraggly outlines
for the square black heads of the choral note (the not a quadrata or quadri-
quarto). ^It now bemg possible to express the relative pitch of notes, an
effort was made to express their relative duration, for the old Plain Song with
its notes all of the same length could not satisfy many human musical needs.
The modem division into measures of equal length by means of bars was a
long time coming. There were two centuries of clumsy mensurable (/. /.,
measurable) music. Notes to be sung to the same syUable were grouped
together by ligatures ,• they were either set so close together as to touch,
or were if ascending, placed one above the other like a chord ; if de-
scending, they were merged in a thick black slandng line {^figura ohliqua).
When white or open notes came into use the thick line became an open
rectangle sloping in the desired direction. When the first note of the liga-
ture was a breve, it was said to be ** cum proprietate^* ; if the first note were
a long, it was sine proprietate ; if a scmibreve, it was cum opposita proprie-
fate ; if the last note were a breve it was imperfecta ; it was a ligatura per-
fecta when the last note was a long. ^The method of expressing rhythm
was, as said, very cumbersome. Rhythm was classified under three ratios :
mode {modus) ^ time- value (^tempus), prolation. ^The Modus maJ9r
or ** Great Mode '* concerned the division of the large into longs, bcong
perfect{us) if there were three longs to a large, and imperfect {us) if
there were two. Modus minor or the ** Lesser Mode '* concerned the
division of the long into breves, with the same classes perfect or imperfect,
^The division of the breves into semibreves was the timpus and was simi-
larly called perfect {urn) or imperfect{um)y a circle indicating perfect time and
a semicircle, imperfect. ^The relation of semibreve to minims was called
prolatio(n)f being major or minor (greater or lesser) prolation as the semibreve
equalled 3 or 2 minims. The former was indicated by a dot in the time
signature. ^The position of the notes also indicated their proportion ; a long
or a breve followed by a note of its own value was perfect by position ; a
note accompanied by another of less value was imperfect. ^Colour played
DICTIONARY OF TERMS 213
t part ; the red {notula rubra) or white (^alba) or black {nigra) note
among others of a different colour marked a change from perfection to imper*
fection. There was later the proportio hemioI{i)a, or 2 : 3, indicated by
grouped black notes among white. ^[ Speed was open to slackening {aug-
mntatio) or acceleration {diminutio), the latter being marked by a bar through
die time-signature, or by the use of numerals or fractions, called signs of pro-
portion, a term referring to the rhythm of simultaneous voices. ^[The value
of a note was open to alteratio{n) by position or by use of the dot {punctum
augmentationisj alter ationis^ {tm)perfectionis or division is), ^Expression
marb appeared, along with many other symbols, in the Seventeenth Cen-
tury ; the bar was brought over from lute-tablature, and memurabli music
disappeared before the convenient complexities of our own era.
note. A character representing a musi-
cal tone ; by its shape indicating the
duration, by its position on the staff,
the pitch, of the tone, connecting
note. A note common to two
chords.
note (not), F, Note. n. d'agr6ment
(d'i-gra-man). Ornamental note. n.
de passaj^e (dil p&s-sazh). Passing
note. n« ou^s^e (dI-«-za), F. Note
marked with a sharp, notes coulees
(koola). Slurred notes, n. de gout
(dfl-goo). Note of embellishment.
n. sensible (s^-sebl'). Leading
note. n. surabondantes (sQr-&-b6n-
dint). Such incommensurate groups
as triplets, quintoles, etc. n. li^e
(le-a). Tied note. n. syncop^es
(sin-k6-p2). Syncopated notes.
Noten (no-t€n), ^., pi. Notes. No-
tenblatt (blat). A sheet of music.
N.-bnch (bookh). Music-book. N.-
fresser. ** Note-gobbler," one who
has facility but no Uste. N.-schrift
(shrtft). Musical manuscript. N.-
system (;es-tam). The staff.
noter (no-ta), F. To write out a tune.
oo'tograph. Meloeraph.
nottnmo (ndt-toor -nd), /. A noc-
turne.
no'tnla, L. Note used in ligature.
nourrir le son (noor-rer Ifl son), F.
To attack a note forcibly, and sus-
tain it. nn son noorri (noor-re). A
sustained tone.
From F., a
Name first
nourrisson (noor-res-s6n), F. Bard.
nour'singh. A^straight Indian trum-
pet.
nova, /. A small flute.
Novelette (n6f-«-ldt ), G.
short musical romance,
given by Schumann to pieces con-
taining considerable freedom of form,
treatment, and idea.
novemole (no-vi-mo'-l^), /. A group
of nine equal notes.
no well. OWE. "Good news." i.
A refrain of Christmas carols, hence
2. Carol. Cf. NOF.L.
nuances (ntt-Siis), F., pi. i. Lights
and shades of expression ; variety.
2. A notation.
null. I. A cipher. Vide o. 2. Vide
TASTO SOLO.
number, i. An integral portion of an
opera, symphony, or programme, etc.
2. A favourite method of designating
compositions, as Chopin's ** 5th
waltz.
numer ical notation. A scheme in-
troduced by Rousseau, to substitute
numerals as names of tones. A simi-
lar notation in Massachusetts was
called Day's & Beal's ** One-line sys-
tem."
nu'menis, L. i. Number. 2. Rhythm.
Nunc dimit'tis, L, " Now dismiss
(us)." The text, Luke II. IO-I2,
often used as a 6nal number.
nun's-fiddle. Marine trumpet.
214
THE MUSICAL GUIDE
nuoTO (noo-d'-vo), /. New. di nooTO.
Again.
nut. I. The small bridge at the upper
end of the finger-board of violins, etc.
2. The movable fastening of the hair
of a bow. 3. The ** lowest nut," the
ridge between tail-piece and tail-pin.
0
OA small circle, or cipher,
means : i. An open string.
2. Harmonic. 3. Diminished
fifth (or a chord containing
one). 4. Tasto solo. 5. To be played
with the thumb. 6. Tempus perfec-
tum. Vide NOTATION. 7. Harmo-
nium-stops are marked with a numeral
in a circle. 8. In neume-notation,
the fourth church mode.
O (6), od (5d), /. Or, as, cither.
O (o), Z. Exclamation. Its O de
Noel (la-z6 dtt no-el), F. The Christ-
mas antiphons to the Magnificat, all
beginning with ** O ! "
oaten-pipe. A simple straw cut to
form a reed-pipe.
ob. Abbr. for oboe(s).
obbligato (6b-bll-ga^td), /., obliflr6
(6b-lT-zha), F,, Oblieat (op-ll-ggt),
G, • • Indispensable, of a part which
cannot be omitted without injury to
completeness ; though latterly the
term has come almost to mean ** op-
tional," as in songs *'with violin
obb." in which the violin part is fre-
quently omitted.
ob(b)liquo (6b-ble'-kw6), /. Oblique.
Vide MOTION.
ober (o'-bdr), G. Upper, higher. O.-
dominante. Dominant. O.-labi-
um. Upper lip (of a pipe). O.-
manual. The upper manual. O.-
stimme. Upper part. O.-taste
(tas'-t«). Black kej'. O.-thcil (til).
The upper part. O.-ton. Harmon-
ic, pnonischer O.-ton. The 15th
partial. O.-werk. In an organ
with 2 manuals, the choir-organ ;
with 3, the swell ; with 4, the solo.
oblique, obli'quus, Z. Vide motion.
obliqtie pi An upright pf. with di-
agonal strings.
oboe (6'-b5; m G. 6-b6'-«), oboife (6-
bo-a'), /. Plurals : oboes, E.^
Oboen, (7., oboi (6-b6'-€), /. i. A
double-reed instn with conical wooden
tube, and o to 14 keys ; extreme ccmi-
pass ^-f '. It is non-transposine
(except in the case of the B^ and eS
oboes for military bands), and is
fingered somewhat like a flute. Its
tone is reed^ and quaint, almost
homely ; it gives a pastoral atmos-
phere, or is capable of great melan-
choly, but rarely of much floridity.
The alto of the oboe is the so-called
cor anglais (kdr ftii-gl£'), F.^ como
inf^lese (kdr-no-en-gli'-zd), /., en-
glisches Horn (^ng -Ush-fe not £ng.
glYsh-£s), G, , or English horn. An
oboe with a double long tube, and a
pitch a fifth lower, extreme compass
i^-^." This is now written as an
mstr. transposing a fifth. It is even
more sombre than the treble oboe —
indeed it is the most mournful and
inconsolable of instruments. It is
a development from the old obo^ da
cacda (dS kUt'-shS), in F. or E>
written in the alto clef. The o. d'a-
more (dfi-m6'-r2), o. tMisso, and o*
Inngo (loon'-g5) were lower by a
minor third than the modem treble
oboe, which was formerly called o.
piccolo. 2. A reed-stop of 4 and 8
ft. pitch, also called orchestral oboe.
obois'ta, /. Oboist.
Obw. Abbr. for Oberwerk.
ocarina (5-ka-rS'-nS). A terra-cotta
bird-shaped instr. of fluty tone.
occhiali (ok-kY-S'-ia). i. White notes.
2. Brillenbasse.
occhetto (e)k-k£t'-t&), /., oclie'tns» Z.
Hocket.
oct'achord. i. An 8-stringed instr. 2.
A scries of 8 tones.
oct'aphonic. Eight-voiced.
octave (in F. 6k-Uv, in G, 6k-tr.
f d). I . A consecutive series of eight
diatonic tones as from c'-€" . 2. The
interval of an eighth. 3. A tone an
8th above (or below) another. 4.
DICTIONARY OF TERMS 215
large octaTe, once-marked or lined
0.. etc. Vide PITCH. 5. The diapa-
son of the Greek system. 6. The
eight days following a Church festival.
7. A stop sounding an octave higher
than the digital pressed, as octave-
Ante (also lued for the piccolo (q v.).
consecutive covered, oroken, etc.,
octaves, vide the adjectives, rule
of the o. A 17th century system of
harmonising the scale giving a bass
scale with the normal chords and
inversions to accompany it. short
0. The lowest octave in an organ,
where the scale is incomplete or com-
pressed, also called mi-re-ut, o.«
scale. Vide modes, o.-cospler.
Vide COUPLER. o.-8taff. A notation
introduced by Adams, of New Jersey,
three groups of lines combined m
three octaves, dispensing with the
flats and sharps, and giving each tone
its own place, octave stop. i. A
4-f t. stop. 2. The position of fingers
stopping an octave on the finger-
board. 3. A mechanical stop in
reed-organs, coupling the octave
above.
octaviana (dk-tfi-vI-S'-nii), octavina
(dk-ti-vc'-nfi), /., octavin (ok-ta-
vin), F. I. An octave-spinet. 2.
The piccolo. 3. A harf>sichord oc-
tave-stop. 4. A 2-ft. organ-stop.
Octavin (dk-ti-fen). G, A single reed,
conical wood-wind instr. fingered like
the oboe ; compass C'c"\ keys B& and
C. Inv. by O. Adler.
octavo attachment. Vide pedal
(octave).
octet(t)', octet'to, /. A composition
for eight parts.
octipho nium, L, Octet.
oc'tobass, E,^ octobasse (bis), F, A
double-bass of huge size, about 12-ft.
high. Inv. by Vuiliaume. The 3
strings are stopped by means of keys
and pedals.
oc'tocbord, £. 8-stringed lute.
Octole (6k.to'-l«), G, Octuplet.
oc'tuplet. A group of eight equal
notes.
octnor (dk-twdr), F, Octet.
Od (6d), /. Or.
ode (6d). An elaborate lyric, almost
a cantata, odische (d'-dYsh-^) Mu-
sik, G. Music for an ode.
Odem (o -dam). G. Breath.
Odeon (d-da'-on), (7r., ode'nm, L A
Jsublic building for music.
er (o -dCr), G, Or, or else.
ode-symphonie (dd-sin-f5-n§), F. A
symphony with chorus.
ceuvre (ttvr), F. Work, composition.
off. I. A direction to push in an organ-
stop or coupler. 2. False.
offen (of'-fdn), G., of fenbar. i. Open,
a. Parallel. Offenfldte (fla -te). An
open flute-stop.
offertoire (of'-fer-twftr), F., offerto'rio,
/. and Sp., offerto'rium, Z., offers
tory. The part of the Mass or ser-
vice, the motet or instrumental piece,
performed during the taking of the
collection.
offic'ium, Z. A service, o. deftinc-
to'nim. Funeral service, o. diur-
num. Daily s. o. matuti'num
(noctum'um) morning (evening) s.
o. vesperti'num. Vespers.
oficleida (o-fl-kla'-I-dii), pi. e., /. Oph-
icleide.
ohne (d'-n«), G. Without.
oioueae. The vowels of ** World
without end. Amen." Cf. evovae.
Oktave (6k-ta'-f«), G, Octave (q. v.).
oktavi(e)ren (fe'-r«n). To produce
* the octave by overblowing. OktHv-
chen (6k-taf'-kh«n), Oktavflote (fla'-
te), or -flotlcin (lin). Piccolo. Ok-
tavengattungen (g&t-toong-^n).
Ocuve-scales. Oktav-foljren (fol-
kh^n), or -parallelen, or Oktaven-
verdoppelungen (f£r-ddp-p^l-oong-
€n). Parallel, or consecutive oc-
taves.
Oktavwaldhorn. A Waldhorn inv. by
Eichborn & Heidrich.
Oktavin, G. Vide octavin.
ole, el (51 6'-ie), Sp. Slow 3-4 dance
with castanets.
ol'iphant. A horn made of a tusk.
o'lio. A miscellany.
olivettes (6-lT-vet), F, Proven9al
dance after the olives are gathered.
2l6
THE MUSICAL GUIDE
olla podrida (61'^ p6^re'-dhi). Med-
ley.
orn'oi. An African harp.
om'bra, L, Shade ; nuance.
om'nes, omnia, L. AH. Vide tut-
Tl.
om'nitonicy omnitoniqne (6m-nY-t6.
nek), F, Having all the tones of the
chromatic scale, as a horn.
once-accented, or once-marked oc-
tave. Vide PITCH.
ondeggiamen'to (6n^£d.j&-m^'-t5).
Undulation. onde^gian'te, /.
ondul^ (6n-dQ-l&), F. Waving, un-
dulating, trembling, onduliren (on-
doo-le-rfin), G. To make a tremu-
lous tone.
one-lined. Vide pitch.
ongarese (dn-gi-ri'-z^), ong^herese
(on-g*-r§'-2€), /. Hungarian.
onsi^me (dnz-y£m), F, Eleventh.
op. Abbr. of Opus.
open. I. Of pipes, open at the top.
a. Of chords, not in close position.
3. Of strings, not stopped. 4. Of
tone, (a) produced by an open string
or by a wind-instr. not stopped, (b)
not prod, by valve or key. 5. Of
scores, in which a stave is given to
each part or instrument.
Oper (o-p«r), G., op'era, E, (in /.
o-p«-rfi), /., op^ra ^5-pa.ri>. F.
Drama set to music. O.-Douffe (booO.
or bnffon (buf-f6ei), F., o.-bufia
(boof'-fa), /. Farcical, or low-comedy
opera, what we call comic opera.
op6ra comiqne (ko-mek), F, Literal-
ly " comic opera," but generally used
only to indicate that the dialogue is
spoken, not sung. The plot may be
as serious as grand opera, opera
seria (sa'-rY-a), /., opera s^neaz
(sa-d-ti), F, , in which all dialogue is
in recitative and the ensembles are
more elaborate, o. di camera (ka'-
md-ra). Opera for a small audito-
rium, o. lyrique (le-rek), ballad-
opera. One in which lyricism has
the preference over dramatic action,
o.-drammat'ica, /. Romantic opera.
0.-hau8 (hows). Opera-bouse. O.-
sanger. Operatic singer.
The Opera-
By Ernest Newman.
COMfilNATIONS of poetry and music, in a more or less dramatic
form, must have been usual from very ancient times ; and, as a
matter of fact, we can trace this form of art back to 1 3 50. But
the opera proper, in the modern sense of the word, sprang up in Italy about
the end of the sixteenth century. It was the invention of certain Florentine
amateurs, lovers of the antique, who wished to give to music something of
the importance it was thought to have had in the Greek drama ; and the
Da/ne (i594)» and Euridice (1600), of Peri and Caccini, mark the begin-
nings of opera. These works were mostly in a kind of recitadve, with slight
orchestral accompaniment. The object was to imitate in music the inflections
of the speaking voice, the Florentine scholars imagining that the music in the
Greek drama had been simply an intensification of the tones of ordinary
speech. Musica par /ante, *' speaking music,*' was the ideal they aimed at.
As the opera progressed, it inevitably became less speaking and more musictl.
The orchestra became larger and more capable of colour ; recitative devel-
oped into the aria, the duet, and the concerted piece. As the open tji^ead
DICTIONARY OF TERMS 217
over Italy, however, it tended to degenerate. It relied too much on imita-
tion of the antique ; it had no healthy poetical drama with which to compare
itself, and so became ever more inane in sentiment ; it was corrupted first by
the fashionable courts and then by the ignorant, pleasure-loving Italian public ;
undue prominence was given to the mere scenery and spectacle ; and the star
smgers tried to subordinate everything to their own vanity. All this whUc
there existed, among the people, an ancient form of rural comedy — the Corn-
media deW Arte — fvdl of jiealthy life and sincere sentiment, and free from the
affectation of the pseudo-antique. From this there grew up, at a later date, the
charming and sparkling opera buff a, ^ France had long had a form of enter-
ainmcnt — the ballet — with many points of similarity with the opera. The
first real French opera seems to have been La pastorale^ by Perrin and Cam-
ben (1659) ; but no great progress was made till Lully — an Italian by birth,
but French in sympathies — became the head of the opera in Paris (1671).
In France, the verbal element always resisted the encroachment of the mu-
sical, this being partly due to the highly developed, rather than to that of the
flowing, aria. In the course of time, Italian influences tended to cultivate
die merely musical element at the expense of the dramatic ; but the balance
was restored by Rameau, who, with a greater musical gift than Lully's, made
the vocal portion of the opera free and interesting in itself, without losing
ngbt of the dramatic expression. When the Italian opera buff a was intro-
duced into Paris (1752), it strengthened the already existent French comic
<^)era, and even taught the serious writers some lessons in naturalness and
dirccmess. ^In Germany, opera first found favour at the Courts. Singers,
composers, librettists, conductors — all were Italian ; and, if, in an isolated
case, the recitatives were simg in German, the airs, which were held to be
the essential parts of the opera, were generally given in Italian. It was at
Hamburg that the German element had its stronghold. Keiser (1673 —
1739) relied on the German Lied rather than the Italian aria^ and preferred
a German libretto to an Italian one. But on the whole the German passion
was for thoroughly Italian opera. ^Neither in Italy, Germany, nor France
did the opera seem, in the middle of the eighteenth century, to have any real
life or any chance of development. From this miserable condition it was de-
livered by Gluck, who added to a musical gift greater than that of the major-
ity of his predecessors, a strong sense of the value of a dramatic basis for the
music. ^The history of the opera in England in the seventeenth and eigh-
teenth centuries is somewhat curious. Purcell's influences were mainly French,
derived through his master, Pelham Humphreys, who had studied under
UiUy. Purccll's striking individuality, however, transformed this inffuence
into something quite English. Later on, the English stage was ruled almost
entirely for a time by Handel, who made no alterations in the general form
2i8 THE MUSICAL GUIDE
of the opera, but fi'Ied each separate part with a wealth of musical inventive*
ness previously unknown. ^In the early work of Mozart, Italian influences
struggled with German. His experiences in Paris, where he heard the best
operas of all kinds, in 1 778, deepened both his technical powers and his dra-
matic sense. '*The Marriage of Figaro," and "Don Giovanni," show the
most wonderful art of character-drawing, interpenetrated with a musical spirit
of unfailing and surpassing loveliness. They seem to combine Handel's mel-
odic beauty and power with Gluck's intensity of dramatic expression. Gluck
and Mozart were the two men whose influence was most felt by later operatic
writers. ^The next great development came with Weber and the German
Romantic movement. Between the true classical and Romantic epoch, how-
ever, came a body of work, half ancient, half modem, both in France and
Germany. It is typified by such men as Herold, Mehul, Cherubini, Boiel-
dicu, and Spontini, and by Beethoven's solitary opera ** Fidelio," and repre-
sents the crossing of the old culture with the new, the forms of the eighteenth
century with the post- Revolution spirit. Under Weber and the Romantics
the German opera entered on a new career. Its essence was a heartfelt sin-
cerity— almost simplicity — of musical feeling, subtilised and enriched by the
warm, expansive culture of that day. Most of the sensations of the eighteenth
century opera arc found in the work of Weber and his fellows, together with
some quite novel ones ; and in every case a deeper or subtler tinge is given
them by the superior orchestral resources. In the painting of scenes of ner-
vous horror, for example, the Romantics added considerably to the palette of
their predecessors. 5[^hile this movement was going on in Germany, Ros-
sini was galvanising the almost extinct art of Italy. His sparkling melody, hb
verve t his audacity, his superficiality, produced a new type of Italian opera,
appealing to fashionable and uncultured audiences, who asked for nothing from
the opera but amusement, and that in a form not too subtle for them. The
really dramatic passages in his operas, as in those of Donizetti and Bellini, are
comparatively few. Their general style of work was carried on by a stronger
musician, Meyerbeer, who was weak enough to sacrifice, for the applause of
Paris, the genuine musical gifts he had brought with him from Germany.
^Concurrently with this vogue of Italian opera there ran the career of Wag-
ner, who reflected more upon his art than any opera composer except Gluck.
Dissatisfied with both the independent musical and poetical elements out of
which previous operas had been built, he modified each to suit the demands
of the other. He aimed at a form of expression in which poetry and music
should combme in one indissoluble speech. This was to be the " means "
of the opera ; its '<end " was the drama itself Wagner's reforms were so
entirely the outcome of his own peculiar individuality, and depended so much
on his own stupendous gifts, that no one has been able to take up his work
DICTIONARY OF TERMS 219
afcer him. He has influenced almost all his countrymen ; but their work, as
a whole, b plainly imitative and reminiscent. ^Similarly Berlioz, who also
worked on his own lines, occasionally casting his eyes back to Gluck and
Weber, left no successor. The line on which composers like Halevy and
Auber must be stnmg derives from Meyerbeer and the Italians. But the
more modem French opera- writers strike a more original, more national note.
Gounod and Bizet, Reyer, Saint-Saens, and Massenet are really French, each
in his own way ; while in the very modern work of Bruneau we get the
spirit of French realistic fiction, and in that of Vincent d*Indy we have a
curious expression of the subtlety and mysticism of the Celtic revival.
The rise of serious French opera has been accompanied by a consolidation of
the lighter form — the opera bouffe. ^In Italy, the most remarkable phe-
nomenon has been the change of Verdi's style. Beginning as a common-
place, though somedmes dramatic, writer of Italian operas, he has developed
into a composer who, while never losing his southern grace and litheness, has
assimilated some of the best elements df northern art. In the work of the
younger men of hb school there seems to be, at present, a contest between
the old ideals and the new. In many cases, unfortunately, their musical gifts
vt not on a par with their dramatic intendons. ^The first great name in
Russian music b that of Glinka, who, about the middle of the century, worked
oat a national form of opera. Though Wagner's influence has necessarily
been felt here and there, the Russian opera as a whole has developed freely
on its own account ; and the two representatives of it best known to the
West — Rubinstein and Tschaikowsky — are in no way Wagnerian.
operetta, /., Operette (dp^-r^t'-t^).
G. A small light opera, cf. sing-
spiELE. Op'erist. An operatic singer.
Opemdichter (dpftm-dYkh-t^r), G. Li-
bretto writer.
ophideide (of-l-klld). i. Anobsoles-
cent brass instr. the bass of the key-
bugle family. The bass. o. in C. B|>
and A ^ (compass A ^-a'U) the alto
0. in F and ^ (compass 2^ oc-
taves) ; the contrabass o. same com-
pass as the alt. 0. but an octave
lower. The bass tuba (q. v.) has a
richer tone and has displaced it. 2.
A powerful 4 or 8 ft. reed-stop.
opp. Abbr. of oppnre.
opposite. Contrary (of motion, q. v.).
^nre (6p-poo'-r«). /. Or, or else.
opus (o'-poos), L, Work, composition ;
as, Op. 10, the loth composition, or,
more commonly, the loth publication
of a composer, opus'culum. A lit-
tle work, opus post'hnmum. A
work published after the death of
the composer.
orage (6-razh), /". ** Storm." i. An
imitative composition. 2. A stop.
O'ra pro nobis, Z. *• Pray for us ! " A
response to a litany in R. C. ser-
vice.
oratoire (6r-a-twar), F,, orato'rio, /.
and E.^ orato'rium, /. (in G. 5'-
ri-td'-r!-oom). A sacred work con-
structed like an opera, but performed
now without action, costume, or
scenery. See next page.
220 THE MUSICAL GUIDE
The Oratorio.
By H. £. Krehbiel.
AN oratorio is a musical composition for chorus and solo voices, with.
orchestral accompaniment, to a poem on a religious or sacred sub-
ject, generally in narrative form, though often with dramatic epi-
sodes, but without scenery, action, or costume. The origin of the oratorio is
to be found in the so-called mysteries and miracle -plays of the thineenth and
fourteenth centuries, which enacted an important part in the life of the com-
mon people. These were sung and acted, and though, on account of abuses
that crept into them they were frowned upon by the Church, their popularity
was never destroyed. The oratorio was brought into existence upon the
model of these religious plays by St. Philip of Neri (iS'5~95)» who rec-
ognised in them a means of opposing the influence of the Reformation upon
the common people. In his chapel or oratory (whence the name oratorio)
in Rome he had spiritual songs sung after sermons and other devotions, to
'< allure young people to pious offices." St. Philip induced capable Italian
poets to write the words, and the best composers to fiimish the music. By
degrees the spiritual songs gave place to musical settings of sacred stories
sometimes in dialogue form. The invention of dramatic recitative at the end
of the sixteenth century had a marked influence on oratorio. The first to
use it was Emilio Cavaliere, whose allegory, «« The Soul and the Body,"
performed in a Roman Church, was the first oratorio corresponding to the
modem form. It was, however, intended to be acted in costume, and only
gradually did this feature fall into disuse. The later Italian composers, Caris-
simi, Stradella, Cesti and Alessandro Scarlatti, first developed the new form
on the lines in which it has come down to us. Carissuni greatly improved
the recitative, giving it more character and musical expressiveness than his
predecessors had done, and ventured more boldly into the field of broad
choral writing. Cesti and Stradella culdvated still further the natural re-
sources of the chorus at a time when the general tendency in Italy was tow-
ard the more obvious and pleasing forms of solo song. Alessandro Scarlatti,
who was one of the chief forces in this direction, also contributed to the devel-
opment of the oratorio by the increased stress he put upon the solo arias in it.
But on the whole, as Dr. Parry has remarked, the oratorio had to wait
for representadves of more strenuous nations for its ultimate development.
^That development was destined to come in Germany. While oratorio had
thus been taking shape in Italy, there was an important movement going on
in Germany by which the Passion was brought into existence. This came
about, after a long line of tentative and experimental efforts, through the
works of Heinrich Schiitz, who had received his training in Italy and carried
DICTIONARY OF TERMS 221
thence to his native land some of the new ideals of music. His first Passion
was produced in 1645. The various attempts that followed this culminated
in the settings by J. S. Bach. These works were intended for performance
in church in Passion Week, as a religious service partly narrative, partly dra-
matic and partly reflective in character. The narrative was put into the
mouth of the Evangelist, usually the principal tenor, who related the Passion
of Christ ; the personages in the story spoke for themselves. The chorus
was often treated dramatically, representing the emotions of the onlookers,
while the solo airs were of a piously reflective character. There was a plen-
tiful mterspersion of chorales in which the congregation joined. In the mid-
dle there was an intermission for the sermon. The Passion music was also
an outgrowth of the mediaeval miracle-plays, but it soon fell into disuse and
displayed no vitality after the great creations of Bach, the " Passions accord-
ing to St. Matthew" and " St. John," respectively, composed in the first
qoarter of the eighteenth century. German art was thenceforward turned
into the channels of the oratorio as it was developed in Italy ; and the form
was brought to its highest perfection by George Frederick Handel. As thus
perfeaed it was not, like the Passions, a part of religious exercises, nor a
direct expression of devotional feeling, but epic or narrative, with certain
quasi-dramatic traits and sometimes with the use of vivid local colour ; but
always with the most impressive use of the chorus as the most important
medium of expression. Handel's first oratorio ** Esther" was written in
1720 and performed first in England in 1732, oratorio being then quite
unknown in that country. The long line of masterpieces he produced there-
after gave the final and definite character to the oratorio form which has
remabed to thij day. The greatest of them are '*The Messiah," *< Judas
Maccabeus," "Israel in Egypt," and "Samson." Handel's strength lay
chiefly in broad choral writing, and it was natural that the oratorio should
develop mainly on this line, as affording a vehicle for more descriptive and
characteristic music, thus making up for a lack of pantomime, costume, and
scenery. ^For a considerable period after Handel's death, little of impor-
tance in the field of oratorio was produced. Haydn's *' Creation " and
"The Seasons," written in 1795 and 1801 respectively, still retain some
of their vitality and freshness. Beethoven's " Mount of Olives " does not.
Oratorios by Spohr and Schneider attained a great but transient popularity,
but the next really important works in this form were Mendelssohn's " St.
Paul," performed first in 1836, and " Elijah," in 1846. In both of these
the dramatic element is foremost, and the musical characterisation of the
various persons presented is perhaps more vivid than any previous attempts in
this Ime. Worb like Lbzt's " St. Elizabeth " and Rubinstein's " Moses "
ire conceived as operas in which descriptive directions take the place of
scenery, costume, and incident.
222
THE MUSICAL GUIDE
orch6sographie (dr-ka'-zo-gr&-fe), F,
The science and explanation of danc-
ing, orchestique (tek). F. Relat-
ing to dancing. Orchestik (6r-kds-
tek'), G. Art of dancing.
orchestra, E. (in /. or-kas-tra). Or-
chester (6r-k*s'-ter), G., orchestre
(6r-kdstr), /*. Literally ** dancing-
place," that used in front of the stage
in Greek tragedy for the chorus ; the
name was given by the first opera-
writers (vide PKRi, B. D.) to the place
occupied by the musicians, thence to
the musicians themselves. The word
now means the place and its occu-
pants, and the instrs. in general. The
modem o. may be (a) hu'fi^, fiilly
grand, sjmphonj ; (b) smaU. Parts
of the orchestra may be designated,
as string orchestra^ etc. Orchester-
▼erein (fdr-In). An orchestral so-
cietv. O-stimmen. Orchestral parts.
orchestral flute or oboe. A stop,
orchestra tion. The art or act of
arranging music for orchestra, or'-
chestrate, £., orchestrare (dr-k^s-
tra-r«). /., orchestri(e)reii (tre -r^n),
G., orchestrer (6r-k«s-tra), F, To
write for orchestra.
The Orchestra and Orchestration.
By W. J. Henderson.
THE modem orchestra dates from the early part of the seventeenrii
century. Previous to that no attempts at a systematic combina-
tion of instruments can be found. The original use of the orchestra
was in the accompaniments of operas, and even here the earliest combinations
were fortuitous and without special purpose. The earliest writer who seemed
to have distinct ideas as to instrumental effects was Claudio Monteverde
( 1 568-1643). His orchestra was the first in which a considerable body
of strings, including two violins, figured. He invented some special instru-
mental effects, and led the way toward the establishment of the string quartet
as the foundation of the orchestra. Alessandro Scarlatti (bom 1659) ^^^ote
for a string quartet similar to that employed in the present orchestra, and used
oboes and flutes as his principal wind-instruments. 51 Handel (165 8-1 759)
used all the ordinary instruments of the present orchestra except the clarinet,
but not in the same combinations as those of to-day. The orchestra of his
time contained a much larger number of oboes and bassoons than ours, be-
cause these instruments then were much less powerful. In the early part of
the eighteenth century, when the seeds of symphonic music were just begin-
ning to sprout, the orchestra consisted of the same body of strings as now
used, but the violoncello was not yet appreciated at its true value, trump>ets
and tympani being added when brilliancy was needed. Clarinets had not
entered the orchestra, but flutes were common. The trombone was em-
ployed only in the opera, where alone also the harp was heard. ^ Joseph
Haydn (1732-1809) wrote his first symphony in 1759 ^^^ first and sec-
ond violins, violas and basses, two oboes and two horns. Mozart (1756-
91 ) introduced clarinets and Haydn learned their use from him, so that his D
major symphony, written in 1 795, it scored for 2 flutes, 2 oboes, 2 cUrinets,
DICTIONARY OF TERMS 223
2 horns, 2 kettle-drums, violins, violas, 'cellos and basses, adding in the
first movement 2 bassoons and 2 trumpets. In the " Eroica " he introduced
1 third horn, and in the fifth symphony a piccolo, a contra-bassoon and three
trombones. Four horns were used in the Ninth symphony, and this work
coDuins the entire modern orchestra, except such instruments as have since
been introduced for special effeas. The operatic writers in their search after
dramatic colouring led the way in such introductions, and the romantic com-
posers of symphonic music, building up their great colour schemes, were not
slow to accept every suggestion. ^ Nevertheless the orchestra as now con-
stituted is practically that of Beethoven. As ordinarily distributed it is com-
posed of a piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2
trumpets, 3 trombones, 2 kettle-drums, first and second violins, violas, 'cellos,
and basses. The wood-wind instruments are now frequently used in triplets
instead of pairs, and the whole wind choir b extended at will by the use of
the English horn, the bass clarinet, the tuba, the saxophone or other less
common instruments. The harp is also employed at times. ^ Orchestration,
the art of writing for orchestra, has developed rapidly in recent years, yet the
fundamental principles are those which guided Mozart and Beethoven. The
modem efforts have been in the direction of increased sonority and richness
of colour. These ends arc obtained by writing for a larger number pf instru-
ments and by dividing the old ones into a greater number of parts. The
orchestra naturally separates itself into three groups of melodic instruments
and one of merely rhythmic ones. TTie first three groups are the wood-wind,
the brass, and the strings, and the other b the ** battery," as the group of
percussive instruments is called. In this last group only the ketde-drums
have musical pitch, except when bells are employed. ^The wood-wind b
divided into flutes, which have no reed mouthpieces ; oboes and bassoons,
which have mouthpieces with two vibrating reeds ; and clarinets, which have
mouthpieces with one reed. Flutes used in triplets are capable of indepen-
dent harmony, but all of a high pitch. Bassoons are the basses of the oboe
hmxiy, and hence with two oboes and two bassoons, composers can write in
fiill four-part harmony for this class of reed instruments, and let them play by
themselves when their peculiar thin, reedy quality b desired. The English
horn, the alto of the oboe, can be used as another part. Clarinets have a
compass extending through the alto and soprano ranges of the human voice,
while the boss clarinet covers the tenor and the bass. Here again the com-
poser can get a full harmony in one family of wood. Thus the wood alone
offers three distinct orchestral tints. But the instruments of the difl^erent
fiunilies combine to make new tints. Flutes go well with clarinets or oboes,
and clarinets combine admirably with bassoons. Furthermore, the whole
wood-band can be used at once with fine effect. The older composers
bad conventional methodt of writing for these instruments, almost alwayt
224 THE MUSICAL GUIDE
allotting the same parts of the harmony to the same instruments. The
moderns have learned to vary this practice with excellent results. All the
wood-wind instruments can be used profiubly as solo voices. ^The brass
offers three groups, horns, trumpets and tromb>ones, each of which is capable
of independent harmony, while each may be combined with the other, or
with any part of another to make variety of effects. All are useful for solo
effects, the horn being especially good for this purpose. The brass can also
be used in many combinations with the wood-wind. Horns, clarinets, and
bassoons, for example, are ti-equently combined. The foundation of the or-
chestra, however, is the string quartet, as it is called, though it is really a
quintet. Violins supply the soprano and alto parts of the harmony, violas
part of the alto and all of the tenor ; 'cellos run from bass up to low soprano,
and basses give the deepest notes. The older composers made but poor use
of the viola and the 'cello, but the moderns take every advantage of their
compass and their individuality of timbre. Furthermore, the moderns subdi-
vide the strings very often, writing at times for first and second violins in as
many as six parts, for violas in two parts, and 'cellos in the same way. In
this way the harmony becomes many-voiced and extremely rich. ^Thc
essential requirements of good orchestration are solidity, balance of tone, con-
trast and variety. Solidity is obtained by a proper distribution, among the
instruments, of the notes of each chord, so that the proper sounds are made
the more prominent. The foundation of solidity is good writing for the
icrings, the mainstay of the orchestra. Balance of tone also depends on a
proper dispersal of the harmony, so that the instruments which are providing
the harmonic support will not drown out the voices of those which are sing-
ing the melody. A perfect understanding of the relative powers of the vari-
ous instruments is necessary to success in these two matters. Especially mast
' the middle voices be skilfully treated to obtain solidity. If they are too loud,
the effect is ** muddy'*; if they are too weak, the orchestra is "all top and
bottom," as the musicians say. 51^^'^^'*^^^ *^ obtained by transferring the
melodic ideas frequently from one of the three divisions of the orchestra to
another, while variety is the result of mixing the tints. A theme is never
confined to the strings, but is often handed over to the brass, or the wood-
wind. But eveii this would not be sufficient. Consequently the various
effects of mingling the voices of the different instruments, flutes and horns,
or clarinets and 'cellos, or oboes and violas, are employed. Tlie composer
must, of course, know his orchestral colours thoroughly before endeavouring to
mix them. Students of orchestral music will find the simplest and most solid
colour schemes in the scores of the classic symphonists, while in the modem
operas and symphonic workx of the romanticists he will hear all the results of
the most complex treatment of orchestral tinting.
DICTIONARY OF TERMS 225
orchettrina (tre'-ni), di ca'mera, /. A
small free-reed key-board instr., imi-
tating some orchestral instr. Inv. by
W. E. Evans, i860.
orchestrino (tre'-n5), /. A piano vio-
lin, inv. by Pouleau, 1808.
orches'trion. i. A large automatic
barrel-organ with many imitative
stops. 2. A chamber-organ devised
and used on his tours by Abb^ Vogler.
ordiiuuio (6r-dt-nS'-r1f-6). /. Ordinary,
usual, common, tempo o. i. The
usual time. 2. 4-4 time.
ordre (ordr), F, A suite.
orecchio (6-r«k'-k!-6), /. Ear. orcc-
chiante (o-rlk-kY-an'-t^). Singing
by ear.
oreille (o-ra'-yii), F, Ear.
organ, E., organo (6r-ga-n6), /., or-
g^ne (or-gin), F. See below.
Organ.
Br THE Editor.
THOUGH many instruments are loosely called organs (such as the
mouth-organ, hand-organ, etc.), the word is generally given to
the pipe-organ^ a microcosmic wind-instrument which contains in
its ftn^t of resources almost all the powers and qualities of almost all other
instruments. In the course of time while its powers have grown ever
greater, their control •has become always easier and more centralised.
^Thc History of the organ is, in any completeness, beyond the space of
dus work. Its prototypes are the primeval Pan's pipes and the bagpipe.
The zd century b.c. finds it with a key-board, and pipes supplied by
bdlows with air compressed by water. Ctesibius (170 b.c.) invented
tkb water-organ (Organon hydraulicon) which his pupil Heron described
m Greek. There are many accounts and reprcsentadons of organs from that
pomt on. The medixval monks used organs abundantly, the pipes being
8 to 1.5 in number and of no greater than 4-ft. length, the range being
usually one octave from middle r' downward, the key-board consisting of
lettered plates to be pressed. In the i oth century there was at Winchester,
Bngland, an organ with 2 manuals for 2 performers, 20 digitals each, and
to {npes to each digital, 400 in all. In the 12th century the pipes began to
be divided into registers or stops (q. v.). For two centuries the action
became so clumsy that keys were struck with fists or elbows. Pedals were
invented about 1325. Till the 15th century, reed pipes were unknown.
Since that time the resources have been vastly increased, the variety of tone
rendered almost illimitable, and the introduction of water, steam or electric
lid to work the bellows has displaced the need of a man to serve as organ-
pumper or bellows-treader. Electricity has also been called into play for
bringing remote parts of the organ into convenient control, till the performer
with hit draw-knobs has almost as easy command as the conductor with his
baton. ^jThe Construction of the organ is too complicated for detail, but
nuajr of the terms following will be found more folly explained under their
226 THE MUSICAL GUIDE
separate heads. When looking at an organ, in a church for exannple, the
eye is first caught by the great array of pipes. These ornamental or display
pipes (some of which may be only for show, dummy-pipes^ conceal many
plain pipes of wood or metal, which are of various shapes and sizes , ac-
cording to the quality and pitch of the tone of the pipe (q. v.). These pipes
are grouped together into registers or stops (q. v.), each being of uniform
quality of tone and furnishing a complete or partially complete scale (or series
of pipes of graduated lengths). Though these pipes are merely colossal flutes,
oboes, trumpets, etc. (each pipe, however, sounding only one tone), they
are too large to be blown by human lungs, and an elaborate mechanism is
used. This is concealed from the eye, which sees only the series of key-
boards for the hands and feet, and the multitude of little draw-knobs grouped
vtrithin easy reach. ^Of these key-boards the numbers vary, those for the
hands, the manuals^ being from i to 5 in number and appearing in the follow-
ing order counting from below, and giving both English and foreign names :
ENGLISH. GERMAN. FRENCH. ITALIAN.
Great (Gl) organ Imanua Hauptwerk( Manual I.) Grand-orgue (ic clavier) Princtpale.
Choir " Unterwerk( •• II.) Positierif (je •' ) Organo di coro.
SweU(Sw.) •• Schwellwerk ( "III.) Clav, de r^cit • (ae " > *' d*espressiod
Solo " Soloklavier( "IV.) " des bombardc* Ue •• ) •' d'aSoioT^
Echo " Echoklavier ( " V.) »' d'^cho (5* •' J •• d'cco.
Each of these key-boards may be said to control a separate instrument or
partial organ ; and one often speaks of the choir -organ, swell organ ^ etc.
^The pedal'key-board, Pedalklaviatur (pa-dal'-kla-ii-a-toor'), G., or tlavier
des pedales(Vl^V'ya'd3i-psi-dkV) Fr., or pe da Her a (pa-dal-la'-ra), /., is worked
by the feet and is also a separate instrument with stops of its own (vide pedal) .
^By means of couplers, any two of these key-boards (manuals or pedals)
may be connected ; or they may all be combined into the/ul/'Organ, The
coupling-action is worked by draw-knobs. ^The organ as a whole, then,
is divided into three chief parts: ( i ) The action (key-boards and stops). (2)
The pipe-work. (3) The wind-supply. The action we have examined.
The pipes (vide pipe and stop) are set upright above the wind-chest, the
cover of wliich is called the sound-board ; the lower part of the pipe, passing
through an upper- board, which grips its nose, sets lis foot in the pipe -rack ,•
below this is a slider (worked by a draw-knob), a thin strip of wood with a
hole for each pipe of its particular stop. ^(4) The wind h collected from
the outer air by bellows and led hy feeders into a storage- bellows, where it is
compressed by heavy weights ; it is next led by a wooden channel or wind-
trunk into a wooden reservoir, or wind- chest, the top of which (the sounds
board) is pierced by grooves closed by valves or pallets, and separated by
bars. ^To play the organ, we first pull out a draw-knob, which drags
along a slider until its holes are beneath the feet of the pipes of its stop.
DICTIONARY OF TERMS 227
This stop is now said to be on (before being brought into play it was off).
Having also pulled out a draw-knob setting the wind-supply to work (or
having signalled the person working the bellows), we next press down one of
the digitals on the key-board whose stop we have drawn. In pressing down
this digital lever we raise its opposite end, which lifts an upright rod (a
iticker)y this in turn raising the front end of a horizontal lever (or back-fall)
whose rear end is thus depressed and pulls down a thin upright strip of wood
<a tracker) which in turn pulls a wire (a pull- down or pallet-wire) fastened
to a valve (or pallet) which opens and lets the air (which was waiting in
the groove from the wind -chest) rush up through the slider into the pipe to
make it sound or speak. (^Squares and roller-boards sometimes intervene
between the stickers and trackers, while pneumatic or electric actions give
still more direct connection between digital and pallet.) This is the mech-
anism by which each tone is secured. By means of a multitude of stops
and couplers, what would be a simple tone or chord on another instrument
may become a vast group of tones of various pitches and colours. ^By
means of the swell (q. v.) the volume of sound may be gradually increased
or (fiminished while it is sustained.
organ-bellows. A machine for sup-
plying wind, o.-blower. One who
works the bellows, o.-loft. The part
of the church where the organ is
placed, o. metal. A tin and lead
mixture used in pipes. o. tabla-
ture. Vide tablature. o. point.
Vide PEDAL POINT, o. tone. A
tone sustained with uniform power.
bttfifet o. Very small organ, enhar-
monic, enharmonic organ. An
American instr. gi\nng three or four
times the usual sounds within an oc-
tave, furnishing the precise intervals
for every key, the scale of each key
being produced by pressing a pedal.
fiill org^an. All the power of the
organ, hand-organ or barrel-o. A
cylinder turned by hand and acting
on keys to produce set tunes, harmo*
oiom o. A reed instr. voiced to im-
iute organ-stops, organet'to, /. A
small organ, organier (6r-gan-ya),
F. Organ-builder, organique (6r-
gto-ek), F. Relating to the organ.
organista (or-gS-nes'-tii), /. and Sp.
I. An organ-player. 2, Formerly a
composer.
organic. Old term for instrumental.
orga'nicen, L. Organ-player.
organis'trum, L. A hurdygurdy of
about 1 100 A.D.
organo (5r-ga'-n5), /. Organ (q. v.).
o. di campan'a. Organ with bells.
o. di legno (lan-y6). Xylophone.
o. pieno (pT-a'-nS), or pleno (pla'-no).
Full organ, o. portatile (por-ta-tc'-
1^). Portable organ, organi voca-
li (or-ga'-ne-vo-ka'-l^), /., pi. The
vocal organs.
organo, in, L. Vide organum.
orga'nochor'dium. A combination
of pf. and pipe-organ inv. by Abbe
Vogler.
organophon'ic. Name adopted by a
band of Polish performers imitating
various instrs. vocally.
organographie (gri-fe), F. The de-
scription of an organ, organologie
(zhe). The science of building and
playing the organ.
organumj Z,., or'ganon, C7r. i. Any
instrument, thence the organ. 2.
The earliest polyphonic music, a con-
tinual progression of two parts in
fourths or fifths (also called diapho^
228
THE MUSICAL GUIDE
ny); later it developed into 3 parts
(tripho nia\ the third part called tri-
plum^ hence our term treble ; then
into 4 parts (tetr aphonia). 3. The
part added to another in 2 part orga-
num. ia organo. Old term for in
more than two parts, o. hydraul'-
icum. Hydraulic o. o. paeumati*
cum. The ordinary wind o. o. sim-
plex, Z. A mediaeval term probably
meaning the unisonal accompaniment
of a sinele voice.
Orgell (6?-g«l), G. An organ. O.-
bUlre (b«lkh^). Organ-bellows.
O.-bank (b&nk). Organist's seat.
O.-bauer (bow-^r). Organ-builder.
O.-biihae (btt-n^), or -chor (kor), or
-platz (plats). Organ-loft. O.- ge-
hkuse (g<-h!'-z$). Organ-case. O.-
kasten (kas'tdn). i. Cabinet organ.
2. Organ-case. O.-klang. Tone of
an organ. O.-kuast (koonst). The
art of playing, or constructing an
organ. O.-metall (ma-tal). Org^n-
metal. O.-pfeife (pfl'-f£). Organ-
pipe. O.-punkt (poonkt). Pedal-
point. O.-register (r5-ges'-ter).
Organ -stop. O. -schule (shoo'l^).
Organ-school or method. O.-spiel
(shpel). Playine the organ ; or the
piece played. O.-spieler (shpe-lfir^.
Organ - player. O. - stein (shtin).
Pan's pipes. O. - stimmen (shtYm'-
m^n). Row of organ-pipes. O.-
Stiicke (shtU'-kS). Organ-pieces. O.-
treter (tra'-t€r). Organ-treader, bel-
lows-blower. O.-virtuose (fer-too-
6'-z5). Organ - virtuoso. O. - wolf
(volf). Ciphering. O.-zug (tsookh).
Orean-stop or row of pipes.
•rgein (or'-gfiln). To play on the or-
gan.
orgue (org), F. Organ. 0. de salon
(da s&-l6h), orgue expressif. (a)
The harmonium, (b) The swell or-
gan, o. hydraulique (e-dro-lek).
Hydraulic organ, o. k percussion
(pdr-kUs'-yoh). A reed o. made by
De Provins & Alexandre, Paris, o.
plein (pl&h). Full organ, o. por-
tatif (por-ta-teO- A portable organ.
o. de barbarie (d£i b&r-ba-re). A
barrel-organ, hurd^^rdy. o. posi-
tif (p6-zT-tef). I. The choir-organ.
2. A small fixed organ.
org^nette (6r-gl-ndt), F, A small
reed-organ played with a crank, the
music being perforated to admit air
to the reeds.
orificcio (or-X-flt'-cho), /. Orifice (of a
pipe).
ons cus. Vide neume.
or'nament, E,, omamen'to, /., or-
nement (6m-man), F, An embellish-
ment, as the turn, grace (q. v.), etc.
ornamental note. An accessory
note.
omato (or-nsi'-to), omatamen'tey /.
Omate(ly).
orpha'non,orph6or(e)on (6r-fa-5-r6n).
F. A kind of cither.
Orph6on (6r-fa-dn). i. A piano- violin.
2. A popular male singing society of
enormous proportions in France (in
1 88 1 it had 60,000 members), orph^
oniste (nest). A member of such
society.
Orpheus (orf-yus, or 6r'-f€-tts). Fa-
bled Greek lyre-player and singer of
supernatural power. O.-harmo'nika,
G. Pan harmonikon.
orthog'raphy. Spelling and g^mmar
are as necessary in music as in any other
written language. Bad spelling occurs
in music where, for instance, a chord
is written in sharps when the key-
relationship shows it to belong in the
enharmgnic flat notes. Sometimes,
however, a note is mis-written inten-
tionally for the sake of easier read-
ing.
os'cillation, E.^ Oszillation (6s-tsll-
la-tsl-on'), G. Beating, vibration.
osia (o'-se-a), ossia (6s'-sT-a), 7. Or.
otherwise, or else. o. pii^ £acile
(pT-oo' fa'-chl-ld). Or else this more
easy way.
ossenranza (v£n'-tsa), /. Observation,
strictness, osservato (va -to). Strict,
exact.
ostinato (6s-tY-na'-td), /. i. Obstinate,
continuous. 2. A ground-bass, some-
times basso o.
Otez (6-ta), F. •• Off 1" (of a stop).
DICTIONARY OF TERMS 229
Ottawa (dt-ta'-ya), /. Octave, eighth.
o. alta (ai'-ta). The octove above ;
an octave higher (abbreviated 8va.) ;
o. bassa (bas'-sS). The octave be-
low (abbreviated Sva. bassa). o.
■npra (soo'-prt). The octave above.
coU' o. To be played with the octave
added.
ottaTina (6t-ta-ve'-na), /. Vide octa-
VIANA.
otUTisio (6t-tS-ve'-n6). /. The pic
colo.
ottemole (6t-{£-md'-llO' ^ gT^up of
eight equal notes.
ottet'to, /. Octet.
on (00). F, Or, or else.
ongab (oo'-gHb), Heb. Ancient reed-
instrument.
onle (oo-e), F, Soundhole.
ooter Toices. The highest and lowest
voices.
onrert (oo-vir'), F, Open. Vide
LIVRE.
ovrerture (oo-v&r-tilr), F,, OuyertUre
(oo'-f^r-ta-r«), G,^ ovcrtura (6-v€r-
too'-ra), /., orertare {6'-v«r-tur, not
toor). An elaborate prelude to an
opera, oratorio or play, often based
(in the concert o.) on the sonata
formula ; often (in the opera o.) a
mere medley of airs ; sometimes an
independent composition, o. di bal-
lo (dc biil'-l6), /. An overture intro-
ducing dance melodies.
orerblow^. i. To blow with enough
force to produce harmonics on a wind-
instr. Vide acoustics and horn.
This feat is constantly necessary in
playing many wind-instrs. 2. Of de-
fective pipes, to sound a partial in-
stead of the fundamental.
overchord. Vide phone.
overspan. Used of covered strings.
overstmnfi^. Of a piano in which the
strings of two or more of the lowest
octaves are stretched diagonally under
other strings, the object being to
economise space.
orrero (6v-va^-r6), /. Or.
0, W. Abbr. for Oberwerk.
ozjpyc'ni. Church modes with a
pylmon high in the tetrachord.
PAbbr. of pedaU ; piano ; piU,
2&pik forte {^{^\poco, asp. a.
p. , poco a poco ; parte (as coUa
p.) ; pointe, F. (toe) ; and posi-
tif (choir-organ).
pad. Vide pianoforte.
padiglione (pS-dcl-yo-n*), /. The
bell (of a wind-instr.).
Padovano (pil-do-vS'-n5), Padava'ne,
or, Paduane (pa - doo - a' - n€), /.
** From Padua.** An Italian dance
in ternary rhythm. Perhaps the same
as Pa van.
paean (pe'-an), Gr, Hymn of invoca-
tion, usually to Apollo.
pair of organs. An organ with a
complete set of pipes.
paired notes. Thirds, sixths, etc., in
pf. -playing.
paisana (pa-I-za'-na), Sp. A country,
dance.
palalaika. Vide balalaika.
palco (p^l'-ko), /. Stage of a theatre ;
box.
Palestrinastil (shtel), G, The style of
Palestrina (vide B. D.), i. e., a cap-
pella.
palettes (pftl-«t'), F. The white keys.
pallet. A spring valve in the wind-
chest of an organ.
palmadilla (p&l-ma-dcl'-ya), Sp. A
dance.
pam'be. Small Indian drum.
panathe'nsea, Gr. An Athenian festival
at which musical contests were held.
Pandean pipes, Pan's pipes. A
primitive group of reeds or tubes of
different lengths, fastened together
and tuned, named for the god Pan.
pando'ran, Gr„ Pandore (piln-do'-r^),
C7., pandora, pandoura, pandura
(pan-doo'-rS), /., pandure (pandUr),
F. Vide bandora.
Panflote (pan'-fla'-te), G, Pandean
pipes.
pannarmo'nicon. A kind of orches-
trion inv. by Maelzel.
panmelo'deon. A key-board instr. of
wheels impinging on metal rods, inv.
18 10, by Leppich.
230
THE MUSICAL GUIDE
panorg^e (org), F. A little reed-organ
to be attached to a pf. inv. by J.
Jaulin.
pan sjinpho'nikon. An orchestrion
inv. by Peter Singer, 1839.
pantaleone (pan-ta-I£-6 -nd), paiit««
Ion. An instr. inv. by Pantaleon
Hebenstreit, in the i8th century. It
was 9 ft. long, 4 ft. wide, and had 186
gut strings, played on with two small
sticks. P.-zug, C. A harpsichord-
stop.
pantalon (pSn-ta-16n), F, First move-
ment of the quadrille.
Papagenoflote (pa-pa-ga-no-fla'-td),
G. Pan's pipes, from Mozart's Papa-
geno (vide *' Magic Flute" in "Sto-
ries of the Operas ").
papillons (pip • e - yon), F, * ' Butter-
nies.'* A frail and flitting composition.
parallel. Of intervals, consecutive ; of
keys, related. Of motion, the pro-
gression of two voices in the same
direction at a fixed interval. It re-
quires care in handling. Parallelen
^ii-ral-la-l«n), G. i. Sliders. 2.
Consecutives. Parallelbewegung
(b$ - vakh' - oongk), G. Similar or
parallel motion. Parallel-tonarten
(t6n-ar-t€n). G. Related keys.
parame'se, parane'te. Vide lyre.
par'aphrase. Free or florid transcrip-
tion.
parfait (pir-f^ ), F. Perfect (of inter-
vals), etc.
parlan'do, parlante (par-Ian' -t^), /.
"Speaking," in a recitative manner.
parhy'pate. Vide lyre.
Famas'sus. A mountain in Greece,
sacred to Apollo, the Muses, and in-
spiration generally. Gradus ad Par-
nas sum. Vide method.
parole(8) (pa-rol'), F. Word(s).
part, E, and G. i. The music of an
individual voice or instr. 2. A divi-
sion.
part-book. i. The music of any one
voice or instr. 2. In the I5th-i6th
cent, a book with separate parts on
facing pages.
part-song. A song for three or more
voices.
part-writing. Counterpoint.
parte (pfir-te), pi. i, /. Part(s). colla
p. With the part, i. e., adopting the
temp>o of the singer or soloist, p.
cantan'te. The vocal part, the lead-
ing voice, parti di npieno (re-pf-
a - no). Supplementary parts, a p.
equale. With more than one voice
of leading imp>ortance.
partial, i. An harmonic. Vide acous-
tics. 2. Vide STOP. 3. Vide TURN.
partic'ipating. Accessory, partici-
pa turn sjste'ma, Z. Equal tem-
perament. •
Partie (par-te'), G, i. Variations. 2.
Vide SUITE.
partie(8) (pir-te). F, Parts, p. de rem-
plissage (dd rah-plI-sHzh), F. Ac-
cessory parts.
partimen to, /. i. An exercise. 2.
Fibred bass.
partita (par-tc'-t&), /. i. Variations,
2. Vide SUITE.
partitino (te'-no). A small supple-
mentary score.
partition, E, (in F. pftr-tes-yon), Par-
titur (par - tl - toor'). G., partitura
(p5r-tI-too'-rfi), partizione (par-ie-
tsI-6'-nd), /. A full score for voices
or instrs. p. cancella'ta. A set of
staves with vertical lines for the bass.
Partiturspiel (toor'-shpel), G, Play-
ing from the score.
partito (par-te'-to), /. Scored, di-
vided.
pas(pa), F. 1. Step, dance, p. ordi-
naire (pa-z6r-dT-nJir). March time,
p. de charge (dii sh&rzh). Double
time. p. seul (sQl). A dance for
one performer ; p. de deux (da dO).
For two, etc. p. redouble (pa-rO-
doo-bla ). A quick-step. 2. Not. as
pas trop vite (pa tro vet). Not too
last.
paspi^ (pas'-pT-a), Sp, A kind of
dance.
pas'py. Vide passepied.
passacaglio (pSs-si-kal'-yo), /.. paa-
sacaille (pas-sH-kf-yti), A, passa-
col'le, Sp., passagall'o, /. A
chaconne with a ground-bass in 3-4
time, always in minor.
DICTIONARY OF TERMS 231
passage (in F, p&s-sazh). i. A phrase
or section. 2. A figure. 3. A run.
notes de p. Grace notes, passage*
boards. Boards on which an organ-
tuner may walk.
PASSASSio (pas-sad'-j5), /. i. A pas-
sage. 2. Modulation.
passamezzo (pSs-sa-m^d'-zo). A slow
Italian dance, in 2-4 time, resembling
the Pavan.
passant (pib-sih), F, Slide (of a
bow).
passepied (p&s-pY-a), F, A lively old
French dance in 3-4, 3-8, or 6-8 time ;
a quick minuet with three or more re-
prises, the first of eight bars.
passe-me (pfts-rU). Passacaglio.
passing^. Unessential, as a passing
modulation. A transient modulation.
passing tone, or note, a brief dis-
sonance on the weak beat, leading
from one consonant tone to another ;
it does not need to be prepared.
Passion, Passion-music. Oratorio, or
play. A dramatic or musical setting
of the ** Passion *' (suffering) of Christ.
It differs from the oratorio (q. v.) in
history and form only in the facts of
its being always concerned with the
one subject, and in the introduction
usually of spiritual reflections.
passionata or -o (pas-sT-&-na -ta), pas-
sionatamen'te, /. Passionate(ly).
passione (pas-sl-o'-n£). i. Passion,
feeling. 2. Vide passion.
Passionsmusik (pas-sl-ons-moo-zek),
G. Vide PASSION.
pas'so, /. Step.
pas sy-measure. Old E, Passamezzo.
Pastete (pSs-ta -t^). G, Pasticcio.
pasticcio (p^s-te'-cho), /., pastiche
(pfts-tcsh), F, I. An opera, or other
work in which old airs are used to
new words. 2. A medley.
pastoral, pastorale (pas-t5-ra'-lS in
/. ,• in F, pis-to-ril'). An opera, can-
tata, song or instrumental composi-
tion of rustic nature or subject, p.
flute. Shepherd's pipe. p. organ-
point. Vide PEDAL-POINT, pasto-
rella, /., pastpreUc (r«l), F, A
little pastoral.
pastorita(c'-ta). i. A shepherd's pipe.
2. A stop, the Nachthom.
pastourelle (pas-too-rCl), F. i. A 6-8
movement of a quadrille. 2. A trou-
badour lyric.
patetica or -o (p^-ti'-tY-kH), /.. path^
ti^ue (pa-ta-tek), F,, pathetisch (pa-
ta -tish), G, Pathetic ; a piano sonata
in C minor by Beethoven is so-called ;
and a symphony by Tchaikovski.
pateticamen'te, /. Pathetically.
patimen'to, /. Grief, suffering.
patouille (pat-oo-e'-yti), F, Xylo-
phone.
patte (pit), F. I. A special clarinet
key. 2. A music-pen.
Pauke(n) (pow'-k«(n)), G. Kettle-
drum(s).
pause, E,, pausa (pa'-oo-zil), /., pause
(poz), F. I, A rest of variable length ;
if very protracted called lunga (or
long) pausa. 2. A fermate. 3. F.
and G. A whole rest, demi-pause
(dd-me'-p6z), F. A half-rest.
pavan', ^., pavana (p^-v^-nsi), /., pa-
vane (pi-vdn'), F, A grave stately
dance in 3-4 time, generally in three
strains, each repeated ; once supposed
to be derived from ^avOy peacock,
now from Paduna (q. v.).
paventato (p^v£n-ta -to), pavento'so,
/. Fearful, timid.
pavilion (pa-ve'-yoh), F, The bell of a
wind-instr. p. en Pair (ah lir). " The
bell upwards" direction to horn-
players), flute a p. A stop with
flaring pipes, p. chinois (shen-wa).
Chinese hat, crescent.
peal. I. A chime. 2. A change, of
bells.
pean. A paean.
pearly (of runs, etc.). Bright, dis-
tinct.
ped. Abbr. of PedaL
pedal, E. (in G. pa-dal), p6dale (pa-
dai), /*., pedale (pa-da-ie), /. i.
Abbr. of Pedal-point (q. v.). 2. A
foot lever of various musical uses.
The piano has usually two pedals :
(a) The damper (open, loud, or ex-
tension) pedal, which raises all the
dampers from the strings, allowing
^32
THE MUSICAL GUIDE
the tones struck to be sustained and
broadened by sympathetic (q. v.) vi-
bration. The use of the damper-
pedal is indicated by Fed., and its
cessation by the mark * or($). Wm.
H. Sherwood (vide B. D.) has intro-
duced a more accurate system of con-
tinuous lines r*^ to indicate just when
this pedal is to be pressed, how long
held and when released, (b) The
soft pedal (petite (pa-tet), p6dale)
in some cases merely lets a cloth fall
over the stringrs, but usually shifts
the action so that the hammers strike
only one of the two, or three strings
allotted each tone. Hence its use is
indicated by una corda (oo'-na kor'-
di, one string), or Verschiebung
(fCr-she'-boongk), and its discontinu-
ance by " trc cordc *' (tri kdr'-da, ** 3
strings "). In the upright pf . this pedal
simply moves the hammers nearer
the strings. Some pianos are fitted
with a (c) sustaining, or prolon^-
tion pedal. A damper-pedal holdmg
the dampers from only those strings
struck at the moment, until the pedal
is released, thus permitting the sus-
tention of a chord or tone while the
hands are busy elsewhere, (d) A. B.
Chase has inv. an octave-pedal, or
octavo-attachment, sounding also
the higher octave. Both pedals (a
and b) may be pressed together ; this
is indicated by pedale doppio, or
doppelte.
The harp (q. v.) has 8 pedals, one
opening or closing a panel in the
sounding-case with loud or soft effect.
Reed-organs, etc., have double pedals
or treadles for working the bellows.
In the pipe-organ (and in the ped-
alier, q. v.) the pedals are of great
variety. There is a pedal key-board,
Pedaiklaviatur (pa - dal' - kla - ft - a-
toor'). or Pedalklavier, G., clavier
des p6dales (dapa-d&l), /^, peda-
llera, /., with a compass of C-f, or,
counting stops, from C,, up. This is
plaved by the feet (V over a note indi-
cating the right toe ; under it, the left :
O similarly marking the heel). To this
part of the organ, called the pedal-
organ, many stops are of ten allotted ;
hence pedal - pipe, stop - sonnd-
board, etc. ; it is locked from sound-
ing by a pedal-check (worked by a
stop-knob), a bar running beneath it.
The pedal-stops may be made to sound
with any of the manuals by means of
mechanism, called pedal-couplers,
coupler - pedals, or reversible -
pedal.
The word pedal is also given to the
organ, to such foot-levers as the com-
bination, or composition pedals
(p6dales de combinaison), which if
single-acting draw out ceruin new,
or push in certain old, stops ; if
douole-acting produce certain com-
binations regardless of the previous
registration. The forte-pedal draws
out all the stops of its key-board ; the
mezzo - p. the chief 4-8 ft. stops ;
the piano-pedal leaving only the
softest on ; the crescendo-p. draws
out the full power gradually, the di-
minuendo withdraws it; the afor-
zando produces a sudden fulness.
Vide also celeste.
The swell-pedal works the shutters
of the swell-box ; if it remains at rest
where left, it is called a balance
swell-pedal.
Pedalflttgel (flu'-gh^l), G, Pedalier.
Pedalharfe (p«-d&r.harf^, G., pedal-
harp. A double-action harp.
pedalier (pM-^-ler), E., p^daUer(pi.
d&l-ya), /;, pedal'ion. A pedal,
key-board attachable to a piano and
plaving the bass-strings.
pedal-note, or tone. A tone sus-
tained by the pedal or some voice,
usually the bass, while the other parts
move independently. As the word
*• point" originally meant **note,"
pedal-point (abbr. to pedal) is syn-
onymous with pedal-note, but is now
used rather of the phrase in which
the pedal-note occurs. It is displac-
ing the word organ-point, derived
not from organ, but from organum
(q. V.) and referring to the long notes
of the eantus firmus against which
DICTIONARY OF TERMS 233
the other voices moved, these notes
being called organici puncti^ or or-
ganum notes. Pedal-point is then a
phrase in which one tone is sus-
tained through independent harmo-
nies. The tonic or the dominant is
usually the tone sustained. If both
are used at once it is called pastoral.
If the pedal-pt. occurs in other voices
than the bass it is inverted. It is
sometimes exterior, or interior. It
may be figurated, trilled, or florid.
A tuning-pin ; in the violin, etc.,
it is set in the head, in a space called
the peg-box.
pe^rli (pal-ye), /. For the (from per
pek'tis, Gr, A Greek lute.
pel, pel'lo, /. For the (from per il^
perlo),
penil'Uon. A Welsh unprovisation of
verses.
pennant. Hook.
pemiata (p^n-na -tl), /. Quilled (of
the spinet, etc.).
penorcon (pii-n5r'-s6n), F,, from pe-
oor'kon, Gr. An ancient guitar.
pensieroso (p^n - se - a - ro - so), pen-
so' so. /. Pensive, thoughtful.
pentacnium, Gr. A composition in 5
parts.
pen'tachord. i. A series of 5 diatonic
tones. 2. An instr. with 5 strings.
pen'tatone, ^., pen'taton, Gr, i.
An interval of 5 whole tones, an aug-
mented sixth, pentaton'ic. Having
five whole tones, pentatonic scale.
A 6ve-toned scale, the same as the
usual major scale, with the fourth and
seventh tones skipped ; called also
the Scotch scale. The black keys of
the piano represent a pentatonic
scale.
per, L. and /. For, -by, through, in,
from.
percns'sion, E,, percnssione (p^r-
koos - s« - 5' - nQ, /. I. The actual
sounding of a tone or chord (as op-
posed to its preparation or resolution).
2. Instrs. of percussion are those in
which the tone is secured by striking,
particularly the drams, ^mbals, ami
triangle, also the piano, and so forth.
percussion-stop. One in which the
reed is struck just as it is blown, to
emphasise its tone. percussiTe. An
instr. of percussion.
perden'do, perden'dosi, /. D3ing
awav in both speed and power.
perdu na. Bourdon.
perfect, i&.,perfet'to, /. i. Vide in-
terval, CADENCE, CHORD. 2. An
obsolete name for triple time, per-
fection. Vide NOTATION and liga-
ture.
P6rigourdine (pa-rTf-eoor-dfn), F,
Cheerful old French dance, in triple
time, so called from the province of
Peripord.
period, p6riode (pa-rY-6d), /*., periodo
(pa-rl-6'-d6), /. A passage contain-
ing two or more sections and some
form of cadence. Vide form. Perio-
denbau (pa'-rt-6d-€n-bow), G. The
building of periods, or composition.
perpetual, perpetno (p^r-pa -too-d), /.
I. Vide CANON, 2. Perpetual mo-
tion, or perpet'uum mo1>ile, Z. A
piece of great rapidity and no pause
till the end.
pes, Z. Foot. A ground-bass to a
round.
pesante (pa-sSn'-t£), pesantemen'te,
/. Heavy(ly), impressive(ly), forcibly.
peso, di (de pa' -so), /. At once.
petit (pti-te'), petite (ptt-tet), F. Small,
choeur p. A three-part chorus, p.
flute. Piccolo, p. mesnre it deux
temps. 2-4 time, petits notes (pfi-
te' ndt). Grace notes, p. pediue.
Soft pedal.
pet'to, /. The chest, voce de p.
Chest voice, di p. From the chest.
peu (ptt), F. Little, un p. A little.
p. a p. Little by little.
pezzo (p^d'-z6), pi. i, /. A piece or
number, pezzi concertanti. Con-
certed numbers.
pf. Abbr. of, I. Pianoforte. 2. Poco
forte.
Pfeife (pfl'-f«), (7. i. A fife. 2. A pipe,
as of an organ. Pfeifendeckel.
The covering of a pipe. P.^werk.
The pipe-work. Ptei for. A fifer.
234
THE MUSICAL GUIDE
Phantasie (ffin-ta-ze'), G, Fanusy.
or fantasia. P.-bilder, P.-stttcke.
Fanciful pieces of no strict form.
phantasieren (ze'-rfin). To impro-
vise. Phantasier'-maschine. A
melograph. phanta8i(e)rte (zcr'-tS).
Improvised.
phirharmoa'ic. Music-loving.
philom&le (fe-ld-m£l). Vide zither.
phonas'cus, Z., from Gr, Singing-
teacher.
phisharmon'ica. An octagonal ac-
cordeon.
phonaut'ograph. x. A name given first
to a melograph. inv. by Abb^ Moig-
no, a pencil fitted to a vibrating mem-
brane. 2. An electric melograph for
key-board instrs. inv. by Fenby.
phone, Gr. i. Voice or tone. 2.
Sound, a term appropriated by Dr.
Th. Baker, to represent Riemann*s
term *' clang " (q. v.), hence homo-
phone, under phone, contro-phone,
and phonic.
phonetics, phonics. The science of
sounds.
pho'nikon. A metal wind-instr. with
globular bell inv. by Czerveny, 1848.
phonom'eter, E., phonom^tre (fdn-
o-m€tr), F, A device for measuring
vibration.
phor'minx, Gr, An ancient lyre-like
instrument.
pho'tinx, Gr, An ancient crooked flute.
phrase, E, (in F. frftz. in G. frS'-z6).
I. A musical clause. Vide form. 2.
A short passage or figure, phrase-
mark. A long curve covering a
phrase ; or any musical punctuation-
mark. phrasi(e)ren (ze'-rSn), G. To
phrase, phras^ (frft-za), F., phras-
ing^, E., Phrasierung(ze'-roongk).6^.
(a) The act or art of delivering music
with due regard to its melcSic and
rhythmic punctuation, relation and
contrast, (b) Signs for such phrasing.
Phrygian (fri'-jan), E., from Gr. phry-
gische (fre'-jlsh-«), G. Vide modes.
phjsharmo'nica. i. A small reed
and bellows attachment to a piano
key-board for sustaining and colour-
ing tones ; inv. by Hackel. Vienna^
1818 ; the forerunner of the harmo-
nium. 2. A free-reed-stop.
piacere, a (& pl-si-cha'-re), a pimcd-
men'to, /. At pleasure, piacerole
(pl-a-cha'-vo-ld), piaceTolmen'te.
Pleasant(ly). piacevolezza (l«d'-zl).
Suavity.
piagendo (pl-a-j«n'-d6), /. Plaintive.
piagnevole (pX-an-ya'-v6-W), /. Sad,
mournful.
pianar'tist, (7. A mechanical attach-
ment for playing the piano.
pianente (pl-a-n6n'-t«). /. Gently,
softly, pianet'to. Very soft.
pianette (n^t'). A small piano.
piangeyole (pf-an-j&'-v5-l«), piange-
▼olmen'te, /. Doleful(ly).
pianino (ne'-no), /. An upright piano.
pianis'simo, /. Very soft, pianis-
sis'simo. Extremely soft.
pianist (pT-in'-Yst. not pe'-in-lst), £,
A piano-player.
pianista (ne'-sta), /. i. A pianist. 2.
A mechanical piano.
pianiste (pT-£n-est'), F. Pianist of
either sex.
piano (pT-ano). /. i. Soft, softly.
abbr. (/). hence piano-pedaL 2.
The common form of the word piano-
forte (q. V.) ; this shorter form is alto-
gether used in France, and commonly
elsewhere. Many terms are used to
indicate sizes and forms of the piano,
as the concert grand and par'lonr
gjand or piano k queue (i-ka*),
the semi-grand or boudoir or p. i,
queue 6court6e (a-koor-ti), or
baby-grand. Smaller form. The
square or carr6 (c&r-ra) ; p. k ta-
▼olins ; the upright or cabinet, or
p. k secretaire (si-krii-tftr), or droit
(drwa), oblique, or k pilastres, or
▼ertical, and still smaller sizes such
as the cottage, or the piccolo^
inv. by Womum, of London, 1829.
For practice there are the dumb p., or
p. muet (mu), and the Virg^ prac-
tice-clavier, etc. electric p. One
employing electro-magnets in place
of hammers, p-quatnor, or p. H
archet (£ftr-sha). Vide piano-vio-
UN. p. Pollen. Vide ambmo-
DICTIONARY OF TERMS 235
CHORD. The p. harmon'icorde. A (mi-k&-nek). A mechanical or auto-
combinatiOQ with an harmonium, inv. matic piano, p. or^nis^ (6r-gd-
by Debain. the p. k claviers ren- nl-za). One with phys-harmonica at-
vers^ (a-kliv-ya rSn-vdr-sIL). One tached.
with 2 key-boards, one above the pianoforte (pM'-no-fdr-t$, or common-
other, the scale of the upper ascend- Iv pT-a -nd-f5rt), £, and /. piano-
ing from right to left. p. m^cbaniqae fort^ (for-ta), K
Pianoforte.
By the Editor.
PIANOFORTE (in G. usually restricted to the square piano). The
most used and most abused of instruments — a combination of the
strings of the harp with a key -board system derived from the organ
(in the 14th cent, there is mention of a ** stringed instrument of the organ
&mily : the Exaqnir, Sp,, Escbiquier i Angleterre'^* i.e., <* English chess-
board," F. or EsqMakielf G.). ^flts History is obscure and owes much
possibly to the mfbnochord and elaborations from it. In the monochord,
die hordygordy, or organistrum, etc., a single [string produced various
tones by means of a movable bridge. So the early forms of the piano
show a few strings serving for many digitals. The word monochord was
kept eren after the strings were increased in number, but was finally
changed to clavichord (c/avJs=key) or clavier; the movable bridge was
(fi^laced by tangents which served both to divide the strings as with
frets and to sound them. ^Simultaneously with the fretted clavichord, in
which each string served for several tones (as a guitar-string does) prospered
a development from the dulcimer, a key-board dulcimer, or c lavicymba I (fiom
cymbal meaning dulcimer), called in France, clavecin ; mVA/ , clavi-cembalo
or drpic9rd§ ; in England, harpsichord ; in Germany, F luge I, KielfiugeU
Steer is teck or Schweinskopf. Small forms of this were the nrginal(s), the
couched harp or spinet (from //«rtf= quill), etc. In this variety there was a
string for each tone, and the string was sharply plucked with a quill carried
at the end of a wooden jack. In time the clavichord was also given a string
to each tone and was now said to be ** fret-free " (^bundfrei) instead of
•* fretted'* (^gebunden). The tone was capable of a beautifiil trembling
effect (^Bebnng) and considerable virtuosity, but there was litde possibility of
blading from loud to sofr. The appearance of the elaborate dulcimer the
Pantaleon seems to have set the clavichordists to thinking, and Cristofori,
in 171 1, invented the hammer-mechanism, which he called, from its power
to sound loudly or io^y^ piano forte, literally << loud -and-soft/' (this name
had been used as eariy as 1 598). In Germany, Silbermann, the organ-
builder, won Bach's approval for a Hammer-klavier of the same general
236 THE MUSICAL GUIDE
idea. This idea, with many improvements in detail, bat little fundamental
change, persists to-day in the magnificent instrument on which great gym-
nasts combine brute-force with legerdemain. ^['^^^ Construction of the
piano of our dme shows the triumph of ingenuity over a total string-tension
of twelve to twenty tons. A powerfiil cast-hx)nyri2/v^, usually cast in one piece
and braced with trusses and cross-bars^ braces the wooden sound-board below^,
on which is a raised bridge of hard wood^ over which are stretched the
strings. The strings are of steel wire, the bass strings being covered with a
finely -wound copper wire. The lowest octave of the bass has one string to
each tone, the next octave or more has two stnngs to each tone, the rest of
the instrument has three strings tuned exactly alike as unisons for each note.
Some of the strings are generally carried back across the others to save space ;
this is called overs tringing. The hammer of each tone strikes all three
strings at once, except when the soft pedal by shifting lets it strike only one
string (hence ** tre corde " and ** una corda "). ^|The action of the piano
consists of a key-board of finger-levers or digitals (loosely called keys), the
white digitals forming the scale of C major, the black digitals furnishing die
necessary semitones to give the piano (by means of temperament, q. v.) a
command of all the major and minor keys — the fingering differing for each
key except with the Jank6 (q. v.) key -board. The pressure of a digital does
not, as in the old clavichord or harpsichord, immediately affect the string,
but reaches it by a complicated series of levers which bring the hammer into
position for a new stroke instandy, so that a tone can, in a proper action, be
repeated as rapidly as the fingers can strike the digital. (This is called the
repetition or double escapement — the double 'echappement of Erard being the
origin of the many forms of escapement.) The digital carries at the inner
end a verdcal pilot which supports a nearly horizontal carrier ^ at about a
right angle to which is the rod called the hopper^ which fits against the ham-
mer by a notch or projecdon. As soon as the hopper has forced the hammer
against the string, it slips loose from the hammer and is brought instantly
back (by devices hard to describe briefly) into posiuon so that the hammer
on rebounding fi-om the strings finds the hopper ready for an immediate new
stroke. The hammer is hinged at the butt ; at the other end of its shank is
the hammer-shaped head with a pad oi felt (or leather). The acdon which
throws the hammer against the strings, and makes it rebound instantly, lifts
away fi-om the strings the little damper^ which mufiles the strings when not in
use ; this damper remains off the strings as long as the digital is held down.
^[By means of the damper-pedal (commonly called the *^loud pedal") all the
dampers may be lifted from all the strings, thus permitdng sustained tones
and sympathedc vibrarions while the hands play other chords. Some jnanos
have also a sustaining as well as a piano^ or soft pedal (vide Pedal).
DICTIONARY OF TERMS 237
^I'l he piaDO has a complete chromatic scale with a compass of about
•even octaves A^^— a"". It is capable of a rapidity and clarity of utterance
of which the organ b incapable ; and no other instrument but the organ ap-
proaches its resources in chords, range, and brilliance. Except the organ,
it is the only self-supporting instrument ; it can fiirnish absorbing employ-
ment for the four hands of two performers. The chief lack is the inability
to swell a sustained tone, and some method of adding this final touch of
human interest will doubtless be devised in time by some of the many minds
engaged upon the problem.
Piano Studies.
By James Huneker.
A CENTURY of experience in piano pedagogy has not been fruit-
less; skilled masters of the instrument no longer burden their
pupils with futile finger exercises, and the precious morning hours
instead of bemg devoted to mere digital tortures are now utilised for the
memorising of a repertoire and the study of especial difficulties in a composi-
tion. Since Karl Tausig, the vast and useless etude literature has been sent
to limbo ; for in the music itself may be studied the precise technical difficulty
to be overcome. ^After the independence of the fingers, the scales in single
and double notes, arpeggios and octaves have been thoroughly mastered, the
following studies are generally employed for style, for endurance and the musi-
cal development of the scholar : Cramer — edited by Von Biilow ; Clemi,nd
— edited by Tausig ; Kessler — a judicious selecdon ; KuUak's octave school ;
and the Chopin Etudes, opus 10 and opus 25. After these latter the studies
of Uszt and Rubinstein, and Schumann's Symphonic Etudes maybe essayed.
Of special studies, the Toccata of Czerny, the Schumann Toccata, the Ru-
binstein Staccato study in C, and Thalberg's study in A minor, opus 45,
repeated notes, are recommended. For beginners. Heller's studies in phrasing
and later Czerny 's finishing studies may be tried. But the Czerny school —
with the excepdon of his excellent special studies for the left hand — ^is obso-
lete. ^All the latter day writers of piano studies, Scharwenka, Moszkowski,
Scriabine, Godowsky, and Josefly, build on the Chopin-Iiszt technics. For
the quick grasp of the Brahms technique, study his fifty-one exercises. Isi-
dor Philipp, taking his cue fi-om Tausig, has given us the marrow of Chopin's
technique in a volume of Daily Exercises. For pure polyphony, nothing is
better than Bach. For daily gymnasdcs, use Tausig' s studies, but in frugal
manner. ^For the rest, read all piano music from Alkan to Zaremski.
238
THE MUSICAL GUIDE
piano score. An arrangement of vo-
cal or orchestral music for piano.
pian'ograph. A melograph, inv. by
Gu^rin.
pianoharp. Vide klavier harfr.
piano' la. A detachable pneumatic at-
tachment by which a piano may be
played mechanically, the performer
controlling the speed, the force, and,
in a remarkable degree, also the ex-
pression ; inv. by E. S. Votey of New
York, in 1897. It has 65 felt-cov-
ered fingers brought into play by
air-power forced through perforated
music by treadle action.
piano-organ. Vide barrel - organ
piano tist. A mechanical attachment
for playing the piano.
piano quatuor (kat-U-6r), F, Piano-
violin.
piano-violin. A numerous group of
instrs. endeavouring to combine the
fulness and range of the piano with
the violin's expression and power of
increasing the volume of a sustained
tone. In 1610 Hans Heydn of NUm-
berg inv. the Gambenwerk, in which
catgut strings were pressed by resined
parchment rollers actuated by a
wheel (other authorities say that
Heydn's instr. was called Geigen-
werk, and had wire strings ; and
that the Gambenwerk, or Klavier-
gamba, was inv. by Reich or Gleich-
mann of Ilmenau, about 1750, and
had gut strings). In 1754 Ilohlfeld
inv. the Bogenfltigel or Bogen-
klayier, with a horse-hair bow ; von
Mever in 1794 provided each string
witn a bow. In 1800 Hubner devised
the clayecin harmonique, which
Pouleau developed into the orches-
trin. Other instrs. of the same gene-
ral idea were the gambe-clavier, inv.
by Le Voirs, Paris, 1741 ; the Bo-
genklayier of Garbrecht, Kftnigs-
berg, 1 7 10; the Xanorphika of
R6llig, Vienna, 1797 ; the Bogen-
hammer-klavier, of Karl Greiner,
1779 ; the harmoni chord of Kauf-
man, 1785 ; the piano-violino, 1837.
The most successful is the piano-
quatuor or piano-violin, inv. 1 S65 by
H. C. Baudin, of Paris, consisting of
thick single strings to each of which
is attached at a nodal point a pro-
jecting piece of stiff catgut, which on
the pressure of the key, is brought
in contact with a linen roller turned
by pedals, the communicated vibra-
tion causing the string to sound ; the
general principle of these instrs. re-
sembles that of the hurdygurdy.
pian piano (pl-an' pl-il'-no), 7. Veiy
softly.
piatti (pt-at'-te), /., pi. Cymbals.
pib (peb), pibcom. A Welsh pipe.
pibroch (pe'-brokh), Scotch. A war-
like composition for the bagpipes,
consisting of three or four variations
on a theme called the arlar ; they are
of increasing speed and close with a
quick movement called the creiui-
luidh.
piccanteria (pTk-kSn-tfr-e'-fi), /. Pi.
quancy.
picchetta'to, or picchiettato (plk-kl-
et-ta'-to). /. Staccato, in violin play-
ing made with a bounding bow, and
indicated by slur over dots.
picciolo (p1t-chd'-15), /. Small.
piccolo (pTk'-kd-lo), /. I. Small. Vide
piano. 2. The octave flute (a. v.).
3. A 2-ft. stop, piccolino (le-no).
Very small.
pic' CO, picco pipe. A small whistle
with 3 holes ; it was named after a
blind Sardinian peasant who played
it in London (1856) with great brill-
iancy, securing a compass of 3 oc-
taves.
pick. I. A plectrum. 2. To pluck
(of strings).
Pic'kelfldte, G, The octove flute.
piece. I. A composition. 2. An in-
strument (generally used in pi.).
pi^ce (pt-^s;, F. I. A piece ; a compo-
sition. 2. An opera, or dramatic
work, suite de pieces (swet da pl-
^s). A set of pieces.
pieno (pT-&'-nd), /. Full. p. coro, or
p. organo. Full chorus, or full or-
gan, pienamen'te. Folly.
DICTIONARY OF TERMS 239
pied (pl-i'), F. Foot, avec les
pieds (la pl-a). With the feet (on an
ptet4 (pl-a-ta). /. Pity, pieto'so,
pietosamen te. TenderOy).
pierced gamba. Keraulophon.
pt£ara (pi>fii'.ra), /. A fife.
piirerare (rl-re), /. To play the fife.
ptf fero. I. A fife. 2. A primitive
oboe. 3. A stop, the bifara. pif-
ferm'ro. A player on the fife.
pikiereii (pT-ke'-r5n), (7. Vide piquer.
pUea'ta, Z. ** Capped ** (of a covered
pipe).
puic6 (pifi-si), or pincetnent (p^s-
man), ^. *' Pinched." i. Plucked (as
strings). 2. Pizzicato. 3. A mordent.
p. €X,OfaS€* Acciaccatura. p. ren-
wtxmt. Inverted mordent, instru-
ments i cordea pinches. Instrs. to
be plucked, as guitar, etc., hence pin-
cer (pifi-si). To play such an in-
strument, pinc^ Demolish (or di^
86). Trill with a flattened (or sharp-
ened) note.
pipe. A tone-producing tube of reed,
wood or metal, i. One of the ear-
liest musical-instrs., a simple straw. 2.
The tone-producing tubes of an or-
gan, (a) flue-pipe, or lip-pipe. One
in which the column of air produces
tone by being forced through a small
cmening with a sharp edge. The
l^>-pipe may be compared to a great
flute standing on end (the flute is in
fact a lip-pipe). The foot rests on
the pipe-rack ; the lower part of the
body is the throat ; just above it is
an opening called the mouth, with
an upper and lower lip; the upper
Up is bevelled to an edge called the
leaC An ear projects on each side
of the month ; inside the mouth is a
projection called the block (if it is
very thin it is called the language).
The passage between lower lip and
block is the windway ; through this
the air is driven againt the leaf, which,
vibrating, produces a tone from the
air column that fills the upper part or
body of the pipe, flue-pipes may be
open at the top, or covered (stopped
or plugged), the stopped-p. sound-
ing an octave lower than the same
pipe open. flu6-pipes are tuned, or
voiced, if metal, by flaps at the top
called tuners ; if wood, by small ad-
justable boards, (b) reed-pipe. One
depending upon a reed for its tone,
the body governing the quality of the
tone only. The lowest part of the
reed-p. is the boot ; it contains a
sheet of metal called the block, which
contains two apertures, one holding
an adjustable tunine*wire, the other
a reed, or conical tube (called a
shallot) with an opening giving play
to a vibrating tongue. 3. bent-
pipe. A rectangular bent tube con-
necting the bellows with the wind-
trunk ; also a secondary channel
from the wind-chest to the wind-
trunk. Speaking pipes may be bent
without altering their tone, to fit them
into smaller space, pipe-metal.
That of which organ-pipef. are made,
usually an allov of lead and tin.
pipe-organ. Vide organ.
pique (pek), F, Peg of a 'cello.
piqu^ (pe-ka ), F, Same as picchie-
tato. piquer (pe-ka), F., piquiren
(pc-ke'-r€n), G. To play in such a
manner.
pirolino (pe-ro-le'-no), /. Button.
piston(s). Vide valve and cornet-X-
PISTONS. piston-solo, G. Solo for
cornet-i-pistons.
pitch. The height or depth of a tone
relatively to others, or its absolute po-
sition on the complete scale adopted as
the standard and divided into octaves
definitely named (see the chart of
pitch). The vibration-number of a
tone also gives it an absolute pitch
according to the particular pitch ac-
cepted as the standard. The opinion
of the civilised races, with the chief
exception of England, has settled
on the International (low 01
French) pitch adopted in France
in 1859,^ and at the Vienna Con-
gress in 1887. This gives the tone
a 435 vibrations a second and c" 522
vibrations. An older pitch was th?
240
THE MUSICAL GUIDE
classical or mean pitch, in which
ck lay between 415 and 429 vibrations
(apparently about the same as the
most ancient standards). The desire to
secure a more and more brilliant tone
led instrument-makers to raise the
pitch to outrageous heights. A con-
gress of physicists adopted in 1834
the Stuttgart Pitch with cl at 440.
The high or concert or English
pitch gives a about 450, which is a se-
vere and needless strain and distortion.
For convenience of calculation a the-
oretical middle c' has been given 256
vibrations, the number bein^ a high
power of 2 ; this so-called philosopn-
ical pitch g^ves a about 427 vibra-
tions.
The subject of Pitch-relationships
is too abstruse for explanation here —
though important in the tuning and
temperament of instruments. The
old Pjrthagorean theorists did not
consider the third (as c to ^) to be a
legitimate interval ; they reached it by
four steps of a fifth (ignoring octaves)
thus, c-g^ g-d^ d-a^ a-e. This gives
it the ratio of 64 : 81. But we now
accept both the third and the fifth as
intervals, and the ratio of a third is
4 : 5, or in larger terms 64 : 80. The
note e may then be considered a quint-
tone if reached by steps of a fifth ; or a
tierce-tone if reached by a step of
a third. But 64 : 80 differs from
64 : 81 by the ratio of 80 : 81, which
is called the comma syntonum. Start-
ing from c any tone may be reached
by quint or tierce step up or down.
Every tierce step up is H icss than a
quint step and the letter name of a
tone reached by a tierce step may be
marked with a line under it for every
tierce step upward, or a line over it
for every tierce step downward, re-
quired to reach it. These lines there-
fore indicate the number of commas
by which it is lower or higher than''
the same tone reached by quint
steps.
Relative pitches may also be ex-
pressed in (a) fractions showing the
relative string lengths required to
produce them ; (b) in decimals show-
ing relative vibrations ; and (c) in
logarithms showing comparatively
the interval-ratios.
pitch-fork. A tuning-fork.
pitch-pipe. Small reed-pipe of fixed
pitch.
pin (pe-00'), /. More ; as p. mosso.
More speed ; piik tosto. Rather, as
p. t. allegro. Rather faster.
piva (pe -vjl), /. I. A bag-pipe. 2. A
composition in bag-pipe manner.
pizzican'do, pizzicato (pYd-zY-ki'-to),
/. " Pinched," indicating that the
strings are not to be lx>wed, but
plucked w^ith the fingers.
placido (plil'-che-d5), pladdamen'tCi
/. Placid(ly).
placito (pla'-che-to). /. Pleasure. A
bene p. At pleasure, same as ad U-
bitum.
pla'gal, E., pla'galis, L,, plagaUsch
(pTa-ga'-lTsh). G. Used of those
modes accessory to the authentic (vide
modes), and formed from them by
taking the fourth below as the new
tonic. Vide also cadence.
plap^iau'los, (Jr. Cross-flute.
plam-chant (in French pron. pl&n-
shah), plain-song. The old Gre-
gorian Church-music, so-called frcnn
Its smooth progress in notes of equal
length. It employs 8 modes (q. v.X
and is written on four-line staves, em-
ploying 3 notes, the long, the breve
and semibreve, and two clefs. It is
still employed in the R. C. cantil-
lation of priests at the altar, and is
the basis of the Episcopal Church
service.
plaint e (pl&At), F, A lament, plain-
tif (pian-tef). Plaintive.
plaisant (pl£z-£n), F, Pleasant.
plaisanterie (pl£z-&n-t{i-re), /"., pleas -
anterie. A cheerful harpsichord
piece.
plana (pU'-nS), Z. and 7. Plain, musua
p. plain=chant.
planchette (plah-shSt), F, i. A mechan-
ical piano. 2. A part of its mechan-
ism, a board fitted with pegs.
DICTIONARY OF TERMS 241
planta'tion. The manner in which
the pipes of a stop are arranged on
the sound-board.
plaax' ty. Literally, ' * lament , " though
sometimes applied to lively melodies
used by Welsh harpers.
plaqn6 (pl^ki), F. Played simulta-
neously (as a chord) ; opposed to
*' broken."
j^ec'toral, plec'tron, plec'tram. A
small bit of ivory, metal or shell for
plucking the strings of mandolins,
etc.
plec'traphone. A piano attachment
imitatmg the mandolin.
play-honse tune. Old name for
entr*act music.
plein-jeu (pl&fk-zhti), F, i. Full-organ.
2. A mixture-stop.
ple'no org^'no, L. Full-organ.
plet'tro, y. I. Bow. 2. Plectrum.
pli'ca, L, •' Fold." A neume, used
as a concluding ornament, indicated
by a stroke up or down on the last
note of a ligature.
pln'res ez a'na, Z. '*Many from
one.** Old name for canon.
plus (pltl), F, More.
pnenma (nu'-ma), Gr. '* Breath." i.
Neume. 2. The exhausting vocali-
sation of the closing syllable of the
early Christian Alleluia. 3. A jubi-
lation.
pneamat'ic i. Used of all wind-
instrs. 2. p. action, or lever. A
bellows attachment for lightening the
touch of an organ, inv. 1832, by Bar-
ker. 3. p. organ. The modem wind-
organ, so called originally in distinc-
tion to the hydraulic.
pocetta (po-chet'-ta), /., poche (p6sh),
pochette (p6-sh«t), F. Pocket-
fiddle.
pochessimo (pd-k£s'-sy-m5), /. As
little as possible, pochettino (p5-
k«t-te'-n5), pochet'to, pochino (po-
ke'-no). /. Just a little.
poco (pd'-ko), /. A little; rather;
somewhat, poco a poco. Little
by little.
pogi^to (pdd-K.td), I. ** Leant"
on, dwelt upon.
poi (p6'-e), /. Then, afterwards, as
piano poi forte. Soft then loud.
Soi segue, then follows ; poi a poi.
ly degrees.
point. I. Old name for note. Vide
NOTATION. 2. A dot. 3. Staccato-
mark. 4. Head of a bow. 5. The
entrance of an important theme. 6.
To divide words for chanting, hence
pointing. 7. organ-point. Vide
PEDAL-POINT. 8. Vide SIGNS. (In*
French pronounced pw&n.) A dot.
p. d^tach^ (da-t^-sha). Staccato-
mark, sur tete(sUr-t£t). Dot above or
below a note. p. d 'arret (d&r-r^'),
or p. de repos (dii rii-po). A hold.
p. d 'augmentation (ddg-mUn-tib-
yoA). A dot of augmentation, p.
final (fY-nftl'). Final pause. p.
d'orgue (d6rg). i. A hold, hence
also a cadenza or flourish. 2. Pedal-
point.
pointe (pwiht), F, i. Toe, in organ-
playing. Abbr. p. or tp. Talon
pointe.
points (pwfifi.t&), F, Dotted, from
pointer (pwftn-ta). To dot, or play
staccato.
poitrine (pwS-tren), F, Chest.
polacca (po-lak'-kS), /. Polonaise,
alia p. In the style of a polonaise.
polichinelle (pdl - I - shl - n^l'), F,
•* Punch." A clown-dance.
pol'ka. A round dance in lively 2-4
time, originated in Bohemia about
1830. p. mazurka. A slower dance
in triple time with accent on the last
beat. p. redowa. Is faster than
the p. m., with accent on fh^t beat.
pollice (p61'-W-ch«). /. Thumb.
polonaise (p61-d-n£z'), F., Polon&se
(p61-6-na'-2€), G, A Polish dance in
moderate 3-4 time ; strictly a march-
past. Its rh3rthm resembles that of
the bolero ; it begins with a sharply
accented 8th note followed by two
i6th notes, and four 8th notes; its
* closing measure is an 8th and two
i6th notes ; a sharply accented quar-
ter note, an 8th note, and an 8th rest.
Also spelt polonoise (p61-6n-wftz).
Vide CHART OF DANCE RHYTHMS.
242
THE MUSICAL GUIDE
polska (p6ls'-ka), Swedish, A dance
in 3-4 time, usually in the minor.
poly-. A Greek prefix, meaning "many.'*
polychord. An instr. in v. by Fr.
Hillmer, of Berlin, resembling a
double-bass with 10 gut-strinc^s and
movable finger-board. polymor-
phous. Used of counterpoint, with
a widely varied theme, polyphoa'-
f ic» or polyph'onous. i. Used of
compositions in which more than one
theme at a time is given individuality ;
loosely used of compositions of many
parts, but to be sharply distinguished
from a mere melody with an accom-
panying harmony. 2. Used of instrs.
that can produce more than one tone
at a time (compare homophonic,
and homophonous), hence polyphony
(p61-t-f6'.nl or p6-lIf'-6-nI). The
treatment of simultaneous parts each
independently, i. e., counterpoint.
Pomtner (p6m'-m^r), G. Vide bom-
bard.
pompds (pom' -pis), (7., pompo'so,
pomposamen'te, /. Pompous(ly).
Majestic(ally).
ponctuation(p6nkt-U-iLs-vdn), F, Phras-
ing, from poactuer (ponk-tu-a). To
phrase.
pondero'so, /. Ponderous, heavily
marked.
ponticcllo (p6n-tt-ch«r-l6), /. i. Bridge,
sul. p. A direction for bow instrs.,
*' play near the bridge." (Abbr. 8.
pont.) 2. The break in the voice.
pont-neuf (pdn-nttf), F. A bridge in
Paris, hence a street ballad.
poo'nrc. Hindoo nose-flute.
popolare (p6-p6-ia'-r^), /. Popular.
porrec'tus. Gnomo. Vide neume.
port (p6r), F. i. Portamento. 2. Vide
CHUTE. .
portamen'to. The passage across an
interval by means of gliding with im-
perceptible gradations through all the
intermediate tones in one continuous
sound (such an effect as is gained by
sliding the finger along a string while
the bow presses it). Hence a legato
style ; so a singer is said to have a
true portaiqentQ.
portan'do, /. Carrying across, t. e.,
producing xht portamento effect ; from
portare (p6r-t2i'-r£). To carry.
portar (por-tar), J. Carry ! p. la bat-
tuta. Follow the beat. p. la TOCe«
Sustain the tone. PI. portate.
portaU (p6r-ta -ta), /. Staff.
portatif, F., portatiy, G. (p6r-ta-tcf),
por'tatiye. A portable organ.
portato (pdr-ta -to), /. Sustained.
port6e (pdr-ta'), F. Staff.
porter (p6r-ta), F. To carry, p. la
yoix. Produce the portamento.
por'tunal flute. A flue-stop with
wide-top pipes.
Portunen (por-too'-n5n), G. Bourdon.
P08. Abbr. for Posaune.
posato (p6-za'-t6), /. Sedate.
Posaune (p6-zow'-n*), pi. -en, G. i.
Trombone. 2. A trumpet. Hence,
Posauner. A trombonist. 3. A reed-
stop. Posaunzug (tsookh). Sack-
but.
Poschette (p6-sh«t'-t«). G. Pocket-
violin.
pos^'ment (pd-zi-mSh), F, Sedatelv.
poser (p6-za), F. To poise, p. la
yoix. To attack a tone exactly.
positif, F., positiy, G, (po-zS-teT),
pos'itiye. Stationary organ ; in
French choir-organ.
posi'tion, E. (pron. in F. p5-zes'-yd6),
posizione (po-ze-tst-o'-n^), J. i.
Vide CHORD. 2. Vide close. 3. The
place of the first finger of the left
hand on the finger-board of violins,
etc. The first position is that in
which the fore- finger presses the first
semi-tone or tone of the open string ;
the half position that in which the
second finger presses the first semi-
tone of the open string. By making
a shift, the hand reaches the second
position, that in which the first
finger presses at the place occupied
by the second finger in the first posi-
tion ; in the third position the first
finger occupies the place held by the
third finger in the first position ; and
so on.
possibile (pds-se'-bM^), /. Possible,
2iS presto p. ^ as fast as possible.
DICTIONARY OF TERMS 243
posthorn. i. A straight valveless
bogle. 2. A piece or passage imi-
tating a postman's call.
postAy di (de pds'-t£), 1. At once.
poetbtime (p6«-tQm), F. Posthumous,
pub. after the composer's death.
pMtln'deain, Z. A concluding phrase,
composition, or church voluntary.
potensa (pd-tdn'-tsa), /. i. Old name
for musical note or sign. 2. The
sound any instr. produces.
pot-pourri (p6-poor'-re), F, Medley.
ponce (poos), F, Thumb. In guitar
music a direction to sweep the strings
with the thumb,
ponle, U (U pool), /^ "The hen." A
quadrille figure ; the third.
poor (poor), F, For, in order to, as p.
finir^ in order to close.
poaM6 (poos-sa), F, *' Pushed.*'
The up-bow.
pp. Abbr. of pianissimo,
prftditig (pr«kh'-tTkh), G, Pompous.
PrachtToU (pr^ht'.fdl), G. Full of
erandeur.
prlcis (pri-ts^s'), G. Precise.
praecen tor, L, Choir-leader.
praeam'bnlum, L, Prelude.
praela'tio, Z. The prayers said or sung
in the Mass before the Transubstan-
tiatton.
Praefec'tus cho'ri, Z. Chorus-leader.
^lall'triller, G. Inverted mordent.
Vide GRACE.
pnUndiren (pri-loo-de'-r^n), (7. To
preludise.
Prilstant (pr&'-shtftnt), G, Principal
4-ft. stop.
precent'or. Choir-director in the An-
glican Church.
pr^cbantre (pr&-shiizitr), F, Choir-di-
rector.
precipitare (pra-che-pt-ta'-ri), /. To
hurry precipitately, hence precipi-
tato (tii'-to). predpitan'do, pred-
gito'so. Hurried, precipitamen'-
e. Hurriedly. precipitazione
(tft-tsl.d'-n<). Haste.
precisione (pr&-che-zY-o'-n£), /. Pre-
cision, predso (pra-che'-sd). Exact.
preffhiera (pri-gf-i'-rii), /. Prayer.
prelnde (pre'-lud or prdl'-ud), £., pr^
iude (pra-lad), /*., preludio (pra-
loo'-dI-6), /. I. An introductory
phrase, section, or composition.
Hence, a composition of an impro-
vised manner, and brief length. 2.
As a verb^ to improvise such an
introductory piece.
premier (pHim-yi), premiere (pr&m-
yilr), F. First, as premier dessus
(dfc-sti). First treble or soprano.
premiere fois (fwfi). First time.
a premiere vne (vU). At first sight.
As a noun, premiere is used of a first
production.
prepara'tioa, preparation (pra-pii-
rfls-ydn), F., preparazioae (pra-pa-
rJi-tsT-o'-n£), /. A musical device for
softening a discord by preparing the
mind for it through the introduction
of the dissonant note in a previous
chord in which it is consonant. Vide
HARMONY. Custom has greatly
changed from the early period in
which no unprepared dissonance was
permitted, for now in free writing
almost any dissonance can appear
without warning.
preparative note. Appoggiatura.
prepared, i. Used of a note which
had preparation (q. v.). 2. Used of
a shake or trill which had two or
more introductory notes.
prfes de (pr« dtt), F, Near.
presa (pra'-sfi), /. Vide lead (2).
pressant (pr^sHA). /*., pressante
(^r*s-s5nt), /*., pressan'do, /., pres-
sirend (pris-se'-r^nt), G. *' Pressing,"
accelerating.
pressez (prds-sa), F» Acceler|te.
pressure note or tone. One marked
thus P. and to be attacked softly and
suddenly increased in volume.
prestamen'te, /. Very rapidly.
prestant (pHi-stan), F> Principal, 4-
foot open stop.
prestezza (prds-t£d'-z£), I. Rapidity.
presto (pras -to), /. i. Fast, faster than
allegro, the fastest rate in music ex-
cept its own superlatives as prestis'-
simo and prestis'samefite. 2. A
movement in very rapid time.
244
THE MUSICAL GUIDE
prick. 1. As a HCUHt the head of a
notei hence 2. oj a verb, to write mu-
sic prick-song. The first written
music, in contrast with improvised
music. 3. The counterpoint written
to a cantus firmus.
pri^re (prt-ftr). F, Prayer.
prima (pre'-m&), /. First, principal.
da p. From the beginning, p. btma.
Leading woman in comic opera.
prima donna. *' Leading lady ** in
opera, chief soprano, p. vista. First
sight, p. Tolta. The first time (abbr.
ima. volta), and used to mark
measures to be played before a repe-
tition, and to be skipped after that
repetition for the measures marked
seconda volta (2da. yolta).
pri'marj. i. Used of an accent be-
ginning a measure. 2. Of a triad or
chord which constitutes one of the
three fundamental triads of a key,
viz., those on the tonic, dominant,
and the subdominant.
prime (prim), E. (in (7. and F, prem).
I. The first tone of a scale, the tonic,
a. Used of that interval which is indi-
cated by two notes on the same line
or space, but separated by a chro-
matic distinction. Used also of two
notes in unison. Vide interval. 3.
Vide HORA.
Primgeiger (prem'-g!-g£r), (7. First
violTn, leader.
primo (pre' -mo), /. First, principal.
tempo p. At the original tempo, p.
buffo. Leadine man in a comic opera.
p. uomo (00-0 -mo). Old term for
first^iale soprano or tenor, primo
as a noun, is used of the leading part
of a duet.
PrimtQne (prem'-ti-n2), G, Funda-
mental tones. Primzither. Treble
zither.
primice'rio (prc'-mt-cha'-rt-6). /.,
primicerius, Z. Cantor.
pnn'cipal, E. (pron. in G. pren-tsl-
p&l', xnF, prai!i-sl*piir). i. In France
and Germany used of the open diapa-
son ; in England used of an open
flue-stop of 4-ft. pitch, on the manual
(8 ft. on the pedal) an octave higher
than the open diapason. 2. Old name
for fugue subject. 3. Old name for
trumpet.
As an adjective* i. Vide primary. 2.
principal key. The predominant
key of the composition. 3. The p.
voices are the soprano and bass. 4.
p. close or cadence. One in the
principal key. 5. p. subject or
theme, one to which others are sub-
ordinate, principal-bass. An open
diapason stop on the pedals, princi-
pal-work. The flue-pipes of diapa-
son quality. Vide stop.
prindpale (pren-chl-pfi'-l^), /. i. Dia-
pason-stop. 2. Principal or leading,
as an adjective. 3. Old name for the
trumpet, principaiino. 8-ft. stop.
principio (prYn-che'-pI-5), /. Begin-
ning.
prise» or p. du sujet (prez dfi sQ-zhi),
F. Entry of the subject.
Probe (pro -bd), G, Rehearsal. Gen-
eralprobe. Final rehearsal.
proc^der (prd-sa-da), F, To progress.
procella (pro-ch^l'-U), /. Storm.
pro' em. Ancient heroic song with cith-
ara accompaniment
programme, /*., program (pro'-grira*
not pro-grttm), E.y program'ma, /.,
Programm (pro-gram'), G. A list of
compositions to l^ performed, pro-
gram - music, Programm - musik
5)r6-gram' moo-zek'), G, Music with
a programme, i. e., with a more or less
definite description of events or
moods. It usually aims to present a
suggestion (rarely in decent music an
imitation) of some music of nature as
a brook, bird-improvisations, forest-
sounds, or of som6 narrative, though
its main effort is to deploy the emo-
tions arising from such scenes and
thoughts. Beethoven's ideal is ex-
pressed in his famous characterisation
of his Pastoral Symphony as mekr
Ausdruck als MaUrei, " more an ex-
pression than a painting." So long as
the "descriptive" element is a mere
suggestion, music is capable of most
felicitous hints, and programme-mu-
sic has most ancient and venerable
DICTIONARY OF TERMS 245
anthority, traceable farther back even
than Bach (who wrote a musical sug-
gestion of a postilion), to Jannequin,
and others. When programme-music
stoops to imitation direct it either
grows ludicrously incompetent or
ceases to be music and becomes noise.
programmist. A devotee of pro-
gramme-music.
pfOj^ks (pro-gri), /". Progression.
fuwres'tton, £., progressione (sT-
5 -nQ, /. I. melodic progression.
The advance of the melody from one
tone to another. 2. harmonic p.
The advance of the harmony from one
chord to another. These two pro-
cesses, particularly the latter, are
hedged round with continual difficul-
ties and restrictions, some of them
based on human nature and acous*
tics, others deriving no sustenance
from either, but depending for their
existence Jn the text-books entirely on
tradition, 'history, conservatism, fash-
ion, or a sense of hearing rendered
artificial by long pedantry. The sci-
ence of progressions constitutes the
greater part of the Theory of Music,
and of harmony and counterpoint
(q. v.).
progres'sio harmo'nica, /. A mixture-
stop.
Pro^esslons-schweller (pro-^^sT-
6ns'-shvfl-12r), G. A device mv. by
Abb^ Vogler, for gradually calling in
play, then gradually closmg off, the
stops of an organ, to produce a cres-
cendo, then a diminuendo.
progressive, i. Of# stop in which the
number of ranks increases with the
pitch. 2. Through-composed.
prola'tion, £., proia'tio, Z., prolazi-
one (pr5-la-tsY-5'-n£), /. !• The clas-
sification of the relative value of
the notes in mensurable (q. v.) mu-
sic, almost corresponding in its four
classes to our musical metre. 2. The
measurement of the semibreve, pro-
latio major, indicating that it is to
be divided into three minims; p.
miflor, indicating two minims. Vide
NOTATION.
prolofigement(pr5-16nzb-m&6),/^. i.A
pedal, inv. by Debain, for holding
down harmonium keys. 2. That part
of the piano action which holds the
hammer from its place of rest ; a sus-
taining pedal.
promptement (pr6nt-mS6), /l, pron-
tamea'te, /. Promptly, qmckly.
pronto, /. Prompt, quick.
pronunziato (prd-noon-tsY-i'-td), /.
Enunciated, marked.
proper-chant. Old name for the key
of C major.
propor'tio, Z., propor'tion, £. i.
The determination of time in mensur-
able music by means of fractions.
Vide NOTATION. 2. The second part
of 1 6th cent, dance-tunes. Vide sal-
TARELLA.
propos'ta, 7. Subject of a fugue.
prosa'rium, Z. A book of prosae, the
prosa being the Sequence (q. v.),
sung between the gradual and the
Gospel in the R. C. Service.
propn'etas, Z. A ligature whose first
note is a breve, opposita p. One in
which the first two notes are semi-
breves, sine proprietate. Impro-
prietas. Vide notation.
Proslambanom'enos. Vide modes.
^rospekt', (7. Organ front, hence P.-
pfelfe(n). Display pipe(s).
pro'teus. A key-board stringed inst.
inv. 1650 by Nigetti.
pro'tus. Middle-age term for the first
church mode.
proVa, /, Proof, rehearsal, p. gen-
erale (jan-a-rS'-lS), or p. grande.
Final rehearsal.
Proyeni^ales (proo-vin-sil'). Trouba-
dours from Provence.
prycjce. In Merbecke*s notation of
1550 a minim. Vide prick.
ptallette (siil-lSt). /^ A maUrise.
psalm (in £. sam, in C. psal-'m),
psaume (ps5m), £, From a Greek
word meaning to pluck a string, hence
a harp-song, taken from Jewish re-
ligion by the Christian and highly de-
veloped, in various manners. Psalm-
buch, G. A Psalter. Psalm-
gesang, G. Psalmody. P.-lied O^t).
246
THE MUSICAL GUIDE
Psalm. P.-siiircr, G. Psalm-
singer, psalmody, E.^ psalmo-
die (psal-m5-de), F, The art or prac-
tice of psalm-singing, psalm' ista.
An order of clergy.
psalm-melo'dicon. An instr. inv. by
Weinrich, in 1828, with eight finger-
holes and 25 keys, giving it a com-
pass of 4 octaves, and the power of
producing chords of 6 tones.
psalter (sal t«r, in G, psal'-tir). psau-
ticr (ps6t-ya), F, A book of psalms.
Psalter (psal'-t«r). C7., psalt^rion
(psil-ti'-rt-6h). /*.. psalte'rium, Z.»
psaltery (sal -tJ-rt), E. An ancient
stringed instr. with a sound-board,
the strings being plucked with the
fingers or a plectrum.
psalte'ria, L, Women who played
and sang during a feast.
psamne. Vide psalm.
pulcha (pool'-cha). Rus., parka, Bo^
hemian. Polka.
pulpit'ium« I. A stage. 2. Motet.
pul satile. Used of instrs. of percus-
sion.
pulsa'tor ors^no'nim, Z. Organ-
player.
pnnct'us, L. i. A note, hence puac*
tus contra puactum. '* Note against
note," i. e.. counterpoint. 2. A dot.
Punkt (poonkt). C7., punto (poon'-to),
7. Dot. punktiert(tert'), (7., pun-
tato (ta-to), /. Dotted, stacca-
to.
pttota (poon'-t&), /. Point (of a bow).
p. d org^o (d6r-ga'-n5). Pedal-
point, p. per p. Note for note. p.
coroaato. Fermate.
pnpitre (pU-petr), F. Music-desk, p.*
improvisateur (pti-p€t'-raA-pr6-ve'-
za-tttr'). A melograph inv. by F. A.
E. Keller. 1835.
purfling. The ornamental border of
violins, etc.
put'ti (poot'-t«), /. Choir-boys.
pykna, Gr. i. Half and quarter tone
progressions, in Greek music. 2.
Close notes (q. v.). 3. A semi-
tone.
pyram'idon. A 16 or 32 ft. stop, with
top 4 times gs wide as the mouth.
py'rophon, Gr. "Organ of flames.**
An instr. inv. by Fr. Kastner, 1875.
A key-board with electric attachment,
producing gas flames in tubes tuned to
the compass C-c".
Pyrrhic, Pyrrich'ius. A Greek
dance.
Pythian. Games in honour of ApoUo,
including musical contests.
Pythagorean, i. Used of the math-
ematical investigations in music made
by Pythagoras. 2. Used of a lyre,
said to have been inv. by him.
^
OThis letter inverted in 'ceUo
music indicates that the thumb
is to be laid across the strin|^
as a nut.
Quadrat (kviL-drat), (7., quad'rate,
E.y qnadra'tnm, Z. "A square.**
I. A natural sign (11), in Z. B« qnad-
ratum. 2. In mensurable music a
breve, hence Qtiadramusik (moo-
zek'), G. Old music in square notes.
qnad'rible. Quatrible.
quadricin'ittm, Z. A 4-voiced compo-
sition.
quadriglio (kwi-dr§r-y6), /., qnadriUt
(in E, kwft-drll'. in F, kftd-re'-yfl). A
square dance in 6-8 and 2-4 time, in
five different figiires : le pantalon.
••Pantaloon." P«t« (Ift-ta). "Sum-
mer.** lapoule. '* The hen.** Upa»-
tourelle, or la trenise; and la
finale.
quadripar'tite. ^ four-¥oices compo-
sition.
quad'ro, /., quad'mm, Z. i. A natural
sign (1^. 2. Tableau.
quad'ruple. Four-fold. i. Vide
COUNTERPOINT. 2. Used of a quaver
with four tails, a 64th note. 3. Of
rhythm, that with four beats to the
measure.
qnad'ruplet. A group of four eqnal
notes.
qnad'riplnm, Z. Vide triflum.
quantity. The duration of a note Off
syllable.
DICTIONARY OF TERMS 247
(in E, kwart, in F, kdr). quar'-
ta, Z. and /. i. The interval of
a fourth. 2. A fourth, quart de
mesnre. A quarter rest, quart de
aonpir (soo-per'). A sixteenth rest.
quart de son, or ton. A quarter
tone, qnarta modi, or toni. The
sobdominant.
quart* (Inp'&rt), G. A prefix indicat-
ing that an inst. is a fourth higher
(as Quart-fldte, -geige, etc.), or
a fourth lower (as (J.-fagott, or
-posaone, etc.), than the normal
instr.
Qnartaext'akkord, G, A 6-4 chord.
Vide CHORD.
Qnarte (in F, k&rt, in G. kvSr'-
t^. The interval of a fourth, q. de
Hazard (dfi nl-z&r'), F, A 15th, also
a a-ft. organ-stop. q. de ton, F»
The subdominant. Quartenfolgen,
or parallelen, G. Consecutive
fourths.
quarter, or quarter note. A crotchet,
half of a half-note, quarter rest.
A rest of a quarter note s duration.
quarter tone. An interval less than a
semi-tone, the difference for example
between D sharp and £ flat on the
▼iolin.
quartet', Quartett', (7., quartet'to, /.
z. A composition for 4 voices or
instrs. 2. A 4-part composition in
sonata form, as a string-quartet.
qnar'to, /. Fourth, q. d'aspet'to.
A i6tb rest. q. di tnono (too-o'-nd).
Quarter tone.
quasi (kwa'-sd), L. and /. As if ; al-
most ; somewhat like, andante q.
lento = andante, nearly lento, q.
sonata. Almost (but not strictly)
to sonata form.
qnatre (k4tr), F. Four.
qnatorzi^me (k&-t6rz'-yte), F, A
fourteenth.
qnat'rible. In old music a progression
in parallel fourths, a quinible, being
in parallel fifths.
qnatricin'inm. Four-part compon-
tion.
qnattricro'ma, /. 64th note.
qoat'trov /. Four.
quatuor (kit-U-or), F. Quartet.
quaver. An 8th note.
quer- (kvar), G, Prefix meaning cross,
or transverse, as Q.-flote. The trans-
verse flute. Q.-pfeife. Swiss fife,
with 6 holes and with a compass of
two octaves. Q.-stand (shtant).
Cross or false relation. Q.-strich.
I. Ledger line. 2. The single thick
tail for a group of notes.
qnesto or -a (kwas'-to), /. This ; or
that.
queue (ktt), F, Tail. i. Of notes. 2.
Tail-piece of vlns., and so forth.
piano k q. Grand piano.
qmck-step. A rapid march.
quieto (kwe-a'-t5), quietamen'te, /.
Calra(ly), serenely).
quilis'ma. Vide neume.
quindecima (kwen-da'-che-mS), /. A
15th. I. Interval. 2. Organ-stop.
a la q., or isma. = 2 octaves higher
or lower.
Quindezime (kven-d^'-tsS-mS), G. A
15th.
quin'ible. Vide quatrtble.
quin'quegrade. Pentatonic.
quint (in £. kwTnt ; in G. kvent). i. A
5th. 2. A si-ft. stop, sounding a
fifth higher than the normal. 3. The
e string o'f the violin, q. stride.
Progression of a fifth. Q.-absatz, or
abschluss, G. Imperfect cadence.
Q.-fagott, G. A bassoon pitched a
fifth higher than the normal. Q.-
gedackt or Q.-stimme, G. Same
as 2. Q.-bass, G. A stop on the
pedal sounding a fifth above the
double diapason. Q.-fuge {ioo'-gi).
A fugue with the answer a fifth
above the subject. Q.-saite. A
treble string. Q.-t6ne. Quint tone.
Vide PITCH. Q.-viola. i. Quin*
ton. 2. A stop a fifth above the
^mba.
qnin'ta, L. and /. A fifth ; vide also
QUiNTUS. q. decima. Quindecima. q.
ed una or quintadena. Vide quin-
TATON. q. falsa. The diminished
fifth formerly prohibited, q. modi or
toni. The dominant,
the fifth.
q. I
alia
q. At
248
THE MUSICAL GUIDE
Quintaton (kven'-tfi-ton). G. A cov-
ered 8-, 16., or 32-ft flue-stop sound-
ing the I2th as well as the funda-
mental.
quintc (in F. kftnt. in C. kv€n'.t<).
Vide QUINT I, 2, 3. q. octaviante
(ok-tiv-t-ant). Z*. Thei2th. Quint-
en-folgen, or -parallelen. G. Par-
allel fifths. Quinten-zirkel (tser'-
k^l), C7. Circle of fifths. Vide tem-
perament, qtiinteo-rein (nn), G*
**Pure in fifths," used of bow
instrs.
quinter (k&n-ta), F. To sing in qui-
nible.
quinter'na, /., quin'terae, B, Old
Italian lute with 3 or 5 pairs of gut-
strings, sometimes also 2 single
stringy covered with wire.
quinti(e)ren (kven-te'-r£n), G* To
overblow and sound the twelfth.
quintoier, or quintoyer (kwen-twS-ya^,
F, I. To sing in quinible. 2. To
overblow and sound the 12th.
quintet', E,^ Quintett'. G., quin-
tette (kwcn-t«t5. ^M qmnta'to, /. A
five-part composition.
Quintole (in E, qutn'-tol ; in G, kv€n-
ta'-ld). Quintuplet.
quinton (kwen-tdA), F: i. The 5*
stringed treble viol. 2. The tenor viol.
quintuor (kwen-tU-6r), F. Quintet.
quintu'plum, Z. Vide triplum.
quin'tuple. Five-fold.
quin'tuplet. A group of five equal
notes.
quin'tus, Z., or quin'ta. A fifth part
in compositions; as it occasionally
wandered from one voice to another
it was cEdled q. vagfans.
quinzi^me (kihz-y^m), F, Fifteenth.
quire. Choir. qui rister. Choris-
ter.
quodlibet, or quotlibet, Z. **What
(or '• as many as *') you please." i.
A comic medley, without connecting
links. 2. A charivari.
Qui tollis, Z. ** Who takest away (the
sins of the world)." Vide gloria.'
quitter (ktt-ta), F. To leave.
Quo'niam tu so'lus, Z. " For Thou
only (art Holy)." Part of the Gloria.
R
RAbbr. for i. Rights as r. >§.,
right hand. 2. Reiponsorium
(r. ^.=r. GraduaU) in Catho-
lic music. 3. Ripien0, 4.
Clavier de r^cit (swell-manual). In
organ music.
raban', raban'na. Hindu tambourine.
rabbia (rab-be'-a). Mad rage, fury.
rab6 (ra-ba'), rabel', S(. Rebec.
raccontan'do, L As if relating or de-
scribing.
Rackett , Rankett'» G. i. An obsolete
bombard with many curves in its
tube, and a weak voice. Made in five
sizes, it was simplified as the R. fia*
gott by Denner. 2. A reed-stop,
obsolete.
raccourcir (rilk-koor-sir'), F, To
abridge.
racier (ri-kla'), F, To saw, and
scratch, hence raclenr (rft-klCLr). A
bad fiddler.
raddolcen'do, raddolcente (rSd-d61-
chdn'-ti). Growing softer and sweet-
er, raddolcito (che'-to). Pacified.
raddoppiamen'to, L i. Doubling, as
the notes of a chord. 2. Multiplying
copies. raddoppiato (pY-i'-td).
Doubled.
Radel (rft'-ddl), G. A solo with chorus.
radiating. Used of a fan-shaped
pedal key-board.
radical. Fundamental. Vide CA-
DENCR
Radleier (rat'-ll-^r). G. Hurdygurdy.
Radlmaschine (r&tl-mi-she'-n£). Vahre
mechanism.
rag^. The clog dance of the American
negro, perhaps related to the Spanish
verb rair^ to scrape. The music
has some resemblance to the Aba-
nera in spirit and syncopation, but is
in 4-4 time and of an hilarious char-
acter, hence the verb to rag^, and
ra^-time music in this style.
raggione (rad-jo -n<0» Z Proportion.
rago'ke. Small Russian horn.
rake. A 5-pointed device for niling
off staves.
rail. Abbr. of ralleatando.
DICTIONARY OF TERMS 249
rallentare (ti'-r^). To become slower,
hence rmUeiitan'do(abbr.ra//). With
gnulually reduced speed, rallenta-
men'to, Reurdation. rallentato
(ta'-to). Reurded. rallenta'te. Re-
tard!
rang (riA), F. Rank.
nuiffe. Compass, as of a voice.
rmiiE. A row of pipes belonging to one
stop.
rant. An old country-dance ; a reel.
raiu dea vaches (riin-da-vSsh), F.
*• Calling of the cows." A Swiss tune
smig or played on long horns by
herdsmen.
miido (ra'-pe-do), rapidamen'te» /.
Rapid(ly). rapiditi (rS-pc-dT-ta').
Rapidity.
npsodie (rftp-so-d€), F. Rhapsody.
rapper, F, A military call.
raach (rash), G. Fast, rascher. Faster.
rasend (ra'-z^nt), G. Raeing, hence
Rasemsang, and Raaelled (ri'-z^-
let). Dithyramb.
rasgado (rjb^-dhd), Sp, ** Scrap-
ing/* hence in guitar playine, sweep-
ing the strings with the thumb to
produce an arpeggio.
rast'ral, raa'tmm. Vide rakb^
Rithaelkanon (rat'-z£l-k&-non), G,
Vide CANON.
ra'tio. Used of the relative value of
vibration-numbers.
rattenen'do, rattenuto (noo'-to), /.
Restraining, or restrained, i.e., re-
tarded.
rattezxa (rSt-tM'-za), /. Speed.
ranco (r2'-oo-k5), /., raah (rdw), G.,
ranqne (rdk), F, Harsh, hoarse,
rough, rancedine (rii-oo-ch£-de'-n^.
/. Harshness.
Ranscher (row'-shSr), (7. The rapid
repetition of a note.
raascb- (rowsh), (7. Prefix denoting a
stop of 3 ranks sounding the twelfth
imd fifteenth, or fifteenth and oc-
Uve twelfth; hence Rauschfldte,
-j^eife, -qointe, •werk; and also
Rnsxpiipe (roos'-pe-pe).
ravanaa'troii. A primitive violin with
one or two strings, claimed by the
Ceykmeae as the mvention of a king
who reigned about 5000 B.C. It is still
used by the Buddhists.
rav(y)iTare (vi'-r*^, /. To accelerate,
hence, ravivan do. Accelerating,
ravivato (va'-to). Accelerated.
ray. Name for re, in the Tonic-Sol-fa.
re(ra), /., r< (ri), /^ i. Vide solmi-
SATiON. 2. In France and Italy, the
note D.
rebab, Arab. Rebec.
re'bec(k), rebec'ca, re'bet, rebed, re-
bibe, re' bible. Old ^. An early vio-
Un with 3 gut-strings. Its origin has
been credited to the Moors, who are
said to have broueht it into Spain ;
it has been claimed that the Spanish
gave it to the Moors ; it has been
also derived from the British Chrotta,
or crwth.
re'al. Vide fugue.
recension (r&.sflAs-ydfi), F, An ana-
lytical editing.
rechange (rii-shfinzh). "Change.**
Hence, corps (kor) or tons (tdii) de
r. Crooks.
recheat'. A hunting recall.
recht(e) (r€kht(€)), G. Right, as r.
Hand.
r^cit (ra-se), /•. i. •Recitative, a. A
solo part. 3. The chief of several
parts, clavier de r. (kUv-3ra dQ).
Swell manual on the organ.
recitado (ra-the-Ul'-dbd), Sp. ReciU-
tive.
reci'tal. A musical performance given
entirely by one performer, or from
one composer's works. Said to have
been initiated by Liszt in 1840.
redtan'do, redtan'te, recitato (ri-
che-ta'-to). In recitative style.
r^dtant (ri.se-til6), Recitante (ra-
tse-t&nt), F. A man (or woman) soloist.
redUtive (r«s-l-ta-tev'), E., redUtif
(ra-sc-ta-tef '), F. . ReciUtiv (ra-tsc-
ti-tcf), C7., recitatlTO (ra-che-U-
te'-vo), /. Musical declamation or
recitation, as opposed to strict melo-
dy. It usually aims to be a sort of
musical colloquialism. In modem
form it began in the first operatic
works of Peri (vide B.D.), and the
others ; it was more or less a sing-
250
THE MUSICAL GUIDE
song declamation with an accompa-
niment consisting of occasional chords
to keep the singer on the key ; it was
well-called ** dry,'* or recitativo scc-
co, or pariante, and the accompani-
ment was indicated merely by figured
bass. This accompaniment was grad-
ually elaborated into the recitatiyo
stromentato. " Instrumented," or
accompagnato, or con accompa-
gnamento or obblip^ato (in F, ac-
compagn^, or obiig^). In later
opera, particularly Wagner's, the
whole musical structure is inclined to
be in recitative with a descriptive and
complicated orchestral background.
Recitative is usually delivered at the
singer's pleasure except when spe-
cially marked a tempo.
reciter (ra-se-ta), F. To perform a
recit, or solo.
reciting note. That tone of a church-
mode on which most of the chanting
is done, usually the dominant.
record. Old E, To play the rec-
ord'er. An obsolete flageolet with 9
holes, one of them covered with gold
beater's skin, compass 2 octaves
f'-f".
recreation, r6cr6ation (ra-krl-&s-
y6n), F. A light composition.
rec'tc et re'tro, L, Forward and
backward. Vide canon.
rec tus, L. Similar (of motion).
reddi'ta, redita (ra-de'-ta), /. , redite
(di-det), F. A repeat.
redondilla (ra-ddn-del'-yii), Sp, Roun-
delav.
redoubled. Compound (of an inter-
val).
redoublement (rd-doob-lii-mSfi), F.
Doubling.
red'owa, redowak', redowazka (ra-
do-vats'-ka), Bohemian. A dance. in
lively 3-4 time ; in the Bohemian
form 2-4 time is also employed.
redublicato (ra'-doob-lt-ka'-to), /. Re-
doubled.
reduciren, reduziren (ra-doo-tse'-r^n),
C7., r^duire (ra-dwer), F. To ar-
range or transcribe a composition in
a smaller form. Hence, such con-
densation is called reduction, E.^
reduction (ra-daks-yoA). F., Re-
duktion (r£-dook'-ts1-on), C, ridn-
zione (re-doo-ts!-6'-n€). /.
reduc'tio, L. Reduction (of a mode
to its original key).
red-note. Vide notation.
reed. Originally a thin and elastic strip
of cane, now made of other fibres and
of metal. It is fixed in an opening
by one end ; its free end is set in
motion by the breath or by a current
of air, and transmits this vibration
with musical effect to the column of
air in the main tube, to which it serves
as a sort of quivering valve. The
human larynx has a membranous
reed, and the lips of horn-players
serve the same purpose, the tone
being determined by the tension of
the lips and the length of the instru-
ment. Vide EMBOUCHURE, free-
reeds vibrate without striking the
edges of their sockets. Those which
stnke the edges are called beating
(impinging, percussion, or strik-
ing) reeds. They are used in the
organ for brass effects. Some instrs..
as the oboe and bassoon, have 2 reeds
which strike each other, and are called
double. Reeds are usually tuned by
a sliding wire by which the vibrating
portion is shortened or lengthened.
reed-instruments. A general name
for those employing the reed mechan-
ism, particularly the oboe and clarinet
groups of the orchestra.
reed-pipe, r. stop, r. work. Refer to
the pipes and stops of an organ which
employ reeds.
reed-organ. Originally, a small port-
able organ called the regal, or a pair
of regals (if it had 2 pipes for each
digital). This small instr, which
could sometimes be folded up like a
book or Bible [hence Bibel-regall
(be'-b^l-ra-gal)]. employed beatine
reeds, in the pipes. In 18 10 Grenie
inv. what he called the orgue ex-
pressif, because he could swell and
diminish the tone. In 1843, Debain
developed the Harmonium^ w^hich
DICTIONARY OF TERMS 251
possessed several stops. The air
pressure is usually applied by pedals
worked by treadles; with levers,
worked by the knees, to produce a
swell. The American Organ (q. v.)
employed a suction mechanism. The
Vocation returns to the harmonium
style with elaborate improvements.
There are many other instrs. which
diflFer chiefly in name from the typical
reed-organ.
reel. A lively dance usually in 4-4
(sometimes 6-8) time, perhaps of
Scandinavian origin, but chiefly pop-
ular in Scotland. It is danced by 2
couples. The Virginia reel of
America is danced by 2 long facing
lines, the men on one side, and the
women on the other.
refrain'. A burden, or stanza, repeated
at the end of each new stanza of a
song.
Regal fui G. ra'-gil). regale (ra-g&l),
F, I. Vide REED-ORGAN. 2. An
old suffix indicating a reed-stop. 3.
An obsolete xylophone.
Regel (ra'-g^l), G. Rule.
re'genschori, L. Choirmaster.
Reg^na coe'li, Z. * 'Queen of Heav-
en." A hymn to the Virgin.
Register (r5j'.Is-t«r in E.; in G. ra-
jes'-t^). I. The handle or draw-
knob which bears the name of a stop.
Hence, 2. A complete stop, or the
set of pipes controlled by a single
draw-knob. Accordingly register-
ing and registration are the act or
art of bringing into play and com-
bination the different stops of an
organ. Regis'ter-knopf (kn6pf), (7.
Draw-knob. R.-stanjge (shtang-^).
Stop-lever. R.-zug (tsookh). The
mechanism of the draw-stop. Speak-
ing stops (R.-stimmen, or tdnende
R.) are distinguished from mechanical
stops, stumme (shtoom'-m^) R. 3.
A frame through which trackers run.
4. A distinct section of the tone-qual-
ity of a voice or instr. Vide voice.
re^ristre (rfl-zhest'r), /*., registro(ra-
)€s'-tr6), /. I. A stop-knob. 2. Vide
RXGISTER (4).
registri(e)ren (ra-jes-tre'-r«n). G,
To register. Registri(e)ung (tre'-
roongk). Registration.
rtgle(r«gl), /:. rcgola (ra'-go-la), /.
Rule.
reg'ula, Z. i. Register. 2. Rule.
rep^'uiar. i. Strict (of fugue). 2. Sim-
ilar (of motion).
regulation. Adjustment of touch.
Reigen (ri'-gdn), or Reihen (rl'-€n),
G. A circular dance.
rein (rin), G. Pure, perfect (of inter-
vals), exact, hence reingreifen (grl-
f5n). To play accurately.
Reiselied (rl'-zfi-let), G. Traveller's
or pilgrim's song.
Reitertrompete (ri'-t5r-tr6m-pi'-td),
(7. A clarion, obsolete straight trum-
pet 30 inches long.
rela'ted. Vide relation.
rela'tion (in F. rd-l&s-yoh), rela'tio,
Z., relazione (ra-lais-!-d'-n5), /. The
aflinity of keys based upon the sim-
ilarity or identity of certain chords.
Upon key-relationship the whole sub-
ject of harmony and modern counter-
point is largely based, and upon this
split hair more great theorists jostle
than there were angels dancing upon
the needle-point of the old monkish
dogmatists. In a liberal sense all
keys are closely related. For pur-
poses of distinction those keys are
said to be related {attendant^ accessory^
or auxiliary) which have one or more
chords in common. The most nearly
related (or least remote) keys to any
key are those founded on its dom-
inant and subdominant (as the keys of
G and F are most nearly related to
the key of C), also the absolute and
relative major and minor (as c minor
is the absolute minor of C major
while the relative minor to C major is
a minor, which has the same signa-
ture), false-relation, or rela'tio non
harmonica. Vide false.
relative key, E , mode-relatif (mod-
rCil-a-tef'), F,, tono relative (te'-v6).
L I. The relative key to a major is
the minor key whose tonic is a minor
third below. The relative major of a
2^2
THE MUSICAL GUIDE
minor key has its tonic a minor third '
above. Vide relation.
reli^io'so (ra-le-jT-o'-sd), /., reliei-
osamen'te. Solemn(ly), devout(ly).
relish. An old grace (a. v.).
remote'. Unrelated, vide relation.
remo'tn8,-a, L. Remote; open (as
harmony).
remplissage (ran-plYs-siizh). F, i.
'* Filling, * as the inner parts of a har-
mony. 2. Padding. 3. Cadenzas, and
brarura passages.
rentr^e (rii^-tra), /^ Re-entrance (of
a part).
renyerser (raii-v€r-sa), F, To invert,
hence renyers^ (rlA-v^r-sa). In-
yerted. renyersement (v^rs-maii).
Inversion.
re&yoi (ran-vwa), F, A repeat ; a
sign of repetition.
repeat. A sign indicating the repeti-
tion of certain measures — marked by
two or more dots in the spaces be*
tween the lines, before (or after) the
double bar, which indicates the end
(or beginning) of the portion to be
repeated.
repeating, i. Of action in which the
hammer rebounds quickly enough to
permit a rapid reiteration of the tone.
2. Of mixed stops whose overtones do
not keep always the same height
above the pitch, but sound an octave
lower, as the pitch rises.
repercus'sa {vox), L. A "repeated
tone." I. In neumes the notes called
W-, </i-, or tri. 2. In Gregorian music,
the principal note of a mode.
repercns'sion, repercus'sio, L. i.
Repetition, of a chord or note. 2.
The reappearance of the subject of
the fugue after the exposition. 3.
The dominant of a church-mode.
repetl(e)reii(ra-pa-te'.ren), (7. i. Vide
to BREAK (3). Hence repeti(e)reii-
de Stlmme. A mixture-stop with a
break. 2. To repeat.
Repeti'tion (in G, ra-pa-te'-ts!-6n). i.
The rapid repeating of a note or
chord. 2. (In (7. Kepetions'me-
cha'nik). Vide repeating (i). 3.
Vide BREAK (3).
r^p^tition (ri.p&-tes.3rd6), F. i. Re-
hearsal. 2. Repetition.
r^pStiteur (ri'-pa'-te-ttlr'), F,, repet^
itore (ri-pa-te-to -r*). /. Trainer of
an opera chorus ; the rehearser.
repetizione (ra-pi-t$-tsT-o-n£), re-
petimen'to, /. Repetition.
replica (ra'-ple-ka), /. A repeat ; rep-
etition, hence replicato (ki'-to). Re-
peated ; doubled.
replicate. The octave of a tone.
Replik (ra-plek'). Complementary in-
terval.
r^plique (ra-plek), F, i. The octave
of a tone. 2. The answer of a
fugue. 3. Complementary intervaL
4. Cue.
reply. Answer (of a fugue).
r^pons (ra-p)6fi), F, Response (i).
r^ponse (ra-p66s), F, Answer.
report. Answer.
repos (ra-po), F. Point of repose, fd*
lowing a cadence.
reprise (re-priz'). E. The reappear-
ance of the first theme of a sonata or
symphony after the development.
reprise (rCl-prez), F, i. Repetition. 2.
Vide REPRISE. 3. Reappearance of
a theme. 4. Vide break (3). 5.
Revival of a work.
reprendre (rtt-prSAdr), F, To re-
sume.
Requiem (ra'.kwt-«m). Z. The first
word and title of the Mass for the
Dead {tnissa pro defuncHs). Begin-
ning *^ Requiem aternam dona eis^
domine** '* rest eternal, grant them.
Lord.'* The requiem is divided into
the introit, kvrie, g^dual (with tract-
us, ** Absolve,** and sequence ** dies
ira*'). Offertory, ^^ Domine Jesu
Christe "; Sanctus, and Benedictus ;
Agrnus Dei ; and Communion '* Lux
ceterna.*'*
research'. An improvisation used
as a prelude to a composition and
made up of its chief theme.
res'eryoir. The portion of a bellows
in which wind is stored.
resin (r£z'-Yn). A refined gum applied
to the hair of the bow to improve its
grip on the strin|;s.
DICTIONARY OF TERMS 253
resoln'tioiL r^solntion (nt-zd-las-ydn),
/*.. resola'tio, Z., resoluxione (ra-
zo-loo-t^-o'-nS), /. I. Firmness, de-
tenninadon. 2. The dissolving of
dissonance into concord ; the satis-
faction of the mental demand for that
partial repose found only in conso-
nance. Dissonant tones are generally
resolved by progressing half a tone or
a whole tone down or up.
res'onaocey E,, Resotutnz (ra-z5-
nints'), G, The mtipathetic response
of a Tibrating body to its own partic-
ular tone or tones, under the impul-
sion of vibrations received from
another vibrating body sounding the
same tone or tones. Thus if one
sounds the note a' on a violin, a tun-
ing fork of the same pitch will give
forth the same tone spontaneously, as
also will a piano with the damper
pedal down ; a pane of glass or a
loose plate of metal of the proper nat-
ure will also reply ; furthermore each
rartial tone will be afifected similarly.
This acoustic fact is used for the re-
inforcing of tones ; as cavities of air
and sheets of wood have this same
property of resonance to all the tones
and partials which they themselves
contam. Th^ violin, etc., employ
a hollow space called the resonance
boz« or Resonanzkasten, G. Cer-
tain old instrs. used a sympathetic
string or Resonanzsaite,. G, The
piano, etc., use a resonance board,
ot sound-board^ Resonanz'boden, G,
respiro (riUspe'-ro), /. ** A breath" ;
a sixteenth rest.
respond'. A psalm (or part of one)
sang^ between lessons at canonical
. hooTs.
response', E. ,respon'snm, Z. , respon-
sio' ne, respon' so, /. i . The reply of
choir or congregation to a phrase read
or chanted by a priest or officiant, in
R. C and Episcopal churches. 2.
Responsory. 3. The answer in fugue.
respon'sor7,i&.,responso'riuni, Z. i.
llie psalm or portion of one sung be-
tween Missal lessons. 2. The gradu-
ate. 3. A respond.
responsiTO (ra-sp6n.se'-v5), /. Re-
sponsive(ly).
resserrement (dis-s^r-raan), F, Streu
to.
reasort (r0s-s6r'), F, Bass-bar.
rest. I. A period of rhythmic silence,
the tempo continuing to be counted
passively. 2. A symbol indicating
such rest The rests are usually
named according to the portion of a
measure they occupy, as 16M rest ;
sometimes being called after the note
which has the same duration, as
quarter-note rest^ breve rest. They
may be augmented by dots and may
extend beyond the limits of one meas-
ure, as the four-measure rest. Vide
SIGNS AND SYMBOLS, large-rest,
lons^-rest. Vide notation.
restric'tio, Z. Stretto.
resultant. Used of secondary tones
formed by the combined vibration
of two independent tones. Vide
ACOUSTICS. When sounded together
they produce a difference tone or dif-
ferential tone whose vibration equals
the difference between theirs ; also a
summational tone whose vibration is
the sum of theirs.
Resurrex'it, Z. *'And rose again/*
Part of the Credo. Vide mass.
retard', i. To diminish the velocity.
2. To suspend and then resolve up-
wards, hence retarded progression,
or retardation, retarda'tio, Z. i.
A suspension resolving upwards. 2.
A decrease in velocity.
retraite (rfi-tr«t'), F, Retreat, uttoo.
ret'ro, Z. Backwards. Vide canon.
ret'rograde, retro^a'dns, Z., retro-
grado (ra-tr5-gra -do), L Vide imi-
tation.
ret 'to, Z Direct, similar. Vide mo-
tion.
r^veil (ra-v«'), /*., reveille (rii-va'-yO,
in E, r^-v^l'-y^. In the American
army r«v-«.le'. in (7. ri-fTl'-lg).
*• Awakening,'* the first morning mili-
tary signal. In old E, reveil', or
revel'ly..
rev'erie. A contemplative composi-
tion.
254
THE MUSICAL GUIDE
reversed. Contrary (of motion), re-
▼er'sioQ. Retrograde imitation.
reyoice. To tune an organ-pipe.
rf., rfz. Abbr. for Rinforzando.
r. h. Abbr. for right hand.
rhapsodic (r&p-so'de'), F, and 6*.,
rhapsody, ^. ** A song of patches."
In ancient music a fragment of an
epic poem, sung by a minstrel or
rhapsode, or rhapsodist. In modem
music a brilliant composition which
combines the idea of a medley with
the acquired idea of great joy or ec-
stasy.
rhythm, E,, rhyth'mus, Z. (in G.
ret'-moos), rhythme (redhm), F. The
** flow " and undulation of progres-
sion, marked by the rise and fall of
stress and duration. The arrange-
ment of accented and unaccented,
and of long and short sounds.
Rhythm usually follows some pattern
which is repeated with more or less
variation through an entire movement
or composition. Rhythm might be
called the melody of monotone. It is
distinct from melodic or harmonic
progression, and can be vividly shown
on such an instr. as the drum, and it
can be written on a single line with-
out reference to pitch. The rhythm
sometimes is so complicated that it is
not completed in less than a musical
period, vide form ; but it is usually
based upon a fundamental series of
pulsations that can be expressed with-
in the limits of three or four or nine
beats. These are accordingly taken
as a unit and group>ed within the
limits of a measure, and cut off
by two bars; the first bar being
placed before the strongest accent of
the group, the second after the weak-
est. Time may be expressed by the
regular swing of a baton ; rhythm em-
bellishes this baton pulsation, and
usually coincides with it in accentua-
tion, except in a syncopated rhythm.
rhythmique (redh-mek), F., rhyth-
misch (ret'-mTsh), G. Rhythmical.
ribattuta (re-bat-too'-ta), /. " Restrik-
ing.** The slow beginning of a trill.
ribe'ba, ribeca (re-ba'-ka), /. Rebeck,
ribbechino (ke'-n5). Small Ret>eck.
ribs. The sides connecting back and
belly of violins, etc.
ricerca're, ricercata (re-ch^r-ka'-ta),
/., ricercar (re-ts^r-kar'), G.
*• Searched out," cf. r/ckerck/. Used
of compositions or passages, usually
of fugal form, and employing all the
resources and learning of the com-
poser. Vide FUGUE.
richiamare (re-kt-a-ma-r^), /. To
imitate the Kichia'mo or bird-call.
ricordanza (re-k6r-dan'-tsa), /. Rec-
ollection.
riddo'ne, /. A roundelay.
rideyolmente (re-da -vol -m^n'-t^, /.
Laughingly.
ridicolosamea'te, /. Ridiculously.
riddle-canon. Vide canon.
ridot'to, /. I. Reduced (cf. reduciren).
2. A reduction.
riduzione (re-doo-tst-6'-n5), /. Ar-
rangement, reduction.
Riesenharfe (re'-z£n-har-f$), G. Mo-
lian harp.
rifiomiento (rc-f!-6r-m«n'-t6), /. Or-
nament.
riga (re -ga), /. Staff.
rigabel'lo, /., rigabel'lum, L. RegaL
rigadoon', £., rigaudon, rigodon (re-
g6-d6n), F. A lively and humorous
dance of Proven9al origin, and con-
sisting of three or four reprises, the
third in a lower position. The time
is usually 4-4, with an uptake of a
quarter note.
rigals, rigol(e)8. Regals.
rigore (re-go'-r€), /. Rigour, exact-
ness of tempo, rigoro'so. Exact.
rilasciando (re-ia-shan'-do), /. Re-
laxing the speed, rilasciaa'te.
With reduced speed.
rikk. Egyptian tambourine.
rilch (rYlsh), ril'ka. Russian lute.
rimett. Abbr. for rimettendOy /. Re-
tarding.
rinforzare (rTn-f6r-tsa'-r«), /. To re-
inforce, emphasise, rinforzamen'to,
rinforzo (f6r'-ts5). Reinforcement,
rinforzan'do, -a'to. Suddenly em-
phasised and accented.
DICTIONARY OF TERMS 255
Ringelpanke (ilng'-^-pow-kQ, G. A
rattle with rings on bars.
Ringreltanz (rlng'-£l-t^ts), G. Circa-
lar dance.
ripercussio'ne, /. Repercussion.
rij^tizione (re-pa-te-tsl-o'-ne). ripet*
itnra (too'-rS), /. i. Repetition. 2.
^ Refrain.
ripieno, pi. A (re-pe-a-n5[e]), /.
*• Filling." I. Used of a part or an
instr. which merely strengthens and
rounds out the harmony, as opposed
to solo or corutrtanU. 2. Used in
scores to indicate the entrance of the
full band. One who plays a ripieno
(in G. Ripienstinune* re-pX-&n.
shtTm-mQ is called Ripienist, or ri-
pienis'ta. 3. A mixture-stop called
ripieno di due^ tre^ quattro or cinque^
according as it has 2, 3, 4. or 5 ranks.
ripienino (ne'-no). 4-ft. stop.
ripig^liare (re-pel-y&'-r£). ripren'dere
(prin'-d€-rfi), /. To resume, hence,
npis^lan'do, riprenden'do. Resum-
ing, ripiglio (re-pel' -y6). Reprise.
ripo so, /• Repose, hence riposa'to
(za'-td), reposatamen'te. Repose-
ful(ly).
ripresa (re-pr£'-z&), /. i. Reprise.
2. Repeat 3. The repeat mark.
risentito (re-s^n-te'-td), /. With en-
ergetic expression.
risoluzioae (re-z6-loo-tst-o-n«), /.
Resolution, i and 2. risoluto (loo'-
to), risolutamen'te. Decided(ly),
energetic(ally).
risonanza, risuonanza (re-soo-o-n&n'-
ts£), /. Resonance.
risposta (res-spo -sta), /. i. Conse-
quent. 2. Answer in fug^e.
Riss, (7. " <^ap." between registers.
ristret'to, /. Stretto.
fisvegliato (res-val-y£'.t5), /. Ani-
mated.
fit, ritard. Abbr. for ritardando (r£-
tSr-diin'-dd). Retarding gradually.
ritardato (d&'-to). Retarded, ri-
tar'dOy -azio^ne. Retardation.
riten. Abbr. for ritenuto (re-t&-noo'-
to), /. Immediately slower, to be
distinguished from ritardando and
rallentando as well as from ritenen-
do, and ritenen'te, which refer to
gradual retardation.
ritmo (ret'-m5), /. Rhythm, r. di
due (tre) battute (de doo-a-bat-too'-
tS). Rhythm in 2 (or 3) measures to
the beat, not in duple or triple time,
which means 2 (or 3) beats to the
measure, ritmlco. Rhythmic.
ritornare (re-tor-na -r«), /. To return.
ritornan'do. Returning, ntorna-
to (a'-to). Reverted.
ritornel', ritornel'lo, /., ritour-
nelle (r£-toor-n£r), ritoraelle, F,
I. A burden or repeated portion, such
as the instrumental prelude, inter- and
post-lude of a song, sometimes called
the symphony. 2. The tutti parts in
a concerto. 3. A repeat. 4. A
burden, or refrain.
river' 80, river scio (rc-v^r'-shd), /.
I Reversed. 2. Retrograde.
rivoglimento (re-v61-yT-m€n'-to), /.
Inversion or transposition, in coun-
terpoint rivoltato (re-voUa'-to),
rivolto (re-vdl'-to). Inversion.
robusto (ro-boos'-to), /. Robust. Vide
TENOR, robustamen'te. Firmlv.
roccoco, rococo (rd-ko -ko), /. (5ld-
fashioned, eccentric.
rock-harmoa'icoQ. A graduated series
of rock crystals played with ham-
mers.
Roger de Coverley. Vide Sir R. de
C.
Rohr (r6r), pi. Rdhre (ra'-r6), (7. i.
Tube. 2. Reed, usually R.-blatt.
reed of oboe, bassoon and clarinet.
R.-fldte. ''Reed-flute" a half-cov-
ered 4, 8 or 16 ft flue-stop. R.-
schelle (shfil-l^). The same stop in
I or 2 ft. pitch. Doppelrdhrfldte.
One with double mouth. R.-quint.
One sounding a fifth above. Kohr-
werk. The reed-stops.
roll(r61),^.. rollo (r6r.l6). /. i. The
trill on drum or tambourine, produced
on the kettle-drum by rapid taps with
the two sticks ; on the side-drum with
two taps with the left stick, then two
with the right ; on the tambourine
with the knuckles. 2. long r. (a^
Battle or rally signal for troops, (b)
256
THE MUSICAL GUIDE
Swift arpe^oon the organ. rolUtn'-
do. Rolling.
Rolle (r6r-l€), G, Rapid up-and-down
passages of one figure.
roller, i. A 2-armed wooden bar on
gudgeons connecting two trackers,
one to a draw-stop, one to a valve,
usually roller-board. 2. Cylinder of
music-box or carillon.
Roman, i. Used of the school of
Rome from Goudimel and Palestrina
to the 19th century. 2. Of strings
made in Italy.
romance (in F, rd-mins), romanza
(rd-min'-tsd), /., Romanze (r5-m&n'.
ts«), G.y romaunt, Old E, i. A
composition of romantic character, as
r. sans paroles^ a story without words.
2. In A a love-song*.
romanesca (ro-mft-nas'-ks), /., roman-
esqne (ro-m&n-dsk'). The galliard.
romantic, romantioue (r5-mSA-t$k),
romanzesco (tsas'-k5). A term much
fought for and much evaded. In
general, it means the striving after
individuality, novelty, and personality
of musical expression as opposed to
the repetition of classic forms — the
reaction of the molten against the
mold. As every generation tries to
modify, assimilate and re-spin the art
of the preceding, and always meets an
opposition from the schoolmen and
conservatives, the word really means
little more than ** modem."
Rome, prix de (pre dtt r6m), F, i. A
stipend granting four years' study in
Rome, annually awarded by the
French government to competing
pupils of the Paris Conservatoire.
This is the erand prlx (grSA pre),
the second (sii-k6f)) being a gold
medal. 2. Stipend awarded every
other year by the Brussels Cons.
romera (r5-ma'-rsi). A Turkish dance.
Romanusbuchstaben (ro-ma'-noos-
bookh'-shta-b^n), G. ** Letters of
Romanus." Vide LiTTERiE SIGNIFI-
r '. CATiB,
ro'mischer Gesangr', g.
Catholic plain-song.
ron'da, /. Round.
••Roman"
ronde (r6Ad), F, A whole note.
rondel'lus. An early form of strict
imitation.
rondeau (r66-d6). F , ron'do (r6n*-d6).
/. and E. i . A form originally based
on a dance with alternating solos
(couplets), and chorus (rondeaux) ; the
form is characterised by a cheerful
humour. 2. In classic music a prin-
cipal subject preceding and interleav-
ing two episodes, with much variation
of key and many bridge-passages. 3.
The more modem form consists of
three themes with the first recurrent,
thus A-B-A-C-A-B and coda. The
second theme appears in the dominant
at first, finally m the tonic, giving
the Rondo a close relation with the
sonata formula. Vide form. A small
or easy rondo is called variouslv, r.
mignon (men-y6n), F.^ ronduet'-
ta, rondlnet'to, rondino (rdn-d£'-
no), rondolet'to.
rondefia (ron-dan'-yft), Sp. Fandango.
root. Fundamental tone of a chord.
rosalia (ro-za'-lY-a), Rosalie (r5-zfi-Ie'),
G. I. A sequence (q. v.) advancing
a whole tone each time. 2. Music
consisting of cheap and trite sequences
and harmonies.
rose (in G, ro -z«), rosa (ro'-zfi), /.,
rosette (r6-zdt'), F, The ornamental
border of the sound-hole of guitars, etc
rosin (rfiz'-tn^. Resin.
Rostral (rds -tral), G, A music-pen.
rote, E,, rota, rot'ta, /., Rot'te, G,
••Wheel." I. Canon, round. 2.
Rondeau 3. Hurdyg^urdy.
rotondo (rd-t6n'-do). /. Round, full.
rot'to, /. Broken, interrapted.
ro'tula. A small round or carol.
roulade (roo-l&d), F, A florid passage,
division, a grace.
roulement (rool-min), F, A roll.
round, i. Popular form of canon in the
unison or octave, without coda, and
with a frequent harmonic support or
pes. 2. A circle-dance, round o.
A rondo. _
found'el, roun'delay. A ballad of the
fourteenth century with a recurrent
refrain. Also a rin^-dance.
DICTIONARY OF TERMS
roresciamento (r&-va-shS-m^n^to)/.,
I. ReversioD. 2. Inversion.
rorescio (ro-va-sho), /. i. Retro-
grade. 2. Inverted. Hence, al r.
In inversion.
ma'iia. Hindu violin.
nibato (roo-ba'-to). /. "Robbed,*'
borrowed, used of a tempo whose
strict values are to be disregarded at
caprice, the long notes stealing time
from the short, etc. It should not de-
part so far from the tempo as to de-
stroy the sense of rhythm.
Rftckfiall (rQk'.fal). G. Back-fall.
Rfick - positiT'. Vide positive.
Rfick'gang^. Return of the leading
theme.
Rficknng (rUk'-oongk), G, i* Synco-
pation. 2. Change.
Rfidenlioni (rQ'-ddn-hom). Vide hief-
HORN.
Riihriiiig(rQ'-roongk), G. Emotion.
Ruhepunkt (roo'-d-poonkt), G. Rest
R. stelle, -zeichen. A pause, a
rest.
vahxz (roo'-Tkh), G. Calm, gentle.
Rfibrtrommel (mr'-). An old-fash-
ioned drum.
rule. I. Old name for line. 2. In
music as in science, not an edict by
an authority, but a recorded observa-
doD by more or less qualified judges
of what has happened with some reg-
ularity before. It need not neces-
sarily happen always again. Vide
OCTAVE.
rnllan'do, mllante (rooMan'-t^), /.
Rolling, tambnro r. Side-drum.
fim. I. A rapid flight of notes usually
in scales, used in singing on one syl-
lable. 2. Of air in an organ, to leak
from the wind-chest into a groove,
where it causes certain pipes to give
a faint sound called running.
Rnfldgedicht (roont'-g£-dTkht), G. i.
Rondo. 2. Solo with chorus. Also
R.-g^sang.
msse (rQs), F, Russian, k la r. In
Russian style.
Rnsspfeife, Ruszpfeife (roos'-pfl-f£),
c;., mispipe (rois'-pe-p^), Dutch.
Vide RAUSCUQUINTX.
Ros'sian bassoon. A deep-toned
military instrument.
Russian horn band. One in which
each horn plays but one tone,
mstico (roos'-tl-kd), /. Rural, rustic.
Rutscher (root'-sh^r), G. A galop,
myido (roo'-vl-do), ruyidamen'te, /.
Rough(ly).
ry'mour. Old E. Minstrel.
rythme, rythm^, /*. Same as rhythm
SAbbr. (dai) segno; senMO (pe-
dale); sinistra; solo; sordino;
(voltf) subiio,
8ab(b)'eca. Hebrew harp.
sabot (s&'-bd), F. i. A disk turned by
one of the pedals of a double-action
harp and carrying two studs which
engage and shorten the vibrating
portion of a string. 2. A cheap
fiddle.
saccade (s&k-kild), F. A firm pressure
of the bow against two or more
strings.
sack'but, sas^'but. i. An old instr.
resembling the trombone. 2. Trans*
lation of sabeca.
Sackpfeife (sak'-pfl-f^), G. A bag-
pipe.
sacque-boute (sik-boot), F, Sackbut.
sa'cring*bell. Small bell marking the
divisions of the Mass.
sac'rist. Music librarian, and copyist
of a church.
sa'cred music. Religious music.
Saite (zi'-t«), pi. Saiten, G. String (s).
Sai'teninstrument. A stringed in-
strument. S.-chor. A group of
strings tuned in unison. S.-fessel,
or -halter. Tailpiece. S.-harmo'-
nika. A key-board instr. with diminu-
endo device, in v. by Stein, 1788. S.-
oreel. A trichord piano with a fourth
string for each note. This string is
fanned by a reed of the same pitch,
with leather head, thus obtaining a
sustained tone, capable of swell and
decrease. Treadles and bellows con-
trol this part of the iostr., which may
258
THE MUSICAL GUIDE
serve as piano, or organ, or both, or
part of either. This instr. was inv.
by a Prussian, Karl GQmbel, i8oa
S.-klang. or -ton. The sound of a
string. S.-spieler. Player on a
stringed instr. MUtig (zl'-tlkh).
Stringed.
saint's bell. Vide sacring-bell.
sal'amie. Oriental flute.
salcional (sil-sl-o-nll). salicet (sa-IX-
sa). sali'cionell, salicional (s&-l$'.
sI-6-nftl), F, A reed-stop of stringy
tone.
Salm (s&lm), (7., salmo (s&l'.m5), pi. i,
/. A psalm.
salmi (s&l'-me), F. Quodlibet
Salon' flilgel, G, Parlour grand plana
Salonmusik or -stttck. Music for
the drawing-room.
sal'pinx. Ancient Greek trumpet.
saltando (sal-tan' -dd), /. i. Proceed-
ing by skips. 2. With bounding
bow
saltarella or (o) (sm-tfi-rel'-ld), /. i. A
very quick dance, in 2-4, 6-8, or 6-4
measure with wide skips. 2. The
triple -timed, second part of a i6th
century dance in duple time (also
called Hop'peltant (taints). Nachtanz,
C. , proportion L. . tourdion^ F. y. K
jack. 4. A cant us firmus with ac-
companiment of sextuplets.
saltato (sil-ta'.to), /. Springing. Vide
SALTANDO.
salteret'to, /. i. A rhythmic figure in
6-8 time, the first and fourth quavers
dotted.
8alter(i)*o (sftl-tsl-rY-d), /.. Salteire
(z&I.ti'.r«), Saltirsanch (z&Uters'.
inkh), (7. 1. Psaltery, s. tedesco.
Dulcimer.
salto (siil'-t5), /. I. Leap, skip. a.
Dance, di s. By skip.
SalVe Regina, L. '• Hail Queen " :
R. C hymn to the Virgin Mary.
salvar'(e) (sai-va'-rd). /. To resolve.
salvation (sll-v&s-yoh), /^ Resolu-
tion.
sambuca (sim-boo'-ka). /.. Sambat',
Sambiut (z&m'-bY-oot). G. Word used
variously and ambiguously for vari-
ous mediaeval instrs., bagpipe, hurdy-
gurdy, etc sambucis'tria. One
who plays such an instrument.
Sammlung (z&m'-loongk), G, Collec-
tion.
sampog^ (silm-pon'-yi), sampo'iiia»
sampu'nia, /. i. A flageolet. 2.
Sambuca.
san'cho. A negro guitar.
Sanctus, L. **Holy.'* i. Fourth
movement of the Mass. 2. Vide
SACKING.
sanft (zjinft), (7. Soft, mild. S.-jge-
dackt. A soft-toned stopped pipe.
S.-heit. Softness, smoothness, gentle-
ness, slinftig (zdnf'-tlkh), sanft'-
milthig. Soft, gentle. S.-muth,
S.-mttthigkeit (mU-tlkh-kit). Soft-
ness.
Sang (zing), G, Song.
SUnger (zdng-«r), G. SingeKs). S.-
bund (boont). A society or conven-
tion of singers. S.-verein (f£r-In).
Singers* union.
sanglot (sin-glS), F. •'Sob." An
old erace in singing, an interjection.
sans ^an), F Without.
san'toral, Sp Choir- book.
santur'. A Turkish inst., the psaltery.
saquebnte (s^-but), F. Sackbut.
saraband (s&r'-ii-b&nd), £., sarabanda
(sar-ii-ban'-di), /., sarabande (s4r4l-
bind in F. ; in (7. za-rS-ban'-d^). A
stately Spanish dance, perhaps derived
from the Saracens, and danced with
castanets ; it is in slow 3-4 or 3-2
time, with the second note usually
prolonged through the second and
third l^ats of the measure.
samis'ophone. A double-reed instr..
inv. by Sarrus, Paris, 1863. It b
' made in 6 sizes besides a sopranino
and a contra-bass in E^, and re-
sembles a bassoon in appearance, a
trombone in tone.
sartarella (or -o), /. A tarantella*
like dance in 6-8 time.
Sattel (zSt'-tM). (7. Nut. S.-machea.
To use the thumb as a nut for pro-
ducing harmonics on the 'cello. S.-
Uge. Ha If -position.
Satz (zdts). (7. I. Theme or subject.
2. Phrase, half a period, the former
DICTIONARY OF TERMS 259
half being the Vordersatz, the sec-
ond, the Nachsatz. 3. Section of
a movement. 4. Movement. 5. A
composition. 6. St vie, school, as
reiner S. Pure, stnct style.
saiin. Burmese harp.
saat (so), F. Skip. ' sauter (s5-ti).
To overblow, sauterean (s5-t^-r5).
Jack, san'terie, Old E, Psaltery.
saatill^ (s6-te'-ya), F. Springing bow.
taaver (s5-va). To resolve, sattve-
ment (s5v*min). Resolution.
•aw'try. Psaltery.
Sax (zax). A prefix for the numerous in-
ventions or miprovements of Adolphe
Sax, the Christopher Columbus of
metallic instruments, whose impor-
tance lies largely in the application of
a valve-mechanism to old natural
keyed instruments, saxhorn. An
improvement in various sizes on the
key-bugle and ophicleide, used chiefly
m military bands except the tuba
(q. V. ). Saxhorns are made in the
following seven principal sizes (va-
riously named), and are also made a
semitone lower than each of the fol-
lowing, the compass of each being
given in brackets :
Bugles i Pistons : I. Sopranino sax-
bom (petit saxhorn, petit bugle 4 pis-
tons, piccolo in £s. or el^, [range
a-b" flat]). 2. Sopraqo saxhorn (con-
tralto saxhorn, bugle-tenor, FlQgel-
hom in ^ or B flat) [g-b" flat]. 3.
Alto saxhorn (Althom in Es.) E flat
[A-e"]. 4. Tenor saxhorn (baryton
en Jib, Tenorhom in B, BassflQgel-
hom). in B flat [E-b' flat]. Tu^as or
bombardons : I. Bass saxhorn (tuba-
basse en xi^. Basstuba, Euphonium,
Baryton, Tenorbass in ^ m B flat
[G-b' flat], also made in C. 2. Low
bass saxhorn (bombardon en mi b) in
E flat [G. flat-e' flat], also made in
F,. 3. Contrabass saxhorn (bombar-
don en si^ grave, Kontrabasstuba)
in B flat [E flat— b flat], also in C.
saxophone. A keyed brass iAstr.
single-reeded and mouthed like a clar-
inet and combining in its tone that
of the *cello, cor anglais and' clarinet.
It is a transposing instr. written in
the G clef, made in six sizes with two
keys to each, the compass being near-
ly three octaves: i. Sopramno or
piccolo or aigu in F and £^. 2. So-
prano in C and B b. 3- Contralto in
F and E9, 4. Tenor in Cand B^.
5. Barytone in F and £^. 6. Bass
in C and Bb. Also saxofo'nia, /.
sax'otromba. An instr. in seven
sizes standing in tone between the
key-bugles, or saxhorns, and the
horns, sax-tuba. Vide saxhorns
( Tubas),
sarnete (sS-e-n&'-t^), Sp., sajnete
(s£-n£t), F. Comedietta for two sing-
ers.
sbalzo (sbdl'-tsd), /. Skip, sbalzato
(tsa'-td). Dashing.
sbar'ra, /. Bar. s. doppia. Double-bar.
scap^ello (skan-ydl'-lo). /. Bridge.
scala (ski' -la), /. Scale, gamut.
scald. Scandinavian poet-musician.
scale. PVom the l^SLtin scala *'alad.
der.** applied to the Aretinian syl-
lables, ut. re, mi, fa. sol, la. In
modem usage : i. The tones of any
key (q. v.) taken in succession up or
down according to pitch ; according
to Riemann a chord of the tonic
with passing notes, as c, d, /, f,
/, a, b, and r, those passing notes be-
ing chosen which lead most inevitably
to the next chord-note, chromatic,
diatonic, enharmonic, major,
minor, pentatonic, etc.. scales, vide
the adjectives. Vide also modes. The
so-called German- s. is a-h-c-d-e-f-
g ; ** b," being reserved for IP. Vide h.
natural or normals. That of the key
of C, which has no chromatics. 2. A
series of semitones in successive or-
der. 3. The series of tones belong-
ing to any instr. as a natural horn.
harmonic or natural s. The series
of over-tones (vide acoustics). 4.
A compass or range. 5 Dimensions
and proportions, as the s. of organ-
pipes, determined by the ratio of
diameter to height, a b«'oad s. giv-
ing a broad, smooth tone, a narrow
s. giving a thin, sharp tone.
26o
THE MUSICAL GUIDE
•cannet'to, scanel'U (skft-n^l'-Iii), /.
Bridge,
tcenmndo (sh£-man'-dd), /. Diminish-
ing.
•cena (shll'-ii£), /., sc^ne (s£n), F.,
scene (sen), E, The portion be-
tween the entrances of different actors,
hence a dramatic recitative usually fol-
lowed by an aria, often s. d'entrata
or d 'entree (d&n-tra). Entry-song.
scenic mnsic. Dramatic music.
Schablonen (ship-lo -ndn)^ G* Stencil-
patterns, hence S.-musik. Trite
and formal music. S.-haft (h&ft).
Academic
SchUfer (shk'-f«r), G, Shepherd. S.-
lied (let). Pastoral sons'. S.-
pfeife. Shepherd's pipe. S.-tanz.
Rustic dance.
SChalkhaft (shftlk'-haft), (7. Sportive,
roguish.
Schall (shil), (7. Sound, ringing, res-
onance. S.-becher, S.-horn, S.*
stuck, or S.-trichter. Bell (of an
instr.). S.-becken, G. Cymbals.
S.*loch. Sound-hole, f.-hole. S.-
stab (shtSp). Triangle.
Schalmay, Schalmei(shar-mT), g. i.
Shawm. 2. Chalumeau. 3. A reed-
stop.
Schansune (shSn-tsoo'-n^), G. Chan-
son.
scharf (sharf), G. i. Sharp. 2. Acute,
of a stop.
schaurig (show'-rlkh), G, Weird,
ghastly.
Soianspiel (show'-shpel). G, Dramatic
piece. Schauspieler. Actor.
Scheitholt (shit-holt). G. Marine
trumpet.
Schellen (sh«l'.l«n), (7. Bells, jingles.
S.-baum (bowm). ** Jingle-tree";
Crescent.
Scherz (shirts), pi. en, (7., scherzo
(sk«r'-ts6), pi. 1, /. " Jest." i. A
stvle of instrumental composition in
which humour prevails (though those
of Chopin are merely moodv and
whimsical/. Those of Beethoven,
the greate.^t master of this style, are
often hilariously funny and provoke
audible laughter. 2. A form devel-
oped from the Minuet and by Bee-
thoven and his successors generally
substituted as the 3d (or 2d) move-
ment of th^ sonata (q. v.) or sym-
phony. The structure varies greatly,
but the time is usually triple, scher*
zan'dOy scherzan'te, scherzevole
(tsa-vd-l£), scherzo' so, /., scherz*
haft (shdrts'haf t), G. Sportive, mirth-
ful, scherzosamen'te, /. Gaily.
schietto (skl-£t'-t5), schiettamen'te,
/. Simp(ly). schietezza (t£d'-z&),
neatness.
schisms (sk1z'-ma'), Gr. A minute dif-
ference between intervals. In ancient
music, equal to the half of a comma,
or the 1 8th of a tone ; in modem
acoustics, the nth of a syntonic com-
ma (the difference between the 3d
tierce of the 8th quint and the octave
of a given tone). Vide temper-
ament, QUINT, and TIERCE.
Schlachtgesang (shl&kht'-g€-zang),
G, War-song.
Schlag (shlakh), G, i. Stroke, blow.
2. Beat, impulse, schiag^en. To beat.
Schlag^eder(fa'-der). Plectrum. S.-
instrument. Inst, of percussion.
S.-mani(eyren. The strokes in
down-beating. S.-zither. The
conuion zither as opposed to the
bow-zither.
Schlilgel (shla -kh^), G. Drumstick ;
hammer.
SChlecht (shl^kht), G, Faulty, weak.
Schlechtertaktt(h)eii (shl^Hdi-t^r-
takt-tll), G, The unaccented part
of a measure.
schleifen (shll'-fn), (7. To slide,
slur. Schleifboren (bo-g^n). Slur.
Schleifer (shll'-Hfr). i. Slurred note.
2. Slow waltz. Schleifzeichen. Slur.
schleppen (shl$p'-p£n), G. To drag.
schieppend. Dragging.
Schlummer-lied (shloom -m^r-let), (7.
Slumber-song.
Schluss (shloos), G, i. The end. 2.
Cadence, also S.-fall, S.-kadena (or
note). Final cadence or note.
Schltissel (shlQs'-s«l), (7. A clef. S.-
fiedeL Nail-fiddle. S. G. The note
g occupied by the G clef. S.-
DICTIONARY OF TERMS 261
A closing passage or movement.
S.-8triche. Double bar. S.-zeich-
en. I. A finnate. 2. Double bar.
S.-reim (rim). Refrain.
•chmachtend (shmikh'-t^nt), G. Lan*
guishing.
•cnmeichelnd (shml'-kh^Int), G, Coax-
ing, caressing.
•chmelzend (shm^r.ts^nt), G. Melt-
ing.
Schmerz (shmSrts), G, Grief, sorrow.
8.-8liait, s.-lich. Sorrowful.
Sdmabel (shna-b^l), G, *'Beak,"
mouthpiece. S.-fldte. Vide flute.
sc]iiiarr(shnar),C?. Rattle. S.-pfeifen,
or -iRTerk. i. Reed-pipes, reed-work.
2. Regal. S.-t5ne. A series of
roogh under-tones exactly paralleling
and drowning the overtones as in
a tuning-fork vibrating loosely on a
box.
Schnecke (shndk'-£), G. *' Snail,"
scroll.
schnell (shn^l), G, Quick, rapidly.
Schnel'le, Schnelligkeit (shn^l'-
Ukh-kTt). Rapidity, schnerier, G,
I. Quicker. 2. Inverted mordent.
Schnell' walzer. Quick waltz.
Schollrohr (shol'-ror), G, Brass wind-
instrument.
SchoUisch (shot'-tYsh), G., schot-
tische {E. and F„ sh6t'-ttsh). ** Scot-
tish," rather slow 2-4 time round
dance.
tchrae (shrSkh). G. Oblique.
Schreibart (shnp'-art), C7. Style.
Schreiber. Music copjrist.
schreieod (shrf-£nt), (7. Screaming,
acute. Schreiwerk. Acute (mixt-
ure-stop).
Schrei'erpfeife. A sharp 3-rank mixt-
ure-stop in octaves.
Schryan (shre'-S-re), G. i. An obso-
lete wind-instr. 2. Schreierpfeife.
tchrittmiU'sig (shrlt'-m^s-slkh), G.
Andante.
schnb (shoop), G, Slide (of a bow).
Schuh (shooh), G. * * Shoe " ; bridge of
a marine trumpet. S.-plattltanz.
An Austrian clog-dance.
schuiftrommpet (shwlf- trom - p^t),
DuUfu Sackbut.
Schale (shoo'-lQ, G, A school or
method, schulgerecht (gh^«Hfkht).
Academic.
Schnltergeip^e (shool-t«r-gf'-khe), G,
Shoulder-violin.
Schusterfleck (shoos'-t^r-fl^k), G, Ro-
salia.
schwach (shv&kh), (7. Weak,
schwacher Taktteil. Weak beat,
gchwicher (shv«'-kh«r). Softer.
Schwiirmer (shw€r'-mSr), G, Rauscher.
Schwebung (shva'-boongk), G, Wav-
ing. I. Iremulant. 2. Beat (of vi-
bration).
Schweige (shvl'--kh«), G. A rest S.-
zeichen. Rest-mark.
Schwegel (shva'-kh51). i. A wind-instr.
2. A flue-pipe. S.-pfeife. A 4 or
8 ft. stop with tapering pipes.
Schweinskopf (shvlns'-kopf), (7. * ' Pig's
head. ** Used of the profile of a grand
piano.
Schwelzerfldte (shvl'-ts«r-fla-t«).
"Swiss flute." I.Fife. 2. 8-ftmeUl
flue-stop. S.-bass. The i6-ft. stop
on the pedal. Schweizerpfeife. i.
4-ft. stop. 2. Old name of cross flute.
schwellen (shv«l'l«n), G. To swell,
increase. Schweller. The swell.
Schwellwerk. Swell - organ.
Schwellton. Messa di voce.
schwer (shvar), (7. i. Heavy, pon-
derous. 2. Difficult. S.-mut(h)ig.
Melancholy.
Swie^el (shve'-gCl), G. Schwegel.
Schwmdend (shvln'-d^nt). Dying
awav.
Schwmg^ung (shvtng'-oongk), G, Vi-
bration.
tcialumo (shal-00-mo'), /. Chalu-
meau.
8cintillant(e) (sin-te-yah(t) in F. ;
shen-tri-lan -t« in /.). Brilliant.
scioltezza (shol - tM'-zS), /. Ease,
sciolto (shol'-to). I. Light. 2. Free
(of fugue), scioltamen'te. Easily.
scivolando (she'-vo-lSn-do), /. Gliss-
ando.
scolia (sko'-lt-S), Gr, Festive lyrics.
scordato (sk6r-djl'-t6), /. i. Out of
tune. 2. Tuned in an unmusical ac-
cordature.
262
THE MUSICAL GUIDE
scordatura (too'-rS), /., scord'ature,
E, The unusual tuning of an instr.
for special effects, as a violin b-d'-a'-
e" (Paganini).
•core. I. An arrangement of the parts
of a composition with bars drawn (or
'* scored *) across all the parts to
connect the simultaneous measures.
full or orchestral s. One with a
stave to each part, voice or instr.
close, compressed, or short s. (a.)
One with more than one part on a
single stave, (b,) An abridged score
or sketch, piano s. A compression
of score to two staves for the instru-
ments with two additional staves for
the voice, also vocal s. The organ s.
has a 3d stave for the pedal, sup-
plementary s. Staves pasted on
when the parts are too numerous for
the page. 2, As a verb^ to arrange
for mstrs., hence scoring is instru-
mentation ; score-reading or play-
ing, the mental transposition of the
dinerent keys and clefs of a full score
into one key.
scorren'do, scorrevole (ri'-v6-I£), /.
Gliding, flowing.
Scotch scale. Vide pent atonic.
Scotch catch, or snap. A rhythmic
peculiarity in tunes ; as the placing
of an accented 1 6th note before a
dotted eighth note with a snapping
electric effect. It is a characteristic
of Scotch music and also of American
negro tunes.
scozzese (sk6d-za'-s<), /. Scotch,
alia s. In Scotch style.
scriva (skre'-va). Written, si s. As
written.
scroll. The curved head of violins, etc.
sdeeno (sdan'-y5), /. Disdain, wrath.
sdegnan'te. Angry, sdegno'so.
Disdainful.
sdrucciolare (sdroot-ch6-la'-r«), /. To
slide the fingers along the strings or
the keys of an instr., hence the noun
sdrucciolamen'to, and the adjective,
sdrucciolato (i'-to).
se (sa), /. If, as, etc. se bisoj^fna
(be-son'-yi). If necessary, se piace
(pl-i'-chi). If it please (you).
tea-trumpet. Marine trumpet.
sec (s«k), /".. secco (s«k'-kd). /. Dry.
unomamented, cold, sharp. Vide
REciTATivo. k table sec (a tllb*l
sdk). Without accompaniment.
seccarara (sdk-kfi-r&'-rii), /. Neapoli-
tan dance.
sechs (zdkhs). Six. S.-achteltakt.
6-8 time. S.-vierteltakt. 6-4 time.
Sechs'er, sechstaktiger (tak-tTkh-^r),
Satz, C, A passage or period in 6
measures, sechstheilig (tl'-likh).
Six-fold, e. g., in 6 parts.
sechszehn (z^khs'-tsan), G. Sixteen.
S.-tel. i6th note. S.-telpanse
(pow.z€). i6th rest. S.-tussig
(fOs-sYkh). i6-ft. pipe.
second(e) (in F. sa-k6n(d)), seconda
or o (sa-kdn'-di), /., Secunde (za-
koon'-dd), (7. \» As a noun, (a) The
interval (q. v.) between a tone and
the next above or below, (b) Alto
voice or part, (c) secondo. 2d
part or player in a duet, (d) chord
of the second (Secund'akkord).
6-4-2 chord. 2. As an adjecti^fe^
(a) Lower in pitch, as 2d string.
(b) Of lower rank or importance, as
2d violin, seconde dessus. 2d
soprano, seconda don'na, etc. (c)
Higher, as the 2d space of a stave,
(d) Second in order, as seconde fois,
subject, etc. secondan'do. FoUowine.
secondaire, temps (t&A-sfi-kon-d&r^.
F. Weak beat.
sec'ondary. Subordinate (of chords
or themes), related (of keys).
sec'tio can onis, Z. ** The section of
the canon.*' The mathematical di-
vision of a string, upon a monochord.
sec'tion. Portion of a composition,
variously used as (a) Half a phrase,
(b) what is often called a phrase, (c)
a group of periods with a distinct
completeness. Vide form.
secular music. Music that is not
sacred.
Secunde, G. Vide second.
secundum ar'tem, Z. According to
art or rule.
sedecima (sli^& -ch^-mS), 7. and Z.
Sixteenth, i. Interval. 2. StO|>.
DICTIONARY OF TERMS 263
(z5'-l«), G. I. Soul, feeling. 2.
Soond-post. Seelenamt (s&'-l^n-
imt) or -mes'se. Requiem.
Bard or rhapsodist.
serno (san'-y5). /. A sig^n :S:. al a.
(return), ** to the sign.** dal 8. (re-
peat) •* from the sign,** to the Fine.
serae (sa'-gw€). /. i. Follows^ now
follows, as X. la finale, — The finale
now follows. 2. In a similar man-
ner, to that which precedes. 3. Go
on : s. senza rit^ go on without retard-
ing.
sepiendo (s£-gw<hi'-d5), se^en'te, /.
Following next. seg^uensa (sa-
gw^n'-tsiO- A sequence.
tM^oidilU (sa-gwe-del'-ya), 5/. Span-
ish dance in 3-4 time, usually slow
and in minor, with vocal and Castanet
or guitar accompaniment.
ses^ute (s^-gwe'-ta), /. Plural of
segue.
se^ito (s«-gwg'-td), /. Followed,
imitated.
tehnlich (zin'-likh), G, Longing(ly).
Sehnsncht (zan'-zookht), G. Desire,
longring. 8.-SV011. Full of longing.
tehnsttchtig (zan'-zQkh-tIkh). Long-
ingly.
tehr (rir), G. Very much.
sd (si'e), /. Six.
Seitenbewegung (zeit'-£n-b£-v&'.
goongk), G, ** Side -wise,** i. e.,
oblique motion (q. v.). Seitensatz
(zats). A ** side-piece** ; episode, or
second subject.
telzi^me (s£z-y£m), F, Sixteenth.
Sekunde (z^-koon'-d£), G, Second.
8elniadl(e)reii (de'-r£n). To play a
second part.
selah (sa -U), Heb. A term used per-
haps to mark a pause or a place for
the priests to blow the trumpets.
se]n(e)iog'raph7. Notation by signs
or notes.
semeiomelodicon (zi-ml' -5-mS-l5d' -Y-
kon). A device in v. by Fruh, 1820,
for aiding beginners ; it consists of a
series of note-heads which the finger
presses, producing the corresponding
tone.
Hmi (s£m'-I), Z. and /. Half. 8. bls-
croma. 32d note. semibreTe rest.
Whole rest. a. chorua. A chorus
to be sung by half of the voices,
a. cro'ma. A i6th note, aemi-
demiaemiquayer (reat). 64th note
(or rest), a. diapa'aon, diapen'te,
diatea'seron, di tonua (or di tone).
Diminished or minor octave, fifth,
fourth, third. aemidi'taa. The
diminution due to a stroke through
the time-signature. aemidi'tone,
aemi-fnaa, or semiquaver. i6th
note, aemigfrand. Small grand
piano, a. mia'im(a). Quarter note.
aemipauaa (pi'-oo-za). Whole rest,
aemiaerio (sa'-r!-6). Serio-comic.
8. aua'pirium. Quarter rest. a.
trillo. Inverted mordent.
aem'itone, £., aemito'nium, Z., ae-
mituono (s^-mY-too-5'-nd), /. A
half-tone, smallest interval written.
aemito'nium mo'di. The leading
note. a. fic'tum (naturale). A
chromatic (diatonic) half-tone.
aemi-tonique (t5-nek'), F. Chro-
matic.
aemplice (s£m'-plY-ch£), /. Simple.
aempliciti (s^m-ple-chY-ta). Sim-
plicity, aemplicemen'te. Plainly,
without ornament, aemplicia'aimo.
With utmost simplicity.
aempre (s*m'-prd). /. Always, con-
tinually, throughout.
aen'net. Old E, Repeating a note
seven times.
aensibile (s$n-s€'-bY.l£), /. Sensitive,
expressive, nota a. Leading note,
aenaibiliti (be-lY-ta ). Feeling, aen-
aibilmen'te. Expressively.
aenaible (in F, saA-sebl). Leading
note, usually note a.
aen'tence. i. An interlude strain in
the Anglican Church service. 2. Short
anthem. 3. Passage, or phrase.
aentimen'to, /. Feeling, sentiment.
aensa (s^n'-tsa), 7. (Without, some-
times followed by the infinitive with
or without di, as s. {di) ralleniare^
without retarding.
aepara'tion. i. A device for keeping
the great organ-stops from speaking.
2. A passing note in a tierce.
264
THE MUSICAL GUIDE
•ept-chord* Chord of the 7th.
Septdezime (zdpt-da-tse-m^), G. A
17th.
septet (s«p-t£t'), E,, septet'to, /.,
Septett (z£p-t€t'), G. Composition
for seven voices or instruments.
septilbme (s^t-yto), F,, Septime (z^p-
te-m^), G, Interval of a seventh.
Sep'timenakkord. Chord of the
seventh.
septimole (m5'-l^), septio'le, septo'-
fe, sep'tuplety L. and /. A group
of seven equal notes.
septuor (s£p-tU-dr). F. Septet.
sequence (in F, sa-klins), Seqoenz (za-
kvdnts'), C7., sequenza (s^-kw£n'-
tsii), /. I. The repetition at least
three times in succession of a musical
pattern, a melodic ox Aarmonic dtsigrit
It may proceed chromatically or by
whole tones. VideROSALiA. 2. A R.
C. Church poem (Pro'sa) of the 9th
century adopted to the long coda (or se-
quentia) of vocalising on the vowels
of the Hallelujah. In 1568 Pope
Pius V. abolished all but these five :
Victimae paschali laudes; Veni
Sancte Spiritus ; Lauda sion Salva-
torem ; Stabat Mater ; Dies irae.
These are still in use (vide also the
separate titles).
ser'aphine (or -a). An early harmo-
nium.
serenade, £., s^r^nade (sa-ra-n&d),
F., serenata (sa.r«.na'-tii), /.
** Evening music.** i. An open-air
concert under the window of the per*
son addressed. 2. An instrumental
piece of like character. 3. A dramatic
cantata of the i8th cent. 4. A
composition in chamber-style of sev-
eral movements.
sereno (s^-ra'-no), /. Serene.
s^rieusement (sa-rl-iiz'-maii), F. Seri-
ously.
serinette (sttr-I-n«t'), F, A bird-
organ used for training birds to sing
tunes.
serin^hi (s«.r«n'-ge), /fin, Hindu
violin.
serio (-a) (sa'-ri-6), serio'so, /. Seri-
ous, grave.
8er'pent» serpente (s£r-pte'.t<0» ser-
pento'nOy /. i. Long curved wood-
instr. of coarse tone and compass of
2 octaves. It is practically obsolete,
having yielded to the tuba. The
serpentdeide is wooden but much
like the ophicleide. The contrap
serpent, descended to Eb. 3. A
reed-stop.
service. The music for a complete set
of the solo and chorus numbers used
in the Anglican Church ritual for
morning and evening prayer and
communion : Venite exultemus, Te
Deum, Benedicite, Benedictus dom-
inus, Jubilate, Kyrie, Credo, Sanctus,
Agnus Dei, Benedictus fui veoit,
Gloria magnificat, Cantate Domino,
Nunc dimittis, Deus misereatur (vide
the separate titles).
sesqui (s^s'-kwl), L, Latin prefix "a
wnole, and a half ** joined with al'te-
ra, ter'za, qnar'ta, etc., it expresses
a kind of ratio, sesquialtera (s^^
kwl-ai'-td-rfi). I. The ratio of a per-
fect fifth which includes one and a
half to one (3 : 2). 2. A 2 to 5 rank
mixture-stop producing the 3d, 4th,
andsthpartials. sesqmno'na. Les-
ser, whole tone (ratio 9 : 10). s.-oc-
ta'ya. Greater whole tone (8 : 9).
s.-ter'tia. Perfect 4th (3 14). s.-
quar'ta. Major 3d (4 : 5). s.Hqain'-
ta, or s.-tone. Minor 3d (3 : 4)-
sesto (ste'-to), /. Interval of a sixth.
sestet (s^tSt), £,, sestet'to, /. Sex-
tet.
sestina (s^te'-n&). sesto'la, /. A
sextole.
sette (s«t'-t€), /. Seven.
settimo (s^t'-tY-mo), /. Interval of a
seventh, settimo'la. A septimole.
Setzart (z^ts'.&t), G. Style of compo-
sition. Setzkunst (koonst). Art of
composition. Setzstiick. Crook.
seul(e) (sttl), F, ** Alone,'* solo.
seventeenth', i. Two octaves plus a
tierce. 2. A tierce-stop.
ssT'enth. Vide interval, chord.
severamente (s*-var-ft-mdn'-t*). /.
Strictly, severitit (s^-ya-rl-tfi'). Ex-
actness, strictness.
DICTIONARY OF TERMS 265
I. Interval of a 6th. 2. Vide
HORAK. 3. A compound stop with 2
ranks a 6th apart.
:'ta, Z. Sixth ; interval of a 6th.
(z«x'-te). G. I. Sixth, a. A
stc^ with two ranks.
iqnial'tera. Vide sbsqui.
sextet', E,, Seztett', G,, sextoor
(s&L-ta-6r), F. A composition for
six voice-parts, or instrs. Usually a
composition in sonata form for six
instruments.
lext'ole, sex'tolety tex'tvplet, L. A
group of six equal notes. The false
s. is a double triplet.
sex'tuple measure. Compound douUe
measure.
sextos, L, Sixth.
s£ Abbr. of Sforzando.
sfos^to (sfd-gi'.t5), /. '* Exhaled.*
A lightly executed note, soprano s.
A high voice.
sfbrza (sfdr'-ts&), /. Force, sforzan'-
do, sforzato (a'-t6). •• Forced," of
a particular chord or note to be struck
with immediate emphasis. If followed
by a softer tone, it is sfy., or fzp. sfor-
sare la yoce. To overstrain the
voice, sforsatamen'te. Energet-
icallv.
slii|rgito (sfood-je'-td), /. Avoided.
Vftdc CADENCE.
sfnmato (sfoo-m&'-t5), /. Exhausted
(of breath).
sgailisacciare (sgfil-lT-nil-chS'-r^), /.
To sing like a rooster (galinaccio).
shade, i. To place an^hing near
enough to the tip of a pipe to affect
its vibration. 2. To observe grada-
tions of force in executing music.
shake, i. Trill, double s. Simul-
taneous shakes as on sixths or thirds.
passing s. A short trill, prepared
s. A shake preceded by introduc-
tory notes, snaked graces. The
beat, backfall, cadent, elevati<Mi, and
double Relish. Vide grace.
sbalm. Shawm.
sharp. I. A character ij^ raising the
following note a half-tone ; if in the
signature, raising every note on the
liM or ^MiGC it occupies. Thedoobls
s. (x) marks an elevation of two
half-steps. 2. As an adj, (a) Too
high in pitch, (b) Augmented or
major (of intervals), (c) With sharps
in the key-signature, (d) Shrill (of
stops), (e) A black piano-digital;
also any white digital regarded as a
semitone above another, to sharpen,
or sharp. To raise the pitch a sem-
itone.
shawm, i. Ancient Hebrew wind-
instr., supposed to be of the reed
class. 2. An early form of the oboe
with double reeds in a mouthpiece ;
it still persists in the chanter of the
bagpipe. 3. Vide chalumeau.
shem inith, Heb. i. A stringed instr.
2. Species of music. 3. Section.
shepherd's flute. A short flute, blown
through a lip-piece at the end.
shift. I. A change of the left hand's
position on the violin, etc. (vide po-
sition), half-shift being the 2d
' position, whole s. the 3d, the
double s. the 4th. 2. Anv position
except the first, hence '' on the shift"
and shifting.
shiT'aree. Corruption, probably of
charivari ; a grotesque discordant
serenade with an orchestra of tin
pans, cat-calls, etc., to bridal couples
or to other objects of general rid-
icule. Philip Hale quotes from Ga-
briel Peignot's ** Histoire morale,
civile, politique, et litteraire sur Chari-
vari, depuis son orig^ne vers le iv*
si^le,'* the exact make-up of such an
orchestra for a town of 15,000 or 20,-
000 inhabitants ; " 12 copper kettles,
10 saucepans, 4 big boilers, 3 drip-
ing-pans, 12 shovels, and 12 tongs, 12
dish covers for cymbals, 6 frying-
pans and pipkins, 4 warming-pans, 8
basins, 6 watering-pots, 10 hand-
bells and mule bells, 4 strings of
bells, 2 tambourines, i gong, i or 2
empty casks, 3 comets-i-bouquins, 3
big hunting horns, 3 little trumpets,
4 clarinets (badly keyed), 2 oboes,
ditto, 2 whistles (these will be enough),
1 musette, 4 wretched violins to
scrape, a hurdygurdies, i marine-
266
THE MUSICAL GUIDE
trumpet (if you can find one), 4 rat-
tles, 10 screeching voices, 8 howling
▼Dices, 3 sucking pig^, 4 dogs to be
well whipped. This is all that is
necessary. I can assure you that
when kXl this is vigorously set a-going
at the same time, the ear will experi-
ence alt desirable joy."
aho'far. A Heb. trumpet.
irtiPft. Vide METER, MORDENT, APPOG-
GIATURA, SCORE, SHAKE, OCTAVE.
shutter. One of the blinds of a swell-
box. Vide ORGAN.
81 (se), /*. and /. i. The note or key
of B. 2. Vide solmisation. 3.
One (cf. French on), almost equal to
" you," as si leva. One lifts, you
lift, si place. One pleases, if you
please, etc.
sio'ilus, L. A little flute.
'Siciliana (se-che-ll-a'-nS), or -o, /.,
'Sicilienne (se-sel-ydn), F. A Sicil-
^ ian peasant dance of slow pastoral
nature in 6-8 or 12-8 time, alia s.
In Siciliana style.
side-drum. Vide drum.
side-beards. Vide beard.
Sieb (zcp), G. Sound-board.
sieben (ze'-b^n), G. Seven. S.-
pfeife. Pan's pipes. S.-klans^.
Heptachord. Siebente (ze'.b«n'-t«).
Seventh. Siebenzehnte (ze'-tx(n-
tsan-t6), G. Seventeenth.
Sie^esgesang^ (zekh'-^s-gdzang). or
Siegeslied (let), G. Triumphal song.
Sieges marsch. A triumphal march.
si(e)flf5te (zef'-fla-t*), G. A i or 2 ft.
stop of the Hohlflute species.
siffl;r (srf-fla), F. To whistle. sifHet
(sif.fla). I. A whistle, s. de pan.
(pan). Pan*s pipes, s. diapason.
I. Pitchpipc. 2. A cat-call.
Signal horn (zekh-nal'-horn), G. A
bugle. Signaltst (lest). Trumpeter.
sign, musical. One of the numerous
devices for expressin,^ mu:.lv: \iiually.
Vide chart, signs and symbols.
signatur (zekh'-na-toor), pi. -en, G.,
sig'nature, £. i. The tabulation at
the beginning of a composition sec-
tion or stave, showing (a) the key of
the pi^e (key-signature) ^ v^ith such
tones as are to be sharpened or flat-
tened unless otherwise marked, (b)
The governing time or rhythm {time-
signature). 2. In (jermany a figured
bass sign.
signe (sen'.yti), F. Sign, as s. acci-
dental. An accidental. s.de silence
(dfl se-lans). i. A rest. 2. Vide segno.
sig'net. Sennet.
signum, L. Sign.
siguidilla (se-gwe-del'-ya), Sp, Segui-
dilla.
Silbendehnung (zel'-b^n-da-noongk),
G, Singing a syllable to more £an
one note.
silence (se-l&As). F., silenzio (se-l£n'-
tsT-6), /. A rest.
sillet (sc-ya), F, Nut. petit 8. The
nut at the neck of violins, etc. grand
s. That at the tailpiece.
silver trumpet. Chatsoteroth. Many
instrs. and strings are made of silver.
sim'icon, Gr. 35-stringed harp.
sim ilar. Vide motion.
simile (sem'-l-l$), / , similiter, Z. Sim-
ilarly. An indication that a certain
manner of pedalling or playing is to
be continued till otherwise indicated.
simp' la, low, L, Quarter note.
simple, E. (in F. sSA-pl). i. Not com-
pound (of inter\'als). Vide counter-
point, imitation, rhythm, etc. 2.
Plain, easy. 3. Without valves, sim-
plement (s^n-plit-man). Simply.
sin (sTn), /. As far as. Vide sino. sin
al. As far as the.
siacopa (sln'-kd-pa), or -e, /. Sincopa-
tion.
sinfonia(stn-f6-ne'-a), /., Sinfonie (in
G. zen-fo-nc' ; in F, siln-fo-ne). r.
Symphony. 2. In early operas, over-
ture, s. pittor'ica. Descriptive
symphony, s. concertan'te, con-
certa'ta, concertate (ta -t«). Con-
certo for many instrs., a concerto
symphony, s. dacam'era. Chamber
quartet.
sin^en (zlng'-^n), G. To sing, to chant.
Singakademie (a-ka-d^-me). -an-
stalt or -verein. Vocal society.
Singart (ztng'-irt). Vocal art. S.
chor. Choir.
THE MUSICAL GUIDE
SIGNS AND SYMBOLS
(See also Graces and Notation,)
NUMERALS AND ACCENTS.
ii 2f 3> etc. See CHORD, metronome,
FINGERING, TEMPO and REST. ,
8, 8va. See ottava.
2', 4', 8', i6'. See foot.
®» ®» **^* ^^ HARMONIUM.
1» i» % **^* ^^ TEMPO.
or
a , A', b", B ', etc.
SceTRIPLET.QUARTOLE,
etc.
or
a». b«, a», Ci, C„ etc. f See pitch.
a, a, etc
4-tette, 5-tcttc, etc. Quartette, Quin-
tette, etc.
i-tna, 2-da, etc. Prima (Seconda, etc.)
volta.
Man. I. The Great Organ.
Man. 2. The Choir Organ.
l/n.' H,^, VIP, etc. [ ^^ CHORD.
O. I. Open string. 2. See harmonic.
3. Tasto solo. 4. The heel, in organ-
playing. See below.
dots, commas, curves, lines, etc.
See DOT and notation.
r I
Staccato.
'^ Slightly staccato.
■^^-^ Slightly staccato and marcato.
Very staccato. Martellato.
Forte tenuto.
or
Placed under notes sung to one
syllable; in Tonic Sol-fa, placed
under the letters.
^ Fermate.
r or // Abbreviation indicating a repe-
tition of the figure preceding,
or of the previous measure(s) or part
of a measure.
'S* ^ Presa,
SS ;* ^ i Segno.
my=^ Repeat.
J« or -H Thumb (pfte. -music).
5^5 Sharp, Flat, Natural,
X Double-sharp.
• or // // or y V Breathing-place.
— Tenuto. Pesante.
_<:^^_ Mezzo legato.
-- — ^ Bind. Slur. Tie.
^^^ Sign of a measure where ho bar
~^~ is required.
>- A V •*: I. Forte-piano (y5&). 2. Rin-
forzando. 3. Sforzato {sf). .
^ V or o ^ oT ^ V Heel and tot ; in
organ-playing placed above the notes
for the right foot ; below, for the left.
A >^ A Slide the toe to tne next note,
V — A Change toes on the same note.
V V I. Up-bow. 2. Breathing place.
A Down-bow in 'cello music.
U n Down-bow on the violin.
I I I ^1 I. In organ music, alter.
nately heekand toe f the jsamc foot>
2. Bind.
DICTIONARY OF TERMS
: Notes thus connected are to be
played with the same finger or hand ;
or to be sung diinsi,
I I Pesante.
•j Brace.
--^ or * Notes so connected are to
be played with the same hand, or con-
tinue a melody or a resolution from
one staff to another.
■'^■^■"•^'^ Sign of the continuation of a
TRiLL(q.v.)orof all'ottava (q.v.).
J Arpeggio. A chord preceded by this
\ mark is to be played broken.
9*6
M/ »*v or y Direct.
»*v Inverted Mordent.
^yly Mordent.
etc. Trill.
Turn.
^ -0^ + Release damper-pedal.
I 1 or I I A recent improved sign
marking exactly the points where the
pedal is to be pressed and released.
^ Thumb-position on the *cello.
Crescendo.
Diminuendo.
NOTES. RESTS, AND SIGNATURES.
Breve.
Note, or or
Whole.
Note. Rest.
a im
Rest.
Half- Quarter-
Note. Rest. Note. Rest, or or
Sl^i
^ a i
Eighth.
Note. Rest.
Below the
4th line.
Sixteenth Thirty-second.
Note. Rest. Note. Rest. Two.
Above or upon
the 3rd line.
Tnms to
the ri^ht.
1
Rests of more than one measure.
Three. Four. Four. Six.
4 6
Turns to
the left.
Like tail of
the note.
Like tail of
the note.
Key Signatures,— Capital letters indicate Major keys; small letters, the relative
Minor keys which use the same sig:natures. White notes indicate the tonics of Major
keys ; black notes, the tonics of Minor keys.
esO-^-rrP^^lii^
G
D
b
A B
f sharp c sharp
B F sharp C sharp
g sharp d sharp a sharp
i^»n?t^=^.itj^rg^g
F
d
Bflat
Dflat
b flat
F B flat . B flat A flat D flat G flat C flat
Gflat
e flat
Cflat
a flat
H-
--# — ^
\^^^r:7'^^^=^^^'^^:^^'=^
DICTIONARY OF TERMS 267
sin^bar (ztng^'-bar). Singable, sine-
end (zlDg'-^nt). Cantabile. Simr (e)-
tanz (tants). Dance-song. Sing-
fo^re. Vocal fugue. Singmirchen
(mar'-kh^n). A ballad. Singma-
ni(e)ren (ma-ne'-rfn). Vocal embel-
lishment. Singschauspiel (show-
shpel). Drama with songs. Sing^*
scnnle (shoo-1^). Vocal school or
method. Singspiel (shpel). i. The
original form of German opera in
the 1 8th cent. Simple tunes were
given to peasants, etc., florid songs
to the aristocracy. (Vide j. a. hiller
in the B. D.) Sin^timme. Voice,
vocal part. Singstiick, Singweise.
Air, melody.
singhiozzando (sYn-gY-6d-z&n'-dd), /.
^ Sobbing.
sia'gle-action. Vide harp.
stngie-chant. A simple melody to
one verse of a psalm.
siniestra (se-Dl-as'-tra), Sp., sinistra
(sin'-fe-tra), L. (in /. se-ncs'-trS). Left
(hand). colla sinistra (mano).
With the left hand, sinis'trae, L,
Vide TIBIA.
sink'apace. A five-step dance. Cin-
quepacc.
iino (s€'n5), /. To, as far as ; usually
sin'al.
tt'ren, E. . Sirene (z€-rft'-n«), C, . sir^ne
(se-rin'), F. i. A mythological be-
ing whose vocal powers captivated
the human beings on whom she
preyed ; hence, a prima donna. 2.
An instr. for counting vibrations.
Sir Roger de Coverley. An imaginary
gentleman of the old school described
by Addison ; hence an English coun-
ts-dance in 9-4 time.
sirrentes (ser-vant), F, Troubadour
songs of homage.
•istcma (scs-ta -ma). /. StaflF.
Sister (zes-t€r), G. Old 7-stringed
guitar.
sis'tmm, L. An ancient inst., con-
sisting of an iron frame with a num-
ber of movable rings ; when shaken
or struck it sounded.
•it'ar. Hindu guitar.
•ito'le. Citolc.
Sitz (zits), G, Position, place.
six (in F, scs). Six. Vide meter;
6-8 time, that in which there are six-
eighth notes, the accent resting on
the first and fourth, six ponr quatre
(poor katr). Sextuplet.
sizte (sekst), sixi^me (sez-y£m), F.
A sixth.
sixteenth note. A semiquaver ; one-
fourth of a quarter note, sixteenth
rest. A pause of equal duration.
sixth. I. An interval (q. v.). 2. A
chord, chord of the s. or s. chord.
The first inversion of a chord (a. v.),
chord of the added s. (de la s.
ajont^e). Subdominant triad, with
sixth added as f-a-c-d. Vide altered.
little sharp s. The 2d inversion
of the seventh on the second degree,
extreme s. Vide extreme and
ALTERED, six-four, six-fivc, etc.
Vide CHORD.
sixtine (sex-ten'), F. Sextuplet.
sixty-fourth (note). A hemidemi-
semiquaver. s. rest. A pause of
equal duration.
Skalde (skal'-d«), G. Vide scald.
skim'minrton. A shivaree described
in Hardy s novel ** The Mayor of Cas-
terbridge."
skip. A progression exceeding a whole
step.
Skizze (skYts'.z£), G. Sketch, a short
piece.
slancio (slin'-ch5), /. Vehemence.
slar^ando (sl^r-^£n'-dd), slargan-
dosi, /. Enlarging, gradually slow-
er.
slentan'to, /. Becomiojr slower.
slide. I. A movable tiiJKJit^ the shape
of a U, used in the ^K&^tnimpet,
slide-horn, and thetroikbone(q. v.).
2. A grace of two or more notes
moving diatonically. 3. A porta-
mento. 4. A sliding lath strip which
cuts off a rank of pipes from the wind,
also slider. 5. tuning-s. A sliding
pitch -pipe sounding thirteen semi-
tones. sltdMMt-relish. 6. An old
grace, a sHcle ^
slo'g^an. HIjgMand war-cry or rallying
word.
268
THE MUSICAL GUIDE
slur. I. A curved line above or be-
neath two or more notes, which are,
(a) to be played legato, (b) to be
sung to one syllable, hence slurred
as opposed to syllabic melody.
small octave. Vide pitch.
smaniante (sma-nl-an'-t{), smaniato
(a'-td), smanio'so, /. Frantic.
stninuendo (sme-noo-£n'-dd). Dimin-
ishing, siminuito (sme-noo-e'-t5).
Softer.
stnoran'do, /. Dying away.
smorfioso (smor-fY-d'-zo), /. Affected.
smorz. Abbr. of smorzando (sm6r.
tsan'-do), /. Dying away. Extin-
guished.
snap. Vide scotch.
snare-druin. Side-drum. Vide drum.
8nu£r-box. I. A musical box com-
bined with a snuff-box. 2. A famous
waltz written for it.
soave (s5-£'-v£), soaTetnen'te, /.
Suave(ly), sweet(ly).
sobb. Damping (on the lute).
sock'et. The round joint which holds
the mouthpiece of a clarinet.
soggetto (s6d-jet'-t6). /. Subject,
theme, motive, s. invariato (S'-to).
The invariable subject, s. variato
(va-r!-a'-t6), /. Variable subject of
a counterpoint.
sofi^nando (son-ySn'-do), /. Dreamy.
son. Tonic Sol-fa, for Sol.
sol (sol). I. Vide solmisation. 2.
The note G in France and Italy.
sola (s5'-ia), /. Alone, solo.
solem'nis, L. Solemn.
solenne (so-l^n'-n^), solennetnen'te,
/. Solemn(ly). solennitJi (l-tii').
Solemnity.
solfil (sol-fa ), /. I. Gamut ; scale. 2.
A b&ton. 3. Time, a baiter e la s.,
to beat time.
solDa, E, I. Solmisation (q. v.). 2.
Solfeggio. 3. To sing in solmisa-
tion or solfeggio. 4. Vide tonic
SOL-FA.
solf^^e (siil-f^zh), F., solfeggio (s61-
fSd -jo), /. Exercise for the voice in
solmisation or on one syllable, sol-
femare (s61-fed-jS'-r5), /., solfeg-
gi(c)reii (z61-fed-je'-r«n), C, sol-
fier (siSl-f!-a), F, To sing a solfeg-
gio.
poll (so-ie), /. I. Plural of solo. 9. A
passage played by one performer to
each part.
sol'id. Of a chord not broken (q. t.).
so'list. Soloist, solo-player.
solito (sd-le'-t5), /. Usual, al 8. As
usual.
soUedto (s61-U'.che'.ta). /. Careful,
exact.
solmisation. " The singine of the syl-
lables ^tf, re^ sol, mi, etc. A vener-
able method of teaching and singing
scales and intervals ascribed to Guido
D'Arezzo (or Aretinus). It is a con-
venient crutch for those who are not
going far ; but must soon be dis-
carded.
Greek music (Vide modes) divided the
complete SQale into gfroups of four
consecutive degrees or tetraehords,
Guido or a disciple divided it into
? roups of six degrees, or kexachords.
t happened that the initial syllables
of the six phrases of a certain fa-
miliar hymn to St. John formed the
ascending scale of one of these hexa-
chords (the one called naluraie). The
device was hit upon (as an aid for
weak memories) of using these sylla-
bles as names of the notes ; hence
the notes of this hexachord began to
be called ut, re, mi, fa, sol, la. (The
hymn ran as follows : *^ Ut queant
laxis, ^^sonare fibris ^f ra gestorum
/amuli tuorum SoNt polluti Z«bii
reatum, Sancte Johannes.*') It was
later found convenient to use these
syllables for other hexachords, the «/
being movable. A crude form of
modulation was developed called mu-
tation. When the modem scale
came into play early in the 17th cent.
it brought into use the heptachord
or scale of seven d^;rees. A new
syllable si was therefore devised
and the so-called Aretinian syllables^
used for singing in all the kejrs ; «/,
being alwa3rs the tonic, sol^ the dom-
inant, etc. The syllables have per-
sisted for primary use and for vocal
DICTIONARY OF TERMS 269
exercises ever since. In manv coun-
tries they have been since used as the
definite names of the notes of the
sctk of C, except that the syllable
do (being more easily sung) has dis-
placed ut except in France, since its
first use (perhaps by Bononcini), in
1673. This is the only change that
has been accepted among the many
that have been advocated, such as
the bocedisation^ or bodisation (bo, ce,
di, ga, lo, ma, ni) of Waelraut, 1550
(Pedro d*Urenna in 1620 proposing
^i for si), and the bebisaiiony or hbe^
€idaH<m (la, be, ce, de, me, fe, ge) —
satirically called labisation — of Hitz-
ler in 1628. The damenisaiion (da,
me» ni, po, tu, la, be) of Graun, 1750,
was not for solmisation but for use in
tdace of words in vocalising.
•010 (sd'-15). /. I. As adjective,
"alone." 2. A passage or compo-
rition for a single voice or instr.
▼iolino solo may mean either **vio-
Un only " ; or the solo (i. e., leading)
▼In. solo-organ. A manual of the
organ (q. v.). solo pitch. A scor-
dature (q. v.) used by a soloist, solo
quartet. A group of four soloists ;
a composition for such a group ; a
solo with 3-part accompaniment solo*
stop. Vide STOP. The word is used
in compounds of various languages,
as Solo-sftnger, G» Solo-singer, etc.
solomanie (s5-ld-mft-ne'). A Turkish
flute, without reed.
sombrer (s6A-bra), F. To give a som-
bre, veiled tone.
somma (sdm'-mfi), /. Greatest, high-
est, extreme.
Sonuner'ophone. A bombardon-like
tnstr. inv. by Sommer of Weimar, 1843
(also caXXtdeupkcmoHy euphonic horn).
son(sdQ), F,, son (son), Sp, Sound,
s. harmonique (s6-nilr-m5-nek).
Harmonic.
•onaWo (s5-na'-bUQ, sonante (nftn'-
t€), /. Sounding, sonorous.
■onare (s&-n&'-re), /. To sound ; to
ring; to play. s. allamente. To
improvise.
smaU (s5-n£'-t&), /. , Sonata (hi F, sd-
nftt, in G. zd-n&'-t2). Mn^^jg " gnnnrf-
ed py^ plaved " as opposed lo.music
png (rf^ff^^/fl^- Originally anv in-
strumental piece, as s. da chiesa.
For church, s. da camera. For
the salon . Later the term was applied
to a group of three to five dance-tunes
of varied rh)rthms. The treatment
came to be less and less lyrical and
more and more thematic (q. v.). Such
were Bach*s organ and violin sonatas.
The very human Haydn added a
lyric interest as contrast in the form
both of counter-themes to the princi-
pal theme and of separate movements
of melodious character. Mozart made
no formal change but added more
human interest and warmth. The
sonata now consisted of 3 or 4 move-
ments ; first an ^jfgrr^ wnfffh"^^
what is confusedly called the sonata-
form (the editor suggests ''^'sonata-
formula ** (q. v.) as a substitute term
for describing the structure of this one
movement, retaininfr the word " sona.
ta-form'"' for the entire group of
movements ) ; second, a slow move-
ment ; third a minuet ; tourtn. a rondo.
QC^goalfi^OEOam^IlQijguS^sTTie
first movement. Beethoven substi-
tuted lor tKe minuet a light and witty
scherzo (q. v.) : other composers_hayfi
made other substitutions. This gen-
eral groutL of varied^movements and
moods is applied Iq piany forms, not-
and chamber-miisTc generally, which
are hence said to be *Mn sonata-
form." The sonata-formala, son-
ata-piece, or Sonatasatz (zats),
the structure of the first movement,
marks the highest period of classic
formalism. It is described under
Form (q. v.). The word is qualified
in many ways as grand^ a highly
elaborate form, double^ for two solo
instrs. A short easy composition with
few movements and little develop-
ment is called sonatina (son-fi-te'-
nii). sonatina, /., Sonatine (zo-
na-t5'-n«), G.
270
THE MUSICAL GUIDE
JbMkb
MMAtdrtf . (feo'-r6), feminine toiuu
JUtce (trc»CW), /. A man (or wom-
an) instrumentalist.
sonevole (s5-n2'.vo-l€), /. lUsound-
in^.
JHMettp (so-n€t'-t5), /. A composition
based on a poetic sonnet.
■ein; I. A melody for voice. 2.
Lyric piece for any instr.
soQg^-fomu A structure of 3 chief
sections, (a) a Brst theme, (b) a con-
trasting second theme, (c) a return
of the Brst theme. In poems of
manv stanzas, the same air is com-
monly used for all the stanzas regard-
less of changed language and em*
phasis. This strophic treatment is
discarded by more conscientious com-
posers for a treatment in which each
stanza is individually set to music
with intelligent deference to its mean-
ing. This is the through-composed ox
durchkomponi(e)rt (doorkh-k6m-po-
nert') style.
song witnoat words. A lyric instru-
mental piece.
sonnante (sdn-n&At), F, A scale of
hanging steel bars struck with a ham-
mer.
sonner (si&n-na), F, To sound, s. le
tambour (IQ tUn-boor). To sound
the drum, used of a jarring G string
in the *cello.
sonnerie (sQn-re), F, i. Chime.
2. Military call.
sono (sd'-no), /. Sound, tone.
soQomitre (sd-n6-m£tr), F., sono*
meter, i. A monochord inv. by
Loulis to aid piano-tuners. 2. A
sounding-board with two strings for
acoustic experiments.
sonore (sd-ndr), F., sonoro (s5-nd'-
r5), /., sonoramen'te. Sonorous-
ly), sonoridad (sd-n5-r1-d&dh'),
Sp., sonority (sd-no-rt-ta), /..son-
ority (s6-n6-rT-ta), F. Sonority.
sonor'ophone. A form of bombar-
don.
sonorous (sd-n5'-rous). Capable of
musical sound ; sounding.
so'nus, L. Sound, tone.
so'pra, /. Over, above, upon, before.
come s. As above, di s. Above,
s. u'na cor'da. On one string.
par'te di s. Higher part. s. do-
minante. The dominant, s. quin-
ta. Upper dominant, s. to'nica.
Supertonic.
soprano (so-pra'-no). /. (pi. -i),
Sopran (z5-prlln'), G. i. The high-
est kind of human voice, differing
from the alto in lying chiefly in the
** head-register" ; this voice is typi-
cally a woman's voice, but is also
found in boys. It occurs naturally in
some men (called falsetti^ alti nat-
urally or tenorint)^ but was obtained
artificially in others (called evirati,
castratt)^ particularly in the last cen-
tury when the eunuch ** artificial**
sopranos achieved marvellous power
and agility. The soprano voice has
an average range from c'-a" (Vide
pitch), the tones from f up being
head-tones. The voice occasionally
reaches lower, and often higher than
this normal range, c'", being not un-
usual. A voice that reaches f" or z"
is phenomenal (Agujari sang c '"
three octaves above mid-C). (Vide
also meszo-soprano.) Soprano
voices are divided into the more
powerful or dramatic (dramma/'tco),
and the flexible, and light or fyru
Uggiero (IW-ja'-ro) or Ugier (la-zha).
2. The part sung by the highest voice
or the highest instrument. 3. The
instr. which is the highest of its class
(sometimes an extra high instr. is
called sopranino). 4. The possessor
of a soprano voice, soprana chorda
(kdr-da). The E string of a violin.
sopran' ist. A male soprano, so-
prano clef. The C clef on the first
line of the staff ; sometimes used of
the G clef.
sordo (s5r'-d6). /. Muffled, veiled
tone, sordamen'te. Soft(ly).
sordellina (le'-nii), /. A small 4.piped
bagpipe.
sor'dine, E,, Sordino (s6r-de'-nd, pL
-i, German pi. -en), /. i. A small
tone-softening device, damper or mute
to set against piano-strings, in the
-Mitt
DICTIONARY OF TERMS 271
month of a trumpet, or, on the
bridge of a violin. 2. A kit. con
8. In piano- playing ** use the soft
pedal** ; in playing violin, horn, etc.,
** use the mute.** senza (s^n'-tsii), 8.
or 8. levato (Id-va -to). ** Remove
the mute or damper.**
Bordo'no, /., aordone (sor-dfln), F.,
Sordun (zor-doon'), (7. i. Obs bom-
bard of 5 sizes, and 12 ventages. 2.
An old stop. 3. In G. a trumpet-
mute.
sorgfiUtig (zdrkh'.f«l-tYkh), C. Care-
ful(ly).
soitita (s6r-tg'-til), /. i. Entrance aria.
2. Voluntary for close of service.
sospensione (sT-o -n£), /. Suspension.
sospensiTamen'te. Doubtfully.
sospiran'do, sospirante (rdn'-td), sos-
pirevole (ra'-vo-l£), sospiro'so, /.
I. Sighing, doleful. 2. A sobbing
catch in the breath.
sosteaen'do, sostenen'te, /. Sus-
taining the tone.
sostenirto (sos-t£-noo'-td), /. i. Sus-
tained, prolonged, retarded. 2. Grad-
ually retarded. 3. Andante.
Bostinea'te, /. Used of instrs. with
special device for sustaining tones.
•otto (s6t'-t6), /. Under, below, s.
▼oce (vd'-ch^. In an undertone, s.
dominan'te. Sub-dominant,
soubass (soo-b&s), /*. Sub-bass,
souf farah. Oriental reedless wind-
instrs. in general,
tourn. Burmese harp,
soufflerie (soof-fl€-rc), F The bellows
action, soufflet (soof-fli). Bellows,
souffler (soof-fl§). To blow, souf-
fleur (flfir), fern, souffleuse (flfiz).
I. Organ-blower. 2. Prompter,
soimd. Vide acoustics.
tonnd-board, sounding-board, i. A
thm resonant board which by sym-
pathetic vibrations enlarges, enriches
and prolongs the tone of the strings
stretched across it (as in pianos, the
belly of violins, etc.). 2. The cover
of the wind-chest, sonnd-body or
box, a resonance box ; s. bow, the
rim of a bell ; 8. hole, a hole in the
resonance box to give communication
from the resonance chamber to the
air. 8. po8t. Vide violin. 8, reg-
ister. A sound-recorder inv. in
Paris, 1858. 8. waves. The alter-
nate condensation and rarefaction of
air in vibration (q. v.).
soupape (soo-pAp), F. Valve.
sonpir (soo-per), F. A quarter rest,
demi-s. 8th rest, quart de s. i6th
rest hoiti^me (or demi quart) de
8. 32d rest, seiziime. 64th rest.
sourdeline (soor-d£-len), F» Sordel-
lina.
sourdement (soord-mftfi), F, In a sub-
dued manner.
sourdine (soor-den), F. i. Sordino.
2. A soft harmonium-stop. 3. Ce-
leste pedal. 4. An old spinet.
sous (soo), F. Under, below, s.-
chantre (shShtr). Subcantor. s.-
dominante. Sub-dominant, s.-m^-
diante. Sub-mediante. s.-tonique.
Leading note.
soutenir (soo-t£-ner), F, To sustain.
souvenir (soo-vd-ner), /". Reminis-
cence.
Sp. Abbr. of Spitz.
space. The interval between 2 lines
of the staff, or between 2 ledger lines.
spagnuola (spiln-yoo-d'-lii), /. The
guitar.
spalla (spai'-ia), /. Vide viol.
spanisch (sp&n-Tsh), G., spagnoiesco
(span-y6-16s'-k6), /. Spanish, span-
ischer Reiter (ri'-ter), C7. Tones
made by running, spanisches
Kreuz (kroits), G. Double sharp.
spar'ta, spartita (spar-te'-ta), or -o. /.,
Sparte (spar'-t«), G. Partitura.
spartire (tc -ri), /. To score ; partic-
ularly to rescore an old work.
8passapen8iero(p€n-sY-a'-r6), /. Jew*s
harp.
spasshaft (spfiss'-h&ft), G. Sportive(ly).
S.-tigkeit (tlkh-klt). Sportiveness,
playfulness.
spa'tium, Z., spazio (spa'-tsl-d), /.
A space.
species. Kind. Vide countbr-
POINT.
Spemrentil, G. Vide ventil 2.
spezzato (sp£d-za'-t5). /. Divided.
272
THE MUSICAL GUIDE
•pianato (spT-A-n&'-t5). i. Legato.
2. Calm.
•piccato (spYk-ki'-to), /. Separated,
pointed. Vide bow.
Spiel (shp€l). G, Playing ; style of
playing. S.-art. i. Style of per-
formance, a. Touch. s.-Dar. Play-
able. 8.-leute (loi-td). i. The
drummer and Bfers of a band. a.
Strolling players. S.-fnanieren
(mft-ne'-rSn). Ornaments, mces.
S.-oper. Light opera. S.^enor,
etc. Light opera tenor, etc.
Spillfl5te, G. SpitzHOte.
spina (spe'-ni), L. ** Thorn,*' jack ;
quill of a spinet (q. v.).
Spm'delfldte, G, Spitzflote.
spinet (spln'-«t or spY-n^t'), £., Spinett
(spt-n€t'), C7., spinet'ta, /. Obso-
lete and small square form of harpsi-
chord, originallv called the couched
harp, later called spinet, from its
quills, or spinae.
spirito (spc'-rt-to), /. Spirit, energy,
spirituo'so, spirito' so, spiritosa-
men'te. Spirited(ly).
spiritnale (spe-rl-too-a'-l^), /., spirit-
uel (sptr-l-too-il'), F. Spiritual.
spis'si g^aWs'simi, Z. Hypatoides—
the deep sounds of the Greek system.
•pis'sus, L. ** Thick;" full (of in-
tervals).
Spitz (shpYts), G. Point (of bow) ; toe
(of foot). S.-a5te (fla.t€). A soft
stop with pointed pipes. S.-qoint.
Its quint. S.-harfe (h&r'-f^. Pointed
harp. A small harp with strings on
each side of its sounding-board.
spondau'Unm. Greek hymn with flute.
spread. Open.
springing bow. Vide bow.
spressione (Y-o'-n£), /. Expression.
Sprung (sproongk), G, A skip. s.
weise (vT-zS). By skip.
square. Vide organ, square B. Vide
B. square piano. Vide piano.
squil'la, /. A little bell, squillan'te.
Tinkling.
srou'tis. The 22 degrees of the Hindu
scale.
sta (sta), /. "Let it stand ; " i. e., to
be played just as it stands.
SUb'at Mater Dolorosa, L, * The
grieving Mother stood,** a hymn on
Uie Crucifixion, written by Jacoponus,
14th cent. Vide sequence.
stabile (stft'-bM«), /. Firm.
stac Abbr. of Staccato.
sUccare (st2k-kr.r«), /. To play
staccato.
staccato (st&k-k&'.td), /. ** Detached.**
used of short, non-legato notes or a
touch which leaves the key or string
immediately. This crispness is marked
over the notes by round dots called
staccato marks; it may be modi-
fied by a slur over the dots, or em-
phasised by small wedge-like dots,
staccatis'simo. As staccato as pos-
sible.
Stadt (shtit), G. Town, city; used
of a salaried municipal musician, as
S.-musikus, -pfeifer, etc.
staff, stave. The five horizontal par-
allel lines on, between, above and be-
low which the notes are placed, the
pitch of the note being determined by
the key-signature and the clef, from
which the s. takes its name. The
usual arrangement is a bass s. (with
F cleO under a treble s. (with G
clef) ; they form a continuous nota-
tion except for the middle C, which is
sometimes given a line, making the
X X-line or great s. s. notation is
opp. to alphabetical notation. The
Gregorian s. had 4 lines.
Stahlharmo'nika (shtil), G, Steel
bars played (a) with a bow, inv. by
Nobe, 1796, (b) with a hammer ; more
commonly StaJilspiel (shtAl-shpel).
Stamentienpfeife (shta-m^n'-tl-te-
pf!'-f€), G, Vide schwegel.
Stamm (sht&m), G, Stem, trunk. S.-
akkord. A chord in root position,
unaltered and uninverted. S.-ton.
Natural tone. S.*tonleiter. Key of
C major.
stampita (st2m-pS'-tft), /. A sonsr,
StiLndchen (sht«nt'.kh€n), G, Sere,
nade.
Standhaftigkeit (shtint'-hif-tfth-ldt),
G. Firmness.
•tanghetU (stan-g«t'.t&), /. A bar.
DICTIONARY OF TERMS 273
sU'ple. The tabe which holds the
oboe's reed,
ttark (shtark), G, Strong, loud, stiir-
ktf (8ht«r'.k«r). Louder.
stave. Staff.
steam-organ. Calliope.
stec'ca, 7. A choked and strained
tone-production.
Stecher (st«kh'-«r), G, Sticker. Vide
ORGAN.
Steg (stakh), G. Bridge,
SteOmig (shtsr-loongk), G. Position.
stem. The thin stroke attached to the
head of a note.
fltentan'do, /. Reurding. stentato
(ti'-to). Slow and forced.
ttep. A progression to the adjoining
note or tone, hence whole-step, and
half-step or chromatic-step; a
diatonic-step is a progression to
the next note of the key.
sterbend (sht^'^btot), G. Dying
away. Sterbelied (sht^r'-b^-let).
Death-song.
steso (sta'-s5), /. Extended, prolonged,
slow.
stes'so, /. The same. s. tempo.
Same time.
sth^nodre (sti^n5-ser), F, A Bnger-
strengthener.
stibbacchiato (stYb-bik-kY-i'-td), /.
Retarded.
sticca'do, sticcato (stlk-kii'^d), /.
Xylophone.
stick' er. Vide organ.
Sdeld (shte'.f«l), G. Boot (of a pipe).
Stiel (shtel), G. i. Stem. 2. Neck.
Stilt (shtYft). G, Jack (of violin).
StU (shtel). G., stile (ste'-lS), stilo
(stc'-l5), /.. sti'lns, Z. Style, s.
rigoro'so, or osseryato (vd'-to).
Strict style, s. rappresentativo
(tc'-vo). Vide opkra.
still (shtYl), G. Calm, quietly. S.-
ffediakt. A stopped diapason.
Stunme (shtYm'-m£), pi -en, G, i. The
voice. 2. Part mit der S. CoUa
parte. 3. Organ-stop. 4. Sound-
post Stinrmenssatz. Vocal
attack. Stimm'binder (bdnt.£r).
Vocal cords. S.-bildune. Voice-
bnikling. S.-bnich (brookh). Change
of voice. Vide mutation. S.-bach.
Part-book. Stimmer. Tuner ; drone,
stimmen. To tune, or voice.
Stimmfldte, or -pfeife. Pitch-pipe.
S.«llihrer. Chorus-leader. S.-nut-
teL Vocal capacity. S.-ritze (rYt-
li). Glottis. S.-110IZ (holts), or
-hdlzcben (h£lts'-kh£n), or -stock.
Sound-post ; wrestplank. S.-werk-
zenge (v^rk'-tsoi-kh€). Vocal or-
fans. S.-fUhning (fd-roongk).
art-progression. S*-gabel (gS-b^l).
Tuning-fork. S.-hammer (ham-m£r).
Tuning-hammer. S.-horn. Tuning-
cone. S.-keil. Tuning-wedge. S.«
krucke. Tuning-wire. S.-zange.
Tuning-tongs. S.-mnfiAng, S.-weite
(vi-td). Compass.
Stimmung (shtYm'-moongk), G, i.
Tune. 2. Accordature. 3. Pitch.
4. Mood. S. halten. To keep the
key. S.-bild. Tone-picture.
stinguendo (stYn-gw£n'-dd). /. Dying
away.
stin^cchiato (ste-rak-kY-i'-td), stirato
(ste-rfi'-to), /. Retarded.
stiVa, Z. Neuma.
Stock (sht5k), (7. Bundle of 30 strings.
S.-fagott. Rackett. S.-fl5te. x.
Bamboo flute. 2. A flute in a walk-
ing-stick. Stockcben (sht«k'-kh«n).
Heel (of violin, etc.).
Stollen (shtdlM«n). (7., pL Vide
strophe.
stolz (shtolts), G. Proud.
stonante (nlin'-t£), /. Dissonant.
stone-harmon'ica. Lapideon.
stop. I. Loosely used for (a) draw-
knob and stop-knob and draw-stop,
which only carry the label and, by
admitting wind, bring into play the
stop proper, (b) A mechanical stop,
which does not sound or speak, but
acts as a coupler, a bell-sig^al, a
tremulant, etc. Strictly, the sound-
ing, or speaking stop is a complete
graduated series of organ -pipes of
uniform quality. It is this quality
which eives the stop its individual
name (as dulciana^ cremona, eta).
Stops are divided into two chief class-
es, (a) those with flue-pipes, flue-
274
THE MUSICAL GUIDE
work, or flae-stops, and (b) those
with reed-pipes (a. v.), reed-work,
or reed-stops, due-work is again
divided, according to the character
of the pipes, into (a) the cylin-
drical open pipes that give the diapa-
son, or typical organ-quality, also
called principal-stops, or -work ; (b)
covered, plugged, or stopped pipes
(without chimneys), g^edackt-work ;
(c) pipes too broad or too narrow of
scale to give diapason tone, 3 or 4
sided wooden pipes, and stopped
pipes with chimneys.
stops are further grouped according
to the length of their pipes as 2-ft.,
4-ft., 8-ft., etc., the standard being
the 8-ft., or foundation-stops, which
are the basis of the organ, and to
which the other stops are tuned (vide
foot).
stops which do not produce the uni-
son or the octave of the key-board, but
sound the third (tierce), filth (quint)
and such of their octaves as the tenth
(double tierce), fifteenth, etc., are
called mutation-stops,
furniture, mixture, or compound
stops are composed of 2 or more
ranks of pipes and produce the oc-
tave of the key depressed and also
one or more of its other overtones.
A stop may have its pipes divided
between two draw-knobs. If it has
a pipe for every key of the key-board,
it is compute ; otherwise it is an im-
perfect^ incutnplete^ partial or half-
stop.
Some stops arc given only to the
pedal ; or to only one of the manuals ;
these are said to be on the pedal, on
the swell, etc. A solo-stop is one
* complete enough in itself to sound a
melody, stopped. Vide pipe.
stop. 2. A fret, or similar position
on an unf retted instr. 3. The press-
ure of the finger at a nodal point
of a string, double stop. The stop-
ping, hence sounding, of two or more
notes at once on the violin, etc. 4.
On a wind-instr. the closing with
key or finger of a ventage. 5. On
horns, etc., the inserting of the hand
in the bell to produce a raised tone of
muffled qualitv. Such a tone is said
to be stopped, as opposed to open or
natural.
stop'fen, C. To stop (of trumpet, etc.).
stopftdne (sht6pf'-ti-n£). Stopped
tones.
stop-knob. Vide stop.
stor'ta, /. A serpent, stortina (t€'-
nii). A small serpent
Stosszeichen (shtos' - tM - kh€n), (7.
Staccato mark.
str. Abbr. for String(s).
stracdcalando (striit-chl.ki.ito'.d5).
/. Prattline.
ttraccinato (str&-chl-n2'-t5), /. Re-
tarded.
Strad., Stradivafi, Stradivarius, etc
A violin made by Stradivari (vide B.
D.), A.D. 1650.
strain. Section, motive, theme, air.
strascicando (stra-shl-k&n'-dd), stras-
cinan'do, /. Dragging, playing
slowly, s. l*arco. Keeping the bow
of the violin close to the strings to slur
the notes, strascinato (&'-t5). Slow.
strascino (stra-she'-nd). A drag, a
slurring race, in slow vocal music.
strath'spey. A lively Scotch dance,
in common time, employing the Scotch
snap freely.
stravagante (gfin'-t£), /. Extravagant,
odd. stravagansa (g&n -tsa). Ec-
centricity.
straw- fiddle. Xylophone, because its
bars are often laid on straw cords.
straxiante (strfi.tsl.&n'.t€), /. Mock-
ing.
street-orran. Hand-organ.
Streich (stiikh), G, Stroke (as of
a bow), hence S.-instrumente.
Stringed Instrs. S.-quartett. String
quartet. S.-orchester. The string
of the orch. S.-zither. Bow-zither,
streichen. i. To draw the bow. a.
To cut (as a scene), streichend.
• ' Stringy " (of the violin quality of
certain stops). Strei'cher. wy^-
instr. player(s).
strene. A breve.
streng(shtreng). G, Firmfly). strict(Iy).
DICTIONARY OF TERMS 275
ttrepito (str&'-pT-t5), /. Noise, stre-
pito'so, strepitosamen'te. Bois.
ten)us(ly).
itretch. The interval covered by the
fingers of one hand.
itretta (strft'-tfi), /. A concluding
passage, or finale, in an opera, taken
m Quicker time to enhance the effect.
stret to, sometimes atretta, /. , strette
(strit), F. I. ** Compressed.* In
fugue a closing treatment in which
subject and answer are so compressed
as to overlap, a. maiSstraley orma-
jestrale. A strictly canonic stretto.
alia a. In stretto-style. andante a.
A slow agitato. 2. ** Hastened.** A
closing movement at mcreased speed.
Strich (stnkh), G, Stroke, i. A dash.
2. A cut. Strichart. Manner of
bowing.
strict. Used of a composition follow-
ing the most rigid and severe rules.
Vkie CANON, FUGUE, etc.
strident (stre-dftn), Z^., striden'te,
stridevole (da'-v6-l«). /. Sharp,
shrill.
striking reed. Vide reed.
string. A sonorous cord made of va-
rious materials, the strings of violins,
etc., being of gut, or cat-gut (so-
called, although made of the entrails
of sheep). Guitar, etc., strings are
of brass, copper, or a core of steel
wire or silk, sometimes r<^^r/^ (wound
round with silver or other wire) ; pi-
ano strings are of drawn cast steel.
String are measured in thickness by
a stnng-gange. " The string " is
a general term for the stringed mstru-
ments of an orchestra (also string-
band, etc., or string orchestra),
s. pendttlnm. A Weber chronome-
ter, s. onartet. i. A group of four
iDstrs. of the violin species, ist and
2d violin, a viola, and 'cello. 2. All
the instrs. of these kinds in the or-
chestra. 3. A composition for these
4 instrs. s. quintet, sextet, etc., (a)
the string-quartet with addition of
some other stringed instr. (as double-
bass), or more of the same kind (as
an extra violin).
The strings of an instr. are numbered
beginning with the highest (or soprano
or chanterelle), stringy is used of
tone (such as that of an organ-stop),
which resembles a bow and string
instr.). open strings are those
which are not pressed with the finger,
or stopped, string-organ. Vide
SAITENORGEL.
stringendo (j£n'-dd), /. Accelerat-
ing.
Stroh- (shtro), G, Straw. S.-bass.
The husky lower tones of a bass voice.
S.-fiedel (fe-d^l). Xylophone.
stroke, i. Vide signs. 2. The rise
and fall of a pedal.
strombaxzata (str6m-b{Ld-za'-til),
strombetUta (b«t-ta -tft), /. Sound
of a trumpet, strombettare (ti'-r£).
To play on the trumpet, strombet-
tiere (tt-a'-r*). Trumpeter.
stromentato (tii'-t5), /. Instrumented.
Vide RECITATIVE.
stromen'to, stmmen'to (pi. •!), /. In-
strument(s). s. da fiato (da fl-a'-to),
or s. di ven'to. Wind-instr. s.
d'arco (dftr'-ko). Bow-instr. s. da
cor' da. String-instr. s. da tacto.
Key-board instr. s. di legno (di
metallo). Wooden (metal) instr.
s. di rinforzo (for -ts6). An instr.
used to support or strengthen an ef-
fect.
Stuben-orgel (shtoo'-b«n-6r-gei), G.
Chamber-organ.
Stiick (shtQk), pi. Stiicke (shtuk-^),
G, Piece. S.-chen (kh^n). Little
tune.
Studie (stoo'-de), pi. -ien (t-«n), G,,
studio (stoo'-dl-o), /., stu'dium, Z.,
study, E, Vide ^tude and piano
STUDIES.
Stufe (stoo'-f€). pi. en, G. Step, de-
gree, stufenweise (vl-z*). By de-
grees.
stumm (shtoom), (7. Dumb. S.-reg-
is'ter. Mechanical stop.
stiirmisch (shtttr'-mlsh), G, Stormy.
Stttrze (shtUr'-ts^), G, Bell (of horns,
etc.). S. in der Hohe (h^^).
** The bell turned upwards."
Stuttgart pitch. Vide pitch.
276
THE MUSICAL GUIDE
Stnsflttgel (shtoots' - flu - g«l), G.
•' Baby " grand piano.
Styl (shtcl), G, Style.
sa (soo), /. Above, upon, arco in
an. Up-bow.
tnabe-flate. A soft stop.
tnave (soo-fi'-v«), /., suave (swftv), F,
Suave. siuiTitJi (soo-fi-vl-ta'), /.
Suavity.
snb, L, Under, below, beneath.
Subbass (soop'-bUs) (7., subboar'don.
A double-stopped 16 or 32 ft. stop.
snbcan'tor. Assistant cantor.
tfttbdiapen'te. The 5th below.
Sttbdotn'inaiit. The fourth tone of a
scale or key.
Sabfldte, (7. Sifllme.
subito (soo'-bY-to), /., sabitamen'te.
Sudden(ly), immediat6(ly). Tolti s.
Turn quickly, p. subito. A soft
touch immediately after a loud.
subject, £.,Snbjekt(soop'-y«kht). G.
A motive or theme for development
usually followed by an answer, or
second {secondary or subsidiary)
subject, or counter-subject. Vide
FORM.
snbtne'diant. The sixth tone of a
scale or key.
snboct'ave. i. The octave below. 2.
Coupler producing the octave below.
subordinate. Not principal or fun-
damental, used of chords on the 2d,
3d, 6th, and 7th degrees of a scale,
,and of all 7th chords except that on
the 5th degree.
snbprin'cipal. Below the pedal dia-
pason, a double open bass 32-ft. stop.
suDsemifu'sa, Z. A 32d note.
subsem'itone, subsemito'nium mo'-
di, L. I^eading note.
snbstitu'tion. The resolution of a dis-
sonance in some other part an octave
removed.
substitution (sob - stl - tUs - y6h), F.
Chanee of fingers.
subton ic. Leading note.
succen'tor, L. i. Subcantor. 2. Bass-
singer.
succes'sion. i. Sequence. 2. Pro-
gpression.
Sttfildte (soof-fl&-t£), G, SifflOte.
sudden modulation. Modulation to a
remote key without intermediate har-
mony.
snffocato (soof-fd-k&'-to), /. ** Suffo-
cated,'* muflled.
sd^li (sool-ye). sui (soo-€), /. Vide suu
suite (swet), F,, or suite de pi^es
(do pl-^'). A set or series of pieces.
Originally a group of dances, the 8.
has followed £e line deserted by the
sonata. Strictly it is a cycle series of
classic dance-forms in one key. The
number varies from three to five, often
with a prelude. The dance-forms
are chosen from the following : alle-
mande, courante, sarabande, bour^,
gigue, gavotte, minuet, passepied,
loure, anglaise, polonaise, pavane.
The allemande is usually first, the
gigue last ; the first dances named
were the regular constituents, the
others being called internuszi. The
modem suite aims chiefly at lightness
even when extended to the orchestra,
and great liberty is now taken with
keys and forms.
suivez (swe-va), F, "Follow** (the
soloist) ; continue similarly.
sujet (sa-zhi), F, Subject.
sul (sool), suU', sulla (soolMi), 7. On
the, near the, as sul a. On the a
string, sulla tastiera. Near the
finger-board (of bowing), sul ponti-
ceflo. Near the bridge.
suma'ra. A two-piped Turkish flute.
summa'tional tones. Vide result*
ANT.
sumpun'jah, lleb, Sambuca.
sumsen (zoom'-z^n), G. To hum.
suonare (soo-o-na'-r*). /. To play,
sound, ring, suonata (soo-o-nS;-ta).
Sonata. suonatina (te'-nil). So-
natina.
suono (soo-o'-n5), 7. Sound, sno'ni
annonlchi (Sr-md'-nY-ke). Harmo-
nics.
su'per, L. Over, above.
superano (soo.p^r-2'-n5), Sp. Soprana
superdom'inant. The 6th tone in the
scale.
super' fluons, E., superfln (sQ-p^-
flO). F, Augmented.
DICTIONARY OF TERMS 277
rape lias, Z. Higher, i. e., the high-
est part
nperoc'tave. i. The octave above.
2. A stop two octaves above the dia-
pasons. 3. Coupler producing the
octave above.
•nperton'ic, E., snpertonique (stt-
p<ir-t6n-ck'), F, The second tone of a
scale.
rapplican'do, supplicbeTole (soop-
plT.ki'-v5-l£), sapplicbeTolmen'te,
/. Pleading(Iy), appealing(iy).
rapport'. Accompaniment, reinforce-
ment.
npposed bass. The lowest note of
an inverted chord (q. v.).
wax (soor), /.. snr (sQr), F, On, upon,
over, snr tme corde. On one string.
8iirabondaiit(es) (sQr.a.b6A.dan(t)), F.
Used of triplets, quintoles, etc.
raralrn (sQri-gtl), F, Over- acute.
nrddina (soor-di-le'-ni), /. Small
bagpipe.
tarpnse. i. Vide cadence. 2. Name
of Haydn*s 6th symphony with an un-
expected crash breaking in on a long,
soft movement
snsdoaiiiiaiite (sO-), F. Superdomi-
nant
nspended cadence, i. Vide ca-
dence. 2. Vide suspension.
nspen'sion. i. The holding back of
one note of a chord with the result
that it causes, with the following
chord, a clash that earnestly demands
its progress to the destined note in
which It will find resolution (q. v.).
2. The note so suspended. A s. may
be unprepared^ that is, it may be the
only note of a group that is not
proper to a sudden chord, s. may
be double or triple^ by occurring in
more than one note of a group at
once.
tnspir'iuffl, Z. i. A quarter rest. 2.
Idore anciently, a half-rest.
t&ss (zQs), G, SweetOy). Sussfldte.
A soft fiute-stop.
sn(s)surando (soo(s)-soo-ran'-d5),
sn(8)8nrante (r&n'-t^, /.^ Whisper-
ing, murmur, snssnra'tion, E, A
soft murmur.
sustain. To hold a note during its
full time-value ; to periorm in legato
manner, vide also pedal-point. Vide
PEDAL.
STeeliato (sval-yfi'-to), /. Lively.
sreUo (sv51'-t6), /. Light, easy.
sw. Abbr. of Swell-organ.
swell. I. Gradual increase (and de-
crease) of sound. 2. The device for
increasing and diminishing a sus-
tained tone on an orphan, hence
swell-organ, and swell kev-board.
Part of an organ (the swell-organ),
is surrounded by a swell-box, the
front of which is filled with Venetian
swell-blinds (Jalonsie, (7.), opened
or closed bv a lever worked by a
swell-pedal. In old organs, there
was but one shutter (naff's-head
swell) ; in harpsichords the cover
moved.
Sylbe (zel'-bd), G, Syllable.
syllabic, E,, syllabisch (zel-Iap-
Ish). G,, syllabiqne (sel-Ub-ek), F,
Of an air in which each syllable has
its own note.
syllable-names. Do, re, mi, etc., as
opposed to letter-names ^ C, d, e, etc.
Vide SOLMISATION.
sym'baL Cymbal.
sympathetic. Of strings, etc., which
are made to sound by sympathetic
vibration (q. v.), and strengthen some
other tone by unison or by sounding
some overtone.
symphone'ta, L. Polyphony.
sympho'nia, Gr. i. Agreement. 2.
Hurdygurdy. 3. A symphony.
symphod'ic, E., symphoniqne (s&fi-
fo-nek), /^, symphonisch (zem-fo'-
nYsh), G. Pertainmg to or relating to
the symphonv. symphonic poem,
po^me s. (p6-^m' san-fo-nek), /*,,
sympho'nische Dichtmig (dlkh-
toongk), G. A composition of svm-
phonic demands on orchestra and in-
telligence, but not built on the sonata
form' and rather descriptive than
thematic. The name was first given
by Liszt to some of his best works.
Symphonie (s&h-fo-ne in /*., in G,
zem-fo-ne'). i. Symphony. 2. Con-
278
THE MUSICAL GUIDE
cord. 3. Instrumental accompani-
ment. 4. String-band. 5. Orchestra.
SymphoQie-Ode (5' -de), G, Choral
symphony.
Bympho'nioo. i. A combination of
flute-stop with piano, inv. by Kauf-
mann. 2. A music-box with inter-
changeable disk in place of a cylin-
der.
sytn'phonist, sytnphoniste (s&n'-fo-
nest'), F.^ Sympho'niker, sympho-
niensessr (zem-fo'-nl-^n-za -zSr), G.
A composer of symphonies ; in F,
also a church-Composer, or member
of an orchestra.
sympho'nious. Harmonious.
sym phony, Symphonie (in F, siln-fo-
ne', in G. zem-fo-ne'). I. ^ sonata
for orchestra with all the elaboration
resources. Beethoven (and follow-
ers of him) even added a chorus,
hence choral symphony. Historically
founded on the overture Haydn, the
father of t]^e sonata (q. v.), established
the form, which has survived with
minor substitutions (as in the sonata)
till now. 2. In E. and elsewhere the
instrumental pre-, inter-, and post-
ludes, of vocal composition. 3. Old
name for hurdygurdy, etc.
sympo'sia. Convivial compositions.
syncopate. To perform syncopation.
syncopato (stn-k6-pa-t6), /., Synco-
pated.
syncopation, E., syncopa'tio, Z.,
syncope (sfln-k6p in F., in G.
zen'-ko-p5). A pleasantly confusing
rhythmic "intersection" caused by
suppressing a natural accent or
strong-beat, or moving it from its
natural place to a weak beat, usually
by means of tie-ing over a note
on a weak beat across the time
belonging to a strong beat. The
note so prolonged is said ^ be syn-
copatea. In piano-muai^ ooly one
hand usually has the syncoi^a^ioa..
Synkope (zen'-k6-p5), G. Syncoptijon.
synkopi(e)ren (pc'-rdn). To synco-
pate.
synnem'enon. Vide modes.
synonyme (se-n6-nem), F. Homo-
phone.
syiiton'ic Vide comma.
syntonolyd'ian. Hypolydian.
sy'ren. Siren.
syr'inz, C7r., syringe (se-raAzh). F,
I. Pandean pipes. 2. A portion of a
hymn to Apollo sung by candidates
for Pythian prizes.
system (in G. zes'-tam). i. A group of
staves. 2. In (7. a staff.
syste'ma, Gr, i. A tetrachord, or
other interval. 2. In /.. Staff. 3.
Hexachord series. Vide modes.
systime (ses-t«m), F. i. All musical
tones. 2. Compass.
syzygi'a, Gr, and Z. A chord, s.
penecta, or simplex. Triad, s.
composita. Triad with a tone doub-
led, s. propin'qna (remota). Close
(open) chord.
szopelka (shd-p^l'-kS). Russian oboe
with brass mouthpiece.
TAbbr. of Tahn, Tasio, Tempo^
Tenor, Toe, Tre, Tutti.
tabario, /. A kettle-drum.
tabar (ts-bib-'), /., tab'arde,
tab'arte, Old E. A ubor.
tabl. Egyptian drum.
tablatnra (tab-U-too'-rS). /., tabla-
ture (ta-bli-ttlr'), /*., tablatnre ftib-
li-tur), E,, Tabulatur (tii-boo-li-
toor). G. I. The Tonic Sol-fa
notation. 2. The rules of poetic and
musical composition established by
the Meistersinger. Vide ** stories of
THE OPERAS." 3. An early form of no-
tation from which our present system
got its vertical character, the bar and
the tails of its notes. Old tablature
had many forms. In Inte-tablatore
the French and English used letters,
the Italians, numerals, desigrnating the
frets to be touched on the lute.
These were written on a staff with as
many lines as the instr. written for
had strings ; beneath were stems with
tails, indicating the time-value of th^
DICTIONARY OF TERMS 279
notes : these tails represent our mod-
em values except that our whole note
(their seroibreve) had a stem like that
ol our half-note ; our half-note (their
minima) had the tail of an eighth
note ; our }i note (semiminima) a
double-hooked-stem, our }i note (f usa)
three hooks, our t^« note (semi f usa)
the tail of a 64th note. The hooks
of consecutive notes were often run
together in thick lines as in our music.
OTgSLn (or German) t. was used
for key-board instrs., and employed
the letter-names of the notes, the
melody being marked on a staff with
chord-accompaniment in vertical rows
of letters beneath,
table d'harmonie (tflbl d&r-md-ne), /^
1. A table of chords, intervals, etc.
2. Sound-board.
table d'instnimeiit (t&bl d&n-strO-
man), F, Belly.
table -mnsic i. Part-songs. 2. Music
printed so that singers at opposite
sides of a table could read it.
ta'bor, taboret', £,, tabonrin (tll-boo-
rin), /*., tab ret. A small drum ; a
tambourine without jingles.
ta'cet, pi. ta'cent, Z.. tace (ta che),
pi. taci (t§'-che), taciasi (tS-chY-a'-
si), /. '* Be silent ! " as cdoe tcuet^ let
the oboe be silent.
tac'tns, L. The stroke of the hand or
baton in conducting.
Tafel (ta -f«l), C^. Table. T.-fbrmiges
(f«i-mlkh-«s) klavier, or T.-kla-
▼ier. Square piano. T.-musik (moo-
zek). I. Music sung at a banquet.
2. Vide TABI.E-MUSIC.
tail. Stem, tail-piece. The wooden
brace which holds the strings of vio*
Uns, etc., below the bridge,
taille (tl'-vil). F. i. Tenor. 2. Viola,
also t. de ▼iolin« t. de basson. Oboe
da caccia.
takigo'to. I. Japianese dulcimer.
Takt (takt). G. i. Time. 2. Measure.
3. Beat, im T. In time, ein T.
wie vorher zwei. Double the for-
. mertime. T.-accent. Primary ac-
cent. T.-art. Species of time, as
duple or triple. T.-erstickiiii(^ (£r-
shtTk-oongk). Syncopation. T.-fach
(fakh). Space. T.-fest. Steady in
keeping time. T.-glied (glet). Meas-
ure-note. T.-fUhrer (fu -rdr). Con-
ductor; leader. T.-halten. To
keep time. takti(e)ren (tak-ter'-Sn)
or t.-schlagen. To beat time. T.-
linie (line), T.-strich (strfkh).
Bar-line. t.-tnUssig (m€s-slkh). In
time. T.-messer. Metronome. T.-
note. Whole note. T.-pause. Whole
rest. T.-stock. Baton, g^ter T.-
teil. Strong beat, schlechter T.-
teil. Weak beat. T.-Torzeichnang,
or Taktzeichen (tsi-kh£n). Signa-
ture.
talabalac'co, /. Moorish drum.
ta'lan. Hindu cymbals.
talon (til-Ion), Z*. Heel. I. Of a bow.
2. Of the foot.
tambour (tiln-boor), F. i. Drum. 2.
Drummer, t. de basque (dtt bftsk).
Tambourine, t. chromatique. Ttm-
balarion. t. roulante (roo-lant).
Long drum. t. major (mS-zhor).
Drum-major.
tamb(o)u'ra. An ancient instr., used
in the East, like a guitar, struck with
a plectrum.
tamoouret (tSn-boo-ra), F., tambou-
rine (tim'boo-ren), E., Tambourin
(tSm-boo-ren), G. i. A small drum,
with little beljs (called yi«^Zfj) pivoted
in the rim. Notes with waved stems
indicate a roll ; notes with vertical
lines above, call for the jingles.
tambounneur (nQr), F. Tambou-
rine-player.
tambourin (taA-boo-raA), F, \. K tam-
bourine without jingles. 2. A lively
dance in 2-4 time with t. accompani-
ment.
tamburaccio (tam-boo-r^t'-cho), /. A
large drum, tamburel'lo, tambu-
ret to, /. I. Tabor. 2. Drummer.
tamburino (tSm-boo-re-no), /. i.
Drummer. 2. Tambourine.
tamburo (tam-boo'-ro), /. Side-drum.
tamburone (tam-boo-ro-ne), /. The
great drum.
tamis (ta-me), F. Pipe-rack.
tamtam', i. Indian drum. 2. (3ong.
28o
THE MUSICAL GUIDE
Tanbur (tan-boor'), G. Tamburo.
Undelnd (t^n'-ddlnt), G. Playful, tri-
fling.
tangent, E., Tangente (tan-j^n'-t^),
G. Vide CLAVICHORD. Tangen-
tenflttgel. A ** wing-shaped '* clav-
ichord.
tantino (tan-te'-no), /. A little.
tanto (tan'-to), /. So much ; as much ;
but allegro non t. Not too quick.
alle^^ro t. possibile. As fast as pos-
sible.
Tan'tum er'go, Z. ** So much there-
fore." A hymn sung at the Benedic-
tion in the R. C. service.
Tan* (tUnts), G., pi. Tilnze (t«n'-ts^).
A dance. Tiinzer (t«n'-ts€r). A
dancer. T&nzerin (t«n'-ts«-rln). A
female dancer. T.-lied (let). Dance-
song. T.-muslk, or T.-stiick
(shtQk). Dance-tune.
tap. A single note on the drum. taps.
The last military signal at night. It
is also used at the funeral of a
soldier.
Upada (ta-p^dh'-a), 5/. Stop, tap-
adillo (dhel'-yd). Baxoncillo.
ta'rabouk. Instr. used by Turks, a
parchment over the bottom of a large
earthen vessel.
tarantella (ta-rin-t^l'-la), tarentelle
(tar-Sn-ter), F. Perhaps of Taren-
tine origin, but claimed to be derived
from the tarantula, two explanations
being given, one that the bite of the
spider incites a mania for dancing ; a
more probable one that the fatal ef-
fects of the poison find an antidote in
violent exercise. The dance is a wild
presto in 3-8 or 6-8 time, with increas-
ing frenzy and altematingly major and
minor.
tarau, theyau thro. Burmese violin
with 3 silk strings.
tar'do, tardato (tar-da'-to), tardan'-
do, tardamen'te, /. Slow(Iy).
Tartini's tones. Resultant tones,
first observed by Tartini. (VideB. D.).
Taschenfireiflre (tsish'-«n-g!.kh£), G.
Kit.
tasseau (tis-so), F. The mould on
which violins arc built.
tastame (tSs-ta'-m^), /., Tastatur (tas-
ta-toor')\ (7., tastatura (Us-ta-too'-
ra), /., tastiera (tfis-tt-a'-rfi). 7. Key-
board ; finger-board, sulla tastiera.
Near the finger-board (of a vln.).
Taste (tas'-t€), G. The touch, hence
a key. Tas'tenbrelt. Key-board.
TastenstUbchen (st({p-kh«n). Fret.
Tastenschwanz (shv&nts). Ex-
tremity of key-board. Tasteawerk.
A keyed instrument.
tasto (tis'-to), 7. I. Touch, a. Key.
3. Fret. 4. Finger-board, snl t.
'* Near the finger-board." t. solo.
** One key alone," a note to be played
without other harmony than the oc-
taves.
tatto (tat'-to), 7. Touch.
tattoo'. The drum-beat at night re-
calling soldiers to quarters for sleep.
It precedes taps (q. v.).
tche (che). A Chinese stringed instru-
ment,
te. Tonic Sol-fa name for the 7th tone
si,
t€ (ta), F. C sharp.
technic(8) (t«k'.nYk(s)), ^., Technik
(t^kh-nek). (7., technique (t«k-nek),
F. The mechanical side of musical
performance, including dexterity, ve-
locity, distinctness, shading as op-
posed to the poetical or interpreta-
tive side. The means, not the end,
of a properly balanced musical ambi-
tion.
tech'nicon. A device for training the
fingers, in v. by J. Brotherhood, 1889.
tech niphone. First name of the Vir-
gil Practice-Clavier.
technisch (t^kh'-nlsh), G. Technical,
used to indicate proficiency.
tedesco (-a) (ti-dds'-ko), 7. German,
alia t. In the German style, in waltz-
rhythm, lira t. Hurdygurdy.
Te De'um Lauda'mus, Z. *'Thee.
Lord, we praise," a hymn attributed
to St. Ambrosius. Vide mass.
Teil (til), G. Vide theil.
tel'ephone-harp. An instr. for trans-
mitting music by telephone.
tell'tale. An indicator of wind-pres9i>
urc
DICTIONARY OF TERMS 281
tema (ta-mS), /. Theme; subject;
melody.
teffl'peramenty E,, temperament
(Ul^-pa-ra-mln), /^. temperamen-
to, /. A method of tuning, repre-
senting the triumph of practice over
theory ; of art over science. It is a
system of compromise, whereby, for
practical musical purposes, the octave
IS divided into twelve intervals, none
of which is quite true. In the pres-
ent piano, and similar instrs. the
tones rl and d\t, for example, are
identical, and are g^ven the same
string and digital. As a matter of
acoustical fact there is a difference
between them. If they were given
different digitals and tuned exactly,
the present freedom of modulation
from one key to another would be
impossible without some elaborate
device, and the piano, organ, etc.,
would need a greatly increased fin-
ger-board, with 53 digitals to the oc-
tave instead of .12 as now. The
present tuning was not reached with-
out a war of the bitterest sort ; but
since the i8th century began, only
12 degrees have been given to the
octave. The earliest method was
nneqiial temperament, the key of
C major being tuned true, and the
other tones forced to conform. In
the twelye-semitone system, the
octave was divided into twelve equal
parts, no interval being quite true.
The mean-tone system had the ma-
jor thirds tuned true, the intermediate
space being divided into two equal
intervab ; this system produced much
discord called the wo//, equal tem-
perament is now generally em-
ployed ; it is the practice of tuning by
fifths. A series of twelve fifths be-
ginning with c lacks only 74/73 of form-
ing a perfect seven octaves; by dividing
this slight discrepancy equally among
the 12 fifths, the circle of fifths is
tempered and made perfect ; thus in
major C-G-D-A-E-B-F#- (or Gk)-
D^-AI^-El^-Bft F- C (Bft; in minor
»-fr-b-f*-c#-giH»» (or eb>-bl^-f-c-g-
d-a ; and one can modulate by
means of dominant harmony (chords
on the fifths) through the whole suc-
cession of keys with almost imper-
ceptible acoustic falsehood. It is this
g^eat convenience and simplicity of
Equal Temperament that has pre-
vented thus far the acceptance of any
of the many instruments invented
with the rival method of just intona-
tion. Nevertheless the music we
know and enjoy has no perfect inter*
vals except the octave ; the fifths are
a I2th of a comma flat ; the fourths a
1 2th of a comma sharp ; the major
thirds ^th of a comma sharp, etc.
Temperatur (tam-p<J-ra-toor'). G,
Temperament.
tempesto'so, tempestosamen'te.
Tempestuous(ly). furious(ly).
tempete (tah-p€t). F. *' Tempest"
A boisterous quadrille in 2-4 time.
tempo, /. "Time." i. Rate of
speed, ranging from the slowest to
the fastest, thus Grave, largo, lento,
adagio, andante, moderato, allegro,
presto, prestissimo. 2. Rhythm,
measure. 3. Beat, a tempo. In exact
time (usually appearing after retarda-
tion), t. primo (or imo), or pri-
miero. Original speed, t. alia
breye (bra -vd). Vide breve, t a.
piacere, or senza t. The time at
pleasure, t. bina'rio (tema'rio).
Duple (triple) time. t. como'do.
Convenient, moderate time. t. de-
bole (da -bo-l^). Weak beat. t. di
bal'lo. Dance-time. t. di bole'ro,
gayot'ta, mar'cia, etc In the time
of a bolero, gavotte, march, etc. t.
dl cappel'la. In the Church-time.
Vide BREVE, t. di pri'ma par'te.
In the same time as the first part,
t. forte. Strong beat. t. g^iusto
(joos'-t5). In strict time. I'istesso
(or lo stesso), t. Continue at
*'the same speed." t. maggiore
(mad-j6'-r^. Vide breve, t, mi-
no're, or t. ordina'rio. i. Common
time, 4 beats to the measure. 2.
The orig^inal time of the piece, t,
perdu' to. " Lost," unsteady time. t.
282
THE MUSICAL GUIDE
regg^ato (r^d-jS'-td), same as colla
parte, t. robato. Vide rubato.
T. wic Torhcr(ve f6r*har), G* Same
time as before.
tempo-nmrky Tempo-Bezeichnnng
(bS-tsTkh'-noongk), G. A word or
phrase indicating the standard or unit
of time for a composition, as andante ;
or indicating some deviation from
this unit, as meno mosso,
temporiser (t&fi-pdr-T-za), F, In an
accompaniment, to follow the soloist's
time.
temps (tSA), F. I. Time. 2. Beat,
t. ^ble (f£bl), or ley< (m-va).
Weak beat. t. fort (fdr), irapp<
(frflp-pa'). Strong beat.
tem'pus. Z. Time, i. e., of the breve,
t. pertec'tum (marked O). That in
which the breve equalled 3 semi-
breves, t. im'pemctum (marked
C ). That in which it equalled 2
semibreyes. t. bina'rium (or tema'-
rium). Duple or triple time. Vide
NOTATION.
tenete (t«-na -t«), /. Hold.
Ten'ebne, L. *' Shadows, Darkness*' ;
R. C. Evening Service, during Holy
Week, in commemoration of the
CniciBxion, the candles being extin*
guished one by one.
tenen'do, /. Sustaining (as the melody).
tenero (ta'-n£-ro). tenero'so, tenera-
men'te, /. Tender(ly). tenerez-
za (ta-n^-rW-zfi). Tenderness.
teneur (tfi-nttr), F, Cantus firmus of
a hymn.
tenor (in G, ta-ndr*), t^nor (ti-nor), F,
tenore (ta-n6'-r«), /. i. The high-
est male voice produced *' in the
chest." Vide soprano, (a) The
more powerful tenor is almost a
barytone and is called dramatic
(Heldentenor'), teno're robus'to, or
di mezzo carrattere (de mdd'-zd ki-
rit-ta'-re). or di forza (de f6r'.tsa).
Compass c-b' (fr). The more lig^ht
and flexile tenor is called lync,
lyrischer (ler-Tsh-«r). T. tenore lee-
g^iero (I5d-ja-r5), 16ner (la-zha), or di
grazia (de grSts'-yaJ. Compass d-c",
§pmetimes higher. 2. The part cor-
responding to the tenor voice in com-
pass. 3. The highest of a chime of
bells. 4. The viola, as tenor violin.
5. As a prefix for instrs. of tenor
range ; e. g., tenor trombone (Tencr*
posaune), etc. 6. tenor C is an oc-
tave below mid-c. 7. tenor-clef,
Tenor-schlttssel or -zeichen, the
C clef on the fourth line. 8. The low-
est string of the viola. 9. In Grego-
rian music, the principal melody taken
by a medium male voice, above which
sang the counter* or contraptenor,
or the altus or alto. 10. In mediae-
val music, (a) fermate, (b) ambitus,
(c) tone of a mode of the evovai,
tenorino (ti-nd-r€'-no), /. Falsetto
or castrato tenor. Tenorist (Uin-
5-rest'), G,^ tenorista (tan-o-res'-
ta)./., t^noriste (ta-no-rest). /^ A
tenor-singfer.
tcnoroon'. i. Old tenor oboe, compass
downward to tenor C. 2. A stop
that does not go below E.
ten'sile. Applied to stringed instru-
ments.
tenth. I. An interval of an octave
and a third. 2. A stop a tenth above
the diapasons. 3. Decima.
tenu(e) (ta-no), /*., tenuto (t&-noo'-t5).
/. **Held.** I. Susuined. 2. A
sustained note or pedal-point. 3.
Legato. 4. Constantly, as forte t.
PI. tenute (note).
t^orbe (ta-6rb), F. Theorbo.
teoretico (ta-6-ri'-tt-k6), /. Theoret-
ical.
teoria (ta-5-r$'-i). /. Theory.
tepiditii (ti-p^dl-t^. /. Indifference,
lukewarmth. tepioamen'te. Calmly.
teponaz'tli. An Aztec drum still us^
m Central America ; a log about a
yard long, hollowed from l^low, then
cut through till two tongues of wood
are left. These sound an interval
when struck with padded sticks.
ter (tdr), L. Thrice, three times (of a
passage to be repeated twice), ter
un'ca. *• Three-hooked** ; i6th note,
ter sanctus. ** Thrice holy." refer-
ring to the •* Holy, holy, holy," ol
the Te Dewm,
DICTIONARY OF TERMS 283
terce. i. Tierce. 2. Vide HORiB
CANONICiC
tercet (t*r-sa). F. Triplet.
tenuure (tdr-n&r), F,, temario (t<r*
na'-rt-d), /., ternaiy, £, Triple,
three-fold, temaiy form. Rondo-
form, ternary measure. Triple
time.
terpo'dion. i. An instr. inv. 18 16 by
Buschmann, resembling the harmo-
nium, the tone being produced from
sticks of wood. 2. An 8-ft. stop.
Terpsichore (t«rp-slk'-d-r£). The muse
of dance and song.
ter'tia, Z.. Tenia (t«r'-tsM). G. 1.
Third, tierce, tertia modL The
3d degree. 3. A stop sounding a
third or tenth above.
tertian Zweiiach (t«r-tsY-&n tsvT-
fikh), G, A stop combining tierce
and larigot.
Terx (t«rts) (pi. en), G. . terzo(-a) (t«r'-
tso), /. I. Third, (a) the interval,
(b) in number. 2. Tierce, terzo
mano. Octave-coupler, tersadec-
ima, Terzde zime. A 13th. Terz-
qnart'akkord, or Terz<}uartsext'-
akkord, 6-4-3 chord. (Vide chord.)
Terzqnintsext'akkordy 6-5-3
chord. (Vide chord.) Terztdne.
Tierce-tones. Terzfldte. i. Small
flute, a minor third above. 2. A
stop.
Terzdecimole (di-tsY-mo'-K). A group
of thirteen equal notes.
Terzett (t«r-ts5t'). (7.. terzetto (t«r-
ts«t'-t6), /. A trio.
terzina (t^r-tse'-nfi), /. A triplet.
tessitura (t^sT-too'-r&), /., tessiture
(t«s'.s!-tur). £. *' The web." The
l^eneral ** lie" of a song or phrase-
its average pitch, whether high or
low.
testa, /. Head, di t. In the head
as the voice.
testo (tds'-to). /. '*Text." i. Subject,
or theme. 2. The words of a song.
testu'do, L. •* Tortoise." The lyre.
t^e (t£t not tit), F. Head, of a note ;
of a vln., etc.
tet'rachord, £., tetrachorde (t£t-rS-
kdrd), /*., tetracor'do, /. 1. A 4-
stringed instr. 2. The interval of a
fourth. 3. The 4 diatonic tones of
a perfect fourth. (Vide modes.) tetra-
chordal system. Original form of
Tonic Sol-fa.
tetrachor'don. A small piano-like
instr. with a rubber cylinder, imping-
ing on strings.
tetrato'non, Gr,, tet'ratone. An in-
terval of four whole tones.
tet'rad. Chord of the seventh.
tet'radiapa'son. Interval of 4 oc-
taves.
tet'raphone. Tetratone.
tetrapho'nia. Organum in 4 parts.
T(h)eil (til), G. Part. T.-ton, Partial
tone.
the'ma, Gr„ Thema (ta'-ma), G,,
th toe (tdm), F. . theme, £. Loosely,
the general idea of a composition.
Strictly, the structural molecule, of
which motive or subject and answer
are the component atoms. The
theme of a " theme with variations,"
tema con variazioni, is an extended
air. Such a work as a sonata has
contrasting themes which are devel-
oped, thematic treatment refers
to the contrapuntal handling of a
musical design as opposed to a lyric
treatment, though the theme itself
may be lyric in nature.
Theorbe (td-6r-b«), ^., th^orbe (tft-
orb), /*., theorbo (the-or'-bo). £.
A large bass lute with two necks,
the longer carrying a set of bass
strings.
Theoretiker (t« - 6 - ra - tt - k«r). G.,
th^oricien (ta-d-r€s-yan), F. A
theorist.
theoria, Gr, and L., th^orie (ta-o-re),
/*., theory (the'-o-rt), £. The
science of music, particularly of its
composition.
the'sis, Gr, The accented downbeat.
Vide arsis.
Theur'g^c hymns. Songs performed
in Greek mysteries.
theyau. Vide tarau.
thin. Used of chords and harmonies
that lack support and fulness.
thior'bo. Theorbo.
284
THE MUSICAL GUIDE
third. I. Vide interval. 2. The medi-
ant, third-flute. Vide terzfl6tr.
third-tones. Vide quint-tones.
thirteenth. An octave and a sixth.
thirty-second note. A demisemi-
quaver. 32d rest. A rest of equal
duration. ,
thoroug^h-bass. Vide bass.
thorough-composed. Vide song.
three-eighth time. That in which
each measure contains three eighth
notes.
threefold. Used of triads.
three-lined. Vide pitch.
three-time. Triple time.
threno'dia, L, and Gr, A song.
thren'ody. Lamentation.
thrice-marked, or lined. Vide
PITCH.
thro. Vide tara.
through-composed. Vide song.
thum&position. On the *celio, a high
position where the thumb quits the
neck.
thumb-string. Banjo melody-string.
Thiirmer (tUr'-m«r), G. Town-mu-
sician
tib'ia(pl. tib'iae),Z. "Shin-bone." i.
Ancient name of all wind-instrs. with
holes, such as the flute, pipe and fife,
originally made from the human leg-
bone, tibiae pa' res, Z., pi. Two
flutes of the same length, t. impares.
Unequal flutes, one for the right hand
and the other for the left, which were
played on by the same performer ;
those for the right hand, t. dextrae,
being perhaps of higher pitch than
those for the left (sinistrae). t. ob-
li'qua, or vas'ca. Cross-flute. 2.
Name of various flute-stops, as t.
major, a i6-ft. covered stop. 3. t.
utnc'ularis. The bagpipe.
tib'icen (pi. tibic'ines, feminine tibi-
ci'na), L, Flute-player, tibicin'inm.
. Piping.
tie. A slur ; a curved line placed over
notes on the same degree which are
to be sustained as one tone. Vide
SIGNS, tied-notes. i. Those thus
tied. 2. A series of notes (i6th notes,
etc.) with a single tail.
tief (teO. G, Deep, low. tiefer (te'-
f£r). Lower. 8va tiefer. Octave
below. tieftdnend (tef-ta-n6nt>.
Deep-toned.
tier (ter). Rank (of pipes).
tierce (ters), E. i. A third, hence
tierce-tones, those reached by skips
of major thirds. Vide pitch. 2. The
4th in a series of harmonics. 3. A
mutation stop 2^ octaves above di-
apason. 4. Vide HORiC CANONICiE.
tierce (tl-«rs'). F. x. A third. 2. Vide
hor^ CANONiCiB. t. de Picardie
(dtt pe-kar-de), F, Tierce of Picardy;
a major third introduced in the last
chord of a composition in minor;
supposed to have originated in Picar«
dy. t. coulee (koo-la). A sliding
g^ace in thirds. Vide grace.
timbala'rion. A series of 8 drums
chromatically tuned and fitted with
pedals.
timbale*(tan-bftl), /^, timbal'lo, /. A
kettle-drum, timbalier (t&n-b^-ya).
A kettle-drummer.
timbre (tSn-br), F., tim'bro, /. i.
Quality and color of tone. 2. A ball
struck with a hammer, jeuz de
timbres (zhti-dfi-tanbr). A chro-
matic series of small bells or metal
^ bars. 3. The snare of a drum.
tim'brel. Hebrew tambourine.
time. A word used loosely and inters
changeably with its Italian equiva-
lent tempo ^ to indicate : i. Rate of
movement, or speed. 2. Rhythm.
Speed is indicated in various ways by
descriptive words, such as slow, an-
dante^ langsatn^ etc., or by the me-
tronome mark.
Rhythm is generally indicated by a
fraction, as 2-4 or 3-8 set at the be-
ginning of the composition or move-
ment. The denominator indicates the
unit of note-value; the numerator
fixes the number of those unit-notes
in each measure. Thus 2-4 means
that the quarter-note is the standard
of value, and that each measure con-
tains two quarter notes or their equiv-
alents.
With the exception of such rare
CHART OF TIMES AND RHYTHMS
285
1. Dnple, or Common Time, (mesm^s k deux on qnatre temps, F.
Spader Takt, G, tempi pari, /.)
A. Simple, (binaire, F. elnfacher,
G. Mmplice, /.)
SlgBft"
tUCA.
No. of
beauto EngHsh.
ameas.'
French.
German.
Italian.
^'i
a
Two- two (alia
Dcux-deox.
Zweizweiteltakt.
A cappella (alia breve).
breve).
\
Two-four.
Deux-quatre.
Zweivier "
Dne-quarti (quarttro-due).
1
Two^ht.
Deux-huit.
Zweiach "
Due-ottavi (otto-due).
.1
Four-two.
Quatre-deux.
Vierxwei "
Quattro-mezzi (due-quattro).
Four-four.
Quatre-quatre.
Viervier "
C^attro-quarti (quattro-quattro, U'
nario, ordinario).
f
Four-eight.
Quatre-huit
Viverach *•
(^atiro-ottavi (otto-quattro).
A
4
Four-aixteen.
Quatre-seize.
Viersechzehn '*
Quattro-sedicezuni (sedici-quattro).
1
Eight-eight.
Huit^huit.
Achtach "
Otto ottavi (otto-otto).
B. Compound, (ternaire, F.
xusammengesetzer, G. compost!, /.).
Sjna-
tures.
No. of
beats to
Fjiglbh.
French.
German.
Italiam
!
Six-two.
Sx-deux.
Sechszweiteltakt.
Sei-meszi (due-sei).
Six-four.
Six-quatre.
Sechsvier '*
Sei-quarti (quattro-sei).
1
Six-eight.
Six-hui.t
Sechsach "
Sei-ottavi (otto-sei).
t
Six-six teen.
Six-seize.
Sechssechzebn"
Sei-sedicesimi (sedtd-sei).
Twelve-four.
Douze-quatre.
Zwdlfvier "
Dodici-qnarti (quattro-dodid).
X
Twelve-eight.
Douze-huit.
Zwdlfach "
Dodid-ottavi (otto-dodici).
H
T w e 1 V e- six-
teen
Douze-seize.
Zwdlfsechzehn"
Dodici-aedicesimi (sedid-dodid).
H
8
Twenty-four-
Vm^-quatre-
Vierundzwan-
Ventiquattro-aedid.
sixteen.
seize.
zigsechzehn "
3. Triple time, (mesures k trois temps, F. ung^erader, or Tripel Ta|ct, (?,
tempi dispari, /.)
— J I . _ -■
A. Simple.
torea.
3or!
Naof
beats to
ameas.
3
3
3
3
English.
Three-one.
Three-two.
Three-four,
llireo-eight.
French.
Mesure
k trois-un.
k troia-denx.
k trois-quatre.
k tfbia-huit.
German.
Dreidnteltakt
Dreizwei "
Dreivier "
Drdach "
Italian.
Uno-tre.
Tre-raezzi (due-tre).
Tre-quarti (quattro-treX
Tre-otuvi (otto-tre)
B. Compound.
t&zcs.
Now of
beats to
ameas.
English.
French.
German.
Italian.
T
3
Nine-four.
k neuf-quatre.
Neunviertdtakt.
Nove-quarti (quattro-nove).
3
Nine-eight.
k nenf-huit.
Neunach '*
Nove-ottavi (otto-nove).
A
3
Nine-sixteen.
ji neuf-seize.
Ncunsechzehn"
Nove-sedicesimi (scdici-novc).
1 ;
Five-four.
k cinq-quatre.
FOnfvier
CinqueH)uarti (quattro-dnque).
Five-dght.
k dnq-huit
FUnfach *♦
Cinque-ottavi (otto-cinque).
KoTB.-^Some English writers clMsify times also as fModru^U and ociupUt and indicate compound timtt
W the agnatufai octhe corra^>onding simple times with a dot added after the denominator.
286
THE MUSICAL GUIDE
rhythms as the 5-8 time, all musical
time*patteras are divisible by 2 or 3,
and are called dupU or triple. Thus
in 2-4 time there are two beats to
the measure, in 3-4 time there are
three. In more elaborate times the
beats may themselves be divided by
twos or threes. These are called
compound duple or compound triple
times.
The chart gives the various times in
various languages. (See also Accent
and Tempo.)
timido (te-ml-do). /. Timid, tiini-
dezza (te-mT-dM'-zii). Timidity.
timoro'sOy timorosamen'te, /. Tim-
id(ly). timore (tT-m6'-r«). Fear.
timpano (t!m'-pfi-no) (PI. -i). /. Ket-
tle-drum, t. coper'to. Muffled
drum, timpanis'to. Drummer.
tin'termell. An old dance.
tintinnab'ulnmy L.^ tintlnnabolo. /.
(tTn-tYn-na'-bo-lo), tintinnabalo
(boo-16). I. A little bell. 2. A
small rattle of bells.
tintinnamen'tOy tlntinnio (ne'-5),
tiQtin'no, /. Tinkling.
tin' to, /. Shading.
tiorba (te.5r' -ba). /. Theorbo.
tipping. Vide double-tonguing.
tirade (te-r&d), F, A slide across an
interval.
tiran'na, Sp, A national air with
guitar.
tirant (te-riUi). F. Stop-knob. t ^
coupler (d-koo-pla). i. Coupler.
2. Button. 3. Drum-cord.
tirarsi, da (da te-rar'-se), /. " With a
slide,** as tromba da t.
tirasse (tt-rite). /^ i. A pedal-coup-
ler. 2. A pedal key-board acting
only on the manual pipes.
tirata (te-ra'-ta), /. A group of equal
notes, moving in joint degrees.
tirato (te-ra'-t5), /. i. Down-bow. 2.
Pedal-coupler.
tira tutto (te-ra toot'-to), /. A pedal
mechanism controlling the full power
of an organ.
Wx€ (te-ra), F, Drawn, pulled : a
down-bow. tircx (te-ra). '* Use the
down-bow."
Titchharfe (t!sh'-hir-f€), G, '*Dish
harp,*' an autoharp.
tlap'anhnehue'tl. Huehuetl.
tit tj. Hindu bagpipe.
tirolienne. Tyrohenne.
toccata (tok-k&'-U), /. From toc-
care, to touch, to play. In its i6th
century form, a prelude made up of
runs and arpeggios. The modem
toccata develops with great thematic
hilarity and contrapuntal informality
a brilliant, swift and showy improvi-
sation, toccatina (te'-na), tocca-
teria. Short toccata.
toccato (t6k-k2'-td), /. A fourth-tnim-
pet part in place of kettle-drums.
toe' sin. An alarm-bell.
To(d)tetgesang (tot' - fe - g£ - z2ng),
To(d)te8lied (let), G. A dii^e.
To(d)tenflrldckchen (glefk'.kh«n).
Funeral - bell. To(d)tenm>rach
(mSrsh). Funeral (** dead **) march.
tombeau (t6n-b6), /*. •'Tomb.* Dra-
matic elegy.
tomb'estere. Old E, A dancer with
tambourine.
tomtom. Hindu drums.
Ton (ton), pi. Tdne (ti'-n«). G. i.
Tone. T.-bestimmung, or -mes-
sung. Calculation of tones. Too-
gattung (g&t'-toongk). The division
of the octave. The selection of tones.
Hence, mode. T.-rcin. True in
pitch. T.-blldnnp^. Tone-produc-
tion ; voice - training. T.-Dflline.
Orchestra, T.-dichter. Tone-poet,
composer (also T.-setxcr). T.-
dichtung (dTkh-toongk) or satz.
Composition. T.-lan>e (fSr-be).
Tone-colour, timbre. T.-folgc. Series
of tones. T.'f&hmng. Melodic
progression, modulation. T.-faas,
T.-lall (or -schluss). Cadence.
T.-setxnnr^ or -Terhalt. Rhythm,
measure. T.-ganr. Melodv. T.-
gebung. Intonation. T.-Konde.
Science of music. T.-knnst (koonst).
Music; the art of music. Tonlnmst-
schnle. School of music. Ton*
lehre (ton'-la-r€). Acoustics. Too-
le iter (ll-t^r). Scale. T.-loch.
Ventage. T.-malerei. ** Tone-
DICTIONARY OF TERMS 287
painting,** programme music T.-
messer. Monochord, siren, sono-
meter. Tonschlttssel (shlUs'-s«l).
Key-note. T.-ruiij^e, Fugue. T.-
setxknnst. Art of composition. T.«
sprache. Music T.-stttck or
-werk. Piece of music. T.-schrift.
Musical notes. T.-Terwandschaft.
Relation of tones. T.-Terziehun^.
Tempo rubato. T.-TeriLdderaii^.
Modulation. T.-werkareng. In-
stroment (including the voice). T.*
system, or wissensdUft. Theory
of music T.-zeichen. Note or
other musical sign.
2. Pitch, den T. angaben (hal-
teo). To give (keep) the pitch. T.-
hdbe. Pitch. T.-lage. Register.
5. Key, octave-scale, mode, usually
Tonart (tdn'-art). T.-anTerwand-
schaft (f€r-v2nt'-shift). Key^rela-
tionship. T.-geschlecht (g^
shl^kht'). Mode (I e., major or minor).
Tonahstand (ftp-shtint). Interval.
T.-aditel. Eighth note. T.-stnfe.
Deeree. T.-umfang. Compass.
ton (tdn), F, i. Tone. t. bouch^
(boo-sh&). Stopped tone of a horn.
t entier (SA-tt-i). Whole tone. t.
feint (f AA). Old term for flatted tone.
t. oitvert (oo-v4r). Open tone, of
a wind-instr. t. g^ntottenr (zhi-
na-rft-t&r). Fundamental. 2. Pitch.
dowur U /. Give the pitch. 3. Key,
scale, mode. t. nuueur (mineur).
Major (minor) key. t. relatit Re-
Uted key. t. de I'^gUse (d(i li-
glez). Church-mode. 4. Crook of a
horn. t. de r^change, or do cor.
Taning-fork.
tonadlca (to-nS-di'-kft), tonadilla
(del'-yil), Sp, Cheerful song with
guitar.
tons fic'ti, Z. Transposed church-
modes.
to'naL Relating to a tone, a key,
mode, etc Vide fugue, and imita-
tion.
TonaUtAt (t5n.ll.Y-tit'), (7., tonali-
ty (t6n-il-!-ta). /•., tonality, E.
The unity in key-relationship of a
phrase or composition. It may pass
out of the predominant key, but so
long as it does not stray beyond
the limits of easy return ancl constant
relationship with this key, the compo-
sition has not overstepped its general
tonality.
ton'do» /. Round, full (of tone).
tone. I. A sound of musical quality
and regular vibration as opposed to
noise. 2. A sound, (a) of definite
pitch, (b) of a definite quality. 3. A
full interval of two semitones. 4. A
mode. 5. Of aliquot^ combinational^
differential^ partial^ resultant^ sum-
motional^ etc., tones or difference*
tones ^ overtones^ etc. Vide those words,
also ACOUSTICS. Oi fifth-tones y quint-
tones y third-tones. Vide quint-tones.
bridg^e-tone. Vide tonic sol-fa.
tone-colour. The distinctive qual-
ity or timbre of a tone, tone-paint-
ing. Description bv music, tone-
poem. A musical expression of
sentiment, determination of t.
The investigation of vibrations, or
tone-values, tone-relationship, etc.
tone-relationship. Tones which
concur in a major or minor chord are
said to be of the first degree of rela-
tionship * c is so related to g, f, e, ai^,
a, and eb, etc.
tttnen (ta -ndn), G, To sound, td'nend.
Sounding.
tongue. I. Reed ; or the vibrating
metal slip of a reed ; hence, tongue-
pipes. 2. As a verb, to use the
tongue in playing wind-instr. ; called
tonguing. Vide doudle-tonguing.
Triple-tonguing is the rapid iteration
by tongue-thrust with the consonants,
t-k-t, t-k-t, etc.
tonic, £., tonica (to -ne-ki), /., To-
nika, (?., tonique (to-nek), F, i.
The key-note of a key, that on which
the scale begins and ends, the tone
from which a key takes its name,
as C. 2. The tonic-chord, the
diatonic chord built on the key-note.
t.-pedal. Pedal-point on the key-
note, t. section. One which closes
with a cadence to the tonic of the
chief key of the movement.
L
288 THE MUSICAL GUIDE
Tonic Sol-fa. A system of teaching
singing, inv. by Sarah Ann Glover,
of Norwich, and improved by Rev.
John Curwen, and his son John
Spencer Curwen. It consists, first, in
analysis with constant reference to
key-relations, or "tones in key";
the second element is a notation modi-
fied from solmisation (q. v.). and con-
sisting of doh for do, ray for re, me
for mi, fah for fa, soh for sol, lah for
la, te for si. These take the place
of notes and are written on one line
by their initials, d, r, m. etc., an ac-
cent being affixed below or above the
letter to indicate an octave lower or
higher as d' r'. Sharps are sung de,
re, etc. ; flats da, rfi, etc. In modu-
lation, bridge-toms are indicated by
the new key-value of the tone large
with its old key value small as M.
In notation, rhythm is expressed by
time-spaces, the number varying ac-
cording to the beats or pulses in the
bar ; a thick bar before a letter marks
a strong accent; a colon a weak
accent; a dot and a comma mark
half and quarter beats ; a dash indi-
cates prolongation of tone ; a rest is
marked by a vacant space.
to'no, /. I. Tone. 2. Key.
to'nos, Gr.^ to'nus, L. i. A whole
tone. t. gravis, tris'tis, rtiva'ti-
cuSy harmonicus, laet'us, deVo'*
tus, angel' icus, perfect' us, respec-
tively the ist, 2d, 3d, 4th, 5th, 6th,
7th, and 8th tones in church-music.
t. cur'rens. Reciting note. t. pe-
regri'nus. Foreign tone. 2. Mode.
toquet (to-ka), touquet, F, Tocca-
to.
toomour'ah. Hindu tambourine.
too'rooree'. Brahmin trumpet.
toph (tdf), Heb. Hebrew tambourine.
torcelli (t6r-chcr-le), /. Organs.
tosto (t6s'-t5). Quick, rapid, plft
tosto. Rather; sooner.
touch, I. Act or style of pressing the
ke)rs of a key-board instr. 2. The
response or resistance of the action.
toucne (toosh), F. i. Touch. 2. A
digital* 3. A fret. 4. A finger-board*
toucher (too-sha), F. i. As a mutn,
touch. 2, Asa verb, to touch, play,
touchette (too-shdt'), F, Fret.
toujours (too-zhoor), F, Always. Vide
SEMPRE.
touquet (too-ka), F. Toccato.
tourdion (toor-dl-6n), F. SalUrella 2.
tourment^ (toor-man-ta), F, Over-
elaborated.
tourne-boute (toorn-boot), F. An
instr. like a flute.
tour de force (toor dti fors), F. Bra-
vura passage, etc.
toumi<]^uet (toor-nl-ka), F, Plug, cap.
touta'n. Hindu bagpipe.
tout (too), pi. touts (too), or toutes
(toot), F. AIL t. ensemble (too-
tan • sa6' - bl). All; the whole to-
gether ; the general effect.
toy. A trivial air or dance, toy sym-
phony. A comic work, particulariy
one by Haydn employing toy cuckoo,
« trumpet, etc.
tp. Abbr. of Timpani.
tr. Abbr. for trumpet or trilL
trackers, E,, Tractur (trak-toor'), G.
Vide ORGAN.
tract, £,, trac'tus, Z. Solemn melo-
dies sung from the Psalms during
Lent in the Requiem Mass. The
words are taken from the Psalms.
tradolce (trsl-dol'-ch^), /. Very sweet
tradotto (tra-dot'-to), /. Translated,
arranged.
Tra'gen der Stim'me, G. Portamento.
trains (triJ-na), F. i. Slurred. 2. A
slow waltz.
trait (tr£), F, i. Passage as t. de
chant. Vocal run. 2. A phrase,
progression, t. dliarmonie. Se-
quence. 3. Rule. t. d'octave.
Rate of the octave.
traits (tr«-ta), F. A treatise.
Traktur (trak-toor'), G. Trackers.
Vide ORGAN.
tranquiUezza (trin-kw¥l-lM'-z&), tran-
quiUitii (triln-kwn-lT-U'), /. Tran-
quillity. tranqnil'lo, trmnqqiHa-
men'te. Calm(ly).
transcription (in F. triUi-skrep6-y6A).
A rearrangement of a composition
for a different instr. or in^ra* t*
DICTIONARY OF TERMS 289
vaifonne. The notation, common
in French bands, of writing all the
transposing instrs. in the G def .
trmn'sieiit. Used of notes, chords and
modulations that are merely passing
and secondary, the means, not the
end.
timn'sitOy Z., transit'ioii (in F, tr&d-
ses-y66). i. A modulation of tran-
sient value; so also in Tonic Sol-
fa.
trmn'sitiiSy L, A passine note (usu-
ally t. re'gnlaris). t. irre'pilaris.
Changing note.
tnuispoiii(e)reii ^)5-n8'.rto), C. To
transpose, transponi'rende In'-
stmmente. Transposing instrs.
tnmspose, E., transposer (tr&A-sp6-
za), ^. To change the pitch of a
composition to a key higher or lower.
Thus the tonic is replaced by the
tonic of the new key, the old domi-
nant by the new, etc.
tnuisposiiig. I. Used of instraments,
which are not written as they sound,
but always in the key of C major.
This is done so that the player*s ease
and accuracy mav be insured, by
keeping the fingenng, etc., the same
in all keys, the key of the instr. be-
ing changed by changing the instr.
entirely or merely changing a crook.
The extent of this transposition is the
interval between the key of the instr.
and the key of C major. So an instr.
in B, sounds a half-tone lower than
written ; an instr. in E[> sounds a ma-
jor 6th below or a minor 3d above
the actual note. 2. t. piano, etc.,
one in which, by a mechanism, the
action is shifted to higher or lower
pitch, t.-scale. Vide modes.
transpositeur (tra&s-pd-zY-ttir'), F. i.
One who transposes. 2. A single-
valve inv. by Gautrot as a substitute
for the series usually used. 3. A
1^-board instr., piano t., inv. by A.
Wolff, 1873.
transposition (in G, trins-p&-zS'-tsY-
5n). The changing of the kev of a
composition. T.-skalen. Trans-
posing Scales. Vide modes.
transrerse Ante. Vide pluts.
traquenard (tr&k-nflr), F, A brisk
dance.
trascinando (tr^-shY-nSn'-dd), /. Drag-
ging, retarding.
trascrit'to, /. Copied, transcribed.
trasportato (trS-spor-ta'-to), /. Trans-
posed.' chiavi trasportati. Vide
CHIAVETTE.
tratt. Abbr. of trattenuto.
trattato (trat-tr-t5), /. Treatise.
trattenuto (noo'-t5), /. Retarded.
Trauergesang (trow'-dr-K^-zSng), G,
Dirge. Trauermarscn (mSrsh).
Funeral-march, trauerroll. Sad.
traurig (trow'-rYkh). Heavy, sad.
traTailler (trft-v!-ya), F, To work;
to lead, play solo part. travaill6
(v!-ya). Worked up elaborately.
TraTers'fldte. 1. A cross-flute. 2.
A 4-ft. stop.
traTersifcre (trft-v^-ySr), /"., traTer^
so (tra-vdr'-s6). Vide flute.
tre (tra), /. Three, a tre. For three
voices or instrs. tre cor'de, Loud-
pedaL Vide piano, tre Tolte. Three
times.
treble, i. The highest voice, soprano
(from triplum, q. v.). 2. Highest
part of a comp. 3. Highest regis-
ter. 4. The highest of a group of
instrs. t. clef The G clef. t.
forte stop. A stop for cabinet or-
gans, increasing the treble at will,
while the bass remains soft. t. staff*.
The staff on which the treble clef is
placed.
Tredezime (tra-da -tse-niS), G, Thir-
teenth.
treibend (trl'-b^nt), G. Hurrying, ac-
celerating.
treisifcme (tr€z-y«m), F. Thirteenth.
tremblant (trafi-blan), F., tremen'do,
/. Shaking, trembler (bla), F,
To trill. Vide tremulant, trem-
blement (trfiA-bl-mSft), F. A trill,
shake.
tremolando (tram-o-lan'-do), tremo-
late (la'-t^), tremolo (tra'-m6-l6),
tremulo (tra'-moo-l6), /. Trembling,
trilling, quivering, reiterated with
great rapidity.
290
THE MUSICAL GUIDE
trtrn'olaaty trern'olaiit. A stop which
gfives to the tone a waving or tremb-
ling effect.
tremor« (tri-md'-r^), tremoro'so, /.
Tremor(ous).
tremaU(e)reii (tri-moo-U'-rfo). To
trill.
trench'more. An old dance in triple
or compound duple time.
trtoise (tri-nis), F. Vide qua-
drille.
trenodia (tra-n5'-dI-2), /. A funeral-
dim.
\x\m\\t€),F, Very.
tres'ca, tretcone (tr^kd'-n<), /. A
countiy-dance.
Treter (tri'-t«r), {7. Bellows treader.
triad, ^., triade (in F. Xxl-IA ; in /.
tre-&'-di). A chord of three tones.
Vide CHORD, harmonic t« Major
triad.
tri'anfle, E. (in /^ tri-fiAgl), Trian-
i^el (tre'-&ng-«l), C, triangolo (tre-
in'-gd-15), /., triangulo (tre-&n'-goo*
15), Sp,^ triani^'nlus, L, A small
steel rod bent into a triangle and
tapped with a straight rod, for em
phasising rhythm. Triangular harp.
Vide HARP.
tri'aSy Z. Triad, t. defic'iens. Im-
perfect chord, t, harmo'nica. Per-
feet chord.
trichord. The three-stringed lyre. t.
piano. One with three strinc^s tuned
m unison for each note, trichord-
on. 3-stringed cotachon.
Trichter (trtkh'.t«r). G. i. Tube of a
reed-pipe. 2. Bell of horn, etc.
tricin'iuniy L. An unaccompanied trio.
tricorde (tre-k6r'-d«), /. 3*stringed.
tridiapa'son, Gr. A triple octave.
tri'gon, trigo'nnm. A 3-stringed
Ivre-like instrument.
trinemito'nium, Gr, Minor third.
trill, trille (tr^'.ytt). F., Trillcr (tnl'-
l«r),(7., rillo (trtl'-ld), /. The rapid
alternation of a principal note with an
auxiliary, usually the major or minor
second above (a small chromatic sien
being set above the note when its
auxiliary is not to be diatonic). The
trill begins on the auxiliary note only
when the auxiliary is written
grace note before the principal, in
this case the trill ends on the prin-
cipal ; normally it ends on the aux-
iliary. A tnll is long or short
(trillette (tre-y«t). /*., trfllet'ta, tril-
let'to, /.) according to the duration of
the principal, the short trill sometimes
amounting only to a mordent. A
series of trills on different notes is a
chain of trills (Trillerket'te). A
mere rough rattle on one note instead
of two notes crisply trilled is called
goat-trill, Bockstriller, ch^vr«»te-
ment. or trillo caprino. trillcttlsio
(t£'n6), /. A soft trill, imperfect t.
One without a turn at the close. In
Caccini*s Method, 1601, the trillo was
the reiteration of a single note, our
trill being called gmppo. triUaado
(tr«.l4n'.d6), /. I. Trilling, a. A
succession, or chain, of shakes on dif-
ferent notes, trillem (trIl'-Km), C.
To trill. Vide graces and signs.
trine (tr€n). A triad, with 2 major
thirds.
Trinkgesang (ti1nk'-g£-zing), T.-Ue4
(let), Cr. Drinking-song.
trino nal Open 8-f t. stop.
trio (tre'-6), /. I. A composition for
three instrs. or voices, often in sonata
form, pianoforte trio. pf.,vln.,nnd
cello, string trio (vln., viola (or sd
vln.), and cello). (The name was
formerly used for 3 instrs., accompa-
nied by a fourth playing basso con-
tinuo.) organ trio. A strongly con-
trasted work for 2 manuals and pedal
or for 3 manuals. 2. In the dance-
form, the contrastingly quiet or lyrical
second division. Gaming its name
from being once written in 3 pans,
the word should now be laid asule as
meaningless and confusing, and the
phrase second part, or second subject
used instead.
Triole (tr!-6'-l«), G., triolet (m F. trif-
6-li). A triplet.
triomphale (tr^A-fll), /*., trionfide
(tre-dn-fi'-l«}, /. Triumphal, triom-
phant (tre^6-fft6), F,, trionCuite
(tra-6n-fin't«), /. Triumphant.
DICTIONARY OF TERMS 291
tripar'tite. In three parts.
tripd (tre-pH), <?. Triple, as T,
AMy triple fugue. T.-konsert.
Tnplc concerto. T.-takt. Triple
time. T.-snnge. Triple-tonguing.
triph'ooy. Three sounds heard at
once, tripho'nia. Oiganum in 3
parts, trtphonisch (tre-fo'-nlsh), (7.
Triphonic, 3-voiced.
tripla (tre'-pU), /. Triple time. t. de
mis'ima. i. 3-2 time. 2. Triplet.
triple (in /^ trep'.l). Threefold. Vide
coi^NTERPOiNT, TIME, etc. t.-€ro€he
(krdsh). 32d note.
tm'let. A group of three equal notes.
ooablet. A sextole.
triplam, Z. The third part in organ-
um, hence the highest ; in 4-part next
to the highest, the 4th being called
qaadmplum ; if there is a 5th it is
called qnintuplnm, etc.
tripola (tre'-pft-U). /. Tripla.
Tnsa'fl^on, Gr., Trisagium, Z.
" Thrice Holy," the Sanctus.
trisemito'iiiain, L. Minor third.
tristena (trls-t«d'-zd), /. Sadness.
tristro'pha, Gr, Triple square note of
the greater stress.
triton (tre-t66), F„ tritone (trf'-tdn),
E,, tritono (tr€-t6'-na), /., tri'to-
■aa^ Z. (in G, tre-td-noos'). An aug-
mented fourth ; long a forbidden
interval in strict writing, since it was
augmented and was said to be hard
to sin^. mi chord of the t. Third
inversion of the dominant seventh,
which contains the tritone. Vide mi.
tri'toA a'Tia, Z. *'3-toned bird," a
West-Indian bird, capable of singing
a note, and its twelfth and seven-
teenth, all at the same time.
Tritt (tift). (7. Treadle, pedal. Tritt'-
•chnh (shoo). Place for the foot on
bellows. Tritt'harfe. Pedal-harp.
Tritt'bret or T.-holz. The board
on which the bellows-treader steps.
iri'tna, Z. Lydian Church-mode.
triamphirend (tre-oom-fe-r«nt), G.
Triumphant. Triumphlied (1^).
Song of triumph.
troia (trwft), /. Three, mesure \
trris^ux (trwji-dfl). 3-2 time. A
trois-huit (trw4 zwet). 3-8 time.
trois^quatre (trwX k&tr). 3-4 time.
troll. I. Round or catch. 2. As a
verb, to sing a catch.
tromba (trdm-bS), I. 1. A trumpet.
2. 8-ft. reed-stop. t. croma'tica, I,
Valve trumpet. t.-bas'ta, or di
bas'so, or speazata (sp^-z£-ta).
The bass trumpet t. da tirar'si.
Old slide trumpiet, perhaps a soprano
trombone. t.-iiianiia (ma-re'-n£), /.
Marine trumpet, speaaata (sp5d-zi('-
tfi), I. An obsolete name for the
bass trombone. t.sor'da. Muted
trumpet, trombadore (do -rd), trom*
bacelloclyde. A W ophicleide.
trombet'ta, trombettioo (te'-no),
trombettatto're- or iere (Y-i'-r«).
1. Trumpet. 2. A small trumpet.
trombone (in E, tdim'-b5n; in /.
tr6m-b6'-n« ; in F. tr6fi-bttn), Z, pi.
-i. I. A trumpet-like instr. with
valves ; or more anciently, with a tube
that may be lengrthened or shortened
by means of a U-shaped portion to
be pushed in or drawn out. This
sHdi moving by semitones has seven
positions, each of which virtually,
makes a separate instr. of it with a
distinct key, the partial tones of this
beine obtained by variations of press-
ure (vide embouchure). The tone
of the instr., though su£Fering from
misuse in bad hands, is of the utmost
richness, dignity and humanity. Ber-
lioz calls it ' ' epic.'* It is a non-trans-
posing instr. in four sizes, the tenor
oeing most used ; the tenor and alto
are written on the C clef ; the bass
and contrabass on the F clef ; com-
passes ; UnoTy chromatic E^> (with
pedal'tones G-B, ^, and difficult
tones b'-d") ; alto, A-e"^; bass B -f.
2. A powerful 8, 16 or 32 ft. stop.
Trommel (tr6m'-m£l), (7. Drum.
gros'se T. Bass drum. MilitAr-t.,
or Wirbel-t. Side drum. RoU-t.
Tenor drum. T.-baes. A bass note
thumped drum-wise. T.-boden (bd'-
den). Bottom of a drum. T.-kas'-
ten. The body of a drum. T.-
klttpfel (kl€p-f£l), or T.-schlUgel
292
THE MUSICAL GUIDE
(shla-gdl). Drumsticks. T.-schlil-
Ztr. Drummer, trom'meln. To
Srum; drumming.
Trommelstttck ( tr6m'-m€l-shtak), G,
Tambourine, tabor.
trompe (tr6hp), F, i. Hunt-horn. 2.
Reed-stop. t. de B6am (da ba-^m),
or k laquais (& Iftk-d). Jew's harp.
Trompete (tr6m-pa'-td), G, i. Trum-
pet. 2. A reed-stop. Trompeten-
geige. Marine trumpet. Trompe-
ttnzug (tsookh). Trumpet-stop.
Trompeter (tr5m-pa'-tdr), tromp^
tenr (trdfi-pa-tttr), F. Trumpeter.
trompette (tr66-p«t), /^. i. A trum-
pet. 2. Trumpeter. 3. A reed-stop.
t. k coulisse {a koo-ies). Slide-
trumpet, t. k clefs (a kia). The
trumpet with keys. t. k pistons (d
pes-tdn). Valve trumpet, t. d'har-
monie (d&r-mii-ne). Orchestral t.
t. harmonieuse (ir-mdn-ydz). Trom-
bone, t, marine. Marine trum-
pet, t. harmonique (ir-mftn-ek). A
reed-stop.
troop. I. A quick march for trooping
the colors. 2. The 2d drum-beat as
a march-signal.
trope, tro'pus. i. A Gregorian for-
mula for the close of the lesser doxol-
ogy. 2. Mode.
troppo (tr5p'-p6), /. Too, too much.
Unic ma nan t. Slow, but not too
slow.
troubadonr (troo-ba-door), F,, troTa-
dor (tro-vft-dhor), Sp., troyatore
(tro-vi-to'-r^). /. A poet musician,
usually of noble rank, skilled in sing-
ing, chiefly of love. The cult arising
in Southern France, flourished widely
from, the nth Century. The t.
sometimes had hired minstrels (m^-
nestrels, m^netriers, or jongleurs) in
attendance on him. trouvfcres (troo-
vftr), F, A cult of poet-musicians
contemporary with and often con-
fused with the troubadours, but more
characteristic of the north of France,
and singing songs rather of war and
epic struggle than of love.
trilb(e) (trQp or trU'-b«), G. Sad.
Trng (trookh), (7. Deception. T.-
fortschreitung^. Progres^n of a
dissonance, not to its resolution, but
to another dissonance. T.-kadeoz,
or -schluss. Vide cadence.
Tmmbscheit (troomp'-shit), G. Ma-
rine trumpet.
trump. I. Trumpet 2. Jew's harp.
tmmp'et. i. A metal wind-instr. with
a tube half as long as that of the horn,
but bent in longer folds, and with a
smaller bell. The tube is narrow and
cylindrical till near the bell; the
mouthpiece is hemispherical and
cupped. It is a transposing instr.
wntten in the G clef (almost always),
and in the key of C. Its pitch is an
octave higher than that of the horn,
and it is used in fewer keys. It is the
most commanding of all brass instrs.,
but its stopped tones are unpleasant.
It should be written for in a distinct-
ly vocal manner. It is fitted with
crooks to give it any key, the tone
being produced bv embouchure (q. v.)
except in the TalTe; or chromatic,
trumpet; which is displacing the older
form. Its extreme compass is d-b"l>.
In England the slide trumpet is used,
working like a trombone but with
shorter slide. Trumpets of the same
kev but sounding an octave apiart are
called alto (high), and bass^ (iow).
2. An 8-ft. reed-stop.
marine trumpet. An old instr.
once used for signalling in the Eng-
lish navy, hence its name ; also used
in convents, whence it was called
* ' nun's fiddU. *' It was played chief-
ly in harmonics, and had one thick
gut string, sometimes an octave
string, and one or more drone-strings.
The box was long and thin with short
neck and flat belly ; one foot of the
bridge rested loosely producing a
powerful resonance, harmonic t.
A sackbut. reed-t. A trumpet with
36 brass-reeded pipes inclosed, ar-
ranged in a circle, so that each pipe
was brought in turn between the
mouthpiece and the bell.
Trumscoeit (troom'-shit), G, Marine
trumpet.
DICTIONARY OF TERMS 293
t s. Abbr. of Tasto Solo.
ttdien^ (chSng). Cheng.
tacfanng; (choong). Chinese gong.
tnba (too'-bfi), /. i. The lowest of the
saxhorns (q. v.), an enormous brass
horn with four pistons, a trombone-
fike mouthpiece, and a compass of 4
octaves. It is a non-transposing instr.
(except in the case of a tenor-tuba in
Bb, and a bass-tuba in F so written
by Wagner), and is written in the G
clef. It is usually made of 3 sizes,
the bass or the euphonium^ in E flat
(compass available B.^-f), or in Ejf;
the bombardon, a fifth lower ; and the
contrabass tuba (or bombardon)
in Bban octave lower than the Eupho-
nium. 2. The straight Roman tcum-
pet, or t. communis ; the t. due'-
tiliSy being curved. 3. t. cunra. A
limited natural French trumpet of the
i8th Century. 4. A powCTful 8-ft.
reed-stop. t. major, t. mirab'ilis, t.
darion. A 4-ft. stop.
tnlMCen, L. A trumpeter.
tock'et. A flourish of trumpets.
tnian (twc-6), F. Tuyau.
tnmnltnoso (too-mool-too-o'-s6), /.
Agitated.
tnn. Ancient Yucatan drum.
tone. An air or melody, usually short
and simple.
tn'ner. i. One who tunes instruments.
3. The flap or cut in the top of a
pipe by which it is tuned. 3. Tun-
m|^.cone.
ta'mug, I. The correction of the tone-
production of an instr. 2. Accorda-
ture. t.-cone or horn. A cone of
bam or metal which can be inserted
in the top of an organ-pipe ; by
** coning out ** or increasing its flare
and raising its pitch; by '* coning
in** or pressing it, point upwards,
over the top of a pipe, it decreases
the flare and lowers the pitch, t.-
crook. Vide crook, t.-fork. A
small steel instr. with two prongs
which upon being struck sounds a
certain fixed tone, t.-hammer or
kej. A hand-wrench, t. slide.
I. An English instr. for producing
thirteen semitones. 2. An adjustable
U-shaped portion of the tube of cer-
tain brass instrs. t» wire. Vide
REED and PIPE.
tuono (too-6'-n6), /. i. Mode, as t,
ecdesias'tico. Church-mode. 2.
Tone,
tuorbe (tw6rb), F. Theorbo.
tnr'ba, pi. -«, Z. ** Crowd, multi-
tude." The heathen or Jewish chorus
in Passion music.
tnrbinoso (toor-bY-nd'-so), /. Tempes-
tuous.
turbo (toor'-bo), Gr. A scashell trum-
pet.
turco (toor'-ko). /. Turkish, alia
turca. In the style of Turkish music.
turdion (toor'-dl-6n), S^., turchesco
(toor-kS'-sko), /. An old dance.
tttrkish (tUr'-ktsh), G. Turkish. Turk-
isch-muzik. tanizary music.
turn. An embellishment consisting of
a principal tone (struck twice) and
one higher and one lower auxiliary a
diatonic second removed, unless a
chromatic sign accompanies the sym-
bol ; if a sharp or flat is placed above
the turn-mark, it alters the higher
auxiliary ; if below, the lower. The
common, direct, or reg^ar turn
usually begins on the upper auxiliary ;
the back or inverted t. begins with
the lower ; the rebounding or trilled
t. becins with a passing shake ; the
double t. affects two notes at once.
Vide GRACES.
tnrr. 3-stringed Burmese violin.
Tnsch (toosh), G. A triple flourish of
trumpets and drums.
Tute (too'-t«), G. Cornel.
tutta (toot'-ta). tutto, pi. tutte (toot'-
t«). or tutti (toot'-te), /. All ; the
entire band or chorus ; in a solo or con-
certo it means that the full orchestra
is to come in. tutte corde (k6r'-d£).
"All the strings"; I e., release the
soft pedal, tutti. Full band or
chorus — the entire force, tutto ar'-
co. With the whole bow.
tuyau (twe'-yo), F. i. Tube, as of a
horn. 2. Pipe. t. il anche. Reed-
pipe, t. il Douche. Flue-i^pe.
294
THE MUSICAL GUIDE
twelfth. I. Aa interval of an octave
plus a fifth. 2. A stop twelve tones
above the diapasons.
twenty-tecond. A triple octave.
twice-marked, or -accented. Vide
PITCH.
two-lined. Vide pitch, two-time.
Duple time, two-step. A dance
in 6-8 time, somewhat resemblins^
the waltz, but in duple accent.
tjmb'estere. Vide tombesterc.
tym'pan. i. Timbrel. 2. Drum. 3. Irish
instr., perhaps the crowd, tympani
(tlm'-pft-ne), /., pi. Kettle-drums.
tympanis'ta. Kettle-drummer.
tjmpanischi'za. Marine trumpet.
tympan'on (tSm-pS-n5h), F, i. Dul-
cimer. 2. Kettle-drum.
tjm'pannm, L. i . Ancient drum resem-
bling^ the kettle-drum. 2. Kettle-
drum. 3. The watepwheel in old
hydraulic organs.
tj'pophone. A piano-like instr., with
steel wands instead of strings, com-
pass c'-c
t jrolienne (ti-rdl.y({n), F. i. Song, or
dance peculiar to the Tyrolese ; and
characterised by the jodel. 2. Round
dance in 3.4 time.
tseltxe'lim, Heb, Cymbals.
tset'se. Abyssinian guitar.
tsi'ti. Hindu bagpipe.
u
UBBLKLANG (O'-b^l-kllng)
or -lant (lowt), G. Discord,
ttben (U'-b«n), G. To prac-
tise,
fiber (O'-WJr), G, Over, above. U.-
einstimmungf (!n-shtYm-moongk).
Harmony. tt.-gefUhrt (g«-fart). Di-
vided (of stops). tt.-fl;reifen (grf-
f<n). (a) To cross the hands ; (b) to
lift the thumb from the neck of a
'cello. tt.-greifende9 System (zes'-
tim). Hauptmann*s plan of forming
a new key-system by adding to the
group of triads of one key, a triad in
Its dominant or sub-dominant key.
(l.-tlasen (bU-z€n). Overblowing,
to overblow. O.-f^an^ (^^^iog).
Transition, modulation. U.-ieitiui^
(ll-toongk). Transition passage, ft.-
mJUsig(m£s-sIkh). Augmented, fi.-
•chlaffen (shU'.g€n). (a) To cross
over (the hands), (b) To overblow.
(c) To break. tt.-setsen (z«t -zte).
To pass a finger over the thumb ; or
one foot over the other. ft.-atei§pen
(sht!'-gh<n). For a part to soar tem-
porariTv higher than the part oormally
above it.
Ubung(a-boongk), G. (pi. -en). Ex-
ercise; a study. Ubungsabend. Pu-
pils* concert
n|^ (oo'-gftb), Heb, An organ.
ngnale (oo-gwA'-l^), /. Equal, like.
ugtialit4 (Il-ta). Equality, n^nal-
men'te. Equality, alike.
omana (oo-m& -ni), /. Human, vo-
ce n. (vd'-ch€). I. The human voice.
2. A stop.
Umfangr (oom'-fiing), G, Compaas.
nmgekehrt (oom-g^-k&rt'), G. Re-
versed, inverted.
Umkelinin^(oom-k&'-roongk). (7. In-
version.
umore (oo-m6'-rd), /. Humour.
nm (00m), G. Prefix about, around.
nmschlag^ (sU'-g£n). i. To break,
to make a pronounced change of reg-
bter. 2. To overblow. 3. To make
the goose. Um'etimmnng (shtlm-
moongk). (a) Change, (b) Corda-
ture, pitch or key.
nn. Abbr. of Unison.
nn (ttA), F. on (oon), una (oo'-ni),
vno (00' -nd), /. A, an, one.
unaccented. Vide pitch.
unaccompanied. Without instmmen-
tal accompaniment.
nnacknowledffed. Used of passing
or unessential notes.
un'ca, Z. •• Hooked " ; quarter note,
bis nnca. i6th note.
nnconpled. With coupler released.
and (oont). G. And.
vn'da ma ris, L, ** Wave of the sea.**
A stop tuned sharp or flat and pro-
ducing an undulating effect by means
of beats ; sometimes a pipe with two
mouths, one higher than the other.
DICTIONARY OF TERMS 295
(oon-di-che'-mi), L, and /.
An eleventh.
■fldeciiiiole (oon^i-chT-md'-l^), /. A
^roup of eleven equal notes.
nDderchonL The minor triad.
Boderpart. That beneath, or subor-
dinate to others.
■nderMmg^. A burden.
udertone. A lower partial sometimes
produced by the simultaneous sound-
m^ of two higher tones. (Vide
ACOUSTICS.)
Undexime (oon-di'-tsi-m£), G, An
eleventh. Unde'zimo'le. Undeci-
mole.
mdnla'tion^ E,, nndnlasione (oon-
doo.U-ts1.6'-n«), /. Vibrato effect on
bow instruments.
Biie (Qn), F. A, an, one.
meii^eiitliche (oon-f'-g^nt-lYkh-^). Ir-
regular (of fiH^e).
naeiidiich(er) (oon.«nt'.lYkh-(«r) ), (7.
Endless (of canon).
■aeqiiaL i. Vide tekperament. 3.
Of voices = mixed.
Boessen'tiaL Used of passing and
grace notes, etc.
mmret'ted. Vide fketted.
■agar (oon'*g2r). tin|^sch (oon-gl'-
rfs]i)« O. Hunganan.
■a^Dtmden (oon-gj^-boont'-^n), (7.
I. Vide FRETTED. 2. Unconstrained.
■JUj^iildig (oon-g^-dool'-dlkh), G.
impatient.
tmrmde Takt (oon-g^f-ri'^^ tikt),
C, Triple time.
iiii|^estriaien(oon-g£-strlkh'-^n). Un-
accented. Vide PITCH.
mfreatllm (oon'-g^-shtom), G. Impet-
(oon-g*-tsvoong'-in),
_. Eas^.
sai^eich (oon'-gHkh). Une<)ual. Vide
COUNTERPOINT. ungleichschwe-
bende (shvi-b^n-d2). Unequal, of
temperament (q. v.).
vnhamio'nisclier Querstand (kwftr'-
shtlnt) or umttand (oom'-sht&nt).
False relation.
n'ttidiordy £.. untchor'dum, L, i.
Monochord. 2. Marine trumpet.
' - (an-yd6), /". Union, u. des
rdgistres (di ri-zhdstr). Blending
of registers.
aaione (oo-nl-d'-n^, /. Coupler.
n'niton ^in G., oo-n1-zdn'), iuu«o'niis»
£., unitono (oo-ne-sd'-no), /.; mut-
ton (Q-nls-sdA), /*. I. Identity of
pitch. 2. Any octave of a pitch. 3.
A tone of the same or octave pitch.
4. A prime, hence anpnented nni*
•on. 5. A group of 2 or 3 strings
tuned in the piano to one note. aU'
nnitonoy It rnnitson, in unison, or
progressing in the unison or the oc-
tave.
nnis'onant, unis'onotts. In unison
or octave.
nnsto (oo.ni'.t5), unitamen'te, /.
United(ly). unitt cancels dliTisi
(q. v.).
nnmeasured. Without definite mea^.
ure.
nao (oo'.n5). nna (oo'-ni), /. One ;
a, an. nno a uno. One by one ; one
after another.
unrein (oon'-rfn'), G, Impure ; out of
tune.
nnruhigf (oon-roo'-Ikh), (7. Restless;
uneasy.
nntchuldig: (oon-shool'-dlkh), G. In-
nocent.
unsingbar (oon-zYng'-bftr), G, Not
singable.
nnstrang. Of strings (a) relaxed in
tension, (b) removed entirely.
nntcr (oon'-t«r), G, Under, below,
sub. U.-bast (bis). Double bass.
U.-brechnnr (br^kh'-oongk). Inter-
ruption. ti.-brochen (brdkh-^n). In-
terrupted. U.-dominante (d5.mT-
nin'-t<). Subdominant. U.-halbton
(haip-t6n). Half-step below. U.-
haltungtttflck (hfll-toongs-shtok).
Divertissement. U.-leitton (lTt-t5n).
Dominant seventh. U.-mediante
(mi.dt-int'-£). Submediant. U.-
tats(zSts). Supporter; a32-ft. stop
on the pedal. Q.-setsen (z<t'-x£n).
To pass the thumb under a finder ; or
one foot under another. U.-ttimme.
Lowest voice, or part. U.-tatten
(tis-t«n). The white keys of the
piano or organ. U.-tdne (ti-n£).
296
THE MUSICAL GUIDE
Untertdnreihe («-«). Vide under-
tones.
unverziert (oon-f^r-tsert'), G. Unor-
namented.
miTolkoniineii (oon'-f61-k6in-m^n), G.
Incomplete.
• uomo (oo-6'-md), /. A man. Vide
PRIMO.
np-beat. i. The raising of the hand
or biton, hence 2. An unaccented
part of a measure.
up-bow. Vide bow.
upright. Vide piano.
ura'nion. An instrument like the harp-
sichord or piano.
uhr-heen, Chinese violin.
upper-clang. Vide clang.
uscir di tuono (oo'-sher de too-5-'n6), /.
To get out of tune.
u'sus, L, I. The rules of music. 2.
Old synonym for neumes and the
neume system.
ut (Ut in F.; in /. and Z,. oot). i. In
France the key and note C, so used
also in indicating pitch, as ut 2. 2.
Vide SOLMISATION. 3. In Latin, as,
like that, ut supra. As above, as
before.
Ut que'ant lasfc'is, Z. Vide solmisa-
TION,
F
VAbbr. for vide = see ; via-
iin(s) ; volti ; voce.
▼a (vfi), /. Go on. va cres-
cendo (kr^-sh^n'-do), /. Go
on increasing the volume.
▼accilando (vat-chl-Un'-dd), vacci-
lante (lfin'-t6), /. Wavering, irreg-
ular.
▼a'g^ans, L. Vague. Vide quintus.
▼ago (va'-go), /. Vague, rambling.
▼alee (val'-che), /. Waltz.
▼aleur (va-li1r), F., val or, Z., valore
(va-l6'-r5), /. Duration (of a note),
▼alse (vftls), F. Waltz ; used in E,
rather of a concert-piece (v. de sa-
lon), than of a strict dance-tune.
▼. chant6e (shan-t§), vocal waltz.
▼. k deux temps (da tan). A quick
waltz, with two steps in each measure.
Talue. Duration of a note or rest. -
▼alve, valvola (val'-vo-la), /. i. The
device inv. by Claggett, 1790, and
BlQhmel, 18 13, by which natural
brass instrs. are made chromatic. A
natural horn produces the funda-
mental tone naturally made by a col-
umn of air of its exact length ; it can
be made to produce a series of par-
tials of this tone by the method of
blowing. Vide embouchure and
ACOUSTICS. The key of the horn can
be changed by substituting for one
section of its tube a longer or shorter
section called a crook, which alters
the length of the horn, and the col-
umn of air, and alters therefore its
fundamental key and gives it a new
series of partials. Until the valve-
mechanism was invented a horn could
therefore play only in one key at a
time. Valve instrs. have auxiliary
tubes fitted to the main tube ; tbey
are, in fact, merely stationary crooks.
The pressure of a certain valve acts
as an instantaneous change of crook
by shutting oflf the air in one crook,
and turning it into another of differ-
ent length. This device permits the
sounding of a complete chromatic
scale along the instrument*s whole
range. The valves are usually three
in number, the first lowenng the
pitch a semitone, the second a tone,
the third three semitones, thus ^\ing
a command of all keys ^cf. harf),
(a) the piston, or piaton-TalTe, is
a plunger in an air-tight cylinder ; by
means of two holes the plunge at
rest carries the air through the main
tube ; when pressed it shuts off the
main tube and opens a side-tube, thus
changing the key ; a spiral spring re-
stores it after pressure to the natural
position, (b) the rotary valve is a
stop-cock with four holes which pro-
duce the same effect. 2. org^an-
▼alves are (a) suction-valveSy or
suckers, which admit the wind to
the bellows and retain it there ; (b)
joint-valTCS which regulate the air-
density in the wind channels, (c)
DICTIONARY OF TERMS 297
kej-Talvet or pallets, which are
worked by a draw-stop ; and (d) the
^raste-pallet relieving the bellows
of surplus air.
Talzer (val-tsir), /. Waltz. ▼. a dae
passi. Two-step.
Tamp. I. To improvise an accompa-
aixnent or prelude. 2. Such an ac-
companiment or prelude.
▼ariamento (v&-rf-fi-m<n'-t5), /. Va-
riation, di (Terence. ▼aHameil'te.
Varied, freely.
Variation, E. (in G, fa-r!.i-ts!-6n', pi.
-en ; in F. v&r-t-^yoA), variasione
(vi-it-a-tst-6'-n5, pi. -i), /. The ma-
nipulation of a g^ven theme or air.
In the old sense (called doubles),
and in cheap modern usage such as
•* Home, sweet Home with varia-
tions,** the air is simply smothered in
ornaments, arpeggios, etc.; in the
better sense (chiu-acter variations)
the theme is subjected to as much re-
modelling, inversion, change of note-
value, etc. , as is possible without losing
entire sight of its original meaning ;
sometimes merely the chord-relations
are preserved. Tariato (va-r!-jl'-t6),
/.. Tari6 (vft-rt-i), F. Treated with
variation.
farsoTiana (a-n^), /., varsorienne
(vl-*n), /^. ** Warsaw dance." Slow
Polish dance in 3-4 time with an up-
take of a quarter note, and an ac-
cented down-beat in every other meas-
ure.
▼audeville (vdd-vel), F, i. A coun-
try ballad or roundelay, usually satir-
ical. 2. Operatic or musical comedy.
▼C, ▼cello. Abbr. for violoncello.
▼eemente (va-a-m*n'-t<), /. Vehe-
ment, ▼eemenza (mto'-ts&). Force.
▼eiled, velato (vi-la'-td), /. Marked
by a desirable softening of the metal-
lic quality of a tone ; usually acquired
by a slight escape of breath.
TellnUto (v^-loo-tr-to), /. Velvety,
smooth.
Telo€e(v£-15'-ch^, velocenien'te, /.
Swift(ly). Telocis'simo. With ex-
treme rapidity, ▼elodtii (che-tsl').
Rapidity.
▼eneziana (v^-na-tsl-i'-nfi), /. Ve-
netian.
▼ent'age. A hole in flutes, etc., to be
stopped with finger or key.
Ventil (in G, fen'-ttl), ventile (v«n-
te'-l*), /. I. Valve, hence Ventil-
hom or-komett. 2. Organ-valve.
▼epres (v^pr), F. Vespers.
▼enusto (va-noos'-to), /. Beautiful,
charming.
Verdnderungen (fcr-^n'-d*r-oong-<n),
' G.y pi. Variations.
Verbindang (f^r-btn'-doongk) (7.
Binding, combination. V.-Szelchen
(tsl-khdn). G. Tie.
▼erdeckt (f«r-d«kt'), G. Hidden.
▼erdoppelt (f6r-d6p'-p«lt), G. Doubled.
Verdop'pelung (oongk). Doubling.
Vercng^ng (f5r-€ng'-oongk), G, Dimi-
nution of value or interval.
▼crgellen (f«r-g«l'-l«n), G, To di-
minish.
▼ergliedem (f^r-gle'-d*m), G. To
articulate.
▼erg^figt (f«r-gnnkht), G. Cheerful.
Verg^dsserung (ffir-gr^s'-s^r-oongk),
G. Augmentation.
Verh<niss (f«r-h«lt'-nYs), (7. Ratio
or proportion.
▼crhallend (f6r-hal'.l«nt), G. Dying
away.
▼er'ilay. Vaudeville.
Verkebrung (fdr-ka'-roongk), G, Imi-
tation in contrary motion,
Verkleinemng (f6r-klI'-n«r-oongk), G,
Diminution.
Verkiirzung (f^r-kUr'-tsoongk), G.
Diminution of value.
Verljingeningszeichen (f^r-l£ng'-£r-
oongs-tsi'-kh^n), G. Dot of pro-
longation.
▼erldschend (f«r-l&h'.«nt), G. Dying
away.
▼ermindert (f€r-mtn'-d«rt). G. DU
minished.
Vermittelunessatz (fer-mYt'-t^l-
oon?ks-zats), G, Episode.
▼errilTon (v«r-e-y6A), F, Mouth-har-
monica.
Verschiebnng (f^r-she'-boongk), (7.
"Shift." soft pedal. ohneV. Without
soft pedal. snitV. With soft pedal
298
THE MUSICAL GUIDE
▼erschwindend (Kr-shvYn'^^nt}, G,
Dying away.
▼erse. i. Portion of an anthem or ser-
vice to be sung by a soloist to each
part, and not by the full chorus;
hence Verse-anthem, and Verte-
serrice for solo voices. 2. Line. 3.
Stanza.
▼erset' (in F. v^r-si), Tersetto (v*r-
s«t'-t5). /.. Versette (f«r.s«t'.t«),
G. I. Short piece for the or-
gan. 2. Versicle. Tersetzen (fdr-
z€t'-sdn), G, To transpose. vei>
set'sungf (zoongk). Transposition.
Vertet'-zuiis^szeichen (tst'-kh^n).
The sharp, flat, and natural.
▼er'sicle, E., Vertikel (f^r'-slk-^l), G.
A short phrase or line, combining
with the response to form one sen-
tence.
▼ersila're, Z. To sing antiphonally.
▼erso (v«r'-s6), /. i. Verse. 2. Air.
Verspjitttng (f€r-shpa'-toongk), G,
Retardation.
▼ersUrkt (f«r-sht*rkt'), G. Sforzando.
▼erstimmt (f«r-shtlmt ), G i. Out of
tunc. 2. Depressed.
▼er'tatur, ▼cr'te, /,. Turn over. ▼.
subito. Turn quickly.
▼er'tical. Of piano-strings, in one
plane ; opposed to overstrung.
▼ertdnen (f*r-ta'.ndn), G. To die
away.
▼erre (viJrv), F, Spirit, energy.
▼erwandt (f^r-vant^. G, Related, rel-
ative. V.-schaft (shSft). Relation-
ship.
Verwechseluns: (f^r-v^kh'-s^l-oongk),
G, Change, mutation, of key, etc.
▼erweilend (f«r-vi'-l«nt), G, Retard-
ing.
Verwerfung (f5r-v«rf'-oongk), (7.
Transposing.
▼er2i(c)rt (fdr-tscrt), G. Embellished.
Verzi(e)rung (tse'-roongk). Orna-
ment. Versdgenins: (f£r-ts&kh'-£-
roongk), (7. Retardation.
▼erzweiflungSToll (f^r-tsvl'-floongs-
f61), (7. Full of despair.
Vesper (f^s'-p*r), G., vespero (v^'-
p^ro), ▼espro (vis -pro), /., yes'-
per«, Z. Vespers. Vide HORiC.
▼esperti'ni psal'mi, /., pL Evening
psalms.
▼e2soso(vM-zo -s5), /..Teszosamen'-
te, /. GracefulGy)t tendcr(ly).
▼i. Abbr. for violini.
▼ibrante (vc-brSn'-t*). /. Vibrating,
quivering.
vibrato (vc-bri'-to). /. i. Vibrating,
resonant. 2. A strongly tremulous
tone of distinct vibrations.
▼ibra'tion (in F, v€-bras-y66). The
regular oscillation of an elastic body,
as a string, sounding-board, etc.,
contributing rapid periodic changes in
the density of the air, which conveys
the motion in sound-waves to the ear
(without the air the vibrations are not
conveyed to the air as sound ; in a
vacuum, a bell, for example, is not
audible). The strength of the tope
varies according to the ampHtudt or
breadth of vibrations (travelling-dis-
tance of the elastic lx>dy back and
forth) ; the pitch of the tone varies
directly with the rapidity of the vi-
brations. The vibration-numbers of
sounds varv in inverse ratio with the
length of their sound-wave. A single
vibration is from the point of rest to
one extreme of motion, but is often
calculated from one extreme to the
opposite. A double vibration is meas-
ured from one extreme to the oppo-
site and back again, sympathetic
▼. is that which is set up in an object
(as a string, tuning-fork or even a
plate) when the tone to which it vi-
brates naturally is sounded by some
other instrument. Thus press the
loud pedal of a piano, to remove the
dampers, and sing or play on a violin
any note. This note will be heard at
once sounding on the piano-string.
Furthermore, its partials will be simi-
larly heard.
▼ic'ar-choraU Lay vicar of a cathe>
dral choir.
▼icenda (ve-ch£n'-da), /. Change,
▼icendevole (di'vd-l«). Vacillating.
Victims pas'chaU Un'des, L,
** Praise the paschal offering.** Vide
SEQUENCE.
DICTIONARY OF TERMS 299
▼i'de, Ti'di, Z. See. vi- is often put
at the beginnios: of a passage to be
cat. and -de at the end.
Tide (vcd). /^ *' Empty"; open, of
strings, as corde k ▼. opp. to corde
k loner, a string to be stopped.
Vidcl (fc'-d«l). a Fiddle.
▼iel (fel), G, Much, many, ▼.-chdri^
(lu^rtkh). For several choruses. ▼,-
lacber (fikh-^r). Polymorphous.
▼.-stimmigf (shtYm-mIkh). Poly-
phonic.
TiM(l)e (vl-«l). F., viella (vI-«l'.Hl), /.
I. Hurdyguidy. 2. Old viol. Tiel-
lenr (vl^l-lfir). F, Player of the viol.
▼ier (fcr). G. Four. V.-achteltakt.
4-9 time. T.-doppelt. Quadruple.
T.-fitch (fir'.fakh). With four ranks
of pipes, etc. T.-fttssijg (fer'-fOs-
sTkb). Four-foot (of pipes). V.-
gesjinr. 4-part song, ▼.-s^tri-
chene Note. 32d note, ▼.-g^et-
trichene Oktave. Four-marked.
Vide PITCH. T.-hlindifi: (h^n-dlkh).
For four hands. V.-klkngf (fer'-
Idlng). Chord of four tones; a
seventh chord. T.-miistigf (fdr-m^
iXkh). Containing four measured.
▼.-saitir. Four-stringed, ▼.-stim-
mg. In four-parts. V.-ttttck.
Quartet. Tierte (fcr'-t«). Fourth.
▼lertel or viertelnote. Quarter
note. Viertelpaute. Quarter rest.
Viertelton. Quarter note. Viemnd-
•echzigstel (fer-oont-z^khs'-Ykh-
sht^l). 64th note. VlerHertel-
takt (fer-fer'-t^l-t&kt). 4.4 time.
▼i€rxehii(fer'-tsan). Fourteen, vier-
xehnte. Fourteenth. Vierzweitel-
tact (f€r-zvT'-t€l-tftkt). 4-2 time.
▼ieUtto (v«-£-ti'-t6), /. Forbidden.
vif (v€0. ^- Brisk, quick.
vigoroso (ve-g5-ro'-so), TiroroMt*
men'te, /. Bold(ly).
Tinela (v8-goo-a'-U), Tihuela (ve-
hoo-a'-li), ^. A primitive guitar.
▼illageois (ve-UUzhwi), wi>oiut
(zhwiz), F, Rustic.
viUancico (vil.vin'-th€-kd), ▼iUando
(vel-ySn'-thl-S). .5^. i. A church
festival anthem. 2. A beginning
and coding with chorus.
▼illaneUa (vel-li-n^l'-m), /., TiUanelle
(vc-ya-n«l). F. " Village song," 15th
cent. Italian folk-song of rustic tone
and artless grace.
Tillanetco (n£s'.ko), ▼illareccio (vel-
U-r^t'-cho), /. Rustic.
Tillot'tOy /. Secular song ; cf. villa-
NELLA.
▼i'na. Ancient fretted 7-stringed Hin-
du instr. with body of bamboo, and
two gourds for resonance.
▼inata (ve-nii'-t&), /. A vintage-song.
Tinet'ta. Little vinata.
▼i'ol^ Tiola (v«.6'-la), /., Tide (in F.
ve -61 ; in G. fc-6'-l*). i. The Tiola
in modem usage is the tenor or alto
violin, a little larger in size than the
normal violin, and tuned a fifth lower
c-g-d'-a'. It is written on the C
clef (except high notes, which are
written in the G clef). Its tone is
more sombre (very richlv melancholy
and elegiac indeed), and its harmon-
ics are more limited. 2. The proto-
type of the violin. A fretted bow-
instr. with 6 strings (sometimes 5 to
8) ; flat and tapering back ; belly usu-
ally flat ; sound-holes circular ; bridge
low to facilitate chords; tuned in
fourths with one midway third. In 4
sizes ireAU {alto), alto (alt or tenore)^
bass (bassa)^ contrabass (viohne).
The bast-Tiol still persists in Eng-
land. T. dibardone (bftr-d5'-n<), /. A
barvtone viol, of the size of the *cello,
with 6 or 7 gut strings, and a num-
ber of wire resonance strings lying
along the belly and tuned diatom-
cally. T. tastarda (b&s*tir -da), /.
*' Bastard viol." Large viol da gam-
ba. T. da bracdo (d& br&t'-cho).
** Arm-viol" as opposed to T. da
ramba, " Leg-viol." t. da spalla.
Shoulder-viol," a larger arm-viol.
Tiola d'amore (dii-md'-r«), /., Tiole
d'amonr (da-moor), F. i. Richly
beautiful, but obsolete instr., larger
than the viola, furnished with frets
and more strings, some above, and
some below the finger-board. 2. A
stop. T. pic' cola or marina (mi*
re'-ni). An instr. resembling the ▼•
300
THE MUSICAL GUIDE
d'amore. ▼. pompota (p6m-p5'-si).
A \airgt viol of the compass of the
'cello, but with a fifth string. Inv.
by J. S. Bach. • viol da eamba (d£
S^'4>&).Tioldi(dg)gamba. "Leg-
viol." A small obsolete violoncello,
with frets, and five or six strings.
Tiola alUu An enlarged viola inv.
by Hermann Ritter of Wismar, Ger-
many, 1877.
Tiolento (ve-^l^n-to), Tiolentemen-
tc (l«n-t«.m«n'-t«),^/. Violently, vio-
lenxa (l£n -tsli). Fury.
▼i'oUn\ £., VioUnc (fe-6-le'.n«), (7.,
▼iolino (ve-d-le'-no), /., Tiolon (vc-
6-16n). /*. I. "SmaUviol." A uni-
versally popular 4-stringed bow-instr.
Develop^ possibly from the Viol, it
has also b^sn traced to the Ura da
h'occio ; it passed through many
changes from about 1480-1530, when
it assumed a shape little varied since.
Though the name usually applies to
one size, it may also be stretched to
include the whole string quartet
(which is the harmonic basis of the
modem orchestra) : the violin (or
treble), the tenor violin or viola, the
violoncello and the double bass. The
violin proper has four g^t string
with the accordattu^, g-d'-a'-e'.
Its tone is capable of great variety,
sentiment and brilliance, its range ex-
tending from g to the highest note in
the orchestra, e"". It is rich in har-
monics, but its resources in chords
are limited and must be handled with
great care for the finp^ring.
Instrs. of the violin family consist
of a curved body, or resonance-box^
whose upper surface or belly is joined
to a vaulted back by ribs ; the body
is curved in at the waist^ the incurving
being accented by bouts^ whose cor-
ners are braced with triangular
blocks; the belly (on which the bridgt
rests between slits called sound-holes,
or from their shape /-A<?^j) is braced
with a thin strip (under the G string)
called the bass-bar. A round prop
or soundpost beneath the treble foot
of the bridge connects the back and
the bellv. The finger-board is on the
neck, wnich terminates in a kead orna-
mented with a scroll aivA containing a
peg-box, in which are four movable
pegs from each of which a string
passes across a ridge called the nut,
along the finger-bc^rd and over the
bridge to the flat tail-piece which is
fastened by a loop of gut to a button
in the lower end of the body^. 2. A
2, 4, and 8 ft. stop. VioUnbo^^
(fe-o-len'-bd-kh«n}, G, A vln.-bow.
Violin-clef^ Violinschlttssel or
-zeichen, G, The G clef. Tioii-
nier (Un-Y-a), Tioliiiiste ^nest), F,,
▼iolinista (nes'-t&), /., Violinapie-
ler, G. A violin-player, ▼iouno
alto, /. A small tenor viol. Tio-
lino picdolo (pYt'-cho-ld), pic'colo,
pochetto (k£t'-td), /. A small vin.
tuned a fifth higher. ▼• pompo'so,
/. A viola with an additional higher
string. Tiolin-priocipal. A 4, or 8
ft. stop. Violinsaite. Violin-string.
VioUntteg (stakh). Violin-brid^.
Violinstimme. Violin-part. Vio*
lin-tenor. A vln. of low tone, vio*
' Ion de fer (dtt f£r). Iron fiddle, vio-
linata. A piece for violin, or in
violin style, violinzo'li. 8-ft. stop
on the swell.
Violon (f e-d-Idn'), (7. The double-bass.
▼ioUer (ve-61.ya), TioUtte Ocst'). F.
Viola-player.
▼iolonar(v£-d-l5-n&r'), ^. Double-bass,
▼iolonaro (nSr'-d). Octo-bass.
Violoncell (fe-5-ldn-ts«r), G„ ▼iolon-
celle (ve-6-16A-s£l), /*., Tioloncello
(ve-6-l6n-ch*l'-16), /. *'Uttle vio-
lone." Commonly abbr. *cello. Large
4-strineed instr. of vln. -family (vide
VIOLIN) held between the knees and
resting on a standard ox peg. It is
tuned an octave below the viola, C,
G, d, a. Its music b written chiefly
in the C clef, save high notes in the G
clef, and low in the F clef (formeriy
it was all written in the G clef, an oc-
tave higher than it sounded). Chords
and harmonics are little used, except
in solos. The 'cello is one of the
most important of orchestral instrs.*
DICTIONARY OF TERMS 301
and one of the most expressive, espe-
cially of the graYer or more yearning
emotions, its gayety being rather sar-
donic.
fiolone (ve-d-ld'-n^), Tiolono (lo'-no),
/. "Large viol." i. Double-bass.
2. Pedal-stop.
Tiolot'ta. A large viola devised by
Stelzner, Dresden, 1895, and toned G,
d. a, e'.
▼ir'elay. Vaudeville (also from the
town of Vauz de Vire).
fir'gil, L. A neume.
Virgil practice-clavier. A mechan-
ical piano inv. by A. K. Virgil, 1883,
for practice-purposes, the heaviness
of touch being adjustable in 6 grada-
tions ; a click answering the depression
of a key» and another click its release.
Tir'gina^s). A small spmet-like instr.
pc^ular in the time of Queen Eliza-
beth, and placed upon a table.
Virtnos (fer-too-6z ), (7., Tirtnoso
(vcr-too-o'-so), /., virtuose (v!r-ta-
oz). F, A performer of marked skill.
VirtQositlit (o-zt-tat), G, Virtuos-
ity. Remarkable execution.
vii-iUTis (ve-za-vc). F. "Face ta
face.** A large double piano with 2
opposite key-boards.
vitta (ves'-tS), /. Sight, a prima ▼.
At (first) sight.
▼isto (ves'-to). vito (vc'-to), ▼i(8)ta-
mcn'tc^ /. Swift(ly).
▼ite (vet), vitement (vet-man), F,
Quickfly).
Vitesse (ve-t«s), F, Swiftness.
vivace (vc-vi'-ch^. /. Lively, faster
than AUegro, Tivacemen'te. Brisk*
bf. quickly. Tivacet'to (ch«t'-t6).
Rather lively, vivacezza (chM'-
za). Tivaciti (ve-va-ch!-tfi'). Vivac-
ity, vivacis'simo. Very fast, vi-
vamen'te. Briskly.
Vive (vev), F. Brisk, quick.
viven'diim, ad. Z. "To live" i. e., for
permanence. Written, as opposed to
improvised, counterpoint.
vivente (ve-v«n'-t<), vivido (ve'-vl-d6),
vivo (ve'-v6), /. Animated, vivexza
(▼€-vCd'-z5). Liveliness.
via. Abbr. for viola.
vo'cal, vocale (v5-ka'-W in /./ in F, v6-
k&r), voca'lis, L. Relating or ap-
propriate to the human voice, vocal
chords. The two membranes in the
larynx whose tensity is regulated at
will to produce desired pitches. Vide
GLOTTIS, rima vocalis. The open-
ing between the vocal chords.
vociueszo (vd-kS-lM'-z5), /. A vocal
exercise.
voca'lion. Vide reed-organ.
vocali'ses (in F, v6-kfi-lcz'). Solfeg-
gio exercises for the voice.
vocaliser (v6-kai-!-za), F.^ vocali^-
«are (vo-ka-lld-za'-rd). /., vo'calize,
E, To practise exercises for the
voice without words.
vocalisation (in F, vo-kft-l«-zlls-y66).
I. The practice of exercises for the
voice. 2. Display of vocal agility.
vocalizzo (hd'-z6, pi. -i), /. Vocal ex-
ercise.
voce (v6'-ch^, /. Voice. coUa v.
" With the voice,** i. e., adopting the
tempo of the solo part. v. an-
gelica (in-ja-ll-ka). "Angel voice.**
Delicate reed-stop. v. di bianca
(de bl-an'-ka), /. "White voice.**
Applied to pale and colourless tones,
such as the voices of young women,
children and poorly trained adults.
V. di ca'mera. A small voice for
the chamber, v. di go'la. A guttural,
throaty voice, v. di pet'to. The
chest voice, v. di tes'ta. Head
voice, the falsetto, upper register. V.
granitH (grfi-ne-ta'). A "granite**
or massive voice. mezza voce
(m£d'-za). Half the power of the
voice ; a moderate tone. v. pasto'sa.
A soft, flexible voice, v. principale
(pren-chl-pa'-l€). Principal voice, v,
rauca (ra'-oo-ka). A hoarse, rough
voice. V. so' la. The voice alone, v,
spianata (spe-a-na -ta). Drawn out ;
smooth, sustained voice, v. spiccata
(splk-ka'-ta). A clear, distinct voice :
well articulated, v. umana (oo-ma'-
na). The human voice. Vide vox
HUMANA, vociaccia (v6-cht-at'-cha).
A bad, disagreeable voice, vocina
(vo-che'-na). Thin little voice.
302
THE MUSICAL GUIDE
▼ocet, L., pi. of Tox. ▼. aeqna'les.
Voices of the same kind.
Vorar (fo'-gir), G. Fueara.
Vo^el (fd'-sr^i), G. Bird. V.-fldtt
or pfeife. A bird-whistle. V.-g^e-
sang. ** Singing of birds " ; stop in
old German organs, of small pipes
standing in water, through which the
wind passes ; a merula.
▼o^lia (vdr-ya), /. Ardour.
▼oice. I. The sound produced by the
larynx of human beings or animals.
2. Part (for any instr.), often ▼olce-
part. 3. The tuning and tone of
' oi^n-pipes.
of the human voice, these are the
following divisions : basso^ Unor^
counter-tenor^ contralto or alto^ me%%o-
soprano^ sofrano (Vide each of these
words), bach voice is also divided
into registers (or groups of tones of a
uniform quality) the transition from
one to another register being some-
times distinct enough to be called a
break ; there are usually two breaks
in a male, and three in the female
voice. The registers are chest, head
and falsetto (q. v.).
▼oidns^. The adjustment of the pitch
and quality of a pipe.
▼oiUc (vw«-ia), F, Veiled.
▼oix (vwfi), F. I. Voice(s). 2. Part(s).
▼. ang^Uque (vwS-zift-ji-i£k).
Vox angelica. ▼. Colette (s&-l£st),
F. *' Celestial voice," a stop formed
of two dulcianas, one slightly sharp,
thus giving a vibrato. ▼. de poitrine
(dtt pwi-tren), F. Chest voice. ▼.
de t^te (dat«t). Head voice, fal-
setto voice. ▼. glapissante (gl£-p£-
sftnt). A shrill voice. ▼. gj6ie (vwi
gr*l). A sharp, thin voice. ▼, hu-
maine (Q-m^n). Vox humana.
▼okal (f6-kiir), G. Vocal. V.-stil
(shtcl). Vocal style.
▼olante (vo-lan'.t«), /. "Flying.**
light, swift.
▼data (vo-ia-tft), /., Volate (v6-la -tc).
(7.,volatine(v6.UUtcn). F. '* Flight,"
run, rapid series of notes. Tolatina
(v6-ia-te'-na), /. A little volato.
▼ol^c (vo-U), F, A volata.
Volk (f51k), G. Folk ; of the common
people. V. gesang (fdlk'-gf-z£ng).
V. a-lied (slet). V. ttttckchen (stok'.
kh'n), V.a-^reise. Folk-song or
folk-music, im Volktton' or Volk»>
weite. In folk-tone or style. Tolk*-
t(h)iitnliches (tQm-Ukh-^s). Lied.
Popular folk-song.
▼0ll(f61),(7. I. YviM.mitvolUm iVerk,
Chorcy Orchesier^ with the full organ,
chorus or orchestra. Tdller (f^l'-
l£r). Fuller, louder. ▼oUes Wertc
(fdl'-l«s vftrk). Fullorgn. Vollge-
sang. Chorus. ▼ollgnmg(grif-fkkh).
"Full-handed," with fuU chords,
▼ollkotn'meii. Perfect, complete,
▼ollstimmig. Full-toned, full-voiced.
Vollttimmlgkeit. Fulhicss of tone.
▼olltdnend, G, Sonorous. 2. As a
suffix = full, as gedankenroU.
Thoughtful.
▼oloiit^(vd-ldA.ta), F. WUl, pleasure.
4 ▼• At will.
▼olu'(v61'.ti), /. I. Time. 2. A kind
of galliard. prima ▼. (pr€'-mft).
First time, una ▼. One. doe volte.
Twice.
▼oltare (v61-ti'-r«), /. To ttim, to
turn over.
▼olte (vdl'-t«, /./ in F. v61t). i. An ob-
solete bounding dance in 3-4 time
resembling the galliard. 2. PI. of
VOLTA
▼olteg^ando (v51-t«d.jin'-d5), /.
Crossing the hands. Tolteggiare.
To cross hands.
▼olti (vdl'-i*), /. Turn over. ▼. n-
bitc. Turn quickly.
▼olnbUiU (v6-loo-bc-lI-U'). /. Vol-
ubility, ▼olabilmen'te. Fhiently.
▼orume. Quality of tone.
▼ornntary. i. An introductory oigmn-
piece often extemporaneous. 2. An
introductory anthem. 3. A species
of toccata in two or three movements.
▼olvera la misma candon (v51-vir
i li mes'-mi kan'-th!-6n), Sf, To
return to the same (original) air.
▼om (fdm), (7. = wm tUm, From
the. ▼om Anfang. From the begin-
ning, vom Blatte (bUt'-t«). "From
the page," i. e., at first sight.
DICTIONARY OF TERMS 303
fOQ (fdn), G. By, of. from, on.
tor (fdr), G, Before, pre-.
Vonmnahme (fdr-ows'-ni-m£), Vor-
creifniis^ (f6r-gn'-foongk), Vorfiriff
(iSr'-flrrtO, G. Anticipation. Vor-
bereituni(f6r'-b«.rt-toongk). Prep-
aration. Vorberei'tiiiii^niiterricht
(oon'-tj^r-ilkht). Preparatory instruc-
tion.
Voc'dertats (zits), G. First sul>.
)CCt.
Vor'jrdger (gl-khdr). G, First violin,
leader.
Vorhalt (fdr'-hilt). (7. i. Suspension.
Vorbaltsldtniiff (li-zoongk). Its
resolution. 3. Syncopation.
forfaer (fdr-hir), G. Before, tempo
wie Torher, (7. The time as be-
fore.
forij(fo-rirkh), (7. Former, preceding,
voriges Zeitmass. In the original
tempo.
Vortang (fdr'.z&ig). G, Act of begin-
ning a song. Vorsiiiiger (f or'-z£ng-
<r). Precentor.
Vorschl«g:(fdr'-shlikh). Accentuated,
appoggiatura.
VorseUzei'chen, G, Chromatic sign.
Vorspiel (fdr'-shpel). G. Prelude ; over-
ture. Vor' spieler (shpe-l^r). Lead-
er, principal performer. VortHn-
ser. Chief dancer. Vorsteller.
P^ormer.
Vortrag (fdr'-trftkh), G. Execution,
interpretation. Vortntg^bezeich-
nnng (bd-tsikh-noongk). Expression
mark, ▼ortragsstlck. Concert-
piece.
Ww&rtt (fdr'-varts). G. *• Forward,'*
i. e., faster.
Vorseichntiiig (t^h'-noongk). i. Sig^
nature. 2. Outline of a composi-
tion.
▼©x(v6x), Z.. Voice. ▼• aca'ta. i.
A shrill voice. 2. In ancient music,
the highest note in the bisdiapason.
▼. angelica, L, ** Angelic voice," a
4-foot stop of sweet tone, also ▼.
▼irrin'ea. *' Girlbh voice.** ▼. ante-
ce'dens. The antecedent. ▼. con -
■eqnent. The consequent. ▼. rrav'-
It. Low voice. ▼• hnina'na. ** Human
voice,** 8-foot reed-stop usually with
tremulous effect. ▼. retn'ta. 8-foot
stop. Plural To'ces. ▼. aequales.
Voices of the same kind, as male
voices. ▼. areti'niaft. Aretinian syl-
lables. ▼. belgicae. The syllables
of bocedisation.
▼. s. Abbr. of Volti subito.
▼ne (vd), F. Sight, h, premier ▼.
(& pri&m-yi vU). At first sight.
▼nleans (tibia), Z. A flute-stop.
▼Hide (vwcd), F. Open (of a string).
▼noto (voo-6'-t6), /. I. Open (of a
string). 2. Emptv (of a stage).
▼. ▼, Abbr. for violini.
w
Wi. In F, =▼.▼., i.e., Vi.
olins. 2. Vide the let-
ter i.
Wachtcl (vakht'-«l), G,
••Quail." Atovpipe.
wahnsimiig (van -zIn-nYkh), G. Fran-
tic,
waits, E, I. Hautboys. 2. Players
on the hautboys. 3. Night-watch-
men. 4. Christmas caroUers.
Wald (vilt), G, Forest. Wald-
fldte, G., or -pfeife. Forest-flute.
W.-qainte. A stop. W.-fldten-
quinte. A stop a fifth higher.
Waldhom (vSlt'-hdm), G, ** Forest-
horn'*; a winding -horn. (Vide
HORN.)
walnika (v&l-ne'-kd). Russian bag-
pipe.
wals (wals), Dutch. A waltz.
waltz, E., Walzer (vil'-ts^r), G. i.
A popular modem round dance in 3-4
time, perhaps of Bohemian origin.
The speed and rhythm vary, the
LUndler, or German, being slow;
the Vienna, or Schleif-wa&er be-
ing quicker; the Zweitritt, deuz-
temps, or two-step, having but
two steps to the measure. 2. A con-
cert-piece in triple time, usually brill-'
iant.
ilynka (va-len'-kS). Russian bag-
pipe.
304
THE MUSICAL GUIDE
Walze (vai'.ts«). G. ** Roller." An
undulatine figuration.
wankend (van'-k^nt), G, Wavering,
hesitating.
war'ble. A bagpipe grace.
Wilrme (v«r'-m«). G, Warmth.
Washington Post. In England a
dance (so called from J. P. Sousa*s
march of that name) in which the
man dances behind the woman.
was'sail. A convivial song.
Wasserorgel (vSs'-ser-6r-kh$l), G,
Hydraulic organ.
waste-pallet. Vide valve.
water music. Handers name for cer-
tain airs, performed on the water, for
the King.
water-organ. Hydraulic organ.
wayehtes. Old E, Waits.
Wener chronom'eter. Metronome,
inv. by Weber. A cord divided into
five inch-spaces, with a weight at the
lower end. Abbr. Web. Chron.
Wechsel (v«kh'-s€l), G. Change. W.-
dior (kor). Alternate choir. W.-
gesang. Antiphonal song. W.-
note (no -t€). Changing note.
Wehmuth (va'-moot), G. Sadness.
wehmiithig (va'-mtt-tlkh). Sad, sor-
rowful.
Weiberstimme (v!'-b^r-shtYm'-mQ, G,
A female voice.
weich (vikh), (7. i. Soft. 2. Minor.
weight of wind. Vide inch.
Weihnachtslied (vl'-nakhts-let), G,
Christmas hymn.
weinend (vi'-n5nt), G, Weeping.
Weise (vl'-z€), G. i. Melody. 2.
Manner ; as a suffix= -wise.
weisse Note (vis'-s€ n6'-t€), G,
** White" note ; half or whole note.
weit (vit), G. Dispersed, open (of har-
mony).
Welle (vei'.l«), G, Roller of an organ.
Wellatur (toor). Roller-system.
Wel'lenbrett. Roller-board.
well-tempered. In equal tempera-
ment, as in Bach's " Well-tempered
- Clavichord,'* a series of clavichord
pieces ranging through all the
kevs. Vide temperament.
Welsh-harp. Vide harp.
weltlich (v^lt'-lYkh), G. Secular
wenig(va-nlkh), (7. Littk. ein
nig. A little, rather.
Werk (v^rk), G, i. Work. 2. Move-
ment. 3. Action. Vide haupt-
WERK and OBERWERK. 4. A stop.
5. The set of stops belonging to one
key-board.
Wert(h) (v«rt). G, Value, duration.
wesentlich (vi'-z^nt-llkh), G. Essen-
tial, wesentliche Dissonanz. A
dissonant chord-tone, opposed to
(xissing-note. wesentliche Sep-
time. Dominant seventh.
Wetter-harfe (vet'-t«r-har.f«), G,
** Weather-harp.*' i^olian harp.
Wettgesang (v«t'-g«-z£ng), (?. A
singing-match.
wheel. Refrain, burden.
whiffler. A fifer.
whipping bow. A swift and violent
violin attack.
whistle. A small, shrill wind-instr.
blown at the end, like an old English
flute.
whole note, rest, shift, step, tone,
etc. Vide the nouns.
wie (v€), G, As. wie ans der Fer-
ne. As from a distance, ^e oben.
Again as above, wie Torher (for-
har). As before.
wieder (ve'-d«r), G, Agahi. W.-
gabe (gS'-bd). Perfonnancc. W.-
hersteriunfirszeichen (tsf-khte).
The naturalsign (Q). w.-an&ngen.
To begin again. W.-holnnjr (ha.
loongk). Repetition. w. - hol-
* ungszeichen. Sign of repetition.
W. - klang (klang), W. - schall
(shal). Echo.
Wiegenlled (ve'-g«n-let), G. Cradle-
song.
wild (velt), G, Wild.
wind (wind). To blow, as a horn.
Wind (in G. vYnt). Air. "w. band. i.
A band of wind-instrs. 2. The instrs.
or the music for them, n^indch^t.
Vide ORGAN, w. instruments. A
general name for all instrs. whose
tone is produced by the breath or by
bellows, windtnink. A passage
conveying air from the bellows to
DICTIONARY OF TERMS 305
the wiod-chest Windmesser (m^
s^), G., windnage. Vide inch.
W.-harfe, G. Jlloliao harp. Wind-
lade (li-dC), G. Wind-chest. Vide
oiGAN. Windstock (shtok), C7.
Cover of organ-pipes, windsnng^
(tsoong-£)« G, Tongue of a pipe.
W.-harmo'nika, G. ^olodion.
winselig (vln'-z^-llkh), (7. Plaintive.
Winselstimme. Plaintive voice.
Wirbcl (ver'-Ml). G. i. Peg (of a
violin). Wirbelkasten. Peg-box.
2. Stopper of a pipe. 3. Drumstick.
4. Roll (on a drum). ' Wirbeltaiui
(tints). A whirling dance.
wogend (v5'-g«nt), G. Waving.
woEl (v5l), G, Well. Wohlklang:
(vol'-kling). Wohllant (lowt). Har-
mony. wohlldingend. Harmonious.
womtemperi(e)rt (v61-t€m-p*-rert'),
G, • • WeU-tempered " (q. v.).
Wolf (in G. vdlf). I. The disagree-
able snarling of two pipes not quite in
perfect tune. 2. Vide temperament.
3. In bow-instr. the roughness of cer-
tain tones due to faulty workmanship.
4. Vide ORGELWOLF. 5. The 12th
and most troublesome of the circle of
fifths. Vide temperament.
wood-wind. i. The whole group of
wooden instrs. in the orchestra. 2.
Organ-stops of wood.
workin|g-ont. Development. Vide
FORM.
Wortkkuig (vdrt'-klSng), <7. Accent,
tone.
wrest. A tuning-hammer, wrest*
pins. In a piano movable pins round
which one end of the string is wound ;
by turning this the instr. is tuned.
wrestplank. A plank of several
layers of wood in which the wrestpins
are driven,
wristguide. Vide chiroplast.
wuchtig (vookh'-ttkh). Weighty, em-
W)hatic
firdc '(vttr'-d«), G, Dignity, wflf^
dcToU, wflrdig: (vttr'-dlkh). Digni-
fied.
Wiit(h) (voot), G, Madness, wttthend
(vttU«nt), wflthiff (ttkh). Fun-
COS.
XiENORPHIKA (ksan'-6r-fV-
kil), G. A piano- violin vdth
a bow to each string, inv. by
ROllig, 1797 ; he also inv.
the somewhat similar orphika,
xylharmo'nica or -con, Gr, Utro*s
improvement in 18 10 upon his xylo*
siston, inv. 1807 ; a euphonion with
wooden, instead of glass, rods.
Xylorganon (ksel-or'-gi-non), Gr,
Xylophone.
xylophone (zYl'-d-fdn). A graduated
series of bars of wood upon bands of
straw or cord, played with wooden
mallets, compass 2 octaves.
YABAL (yft'-bai), Heb. Trum-
pet blast.
yang kin. A Chinese dulcimer
with brass strings.
yo. Indian flute.
yo'del, yod'ler. Vide jodel, jodler.
yue km. Chinese guitar.
ZA (zii). Formerly applied by the
French to B^ to distinguish
it from ^tj or Si,
zahlen (tsi'-l^n), G, To count.
zahle. *' Count!** Zahlzeit (tsit).
A count.
saleo (thIUU'-o), Sp, Vide jaleo.
samporna (ts^m-pon'-y&), zampo^^
(poon-ya), /. i. Ancient bagptpe.
2. A shawm. Vide cornamusa and
CHALUMEAU. zampog^nare (pon-
y£'-r£). To play the pipes, zampo-
enato're. A piper, zampognet'-
ta or -ina (p5n-ye'-nii). A small
bagpipe.
sa'ner. Egyptian bassoon.
sanze. Vide ambira.
zapateado (thi-pS-ti'-S-dhd), Sp, A
dance whose rhythm is emphasised by
stamping the heel.
3o6
THE MUSICAL GUIDE
Zapfenstreich (ts&'.pf^n-stnkh), G.
The tattoo.
zarabanda (thii-rd.biln'.dh&). Sp, Sa-
raband.
zarameria (ts&-r£-), /. Rustic double-
reed pipe with bell-mouth.
Zargen (tsiir'-kh<n), G.y pi. Sides of
violin, etc.
zart (tsart), C, zUrtlich (tsart-likh).
Tender, delicate, mit zarten Stim-
men, with delicate stops. Zartfldte.
A very soft 4-foot flute-stop.
zarzueia (thar-thoo-a -lii), Sf. A 2-act
drama with music, somethmg like the
vaudeville ; originating in the 17th
century at the roval castle Zarzueia.
Zauber (tsow'-b«r), G, Magic. Z.-
lied (let). Magic song.
zeffiro'so (ts^O* -^ Zephyr-like.
ztfhn (tsan), G, Ten. Zehnte (tsan'-
te). Tenth.
Zeichen (tsl'-kh^n), G. Sign(s).
Zcit (tsit), G. Time. Z.-mass (tslt'-
mas), G. Tempo. Zeitmes'ser.
Metronome. Z.-werth. Time value.
zfelc (z«l), /*., zclo (tsa'-l6), /. Zeal,
ardour, zelo'so, zelotamen'te.
Zealous(ly).
zengf ^ts^ng). Persian cymbals.
Zcrglicdening (ts^r-glet'-^r-oongk), (7.
Dissection, or analysis of a subject.
zerstreat (ts^r-stroit ), G. Dispersed.
ze'ze. An African guitar.
Ziehharmo'nica (tse), G. The ac-
cordion.
ziemlich (tsem'-likh), G. Rather ; mod-
erately.
Zierathen (tse-r£'-t£n), (7., pi. Orna-
ments.
zierlich (tser-lYkh), G. Neat, graceful.
Zififcr (tslf'.f^r), G. Figure, Arabic
numeral.
zigranka (cht-gSn'-kal), Russian. Coun-
try-dance.
Ziflreuncrartig (tse-goin'-fir-ir-tlkh), G.
In gypsy style. Z.-musik (moo-
zek'). Gipsy music.
zikrs. Dances of Egyptian dervishes.
zillo (tstl'-lo). /. Chirp, chirping.
zimbalon. Vide czimbalon.
Zimbel (tsem'-b^l), G. Cymbal. Z.-
stern. A star hung with small bells
in front of an organ and souoded by a
current of air.
zingana (chen-gft'-na). Bohemian song.
zin^^ese (tsen-^i-ra'-z5), /. Gipsy,
zm^^esca (rfe -k^). In the style of
gipies. zingaro (tsen'-gi-rd). Gipsy.
Zinke (tslnk-*), pi. -en, G. Cometto,
ancient or modem. ZinkbUlser
(ts!nk'-bla-zdr), G. Comet-player.
zith'er (in G. tsTt'-dr). i. The modem (or
Schlagzither) is a flat, shallow res-
onance-box without a neck, with
about thirty-six strings of various ma-
terial— ^wire and gut — some overspun.
Under some of the strings at one side
lies a fretted finger-board ; on these
the melody is stopped out with the
left hand. These strings, tuned a',
a', d', g, c, are plucked with a plec-
tram attached to the right thumb;
the rest of the strings are tuned in
fourths, and plucked with the other
fingers of the right hand. It is made
usually in 3 sizes, the Treble or Prim
(prem) -z ; the concert ; and eles^e
(«l-e.jc') (or Alt or Lieder) -z, which
is tuned a fourth lower. 2. txrw-
zither or Strich- zither (strTkh),
G. Was orieinally heart-shaped, but
the philomMe now resembles a more
pointed viola with shallow bouts (the
▼iola-zither having a still closer re-
semblance). The bow-z. has a peg
in the head, which is rested upon a
table, the body being held in the lap.
It has four metal strings, g, d, a', e '.
3. A cither. 4. An old German instr.
with a sound-box, a neck, a fretted
finger-board, and eight or more strings
tuned in unison two and two and
plucked with a quilL Z.-harfe. A
form of keyed auto-harp. Zither-
spieler (shpe'-l€r), Zitherschl&jrer
(shla-kh«r), G. Guitar-player. xit-
tera (tsTt'-t*-ra), /. Zither.
zitternd (tstt'.t*mt), C Trembling.
zittino (tsTt-te'-no), /. Silence.
zdgemd (tsa'-g^mt), G, Retarding.
zoltii (ts61-fa ), /. Vide solfa.
zoppa (ts6p'-pS), or -o, 7. Lame, limp-
ing, alia z. Syncopated ; used also
of a jerky Magyar rhythm.
DICTIONARY OF TERMS 307
soniig (t86r'-iilkh), G. Angry.
xonlon (zoo-loo), F, *' Zulu. A pia-
nette.
zonr'na. Oriental oboe.
za (tsoo), G. To, at, by, in, unto.
Zo&lUg (tsoo'-f«l-lTkh). G. Accidental
(sharp, flat, or natural).
Slifolo(tsoo'-f5-ld), /. Flageolet, small
bird.flute. siifolone (lo-nd). A
large whistle.
Zng (tsookh), pi. Zflflre (tstt'-khd). i.
Draw-stop or register. 2. Slide.
Zogtrompete (tr6m-pa'-te), G.
Slide-trumpet ; the trombone. Zn^-
wcrke(v$r'-k^). Tracker-mechanism.
Zflge^dckchen (gl^k-kh^n), G. The
passmg bell ; a knell.
Znklaiur (tsoo'-kl&ng), G. Concord.
Zokimirsmusik (tsoo-koonfts'-moo-
zck'), G. "Music of the future." A
term applied satirically to Wagner's
work by L. F. C. Bischoff, 1850 ; but
later adopted as a watchword by the
Wagnerians.
sum (tsoom), G. = su dem. To the.
zamma'rah. An Egyptian reed instr.
like a bassoon.
zimehmend (tsoo-na-m£nt), G. In-
creasing.
Znnge (tsoong'-^. (7. i. Tongue.
Dop'pelznnge. Vide tonguing.
2. 2.-pfeife. Reed-pipe. Z.-blatt.
Clarinet reed. Z.-stimme. Reed-
stop. Z.-werk. The reed-stops
collectively, anf- (or durch-) schlag^-
ende Z. Beating (or free) reed.
zsr'iia. Turkish oboe.
xnrftck (tsoo-rak'), G, Back, z.-g^e-
hend (g&'-^nt), G, Returning to the
original tempo, z.-halten. To re-
tard, z.-haltend. Reurding. Z.-
lialtiiiig (hlU-toongk). Retardation.
z.-t5neii (ta-nen) or z.-treiben (tri-
Nfn). To reverberate. Z.-tchlag.
Vide RIBATTUTA.
znsanunen (tsoo-zim'-m^n), G. To-
gether. z.-g;e8etzt. Combined,
compound (of time). Z.-klang, Z.-
lant (lowt). Harmony. Z.-scnlag.
Vide AcciAccATURA. z.-streichen.
To slur. Z.-streichuns^ (strl-
Uioongk). Slurring.
ztttratilich (tsoo-trow'-likh), G. Con
fident(ly).
Zuversicht (tsoo'-f^r-ztkht), G. Con
fidence.
zwanzis: (tsvin'-tslkh), G. Twenty
Zwanzirste (tsv&n' - tsikh - std)
Twentieth.
zwei (tsvl), G. Two, z.-chdrig (kha
rtkh). Two-choired. z.-£ach (fSkh)
z.-fiiltig: (fdl-tikh). I. In two ranks
(organ-pipes). 2. Compound (of in
tervals). 3. Double (of counterpoint)
z.-fUssis^. Two-foot. Vide pipe and
PITCH. Z.-gesans:. A duet, z.-
gestrichen. Twice-marked. Vide
PITCH. Z.'glied (elct). Sequence
of two chords. Z.-naloertakt. 2-2
time, z.-h&ndige (h£Dt'-lkh-£). For
two hands. Z.-klang. A chord of
two tones, z.-mal (tsvI-mSl). Twice,
z.-stimmie. For two parts. Z.-
spiel (shpeT). A duet. Zweitc (tsvl'-
t$). Second. Zweitel (-note).
Half-note. Z.-tritt. Vide waltz.
Z.-unddreistigstel (oont-drl-zlkh-
sht^I). 32d note. Z.-viertelnote
(fer'-tei-n6.t«). Half-note. Z.-
▼iertelpause (pow-zd). A half rest.
Z.-vierteltakt. 2-4 time. Z.-
zlUilis:hertakt (tsi-lYkh-dr-takt).
Duple time. Z.-zweiteltakt (tsvT-
tsvl-tdl-takt). 2-2 lime.
zwerchflbte (tsv^rkh-) or pfeife, G.
Transverse flute.
zwischen (tsvlsh'-^n), G. Between.
Z.-akt. Intermezzo. Z.-^esanfl^,
Z.-handlungf, Z.-harmonie, Z.-
satz. The episode (in fugue). Z.-
raum (-rowm). Space between the
lines. Z.-spiel. Interlude. Z.-
stille (shtYl'-ld). Pause. Z.-stim-
me (shttm-md). Middle voice. Z.-
ton. Intermediate tone.
Zwitscherharfe (tsvUsh-«r), (7. Vide
SPITZHARFE
zwdlf (tsvdlO, G. Twelve. Z.-ach-
teltakt (akh-t^l-takt). 12-8 time.
Z.-saiter (zl.t«r). *' I2.stringed "
bissex.
zymbel (tsem'-b^l), (7. Vide cymbal.
zzxjoanw (shaw). Maori, i. Drum.
2. Fife. 3. Conclusion.
ne
tones
of the
Operas
told by Acts, Entrances and Songs; with
the Casts of the Original Creators
BRETHOrEN, LUDfFIG VON. LEONOte (la-o-nd'-rt),
nxArnxXs^ J J' L r L T'tic known as FiDELio, wife
P^elio, Oder die chehck4 Lube (fe- ^j Florestan Frl. Milder.
Fidelio, or Conjugal Love. Maezm.uni (mSr-ts^l -le -ii«).
Two^ict opera. Book by Joseph ^''''^' ^^""Shter Frl. MttUer,
Sonnlcithner and Trcitschke after Bou- a ^.. , c^^«- /-^.,^„owi ^t «.k»
^s jnce ^•Uonore, o« TAmour p A^i,/l,^^!i,„e^^ffi^^ ^^Jt^
pXed in three acts, Vienna. Nov. •"l^lh^ilSinn^^^^
20. 1805. without success. Revised by J^ ^^It ^^'f^^I^^^^wl l^fTr^
Brtnnir^ and produced as -Leo- knocking. Rckco calls him and he goes
nore- b 2 acts Without success. Re- jealdusly mentioning Fidcho who has
vised bv Trcitschke and produced as «n^e»^ Rocco s service and whom Mar-
••FideUi;* Vienna, May 23. 1814. with «Hine loves thinking her to be a man,
saccess. For this work Wthoven com- ir^lS?*^''?,,^^ girl rejoices m hope that
posed four overtures. That called -No. ^^^^l*^ wil marry her (m an ana 'Die
i;' was composed third, in 1807. The Hoflf nung ). Jaqumo enters with Roc-
- Lconorc." ST^No. 3 " was composed f^- mqumng for Fidelio who enters
second in 1806; the - No. 2" was ''^ j"*?^ garb, laden with provisions
written firet. in 1805 ; the " No. 4 " or ^^^.f. * box of letters. Rocco and Mar-
** Fidelio " in 18 id zelline hint of marriage, and Fidelio se-
* ^* cretly expresses her uneasiness. In a
CHARACTERS AND THEIR CREATORS. famous quartet (** Mir ist so wunder-
p, , bar " — in canon-form) their varying feel-
uoM FiwiAH DO, „,,.«». ings find vent. Rocco tells of the
^^^iier WeinkoflF, bar. importance of money to wedded bliss.
Don PitARao (d6n pe-tsiLr'-r5), Fidelio asks to be allowed to help him in
Governor of a State his prison duties, and he consents that
Prison. Meier, bar. she shall have admittance to all but
FtoMfTAH (fldr'-«s-ttn), the dungeon, where a certain wretch
A prisoner Demmer, tenor. has lain two years. The two women
1^^-^ depart on the announcement that Pizar-
rh;lf i^i^ i>..«.k. ^"0 is coming. He enters with a guard.
LHuf jailer, Kothe. ^^^ ^^^^ ^^^ ^^^ ^^ j^^^^ ^^^
J^TOio ^rak-we -no), of them is a secret warning that Don
Turnkey Cache. Fernando is going to make an unan-
Caftaw or nw Guaed Meister. nounced inspection of the prison, having
309
310
THE MUSICAL GUIDE
heard that there are several prisoners
unjustly held. Pizarro plans to put his
old rival, Florestan, out of the way. He
sends an officer to watch from a tower
for Fernando's approach ; then orders
Rocco to kill Florestan. Rocco refuses,
and is ordered by Pizarro to dig the
doomed man's grave, while Pizarro
himself commits the murder. When
they have gone, Fidelio enters ; she has
overheard the plot, and pours out her
horror (in the g^eat aria ' ' AbscheuUch-
cr ! "). Her rage changes to grief, then
to hope in God. When she has gone,
Marzelline and Jaquino enter, quarrel-
ling. Rocco appears, rebukes Jaquino
for hoping to marry his daughter, and
orders him to release the minor prisoners
for their breath of air. The prisoners
rejoice in the sun, and Rocco tells Fi-
delio that she may come and help him
dig the g^ve of the mysterious prisoner
whom Pizarro is going to kill. Fidelio
is overcome with horror at having to dig
her husband's grave. Marzelline and
Jaquino hurry in, saying that Pizarro is
coming in a rage. After them enters
Pizarro, storming at Rocco*s letting the
prisoners out. They are ordered back
to their cells.
Actii.— Scene I. The dungeon. Flor-
estan, chained, bemoans his fate ; he
sees his wife in a vision, but sinks down
exhausted and oblivious of the entrance
of Rocco and Fidelio. She cannot see
the prisoner's face, but believes it is her
husband, and vows to save him in any
case. She g^ves feeble aid to Rocco in
digging the grave, and when Florestan,
waking, calls for drink, she lifts a pitch-
er of wine to his lips and gives him a
crust of bread. Pizarro enters and or-
ders Fidelio away. She does not obey,
but when Pizarro starts to stab Flores-
tan she protects him and declares herself
his wife. She draws a pistol and threat-
ens Pizarro. A trumpet is heard. Ja-
quino enters, announcing the coming of
Don Fernando. Pizarro hurries away,
and Rocco follows him, after pressing
the hands of the reunited lovers, who
join in a rapturous duet (" O Naraen-
lose Freude '*). Rocco returns, saying
that all the prisoners are to have a hear-
ing, and leads them out. Scene 2. The
square before the castle. The Minister
frees the rejoicing prisoners. Rocco
leads in Florestan and Fidelio, for whom
he pleads. Pizarro is sent away in dh-
erace, and all join in praise of the wife*s
hdelity.
BELLINI, riNCENZO.
Nor'ma.
Two-act lyric tragedy. Book by Ro-
mani. Produced in Milan, 1832.
CHARACTERS AND THEIR CREATORS.
POLLIONE,
A Roman Pro-Consul^ Donzelli, tenor.
Flavio (fla -vT-6),
His friend tenor
Oitovito (6r-o-va'-so).
Druid Chief, bass,
Nor MA,
His daughter, a Druidess sopr,
Adalgisa (a-dfil-g^'-zS),
A young priestess sopr,
Clotildi (kl6-ter-d«).
Norma s confidante sopr.
Two children of Norma and PoUione.
Act I. — Scene i. Ni^ht in the Sacred
Druid Forest in Gaul ; m the centre the
Oak of Irminsul. The Druids enter in
religious procession. Oroveso bids them
strike the bell thrice when the moon ap-
pears. They wait for Norma to cut the
sacred branch, and give the signal for
the defeat of the Roman invaders.
When they have mssed on Pollione and
Flavio steal in. Pollione confesses that,
though he has loved Norma, who has
broken all her vows and borne him two
children, he has tired of her. and loves
Adalgisa, a priestess vowed to virginity.
He tells of a dream (*' Meco all' altar
di Venere *') in which Norma blights his
vision of joy with Adalgisa. The sa«
cred shield resounds, calling the Dmids
back, and the two Romans slip away,
Pollione vowing to wipe out their reli-
gion. The Druids welcome Norma,
STORIES OF THE OPERAS 311
who enters with a retinue of priestesses,
but in place of calling them to 6ght the
impioas Romans, she rebukes their
wrath and bids them keep peace (*' Se-
diziose voci *'), saying that Rome will
perish from its own vices. She cuts
the sacred mistletoe, and, kneeUng, calls
on the nK>on*s** chaste goddess" (* 'Casta
diva ") to shed peace upon them. They
demand PoUione's life, and she prom-
ises them revenge, but aside confesses
her love for him (** Ah bello a me ri-
tomo"). When the Druids have left,
Adalgisa appears, dreaming of her love
for Pollione ('* Sgombra ^Ta sacra sel-
va"). In contrition she kneels before
the altar she has forgotten. Pollione,
appearing, reproaches her for praying to
the god (** Va, cnidele **), and begs her
to go to Rome with him (** Dove k
amor'*), and she consents. Scene 2.
Nonna's dwelling. Norma and Clo-
tilde speak of the two children of her
secret and forbidden love. Hearing
someone approach, she has Clotilde
conceal the children. Adalgisa appears
and, prostrating herself, confesses her
nnholy love. Norma grants her forgive-
ness and then asks her lover's name.
Adalgisa points to Pollione, who ap-
pears. Norma, in her rage, has no blame
for Adalgisa. but covers Pollione with
reproaches, and. hearing the temple bell,
leaves him. Adalgisa also repulses him.
Act II. — Scene i. Norma s dwelling.
Her children are asleep on a couch.
She enters with a dagger to kill her
diildren in revenge on Pollione. But a
revulsion of motherly feeling leads her
to embrace them. She sends Clotilde
to bring Adalgisa, who enters and is
asked to take the children to Pollione
(" Deh, con te li prendi ") and become
his wife, while Norma kills herself.
Adalgisa pleads with Norma to seek her
own happiness ("Mira, O Norma **)•
Adalgisa and Norma pledge friendship.
Scene 2. A solitary place where the Gauls
chant of war. Oroveso sajrs that Pol-
lione is to return to Rome and be re-
placed by a still more cruel pro-consul ;
he counsels delay, however, before they
take up arms. Scene 3. Temple and
altar of Irminsul. Norma is hopefully
waiting Adalgisa 's mission begging Pol-
lione to return to the mother of his chil-
dren. Clotilde comes to say Pollione
has refused, and even vows to take
Adalgisa by force from the temple.
Norma, in high frenzy, strikes the shield
of Irminsul three times, and the Druids
and Gallic warriors assemble excitedly.
Norma cries for immediate war on the
Romans ("Guerra, guerra!"). Clo-
tilde runs in to say that a Roman warrior
has been caught in the temple. Pollione
is brought in, and Norma is given the
sword to kill him for his impiety. Her
hand trembles, and she begs all to with-
draw while she questions the culprit.
Alone with Pollione, she tells him his
life is in her power (** In mia mano al-
fino tu sei "). She says Adalgisa will be
burned for breaking her vows. He
kneels and prays that she be spared.
Norma summons the Druids back and
says that one of the priestesses has
broken her vows and must be burned
alive. The Druids demand her name.
Pollione implores mercy, and is dumb-
founded when Norma announces herself
as the guilty one. In a sudden recru-
descence of his old passion he climbs
the funeral pyre with her ("Qual cor
tradisti "). Her last prayer is that her
father protect her children (" Deh, non
volerli ). The Druids throw over her
the black veil, and she and Pollione
look forward to bliss beyond this life.
BELLINI, riNCENZO.
La Sonnambula (U.s6n-n&m'.boo-U).
The Somnambulist.
Two-act opera. Book by Felice
Romani, after a vaudeville by Scribe.
Milan, March 6. 1831.
CHARACTERS AND THEIR CREATORS.
Elvino (dl-ve'-n5),
A rich farmer Rubini, tenor.
RoDOL'ro,
A young lord ituognito^
Mariano, bar.
312
THE MUSICAL GUIDE
A peasant^ in love with Lisa . . .bass.
Amina (2.me'-ni)»
An orphan^ Teresa* s ward^
Mme. Pasta, sopr.
Lisa (le'-zi),
An innkeeper, . . Mme. Toccani, sopr.
Tbkesa (t&-ra'.s&),
The miller's wife m.-sopr.
Act I. — Scene. In front of a mountain
inn. The peasants gather, singing a
welcome to the bride Amina. Lisa, who
loves Elvino, the bridegroom, alone is
jealous amidst the joy (••Tutto k gio-
ja "). Her lover, Alessio, cannot quiet
her envy, though he speaks of his own
approaching marriage with her. After
a song of Switzerland ('* In Elvezia non
v'ha rosa**), Amina enters, grateful for
the welcome and her serene future
(** Come per me sereno" and ** Sovra il
sen la man mi posa *'). She embraces
her foster-mother and the grudging Lisa.
The notary comes, and then Elvino,
who had stopped to implore the Virgin
to send his wife perfect virtue. He
gives her the ring (** Prendi, Tannel ti
dono *') and violets. He invites every-
body to be present at the wedding at
dawn the next morning. The noise of
post-horses is heard, and Rodolfo en-
ters to ask the way to the castle. He
recalls the familiar scenes ('* Vi rawiso
o luoghi ameni "), but he is not recog-
nised by the others. He flatters the
bride's bright eyes ('* Tu non sai con
quei begli occhi ")t ^^^ Elvino feels a
pang of jealousy. The sunset makes it
dangerous to proceed up the mountain
to the castle, and Rodolfo is warned of
the phantom that appears at night (** A
fosco cielo"). He decides to stop at
Lisa's inn. When he has gone, Elvino
jealously rebukes Amina. She tries to
calm his jealousy (•* Son geloso del ze-
firo amante**), and thev are tenderly
reconciled ('* Mai pi£i dubbi").
Act II. — Scene i. A bedroom in the
inn. Lisa comes to welcome the Count,
whom she has recognised. She slips into
a cabinet on bearing someone approach,
but leaves her shawl behind her. Amina
enters in a nightdress, walking in her
sleep. Rodolfo realises her condition,
but Lisa, seeing her, hurries away scan-
dalised. Amina lies down and sleeps
on Rodolfo*s bed, while he leaves by
the window. The villagers come tip-
toeing in to welcome the Count, who has
been away so many years. Lisa leads
in Elvino and Teresa, who see Amina
and believe her guilty. She wakes and
is repulsed by Elvino. Teresa alone
believes her innocence. Scene 2. A
shaded valley. Peasants pass on their
way to the castle to plead with the Count
to clear Amina*s good name. Amina
and Teresa enter, and, later, Elvino,
who again covers her with scorn, though
he longs for the time of his old trust
(** Ah, perchi non posso odiarti '^.
Act III. — Scene. The village green ; a
mill in the distance. Alessio is pleading
with Lisa not to love Elvino, but she
scorns him. Villagers enter to say that
Lisa is chosen as bride to Elvino; he
comes himself to tell her. Rodolfo ap-
pears and explains Amina*s presence in
nis room, but Elvino refuses to hear him.
Teresa comes, saying that the distraught
Amina has at last fallen asleep. She
brings Lisa's shawl, and accuses her of
visiting the Count. The Count will not
speak of her guilt, but persists in de-
fending Amina, who is seen coming out
of the mill. She is again walking in her
sleep, and passes across a plank ovei
the very mill-wheel. AW watch her in
suspense, but she crosses in safety
dreaming of Elvino*s cruelty. He gives
her back the ring he took from her, and
she wakes in his arms. She gives voice
to her rapture (** Ah non giunge uman
pensiero ), and all rejoice with her.
BIZET, GEORGES.
Carmen (kir-min).
Four-act opera. Book by Henri
Meilhac and Ludovic Halevy (after
Prosper M^rim^'s romance).
Produced, Paris Op^ Conriqne.
March 3, 1875, with Mme. GaUi-Maii^
STORIES OF THE OPERAS 313
as"Caimcn." MUe. Chapuy as •* MU
chaela.**
CHARACTERS.
I>oKjoii(d6Q zho-zi; in Spanish
ho-za'),
A brigadiir tenor.
ZuiooA (tsU-nc'-ga),
An ojfficer bass.
Momlh (mo-ra'-lfe),
A brigadier bass.
Ekamillo (as-ka-mer-y5)»
A toreador ...•••...... bar.
li Darcaiio (el-d2n-]d'-rd), II
RzMZNDADo (el ra-m^n-da'-dhd),
Smugglers tenor, bar.
LiLLAi Paitia (lel'-yto p&s-te'-fi),
Innkeeper
A cigarette girL**» • ni.-so|>r.
Mkbaila (me-k§-a-l&')>
A peasant girl, . . •. sopr.
fuasflVTA (fril-ske'-taX Mm-
c£Dis (m^-tha -d£s),
Cigar etU girls m.-sopr.
Act r. — Scene. A crowded square
in Seville, in front of a cigarette factory
near a bridge. Micbaela enters, looking
for Don Jose ; she is advised by Mo-
rales to wait inside the guard-house.
The guard is relieved (** Noi con la
gnardia **), luder command of Zuniga
and Jo9^ An officer chaffs Jos^ about
Michaela, and Jose says none of the
cigaittte girls can compare with her.
T!ie ben rings for the noon-hour and
the girls enter smokine and singing of
fife as all one vanity of smoke ('* Seguir
Focchio in aria "). Carmen saunters in,
gay and impudent, teasing her loving
idmirers with an old Spanish Habanera
(composed by Pradier and called *' El
Aveglito'^ (**Amor, misterioso Ange-
k'O. The bell rings and as the cigarette
{iris return to work, she tosses a flower
at the bewildered Jose. Michaela ap-
pears and timidly tells that his mother
has sent him by her a letter, some
aooey, and also-— a kiss ('*La madre
tua con me **). Jos^ is moved by mem-
ories of his mother (*' Mia madre io la
rivedo*"). and feels that her letter has
saved him from the tempter Carmen.
He gives Michaela loving messages
and the girl goes. A riot is heard in
the factory; diither all rush. in panic,
discussing a fight between Manuelita
and Carmen, who is brought out by
officers. She mocks their questions and
finally strikes one of them. They de*
cide to tie her hands with a rope and
leave Jose to guard her. On him she
practises all her wiles, and asks him to
meet her at Lillas Pastia's inn near the
bastion (a seguidilla, *' Pressa il bastion
di Siviglia '*). He at length unties her
hands, but she pretends, when the of-
ficer returns, that they are still tied.
When Jose starts to lead her across the
bridge, however, she pushes him down
and escapes.
Act II. — Scene. Lillas Pastia's inn,
two months later. Cigarette girls, gyp-
sies and others including Zuniga, are
making merry and Carmen sings and
dances with the rest (** Vezzi e anella
scintillar *'). Frasquita brings word that
the inn must close ; Zuniga invites Car-
men to go, but seeing her sad, tells her
that Don Jos^, who has suffered impris-
onment and reduction to the ranks for
conniving at her escape, is now free. A
procession in honour of the toreador Es-
camillo passes and the famous bull-
fighter is invited in. He sings of the
delights of the arena (** Toreador, at-
tcnto"). He flirts with Carmen, she
banters him, and Lillas Pastia clears
the inn of all except the g^ypsies and
Carmen and closes it up. The two smug-
glers appear and confess the usefulness
of women in their profession (a quintet
*• Abbiam in vista"). Carmen declines
to join them, and they blame it to love.
Jos^is heard singing (*' Dragon d'Alca-
14 ") and they decide that he would
make a good smuggler. Carmen con-
sents to try to win him over, and the
others withdraw. Jose enters and she
levels all her witchery on him, dancing
and singing (*' Voglio danzar per tuo
3H
THE MUSICAL GUIDE
placer**). He hears the "retreat"
sounded at the distant barracks, but her
pouting coquetry restrains him; he shows
her the flower she gave him at their first
meeting (** II fior che avevi '*) and she
pleads with him to give up the army
and lead a gvpsy life with her. He re*
coils at the thought of being a deserter,
and is rushing away when Zuniga re-
turns. He reproaches Carmen for prefer-
ring a private such as Jos^ to himself,
an officer ; and orders Jos^ back to the
barracks. Jos^, infuriated, defies him
and draws his sword ; the gypsies enter,
cover Zuniga with their pistols and lead
him away. Jos^ has no resource but to
join the smugglers.
Act III. — Srene. The smugp^lers* lair
in the mountains. They are rejoicinp^ at
their luck, but Jos^ is restless and thmks
of his mother. Carmen tells him he would
better go back home. He threatens her
with his knife. She turns her back on
him and the gypsies fall to telling fort-
unes with cards (** Mischiam ; alziam **).
Carmen finds always Death in her cards;
she takes the omen jauntily. The
smugglers move off followed by Jos^.
Michaiela enters in great fear (** lo dico
no"). She hides when a gun-shot is
heard and Escamillo enters with a bullet
hole through his hat. Jos^ appears and
challenges the toreador, who says he
comes to find his sweetheart Carmen
who is tired of her dragoon lover. The
rivals prepare to fight with knives, but
Carmen saves Escamillo in the nick of
time and he is sent away. Michaela
tells Jos^ that his mother is dying with
grief for him ('* lo ti vengo a cercar"),
and Carmen advises him to go. He
jealously refuses at first to leave Car-
men, but finally goes, glaring threaten-
ingly at the fickle siren, who hears
with joy the distant song of the bull-
fighter.
Act IV. Scene. A square in Seville
outside the arena. A great crowd seethes
about the place. Dancers whirl (* * Dan-
ziam. danziam ! **). The procession of
bull-fighters of all classes passes into
the arena with ceremony, and Carmen
accompanies the idolised Escamillo.
Frasquita and Mercedes warn Carmen
that Jose is looking for her, but she
pluckily waits for him after the crowd
nas entered the arena. He begs her to
go away with him and threatens her
when she refuses ruthlessly. As she
taunts him with her weariness of his
love, the noise of the spectators roars
out from the arena. She wishes to enter
but he blocks the way, and when she
throws at him the ring he gave her, he
stabs her and she dies without a word.
The crowd pouring out of the arena
find him kneeling lovingly at her side.
BOITO, ARRIGO,
Mefistof«le(mi*fe'-std.a-ie). Mephis-
topheles.
Grand opera in prolog, four acts and
epilog. Book and music by Boito. La
Scala, Milan, 1868.
CHARACTERS.
MiniTonLB bass.
Fauit, later Hinbico (fowst, dn-rc'-kd),
tenor.
Wagnbb (vftkh'-ndr) tenor.
Nbbbo (ni'-ri-5) tenor.
MAiGMBRrrA sopr.
Maita, Aer mother contr.
Elbna, Helen of Troy sopr.
Pan' TALIS. . , . , contr.
In the attempt to cover the scope of
Goethe's whole poem ** Faust," the op-
era exchanges continuity for picturesque
episodes. It opens with a '* rrologue in
the Heavens, a cloud-scene in which
Satan interrupts the songs of the invisi-
ble angel-choirs, and parleys with the
unseen Jehovah for the soul of Faost,
which he boasts he can win.
Act I. — ^Scene i . Holiday street-scene
in Frankfort. The Elector passes widi
retinue. Faust and his friend Wagner
stroll about, followed by Mefistotele,
disguised as a gray friar, whom Faust
dreads, but Wagner ridicules. Scene s.
STORIES OF THE OPERAS 315
Faust*s laboratory. The gray friar con-
ceals himself in an alcove ; Faust enters
and begins to read his Bible, the druul
of which betrajTS Mefistofele, who de*
dares himself and assumes the form of
a knigfat. He bargains for Faust*s soul,
offering him all earthly pleasures. Faust
accepts, and steps on Mefistofele*s cloak
to be spirited away.
Act II. — Scene I. The garden of Mar-
gherita, who engages in amorous dal-
liance and promise with her lover, Faust
(Enrico), while her mother, Marta,
flirts ludicrously with Mefistofele. Scene
3. The wild gorge of the Brocken, where
evil spirits of all sorts hold the varie-
gated orgy appropriate to the witches'
Sabbath. Faast, under the guidance
of Mefistofele, is shown a vision of the
betrayed Margherita*s sorrow, and Me-
fistofele pictures the world in a declama-
tion over a globe of glass.
Act III. — Scene. The prison where
Maigherita, who has killed the child of
her shame, is awaiting her execution.
Faust appears and begs her to fly with
him. With her dying breath she refuses,
and as the day breaks he is haled away
by Mefistofele, who declares Margherita
doomed. But the angelic chorus (given
to the orchestra) declares her to be for-
given and saved.
Act IV. — Scene i. The moonlit banks
of the river Peneus, on ** The Night of
a Classical Sabbath.** Pantalis and the
sirens sing of the moon, and Helen of
Trov describes the capture and pillage
of tne old Homeric city. Faust wakens
from slumber and appears on his rest-
less pleasure hunt, and, watched by Me-
fistofele, finds in Helen a quick re-
sponse to his ardor. Scene 3. Faust's
laboratory, in which he muses on his dis-
mal hunt for earthly pleasure, and longs
for Heaven. Mefistofele tries to per-
suade him to continue the hunt, but the
heavenly music is heard. Mefistofele
invokes seductive sirens to counteract
the t>etter influence, but Faust clings
to his Bible, and, praying and redeemed,
dies in a shower of roses, which scorch
aad foil Mefistofele.
CUARPRNTiER, GUSTAV,
Louise.
Four-act opera. Book by the com-
poser. Produced, Op^ra Comique,
Paris, February 2, 1900. [The story
of this opera, by Annie C. Muirhead.]
PRINCIPAL CHARACTERS AND THF.1R
CREATORS.
JOUSN,
An artist Mar^chal, tenor.
Tm Fatmbi. Fugire, bar.
Looita,
Mdlle. Marthe Rioton, dram. sopr.
Tmb Mothbi,
Mme. Deschamps-Jehin, mez.-sopr.
Other Characters (all with singing
parts).
Men.
The Night Walker and
, Master of the Revels.
An old Bohemian. A Song-writer.
First Philosopher. Second Philosopher.
A painter. A sculptor. A young poet.
A student. A ragpicker. A jack-of-
all-trades. First policeman. Second
policeman. An apprentice. A street
urchin.
tVomen.
t
Sewing-girls.
Irma,
Camille,
Gertrude,
Elise,
Dressmaker's apprentice.
Dressmaker's forewoman.
Blanche, \
Madeleine, j
A ragpicker. A street-sweeper. A
milk-girl. A newspaper-girl. A ciga-
rette-gatherer.
The street-cries : Sellers of chick-
weed, green peas, potatoes, brooms,
barrels, old clothes.
Place of action : Paris. Time : the
present day.
Act I. — ^Scene. Room in a tenement.
3i6
THE MUSICAL GUIDE
Louise at the window talking with Ju-
lien outside. He urges her to elope,
since her parents prevent their marriage.
She refuses to grieve them so. She asks
how he fell in love with her. He tells.
The mother, entering, listens angrily to
their mutual confidences, then pulls
Louise back and dismisses Julien. A
violent scene follows between Louise
and her mother, who talks of Julien*s
alleged bad character. The father en-
ters, holding a letter, and tenderly greets
Louise. While he reads the letter, which
is from Julien, Louise anxiously scans
his face ; they embrace without a word
(the orchestra, during this pantomime, is
notably expressive). The family sup,
the father talking contentedly of his
lot, the mother making bitter allusions
to artists and idlers. After supper,
the parents discuss the letter. The
father sympathises, the mother fiercelv
opposes. Then the father reasons witn
Louise about her inexperience and Tu-
lien*sbad reputation. He asks whether
she has ever spoken with him. Louise
says no. The mother ironically mimics
the talk she heard between the lovers.
The father makes Louise promise to
have no more dealings with Julien ; says
she will soon get over her pain, and
sets her to reading aloud the newspa-
per. She breaks down at the word
*• Paris."
Act II. — Orchestral Prelude. ** Paris
awakening." Scene i. On the Hill of
Montmartre. All sorts of workers be-
ginning their day's toil. The Night-
walker enters and talks beguilingly to
the gni^ls. He throws off his cloak, ap-
pearing garbed as Spring ; explains that
he represents the Pleasures of Paris,
and runs off, knocking over an old rag-
picker as he goes. This old man tells,
weeping, how his daughter was formerly
tempted away by the Night walker. An
old street-sweef)er tells how she once was
rich and gay-=— it was paradise. An ur-
chin asks for the address of her para-
dise. She points to Paris. Julien
enters with Bohemian friends, and de-
scribes how he means to abduct Louise.
The young men sing gaily of love and
a free life. Julien, left alone, sings pas-
sionately of his love and wonders whence
help will come. As he pauses, the
street-cries of Paris are heard. He list-
ens with growing emotion ; then breaks
out in praise of city life. Work-girls
pass chattering. Julien hides. Louise
and her mother appear and separate
for the day's work. Julien waylays
Louise and entreats her to go with him,
but she refuses. He sorrowfully de-
parts. Street -cries resound on all
sides. Scene 2. Interior of dressmaker's
shop. Girls sewing, and quarrelling.
Louise sits among them, pensive. The
others note her sadness and talk among
themselves, telling how severely her
parents treat her, even striking her.
Then they teasingly accuse her of being
in love. Gertrude, an old maid, talks
sentimentally (hurdygurdy in the dis-
tance). Camille moralises on the strong
attraction of men for g^rls. Inna de-
scribes enthusiastically the charms of
city life. Sounds of street-music are
heard. The girls flock to the window
and recognise Julien singing to his gui-
tar. Each girl, thinking the serenade
is for her, is loud in praise, till Julien,
missing Louise, breaks his strings im-
patiently and sings in sadder vein ; then
the girls feign boredom. The pathos
of the singer moves Louise's heart. She
rises to go, pleading illness. As the
g^irls watch from the window, they see
Louise walking away with Julien.
Act III. — Scene i. Tulien and Louise
in the garden of a little house on the
summit of Montmartre. Panorama of
Paris in the background. Twilight,
Louise rejoices that her happiest dream
has come true. She regrets nothing —
at home, her father treated her as a
child, her mother with blows. Julien
calls them Mother Routine and Father
Prejudice. Louise tells how thev wished
her to be guided by their expenence in-
stead of by her heart. Julien declaims
against experience. He asserts that
everyone has a right to freedom and
love. Louise asks whether anyone has
STORIES OF THE OPERAS 3»7
die right to break another's heart. He
answers that her parents* selfishness
must be met with selfishness. He says
her character has been developed by
city life. They join in a rhapsody
over Paris. The city begins to light up.
The lovers exult in a psean of liberty,
echoed by voices from the city. Then
they sing ecstatically of love and
life. Scene 2. A crowd of their Bo-
hemian friends arrive, and with danc-
ing and ceremonies crown Louise ' ' Muse
of Montmartre.*' The mother suddenly
appears. At her sad aspect, the revel-
lers scatter in dismay. She comes
humbly to tell of the Father's illness,
and b^ Louise to return home. The
old ragpicker passes by, alluding to his
lost daughter. Julien, touched, lets
Louise go on the promise of her re-
turn.
Act IV. — Scene same as Act i. A
summer evening. The father seated,
broken down and sombre, ^^radually
rouses to talk bitterly of the injustice of
Fate ; of rearing children only to suffer
from their ingratitude. Louise at the
window merely looks out into the night.
Her Mother calls her to help in the
kitchen and argues with her, while the
Father eagerly listens, hoping she will
be convinced. Louise recalls their
Somise that she should be free. The
other refuses to let her return to a life
of sin. Louise bids her father good-
night coldly. He draws her passion-
ately to him and rocks her on his knee
Ul» a child, in forced gaiety singing a
lullaby, promising, that if the child will
be good, she shall have whatever she
wants. Louise answers that if they
want her to be happy they must let her
go to her lover, and repeats Julien*s
words of the individuars right to free-
dom of choice. Joyous voices heard
from the town increase her longing.
She declares Paris calls her. The Father
becoming infuriated chases her from the
house; then immediately repents and
calls her back — ^in vain. He shakes his
fist at the city, ejaculating bitterly **0
Paris!-
DELIBES, LEO,
Lakm6 (l&k-ma).
Three-act opera. Book by E. Gon-
dinet and Ph. Gille.
Produced, Op^ra Comique, April 14,
18S3.
CHARACTERS AND THEIR CREATORS.
GfiiALD (zha-rai),
EngHsh officer engaged
to Ellen Nf . Talazac, tenor.
FtCpiitic (fra-da-rek),
English officer M. Barre, bar.
NiLAKANTHA (nc-lS-kan-ta),
A devout Brahman^
M. Cobalet, bass.
Hadji (gd-zhe),
A servant Chennevi^re, 2d tenor.
Lakmb (I&k-ma),
Daughter of Nilakantha^
Mile. Van Zandt, sopr.
Ellkn contr.
Rose Mile. R^my, sopr.
MisTRBia Bbntson. .Mile. Mol^, 2d sopr.
Maluka,
A servant. . . Mile. Frandin, m, sopr.
Act I. — Scene. A garden in India at
dawn. A chorus in morning homage
to Brahma. Nilakantha appears and
invokes maledictions on the English
conquerors, Lakme joins the prayers.
Her father tells her he must go to an-
other temple for the day, and leaves
Lakme in charge of Maltika and Hadji.
Lakme lays her jewels on a table, sings
of the beauty of the stream, and sets
forth with Mallika in a little boat. The
English enter laughing and chattering.
They talk of the Hindus and of La^-
me*s beauty, and force their way
through the hedge. Frederic explains
that in trespassing on the garden of a
Brahman they commit sacrilege, and are
liable to a deadly revenge. The women
hurry away, leaving Gerald to copy the
design of Lakme 's jewels. He hides as
Lakm^ returns. She muses on love and
seeing Gerald gives a cry. The servants
3t8
THE MUSICAL GUIDE
eater hastily but she says it was nothing
and sends them away. She upbraids
Gerald when they have gone, but he
wins her love by his Aattery. Seeing
her father return, she makes him steal
away unseen. Her father finds the
hedge broken, however, and vows re-
venge on the trespassers.
Act II. — Scene. A market-place full
of people. The English enter, much
bothered by the merchants. The
bell for closing sounds ; and soldiers
clear the market-place. A f^te begins,
and bayaderes dance. Nilakantha
and Lakm^ pass, he clothed as a peni-
tent. Frederic tells Gerald that their
regiment moves at dawn to put down an
uprising. The English leave, and Nila-
kantha explains to Lakm^ that he is dis-
guised searching for revenge. A crowd
gathers and I^km^ sings to them a
legend of Vishnu and a Hindu maid.
The English officers return. Nilakan-
tha recognises them and orders I^kme
to sing the legend again. Gerald recog-
nises her, but she pretends not to know
him. The English soldiers pass and
the officers ^. Nilakantha plots with
the other Hmdus, leaving Lakm^ with
Hadji. Gerald returns. They exchange
vows ot love. The crowd returns for the
Brahmin rites, but soon withdraws again.
Nilakantha stabs Gerald and disappears.
Lakme bends over him and seeing that
he is not mortally wounded calls the
faithful Hadji to her aid.
Act III. — Scene. The heart of a for-
est. Gerald asleep, watched by Lakm^.
Songs of lovers are heard in the distance,
Lakme goes to bring him sacred water.
Frederic appears ; he has followed Ge-
rald by the drops of blood. He re-
minds him of his betrothal to Ellen and
makes him promise to return to her.
He leaves, and when Lakme returns
with the consecrated water in a cup
she notes a change in Gerald's manner.
He hears the soldiers singing in the dis-
tance, and she eats the leaf of a poison
plant. Nilakantha returning finds them
embracing. Lakm^ tells her father that
Gerald, having drunk of the sacred
water, is consecrated. She offers her-
self as a sacrifice in his place and dies.
DONIZETTI, GARTANO.
La FaToriU (li fi-v5-re'-t&). The
Favourite.
Four-act opera. Book by Royer and
Waetz (based on the play ** Le Comte
de Commingues**).
Produced, Paris, Dec. 2, 1840.
CHARACTERS AND THEIR CREATORS.
Alfon'm, /Cing of CasHU bar.
BALOAttABB (sft-r<) Baroclhst, bass.
Fbbnan'do Duprez, tenor.
Don Gabpabb (gfis-pa'-rd)
Lbonoba (U-5*n6'-rS), Mme. Stob, sopr.
Inbb (i'-n€s) contr.
Act I. — Scene i. Interior of a mon-
astery. Chorus of monks passing. Fer-
nando, in distraction, tells Baldassare
that he has fallen in love with a maid*
en, an angel of heaven (** Una veigine,
un angel di dio **)• Baldassare is horri-
fied and bids him begone (** Deh,
vanne ! **). Scene 2. A flowery island.
Ines and other women ^thering flowers.
A boat arrives with Fernando, blind-
folded. His bandage is removed, but
his questions are not answered. At
length Leonora enters, and the lovers
have a rapturous reunion. She shows
him a parchment which will lead him to
glory provided he pves her up. He re-
fuses passionately. Ines enters to say
that the King Alfonso has arrived. Le-
onora, in agitation, gives Fernando the
parchment and hurries away. Ines
warns him to be cautious. Left alone,
he finds the parchment to be a commis-
sion with a title, and he welcomes his
chance for military fame (**Si, che an
tuo solo accento**).
Act II. — Scene. The Palace of the Al-
cazar. The Kin^ is rejoicing with Don
Gaspare in the victory over the Moors,
giving the credit to the brave Fernando,
STORIES OF THE OPERAS 319
whom he is now waiting to load with
honours. An attendant announces a
message from the chief churchman, and
Gaspare retires. The King broods oyer
the plots of his courtiers, but swears
they shall never separate him from Le-
onora, his favourite (''Vien, Leonora,
a*piedi tuoi**). Don Gaspare returns,
and is sent to invite the court to the
f^. Leonora enters with Ines, who is
sent away. The King pours out his
love C* Ah, Talto ardor^), but Leonora
reproaches him with betraying her
and decoying her from home on false
promises. He tries vainly to console
her with her rich surroundings. The
court gathers. Don Gaspare, in much
agitation, gives the King an intercepted
love-letter to Leonora. The King de-
mands the lover's name, which Leonora
withholds. Baldassare is led in. He
bears a mandate from the Pope, ordering
Alfonso to put away Leonora and return
to his queen. The King refuses fiercely,
but Baldassare*s threats of excommuni-
cation terrify him, and Leonora flees.
Act III. — ^Scene. A room in the palace.
Fernando, dreaming only of Leonora,
lees the King and Don Gaspare enter.
The King has dedded to yield to the
Pope, and sends for Leonora. He wel-
comes Fernando and offers him whatever
he may ask. He asks for Leonora. Leo-
nora enters, and the King reproaches
her ("A tanto amor**), but demands
that she marry Fernando at once. Le-
onora, left alone, is enraptured, and can-
not believe the truth (** Fia dunque ve-
ro?**) that she is to possess her lover
(**0 mio Fernando**), but she thinks it
dishonourable for her, disgraced as she
b, to wed him, and decides to die. She
Ittves Ines to tell him the whole truth.
When ^e b gone, Ines is arrested and
led awav. The courtiers gather. The
King gives Fernando a title and the
band of Leonora, who, thinking Ines
has told Fernando of her past, consents
and is led to the altar. The courtiers,
overcome with the shame of making the
unknown Fernando a nobleman, and
then marrying him off to the King's dis-
carded mistress, treat him with contempt
on his return from the altar. He is in-
furiated, and challenges Gaspare. Bal-
dassare enters to make peace, and Fer-
nando embraces him. Baldassare tells
Fernando the truth, and he, in wild
rage, rebukes the King, who returns
with Leonora. Baldassare declares the
marriage null, and Fernando refuses to
keep his title and decorations. The
King orders him into exile, and Leonora
learns that Ines is under restraint.
Act IV. — Scene (composed in four
hours). Convent cloisters. Monks dig-
ging their graves and chanting (** Sca-
viam Tasilo **). Fernando, in dejection
returns to the monastery. Baldassare
welcomes him, then leaves to console a
youth who» he says, has just come as a
novice. Fernando, alone, bewails his
trust in hope, the gentle zephyr ('* Spirto
ffentil**). He is led into the chapel.
Leonora, clad as a monk, appears when
he has gone, and scans the faces of
the other monks. She has come to im-
plore Fernando*s forgiveness. Inside
the church he is heard taking his vows.
She sinks before the cross, and he, re-
turning, finds her and bids her leave
C* Ah, va, t*invola **). She tells him the
truth and begs his forgiveness (** Cle-
mente al par di Dio *'). He takes her in
his arms (** Vieni, ah, vieni **) and offers
to fly the cloisters once more with her.
She dreads such a step, and dies be-
seeching him to be faithful to his vows.
The monks, entering, are bidden to pray
for the dead young novice.
La Figlia del Reggimento (11 fil'-yi
d«l r«d-j!-m«n'-t6), /., La fille du
R^ment, F.^ Marie, die Tochterdes
Regiments, G, The Daughter of the
Regiment.
Two-act opera. Book by Bayard and
St. Georges.
Produced, Paris. February 11, 1840.
CHARACTERS.
Mabia, created by Mme. Anna
Thillon sopr.
320
THE MUSICAL GUIDE
MAioinA N BninNrBLo (or Mag-
porivogUo) m.-sopr.
To'nio,
A young Swiss .tenor.
Oktkn'uo,
Steiuard to the Marchesa bar.
CA^otALx • .bass.
SuLPitio (sool-pe'-tst-5),
A sergeant bass.
Pisa'no.
Act I. — Scene. The Tyrolese moun-
tains during the French occupation.
Peasants gather for war ; women pray
to the Virgin. The Marchioness and
Ortensio are anxiously waiting news.
Peasants enter to say the enemy are re-
treating. All withdraw. Sulpizio, a
French sergeant, enters, followed by
Maria, the ** daughter" of the Regi-
ment and its vivandi^re. She rejoices
in having 6rst seen the light of day on a
battle-field ('* Apparvi alia luce sul cam-
po guerrier "). Sulpizio proudly claims
credit for finding her on the battle-field
and adopting her. He speaks of the letter
he found with her ; she speaks of the
young Swiss who saved her life and
whom she has learned to love. This
very Swiss now enters as a captive.
The French are about to kill him, but
she saves him and he joins in a toast.
Maria sings the song of the Regiment,
which has no equal as ** everybody says
and knows '* ('* Ciascun lo dice ; ciascun
lo sit "). A drum calling to roll-call is
heard and the soldiers hurry away, tak-
ing Tonio under guard. He returns,
however, having eluded the others.
Maria and he are on cordial terms,
she welcoming his ardent vows {** A
yoti cosi ardente "). They stroll away
together and Sulpizio and the Marchio-
ness appear. She is reading the letter
found with Maria many years before.
It is addressed to her by the child's
father, and she recognises Maria as her
daughter by an early secret marriage
with Captam Roberto. But she tells
Sulpizio that Maria is her niece. The
soldiers return and Tonio enters, having
decided to enlist with the French for
Maria*s sake. He asks the Regimental
fathers for her hand, and they grant it.
But Sulpizio tells them that her aunt
has appeared to claim her. Maria bids
her friends a fond farewell (** Convien
partir"), to the disgust of the Mar-
chioness.
Act II. — Scene. A salon. Sulpizio
wounded. Maria dressed as becomes
her new station, is mutinous against her
training. The Marchioness makes her
sing a romance by Caflfariello ('* Sorgeva
il di *') but Sulpizio prefers the regimen-
tal rataplan, m which Maria joins;
the Marchioness leaves angrily. Or-
tensio calls Sulpizio away to see a sol-
dier who has come. Maria hears the
familiar music and the Regiment reap-
pears, Maria welcoming all, particularly
Tonio, now an officer. The soldiers
are sent to broach a cask of wine, and
the Marchioness finds Maria with Tonio
and says the girl is engaged to the Duke
of Krakenthorp. Tonio goes, vowing
he will have Maria, who withdraws
weeping. The Marchioness reads to
Sulpizio a confession of her own secret
marriage and begs him to aid her in
marrying Maria to the Duke without
telling the truth to the worid. The
mother of the Duke appears, he being
unable to appear, and the contract is
about to be signed when Tonio leads the
Regiment in to protest against the bar-
tering of its daughter (**Ti rincom
amata fielia **). Maria avows her grati-
tude to the soldier who saved her from
death (**Quando il destino "). The
Marchioness relents and gives Maria to
Tonio, to the joy of the Regiment.
Lucia di Lam'mennoor (loo-che'-a
de). Lucy, The Bride of Lanuner-
moor.
Three-act opera. Book, from Sir
Walter Scott's novel, by Cammara-
no.
Produced, Naples, 1835, with Persi-
ani as '* Lucia " and Duprcz as ** Ed-
gardo."
STORIES OF THE OPERAS 32 i
CHARACTERS.
Emuco (€n-re'-k6) bar.
Lord Henry Ashion of Lammermoor,
Edgakd'o ; tenor.
Sir Edgar Ravensivood,
Raimondo (ra-e-mdn'-dd) .bass.
Raymond Bide-the- Bent y Tutor.
Arru«o (ir-too'-ro) tenor.
Lord Arthur Bucklaw,
Noimak'no tenor.
Warrior^hief of Ravenswood,
LoaA sopr.
Lucy^ AshtoiCs sister,
AusA (a-Ie'-s£) sopr.
AHce^ her maid.
Time« Scotland, about 1670.
Act I. — Scene i. A vestibule. Norman
and others are searching the tower.
Henry enters brooding and tells Norman
that be has lost his fortune and that his
sister Lucy who can by marrying Arthur
restore the Lammermoor prestige, re-
fuses and spends her time mourning
her dead mother. Meanwhile his enemy
Edgar triumphs. Norman tells Henry
that Lucy is in love ; he tells how she
was saved from a furious bull by a shot
fired by Edgar, whom she now loves.
At this Henry is insane with rage
('* Cmda funesta smania **). A chorus
of hunters enter and tell (** Come vinti
da stanchezza '*) how they had seen a
mysterious horseman stealing from the
tower. It was Edgar. Henry threat-
ens revenge (** La pietade in suo fa-
vore "). Scene 2. A Park. Lucy and
Alice. Lucy is longingly awaiting Edgar
(** Regnava nel silenzio **). Edgar en-
ters to say he is ordered to France as
an ambassador. He tells how Henry has
killed his father and robbed him of his
heritage ; he had sworn revenge on his
fathers tomb (** Sulla tomba che rin-
serra"), but Lucy's love has changed
his ideal. The act ends in a love-
duet.
Act II. — ^Scene. A room in the castle.
HcBiy and Norman are waiting for
Lucy. They speak of intercepting Ed-
gar's letters and poisoning Lucy's mind
against him. Henry asks Norman for
the forged letter and bids him sum-
mon Arthur. As Norman goes, Lucy
enters. Reproached for her gloom, she
accuses him of cruelty ; he shows her
the letter and she believes Edgar false ;
he begrs her to marry Arthur, who is even
now coming with nuptial splendour.
They quarrel in a duet ("Se tradirmi
tu portrai '*) and he threatens to kill
Edgar if she persists. She prays for
death. She leaves as Arthur enters
with a great crowd, but is led back by
Henry ; intimidated by threats he utters
under his breath, she signs the marriage
contract. Suddenly Edgar appears and
there are mutual reproaches in a power-
ful sextet (** Chi mi frena "). Raymdnd
pleads that there be no bloodshed.
Edgar, seizing the marriage contract,
furiously upbraids Lucy for her faith-
lessness and will not listen to her ex-
planation.
Act III. — Scene i. A room in the
Castle on Wolfs Crag. Edgar alone
rejoices in the storm. Henry enters
and the men confront each other ; they
agn'ee to 6ght at dawn, and pray for the
sun to rise (in a duet " O sole, piii ra-
pido "). Scene 2. The chorus sings a
song of jubilant victory (** D'immenso
giubilo"). Raymond bids them cease
their mirth, he tells how he had heard a
groan from the bridal-chamber ('* Dalle
stanze ove Lucia") and entering had
found Arthur dead and Lucy with
his bloody sword in her hand ; she
had gone insane. The mad girl now
appears, thinking she is about to wed
Edgar. She sings the famous mad-song
(' * O g^ioj^c che si senti "). Henry enters
and sees her frenzy with bitter remorse.
Scene 3. Outside the castle at night.
Edgar alone before the tomb of his an-
cestors bMfs for speedy death from his
sorrows (^' Tombe degli avi miei").
People enter to say that Lucy has gone
mad : he determines to see her ; Ray-
mond enters with the news that she is
dead, and Edgar stabs himself.
322
THE MUSICAL GUIDE
GLUCK, CHRISTOPH VON,
Orfeo e Euridice (dr'-fa-^ % ^'-oo-re-
d€'-ch«). /., Orpheus ct Eurydice, F.
Orph'eus and Euryd'ice.
Three-act opera. Book by Calzabigi.
Produced, Vienna, October 5, 1762, in
two acts. Revised and extended. Paris
Academic, August 2, 1774 (with ther61e
of Orfeo transposed for the tenor Le-
gros. In 1859 restored by Berlioz for
the alto Viardot-Garcia).
CHARACrERS.
GRrio (Orpheus) alto.
L^Ombia Fbucb ( The Happy Shade)
(lom'bra fa-lc ch«) sopr.
L*Amorb (la-mo -r«). The God of
' Love sopr.
EuRiDicB. sopr.
Act I. — Scene i. A lonely wood with
the tomb of Eurydice and a statue of
Hymen. Rustics and nymphs dance
about, calling on Eurydice to come
back to life and her inconsolable hus-
band. Orpheus. Orpheus, lost in sor-
row, bids them leave him to his grief
(•• Chiamo il mioben cosi ")• He muses
on his great loss (** Euridice ! ombra
cara "). At length the God of Love enters
and offers his aid. Even Jupiter has been
moved to grant Orpheus the privilege
of descending into the abode of the
dead to bring back his wife, provided
he promises not to look back at her till he
has safely led her to the upper world.
The god bids Orpheus restrain his ar-
dour (**Gli sguardi trattieni") and all
will be well. The god vanishes and
Orpheus sets forth boldly on his quest.
Act II. — Scene i. The giites of In-
ferno. Demons and furies gather and
the sound of Orpheus' lyre sets them to
dancing and crying out with wrathful
amazement at the hardy wanderer in
Erebus (** Chi mai dell' Erebo "). The
barking of the three -headed hound
Cerberus is hinted in the orchestra.
Orpheus begs them to be calm ; he tells
them of the thousand pangs that rend
his heart ("Mille pene"); and the
furies melt before him. They order the
gates to open and the minstrel enters.
Scene 2. Elysium and the blessed shades,
who wreathe a blissful dance under the
leadership of one of them. As they
withdraw Orpheus enters rejoicing in
the pure sky and peace of the region
("Che puro ciel!**). When he cries
out for Eurydice, the happy shades tell
him she is there, and bid him come to
the realm of repose (** Vieni ai regni del
reposo "). They lead in Eurydice, veiled.
Act III. — Scene. A cavernous egress
from Inferno. Orpheus enters leading
Eurydice. She rejoices at the reunion,
but is distressed at his anxiety and his
refusal to look at her. She is angered
at his mysteriousness, and deeply grieves
(** Che hero momento"). At length he
turns and looks at her. She falls down
lifeless, and Orpheus in despair at the
thought of losing her. cries *' What can
I do without Eurydice ! ** (** Che far6
senza Euridice"). He determines to
kill himself that he may join her eter-
nally. The God of Love entering stays
his hand and restores Eurydice to life.
The two embrace amidst a chorus of
rejoicing at Love's triumph (*' Trionfi
amore ").
GOUNOD, CHAS. FRANqOIS,
Faust (fowst ; in F. f5st), in Germany
this opera is called Margarete (mftr-
gfi-r4'-t«), in Itoly, Faust c Mar-
gherita (a m5r-gi-re'-t5).
Five-act opera. Book from Goethe*s
poem, Part i, by Jules Barbier and
Michel Carr^.
Produced, Theatre Lyrique, Paris,
March 19, 1859.
CHARACTERS AND THEIR CREATORS.
Faust, An old scholar. . . . Barbot, tenor.
McnrrorKLB ( ma-fe-sto-fdl ), Mkprib-
T0PHBLB8,
The Evil Spirit Balanqu^, bass.
Valentin (vai-ftn-tafi), Valentine^
Brother of MargueriU , ,Kegaik\t bar.
STORIES OF THE OPERAS 323
Wagnu (vilg.n&r),
[in the Gennan version,
Bkandbb] tenor.
SlUEL (sl-«b-«l),
A youth in love with Marguerite ^
Mile. Faivre, m. sopr.
MAftGVKtrrs (m&r-gtt-ret),
A village beauty^
Mme. Miolan>Carvalho, sopr.
Maktha (mar-til) ... Mrae. Duclos, alto.
Act I. — Scene i. The study of the de-
crepit scholar Faust, who soliloquises
on the vanity of research (** Interrogo
invano '*) ; he decides to kill himself
and pours out poison. Bursts of song
heard from peasant girls and men pass-
ing by, embitter his reflections on old
age, and in his rage he calls on Satan,
who to his amazement, appears and
bargains for his soul, Faust asking for
youth and pleasure (** lo voglio il pia-
cer^. When Faust has signed, Meph-
tstof^les shows him in a vision Mar-
guerite at her spinning-wheel. Faust
drinks to her, and is transformed to a
richly dressed youth, who hurries away
with the Evil One.
Act II. — Scene. A Fair, or Ker-
mease. Students, soldiers, etc., sing of
wine, old men sing of peace, and young
girls of love. Valentine enters wearing
a medallion (** O santa medaglia ") g^ven
by his sister ; he is about to go to the
wars and commends Marguerite to the
chaise of Siebel. As Wagner is singling
a ballad of an old rat, Mephistopheles
appears and joins the fun with a song of
the calf of gold ('* Dio del' or"). He
tells fortunes, saying that Wagner will
fall in battle, and that every flower Siebel
touches will wither ; he draws wine from
the sigpn of the inn and as the goblet flares
up, he drinks to Marguerite. Valentine
indignantly knocks down the glass, and
they draw swords. Mephisto draws a
circle about him and Valentine's blade is
shattered. When, however, the soldiers
hold up their sword-hilts as crosses (*' Tu
pQoi la spada frangere'*) the Evil One
cowers while they pass. Faust arrives
and asks to see Marguerite ; a bevy of
students and girls waltz in (" Come la
brezza ") and Marguerite appears. Sie-
bel moves toward her but is kept away
bv Mephisto, while Faust oners her
his arm ; she declines it with meek-
ness and passes on. Faust and Mephis-
to follow her.
Act III. — Scene. The garden of Mar-
guerite. Siebel is plucking a bouquet for
his beloved Marguerite (*' La parlate
d*amor *') ; each flower withers at his
touch till he dips his fingers in holy wa-
ter ; as he passes on in his search, Faust
and Mephisto look in and see him place
the flowers at Marguerite's window.
When he has gone, Faust apostrophises
the pure and lowly dwelling of his love
(*• Salve ! dimora casta e pura," or
"Salut, dcmeure!"). Mephisto reap-
pears with a casket of jewels which he
places on the steps, then draws Faust
back into the shrubbery. Marguerite
enters alone; she is humming a folk-song
(** C era un re di Thule " — '* Es war ein
K6nig im Thule " in Goethe's Faust)
which she intermits with memories of
Faust. She spins awhile, then rises
wearily and sees Siebel's nosegay, but
drops it in ecstasy over the jewels, in
which she decks herself ('* Ah, k strano
poter*'). Martha, an old neighbour,
enters and tells her they were doubtless
left by a suitor. Mephisto and Faust ap'
pear and Mephisto by flirting desperate-
ly with the giddy crone leaves F'aust a
chance to woo Marguerite, who tells
of her loneliness, the absence of her
brother ('* Al campo c il fratel"), and
the death of her little sister. Siebel ap-
pears and Martha drives him away and
goes home. Mephisto watches the
crescent passion of the lovers (** Sem-
pre amar "). As night falls Marguerite
begs Faust to be gone, and enters her
home. Mephisto drives Faust back, and
when she opens her window to tell her
love to the night-wind (" Ei m'ama"),
Faust takes her in his arms, while
Mephisto chuckles in the shadow.
Act IV. — Scene i (often omitted). A
room in Marguerite's bouse. The be-
3H
THE MUSICAL GUIDE
trayed and deserted girl, taunted by
passers-by, reflects that her shame is due
to love alone ("Nascose eran"), but
when Siebel tries to console her with
promise of revenge (** Quando a te
lieta **) she determines to go to the church
and pray for her false lover and for her
unborn child. Scene 2. The square
before the cathedral. The soldiers re-
turned from war chant of victory and
peace (** Deponiam il brando "). Valen-
tine greets Siebel cordially, but is met
onlv with embarrassment and evasion,
and at last a plea that he forgive Margue-
rite. The soldiers pass on and Valen-
tine gloomily enters his house. Faust
appears full of remorse ; Mephisto tries
sardonically to win her forth with a bur-
lesque serenade to **Catterina" (**Tu
che fai Taddormentata **). Valentine
comes out and demands the cause of the
serenade, sends Mephisto's mandolin
flying with his sword, and falls to fight-
ing with the reluctant Faust. Valen-
tine throws away disdainfully his sister*s
medallion and Faust with Mephisto*s
aid wounds him mortally and flies. The
citizens gather excitedly and finally Mar-
guerite, on whom the dying Valenrine
invokes maledictions (** Stammi adas-
coltar **). When his body is borne away
she prays for heavenly mercy, but Meph-
isto taunts her with despair and claims
her while a chorus of monks combat
with a chorus of demons.
Act V. — Scene i (often omitted). The
Walpurgis revel in the Brocken, with a
vision of Marguerite shown. Scene 2.
A prison, Maiiguerite lying asleep in a
heap of straw. Faust and Mephisto
enter and Mephisto, who has procured
the keys, urges Faust to wakeathe g^irl
and make her fly with him. Faust is
torn with repentance and blames him-
self for Marg^erite*s fall and for the
madness in which she killed her new-
bom child (*• Penetrate h il mio cor '*).
She wakes and greets him as her res-
cuer (** Pur fra il riso beffardo").
Her mind wanders and she lives over
their first meetings. Mephisto tries to
drag Faust away before the dawn be-
trays his presence, and Faust tries to
lead Marguerite with him, but seeing
the Evil One, she falls on her knees
and pra^s (* * O del ciel angeli "). She re-
pulses Faust with her dying breath and
a chorus of angels welcomes her re-
deemed soul to heaven. A tableau
(often omitted) shows her in Paradise ;
Faust, seeing her, prays and Mephisto
falls beneath an Archangelic swonl.
Rom^o et Juliette (r6m-&-d & zhQl*
y5t'), F,, Romeo e Giulietta (ro'-mi-d
a jool-ydt'-t&), /. Romeo and Juliet.
Five-act grand op>era. Book by Bar-
bier and Carr^, after Shakespeare.
Produced, Theatre Lyrique, Paris,
April 27, 1867.
Characters as in Shake^)eare with the
addition of Stephano, Romeo*s page
(played by a mezzo-soprano), and Gre-
gorio, a watchman.
" Act I. — Scene. The masked ball at
Capulet*s palace. Romeo disguised as
a pilgrim meets and makes love to the
young Juliet, who later confides her
ecstasy in a famous waltz-song to her
nurse. Her cousin Tybalt recogois-
ing the presence of his family enemy
Romeo, is only restrained from inter-
rupting the festivity by Capulet himself.
Act II. — Scene. Juliet*s balcony,
where Romeo finds her, and though in-
temipted by the impatience of the nurse
and the tour of Gregorio and his watch-
men, plights hb troth.
Act III. — Scene i. The cell of Friar
Laurence (or Lorenzo) who marries tlie
young runaways. Scene 2. Street be-
fore Capulet*s palace. Stephano in a.
flippant serenade, provokes a sUeet
brawl between the retainers of the rival
families, in which Tybalt kills Rocneo*s
cousin Mercutio. Romeo coming from
the church wishes to avoid a duel with
Tybalt, now his kinsman, but taunted
into a fight, kills him. Capulet appear-
ing cries for ** justice " from the Duke,
who enters. Romeo, to his wild grief, is
banished, but determines to see Juliet.
STORIES OF THE OPERAS 325
Act IV. — Scene i. Juliet's chamber at
daybreak. Her husband Romeo is
biddii^ her farewell. When he has
stolen away, her father Capulet enters
with Friar L4iurence and declares that
ioliet must marry Paris at once. The
^riar secretly g^ves her a potion to keep
her as one dead till Romeo can be sum-
moned to spirit her away. Scene 2
(usually omitted). . The wedding cele-
bration, in the midst of which Juliet
swoons and is thought to have died.
Act V. — Scene. The tomb of theCap-
ukts, where Juliet lies in state. Romeo,
^orant of the plot, has come to die at
iu side and takes poison. She wakens
to see him perish in helpless regret and
kills herself with his dagger.
HUMPERDINCK, ENGELBERT.
Hanad and Gretel (h^n'-z^l oont gra'-
t«l).
Fairy opera in Three ** Pictures.**
Book by the composer's sister, Frau
Adelheid Wette.
Produced, Weimar, 1893.
CHARACTERS.
Pim (pa'-t«r),
A broom-maker , bar.
GurrsvD fe^f-troot).
His wife m.-sopr.
HAifssLy
Their son (played by a girl), .m.-sopr.
GftXTKL, Their daughter sopr.
DiK fCNOBPURBzi (knoos'-p£r-h£x-£),
A witch m.-sopr.
SAicDMAmicHiN (zslnt'-mto-khto),
The sandman^ or sleep-fairy, . .sopr.
Taimbndm«nnchbn (tow'-zCnt-m£n-
kh^n), The dew man^ or dawn-
fairy sopr.
Based on one of Grimm's stories,
diis graceful opera imports Wagnerian
kleas into the nursery.
Act I. — ^Scene. The home of Peter.
His hungry children left alone bewail
thdrjpoverty, then fall to frolic. Their
mother finding them idle, in her eagerness
to punish them knocks over the only jug
of milk in the house. She sends them to
the woods to pick berries for supper and
falls asleep. Her husband returns slight-
ly tipsy but burdened with provisions.
On learning of the errand of the children
he is terr&ed lest they fall into the
clutches of the Witch who lives on the
Ilsenstein in a honey-cake house and
bakes into gingerbread all the children
she can capture. Peter and Gertrud
rush out to rescue their children.
Act II. — Scene i. The depths of a fir-
forest near the Ilsenstein. The chil-
dren, at first delighting in the woods
and their liberty, suddenly realise as it
grows dark that they are lost. At length
they fall asleep under the spell of the
Sandman after they have said their
prayers invoking the fourteen angels,
who appear commg down a Jacob's lad-
der to guard the children.
Act 111. — Scene. The Witch's House.
The angels and the forest have van-
ished, and the Dew-fairy appearing
wakens Gretel by sprinklmg her with
dew from a bluebell. She wakens Han-
sel by tickling him. They discover the
Witch's House with its oven and cage,
and a fence of gingerbread. They are
nibbling bits of this when the Witch
appears, takes the children 'captive and
p^llops about on her broomstick weav-
mg incantations. She prepares the
oven and tells Gretel to crawl in and
see if the cakes are ready. The shrewd
Grete-, however, has already used the
Witch's wand to release Hansel from
the spell, and now pretending stupidity,
begs the Witch to show her the way.
The Witch bends over the oven and
the children pop her into it and close
the door on her. The fire roars within
at such a rate as the children dance with
glee, that finally the oven falls to pieces.
The gingerbread figures now lose their
honey-crust and prove to be children
whom Hansel restores to life with the
wand. The jubilation is increased by the
entrance of reterand Gertrud, and finds
its climax in the discovery that the
326
THE MUSICAL GUIDE
Witch has been turned into a huge
gingerbread-cake. A hymn of gratitude
ends the quaint masterpiece.
LRONCAFALLO^ RUGGIERO.
I Paflrliacd (€ pai-yftt'-che), /. The
Strolling Players. Der Bajazzo (ddr
ba.y«t'-s6). G.
Two-act drama ; text and music by
Leoncavallo.
Produced, Milan, May 2i, 1892.
CHARACTERS.
Strolling Players :
Canio (kS'-n!-6) tenor.
To'hio bar.
BiF Ft tenor.
Ned' DA, Canio^s wife sopr.
SiL'viOy A villager bar.
The scene is in Calabria on the Feast
of the Assumption, about 1865. It de-
velops a play within a play, a tragedy
within a farce, and concerns the domes-
tic crisis of a group of strolling players,
presenting the venerable story of Harle-
quin, Columbine & Co. , to the peasants
of Italy.
After a brief orchestral flourish, To-
nio, a hunchback, the clown of the
troupe, sticlcs his head through the cur-
tain and begs permission to revive the
old Greek prologue. He steps forward
as Prologue and explains that the play
is a draught from real life, and shows
that actors have their genuine, as well
as their mimic tragedies. The pur-
port of this famous number may be ex-
{)ressed in an inversion of Shakespeare's
ines : '* All the stage is a world, and
all the players merely men and women.'*
Act I. — At Tonio's signal the curtain
opens disclosing a cross-roads with a
rude portable theatre. The distant
sounds of a cracked trumpet and a be-
laboured drum call the peasants together
and they greet with joy the familiar
characters in whose costumes Canio,
Nedda and Beppe enter in a donkey-
cart. Silencing the crowd with his drum,
Canio announces the play for the even-
ing. Canio descends and boxes the
ears of Tonio who loves Nedda and
has hastened to assist her. The crowd
laugh at Tonio who wanders off angrily.
Beppe leads the donkey out and a villa-
ger invites the players to drink. Beppe
throws down his whip and goes to
change his clothes. Tonio says he must
stay to clean the donkey. The villager
hints that Tonio lingers to flirt with
Nedda. Canio takes it as a joke. He
says it is his place to play the hood-
winked husband on the stage, but off
the stage — the end of the joke would be
different (*' Un Ul gioca "). He loves
his wife. After kissingNedda, he goes
with the men. The other peasants stroll
away to Mass on hearing the church-bell.
Nedda left alone broods over the
fierce look Canio gave her. She won-
ders if he suspects her. The sunlight
thrills her with a vague ecstasy, and she
revels in the song and sport of the
birds ('• Ballatella "). At the end of
her rhapsody she finds that the hideous
Tonio is listening. He makes ardent
love (*• So ben che difforme " — *' I know
I'm deformed "). She laughs him to
scorn and advises him to save his love-
making for the stage. He pursues her,
however, and she, picking up Beppe's
whip, slashes him across the face with it.
He curses her, swears revenge, and
stumbles away. Now her secret lover,
Silvio, a villager, steals in over the wall.
In an ardent love-scene he pleads with
her to leave her hateful life, and join
him. She begs him not to tempt her
(•* Non mi tentar "), but promises to
meet him that night after the play is
over. Tonio, having seen them, hurries
away and returns with Canio. Silvio
escapes, however, unrecognised in the
thicket, while Tonio taunts Nedda.
Canio returns and demands the lover*s
name. He threatens to kill Nedda, but
she will not speak. Beppe rushes in
and disarming Canio implores him to
dress for the play as the people are even
now approaching. Tonio hints that the
lover may appear at the play. Left
STORIES OF THE OPERAS 327
alone, Canio bewaus his bitter fate
sardonically, **Oii with the motley!
("Vesti la giubba**) the people pay
and want to laugh. If Harlequin steal
yoar Columbine — laugh, Punchinello,
and everyone will applaud. Laugh at
yoar own frenzied love ! laugh at the
woe that is rending your heart.** In
wild grief Canio gropes his way into the
theatre.
Act IL — ^Same scene in the evening,
Beppe and Tonio beat the drum and
blow the horn, and the peqple crowd
into their places. Nedda collects the
money and whispers a word of warning
and promise to Silvio. The crowd
l^ws impatient and at length the cur-
tain of the theatre opens showing a crude
little room. Nedda (as Columbine) is
restlessly waiting. The servant Taddeo
is away at market. She hears someone
toning a guitar outside and the voice of
Beppe (as Harlequin) is heard outside
in a serenade (** O Columbina, il tenero
fido arlecchin **). As Columbine flut-
ters with delight, the loutish Taddeo
(played by Tonio) enters with a market-
basket and makes ludicrous love. Har-
lequin entering the window kicks him.
Taddeo finding a rival generously sur-
renders Columbine and promises to act
as sentinel. Columbine and Harlequin
feast gaily on the bird and wine fetched
by Taddeo. He gives her a sleeping
potioa to mix with her husband*s (Pun-
chinello's) drink. Taddeo enters to
warn the lovers, and Harlequin steals
out of the window. Punchinello (play^ed
by Canio) enters the door just in time
to hear Columbine promise to meet Har-
lequin at midnight. Canio*s self-pos-
session is shattered by the similarity of
these words with those he had heard in
real life a few hours before. He goes
on with increasing difficulty. Coiumbi ne
vovrs that no one has been with her,
and Taddeo substantiates her story.
Tonio lays such an ironic stress on the
praise of Nedda*s virtue that Canio
again forgets himself and frantic with
jeak>us rage demands the name of her
U>ver, N^da tauntingly calls him
Punchinello, but he declares that he is
a man again, not a puppet ; and tells
how he had taken her up as a starving
orphan and loved her. He breaks down
and the audience is much affected by
the realism of the acting. Canio bursts
out again in furious denunciation of
Nedda*s infidelity. The crowd ap-
plauds. Nedda volunteers to leave, but
Canio says she shall not get to her lover
so easily, and again demands the man's
name. Nedda tries to resume the plav
with a flippant air (** Suvvia, cosl tern-
bile "). Canio shrieks with rage at her
manner and once more demands her
lover's name, which she solemnly swears
on her mother's soul that she will not
tell. Tonio appears at the back of the
stage restraining Beppe. Nedda, de-
termined to escape, dashes toward the
audience, but Canio seizing her stabs
her. As she dies, she cries Silvio's
name, and he rushing forward is also
stabbed to death. Canio grasps to the
horrified crowd, **The comedy is fin-
ished."
MASCAGNI, PIETRO.
CayalleHa Rustiouia (ki-v21-l^re'-i
roos-t!-kS'-na). Rural Chivalry.
One-act melodrama. Book by Tar-
gioni-Fozzetti and G. Menasci (based
on a story by Giovanni Verga).
Produced, Rome, May 20, 1890.
CHARACTERS AND THEIR CREATORS.
TtftiDDv (too-r!d'-doo).
A peasant. . . . Roberto Stagno, tenor.
Al'ho, a carrier bar.
Santusza (s2n-tood'-zft),
A peasant girl ^
Gemma Bellinconi, sopr.
Lucia Ooo-che'-ft),
Turiddu^s mother contr.
Lo'la, Aljio^s wife m.-sopr.
Scene. — A village-square in Sicily on
Easter Day. Before the curtain nscs,
Turiddu is heard carolling a Siciliana
to Lpla whom he loves, At rise of th^
328
THE MUSICAL GUIDE
curtain peasant men, women, and chil-
dren enter the church. There is a
chorus of May and love. The deserted
Santuzza enters and going to Lucia*s
cottage asks where Turiddu is. Lucia
says he has gone to Francofonte, but
Santuzza says he was seen in the village.
She cannot enter Lucia's house, t>eing
excommunicated. The' whip and t>ells
of the carrier are heard and Alfio ap-
pears singing of the joys of the road
(** II cavallo scalpita '*), and also of the
fidelity of his wife. He asks Lucia for
wine. She says Turiddu has gone to
the next town to fetch it. Alno says
he had seen him that very morning near
his own cottage. Lucia is curious but
Santuzza signs her to be silent. The
Easter hymn is sung and all enter the
church but Santuzza and Lucia. Lucia
asks why Santuzza warned her to keep
silent. Santuzza tells her, ** Well, you
know, mother " ('* Voi lo sapete, O mam-
ma **), how Turiddu, going to war had
plighted troth with Lola, returning to
find her wedded. He then won the
heart and the honour of Santuzza, only
to be reconciled with Lola, leaving San-
tuzza to despair. Lucia goes into the
church sadly. Turiddu comes and
when asked, says he has been to Fran-
cofonte. Santuzza gives him the lie,
she had seen him at dawn leaving Lola's
house. He denies that he loves her,
but scorns Santuzza. Lola is heard
singing a light flower-ballad (•* Fior di
giaggolo "). Lola comes and finding the
two together, scornfully enters the
church. Turiddu reviles Santuzza for
awaking Lola's jealousy. She pleads
with him frantically but vainly ('* No,
no, Turiddu "). He casts her off and en-
ters the church. In her fury she tells
Alfio, who enters, that Turiddu has be-
trayed him. Alfio swears revenge.
After an instrumental Intermezzo^
the same scene. An Easter chorus of
people returning from church. Turiddu
speaks to Lola, but she is hurrying home
expecting her husband. Turiddu in-
vites all to join him in wine (** Viva il
vino spumeggiante "). Alfio comes.
Turiddu invites him to drink with them.
He says it would be poison to him. The
women in alarm lead Lola away. Tu-
riddu offers Alfio satisfaction and the
men embrace, Turiddu according to
custom biting Alfio's ear as a challenge.
Turiddu beg^ Alfio not to blame Lola
and thinks sadly of the lorn Santuzza.
Alfio moves on to await Turiddu^ who
calls his mother and asks her blessing
and her care for Santuzza if he does not
return. He hurries away leaving her
mystified and anxious. Santuzza and
others appear. Confused voices are
heard, then a woman screaming, ** Tu-
riddu is killed ! " Santuzza and Lucia
swoon.
MASSENET, JULES B. F.
Lc Cid (m ced). The Cid (Com-
mander).
Four-act opera. Book (after Cor-
neille) by Messrs. D'Enncry, Gallet,
and Blau.
Produced, Paris, November 30, 1885.
CHARACTERS AND THEIR CREATORS.
CHiMftNi (she-mCn),
Daughtei' of De Gormas,
Mme. Fides-Devri^, sopr.
The Inpanta Mme. Bosman, sopr.
RoDWGUE (rod-reg), Sonof DonDi>gtu^
M. Jean de Reszke, ^cnor.
Don Diicui (don de-^g'),
M. Edouard de Reszke, bass.
The Kino. . . Melchiss^ec, bar. or bass.
The Comte de Goimas (kdfit dd G6r-niis),
M. Plan9on, bass or bar.
Saint James . . .M. Lambert, bass or bar.
The Moorish Envoy,
M. Ballerory, bass or bar.
Don Arias (don ft-re-fc), M. Girard, tenor.
Don Alonzo (don il-16n'-z6).
M. Sentein, bass.
Act I. — Scene i. Hall in the Comte
de Gormas's palace. The Count and
his friends hear a trumpet fanfare sum-
moning them to be present at the knight-
STORIES OF THE OPERAS 329
ing of the ^oung Rodrigo. The friends
say flattenngly that while honours are
in the air, it were fitting the Count
were appointed tutor to the King's
son. The Count says how much he
should value the honour. Chim^ne
cannot contain her joy at the rejoic-
ings in honour of Rodrigo. Her father
simUngly accuses her of a tender in-
terest in the hero of the day, and ap-
plauds her choice. Chim^ne, left alone,
rejoices in being able to love openly.
The Infanta, coming to visit her, re-
reals her own love for Rodrigo ; but
seeing Chim^e's consternation, bids
her love on untroubled, as a princess
has not the right of loving whom she
will. Scene 2. Gallery leading from
Palace to Cathedral rriests and peo-
ple intone a psalm of thanksgiving
for deliverance from the Moors. The
King announces his intention to knight
Rodrigo, though his valour is yet un-
proved, in compliment to Don Di^gue.
Rodrigo enters, his noble bearing ad-
mired by the assemblage. The King
administers the oath of knighthood and
presents the sword. Rodrigo apostro-
phises his sword, and invokes the aid of
his patron St. James, and, gazing at Chi-
m^e, of his guardian angel. Chim^ne
rejoices in this sign of his love for her.
The King dismisses Rodrigo to the ca-
thedral. As a further proof of his re-
gard for Don Diegue, appoints him tutor
to the Infanta. The friends of De Gor-
mas express dissatisfaction. The King
rebukes them, and goes. Di^ue returns
to ask the hand of Chim^ne H>r his son.
The jealous Count repulses him, and
ends by striking him. The old man,
drawing his sword to avenge the insult,
is easily disarmed by the Count, and
is taunted by the others. Left alone,
be bewails his age and dishonour.
Hearing the voice of Rodrigo taking
the oaths in the cathedral, he remembers
that he has a champion in his son.
When Rodrigo appears, he is told of
the insult, which he ang^Iy swears to
avenge, and demands the offender's
name. He is horrified to hear the
name of Chim^ne's father. She ap-
pears from the church at that moment.
His struggle between love and filial
duty is fierce, but duty triumphs. He
joins with his father in swearing ven-
geance.
Act 11. — Scene i. Moonlight street in
Burgos with the Count's palace. Rod-
rigo enters, bemoaning his cruel fate,
and meditating suicide ; but overcomes
his weakness, meets the Count, and
challenges him. The Count disdains so
untried a foe, but Rodrigo forces him
to fight, and kills him. Diegue enters
with friends and commends his son,
who, however, is distracted with grief.
Diegue sympathises with his distress.
Chim^ne enters and wildly inquires
her father's murderer, going from one
to another, till she sees by R(xlrigo*s face
that he is the guilty one. She swoons.
A Requiem is heard chanted within.
Scene' 2. Square in Burgos. Scene
of popular rejoicing. The Infanta goes
from group to group, distributing alms.
The King enters and is received with
acclamation, to his daughter's joy. Sud-
denly Chim^ne rushes in and calls ex-
citedly for justice ; followed by Don
Diegue and his friends who give their
explanation of the Count's death. All,
in chorus, express varied emotions ; in-
terrupted bv a Moorish envoy, who
brings a defiant message from the
returning enemy. He is answered
proudly by the King and withdraws.
Then the King reproaches Rodrigo for
having deprived him of his best general
in this extremity. Diig^e boldly sug-
gests that Rodrigo take the place of
leader, and is seconded by the crowd
and Rodrigo himself, who begs a chance
of proving his valour before he dies.
The King consents.
Act III. — Scene i. Chim^ne alone in
her chamber at night, mourning her
dead father and her lost lover ('* Pleurez,
pleurez, mes yeux ! "). To her surprise,
Rodrigo enters. They sing sadly of the
bygone days of their happiness. Rod-
rigo, enraptured to find that Chim^ne
Still loves him, bids farewell before he
33°
THE MUSICAL GUIDE
eoes to die. Chim^ne, reproaching him
For thinking of death, urges him to re-
turn victorious, so that his past may
be forgiven ; then shocked with herself
at this disloyalty to her father, tries to
take it back, and flees, ashamed. But
Rodrigo, glorying in her love, feels
that no enemy can be too strong for
him. Scene 2. Rodrigo*s camp. Sol-
diers amusing themselves. Kodrigo
entering reproaches them for frivolity in
the face of death, and announces that
an overwhelming army is upon them.
Some counsel night; it is indignantly
repudiated by R(xlrigo, who, however,
lets the cowards go. He thanks
the brave few who remain. Scene 3.
Rodrigo praying in his tent. St.
James appears and promises him vie-
tory. Scene 4. The battle-field at
sunrise. Rodrigo assures his soldiers of
victory.
Act IV. — Scene i. Hall in the pal-
ace at Grenada. The runaway soldiers
tell that Rodrigo has been overpowered
and slain and they alone escaped.
Di^gue accuses them of cowardice, and
says he had rather see his son dead than
living as they. The ladies, entering,
hear the bad news and cry out in grief.
The Infanta tenderly consoles the old
father, Chim^e mourns her twice-
broken heart, then publicly proclaims
that she still loves Rodrigo, and is glad
he knew it before he died. The King
entering inquires the meaning of their
distress when the town is joyful. Sounds
of acclamation are heard, and Chim^ne
understands at once that Rodrigo is
alive, and a conqueror. Scene 2. Court
of the palace. The King, etc., enter
and take their places, while the crowd
sings praises of the Cid. Procession of
soldiers, captives, etc., lastly Rodrigo
He proffers his sword to the King, who
tells him to keep it and name his re-
ward. Rodrigo sadly answers that the
only reward he craves is not in the
King's power to grant. The King, un-
derstanding, bids Chim^ne answer, and
is echoed by the people. Chim^e com-
plains that she should be asked to reward
her father's murderer, and the people
fear she means to sentence him to
death ; but she can neither condemn nor
forgive. Rodrigo, to relieve her, pre-
pares to kill himself, but Chim^ne just
m time prevents him, and confesses her
love, ueneral rejoicing.
METERBEER^ GIACOMO.
L'Afncaine (l«f-r!-kCn), /"., Die Afri-
kanerin (de fif-rl-ka'-n«r-In), G. The
African.
Five-act opera. Book by Scribe. The
Acad^mie, Paris, April 28, 1865.
CHARACTERS AND THEIR CREATORS.
SuiKA (si-l^'.k-fi), An AfHcan
queen in slavery^
Mme. Marie Saxe, sopr.
Inis (€-nfe), DauFhter of Don
Diego, . • .MUe. Marie Batte, sopr.
Anna,
Her attendant, contralto.
Vasco Di Gama (gfl'-mil),
Portuf^uese naval officer^
Naudin, tenor.
NiLvtco (ni-loos'-k5),
A slave Faure, bass.
Don Pedio (pi'-dr6). President
of the Royal CounciL Belval, bass.
Don Diigo (de-i'-g6), Member of
the Council and Admiral,, , . .bass.
Don Alvai', Member of the
Council and Admiral bass.
GiAN Sacbkdoti di Biama (sS-
chCr-d6'-t€), High Priest of
Brama Obm, bass.
Grande iNgcntrroRE (grfin'-d^ en-
kw6z-i-t6'-re) and Inquisitors.
Begun in 1838 the opera was not fin-
ished till 1863, nor produced till two
years after Meyerbeer s death.
Act I. — Scene. Royal Council cham-
ber. Inez and Anna appear ; Inez,
who loves the absent Vasco, has been
summoned by her father, who comes to
tell her that she is to marry Don Pedro.
He tells her that Vasco is lost at
STORIES OF THE OPERAS 331
and she harries away. The council as-
sembles to discuss further explorations.
Vasco appears. He has escaped alone
from the shipwreck at the Cape of
Storms, but begs a new ship to try the
passage again, explaining that he has
bought in Africa two slaves, members
of a race not conquered by the Span-
iards. Selika and Nelusko are brought
in. Questioned as to their country,
they refuse to tell. Vasco, persisting
in his request for a ship, is arrested, and
is condemned for impiety.
Act 11. — Scene. The prison of the
Inquisition at Lisbon. Vasco asleep.
Selika declares her love for him, but
hkles as Nelusko enters to kill him as a
■Christian and enemy. She intervenes
and pleads for him, but is forced to
wake him, whereu{x>n Nelusko conceals
his dagger and leaves. Vasco studies
his map and she warns him against
dangerous capes. He expresses his
gratitude, just as Don Pedro and Inez
enter with his pardon. Inez suspects
that Vasco loves Selika; to allay her
suspicions he [resents Selika to her as a
slave. Don Pedro announces that he
has won the royal commission to make
the expbration Vasco planned. He
also announces that he is to wed Inez,
who has consented in order to secure
Vasco*s freedom. The treacherous
Nelusko is to go as Pedro*s pilot. Vasco
it left alone in des{toir.
Act iiL — Scene. The ** bet ween-
decks'* of a ship. Sailors* chorus and
prayer. Inez, now Pedro's wife, is with
nun. Nelusko appears and gives com-
nunds. Accused of treachenr, he de-
nies it, but gleefully sings of Adamastor,
the god of the typhoon, whom he trusts
to dtttro^ the Portuguese. A strange
ship is sighted and a boat put$ out
Vasco comes aboard and tells Pedro that
he is drifting into the same trap he him-
self fell into ; that the ship will fall prey
to the storm and to a horde of savages
from the shore. Pedro scornfully orders
him to be tied to a mast and shot. Se-
lika threatens to stab Inez if Vasco is
not released. She is hoodwinked, over-
powered and ordered to be scourged.
But now the hurricane dashes on
them, and in the panic, the ship is in-
vaded by savages who overpower the
crew.
Act IV. — Scene. Space between an
Indian temple and a palace. The cor-
onation ceremony of Selika. AH the
Portuguese have been condemned to
death except Vasco, who had been
found in chains. When all have de-
parted, Vasco enters, guarded. He is
overcome with the beauty of the place,
an earthly Paradise. The Brahmans
and soldiers are about to kill him, when
Selika appears and rescues him, declar-
ing that she has been plighted to wed
him. Nelusko is overcome with grief
at losing his beloved Selika. Vasco, in
loving gratitude, consents gladly to the
marriage, and the rites begin, when the
mournful wails of Inez and her women
are heard in the distance. He attempts
to rush to her rescue, but the brides-
maids surround him and hale him to the
altar.
Act V. — Scene i. The queen's gar-
dens. Inez, under guard, is upbraided
by the enraged Selika, because Vasco
has found his way to her. Inez con-
fesses that she and Vasco are lovers
still, and begs to be killed ; but Selika's
anger subsides into anguish, and when
Nelusko enters with soldiers, she orders
Inez and Vasco to be put on board a
ship and sent home. Scene 2. A prom-
ontory on which is a large tree — the
manchineel, whose perfume produces an
ecstasy ending in death. The lone Se-
lika appears and, inhaling the odour,
breaks into a rapturous delirium of love
for Vasco, as she falls asleep. The
sound of a distant cannon awakens her.
Nelusko enters joyfully announcing that
Vasco has sailed. With a despairing
cry her soul departs, and Nelusko dies
of grief at her feet.
Les Huguenots (la-zUg'-no), /v.. Gli
Ugonotti (Ic oo-gd-not'-te), /., Die
Hugenotten (de hookh'-^-not-ten), C7.
The Huguenots,
332
THE MUSICAL GUIDE
Four-act opera. Book by Scribe and
Deschamps.
Academic, Paris, February 29, 1836.
CHARACTERS AND THEIR CREATORS.
Valentine (vai-Xn-ten),
Daughter of St. Bris^
Mile. Fal9on. sopr.
MAiGUERrrE DB Valois (da v&l-w£),
Betrothed to Henry I V, ,
Mme. Dorus-Gras, sopr.
UtBAiN (Ur-bah),
Her page y Mile. Flecheiuc, sopr.; now
a contr. r61e.
CoMTB DE St. Bbu (sjln-bre),
Governor of the Louvre Leda.
CoMTE DE Nevem (kont dCL-nii-
vir) Derivis.
Raoul DE Nangis (ra-ool dtt ntft-
zhe), A Protestant, . Nourrit, tenor.
Marcel (mir-s^l),
His servant Levasseur, bass.
Maurevert (mo-rtt-vir).
Tavannes (ti-vin).
DeRetz.
M"ero (mtt-rO). '
. Act I. — Scene I.. A feast at the cas-
tie of De Nevers. ' The revellers' per-
suade Raoul to tell of a beautiful stran-
ger he had once rescued from a crowd
'of boisterous students, and had since
loved though he does not know her
name. His servant, a sterti old Protes-
tant soldier, appears and is persuaded
to sing an anti-Popery song, which the
Catholic noblernen take good-naturedly.
A servant, followed by Valentine, heav-
ily veiled, whispers to De Nevers, who
leaves witd the veiled woman. Raoul
recognises "her as his mysterious love.
De Nevers returns. The page Urbain
appears and with much flourish delivers
to Raoul a letter, which he passes about ;
though not signed, it is recognised as
Marguerite's writing and is an invi-
tation to come blindfolded to Court.
The noblemen shower the puzzled Raoul
with congratulations. Scetie 2. The
chateau and gardens of Marguerite.
Surrounded by her attendants, she is
rhapsodising over love, •* A questa voce
sola." Valentine enters. She has be-
come a favourite of Marguerite and at
her request has asked De Nevers to
absolve her from the promise of mar-
riage arranged by her father. Urbain
laughingly announces that a cavalier
with eves blindfolded is waiting. Raoul
is led m. Marguerite bids him remove
the veil, and he is overcome by her beau-
ty. She exacts of him a promise to do
as she bids. The Gentlemen of the
Court, including Valentine's father, St.
Bris and De Nevers enter. She makes
them all take an oath of peace and
friendship. Marguerite, who is eager
to reconcile the Catholics and Protes--
tants, who are already drifting toward
the St. Bartholomew massacre, an-
nounces that Raoul is to wed a lady of
her choice. St. Bris brings in his daugh-
ter, and Raoul recognising her as the
.veiled woman who had called on De
Nevers, suspects her honesty, and BraAj
declines to wed her. De Nevers and
St. Bris swear revenge, and Valentine is
overcome With humiliation.
Act II.— ^Scene. Two inns and a
chapel on the bank of the Seine. Cath-
olic students at one tavern and Hugue-
not soldiers at the other are making
holiday. A bridal procession appeiirs.
leading De Nevers and Valentine,
and St. Bris and Maurevert. Valen-
tine remains at the chapel to pray. De
Nevers leaves. Marcel enters and de-
livers a letter to St. Bris, who finds in
it a challenge. He plots with Maure-
vert to assassinate Raoul, and is over-
hesLrd by Valentine, who warns Marcel
and leaves. St. Bris and Raoul arrive
and {Prepare for the duel, when Nfarcel
seeing Maurevert appear with soldiers,
summons the Huguenot soldiers from
the inn. • The Catholics hasten from
theirs and a riot is brewing. Margue-
rite and Urbain appear, and the com-
batants begin recrimination. Valentine
appears and Marguerite explains to
Raoul the purpose of Valentine's visit
to De Nevers. He learns with gjief
«p
STORIES OF THE OPERAS 333
that she has now become the wife of
De Nevers, who appears in a barge and
takes her away.
Act ui. — ^Scene. The chiiteau of De
Nevers. Valentine, alone, bemoans her
lot; wedded to De Nevers, loving
Raoul. Raoul appears. She conceals
him behind a curtain just before the en-
try of St. Bris, De Nevers and others,
who have met to plan the annihilation
of all the Huguenots. There is an im-
pressive scene, **The Blessing of the
Poignards." De Nevers refuses to stoop
to assassination ; he breaks his sword
and is led away. St. Bris bids them
await the signal of the bell for the gen-
eral massacre. Monks enter with a
basket of white scarves. They bless
the swords. When all have gone, Raoul
steps out, eager to warn his friends and
slay the conspirators. Valentine pleads
with him not to go lest her father and
her husband perish. She clings to him
kmngly and he echoes her passion till
tiie (U^nt bell announces the slaugh-
ter ; they look out into the street and
see the St. Bartholomew massacre in
fall coarse. She faints with terror for
him and he leaves by the window. [The
performance usually ends here.]
Act IV. — Scene. A cemetery and
church. Within the church are Hugue-
not women and children preparing to
die for the faith. Raoul meets Marcel,
who falls wounded. Little remains to
them but to die bravely. De Nevers
has been killed for interceding. Valen-
tine appears, dishevelled and breathless.
^e begs Raoul not to die but to live
for her. Her husband is dead. Mar-
cel will join them in marriage. The
rd^ous hymns from the church are
interrupted by sounds of musketry and
the fury of the assassins. After a silence
the three b^n to sing Protestant
hymns. The Catholics appear, St.
Bris leading a company of soldiers.
Though Valentine tries to restrain him,
Raoul declares that he is a Huguenot.
Valentine and Marcel cry, ** And we
abo." St. Bris gives the conmiand to
fire, not seeing his daughter. She dies
declaring that she will intercede for her
father in heaven.
[In some versions there is a scene in
which Raoul makes wild but vain ap-
peals to Marguerite to put a stop to the
massacre.]
Le Proph^te (m4>rd-f«t), F,, II ProfeU
(el pro-fa'-ta), /., Der Prophet (d«r
pro-fat), G. The Prophet.
Five-act opera. Book by Scribe.
Produced, Paris, April i6th, 1849, with
Mme. Viardot-Garcia as Fides, and
Roger as the Prophet.
CHARACTERS.
JiAN DE LivDEN (zh6n dii l^d-fin),
An innkeeper. The Prophet. . .tenor.
CoMTx d*Ob£ktral (kont d'6-b£r-
tai).
Gio'ma, Ma'thisbn, Zacca'na,
Three Anabaptist Leaders of
the RevoU,
Finkt (fg-d^),
Mother of Jean alta
His betrothed, sopr.
Note. — The hero of the opera is John
of Leyden, an historical personage, who
led a religious revolt that succeeded for
a time in Holland, 1534.
Act I. — Scene. Dordrecht. Peas-
ants and millers are at breakfast. Berta
and Fidte meet. Berta, a poor orphan,
is to be wed to Jean ; the bridegroom
even rcw waits her. Berta says she
cannot wed without the consent of Ober-
thal, the lord of the domain. They
start to ask this, but meet with three
Anabaptists, who enter, and by talk of
liberty arouse the peasants to attack the
Castle. Oberthal appears at the gates
and scornfully reviles Giona as his late
thievish cellar-keeper. This cools the
mob*s fury. Berta and Fid^ interrupt
to ask Oberthars consent to the girl's
marriage, but he, smitten with her
334
THE MUSICAL GUIDE
iri^^k
beauty, refuses it, and has her and
Fid^ dragged into the Castle. In the
distance the hymn of the Anabaptists is
heard.
Act II.— Scene. Jean's inn at Ley-
den. A soldier and peasants drinking.
Jean serves them, but dreams of Bert2LS
return. The three Anabaptists enter.
They are struck by Jean's likeness to
the image of the patron saint of the city
of MUnster. They learn from a peasant
that he is also brave and versed in the
Scriptures. Left alone with Jean, they
question him. He tells them of dreams
that have disturbed him by showing
the people kneeling and hailing him
king, while he reads in blazing letters a
warning against drawing the sword ;
then a sea of blood envelops him and as
he tries to climb to the throne it is
swept away ; demon-voices roar round
him, but give way to a soft voice whis-
pering *• Mercy. They hail him as
their leader, but he prefers Berta and
lowly peace, and they leave him. A
sound of horses is heard and Berta
rushes in in terror, hiding, just before
Oberthal and soldiers hasten after her.
Oberthal demands the delivery of Berta,
and vows otherwise to take the life of
Fid^, who is dragged in and threatened
with a soldier's axe. Jean turns toward
Berta, who comes from concealment,
but cannot see his mother killed, and in
despair surrenders Berta to Oberthal,
who drags her away swooning. Fid^
pours out her gratitude (in a famous air
**Ah, mon fils" or "O figlio mio")
and leaves him to his misery. The Ana-
baptists enter and offer him the crown
and sword. He accepts with fire, but
when they tell him he must give up all
his family ties and depart without seeing
his mother again, he wavers ; at length,
however he follows them.
Act III. — Scene i. The Anabaptist
Camp, near a frozen lake in Westphalia.
A battle is heard in the distance, and
Anabaptist soldiers drag in a monk and
other prisoners whom they and their
women taunt. A band of skaters ar-
rive with food, for which the soldiers
barter spoils. Zaccana sends the vis-
itors away and sends the soldiers to
sleep. Scene 2. Zaccana*s tent. He
and Mathisen meet. They decide to
assault Mttnster at once before Ober-
thal's father can bring up reinforce-
ments. Oberthal is brought in as a
prisoner. He is not recognised in the
dark and offers to join them, swearing
to help destroy the abbeys and the no-
bility. They declare that he must help
destroy his father, and he consents.
Giona strikes a light gaily and they all
recognise Oberthal. They order him at
once to the gallows, as Jean enters. He
is determined to see his mother, and
Zaccana says she will be killed if heat-
tempts it. Oberthal is led past, but
Jean demands his safety and, left alone
with him, learns that Berta had leaped
into the river to save her honour, and
had escaped to MQnster. A mutiny is
threatened now by the soldiers chafing
at Jean's inaction, till he, after prayers
and exhortation and the seeing of a
heavenly vision, sets forth with them to
the assault.
Act IV. — Scene i. A square in MUn-
ster. The citizens are playing tribute
of gold to the victorious Anabaptists
and secretly cursing the impostor Proph-
et, who. is to be proclaimed Emperor of
Germany. Fid^ enters, disguised as
a beggar. The citizens give her alms
and depart ; Berta enters as a Pilg^m.
Recognising Fidte by her voice, she
tells of her flight from Oberthal, her
rescue by a shepherd, her return to the
inn, where she learned Jean and Fid^
had gone to MUnster. Fid is says that
Jean is dead ; she had found blcK>d-
stained clothes of his and she believed
the mysterious Prophet had killed him.
Berta vows to kill the Prophet in re-
venge. Scene 2. Interior of the Ca-
thedral. The coronation procession of
Jean passes across. Fidis kneeling,
has not seen him and prays for his de-
struction, unwitting who he is. Jean
re enters as all kneel, and takes the crown.
Fidds and he recognise each other.
Mathisen tells him that if he acknowU
STORIES OF I HE OPERAS 335
edges her, she dies, and he disavows
her. When she proclaims herself his
mother, he says she is insane. She is
about to be killed, but he intervenes,
saying she has lost her reason. He then
declares that if she still calls him her
son, his followers must kill him. Faced
by this crisis, Fid^ denies him, and he
is hailed as a miracle-worker for restor>
ing the reason of Fid^s, who is made
prisoner.
Act V. — Scene i. Prison in Mdnster
Palace. The three Anabaptists meet ; and
learning that the true Emperor is march-
ing on the town to recapture it, discuss
a paper sent offering them clemency if
they surrender Jean. Soldiers lead in
Fidfe, who, left alone, broods bitterly
over her son*s faithlessness to her. Jean
enters, and she makes him kneel to im>
pbre her pardon. She demands that he
renounce his power and repent. He
consents. An officer enters to announce
that the city is betrayed to the Emperor,
and that a frantic woman was found
trying to set fire to the palace. Berta
is dragged in. I earning Jean's identity,
she is revolted by his bloody ambition,
and cursing him, stabs herself. Jean
sends his mother away to safety, and
determines to revenge himself on the
traitors. The scene changes to 2. The
Banquet Hall. Jean after sending two
officers secretly to close the gates as soon
as the Emperor's forces enter, joins
wildly in the revel. The three Ana-
baptists now rush in, leading the hostile
troops. They claim Jean as their pris-
oner. He cries that they are his. A
great explosion rends the wall and all
perish in the flames. Fid^ rushes in to
forgive her son, and dies with him.
Robert le Diable (r5.bftr l(i dY-ibl),
/*., Rober'to il Dia'volo, /., Robert
der Teufel (toi'-f«l), C, Robert the
Devil
Fivc-act opera. Book by Scribe and
Dclavigne.
Produced, Paris, Academic, Novem-
ber 21. 1831.
CHARACTERS AND THEIR CREATORS.
I^OBBKT,
Duke of Normandy ^ Nourrit, tenor.
BitTiAM (bftr-trJA),
His friend Levasseur, bass.
Raimbaut {r4A-b6),
A Norman peasant, . . Lafont, tenor.
Albikt,
A knight bar.
ISABBLLB,
Princess of Sicily ^
Mme. Cinti-Damoreau, sopr.
AUCE,
A A* or man peasant^ Mile. Donis, sopr.
The Abbem Signora Taglioni.
[Next to Die ZauberflOte, probably
the worst libretto in existence. ]
Act I. — Scene. A tented space near
the port of Palermo. The Sicilian
knights are drinking. Robert intro-
duces himself and joins the chorus. A
Norman minstrel (Raimbaut) appears
and being asked to sing, tells the his-
tory of Robert the young duke ('* Reg-
nava un tempo**). According to this
the Princess Bertha was won and wed-
ded by a fiend in human disguise ;
their son was Robert called **the
fiend.** Robert in rage, declares him-
self the subject of the song, and orders
his servants to hang the minstrel ; he
spares the man's life, however, when he
learns that Raimbaut *s betrothed has a
message for him. Alice is shown in,
Robert's heart softens toward her and
he orders the boisterous knights away.
Alice, his foster-sister, tells him his
mother is dead, and dying had told her
to go to her son (** Vanne, disse, al fie-
lio mio'*) and beg him to reform his
ways, and, on the day he felt worthy, to
read the scroll which Alice shows :
Robert feels unworthy to read. He
tells Alice he has fallen in love with the
Princess Isabelle, and in attempting to
carry her off, was set upon by the
knights of the court, and only saved by
Bertram. Alice advises him to write to
33^
THE MUSICAL GUIDE
the Princess, whom he has not since
seen. He dictates a letter and gives it
to Alice to deliver, promising to consent
to her marriage with Raimbaut. As
she goes, she meets Bertram, who terri-
fies her by his resemblance to a picture
of Satan she had seen. Robert con-
fesses to Bertram he thinks his influ-
ence evil, but is persuaded to join the
gambling knights, singing a Sicilian
luck -song (**Sorte amica")* He
loses everything he possesses in the
game and receives only jeers from the
others.
Act 11. — Scene. Alone the Princess
muses on her ill-fated love (**Deir
umana gp-andezza "). Alice and others
enter with petitions, and Alice gives the
Princess Rot)ert's letter, which she re-
ceives with delight (**Ah, vieni").
She leaves just as Robert and Bertram
enter. Robert has challenged the
Prince to a bout at arms. A herald an-
nounces that the Prince desires the
combat to be mortal ; he leads Rot>ert
away to the forest. Isat>elle and the
King, Bertram, Alice, Raimbaut, and
others assemble. After dances and
song, the herald announces to Isabelle
that the Prince wishes her to arm him.
She gives his squires the arms, but se-
cretly wishes Robert success. Bertram
aside gloats over the fact that Rot>ert
is lost in the woods and will not come.
The others wait anxiously for him, but
he does not appear, and the procession
moves away.
Act III. — Scene i. A gloomy place
with a ruined temple, a cavern and a
cross. Raimbaut has come to meet
Alice here, but Bertram appears and
giving him gold advises him not to be
hasty about marrying Alice. The min-
strel goes away in doubt. Bertram
alone gloats demon-like over the ap-
proaching doom of Robert, who is ac-
tually his son. The chorus of fiends is
heard ('* Demoni fatali," the •*Valse
Infernale") and Bertram enters their
fiery cave. Alice comes down the
mountain dreaming of Normandy
(" Nel lasciar la Normandia "). She is
terrified by the sounds from the carem,
but hearing Robert's name called she
stops, embraces the cross and swoons.
Bertram enters in confusion ; the de-
mons have warned him that if he does
not win Rot>ert*s soul before midnight,
he loses him forever. Seeing Alice,
he threatens her and her betrothed and
all her /riends with death if she dis-
closes what she has heard. Robert
comes gloomily and Bertram orders her
away. She goes reluctantly, and Ber-
tram tells Robert she is agitated with
jealousy of Raimbaut ; he tells Robert
that the Prince has used sorcery and must
be met with it. Scene 2. Mysterious
vaults. Bertram entering calls statues
of nuns to life and bids them entice
Robert when he comes, and make him
pluck the branch of magic power. When
he withdraws, the nuns dance a wikl
Bacchanale and surround Robert, who
enters, but in terror seeks to fly. After
the ballets of ** Intoxication,** and
** Gaming,*' and ** Love," he seizes the
branch.
Act IV. — Scene. Isabelle is in her
apartments surrounded by bridesmaids ;
she is to marry the Prince. As he en-
ters, Robert appears and with his mag-
ic branch puts all to sleep, then awak-
ens. I sat>elle. She rebukes him for not
being present at the combat, and pleads
with him to throw off the infernal influ-
ence (*' Roberto, o tu che adoro," or
'* RotJert, toi que j'aime**). He con-
sents, breaks the branch, and kneels at
her feet. The court awakens from its
sleep and Robert is seized and dragged
away. Alice prays for him and the
Princess swoons.
Act V. — Scene. Cloisters. A chorus
of monks. Robert enters, dragging
in the reluctant Bertram. Bertnm
promises him success after all if he wiH
sig^ a scroll. As he is about to do so,
he hears a hymn sung in the chapel,
and his childhood faith wakes in turn.
Bertram tries to win him away to de-
spair, and at last declares himself Rob-
ert's father. Alice enters and struggles
for Robert with the fiend-father ; as be
STORIES OF THE OPERAS 337
finally produces a parchment and a sti-
letto, Alice presents the mother^s will ;
in it Robert reads a warning not to trust
the counsels of the fiend. As he still hesi-
tates, the clock strikes twelve. Bertram
▼anishes in despair and a chorus of an-
gels and men sing a hymn of joy.
MOZART^ ff^OLFGANG AMADEUS.
l\ Dissoln'to Puni'to ; ossia il Don
Giovanni (don jo-vjln'-ne), /., Don
Juan (don hwto in Sp.^ in F, ddn-
zhwan, in E, dan joo'-fin).
Two-act opera buffa. Book by Lo-
renzo da Ponte (from Tirso de Molina's
story. **E1 combidado de piedra").
Composed in great haste and produced,
Prague, October 29, 1787.
CHARACTERS AND THEIR CREATORS.
IhH Otta'vio Baglioni, tenor.
Don Giovanni Luigi Bassi, bar.
1«ipokbl'lo,
His servant, . .Felice Ponziani, bass.
Don Pkdbo (pd'-dro),
IlCommendatore (in Ger-
man, Der Komthur), the
Commandant of Seville.
MAtrr'To, A peasant.
DoNMA Anna,
Daughter of Don Pedro^
Signora Teresa Saporitti, sopr.
DomiA Elvira (dl-ve'-rfi) . , I^icelli, sopr.
ZBauNA (ts^-le -ni) Bondini, sopr.
Act I. — Scene i. Seville Square be-
fore the Commendatore*s palace at
night. Leporello complains of working
for his master night and day ('* Notto e
giorno faticar"). Don Giovanni now
enters ; he has attempted outrage upon
' Doima Anna, and being frustrated is
taking flight ; she clings to him to dis-
cover who he is and calls for help. Her
>: father, the Commendatore, hurrying to
: her rescue, is killed by Don Giovanni,
who slinks away imdiscovered, followed
;^ Vyhts disgusted and terrified servant.
Loll, bass.
Ottavio, Anna's fiance, enters with ser-
vants and torches. He and Donna
Anna swear revenge against the murder-
er ('* Fuggi crudele *' ; Schwur-Duett).
Scene 2. A street. Don Giovanni en-
ters hastily. Leporello protests against
his master's mode of life, but is threat-
ened and cajoled, and told of a new
amour. Donna Elvira is seen coming
and the men withdraw to one side,
while she t>ewails her lost honour and
Don Giovanni's perfidy ("Ah chi mi
dice '*). Not recognising her, the Don
comes forward flirtatiously, only to be
bitterly rebuked. The Don referring
her to Leporello, steals away. Leporello
tells her that she is only one of a long
list of victims to the Don's gallantry ;
he unrolls a catalogue of them (*' Ma-
damina, il Catalog© " ; Register-Arie),
a thousand or more of all countries,
ages and conditions. When he has
gone, she breaks out into a prayer for
revenge (*' Mi tradi quell* alma ingra-
ta "). Scene 3. The country near the
Don's palace. Zerlina and Masetto,
about to be married, make merry with
the other peasants (** Giovenette, che
fate "). The Don and his servant ap-
pear, and the Don questions Zerlina
and orders the others to his palace for
refreshment. Masetto, in spite of his
jealous dread, is dragged away by Le^
porello. The Don promises the terri-
fied girl that he will marry her, and
after some fluttering she accepts the de-
coy (in a duet, ** La ci darem '). They
are confronted by Donna Elvira, who
leads the girl away from danger. Ot-
tavio and Anna in deep mourning enter.
The Don now attempts to play the gal-
lant to Anna, and pretends he does not
know the cause of her mourning. El-
vira returns and denounces him (** Non
ti fider, O misera "), whereupon he de-
clares that she is insane. Ottavio and
Anna are deceived for the moment, but
when, after inviting them to his palace,
he follows Elvira away, Anna tells Ot-
tavio that she believes Don Giovanni to
t)e the mysterious man who had entered
her room at night, and in his flight had
338
THE MUSICAL GUIDE
killed her father. She describes the
scene in detail and declaring to Otta-
vio *' Now you know the villain" (*' Or
sai che Tindegno"), she bids him re-
venge her. When they have gone,
Leporello enters, deciding to quit his dis-
tasteful service, and when Don Giovan-
ni enters, he tells him how he has filled
Masetto and the others with food and
drink only to have Zerlina return with
Elvira, who had told the company of the
Don's misdeeds. leporello tells how
he finally got her out of the house, and
the Don decides that a carousal with
the peasants will please him (** Finch^
dalvino**). Scene 4. A garden. Zer-
lina is trying to console the indignant
Masetto, finally crying, ** Beat me,
beat me " (" Batti, batti "). Just as he
is won over, the Don's voice is heard ;
Masetto and she hide and the Don en-
ters with the peasants; they pass on
and the Don discovers Zerhna ; as he
pleads with her, he also descries Ma-
setto and with presence of mind invites
him to join them at the feast. When
they have gone Ottavio enters with
Anna and Elvira, all three in dominoes
and masks. In the ** Mask-Trio" they
disclose their plan to learn the true
character of the Don who with Lepo-
rello appears and invites them in.
Scene 5. A great ball-room. The peas-
ants are revelling in the hospiulity
of the Don, and the attentiveness of his
servant. Both master and man flirt
outrageously, and Masetto is in tor-
ment, as the Don drags Zerlina away.
Her voice is heard crying for help, and
the three masked people entering realise
the Don's blackness of heart. Zerlina
escapes and throws herself on their pro-
tection. The Don tries to throw the
blame on Leporello, but the three re*
move their masks and denounce his
crimes. Thunder is heard foreboding
his doom, but the Don laughs at
fate.
Act II. — Scene i. A street at even-
ing. Leporello is tr>ing to get away
from his master, who finally bribes him
with money to carr) out his plot. He
exchanges cloaks and hats with the re-
luctant servant, and when the love-lorn
Elvira appears at a window, the Don
from concealment implores her to for-
give him and come down. She is over-
whelmed with joy at his return and de-
scends. Lepoiello imitates his master's
voice, and n.akes such love to her that
when the Lon n akes a noise as if kill-
ing someone, she flees hastily with Le-
porello. 1 he coast is now clear for the
Don's plot against Zerlina, and he
sings a serenade to bring her to the
window (•* Deh vieni alia finest ra '*).
But Masetto enters with his friends
armed with cudgels and guns. Think-
ing the Don to be the servant, he tells
his plan to kill the libertine ; the Don
sends the villagers on a wild-goose
chase, beats the stupid Masetto and gets
safely away. Zerlina entering tries to
appease her distracted and aching lover
by her tenderness (**Vedrai carino").
Scene 2. Portico of Donna Anna's
palace. Leporello and Elvira enter, he
wondering how to get rid of the tena-
cious servants and torches. Ottavio is
trying to comfort Anna. Leporello in
eluding Elvira comes upon Masetto and
Zerlina, but after pleading for pardon
escapes by running. Ottavio declares
himself convinced of the Don's guilt,
and promises to console Anna **hts
treasure" (** II mio tesoro") uith
speedy revenge. Scene 3. A square
with a statue of the Commendatore.
The Don and Leporello groping along,
meet in the dark. The Don laitgfaing-
ly tells of an amorous encounter he had
with some strange woman who thought
him to be Leporello. The statue speaks
wamingly. Leporello is terrified, but
the Don only mystified ; be has Lepo-
rello read the inscription **On the im-
pious wretch who caused my death,
here I wait revenge." He laughs and
says : ** Tell the old buffoon, that 1 ex-
pect him to diqner to-uKHTow even-
ing"; he is greatly amused at Lepo-
rcllo's terror, and asks the statue itself,
••Will you come to dinner?** The
sutue answers ••Yes." and the Poo,
STORIES OF THE OPERAS 339
anuted, drags the trembling Leporello
borne. Scene 4. A garden. Ottavio
is tr]ring to pacify £>onna Anna with
hopes of speedy revenge, but when he
talks of love she bids him wait (** Non
mi dir**). Scene 5. Banquet-hall in
Don Giovanni*s palace. Musicians
play while the Don eats, served by Le-
porello, who steals many mouthfuls
meanwhile. (In this scene Mozart
alludes to and parodies an aria from his
rival Martin*s opera, ** La Cosa Kara,**
and later parodies his own **Non pid
andrai** from ** Le Nozze di Figaro.")
Elvira enters to plead with him to re-
pent, the last proof of her love ('* L*ul-
tima prova **), but he ridicules her and
she leaves him. As she goes, she gives
a scream of terror. The Don sends
Leporello to learn the cause. He cries
out and fastens the door. The musi-
ctaos uke flight, and Leporello explains
as he shivers, that the statue has come.
Its knock is now heard, and the Don
goes to the door while Leporello crawls
under the table. The Don ushers in
the statue and orders Leporello to bring
Mm food, but the statue says he does
not feed on mortal food ; he has come
to invite the Don to sup with him. In
spite of Leporello*s pleading, the Don
jauntily accepts. The statue takes his
hand, and in this chill clutch the Don
learns fear for the 6rst time. He re-
fuses the statue's pleading that he re-
pent, however, and is enveloped in
flames and haled by demons down to
eternal punishment.
Le Kozxe di Figaro Oa n6d'-z« d«
fc'-g*-r6), /., Die Hochzeit des Figaro
(d«.b5kh'-ts!t d^s fe'-khil-ro), C, Le
Mariage (or Les Noces) de Figar6
(Ifl nUr-I-izh (or lH nos) dtt /".), F.
The Marriage of Figaro.
Foar-act opera bufla. Book by Lo-
renzo da Ponte (after the comedy by
Bcauniarchais).
Com|X>sed, December, 1785 — April,
1786. Produced, Vienna, May i, 1786.
CHARACTERS AND THEIR CREATORS.
CoNTE Almaviva (k6n'-ta al'-ma-ve-vS),
Mandini, bar.
Figaro,
//is valet Benucci, bass.
Da. Baito'lo Occheley, bass.
Basiuo (bfi-se'-h-6),
A singing-master , . . .Bussani, tenor.
Antonio,
Gardener bar.
Don Cvrzio (ddn koor'-tst-6),
A magistrate tenor.
Cherubino (ka-roo-be'-no),
The Counts page^
Signora Mandini, sopr.
La Contes'sa,
The Countess (in German Die
Grafin) (de gra -ftn),
Signora Storace, sopr.
Svsan'na,
//er maid Signora Laschi, sopr.
Marceluna (mar-chdUIe'-na),
Dr. Bar totals housekeeper ^
Signora Bussani, m.-sopr.
Baebarina (bar-b^-re'-na),
Antonio* s daughter^
Frau Gottlieb, sopr.
[The story is really a sequel to that in
Rossini's *• Barber of Seville."]
Act I. — Scene. A half-furnished room
in the Count's castle near Seville. Fi-
garo and Susanna talk of their coming
marriage. He thinks the room very
convenient ; * * ding-ding ! " he can soon
answer his master's bell ; ** dong-dong ! "
she can soon answer that of her mis-
tress. Susanna suggests that the bell
may send him three miles away while
the Count comes in his place. She tells
the jealous Figaro of the Count's atten-
tion to herself. She is called away and
he fumes and threatens to lead the
Count a dance he will not like. When
he has gone, Bartolo and Marcellina
enter, she with a document, Figaro's
former agreement to marry her. She
is planning to break up the match be-
tween Susanna and Figaro, so that she
340
THE MUSICAL GUIDE
can marry him herself ; Bartolo, in love
with Susanna, seeks revenge (** La Ven-
detta ") on his successful rival. He
^oes and Susanna enters. The two
women cast aspersions on each other
ironically, and Marcellina leaves. Che-
mbino the page enters, and sa3rs the
Count has threatened to discharge him
for flirting with Barbarina ; he is really
in love with the Countess, and the Count
is jealous of him. He says that he is a
madman over love, and has written a
poem (he sings ** Non so piii cosa
son"). The Count is heard coming
and he has just time to hide behind a
freat chair. Basilio is next heard and
usanna just manages to conceal the
Count behind the chair and Cherubino
in it. Basilio retails a deal of gossip
about the page and the Countess till
the Count rises angrily. Susanna pre-
tends to swoon, and the two men sup-
port her with great solicitude. The
Count tells how he discovered the page
hiding under the table at Barbarina's.
In illustration he lifts the cloth Susanna
had thrown over Cherubino, and again
discovers the page. The Count is first
consternated, then angry. Peasants
come in to deck the bridal-chamber, and
the Count declares that he will send
Cherubino to the war with a commission
as Captain. Figaro gloats over the ter-
rified boy, '* No more vou*ll flit, amor-
ous butterfly," etc. (** Non piii an-
drai ").
Act II. — Scene. The Countess's cham-
ber. She is alone and sing^ a sad
love-wail (** Porgi, amor"). Susanna
enters, then Figaro, who tells a plan
to torment the Count with jealousy by
sending him a warning letter. He leaves
and Cherubino apf>ears. He shows his
commission : they make him sing his
poem, *' You who know what love is"
(**Voi che sapete"). They then dress
him in women's clothes, Susanna bid-
ding him kneel ('* Venite inginocchia-
tevi "). Suddenly the Count is heard
outside. Cherubmo flies to the closet.
The Count is suspicious and shows his
letter ; he hears the page in the closet,
but his wife will not unlock the door.
He makes her go with him while he
hunts a crowbar. While they are gone
Cherubino steals forth and jumps oat
of the window and Susanna takes his
place in the closet. As the Count b
about to break the door in, the Count-
ess confesses that Cherubino is there and
is overcome with g^ef . Susanna walks
out to the astonishment of all. The
Countess taunts the apologetic Coont,
and tells him Figaro wrote the letter.
Figaro enters and is accused of the let-
ter, but denies it. The gardener, hall-
drunk, enters complaining that some
man had jumped out of the window and
ruined his flowers, then run away.
Figaro says it was he, in terror of the
Count. The gardener says that he
dropped some papers, among them Che-
rubmo's conmiission. This is recog-
nised and the Count is frenzied. To
complete Figaro's discomfiture, Marcel-
lina enters with his document promising
to marry her. Bartolo and Basilio are
witnesses. All ends in confusion.
Act III. — Scene i. A large room
decorated for a wedding. The Count,
alone, plans to compel Figaro to marry
Marcellina. Susanna, overhearing, pre-
tends to have come for the Countess's
smelling-salts; she says she has over-
heard the Count's scheme, but consents
to meet him in the garden at night. He
starts to go, and she tells Figaro, who
enters, that he has won his cause. They
hurry out ; the Count, who has over-
heard her, ponders suspiciously ; he
miserably asks *' Shall I behold, while I
sorrow, my servant happy?" ("Vedro,
mentr' io sosfHro"). Don Curzio en-
ters with Figaro, Marcellina, and Bar-
tolo. He says that Figaro must marry
Marcellina or pay her a forfeit. Figaro
proves that he is of good birth, and
shows a mark on his arm by which Mar-
cellina recognises him as her own son
by Dr. Bartolo« They are all embrac-
ing when Susanna enters with the money
to buy Figaro's liberty. Her indigna-
tion is soon assuaged and all leave.
Scene a. The Countess enters SLUmt,
STORIES OF THE OPERAS 341
iniisii^ over the plan to dis^ise her-
self as Susatina and meet the Count in
the garden : she bewails the lost de-
votion of her husband who had wooed
her so ardently (see Rossini's opera
•• The Barber of Seville "). She moans
'* Where now are those blessed mo-
ments** (" Dove sono i bei momenti**).
Susanna enters and the Countess dic-
tates to her a letter (in a duet ** The
Zephyr**), telling the Count to meet her
where the zeph3nr breathes in the pines.
Cberubino enters in girl*s clothes, and a
chorus of country g^rls present the
Countess with flowers. Antonio and
the Count enter and recognise Cheru-
bino. Figaro tries to calm the Count,
the Wedding March is heard ; Figaro
sings (** Ecco la Marcia**) and all leave
except the Count and Countess, who re-
main and wait coldly till the double
weddii^-procession returns with Figaro
and Susanna and Bartolo and Marcel-
Una. Susanna ^observed bv Figaro)
slips the note to the Count, who bids all
make merry.
Act IV. — ^Scene. The garden. Ba-
sifio ami Bartolo ponder the Count's du-
plicitY and the folly of love. Basilio
tells now ** in those years when inexpe-
rience *• (** In quegli anni **). love had
made him mad, till finally age and ex-
perience protected him with the skin of
an old ass. They withdraw and Figaro
entering grieves over Susanna's treach-
ery and woman*s frailty (*'Ah, che il
fi<krsi a donna *'). He hides, but is ob-
served by Susanna, who enters with the
Countess and Marcellina. To torment
Figaro Susanna sings ** Come, love, do
not delay " (** Deh, vieni non tardar**),
and leaves ; Cherubino enters in regi-
mentals looking^ for Barbarina ; he sees
the Countess m Susanna's garb and
thinking her to be actually Susanna tries
to flirt with her. He escapes into the
pavilion on the left as the Count enters.
Seeing Fi^ro, the Count whispers the
supposed Susanna to hide with him in a
pavilion on the right. Susanna enters
m the Countess's gown and explains her-
self to the delighted Figaro. The
Count reappears and seeing Figaro
kneeling before the supposed Countess
is infuriated and calls the servants.
Fi^ro and Susanna escape into a pa-
vilion on the left. Basilio and others
enter with torches. The Count entering
the pavilion on the left unearths Cheru-
bino and Barbarina, Marcellina and Bar-
tolo, and Susanna, who, pretending still
to be the Countess, hiding her face,
pleads for pardon, which the Count will
not g^ant. The Countess herself now
appears and the Count kneeling begs
her forgiveness. She g^rants it and a
chorus of general contentment (** Ah,
tutti contenti ") cuts the Gordian knot
of complications.
Die Zanberflote (de tsow'-b«r-fl&-t£).
II Flauto Magico (el fla'-oo-t5 mil-je'-
ko). The Magic Flute.
Two-act opera. Book by Emanuel
Schickaneder. Composed, 1791.
Produced. Vienna, September 30,
1791, under the management of the
librettist, who also played the r6Ie of
Papageno.
CHARACTERS AND THEIR CREATORS.
Sakastro (sa-rSs'-tro),
High-Priest of J sis, ,
Schickaneder, sr., bass.
Papagino (pS-pa-ga'-nd),
A bird-catcher.
Schickaneder, jr., bass.
Tamino (tS-me'-no),
A fisher Schack, tenor.
M0NO8TATOS,
A Aulian prince Gorl, tenor.
Bamboloda,
His slave.
Manss (mS'-nas),
And other priests of I sis.
KoNiGDf DBR Nacht (ki'-uYkh-cn
d«r nakht), Queen of Night
Frau Hofer sopr.
Pamina (pa-mc'-na),
Her daughter ^ a net-worker^
Frl. Gotlieb, sopr.
342
THE MUSICAL GUIDE
Papaoi'na,
Slave of Monostatos, . . Frau Gorl, —
Thrbb Fairies,
Disguised as women and guides.
Note. — The opera is sadly compli-
cated by the vanity and gaucherie of
the librettist and his desire to drag in
certain allusions to Freemasonry, in
which he and Mozart were enthusiasts.
Act I. — Tableau i. A rocky path
past a fairy cavern. Tamino in the
toils of a serpent (or in some versions
Gnomes) calls for help just as he falls
asleep under the spell. The Fairies res-
cue him and discuss how he, a fisher,
played his sweetheart such sweet tunes
that the Queen of Night herself loved
him. As her love is fatal, they plan to
save him by getting him into the Tem-
ple of Ists. They retire as Papageno
runs in ; he meets Papagena and tells
her who he is (** Der Vogelf anger bin
ich ja,'* or ** Sono un gaio uccellator ") ;
she tells him she is in the power of Mon-
ostatos. Tamino wakes as from a
dream and asks the way to the Tem-
ple ; he tells of his beloved Famina
and shows a miniature of her ('* Dies
Bildniss ist bezSubemd schOn '•— ** O
cara immag^ine *'). Papagena tells him
that Monostatoshas just bought Pamina
as a slave. They decide to hunt for
her, but cannot find the path ; as they
look for it, the Queen of Night appears
to Tamino and sings to him a love-song,
** Oh. fear not, dear youth " (" O zittre
nicht, mein lieber Sohn " — '* Giovane
amato, non temer"). She pledges him
to rescue her daughter Pamina and van-
ishes. The three Fairies offer to show
the lost ones the path ; but the price
must be the power of speech or that of
memory. Papagena loses memory and
Papageno is rendered dumb, but later re-
stored on swearing never to lie again, and
given a magic bell, while Tamino is given
a flute of mag^c power. They are then
shown the path, after a quintet known as
the" Padlock." Tableau 2. The Harem
of Monostatos. Bamboloda drags Pap-
agena in ; in her absence Pamina has
escaped. Monostatos enters and the
recaptured Pamina is brought in and
chained. Papageno appears and fright-
ens Monostatos away. They sing a
duet of love's power (** Bei Minnem,
welche Liebe fallen "—** Del cor gli
aifanni *') ; he shakes his bell, the gates
open and they escape. Tableau 3.
An Avenue. The Fairies tell that Pa-
mina has fallen in Sarastro*s power ;
appearing to Tamino disguised as
Guides, they point him a path and leave
him. He is warned bv voices and by
Manes, who tells him that he is moved
by desire for revenge on Sarastro, and
refuses to tell him where Pamina is.
Tamino plays on his flute and sirens
gather round ; he wanders sadly away,
searching. Papageno enters with Pa-
mina and answers Tamino's distant
flute with his own ; encountering Monos-
tatos and slaves, he compels them to
dance away to his magpie bell. Saras-
tro enters with retinue, and welcomes the
two to his Temple. Monostatos drags
in Tamino, who embraces Pamina. Sa-
rastro orders Monostatos to l>e flogged
and Tamino and Papageno to be veiled
and led in.
Act II.— Tableau 4. The Hall of In-
itiations. Sarastro and the Priests in-
voke Isis and Osiris (** O Isis und
Osiris ! "— " Possenti Numi '\ Tamino
and Papageno are brought in and asked
if they will undergo the rites ; they are
advised by two priests to avoid false
beauty and they are left alone and find
that their flute and bell have been
taken. The three Fairies appear and
warn them not to undergo the rites, but
they resist the blandi^ments of the
women, whose presence in the sanctuary
causes the fall of the altar. Tableau 5.
A Tent in a garden. Monostatos steals
in, guided by Bamboloda. He is furi-
ous at being beaten, but dreams of the
beloved Pamina ('* AllesfQhlt der Liebe
Freuden " — ' * Regna amor "). Pamina
is discovered in the tent ; he tries to take
her away, and she escapes only to be
confronted by the Queen of Night, her
mother, who hates her for her devotion
STORIES OF THK OPERAS 343
to the noble Sarastro, who is trying to
save the girrs soul. The Queen curses
her in tremendous fury (** Der HoUe
Rachc kocht "— ** GH angui d'infemo ").
Sarastro enters and declares that only
peace and love rule in these sacred pre-
cincts (" In diesen hcirgen H alien " —
'* Qui sdegno "). He leads the girl
away and the Queen and Monostatos
plot the death of Pamina. When they
have gone, the three Fairies enter ;
they have overheard the plot but decline
to aid it. Tamino and Papageno en-
ter; the Fairies appear as the Guides
and restore the magic talismans in a
trio. Papageno shakes his bell and
calls for Papagena, only to see her flirt-
ing with Bamboloda. He shakes the
bell again and summons Pamina ; she
enters and embraces Tamino, but he is
under pledge and does not answer her.
She sings sadly that no joy is for her
(** Ach ! ich ftthPs es ist verschwun-
dcn ** — ** Ah, lo so **). Sarastro enters
and removing the pledge reunites the
lovers; he bids Tamino hasten across
the sacred forest to complete his rites.
There is a trio of farewell and Tamino
kaves. Tableau 6. The Sacred Forest.
Papageno alone sings a love-song (" Ein
Midchen oder Weibchen " — ** Colomba
o tortorclla "). Papagena enters, she
does not remember him, and he re-
proaches her. She flees, and the three
Fairies tell him of Tamino's ordeal.
He leaves, and Pamina enters with a
dagger ; she would kill herself, but the
Fairies prevent her. Tableau 7. The
Crypt of the Temple. Tamino is taking
his final vows ; Pamina is brought in,
and the two undergo the ordeal of Are
and water, the evil spirits being chased
by Tamino*s flute. He is hail^ by the
Priests as a victor. Tableau 8. The
Portal of the Temple. Papageno in de-
spair for Papagena is about to hang
himself ; the Fairies advise him to sum-
mon her with his bell. She appears
and they have a joyful duet (** Pa-pa-
pa-pa-geno "). When they have gone,
the Queen of Night and Monostatos
steal in to murder Sarastro before her
power vanishes with dawn. The gates
of the Temple open, revealing the vo-
taries kneeling, and the lovers united
before Isis. The Queen vanishes in
helpless rage before the dawn and the
chorus of reverent joy.
PADEREfVSKI, IGNACE JAN.
Manni.
Three-act opera. Book by Dr. Al-
fred Nossig. Produced, Court The-
atre, Dresden, May 29, 1901.
CHARACTERS AND THEIR CREATORS.
Man'ru,
A gipsy Anthes, tenor.
U»oK (oo'-rok),
A dwarf Scheidemantel, bar.
Jaoo (ya -goo),
A gipsy fiddler Rains, bass.
O'kos,
A gipsy chief Hopfl, bass.
Ulana (oo-U'-nii),
A Galician girl. . . .Frl. Krull, sopr.
Hkdwig (hat'-vikh),
Her mother^
Frl. von Chavanne, m. sopr.
Asa (a'-za),
A gipsy girl, . . .Frau Kammer, sopr.
The opera begins and ends with a
single voice. It has no overture at all,
and only seventeen measures of prelude.
The scene is the Tatra Mountains
between Galicia and Hungarv.
Act 1. — The widow Hedwig sits be-
fore her hut and bemoans in a folk-
song the fate of the dove that took no
heed of the hawk's approach till she
felt his sharp claws. The dove is Hed-
wig*s daughter, Ulana ; the hawk, the
heathen gipsy who carried her off. As
she sings maidens dance about, adorn-
ing the village green for the festival.
The dwarf, Urok, appears. The maid-
ens call him ** dragon's-egg, an adder,
monster, wood-dwarf, tadpole, and
horn-owl." Urok takes these as a great
joke. Then he asks Hedwig of her
344
THE MUSICAL GUIDE
daughter. *'She is dead to me,'* savs
Hedwig. Urok tells of meeting the
** dead Ulana. The maidens greet her
name with jeers ; the mother, with a vow
never to receive her until she gives up
her gipsy. Hedwig returns to her hut ;
Urok rebukes the maidens, and they
mock him as a rejected lover of Ulana.
Ulana herself now appears in great de-
jection and the villagers rail at her.
She says she still loves her gipsy, and
he her. But they taunt her with a pro-
verb :
" Ere the full moon starts to wane
Every gipsy goes insane.
Leaves his child and leaves his wife
And scoots for his dear life."
This jingle reappears all through the
opera. The maidens leave Ulana to
her grief. Against Urok's advice, she
knocks at her mother^s door. Hedwig
comes. After some reproach she offers
to take Ulana and her child back if she
will give up Manru. Urok and Hed-
wig insist that Manru will leave her,
anyway, when the gipsies come again.
But Ulana refuses. Hedwig shuts her
door on her. Urok prophesies Manru's
perfidy and proffers his own love. But
she prevails on him to brew her a philter
to bring back Manru*s wavering fancy.
The village men and maidens gather
and dance. They surround Ulana.
Manru appears and demands that they
let her go, but they scout him as a
heathen. Hedwig comes out of her
hut and a hush falls on the mob. She
bitterly denounces the pair as lepers,
and the people fall back from them.
Act II. — Scene. The curtain rises at
once on Manru's home in the moun-
tains, where the gipsy, turned black-
smith, is fighting a losing battle against
his Wanderlust. Ulana is singing a
lullaby to her baby in the hut. Manru
admires, but cannot imitate, her stead-
fastness. In a frenzy he belabours the
anvil with his sledge. Ulana hurries
out to calm his fury, but whispers un-
jily:
" Ere the full moon starts to wane
Svtfy pftf goci tosane."
This brings down on her own head all
his violence, and he is about to strike
her when Urok appears and stays his
hand. Both Manru and Ulana accuse
him of being a sorcerer, but he claims
only a knowledge of the human heart
and a few herbs. He admits that he
can evoke a spell to carry Manru away.
Listen ! In the distance a Romany
fiddler is heard. Manru breaks away
and flies toward the siren music. Ula-
na would run after him, but Urok holds
her back, gives her a potion for Manru,
and keeps her in hiding while Manru
returns with an old gipsy fiddler, Jagu.
Jagu offers Manru the leadership of the
tribe. He refuses. Jagu mentions the
fair Asa, who longs for Manru but must
soon wed Oros, his old rivals Manru,
about to go, sees Ulana, and refuses,
ordering the tempter away. Left alone,
Manru and Ulana marvel at the travel-
frenzy that spurs him. With a noble
effort to return to his duty he takes up
his sledge. But Urok teases him with a
vivid picture of Asa. Manru drives
him away and Ulana brings him a po-
tion, which he drains. Tlus rouses him
to an ecstasy of love in which she
joins.
Act III. has a long prelude. The
rise of the curtain reveals a suoimer
landscape of storm and night. Manru
is alone and stifling with restlessness.
" All is dark," he cries, " but I /et/ the
moon which sweeps past behind the
clouds." Voices of gipsies are heard
in the distance and he sinks down
asleep. There follows an orchestral
nocturne. Now and then the full moon
breaks from the clouds and Manru
grows restless in his sleep, till it is
veiled again. Gipsies troop in, among
them Asa. They discover Manru and
sprinkle his face with water. When he
wakes, it is Asa that first welcomes
him. Oros protests angrily that Manru
should be an outcast as he is a renegade.
He quarrels with Asa ; but Manru in-
sists that he cannot follow them. Asa
pleads with him. The people fall
to dancing and Asa joins them to aUore
STORIES OF THE OPERAS 345
Manm. Oros protests wnthfuUy and
the tribe are won to his wrath. Then
Jig^ enters and turns the tide for Man-
ro, who is hailed as a repentant kins-
man. Oros, in a rage, throws down
his staff of office and s^oes. The revel
begins anew, but Manru refuses the
chieftainship. Then the musicians un-
der Jagu try their skill, and Manru*s
last scruple melts in an outburst of joy.
Urok appears and gleefully reviles
Manm*s treason to his wife and child.
He is driven away by the crowd.
Manm's conscience g^ws him again,
but is smothered by Romanv-rapture.
He embraces Asa, and the tribe march-
es away (the stage remaining empty
during most of a barbaric march-tune).
Ulana follows, crying for her husband,
and Urok tells her of his perfidv. She
cries to Manru to come back She
sends Urok up into the hills to find him.
He answers that he has gone past re-
call. With a last shriek she leaps into
the lake. Later, upon a cliff, Asa
and Manru reappear in each other's
arms. Oros rushes upon Manru and
cryii^, ** You rob me of Asa ; you*d
replace me as chief ! ** hurls him into
the gorge. Asa screams. Urok laughs
fiendishly. Oros roars *'The place is
mine ! ** [In a later version it is Urok
who huris Manru over the cliff.]
PUCCINI, GIACOMO.
La Boh^me (la bo-^m), /*., Die
Boheme (de bo-ha'm6), G, Bohemia.
Four-act opera. Words by C. Gi-
acosa (after Murger's "Scenes de la
Vie de Boheme ").
Produced, R^o Theatre, Turin,
February i, 1896.
CHARACTERS.
RvDOLrai (ra-dolO,
Poet tenor.
Mabcbl (mlU'-s£l),
PainUr bar.
ScHAowABO (shd-njlr),
Musician bar.
CoLUNi (kfi-ldn).
Philosopher bass.
Bkenakd (b*r-n4r),
Landbrd bass.
Parpignol (p&r-pen-yiil),
Toy-seller tenor.
AixiNDOR (&l-s&6-ddr) bass.
Skrgbant at toll-hovsi. bass.
MiMi (me-m8) sopr.
MusBTTi (mU-zSt) sopr.
Place of action, Paris. Time, about
1830.
Act I. — Scene. A bare and cold gar-
ret. Marcel and Rudolphe at their work.
Rudolphe brings a MS. tragedy of his to
bum in the stove for warmth. Colline
enters and assists. Then Schaunard
comes to the rescue with food and wine
and fuel, which they enjoy. The landlord
eaters to demand rent. They make him
drink and chaff him about his flirtations ;
then, in simulated righteous indignation,
eject him. The young men go pleasure-
seeking, leaving Rudolphe to finish his
writing. Mimi, an embroiderer and fel-
low-lodger,, enters to ask for a light.
As the door opens to let her out again,
a g^st of air extinguishes all the lights.
She drops her kev and they both g^ope
for it in the dark. Rudolphe finds it,
but promptly pockets it and continues
groping till he catches Mimi*s hand.
He engages her in talk, tells her he is a
poet, and she tells about herself and her
work. The others call impatiently from
below, where they wait. Rudolphe
opens the window to answer. The
moonlight streaming in irradiates Mimi's
beauty. Rudolphe and Mimi confess
their mutual love.
Act II. — Scene. Christmas Eve in
the Latin Quarter. A throng of holi-
day-makers, in front of the Cafe Momus,
buying, eating, etc. Rudolphe, Mimi
wearing a becoming pink hood. Marcel,
Schaunard, and Colline mix with the
crowd. A waiter brings out a table for
the young men. Rudolphe introduces
Mimi and they sit down together. Their
346
THE MUSICAL GUIDE
orders to the waiter mingle with the out-
cry caused by the entry of Parpignol,
surrounded by eager children, whose
mothers try to lead them away. Mu-
sette, richly dressed, enters with the el-
derly and infatuated Alcindor. They
sit at an adjacent table. She is indig-
nant that Marcel, her former lover,
takes no notice of her, and talks loudly
for his benefit, while Alcindor vainly
tries to quiet her, thinking her talk is
meant for himself. Musette, seeing
that she has at last moved Marcel, pre-
tends her shoe hurts and sends Alcin-
dor to buy a new pair. Then she and
Marcel embrace and are reconciled.
The bill is presented, but none of the
party has money. Musette bids the
waiter add it to her bill and leaves it
for Alcindor to pay. A military pro-
cession marches across the scene. The
friends fall in line behind and exeunt ;
Musette having only one shoe, is car-
ried by Marcel and CoUine, followed by
the rest keeping step. Alcindor return-
ing, is shown the bill and sinks horrified
into a chair.
Act III. — Scene. The Barriire d*En-
fer. Market-women, etc., paying toll.
Mimi enters, coughing, and asks for Mar-
cel at the inn where he lives with Mu-
sette. He comes out and she tells him Ru-
dolphe threatens to leave her, and asks
in despair what to do. As Rudolphe just
then comes out of the inn, she hides be-
hind a tree. Rudolphe tells Marcel he
means to leave Mimi. At first he pre-
tends it is on account of jealousy ; final-
ly he confesses it is because he sees she
is dying of consumption and, though he
still loves her, he has no money to keep
her in comfort. Marcel tries to lead
Rudolphe out of earshot, but Mimi, la-
menting, hears her death-sentence. A
fit of coughing betrays her hiding-place.
Rudolphe, startled, soothes and caresses
her. Musette is heard within, laughing
and flirting. Marcel, jealous, rushes
inside. Mimi bids Rudolphe farewell,
telling him to keep her pink hood as a
keepsake. Marcel and Musette emerge
quarrelling, and the four voices mingle
in contrasting colloquies. The di^>ut-
ing lovers go in again, leaving the oth-
ers to end their pathetic farewell.
Act IV. — Scene. Same as Act i. Mar*
eel and Rudolphe at their work tell how
each has seen the beloved of the other
riding in a carriage, well-dressed, etc.
Both express contentment, but are in-
wardlv jealous and cannot work. Mar-
cel takes out a ribbon Musette gave him,
and Rudolphe presses Mimi*s hood to his
heart, each concealing his emotion from
the other. Schaunard and CoUine en-
ter with frugal provisions. They try to
forget their woes in merrymaking. Sud-
denly Musette enters, saying that Mimi
is close behind, and explains that Mimi
has left her Count and returned to Ru-
dolphe to die. Mimi enters in the last
stage of consumption. She says bow
much better she feels to be back there,
but that her hands are cold and she
would like a muff. Rudolphe tries to
warm them in his. The others are
overcome with compassion. Musette
gives her jewels to Marcel to sell to
get a doctor, etc., for Mimi ; then de-
clares she must also ^t her a muff, and
goes with him. CoUme bids farewell to
his faithful old coat and carries it to
pawn, taking Schaunard with him that
the lovers may be alone. Mimi, who
had apparently been asleep, now rouses,
and the two renew memories of their
happy past. Mimi, rejoiced to sc^ her
hood, makes Rudolphe put it on her.
The others return and Mimi delights in
the muff. Soon she falls asleep and
dies. Rudolphe in despair throws him-
self on her corpse.
ROSSJNJy GIOACCHINO.
II Barbiere di Sms^lia (el blLr-bY-
a'-r« de sc-vel'-ya), /. The Barber of
Seville.
Two-act lyric comedy. Book (from
Beaumarchais*s comedy) by Sterbini.
Composed in three weeks. Produced,
Rome, Argentina Theatre. February $,
1816.
STORIES OF THE OPERAS 347
CHARACTERS AND THEIR CREATORS.
FiGAJto (fe'-gfi-ro),
A barbtr Luigi Zamboni, bar.
Il Conti Almavita (aUm&-ve'-v&),
A young count. Garcia, tenor.
Dotto'ri Baito'lo,
Rosina^s guardian . . . Botticelli, bass.
Baiiuo (bS-scl'-yO),
Music-master Vittarelli, bass.
FioBKLLo (fc-6-r€r-l6),
A servant tenor.
RooNA (ro-ze'-ni).
Dr. Bartolo^s ward^
Signora Giogi Righetti, sopr.
Bsb'ta,
Her governess (in Germany Ma»cel-
unk) Signorina Rossi, sopr.
Note. — This opera is taken from the
same source as an opera by Paesiello,
and Mozart*s **Nozze di Figaro," to
which it is precedaneous in action. It
was originally called ** Almaviva. ossio
rinutile precauzione,** **The Useless
Precaution."
Act I. — Scene i. Dawn in a Se-
Tille street. Fiorello leads along sev-
eral musicians for a serenade. The
Count enters and sings a serenade or
anbade under Rosina*s window ('' £cco
ridente il ciclo "). He pays the musi-
cians liberally and drives them away,
vexed at their profuse thanks. Figaro
bustles gaily by to his work (singing
*' Largo al factotum "), rejoicing in his
importance as the general factotum and
go-between of the town. The Count
stops him, tells him he has fallen in
knre with the ward of Dr. Bartolo, and
is flirting with her desperately under the
name ofLindoro. Rosina appears on
the balcony to drop the Count a note,
but, Bartolo appearing, she pretends it
is a paper that has slipped out of her
hand, and asks him to go down and get
it. While he disappears in the house,
the Count gets the note and lets Figaro
read it. It reveals a Juliet-like desire to
know more of the stranger. Bartolo
comes out, then stops to call back in-
structions that none is to be admitted to
the house save Basilio ; he says he him-
self will marnr Rosina that very day.
The Count oflfers Figaro a reward if he
can help him to win Rosina, and Figa-
ro, always prolific in schemes, bids him
disguise as a tipsy soldier. He tells the
Count how to nnd his shop (** La bot-
tega")and after a duet on love ('*A
che d*amore *') Figaro enters Bartolo*s
house and the Count hurries away.
Scene 2. A room in Bartolo*s house.
Rosina ponders how to get a letter past
her lynx-eyed guardians (in the brilliant
air ** A voice has made my heart re-
sound," ** Una voce poco fa "). Figaro
enters, but seeing Bartolo coming, post-
pones his message, and they leave in
opposite directions. Bartolo and Basilio
- come in. Basilio tells the anxious Bar-
tolo that Rosina*s unknown lover is the
Count Almaviva. They decide to efface
him with calumny (** La calunnia"),
whose growth from a whisper to a tem-
pest Basilio pictures vividly. They de-
part and Figaro steals in, soon meeting
Rosina, who questions him about the
Count, and persuades him to bear a
note to him. She has it already written;
he takes it and goes, after a duet ('* E
il maestro io faccio "). Bartolo comes in
and cross-questions her as^ the note
she dropped from the balcony and the
one he suspects she has given Figaro.
She blames the ink on her finger to a
design she was drawing. They go their
ways and Berta, hearing loud knocking,
enters. The Count disguised as a sol-
dier bursts in, pretending to be drunk,
but anxiously looking for Rosina while
he embraces and worries Bartolo. Ro-
sina entering, the two steal a few words
surreptitiously ; he bids her drop her
handkerchief, while Bartolo angrily
hunts a paper giving him exemption
from soldierly visits. The Count lets
fall a note, Rosina drops her handker-
chief on it, but Bartolo observes the
ruse and snatches the note, only to find
it a mere list of names. He apologises,
but the Count jostles him about and
also Basilio and Berta, who enter. Fi-
348
THE MUSICAL GUIDE
garo appears with a basin and is amazed
at the noise, which finally brings the
police. The Count shows his order of
nobility and avoids arrest.
Act II. — Scene. Bartolo is alone in a
room, and bitterly reflects that he is not
safe in his own house. The Count
enters disguised as a music-teacher. He
annoys Bartolo with over-effusive greet-
ings and says Basilio was too ill to
come, and sent him. He lets slip a
word at>out Rosina*s note, and to cover
the slip tells Bartolo that he has hap-
pened on a note written to the Count by
Rosina, and he suggests that if he can
talk with Rosina he might convince
her that the Count is only a faithless
rake. Bartolo gladly brings in Rosina,
who recognises the alleged teacher and
sings for him. (The music written for
this place by Rossini was lost, and the
prima donna is at liberty to introduce
any song she prefers.) Figaro arrives
to shave Bartolo, who resists, but finally
sends Figaro to his room to get the
cloth, giving him the keys,,one of which
Rosina whispers him is the key to the
balcony. Now Basilio enters, to the ex-
quisite confusion of the Count, who
tries to make Basilio think he is ill and
to send him home. A purse opens Ba-
silio*s eyes to the plot and he goes. As
the Count and Rosina pretend to study
music and really plot an elopement,
Bartolo overhears in spite of Figaro's
efforts to keep him engaged. He dis-
perses the group. Berta enters alone
complaining of the noisy house always
in uproar, and the old dotard's love
(** II vechietto cerca moglie" — ^based on
a Russian air, and called the "Aria di
Sorbetto,** because the audiences chose
it as a good time to eat sherbets). She
leaves, and Bartolo brings on Basilio,
who tells him that the music-teacher was
the Count and there is to be a marriage
that night at Figaro's house. When he
has gone, Bartolo plans a bold coup, and
calls Rosina. whom he tells that the
Count is unfaithful to her ; showing her
the note she had written him as proof.
Rosina, infuriated, consents to marry
Bartolo at once, confessing to him her
plan to elope. Bartolo hurries away to
find the police to arrest the Count when
he comes. . The Count and Figaro steal
in from the balcony as soon as he has
gone, and Rosina is soon convinced of
his love. He reveals himself as the
Count Almaviva. They decide to elope,
and tip-toe stealthily with a '* Hush,
hush" ("Zitti, zitti'V They find the
ladder gone and see persons coming
with a lantern. They conceal them-
selves and Basilio enters with a notary.
The Count, by softly threatening Basilio
with death, gets himself married to Ro-
sina. Bartolo enters with soldiers, bat
too late. He gives the two their bless-
ing and all ends happily.
Gnrlielnio Tell (gool-y^l'-md m\
dniilaume (ge-ydm), or Wilhelsn
(v«r-h«lm), or William, TcU.
Three - (originally five-) act opera.
Book by Etienne Jouy, revised by Hip-
polyte Bis, after Schiller*s drama.
The Academic, Paris, August 3, 1829.
CHARACTERS AND THEIR CREATORS.
Mathildi von Hafsburg, .
GessUr's daughter^
Mme. Damoreau-Cinti, sopr.
Hkdwig,
TelTs wife Mile. Mori, m. sopc.
Jkm'my,
TelPs son Mme. Dabodie, sopr.
Gkss'lxk,
Austrian Cover ncr of Swifter lamd^
Pr^ost, bass.
Rudolf Dta Harras Massol, tenor.
Tell Dabodie, bar.
Walthkr FiJRtT Levasseur, bass.
Mblch'tbal (m«ltch'-tfil),
An old man Dupont, bass.
Ar'nold,
His son Nourrit, bar.
Lbuthold (loit'-h61t),
A peasant Prevot, bar.
A FisHiR tenor.
STORIES OF THE OPERAS 349
Act I. — Scene. Switzerland, thirteenth
century. Shore of a mountain-lake.
Peasants enjoying a wedding festival are
joined by Tell, who bemoans the tyran-
ny oppressing his country. Arnold, who
has loved Gessler^s daughter since he
saved her life, promises nevertheless to
aid Tell in freeing Switzerland. The
peasant Leuthold appears. He has
killed an Austrian soldier who tried to
abduct his daughter, and is now pur-
sued by the soldiers. He ben to be
rowed across the lake, but the rising
stonn dismays the fishermen. Tell takes
the oars and puts out into the storm just
before the soldiers enter, led by Rudolf,
who, finding no one who will reveal the
identity of Leuthold's rescuer, seizes
okl Melchthal as an inciter of rebellion.
Act u. — Scene. A forest. Huntsmen
and shepherds meet and disperse.
Princess Mathilde passes, returning
from a hnnt. She meets Arnold and
reciprocates his love. She leaves him
when Tell comes up with Walther Fflrst,
who tells Arnold that his father has been
killed by the Austrian. Arnold, putting
aside his thoughts of love, joins the other
two men in an oath of dire revenge.
The deputies of three cantons appear
successively and Tell persuades them to
join the oath and free Switzerland.
Act III. — Scene i. A love-duet be-
tween Mathilde and Arnold. Scene 2.
The market-place of Altdorp. Gessler
has set his hat up on a pole and the indig-
nant citizens are compelled to salute it.
Tell and his son enter and scorn such
humility. They are seized and the
father ordered to prove his vaunted
archery by shooting an apple from his
son*s head. After an anxious prayer, he
accomplishes this. Gessler seeing that
he has another arrow, asks what it is
for. Tell declares that if he had missed
the apple and hurt his son, his second
arrow would have been shot at Gessler.
For this defiance he is fettered, despite
Mathilde*s plea. Scene 3. The Swiss
revolutionists meet in a storm, Mathilde
asks to be admitted to the band, and
gives her hand to Arnold. Success fol-
lows the battles of the Swiss, and Tell
enters ; he has escaped from prison and
slain Gessler ; the country has now won
liberty, which is celebrated in a hymn
of freedom.
SPINELLI, NICOLLA,
A Bas'so Por'to. At the Lower Har-
bour.
Three-act lyric drama of the slums.
Book by Eugenio Checchi.
CHARACTERS.
Maki'a,
A widow m. sopr.
Her daughter sopr.
LuiGiNo (loo-c-je'-no),
Marians son, a gambler tenor.
CiaLLo (che-chtl'-lo),
A government spy bar.
PAffiVALB (pas-kwS'-I^),
An innkeeper. bass.
PiaLLo (pe-chll'-lo) tenor.
Act I. — Scene. An open market-
place near the lower harbor of Naples ;
time i860. Maria and Sesella are wear-
ily at work on one side, on the other in
front of a tavern Luigino is gambling
away their hard earnings. Maria pleads
with him but ends by paying his gam-
bling debts. Cicillo appears. He is
posing as the leader of the Cammoristi,
an anarchistic society, but is really
spying on them and trying to foist on
another member the treachery that has
been betraying them. Luigino hates
Cicillo but Sesella loves him ; and he is
plotting to seduce her ; he takes an op-
portunity to ask her to elope v^th him
since the Cammoristi hate him. Luigino
sees her kiss him and tries to stab him,
but Maria intervenes and sends her
children away. She and Cicillo have a
bitter interview, in which it transpires
that, years before. Cicillo had betrayed
Maria and deserted her for another
woman, against whom Maria had con-
spired, securing the arrest of both. The
girl had been put to death, though Ci-
350
THE MUSICAL GUIDE
cillo had escaped to vow vengeance
against Maria, who meantime had mar-
ried. Though she is now a widow, he
still plots to bring her son to the gutter
and her daughter Sesella to the streets.
Maria pleads and threatens for an end
to the feud, but Cicillo mocks her. The
Cammoristi rush in in excitement ,* an-
other member has been arrested and
they swear to hunt out and kill the trai-
tor. Cicillo's momentary uneasiness is
seen by Maria.
Act II. — Scene. A low tavern filled
with hilarious smugfglers, girls, etc. Lui-
g^no sings a gay song. Cicillo enters
and strikes him across the face. He
explains that he believes Luigino to be
the traitor. He is to meet Sesella and
will try to wring the truth from her.
They leave him alone and his remorseful
solilpquy is interrupted by Sesella's en-
trance. He poisons her mind against
her mother, and she consents to elope
with him at midnight. When he hias
gone, Maria enters, and pleads with her
daughter, finally confessing her own
past and proclaiming Cicillo a spy.
Sesella is won back and determines to
betray Cicillo. She calls in the landlord
and the others and accuses the absent
Cicillo. Luigino, however, is brought
to trial by the Cammoristi, but Maria
saves him by swearing that she has seen
Cicillo take government pay. Cicillo is
condemned to die, and Luigino chosen
to assassinate him, in spite of Maria's
frantic appeals.
Act III. — Same scene as Act I. Night.
Maria, alone, prays heaven to save her
children. Cicillo enters and she warns
him that she alone can save him from
the Cammoristi and begs him to give up
his plot to ruin her children. He laughs
at her and says that in a moment he will
have the soldiers all about the place.
Singing and mandolin-playing in the
distance indicate the signal to kill him,
but he will not accept her offer, and
brushes past her to call the soldiers,
whereupon she stabs him, to save her
son from the blood-guilt. The Cam*i.o-
risti rush in as he dies.
THOMAS, AMBROISE.
Mig^non (men-yon).
Three-act opera. Book by Barbier
& Carr^ (based on Goethe's " Wilhehn
Meister ").
Produced, Opi^ra Comique, Paris,
November 17. 1866.
CHARACTERS AND TH£IR CREATORS.
GvGLiBLMo (gool-ydl'-mo),
in German, Wilhblm MximM,
Achard, tenor
LoTABio (l6-ta'-rt-5) Bataille, bar
Fbdbrico (fa-dC-re'-k6) tenor
Labrtb (la-^r't*) Conders, bar
GiARNo (jfir'-no) bass
Anto'nio,
MiGNoN Mme. Galli-Mari^, m. sopr
FiuNA (fe-le'-nfi). . . .Mme. Cabel, sopr
Act I. — Scene. Courtyard of a Ger-
man inn. Townsfolk seated drinking
The old minstrel Lotario enters al*
most distracted with grief at the loss of
his child, who has disappeared, and
whom seeking he wanders disconso-
lately. A band of gipsies appear, and
dance for pennies, watched from a bal-
cony by two actors, Filina and LAerte.
The savage chief Giamo orders the
child Mignon to dance. When she
proudly rebels, he threatens her with a
cudgel, and the old minstrel tries to
protect her. He is pushed aside, but
Guglielmo entering cows the gipsy.
Mignon gives flowers to both of her
rescuers. When the others withdraw,
Filina admiringly sends Laerte to
scrape acquaintance with Guglielmo.
She follows soon, and begins to flirt
with great sophistication. Guglielmo
f'ves her the flowers Mignon gave him.
ilina and Laerte leave, and Mignon,
seeing that Giamo is asleep, steals for-
ward to pour out her gratitude. She
tells Guglielmo that her childhood is a
myster)'. She remembers being stolen.
When he asks her the name of her coun-
try she can only ask, ** Knowest thou
the land where the citrons bloom *' (in
Goethe's words, ^' Kennsi du tUis Land
STORIES OF THE OPERAS 351
aw die Citronen blUKn "). He judges
from her other phrases that her land
must be Italy. Giamo reappearing,
offers to sell Mignon for what he paid
for her. Guglielmo enters the inn to
close the bargain. Mignon tells the old
minstrel of her new freedom, and when
he says he must follow the swallows
northward, she sing^ a swallow-song
('* Leggiadre rondinelle "). They with-
draw and Filina appears, teasing Fede-
rico, her lover. Guglielmo returns,
having bought Mignon. Filina intro-
duces him to Federico. A letter comes
ordering the troupe of players to appear
at the castle of Federico's uncle ; and
Guglielmo is invited to go as poet.
Mignon seizes an opportunity to ask
what is to become of her, and begs to
follow Guglielmo in disguise as a page ;
though the old minstrel pleads for her,
Guglielmo consents to take her. She
notes with a pang that he has given her
flowers to Filina. The troupe set out
for the castle.
Act II. — Scene i. The boudoir of
Filina, who is gaily preparing her
charms for further conquest ('* A mara-
viglia ! **). Laerte, and later Guglielmo,
enter. Laerte, about to leave, finds
Mignon jealously waiting ; Guglielmo
treats her with kindly impatience, and
she seems to fall asleep before the fire.
Guglielmo makes love to Filina. They
leave ; and Mignon, after brooding mo-
rosely, looks about with interest and
falls to powdering and rougeing her face,
hoping to captivate Guglielmo by her
beauty (**Son io chc mi specchio?" or
I' 1st das Mignon wohl?"). She disappears
just as Federico enters at the window
singing a Rondo-Gavotte. Guglielmo,
coming back to seek Mignon, falls to
altercation with Federico. They draw
swords, but Mignon rushes between.
She is garbed in one of Filina's gowns,
and Federico retires laughing. Gugli-
elmo sadly tells Mignon she must leave
him (** Addio, Mignon "). Filina enter-
ing, Mignon fiercely tears off the gown
and rushes away. Laerte announces
that the play is about to begin and they
leave, Mignon and Federico jealously
watching Guglielmo's devotion to Fili-
na. Scene 2. The park of the castle.
Mignon alone in her grief is about to
throw herself into the lake, when she
hears the harp of the minstrel. He ap-
pears and tries to console her. She
frantically wishes that the fires of
heaven would consume the hated castle,
and hurries away. The half-insane
minstrel ix>nders her wish and disap-
pears. The guests flock out from the
play, **The Midsummer Night's
Dream," and Filina rejoices in her suc-
cess as Titania (" Io son Titania bi-
onda"). Guglielmo searches for Mignon.
She appears, and the minstrel tells her
that he has set fire to the castle. She
represses her horror, and when Filina
asks her to get a bouquet which Gugli-
elmo had given her, and which she had
left in the castle, Mignon goes. The
flames break forth, while the old min-
strel chants to his harp. Guglielmo
rushes into the castle and rescues
Mignon against her will.
Act ni. — Scene. Gallery of a manor-
house. A chorus of sailors is heard in
the distance. The minstrel appears;
later Guglielmo, and Antonio who ex-
plains that all the -other houses of the
region are illuminated in honour of the
festival, but this house alone remains
dark since, ten years ago, the daughter of
the count who owned it was drowned.
The count has since been a wanderer,
and Antonio offers to sell the house to
Guglielmo, who plans to buy it. He
tells the minstrel, who, hearing the
name, seems to recall a forgotten past,
and enters a long-sealed door. Gugli-
elmo, alone, muses on the discovery he
has made that Mignon secretly loves
him (" Ah, noncredea Tafflito "). A note
comes telling that Filina is following
him. He is not interested. Mignon ap-
pears, very pale and feeble ; she seems
to remember her surroundings vaguely.
Guglielmo tells her he has learned to
love her. Filina's voice is heard, and
she is terrified again. Now the min-
strel enters richly garbed. He has re-
352
THE MUSICAL GUIDE
turned to his right mind. He welcomes
them to the house as his own. He
brings out a casket of jewels belonging
to his lost child. In it is a Prayer Book.
Mignon reads a few lines and, letting
the book fall, recites the rest of the
child's prayer by heart. The Count
recognises her as his child. She faints
with delight, but recovers and sings with
joy the last of the " Mignon*s Song " of
Goethe, ** Kennst du das Land."
VERDI, GIUSEPPI.
Aida (i-e'-d&).
Four-act opera. Book by A. Ghiz-
landoni, from de Locle's version of an
old Eg^tian tradition. The opera was
composed on a commission from the
Khedive and first produced at Cairo,
December 27, 1871.
characters.
AVda,
. An Ethiopian princess in slavery^
sopr.
Amnkris (am-na'-res),
Princess of Egypt^ in love with^
Raoamks contr.
Radames (ra' -da-mas),
Egyptian Captain in love with
Kix^K tenor.
Amonas'ro,
Ethiopian King^ father of Kvok^ bar.
Ramfis (ram'-fes),
High Priest of I sis bass.
King or Egyft.
MstSlNCCR.
Act I. — Scene i. Hall in the Palace.
Ramfis speaks to Radames of the hos-
tile movements of the Ethiopian king ;
he hints that Radames will lead the
Egyptian force. When he has gone,
Radames rejoices in the hope of win-
ning glory, adl for the sake of AVda (** C^
leste AYda **). Princess Amneris, enter-
ing, notes his joy and hopes it is for her.
AVda enters and the Princess gjeets her
kindly but suspects her of beine Ra-
dames' sweetheart. AYda weeps K>r the
woes of her country. The King and
retinue appear and Ramfis and other
Priests ; a messenger follows to speak
of the Ethiopian incursion led by Amon-
asro. The Priest declares Radames
the leader chosen of Isis, and after a
chorus all leave except ATda, who is
torn between love for her father and for
Radames (** Retoma vincitor'*), ending
in a prayer (** Numi, pieta "). Scene 2.
The Temple of Phthah at Memphis.
Priests and Priestesses chant and dance
before the altar. Radames enters and
is veiled and armed by Ram 6s (two
actual Egyptian themes are employed
in the harp music and the dance).
Act II. — Scene i. Amneris' apart-
ments. Her slaves sing while she broods
on love. ATda enters and the slaves re-
tire. Amneris wrings from ATda the
secret of her love by saying that Rada-
mes is dead. She upbraids the girl
with high fury. The army is heard re-
turning in pomp (duet '* Alia pompa *').
Scene 2. An open place. The victori-
ous army returns loaded with trophies
and is welcomed with all ceremony.
AYda, cowering at Amneris' feet, sees
Radames triumphant ; among his cap*
tives she sees her father, who whispers
her not to tell his rank ; but he decides
to announce it himself, appealing for
mercy ('* Questa assisa "). The Priests
and people demand his death but Ra-
dames wins clemency from the King,
who releases the other prisoners but re-
tains Amonasro. The act ends with a
paean ('* Gloria all' Egitto").
Act III. — Scene. Shore of the Nile,
before a Temple of Isis, wherein the
worshippers are heard singing. Ram-
fis enters the Temple ; Amneris follows
to pray Isis for Radames' love. Alda
steals in, veiled, to meet Radames ; she
muses on the beautv of the sky and on
her far-off home (**0 cieli azzurri").
Amonasro appears ; he tells ATda he has
discovered her passion for Radames ; he
tells her she can see her home again and
have her lover too (** Rivedro le for-
este"). She must win Radames to
treachery, or at least learn from him the
name of the pass by which his Xxwf^
STORIES OF THE OPERAS 353
will march. When she protests, he
paints a wild picture of the havoc the
Egyptians have wrought in Ethiopia
and threatens her with his curse. At the
height of her terror, Radames appears,
Amonasro hiding near by. Radames
tells AYda that the Ethiopians have
risen again, he intends to defeat them
again and then claim Alfda's hand from
the King. AYda says Amneris would
seek vengeance, that only one course is
open to their love, and that is, flight
(*• Fuggiam gli ardori "). He is horri-
fied, but she mentions Amneris and
says that she and her father will be put
to death. In an access of love he con-
sents to fly. She asks him the name of
the pass ; he tells her, and is over-
beard by Amonasro, who is discovered
by Radames. Amneris, who has over^
heard, charges Radames with being a
traitor. Amonasro is about to stab her,
but is prevented by Kadames, who sur-
renders to Ramfls, while AYda and
Amonasro escape.
Act iv.—Scene i. A hall in the
palace. Amneris alone broods over
Alda*s escape and Radames' trial for
treachery ; she wishes to save him. Ra-
dames is led in ; she pleads with him to
love her and be saved, but he is faith-
fol to AYda, though he learns that her
father has been killed. He will not re-
nounce her though Amneris demands it
(•• Chi ti salva "). He is led away and
Amneris gives way to despair (** Ohimi,
morir mi sento "). She sees the Priests
descending into the subterranean hall,
then hears their voices as they pray for
divine guidance ; she hears Ramfis call-
ing on Radames to speak, but he will
make no defence, and they condemn him
to be buned alive under the altar. As
the priests return, Amneris assails them
insanely. Scene 2. Same as Act i.
Scene 2, save that the vault below the
altar is also shown. Radames is in
the crypt, dreaming of Aida. Suddenly
she appears, saying that she foresaw
his doom and stole into the crypt unob-
served to die with him. They bid fare-
wtU to Ufe ('* O terra addio '*), whUe the
chant of the Priests and the dance of
the Priestesses goes on over them. Am-
neris, in black, enters the Temple to
pray Heaven to accept Radames into
bliss.
Otel'lo. Othello.
Four-act lyric drama. Book from
Shakspere's play by Arrigo BoYto.
Produced at Milan, La Scala, Feb-
ruary 5, 1887.
CHARACTERS AND THEIR CREATORS.
Otkllo,
A Moorish general in the Venetian
army Tamagno, tenor.
Iago,
His ensign Maurel, bar.
Cassio, Quito's lieutenant.
RoDBUGo (r6-d*-re'-g6),
A Venetian gentleman in love with
Desdemona,
LoDovico (l6-d6-ve'-k6),
Venetian ambassador,
Monta'na,
Otello's predecessor as Governor of
Cypfus,
A Herald.
Desdkmo'na,
Otello's wife,
Signorina Pantaleoni, sopr.
Emil'ia^ logo's wife.
Act I. — Scene. A stormy quay. All
the men except Otello are present and
watching a storm-tossed ship. It is
Otello's. Women enter, and pray for
the ship's safety. The ship reaches the
harbour at length ; Otello lands with
news of a great victory, and passes
into the Castle. A bonfire is built, and
Iago talks to Roderigo of Desdemona,
saying she will soon weary of the Moor ;
he says he hates him for promoting
Cassio over him. The soldiers rejoice
in the fire ("Fuoco di gioia ") and in
wine. Iago plies Cassio with wine and
talks of Desdemona, bidding Roderigo
beware of Cassio as a rival. Iago sings
a wine-song, and Cassio grows drunL
3J4
THE MUSICAL GUIDE
He is easily provoked to a fight by
Roderigo, and sets on Montana who
tries to be a peacemaker. At lago's
advice Roderigo steals away and rings
the alarm, bringing the people and
Otello, later Desdemona. Otello re-
duces Cassio to the ranks, and all dis-
perse save Otello and Desdemona ; they
nave a love-scene and she praises him
as a great warrior ('* Mio superbo guer-
rier'*). He exclaims that death were
welcome in such bliss (**Venga la
morte ").
Act II. — Scene. Hall in the Castle ;
garden at the back. lago is promising
the despondent Cassio restoration, ad«
vising him to appeal to Desdemona ;
left alone, lago soliloquises over his
cynical creed of cruelty and deceit
(*' Credo in un Dio crudel"). Later
Cassio finds Desdemona in the gar-
den and they talk together. Otello
enters and lago sl^ly provokes his jeal-
ousy. Sailors, children, and others ap)-
pear to load Desdemona with flowers
and g^fts ; she dismisses them gracious-
ly, and comes forward to plead for Cas-
sio. Otello blames his uneasiness to
headache ; Desdemona is about to
bind his head with, her handkerchief;
he throws it away ; Kmilia unobserved
picks it up.and lago snatches i*: from her,
while Otello broods. When the women
have gone. Otello upbraids lago for in-
stilling suspicion in him, and finally
throttles him, then demands proof,
lago whispers that he heard Cassio
talking in his sleep of trysts with Des-
demona ; he mentions the handkerchief,
and says he saw it in Cassio*s ppsses-
sion. Otello vows a terrible revenge.
Act III. — Scene. A large hall with
portico. The Herald announces the
arrival of ambassadors from Cyprus,
and goes. lago advises Otello to watch
Cassio's gestures when later lago talks
to him. He goes, and Desdemona en-
ters ; Otello asks for her handkerchief ;
she says it is mislaid; he warns her
that it has a strange significance, but
she impatiently persists in pleading for
Cassio. He makes her swear she is
faithful, then drives her from him.
Left alone he muses on his gprief ('* Dio,
mi potevi scagliar"). lago enters to
say Cassio has come, and Otello hides,
lago then talks softly to Cassio of Bi-
anca, and he is moved to laughter ; he
speaks of finding a strangely broidered
handkerchief mysteriouslv left at his
lodgings and produces that of Desde-
mona. Trumpets and a gun announce
the arrival of the ambassadors and
Cassio hastens away. The ambassa-
dors enter to deliver official praises to
Otello. Desdemona appears and Otel-
lo sends for Cassio, bidding lago watch
how Desdemona looks when he comes.
He announces that Cassio is to stay in
Cyprus as its Governor, while Otello is
recalled to Venice. He mistakes I>es-
demona*s distress at her husband's man-
ner, for grief at the loss of Cassio, and
hurls her to the ground, where she cow-
ers, lago tells Otello that he will kill
Cassio; he then whispers Roderigo to
kill Cassio so as to keep Otello at Cy-
prus longer, when Roderigo may still
hope for Desdemona's favour. Otclio
rising in supreme wrath orders every-
one away, curses his wife, and swoons
with rage. As the cries of *' Long live
Otello" resound outside, lago gloats
over the prostrate **lion."
Act IV. — Scene. A bedroom. Des-
demona and Emilia. Desdemona in
deep sorrow as she undresses sings a
sad ballad (** Willow"), of a girl, Bar-
bara, whose lover had gone mad.
When Emilia is gone, she kneels and
prays to the Virgin, then lies down on
the bed and sleeps. Otello enters with
a scimitar. He puts out the candle,
and gazing at De^emona kisses her ;
she wakes and he orders her to pray.
He accuses her of unfaith with Cassio,
saying that he has been killed ; when
she weeps, he thinks his suspicions veri-
fied and smothers her. Knocking is
heard. Emilia enters to say Cassio has
killed Roderigo, and lives. Desdemona
with her dying breath says she has
killed herself. Emilia calls for help,
and the others enter. The truth of the
STORIES OF THE OPERAS 355
handkerchief is explained. lago es-
capes. Otello tries to kill himself with
his scimitar, but Lodovico prevents
him. Gazing on Desdemona he draws
a dagger and kills himself.
Rigoletto (re-g5-l«t'.t5).
Three-act opera. Book by F. M.
Piave. (Based on Victor Hugo's ** Le
roi s*amuse.**) Produced, Venice,
March ii, 1851.
CHARACTERS AND THEIR CREATORS.
Il Doca di Manto'ta... .M irate, tenor.
RtGOLBTTO,
His court fool Varesi, bar.
SPAKAFUdLB (foo'-Chl-W),
A bravo Ponz, bass.
Il Coirrs di Montuo'nb. . . Damini, bar.
Maivi'lo,
A cavalier Kunerth, bar.
Bot'tA,
A courtier Zuliani, tenor.
Il Cokte di CsptANo (ch<f-prjl'-n6),
Bellini, bass.
CO01T UtHu Rizzi, tenor.
GttDA (jel'-da),
Rigoletto^s daughter^
Signonna T. Brambilla, sopr.
Maddalbna (la'-nS),
Sister of Sparafucile^
Casaloni, contr.
GioTANNA (jo-van'-nS),
Gilda*s nurse Saini, m. sopr.
La CoHTBtIA DI CXPRANO,
Marselli, m. sopr.
PaCB op the DaCHKMy
Modes Lovati, m. sopr.
Act !. — Scene i. A f^te in the Duke*s
palace. The Duke tells Borsa of his
infatuation for an unknown maiden
whom he has seen at church, and traced
to her home where an unknown man
▼isits her nightly. He sings of the
fickleness of his heart for this or that
woman (** Questa o quella "). The
Countess Ceprano appears and though
watched by her jealous husband per-
mits the Duke to lead her away. Rigo-
letto, the Duke*s favourite and the go-
between of his intrigues, laughs at the
Duke*s flirtations, and Marullo says he
learns that even the hunchbacked Rig-
oletto has a sweetheart. The Duke
reappears and Rlgoletto advises him to
elope with Ceprano*s wife. He taunts
Ceprano, who plots with other courtiers
to put the hunchback out of the way.
The Count Monterone forces his way m
and denounces the Duke's crimes.
Rigoletto mocks him because he makes
such ado over the loss of his daughter's
honour; but Monterone frightens the
hunchback by a father's curse before he
is led away. Scene 2. A dark, se-
cluded street at night. Rigoletto, steal-
ing-in, is accosted by Sparafucile, who
offers to put any rival out of the way,
either by a single thrust in the street, or
by decoying the victim into his house
with the aid of his sister. Rigoletto
declines the man's service with thanks,
and in a soliloquy compares the bravo's
sword to his own wit as a weapon. He
enters the walled yard of his house,
out of which Gilda comes and embraces
her father. He keeps her in this seclu-
sion from the corruptions of court life,
and she does not even know his name.
She asks to know who her mother was.
He begs her not to ask (** Deh non par*
lare '*). Gilda assures him she has never
left the house except for church, and
her nurse Giovanna corroborates her.
Father and daughter sing a loving duet
C* Veglia o donna "). The Duke in dis-
guise appears outside. Rigoletto goes
out to see who is there, and the Duke
manages to steal inside unobserved and
throw a purse to the nurse. Rigoletto re-
turning warns Gilda to let no one in dh
any account, and, not seeing the Duke,
locks the gate from the outside and
goes away. The Duke appears, motions
the nurse to retire, and kneeling before
Gilda, declares his love for her (**E il sol
deir anima "), pretending he is a poor
student named Gualtier Malde. She
promises him her love and he goes away.
356
THE MUSICAL GUIDE
Left alone Gilda muses on his dear name
(**Caro nome") and enters the house.
Outside appear three courtiers to steal
Rigoletto*s supposed mistress. Ri^oletto
appears and is told they are gomg to
steal Ceprano*s wife. His fears for his
own daughter thus set at rest, he enters
the plot with zest, and is given a mask,
which blindfolds him, and is set to hold
a ladder by which the courtiers ascend
his own wall to steal Gilda. Though
she manages to scream, he does not
recognise her voice. Tearing off the
bandaging mask, he discovers too late
that he has aided in the violation of his
own home, and remembering Count
Monterone's malediction, he swoons.
Act II. — Scene. The Duke's pal-
ace. He is brooding over the abduc-
tion of Gilda whom he truly loves
(* • Parmi veder '*). The courtiers enter to
tell him of stealing Rigoletto's mistress
(** Scorrendo uniti remota "). The Duke
recognises from their story that it is
Gilda whom they have stolen, and ex-
claiming that the voice of love calls
him ('* Possente amor"), hurries away.
Rigoletto enters, trying to conceal his
anxiety from the taunting courtiers.
The Duchess*s page enters, asking for
the Duke. They try uneasily to explain
his absence. Rigoletto suspects that
Gilda is with the Duke and confessing
that she is his daughter tries vainly to
force his way through the courtiers. He
curses them bitterly (" Cortigiani, vil raz-
za dannata *'), and breaks down weeping.
Gilda api>ears and rushes to her father.
The courtiers withdraw, and Gilda tells
of her humble lover and her abduction.
Rigoletto weef)s with her (" Piange,
fanciulla *'). The Count Monterone
passes in chains, confessing that his curs-
ing of the Duke has been vain, but Rig-
oletto fiercely vows to administer the
curse, though Gilda pleads against his
frenzy ('* No, vecchio, t'inganni *').
Act III. — Scene. An old weather-
worn house on the bank of the Mincio.
Inside, Sparafucile cleaning his belt.
Outside Gilda pleads with her father
who has plotted the death of the Duke.
She persists that the Duke is faithful to
her. The Duke, dressed as a soldier,
now appears inside the house, and calls
for wine. He sings recklessly of ** fickle
woman'* (** La donna h mobile **), and
when Maddalena, Sparafucile's sister,
appears, makes violent love to her, not
knowing that Gilda and her father are
watching through crevices in the walls.
The varying emotions are combined in
the famous quartet (*' Bella figlia dell'
amore "). Sparafucile steps out and
bargains with Rigoletto, who wants him
to kill the Duke and put the body in a
sack which Rigoletto will throw into
the river at midnight. He pays half
the sum agreed and promises more. He
has sent Gilda on ahead to don boy's
clothes to aid their flight, and now fol-
lows her out. A storm rises, and the
Duke decides to spend the night where
he is. He goes up to a room, and
Maddalena pleads with Sparafucile not
to kill him. . Gilda, who has stolen back
in boy's clothes, overhears the plea.
The assassin says he will spare the Duke
if he can get someone else to put In
the sack. Gilda, to save her faithless
lover, knocks at the door and asks lodg-
ing. As she is admitted, the lights are
put out. Rigoletto appears ; the clock
strikes twelve. Sparafucile comes out
with a heavy sack, receives the money,
and goes. As Rigoletto is dragging^ the
sack toward the river, he hears the
Duke pass in the distance singing ** La
donna h mobile." In amazement he tears
open the sack and finds his daug^hter.
She asserts with dying breath her de-
votion to the Duke, and promises to
pray for her father in heaven (** Lassa
in cielo "). She dies, leaving him in
frantic g^rief and loneliness, confessing
the fulfilment of Monterone's maledic-
tion.
La Traviata (la tra-vl-a-tii). The
Erring One.
Three-act opera. Book by Pia\-e,
after Dumas fils' ** La Dame aux Cam
melias" or '*Camille" (with names of
STORIES OF THE OPERAS 357
characters changed, and time placed
back in 1700).
First produced disastrously. Venice,
March 6. 1853, the failure being largely
due to the embonpoint of the soprano,
whose wasting away was not convinc-
ing.
CHARACTERS AND THEIR CREATORS.
VioixTTA VAuas (va-la'-r^,
Mme. Donatelli, sopr.
Floia BuiToix (b^-vwa).
Her friend sopr,
Gaoacio GuMoirr (j^r'-mdnt),
Vavesi, bar.
ALfaaoo GaaMONTy
His son tenor.
Baion Davtmol (d&'-oo-f51) bass.
GAgTONK DB LrroauaiB (g^to -n^
di la-to-rl-a'-rfe) tenor.
DoTToax GasMTiL (d6t-to'-r£ gran'-vel),
bass.
MAagoif d*Obigny (do-ben'-ye) . . .bass.
Act I. — Scene. The rich apartments
of Violetta, a demi-mondaine doomed
to die of consumption. She is giving
a dinner-party. Gastone introduces
Alfredo, who has conceived a deep pas-
sion for her. He is prevailed on to
sing a wine- song, but shows deep sym-
pathy when, the dinner finished, she
faints on the way to the ball-room.
She gives him a flower and he departs,
followed soon after by the other guests.
Left alone she thinks that she has at
last found a sincere lover, and falls into
ecsutic revery C* Ah, fors h lui "), *' Per-
chance *tis he that my fancy has been
painting in its loneliness."
Act II. — Scene i. A country house
near Paris. Alfredo enters, rejoicing in
the blissful seclusion in which he is liv-
ing with Violetta. Her maid returns
from Paris, and betrays the fact that
Violetta has been pawning her re-
sources to keep up the country place.
He is overcome with the humiliation of
his position, and leaves for Paris to se-
cure funds. Violetta enters, and re-
ceiving a letter from Flora inviting her
back to the old gaiety, laughs at the
thought. An elderly man is shown in.
He announces himself to be Alfredo*s
father. He has come to plead with her
to give up Alfredo as otherwise the
lover of Alfredo's sister will break off
the match because of the scandal. After
a bitter struggle, she consents, and he
embraces her and goes into the garden.
She writes a letter and Alfredo sur-
prises her. She leaves him, in great
agitation. Soon a messenger appears
with a letter, and he learns that Vio-
letta has Bed. In his grief, his father
appears and endeavours to console him.
reminding him of his home in sunnpr
Provence ; but Alfredo reading Flora s
letter determines to follow Violetta and
revenge himself. Scene 2. Flora's
mansion. Some of her guests are gam-
bling, others pass in masquerade as
gipsies. Gastone leads a group of bull-
fighters, and recites the romance of the
Matador Piguillo. Flora and her de-
voted but quarrelsome Marquis have
various disagreements. Alfredo ap-
pears, and dejectedly joins the card-
players. Violetta enters upon the arm
of the Baron. Alfredo as he plays
makes slighting references to the fickle-
ness of the broken-hearted Violetta.
Dinner is announced, and all leave the
room save Violetta, who calls Alfredo.
She warns him of the Baron's fury.
He says he will go if she will go with
him, but she refuses, and he summons
all the guests and furiously denounces
Violetta as a mercenary wretch ; to pay
his debt to her he flings a purse at her.
She faints in the arms of her Doctor.
Alfredo's father enters and leads him
away.
Act III. — Scene. Violetta's bedroom.
She is asleep and her maid Annina
sleeps near the fireplace. The Doctor
arrives and tells Annina that Violetta
has only a few hours to live. When he
has gone, Violetta sends Annina to give
ten of her remaining twenty louis to the
poor, who are making holiday outside.
Left alone she reads an old letter from
358
THE MUSICAL QUIDE
Alfredo's father, who has been moved
by her suffering to send for his son to
return from the foreign country. She
fears that he will be too late. Annina
enters hastily, trying to prepare her for
the coming of Alfredo. They have a
rapturous reunion and decide to flee
from ''dear Paris" (•* Parigi caro ").
But weakness overcomes her, and she
accepts her fate. The Doctor and
Alfredo's father enter, but can be -of
no help. She gives a medallion of her-
self to Alfredo as a memorial, and dies.
IlTrovatore (el tro-va-to -r«). The
Troubadour.
Four-act opera. Book by S. Com-
marano, from a drama by Garcia de la
Vega. Produced, Rome, January 19.
1853.
CHARACTERS.
Il Contb di Luna bar.
Mankico (man-re'-k6) tenor.
Fkiran'do bass.
Kmz (roo'-ets) tenor.
An Old Zingako (Gipsy) bass.
Un Mksso tenor.
Lbono'sa sopr.
AzuciNA (H-tsoo-cha -nil) m.-sopr.
Ines (e'-n€s) sopr.
Act I. — Scene i. Vestibule to the
apartments of the Count. Ferrando
tries to keep awake the other servants
by telling them the story of the Count's
younger brother, who had been be-
witched in his cradle by a g^ipsy. For
this the gipsy had been burned. Her
daughter, and the Count's baby brother
then simultaneously disappeared. It
was believed that he had been burned.
Ferrando hopes some day to meet this
younger gipsy. Scene 2. The gardens
of the Queen's palace. Leonora, her
maid of honour, tells her friend Ines
how she fell in love with a cavalier at a
tournament. He appeared again one
placid night (*' Tacea la notte placida "),
and sang to her as a Troubadour. She
confesses her love for him (** Di tale
amor che dirsi "). The two women with-
draw, and the Count di Luna appears,
breathing love for Leonora. Outside be
hears the voice of a Troubadour singing.
Leonora rushes out and mistaking thie
Count for the singer, embraces him.
The Troubadour appearing upbraids
Leonora's faithlessness, but she ex-
plains her mistake. The Count chal-
lenges Manrico to combat, and the
men withdraw, Leonora fainting with
terror.
Act II. — Scene i. A ruined house at
dawn. Azucena, a gipsy, near a laige
fire; near her Manrico. Giftsies gathered
about. The men working with their
hammers sing the famous " Anvil cho-
rus" ("Vedi le fosche"). Azucena
sings a fierce song of burning a woman
at the stake (** Stride la vampa!").
The others disperse to their tasks, leav-
ing Azucena and Manrico together.
She tells him the dismal stor>' of her
mother's death for sorcery, and how
she, mad for revenge, had seized the
Count's younger brother, as she
thought, and burned him to death,
only to find that she had burned her
own child. Manrico exclaims, "Then
I am not your son." But Azucena
denies her own words and says she
was raving. Manrico tells her that he
has once more met his old enemy the
Count, this time not in battle but in
duel ; he had defeated him, but had
spared his life. Azucena commands
him never again to spare the Count. A
messenger api>ears and summons Man-
rico to the command of the troopts. He
bids Azucena farewell and goes. Scene
2. Convent cloisters at night. The
Count with his followers has come to
kidnap Leonora, whose beauty be
cannot resist (" II balen del suo
sorriso "). A chorus of nuns is heard.
Leonora and Ines api>ear, and Leonora
declares her intention to take the veil.
The Count seizes her, but Manrico
appears and later some of his fid-
lowers. Leonora consents to go with
Manrico.
Act III. — Scene i. Camp of Count
di Luna, outside a besieged castle.
STORIES OF THE OPERAS 359
Feirando and chorus sing a martial
song (" Squilli, eccheggt la tromba guer-
riera **). The Count appears and is told
that a spying gipsy has been captured.
Azucena is brought in. She says her
home is Biscay and the Count says his
younger brother was stolen there. Fer-
rando recognises her, she is seized, and
calls on Manrico her son to save her.
The Count rejoices at this double re-
venge. Scene ±. A room near a
chapel in the castle. Leonora and Man-
rico together. He rejoices in her love
as an aid in battle (** Ah, se ben mio '*).
They are about to be married in the
chapel when Manrico*s friend Ruiz
brings news that Azucena is taken, and
is to be burned. Manrico in horror
('* Di quella pirra '*) rushes to rescue
her.
Act IV. — Scene i. Outside a palace
tower at night. Leonora and Ruiz
enter. Manrico has been captured ; she
sends him hope and comfort ** on love's
rosy wing^ " ('* D'amor suU* ali rose").
A death-knell is tolled and voices are
heard chanting a'* Miserere.'* She hears
Manrico bewailing his fate(**Ah, che la
morte ognora '*), and she vows to save
htm at all costs (** Tu vedrai che amore
in terra "). She withdraws as the Count
enters, then accosts him and begs for
Manrico's life with bitter tears (** Mira,
di acerbe lagrime "). She finally offers
herself as payment for Manrico's life.
The Count gives the order to release
Manrico, and Leonora takes poison from
a ring, then follows the Count. Scene
2. A prison ; Azucena and Manrico.
Azucena sees in terrible vision her own
mother's death at the stake. She falls
asleep watched by Manrico. The Count
and Leonora enter. She offers him free-
dom and begs him to fly. He curses
her; but she dies before him and he
understands her fidelity. The Count,
thus foiled, orders Manrico out to death.
He awakes Azucena and drags her to
the window, and shows her Manrico's
dead body. She exclaims, " He was
your brother ! Thus thou art avenged,
O mother mine ! "
fFAGNER, 9FILUELM RICHARD.
[Who wrote all of his own librettos.]
Der Flieflrende HolUinder (d^r fie'-
f«n-d« h61'-I«nt.«r). The Flving
)utchman. In French as ** Le Vais-
seau Fantome " (le v«s-s6 fan-t6m).
In Italian, first as " L*01lando'se
danna'to"then as ** II Vascello Fan-
Us'ma" (el va-shdl'-lo) or "The
Phantom Ship."
Three-act opera, book and music by
Wagner. Conceived during a very
stormy three- weeks sea-voyage in 1839.
Begun, 1841. Produced, Dresden,
January 2, 1843.
CHARACTERS AND THEIR CREATORS.
Daland (di'-lfint),
Norwegian sea-captain bass.
Ekik (a'-rek).
A huntsman tenor.
Da« Stiuumann (diis shtoi'-dr-main),
Daland's pilot tenor.
The Hollandu Wechter, bar.
SiNTA (zan'-ta),
DalancTs daughter,
Frau Schrdder-Devrient, sopr.
Maey (ma' -re) m.-sopr.
Act 1. — A rocky shore. Under. a
heav)' storm a Norwegian ship has cast
anchor close to shore. The sailors are
heard singing as they furl the sails.
Daland on the rocks grumbles at being
driven inshore so near his port, so near
home and his dear old child Senta.
The storm subsides and Daland (with
grand opera license) is able to step
aboard as easily as he stepped ashore.
He orders the sailors below to rest and
leaves the pilot to take the watch. Left
alone, the pilot sings a love-song of his
sweetheart (** Mein Madel ") and the
southwind that brings him home. He
gradually falls asleep. The storm wak-
ens and a ship with blood-red sails and
black masts appears and drops anch-
or with a crash ; then the uncanny
crew furl the sails without noise, and
go below. The captain landing, ex-
claims that the seven-year terror is past
36o
THE MUSICAL GUIDE
and he mav come ashore a little while.
He bewails his lot, cursed to sail on
forever till the Day of Judgment unless
some woman perchance may love him
unchangingly. He feels the futility of
such hope and cries to heaven to de-
stroy him. On Daland*s ship there is a
scene of excitement. Daland, coming
on deck, finds his pilot asleep and a
strange ship near ; he goes ashore and
meets the newcomer, who tells him of
his sad lot and begs a home for a time ;
he has a chest brought from h'is ship
and offers the pearls it contains for a
night's hospitality, and still greater
wealth for the hand of the daughter
Daland mentions. The canny Daland
accepts, and the two captains going
aboard cheerfully make sail for Da-
land's port.
Act II. — Scene. Interior of Daland*s
home. Among charts, pictures, etc., on
the wall is a portrait of a pale, black-
bearded man in Spanish garb. The
room is filled with girls at spinning
wheels. Senta and Mary are among
them. Senta alone of all is sad, and the
merry spinning chorus (" Summ* und
brumm* ") does not enliven her. Mary
rebukes Senta for gazing at the por-
trait. They finally persuade her to sing
the ballad of the " Flying Dutchman,^*
whose portrait it is. She sings of the
ship with blood-red sails and black
mast and her sleepless spectral captain,
who must sail on and on forever be-
cause in trying to round a ca|>e in the
teeth of a gale he swore, '* I will keep on
trying to all eternity." Satan heard him
and condemned him to sail eternally
till some maiden should love him faith-
fully. He may land once in seven years
to hunt for such a wife. At the end of
the ballad Senta excitedly cries out
that she herself would be that faithful
woman. Her lover Erik enters, and,
hearing the words, is deeply hurt at her
resolve. When the spinners finish the
task and leave, he pleads for her love ;
but she puts him off, eager to welcome
her father, whose ship has been sighted.
Erik is jealous of the picture and tells
her that he has dreamed of seeing her
father coming home and bringing the
Flying Dutchman ; in the dream Senta
embraced the stranger and sailed away
with him. On hearing this dream,
Senta exclaims that she feels the Flymg
Dutchman to be her destiny. Erik
rushes away in horror. Senta, remain-
ing gazing at the picture, suddenly sees
her father enter with — the Dutchman
himself ! Her father, amazed at her
stupor, tells her that the stranger has
come to find a home and a wife. Com-
mending each to each, he goes away,
leaving them together. The Dutchman
muses on her beauty and she on his
sorrow. He asks her to be his wife and
she vows to follow him through alL
Daland returning is rejoiced at the out-
come.
Act III. — Scene. A bay at night;
on shore, Daland's house ; in the bay
Daland's and the Dutchman's ships at
anchor. Daland's sailors are making
merry on deck singing ** Pilot, leave the
watcn*' (** Steuermann, lass die
Wacht **). Girls come from the house
with food and drink for the sailors.
They are surprised at the unnatural
gloom and silence on the Dutch shipb
They can get no response to their
taunts. At length a strange blue flame
appears on the Dutch ship, and gradu-
ally a storm rocks the weird craft, leav-
ing the bay and the other ship calm.
The Dutch sailors now bestir themselves
and chant a sardonic song of the van-
ity of the Dutchman's hopes. The
Norwegian sailors and women are
frightened and try to drown the uncanny
song with their own, but vainly, and
finally go below in terror, and silence
takes the Dutch ship again. Erik and
Senta come from the house, he pleading
with her frantically and imploring^ her
to remember the day of their young
love ("Willst jenes Tag's"). The
Dutchman entering hears his plea and,
thinking Senta false, cries out in de^nir,
and orders his crew to set sail, weigh
anchor and away. Senta pleads with
him, in spite of Erik's prayer, bat the
STORIES OF THE OPERAS 361
Dutchman mocks her. He proclaims
his identity and, going aboard his ship,
pats to sea. Senta is restrained from
following him by her father and others
who rush out. But she breaks away,
and with a last crv, ** Here am I, faith-
ful unto ' death ! leaps into the sea.
The Dutch ship sinks, and in the sun-
set glow Senta and the Hollander are
seen rising, transfigured in each other*s
arms.
Die Meistersinger ▼on Nttrnber^^
(de ml'-st*r-zTng-^r f5n nttm'-b^rkh).
Les Maftres Chanteurs (la m£tr sh&fi-
tQr). I maestri cantori di Norim*
burga (e ma-a'-stre kan-to'-re). The
Mastersingers of Nuremburg.
A 3-act Comic Opera. First sketched
in Vienna, 1845, the text finished and
published, Paris, 1862, music finished,
1867.
Produced, Munich, June 21, 1868.
CHARACTERS AND THEIR CREATORS.
Hams Sachs (h£ns zakhs),
A cobbler and famous writer ^
Betz, bass.
Veh- Pognu (fit pdkh'-n«r),
A goldsmith bass.
SiXTus BccKMissst (zcx'-toos b^k'-m^s-
s«r),
Toitrn clerk Httlzel, bass.
Fmt* Kothnu (frits kot'-nfir),
A baker bass.
Eight othkk tradesmen.
Walthkr von Stolzing (vfil'-tSr fon
sht61'-tsTng),
A young Franconian Knight^
Nachbauer, tenor.
David (d^'-fet).
Apprentice to Hans Sachs^
Schlosser, tenor.
Eva (a -fa),
Pogner's dcnighter, in love with fVaU
ter^ Frl. Mallinger, sopr.
Magdalhms (makh-dsi-la'-n^),
Eva^s maidf in love with David^
Frau Dietz, m. sopr.
A NlQBT Watcrmanv
Note. — This semi-historical opera
concerning the guild of Mastersingers
is a comic companion-piece to Tann-
hauser (q. v., Note a), but without su-
pernatural personages. It is also a
satirical answer to Wagner's academical
critics. Hans Sachs is an actual figure
in early German literature.
Act I. — Scene. Interior of St. Kath-
erine's church. A service is just clos-
ing. Walter gazes at Eva, who flirts
with him, and when, as the congrega-
tion disi>erses, he speaks to her, she
gains time by sending her nurse back
for a scarf-pin, then her prayer-book.
The anxious nurse tells the ardent
lover that Eva must marry the vic-
tor in the next day's song-tourney.
David enters and busies himself draw-
ing curtains to shut of! the nave. Eva,
comparing Walter to the painter DU-
rer's picture of the Biblical David, is
misunderstood by Magdalene to refer
to the awkward apprentice. David
and other apprentices are preparing the
room for the Mastersingers ; they are
about to undergo the examination that
will admit them to the guild. Walter
decides to try the examination. David,
with his shoemaking companions, tells
him how a song must be cut, soled and
heeled to fit the rigid requirements of
the guild. With many interruptions
from the skylarking apprentices, David
tells Walter of the various steps ; first
the thirty-six musical tones and modes
must be learned, they make a long list
most arbitrarily named as ** short, long,
crimson, luscious, nightingale, secret,
glutton, pelican, etc." Once these are
known, they must be sung with proper
voice production and correct embellish-
ment. Having thus become ** a scho-
lar" and **a singer," one must pass the
examination as *' Poet," manipulating
rimes adroitly but strictly within limits
of the rules. To become a ** Master-
singer " one must sing both poetry and
music of his own composing, and do all
three feats without breach of the thirty-
three canons. A blackboard is brougnt
362
THE MUSICAL GUIDE
in. On this one of the judges, called
the " Marker/' chalks down each mistake
— seven are allowed ; if more are made
the candidate is declared " outsung and
outcast." Pog^er and Beckmesser enter,
the latter, a grotesque old pedant, beg-
ging Pogner to plead with his daughter
on his l^half, Pogner having declared
that though Eva is to be the prize, she
must add her consent before she will be
made to marry the victor. Walter an-
nounces himself as a candidate for
Mastership. Beckmesser is jealous,
but the rest welcome the young noble-
man. I'he roll is called, Pogner an-
nounces the prize he offers for the next
song contest — his daughter, who must
add her verdict to that of the judges.
Hans Sachs suggests that the public
also be given a voice in the decision. He
defends their right to be considered,
lest art grow too severe and hidebound.
He enrages Beckmesser by hinting that
only the young bachelors be allowed to
vie for the girl's hand. Walter is
brought fon^ard, and asked who has
been his teacher. He says the books
of the old Minnesinger Walter von der
Vogelweide (vide Tannhauser) have
taught him poetry ; he has learned mu-
sic of the birds in the woods. His tui-
tion is received with scepticism save by
Sachs, and he prepares for the trial.
Beckmesser goes to the Marker's box.
Kothner summarises to him the rules,
and Walter begins a joyous song of
spring and love. Beckmesser is heard
scratching down the marks, and at the
end shows the blackboard quite cov-
ered. The other masters ridicule the
formless composition, and Walter is
allowed to sing his second stanza only
when Sachs has outwrangled Beck-
messer, who insults him as a poor
cobbler. The spontaneous lilt of the
second attempt Beckmesser finds guilty
of breaking every rule, and despite
Sachs' plea for genius unfettered, a vote
throws Walter out, and the meeting
disperses in confusion.
Act II. — Scene. A Street, on one
side Hans Sachs' Shop ; on the other
Pogner^s residence, in front of it a lime-
tree and shrubs. It is evening and the
apprentices are putting up the shutters,
and thinking of the next day's festival.
Magdalene enters with a basket of
sweets for David ; on learning of Wal-
ter's rejection, she snatches it away,
and hurries into the house. The ap-
prentices mock him, and Sachs, on his
way to his shop, stops an impending
brawl. Pogner and Eva enter : he says
she must wed none but a master, and
enters the house. Eva and Magdalene,
after deciding to consult Hans Sachs,
follow Pogner. Sachs appears and sits
down at his bench to make shoes for
Beckmesser ; he falls to musing on the
strange, lawless charm of Walter's song.
Eva steals across to him, but being
timid of direct questioning, gets noth-
ing from him but vexation and banter
and reproval of the aristocrat, who
would not study the rules. He with-
draws to his shop, leaving his door slight-
ly ajar. Magdalene tells Eva to prepare
for a serenade from Beckmesser, who
hopes so to soften her heart to him.
Walter appears and tells Eva of his hu-
miliation. The watchman passes, or-
dering all lights out. Eva slips into the
house, and Walter hides behind the
lime-tree. Hans Sachs has overheard,
and, fearing an elopement, turns a
bright light across the street. Eva
slips out in Magdalene's cloak, but she
fears to cross the light. Beckmesser is
now seen approaching, and the lovers
hide behind the shrubber}'. Sachs, re-
suming his work, sings lustily a song of
Eve driven barefoot out of Paradise,
and needing the aid of a cobbler. The
cunning allusion to Eva's own plan to
become an exile is not lost on the g;iii
hidden with her lover behind the shrub-
bery. Beckmesser, seeing Magdalene
at an upper window, sings to her his
idea of an artistic serenade, pretending
to Sachs, whom he cannot get rid of,
that he is singing merely to get Sachs*
opinion. The cobbler now plays Mark*
er, noting each mistake with a th^rack
of his hammer on the shoe.
STORIES OF THE OPERAS 363
messer lays the stress on the wrong
syllables, adds tawdry flourishes, etc.
Sachs finds so many mistakes that
the shoe is finished before the song.
The neighbours now begin to com-
plain. David appears and cudgels
Beckmesser. The whole town falls
into a riot, and Walter decides to
dear a way through. He and Eva
make a dash, but Sachs seizes Wal-
ter, and Pogner appearing drags Eva
inside the house. Sachs drives David
in, and forces Walter also into his
bouse. And the watchman appearing
disperses the crowd.
Act 111. — ^Scene I. Interior of Sachs*
workshop. Sachs is reading. David en-
ters with a basket full of ribbons and
edibles, which he hides from his master.
He tells Sachs that he and 'Lena have
made up, but Sachs does not hear him.
At length he closes his book, and has
David rehearse his trial-song. David
begins with Beckmesser*s tune, but cor-
ilpcts himself. Sachs dismisses the ap-
prentice more gently than usual, and
falls into reverie on the troublesome lit-
tle things of life. Walter appears, hav-
ing slept ill. Sachs counsels him that
his passionate spring song was all very
well, but that life and wedlock demand
more serious art and science. In a long
scene he now writes down and corrects
and guides the composition of a song as
Walter improvises it. Two sections or
** bars *' being shaped, Sachs says Wal-
ter can fashion the third later, and goes
with him to dress for the festival.
Beckmesser limps in and, finding Sachs'
manuscript of Walter's song, slips it in
his pocket. Sachs re-enters only to be
reviled as a rival and conspirator against
Beckmesser. In proof he shows the
song. Sachs says he may keep it, and
use it. Beckmesser is overcome with
delight at having a poem by the gifted
Sachs, and hurries away to compose his
music. Eva enters, pretending to be
troubled by a tight shoe ; but she can-
not tell where it pinches. She is evi-
dently scheming to see Walter, who
soon appears. Sachs draws off her shoe
and pretends to be busy with it, while
Walter sings to Eva the third bar of his
prize-song. As Sachs sighs ironically
of the miseries of his trade, Eva tells
him that she could have loved him had
not Walter appeared. But Hans Sachs
alludes to the fate of the old husband,
who intervened between Tristan and
Isolde (the love-motive of that opera
being quoted in the music). Magda^
lene and David enter. Sachs says a
new mode of art has been created by
Walter, and with a box on the ear he
raises David to a journeyman. The
five unite in a song of hope for Walter's
success — this glorious quintet is well
known. Eva and Magdalene go home,
and the scene changes to 2. The banks
of the river Pegnitz ; a stage has been
erected for the contest, and the "Cor-
porations" arrive in the following or-
der : Shoemakers, Instrument makers,
Tailors and Bakers. The apprentices
gather. David waltzes with a girl till
someone mentions Magdalene. The
Masters gather, and Pogner leads in
Eva. Sachs steps forward, but the af-
fectionate people break out into one of
his own song^. Sachs then tells of the
unusual prize of the contest. Beck-
messer is the first to sing, and is re-
ceived with laughter. He sings Wal-
ter's verses to his old serenade tune.
The words fit it so ill, that he becomes
confused, mixes his metaphors and
words and sing^ arrant nonsense. He
at length breaks down and, accusing
Sachs of the fault, rushes away. Sachs
says the song is not his, and onlv needs
good music. To prove it, he asks Wal-
ter to sing it ; Walter takes his place
and wins the enthusiasm of the throng
by his art. The people at last vote him
the prize. Pogner welcomes him as a
Master. Sachs gives him counsel in the
glory of German poetry and song, and
places the golden chain about his neck.
Eva takes the Master's wreath from
Walter's head and places it on that of
Sachs. Walter and she embrace the
cobbler, whom all hail with affectionate
homage.
3^4
THE MUSICAL GUIDE
Lohengrin (lo'-^n-gren).
Three-act opera. Begun in 1845.
Produced, Weimar, August 28, 1850
(Goethe's birthday).
CHARACTERS AND THEIR CREATORS.
LoHKNOMN Beck, tenor.
HuNKicH DiA VooLit (hln'-rtkh d^r
f6kh'-ier) (••Henry the Fowler").
Emperor Hofer. bass.
Fkikdmch von Tilkamvnd (fret'-rTkh fon
tSl'-ra-moont) Millde, bar.
The HutALD of the King bass.
EuA TON Brabant (^I'-zi fon bril'-b&nt),
Frau Agathe, sopr.
Oktkud (6r'-troot),
Wift of Count Telramund,
Frl. Fastlinger, alto.
Act I. — Scene. The banks of the
Scheldt in Brabant near Antwerp,
Tenth Century. After the Herald*s
message the Emperor Henry announces
that he has come to Brabant to gather
forces to repel the Hungarians ; he
learns that the people are in discord.
He calls on Telramund to explain, and
is told by him that the late Duke had
died, leaving two children in Telra-
mund's charge. The son and heir has
disappeared and he accuses the sister
Elsa of putting him out of the way. He
therefore claims the Duchy as next
kinsman. The accused is summoned
to trial, and she enters, answering the
King's questions by telling a dream she
had of an angelic knight and defender.
Telramund offers to undergo the ordeal
of battle (which was then the procedure
of the courts) and Elsa says she will
have no champion save the one she
dreamed of. Four trumpeters sound
North, South, East, and West, but no one
appears to champion her. She kneels
in prayer ; from the distance comes a
knight in a boat drawn by a swan. All
are amazed except Ortrud, who is ter-
ror-stricken. The knight (who is Parsi-
fal's son Lohengrin, one of the semi-
deified Knights of the Holy Grail period
of King ^hur) bids farewell to the
swan, which departs. He announces
himself Elsa's chiampion, but makes one
stipulation : that she shall ask no ques-
tions of who or what he is, or whence
come. She promises and is embraced
as his betrothed. The ground, is now
prepared for the fight and with doe
ceremony the contest begins. Telra-
mund is soon beaten down, but his life is
spared, and he and his wife are crushed
with shame, while the Knight is hailed
with joy by the others.
Act II. — Scene. Night outside the
palace. On the steps of the Minster
opposite, cower Telramund and his
wife. Under the ban of confiscation
and exile they linger in rags. He re-
viles her as the cause of his disgrace,
the lying accuser of Elsa and the source
of the whole plot. She promises in one
day to ruin Elsa by making her ask
Lohengrin the forbidden question. She
relies on witchcraft for success. Elsa
appears on the balcony in blissful rev-
erie. Ortrud with mock meekness ad>
dresses her, craving pity, which Elsa
bestows. She comes down to take into
shelter the outcast noblewoman, prom-
ising to add Lohengrin's forgiveness
to her own. She invites her to attend
the wedding, and Ortrud, pretending
gratitude, says she would save Elsa
from impending ill, and hints that
Loheng^ may depart as easily as
he came. Elsa, ill at ease, takes her
into the house, and Telramund watdies
gloatingly. Day begins with the
bustle of servants and the sounding of
trumpets to gather the peoptle. The
Herald publishes Telramund's exile, Lo-
hengfrins accession to his estates, his
wedding to Elsa, and the departure the
next day of all the warriors to battle.
Four noblemen, ai^ry at being called
on for service, find Telramund and con-
ceal him. The wedding procession
forms, Elsa entering with Ortrud richly
farbed. As Elsa is about to ascend the
finster step, Ortrud ang^y darts in
front of her, demanding precedence.
She casts aspersion on the mysterious
Knight. The King and Lohengrin
STORIES OF THE OPERAS 365
press through the crowd, and Lohen-
grin, rebuking Ortnid as an evil sorcer-
ess, starts to lead Elsa up the steps.
Tehamund confronts him, demanding
his name and station. Loheng^ sees
with grief that Elsa is disheartened and
afraid. Telramund whispers to her
that if the Knight but lose even a
finger-joint, he must tell all. Elsa
hesitating, finally falls on Loheng^rin's
bosom and enters the Minster with him.
Act III. — Scene i. The bridal chamber.
The procession enters and Lohengrin
and Elsa are divested of their outer
robes. Left alone they exchange words
of bliss, and she says her only regret is
that she may not know and speak his
name. She persists in her questioning,
despite his entreaties. Suddenly Tel-
ramund and the four nobles rush in with
swords drawn. Elsa seizes Lohengrin's
sword and hands it to him quickly. He
kills Telramund with it and bids the
nobles, who yield, to take the body to the
King. Elsa swoons and he summons
her women and bids them take her also
before the King. He promises there to
give her the answer she has asked ; and
sadly departs. — The scene changes to
that of Act I. The armies gather and
the King promises them success in
battle. Telramund's body is brought
in, followed soon by the tottering and
dejected Elsa, then by the mournful
Lohei:^grin. He tells the King he can-
not go to the war with the armies : he
sa^ that Telramund was slain as a
midnight assassin, and that Elsa has
been lured into breaking her vow. He
says he has no shame of birth to con-
ceal, and describes the Temple of the
Holy Grail (i.e., the second cup or grail,
from which Christ drank at the Last
Supper, which contained the blood He
shed on the cross, and which is preserved
and renewed yearly by the Holy Ghost,
as It is guarded by Knights chosen for
blameless life). Lohengrin declares that
he is the son of Parsifal (see the story of
that opera), and has been sent to rescue
the maiden. The swan reappears and
Lohengrin announces that the Grail is
recalling him. He says that Elsa's
brother will return to her, and gives
her for him his sword, horn, and ring,
which ensure her brother's success.
Ortrud exultantly confesses that Elsa's
brother is the swan, changed to that
shape ; if the Knight had remained, the
swan would have been freed of the
spell. Lohengrin listening kneels in the
boat to pray. A dove descends, Lohen-
grin joyfullv removes the chain from the
swan, which sinks. In its place appears
Elsa's brother. Ortrud falls with a
shriek. Elsa greets the boy with such
delight that she does not see the dove
taking the chain and drawing the boat
away. The nobles kneel to the returned
boy, but Elsa seeing Lohengrin already
far in the distance, faints with a last
cry, ** My husband ! "
Tristan und Isolde (tres'-t&n oont
e-z61t'-«). Tristram et Yseult (tres-
trah & e-si&l), F. Tristram and Isolde.
Three-act '* Action." Composed
1857-59' Produced, Munich, June 10,
1865.
CHARACTERS AND THEIR CREATORS.
TtiSTAN, y
Cornish Knight^
Ludwig Schnorr von Carolsfeld, tenor.
KuKWENAL (koor'-fd-nal),
His squire Mitterwurzer, bar.
KoNiG Makkb (ka -nYkh m&r'-kQ,
Zoltmayer, bass.
MsLOT (ma'-16t),
King of Cornwall tenor.
Steersman bar.
Young Sailok tenor.
Shepherd tenor.
Isolde,
Daughter of the king of Ireland^
Frau Schnorr von Carolsfeld. .sopr.
Brangane (brang-i'-n^),
Her attendant Frl. Deinet, sopr.
Act I. — Scene. A pavilion on the
forward deck of a ship ; a tapestry clos-
ing from view the portion aft. Isolde
reclining on a couch, BrangSne gazing
366
THE MUSICAL GUIDE
out over the sea. The voice of an un-
seen sailor singing of his Irish love.
Isolde starts up in a sudden fury. Bran-
gine is distre^ed. Isolde calls for air.
Isolde throws back the tapestry, show-
ing sailors and knights and Tristan look-
ing off seaward. Isolde speaks scornful-
ly of Tristan to Brangiine, who defends
him. Sent to summon Tristan, Bran-
g&ne finds him reluctant to come ; he
says his only duty is to take the bride
Isolde, willing or not, to King Marke,
who awaits her. The devoted Kurwe-
nal emphasises this point, but is re-
proved by Tristan, while Brangane
draws the curtains again. The insulted
Isolde tells her of the first meeting when
once, years before, she had found Tristan
wounded in Ireland and had nursed him
to health, though she should have killed
him, since he had killed her kinsman
and betrothed lover Thorold. He had
made love to her and she had forgotten
the bloodfeud between them ; then he
had sailed away, only to return to de-
mand her hand for his king and lead
her away as bride to another. She
curses Tristan. BrangSne tries to calm
her. but at Isolde's order brings out a
coffer of medicines and poisons. Isolde
indicates a deadly draught. The crew
is heard greeting the land. Kurwenal
appears to bid them prepare to disem-
bark. She tells him to send Tristan to
her. BrangSne pleads irantically, but is
silenced as Tristan enters. He explains
that honour has kept him far from her,
and she bitterlv reminds him that she
should have slain him for killing Tho-
rold. He offers her his sword, but now
she pretends to have forgiven him and
asks him to seal the peace with a
draught ; she offers him the cup and he
drinks ; she snatches it away from him
and drains the rest. Instead of both dy-
ing as Isolde expects, the draught, which
Brangane has surreptitiously changed
to a love-potion, makes them lovers,
madly impassioned and blind to all that
goes on about them. They do not ob-
serve even the bustle of landing, and the
approach of Kmg Marke from shore.
Act II. — Scene. A garden with steps
leading up to Isoldes chamber. A
torch bums. In the distance the horns
of far-away hunters are heard. Isolde is
awaiting 1 ristan. Brangine warns her
that Melot, her pretended friend, is
actually spying on them; she bitteriy
regrets her mixture of the love-potion,
but Isolde says it is destiny. She
quenches the torch as a signal, and
beckons to Tristan, who hurries in.
They have a long scene of unrestrained
ecstasy, the voice of Brang&ne, who
watches unseen from the tower, falling
on their ears with unheeded warning.
At last she screams. Kurwenal rushes
in to warn Tristan, but King Marke,
and Melot and others appear and con-
front the lovers. Tristan in a daze tries
to conceal Isolde, who is overcome with
shame. Melot is violent with accusa-
tions, but King Marke is only bewil-
dered and mystified. Tristan confesses
equal bewilderment, is ready to die,
however, and asks Isolde if she will die
with him. She says she will follow him
anywhere ; he kisses her. Melot draws
his sword. Tristan rebukes him as a
false friend, draws and attacks, but lets
himself be wounded, and falls in Kur-
wenal's arms. Isolde throws herself on
his breast.
Act III. — Scene. A castle garden on
the cliffs. The mortally wounded Tris-
tan lies sleeping on a couch watched by
the anxious Kurwenal. A shepherd
playing a melancholy air on a pipe
pauses to inquire of Tristan's welfare.
He is watching for a ship — Isolde^s, if
he sees it, he will pipe merrily. Tris-
tan wakes drearily. Kurwenal explains
how he had carried the wounded Tris-
tan away to his own long-deserted cas-
tle. Tristan tells a dream he had of
Isolde. Kurwenal ssLys he has sent for
her to come and heal the wound. This
enraptures Tristan for a moment, but
he sinks back under the spell of the
shepherd's wailing song. He "wakens
again, however, and the shepherd plays
a brighter melody. A ship is stg^hted.
Isolde leaps ashore, and Kurwenal
STORIES OF THE OPERAS 367
hastens down the steep to bring her up.
Tristan^ left alone in a delirium of joy,
desires to meet Isolde again as when
she first saw him — with bleeding wounds.
He tears the bandage from his wound,
staggers toward her, and dies in her
arms with a last sigh '* Isolde ! " The
shepherd now warns Kurwenal that an-
other ship has landed with King Marke
and Melot. They barricade the gate.
Kurwenal kills Melot and resists Marke
and his followers, not heeding Bran-
gSne*s appeals, and is wounded to
death. Brang&ne tries to explain to
Isolde that she has told the story of the
lore-potion. The King, understanding
all, has come to reunite the lovers.
Isolde, however, oblivious of everything,
falls into a state of exaltation and seems
to see Tristan rising in an apotheosis of
bliss. In a transfiguration of rapture,
she sinks upon his body, and King
Marke invokes a blessing on the dead
lovers. This swan-song of Isolde is
caUcd the ** Liebestod " (le'-b«s-t6t), or
" Lovc's-death."
Tannhiluser und der Sang^erkrie^
aaf Wart burs: (t^n-ha'-e-z£r oont
d^ z^ng*-5r-krekh owf vfirt'-boorkh).
Tannhaeuserand the Singer's Contest
at the Wartburg.
Three-act opera ; book and music by
Wagner. Produced, Dresden Royal
Opera, October 20, 1845, with Frau
Schrdder-Devrient and Niemann as
Elizabeth and Tannhauser
CHARACTERS.
Knights and Singers :
Hkkmann,
Landgrave of Thuringia, . . .bass.
TAKIiHAIJSSK OK HEINftlCH tCUOr.
WOLTKAM VON EsCMBNBACH (v6l'-frdm
fon feh'-Sn-bakh) bar.
Waltek von dee Vogblwsidb (val'-tfir
fon d^r fo'-g^l-vl-dd) tenor.
BrnuoLT (be'-t«r-610 bar.
Hkinucr du ScHtBiBEK (hln'-rYkh d^r
shi1'-b*r) tenor.
Rdkmar von Zwm* (rin'-mSr fon
tsva'-t£r) bass.
Euzabbth (a-le'-z&-bit).
Niece of the Landgrave sopr.
Vbnus (fa'-noos).
Goddess of love sopr.
A Young Shephbrd sopr.
Note.— (a) Like '* Die Meistersing-
er," this oi>era has a semi-historical
basis in the ancient contests between
Germanic singers. The Minnesanger
(m!n'-nd-zdng-fir) or love-bards were
noblemen who sang poems and music of
their own in praise of pure love, to their
own harp accompaniment. They flour-
ished in the twelfth and thirteenth
centuries. The Mastersingers, usually
tradesmen, who succeeded them in the
fourteenth to the sixteenth centuries,
made more elaborate rules for composi-
tion, (b) The goddess Freia or Holda (v.
** Das Rheingold "), Goddess of Youth
and Spring, was believed to have been
driven by Christianity to take refuge in
the caverns of a mountain near Eise-
nach. She became confused, and finally
identified, with the Greek Venus of simi-
lar attributes, and the mountain came
to be called the Venusberg. This
mountain is not far from the castle of
the Wartburg, where the old landgraves
held vocal contests of the sort described
in this opera.
Act I. — Scene i. The subterranean
palace of Venus. Surrounded and be-
guiled by singing and dancing nymphs
and sirens, Venus reclines in voluptuous
languor, gazing wonderingly at Tann-
hauser, who is dreaming of the upper
air and homesick for the life he left for
her. At her insistence he sings in her
praise, but begs for his freedom. At
first resentful, she then tries to charm
his restlessness away, but grows furious
again and tells him that his Christian
God will never forgive him. She van-
ishes and he finds himself (scene 2) in a
sunny valley before a shrine of the
Virgin. A young shepherd pipes and
sings of Holda, the Goddess of Spring.
Seeing a file of elderly Pilgrims wan-
dering Rome-wards, he asks their bles-
368
THE MUSICAL GUIDE
sing. TannhiLuser himself kneels and
joins their chant (known as the Pilger-
chor, •* The Pilgrims' Chorus "). They
disappear in the distance, and the Land-
grave, entering with his retinue of Bards,
on a hunt, finds his lo^-lost favorite and
welcomes him back. Tannh&user speaks
vaguely of travel in strange lands and
wishes to avoid them, but Wolfram
tells him that Elizabeth has t>een pining
for him and his all-surpassing minstrel-
sy. Tannhiiuser, at the memory of her,
gladly rejoins them and they set off for
the castle of the Wartburg.
Act II. — Scene. The Hall of Apollo
in the Castle. Elizabeth enters and
greets it with joy since now Tann-
hauser's voice is to glorify it again.
Wolfram ushers in Tannhauser and he
and Elizabeth are fervently reunited.
The Landgrave welcomes Elizabeth to
the hall she has shunned so long and
announces her as the queen of the con-
test. The court gathers witj much
pomp. The Minnesingers enter. The
Landgrave announces that love is the
subject of the prize-songs. Four pages
collect the names of the Bards in a cup
and draw lots. Wolfram, the first
chosen, sings of the fountain of clean-
hearted love, to much applause. Tann-
h&user interrupts with a praise of pas-
sion, but is received in chill silence.
Walter sternly contradicts him, and is
applauded. Tannhaluser reiterates his
view and Biterolf angrily rebukes him.
Tannhauser returns the abuse, and
Wolfram tries to calm the rising excite-
ment by imploring heaven's interven-
tion. TannMuser madly declares that
Venus alone can teach love. The
women leave the Hall hastily and
the men advance against Tannhfiuser,
whom the Landgrave declares eternally
condemned, for his unholy life in the
Venusberg. The rash minstrel is about
to be cut to pieces by the infuriated
mob, but Elizabeth protects him and
pleads that he may have a chance to re-
pent. Tannhftuser is now oyercome
with shame and prays God to accept
him. The Landgrave bids him join a
band of young Pilgrims who seek absolu-
tion at Rome. He rushes away hope-
fully.
Act III. — Same as scene 2 of Act I.
Elizabeth is praying before the shrine.
Wolfram muses on her incessant prayer
that Tannhftuser may return forgiven.
The returning elderly Pilgrims are heard
approaching and she rises. They pass,
smging joyfully, and she scans them
anxiously, but Tannhauser is not with
them. Crushed with grief, she sinks to
her knees begging to die. In an apo-
theosis of soul she departs. When
Wolfram offers her escort, she points
silently to heaven whither she now is
tending. The faithful Wolfram, left
alone, sings to the Evening-star to bless
and guide her. (Romance of the Even-
ing Star — **0 du mein holder Abend-
stern.") In the thickening night, Tann-
hauser staggers by in tattered Pilgrim
garb. Wolfram asks him how he dares
return unshriven, and he declares wildly
that he is on his way to the Venusberg
again. He tells how the Pope had ab-
solved all the other Pilgrims, but had
likened him in his unholy acquaintance
with the Venusberg to the Pope's own
dead staff, which could never again put
forth leaf or flower. The excommu-
nicated Tannh&user can find shelter
nowhere but with Venus. She now
appears to him in a rosy cloud, but Wolf-
ram struggles to restrain the mania.cal
Tannhauser and finally breathes Eliza-
beth's name. Tannhauser cries her
name wildly, and the goddess vanishes
frustrated. A funeral procession enters
bearing the dead Elizabeth. At sight of
her, Tannhauser, imploring her to pray
for him in heaven, dies of grief. The
younger Pilgrims now enter, chanting of
the miracle they have seen. The Pope*s
staff has blossomed, showing heaven's
forgiveness of Tannh&user.
STORIES OF THE OPERAS 369
Der Rinff des Nibelnngen (d^r ring
das ne -b£l-oong-<n). The Ring of
the Nibelung.
" A staee-festival for three days and
This great work is a trilogy with
prologue, or rather a tetralogy, bearing
a close resemblance to Greek tragedies,
which were groups of three plays set to
music by the author of the text, and de-
claimed with choral interspersions much
after the manner of Wagfnerian opera,
except that the harmonic resources in
which this latter is so rich were practi-
cally unknown in the music of the trage-
dies of iCschylos, Sophokles, etc.
The stories of these four works have
a continuity, but, though they were
meant for performance on consecutive
evenings, they contain many repetitions.
The plots are adapted with much license
from that great collection of German
Imnd and mythology, the epic ** Das
Nibeluneenlied " or *'Song of the Ni-
belungs, a race of hideous gnomes
living in the heart of the earth in the
Nebdheim or ** home of mists."
The tetralogy follows the baleful effect
of a piece of consecrated gold stolen
from the Rhine, made into a ring and
then fought for by gods, Nibelungs,
and heroes, bringing disaster to all its
possessors, until it nnally returns to the
Rhine after compassing the destruction
of the old dynasty of eods, with Wotan
as their chief and Walhalla as their
home. There is much room for moral-
ising and allegory in the work, and
commentators have not lost sight of
the opportunity to confuse the complex
with further obscurities. There is
enough, however, in these librettos as
dramatic and poetic works to occupy
the interest and the attention.
The Prologue or ••Vorabend" (fdr-
i'-b*nt), or Fore- Evening of the trilogy :
I. Das Rheins^old (dSs r1n'-g61t).
The Rhine-gold.
One-act music-drama. B^^n 1853,
imtohed 1856. Produced ^t public
dicss-rebearsaJ, Munich, August 25,
1869) ; with the entire trilogy, Bayreuth,
August 13, 1876.
CHARACTERS AND THEIR CREATORS
(at Weimar).
Gods :
Wotan (vo'-tSn) Betz, bar.
DoNNst (don'-ndr).
Thunder. Gura, bar.
FtoH (fro), Joy Unger, tenor.
Lock (16' -g^),
Demi'god of fire and trickery^
Vogl, tenor.
Nibelungs :
Albmich ral'-Wf-rikh) Hill. bar.
MiMK (me -m6) SchlOsser, tenor.
Giants :
Fasolt (fa'-z61t) Eilers, bar.
FAFNit (faf'-n«r),
von Reichenberg, bass.
Goddesses :
FticKA (frik'-a),
Wotan* s wife^
Frau von Grttn-Sadler, m. sopr.
FtiiA (fri'-a), or HoLDA (h61t'-a),
Goddess of love and youth ^
Frl. Haupt, sopr.
EtDA (gr'-dfi),
The Earth-mother „Yx\, Jiida, alto.
Rhine Daughters :
WoGUNDK (v6kh'-Mn-d^,
Frl. Lilli Lehmann, sopr.
Wbllovndb (vil'-goon-d^),
Frl. Marie Lehmann, m. sopr.
Flosshildb (flos'-hTl-dd),
Frl. Lammert, alto.
Scene i. — The orchestral prelude,
based on a single musical pattern, indi-
cates the gloomy flow of the depths of
the Rhine, which are disclosed on the
rising of the curtain. The Rhine
daughters or nymphs gather and disport
around a great central rock where rests
the sleeping Rhine-gold, which their
father has set them there to sentinel.
Alberich appears from a chasm and
makes sensual love to them and tries to
clutch them. They make sport of him
and decoy him to violent scrambling
and wrath. Suddenly the Rhine-gold
*' awakes" and gleams. The fascinat-
370
THE MUSICAL GUIDE
ed Alberich asks what it is, and the
Rhine-girls laughingly taunt him with
his ignorance of the fact that this gold
if seized and fashioned into a ring would
confer boundless power on the thief,
who must, however, they add tauntingly,
forswear love before he can take it.
Alberich's love is turned to hate by their
scorn, and climbing the rock he wrench-
es the gold loose. In the gloom that
follows, he laughs at their frantic pur-
suit and disappears into the earth. By
a scenic transformation, the first scene
is modulated skilfully, as are all the
scenes of this opera, into the next.
Scene 2. — An open space among cliffs,
one of which bears the new castle
Walhalla. Wotan and Fricka awake
from sleep. He revels in the beauty of
the vast achievement just finished in the
building of a fit home for the gods. She
reminds him that he must now pay the
builders, for he had promised the two
Giants his wife's sister Freia. Fricka
upbraids him for his ruthless ambitions
and his roving infidelity. He reminds
her that he gave one of his eyes to win
herself and that he will not give Freia
up to the Giants as he promised, but
trusts in Loge to slip him out of the
compact by trickery, since the whole
compact was Loge's idea. Freia now
hurries in, terrified with fear tha*t the
Giants are to have her. The Giants fol-
low shortly. They say they have come
for their wages. Wotan tells them she
is not his to g^ve. The Giants are furi-
ous, Fasolt saying they had counted on
her beauty, Faf ner preferring the golden
apples of youth that g^ow in her garden.
They propose to seize Freia, but Froh
and Donner appear to shelter her.
Donner threatens them with his thun-
derous hammer, but Wotan intervenes.
The anxiously awaited Loge now ap-
pears and all suspect him of tricke-^y as
he flits flame-like about. He finally
tells how he has ransacked the earth for
a ransom for Freia, but nowhere could
he find anything rated so high as woman
and love — only one being in the uni-
verse has other preference, and that is
Alberich. He tells of the theft of the
gold and o/ the ring Alberich has made
from it. Wotan now covets the ring
and so do the Giants. Loge says the
ring can only be got by theft. The
Giants offer to accept it as ransom.
Meanwhile they take away the scream-
ing Freia as hostage. Immediately the
Gods g^ow wan and old and Loge says
that the apples of youth which renew
the universe and the gods, are wither-
ing in Freia's deserted garden ; a pallid
mist rises. Wotan resolves to wrest
the gold from Alberich, and Loge leads
him into a cleft of the earth whence sul-
phurous vapours spread, veiling the
transformation to Scene 3. A subter-
ranean cavern. Alberich drags in the
squealing Mime, who pretends not to
have finished his appointed task of mak-
ing the Tamhelm (a helmet conferring
invisibility on the bearer). Inadvertently
he lets it fall. Alberich puts it on and
vanishes into mist ; invisible now, he
beats Mime, then is heard as he departs
to the forge-room beneath. Loge leads in
Wotan and they question the whimper-
ing Mime, who tells them that Alberich
has usurped a despotism over them all
and makes them slaves to his greed. He
tells of the new helmet of darkness and
the beating he had. Alberich comes in,
visible now, the Tamhelm at his girdle,
he drives in a herd of Nibelungs who
heap up gold ; he then scourges them
back to their work. He gives his new
guests bitter greeting and says he will
soon have them all in his g^rasp, g^ods
and women. Loge hints that the gold
might be stolen in his sleep. Alberich
trusts in the Tarnhelm to hide him.
They question his power to change his
shape. To prove it he becomes a great
serpent. Loge hints that he cannot
change himself to anything small like a
toad. Alberich ingenuously makes this
change. Wotan puts his foot on the
toad, Loge snatches the Tamhelna, thus
bringing Alberich back to his natural
shape. They tie him up and drag him
back to the upper ir and to scene 4,
the same as scene 2. They offer him
m^
STORIES OF THE OPERAS 371
freedom for all his gold ; he murmurs
to his ring a summons to his dwarfs,
who appear and heap up the gold. Loge,
in spite of his protest, adds the Tarn-
hehn to the heap. Wotan espies the
ring and wrenches it from Alberich's
finger. Alberich, released, curses the
ring and loads its power with a heritage
of death, misery, envy, sleeplessness,
and crime to its possessor. He then
returns to his fofge. (The too-consist-
ent mind will wonder why a ring which
conferred * * measureless might " on its
wearer, could not get him out of an
ordinary rope ; but m>ths, like meta-
phors, * * must not be squeezed till they
squeal '*.) The Gods and the Giants as-
semble. The Giants demand that the
gold be heaped up to hide the beautiful
Frcia whom they are so loth to surren-
der. They stick their staves in the
ground in front of her, and Loge and
Froh heap up the gold. The Giants
can still sec her hair shining through
and the Tamhelm must be added to the
heap. Even now they can see one of
her eyes, and demand the ring on Wo-
tan's finger. He furiously refuses it.
Now, in a rocky cleft appears the awe-
some Erda, mother of the three Noms
or Fates ; she implores Wotan to keep
his faith and yield the ring. She van-
ishes, and after some resistance he
throws the ring on the heap. Imme-
diately the Giants quarrel for it, and
Fafner kills Fasolt, places the treasure
in a sack, anc stalks away. The Gods
watch him with horror and Wotan re-
solves to visit Erda again. Donner,
hating the mists that veil Walhalla, dis-
appears in storm clouds ; he swings his
thunder hammer and the lightning clears
the mists. Froh spans the gorge with
a rainbow bridge to Walhalla. The
Gods move toward the castle. Loge.
the flame demi-god, looks scornfully
after those whom he has saved, and is
tempted to turn against them, but fol-
lows for the nonce. The wail of the
foriom Rhine daughters is heard from
the deeps of the valley, but the Gods
mock it with laughter.
2. Die WalkUrc (de val-kti'-r«). The
Valkyrs.
Music -drama in three acts. Begun,
1852. Finished, 1856.
Produced at public dress-rehearsal,
Munich, June 24, 1870. With the
trilog)', Bayreuth, August 14, 1876.
CHARACTERS AND THEIR CREATORS
(at Munich).
Volsungs : •
SiKGMUND (zekh'-moont), Vogl, tenor.
SiEGLiNDK (zekh-Un'-dd),
His sister^ Hunding's wife^
Frau Vogl, sopr.
HuNDiNG (hoont'-tng),
A Neidung Bauserwein, bass.
Gods :
WoTAN (vo'-tan), Kindermann, bar.
Fricka (frik'-a),
Frl. Kauffmann, m. sopr.
Valkyrs :
Bruinnhildi (brln-hll'-(J^),
Frl. Stehle, sopr.
R08SWKISK (ros'-vT-zS) .sopr.
Grimgbrde (grem'-g$rt-5) sopr.
Hblmwige (h51m'-ve-kh5) . . . .m. sopr.
Gbrhildb (g^r'-htl-d^) m. sopr.
Ortundk (6rt'-lln-d€) m. sopr.
Waltrautk (valt'-row-t5) alto.
SiEGRUNB (ze'-groo-nS) alto.
ScHWBRTLEiTE (shv5rt'-ll-t$) alto.
With this work, the trilogy proper
begins. As g^dually transpires : since
the events of '* Das Rheingold," the
fickle Wotan has bfien wandering over
the now populated earth under the name
Wiilse (vei -z^). The children of his
roving amours have formed a tribe
called Walsungen, or Volsungs, who are
at war with the tribe of Neidungs (ni'-
doongs). A Volsung woman had borne
to Wotan the twins Siegmund and Sieg-
linde, but the children were soon sep-
arated. Over the conflicts of humanity
Wotan eagerly watches, and those who
prove heroes and are killed in battle are
372
THE MUSICAL GUIDE
carried aloft to form a blissful garrison
for the defence of Walhalla. Over
every battlefield hover, for this purpose,
the heavenly horse-women, or Valkyrs,
who are all illegitimate daughters of
Wotan by Erda, whom he had seduced
with a love-potion.
Act I. — Scene. The interior of a
primitive hut built round a great tree in
which a sword has been thrust up to the
hilt. Siegmund breathlessly enters from
the storm outside. Sieglinde not know-
ing htm, gives him a horn of mead, and
treats him kindly ; her husband Hund-
ing, one of the Neidungs, enters and
confirms her hospitality but with suspi-
cion. Siegmund, asked to tell who he
is, describes his vile life in the woods
with his father, a Volsung, his mother
and twin-sister having been carried off
by the Neidungs. To-day he has
fought single-handed in defence of a
woman. Hunding recognises him as
the wretch his tribe is hunting, and says
that on the morrow he must fight out
the feud. He gives Siegmund sanctu-
ary for the night, but warns him to have
weapon and resolution for the morning.
Siegmund, left alone, broods over the
misfortune that hounds hhi»,' but r«nem-
bers that his father had said a sword
would be at hand in direst need. Sieg-
linde enters, having drugged her hus-
band, and tells him of the sword in the
tree, thrust there by a strange wanderer
(Wotan). No one has ever been able
to draw it out. She longs for someone
to unsheath it, and revenge her. The
door springs open, showing moon-lit
night outside. Sie^^und sajrs that the
mysterious visitor is the Spring itself,
and sings a rapturous idyll. Sieglinde
calls him the Spring she has longed for.
Not knowing that they are brother and
sister, they grow ardent in love, rfe
proclaims Walse (Wotan) as his father,
and with a mighty effort, plucks out the
sword, which is called ** Nothung** (n5t-
oong), i.e., need. Sieglinde proclaims
herself his sister. He embraces her fer-
vently as both sister and bride for the
restoration of the Volsung lineage.
Act II. — Scene. A gorge in the
mountains^ Wotan sends Brannhilde
to watch an impending battle. Fricka
comes angrilv in. She plays the Xan-
thippe. To ner as goddess of wedlock,
Hunding had appealed to punish Sieg-
mund and Sieglinde, who have fled^
After a bitter quarrel she compels Wo-
tan to swear that Siegmund shall die
under Hunding's sword, even if he must
intervene himself. When she has gone,
Brttnnhilde reappears and tries to con-
sole her dejected father. He tells her
the story of the Rhine-gold ; of Fafner
who holds the ring, of his betraying
Erda for his purpose, and of his one
hope that some unaided hero shall of
his own volition and resource win the
world-power. He bewails his oath to
Fricka, but when BrQnnhilde hints that
she will save Siegmund, he threatens her
wrathfuUy. When they have left in
opposite directions, Siegmund and Sieg-
linde enter, both overcome with fatigue,
and she also with shame at )rielding to
him. In the distance the horses of their
pursuers are heard. She swoons in her
anguish. BrQnnhilde appears and bids
Siegmund follow her to Walhalla, but
he refuses to be separated from Sieg-
linde. * He even threatens to kill her
and himself first, and BrQnnhilde pas-
sionately vows to preserve them both.
She disappears, and a great storm
arises. Siegmund leaves Sieglinde to
meet Hunding. They fight. BrQnn-
hilde protects Siegmund with her shield ;
but Wotan appears, and with his spear
shatters the sword of Sieg-mund whom
Hunding slays. The disot^dient BrQnn-
hilde, in terror, escapes with Sieglinde,
and Wotan after slaying Hunding with
one scornful glance, follows her.
Act III. — Scene. A mountain peak
and cavern. The Valkyrs gather, each
with a slain hero across her horse.
They await BrQnnhilde, who appears
finally in great panic with Sieglinde on
her saddle. She tells what she has
done and beg^ shelter. Sieglinde pleads
to be allowed to die, but BrOnnhilde
reminds her that in her womb she bean
STORIES OF THE OPERAS 373
Siegmand's son, to be called Siegfried
(Jam first appears the motive ** Sieg-
fried and the sword "). Sieglinde now
wishes to live, and they decide that a
cave near Fafner*s lair would be safe
from Wotan*s discovery. She gives
Si^linde the pieces of Siegmund*s
sword, and bids her save them for her
son. Sieglinde harries away, just be-
fore Wotan appears and denounces
BrOnnhilde bitterly. He disowns her,
and tells his plan to disgrace her by
making her a prisoner on this mountain.
The maidenhcK)d which is the pride of
the Valkyrs, shall be the prey of who-
soever finds her. He sends the other
Valkyrs away, and BrQnnhilde pleads
earnestly that she protected Siegmimd
because she knew Wotan really loved
him and wished him to win; but she can-
not alter his resolve. She begs to be
surrounded with flames that only a fear-
less hero may reach her to make her his
own. Wotan grants this wish, and bids
her a tender farewell, kisses her divinity
away and lays her fast asleep with
closed helmet'on a bank of moss. He
places her long shield over her, and in-
vokes Loge, who sends a circle of fire
to guard the sleeping Valkyr. He
vanishes after a last charm : *' He who
feareth my spear, shall never fare
through this fire *' (in which again the
" Si^ried and the sword " motive ap-
pears).
3. Siegfried (zekh'-frft).
Three-act music-drama. Begun, 1856,
finished, 1869. Produced, Bayreuth,
August 15, 1876.
CHARACTERS AND THEIR CREATORS.
SncruiD. Unger, tenor.
Mime (me'-m^ Schlosser, tenor.
Dkb Wandbrm (ddr vin'-d^r-ir),
Betz, bar.
(il'.b«r-!kh) Hill, bar.
(fftf-nir). Von Reichenberg, bar.
E«DA («rt'.a) Frau Tftida. alto.
Bavnn«HiLDi (brYn-hir-dS),
Frau Friedrich Matema, sopr.
Act I. — Scene. A cave-dwelling with
Primitive forp^ and anvil. The dwarf
lime is forging a sword, but grumbles
that the boy Siegfried breaks the strong-
est blade he can make. If lie could
only forge the pieces of Siegmund*s
sword Nothung, that would be un-
breakable ; with it Siegfried might
even slay Fafner who, shaped like a
dragon, guards the all-powerful Ring.
Mime would then possess himself of the
Ring. But he winces at his inability to
forge Nothung. The boyish Siegfried
romps in with a bear and terrifies the
dwarf, and breaks with a blow the
latest sword he has forged. Mime sobs
that all his fatherly care of the boy
meets only hate and rebuff. Siegfried
confesses an unconquerable repugnance
to the dwarf ; he only tolerates him for
the knowledge he has. He has learned
that all animals have father and
mother ; he asks who his mother was,
and Mime claims the double honour of
being both father and nr other to the
boy. Siegfried has seen his own image
in a brook, and gives Mime the lie. He
chokes the cTwai? into telling him of a
nameless woman who had come to the
cave and died in bearing a child. She
entrusted him to Mime after naming him
Siegfried. He tells over in little slices
the story of his devoted care for the boy,
and finally produces the broken sword.
Siegfried orders him to forge it anew
and dashes out into the woods. Mime,
despairing of hoodwinking the lad to
his own purposes, views with suspicion
the entrance of Wotan, who is disguised
as a wanderer. In a long colloquy,
which re-tells the stories of the previous
operas, they enter into a contesw in
which each is to ask three questions ;
the one failing to answer forfeits his
head. Mime asks (i) What race dwells
in the earth ? (2) What on the surface ?
!3) What in the clouds ? Wotan answers
I) The Nibelungs, vhom Alberich sub-
jugated with the Ring. (2) The Giants,
of whom Fafner guards the Ring. (3)
The Gods, of whom Wotan is the chief,
ruling all with his spear. He strikes the
374
THE MUSICAL GUIDE
spear on the ground and a thunder
rumbles. Wotan, recognised, asks
Mime three questions : (i) What race
does Wotan persecute though he loves
them? Mime answers correctly, " the
Volsungs." (2) What sword must Sieg-
fried use to slay Fafner? Mime an-
swers, " Nothung." (3) Who will forge
that sword anew? Mime can find no
answer. Wotan laughs and says that
only one who knows no fear can forge
it ; to that hero he bequeathes Mime's
head. When he is gone, Siegfried re-
turns to find Mime hysterical with fright.
He tries to teach Siegfried fear, a thing
the boy has never felt ; as a last resort
he will show him the dragon. Siegfried
resolves to forge the sword himself and
with growing ecstasy works away.
Mime watches him and plans his own
ambitions, brewing the while a poison
for Siegfried when he has won the
Ring. The sword at length is made and
Siegfried exultantly splits the anvil in
twain with its resistless edge.
Act II. — Scene. The heart of a for-
est at night. Alberich li«s brooding.
The Wanderer enters. The ancient
enemies quarrel. They speak of Sieg-
fried who is coming to slay Fafner.
Alberich calls to the dragon Fafner,
whose cave is near by, offering to pro-
tect him if he will give him the Rmg.
Fafner yawningly declines. Wotan ad-
vises Alberich to try Mime next, and
vanishes. Alberich hides as in the
dawning light Mime enters with Sieg-
fried. His descriptions of the dragon
fail to terrify Siegfried, who finally
orders him away. The boy, alone, muses
on his father and his mother. The
bird-choir charms him. He cuts a reed,
fashions a pipe and tries to imitate
them on it and on his horn. Fafner
thrusts out his hideous head and gapes.
Siegfried laughs. After some banter he
closes to the attack and kills the fire-
breathing dragon, who with his dying
breath warns the boy against conspir-
acy. The dragon's blood on the boy's
hand bums him. He lifts it to his lips.
Instantly he understands the bird-
voices. A wood-bird tells him of the
Tamhelm and the Ring and he enters
the cave. Mime and Alberich steal in ;
they wrangle, but retire when Siegfried
reissues with the ring and Tamhelm.
The wood-bird tells him to beware of
Mime, whose hypocrisy he can see
through, thanks to the taste of dragon's
blood. Mime enters and while trying
to dissemble, actually tells his basest
motives. Siegfried finally slays him
and, throwing the body in the cave,
calls again to the wood-bird for counsel.
The bird tells him that his future wife
sleeps on a lofty peak flame-girdled.
He bids the bird lead on and joyfully
hastens after.
Act III. — Scene i. The mouth of a
craggy cavern at night. Wotan ap-
pearing summons Erda to a long, but
bootless conference, in which he ex-
presses his resignation to his coming
doom. Erda vanishes and Siegfried
comes along the path. Wotan questions
him and is told all that has happened.
He reproaches the boy for his frank in-
solence and tries to check him, but has
his spear hewn in two for his counsel,
and vanishes. Siegfried, blowing his
horn, plunges into the mist and flames
and the scene is changed to the same as
Act IIL of ** Die Walkare," where
BrOnnhilde still lies sealed in sleep
under her long shield. Siegfried, seeing
her, thinks her a man till he has opened
her helmet and lifted her breastplate.
He is overcome with an emotion which
he thinks may be fear, but at length
kisses her. She wakes and greets the
sunlight, and knows him to be Siegfried.
Her joy changes to fear and grief as
she remembers her lost Valkyr estate,
but his ardour and bravery win her back
to rapture in his arms.
4. Gotterdammeruiig (gdt'-t$r-d*m'-
m^r-oongk). The Gloaming (or Dusk
or Twilight) of the Gods.
Music-drama in three acts and Pro«
logue. Beg^n, 1867. Finished, 1876.
Produced, Bayreuth, August 16, 1876,
STORIES OF THE OPERAS 375
CHARACTERS AND THEIR CREATORS.
SuGFmuD (zckh'-fret) Unger, tenor.
GoNTHU (goou'tir) Gura, bar.
Hamn (ha-gdn),
Von Reichenberg, bass.
Alkuch (4l'-b«r4kh) Hill, bar.
BivtNNmLDK (brln-hTl'-dd),
Frau Friedrich Matema, sopr.
GoTBVNB (goo-troo'-nd), Frl. Wcckerlin.
WALT«AirrB (vilt'-row-t^), Frau Jaida.
Thi Thrbb Norms, or Fatm.
Tri Thrsb Rhinb-daugntir^
Prologue. — Scene, on the Valkyre*
rock, same as the last scenes of ** Die
Walkare " and ** Siegfried." The three
Noms sit idle and gloomy under a fir-
tree. The first Norn fastens a gold-
en rope to the tree, and tells of the
coming of Wotan long before, and how
he had paid one of his eyes to drink at
the spring of wisdom, and broke a spear
from the World-ash tree ; thereafter the
tree and the spring failed. She throws
the rope to the second Norn, who winds
it round a rock and tells how Siegfried
shattered Wotan's spear, and Wotan
had sent his Walhalla heroes to chop
up the World-ash tree. She casts the
rope to the third Norn, who tells that
the Gods and heroes will gather in Wal-
halla round a fire made of the World-
ash boughs, and the fire will waste
Walhalla and leave the Gods in eternal
night. As the rope is passed forward
and back, they talk of Loge's plots
against Wotan and of Alberich ; the
sacred rope grows frayed and finally
parts. They wind the strands about
them and moaning that eternal wisdom
and wise counsel are lost forever to the
world, sink into the earth. Day dawns.
Siegfried comes from the cave, full-
armed, followed by BrQnnhilde leading
her horse Grane, which had been pre-
served in sleep during her own long
sluml>ers. Siegfried ha vine made Brttnn-
hilde his own, and learned from her the
story of the Gods and the meaning of
the holy runes, is now eager for new
deeds. He promises to remember her
faithfully, and gives her the Ring itself
as a pledge. She gives him the horse
to carry him back to the world, and
they part in mutual idolatry.
Act I. — Scene i. The Flail of the Gi-
bichungen (ge'-btkh-oong-^n), on the
banks of the Rhine. Three of the
Gibichs or Gibichungs, a race of heroes,
are seated in earnest counsel : Gunther
(who is wifeless and longs for Brllnnhilde,
whom he believes to be still surround-
ed by the terrifying flames which Sieg-
fried had pierced), his sister Gutrune
(who is husbandless and longs to wed
Siegfried, whose fame has reached
them), and their half-brother, the vi-
cious Hagen (whom their mother Grim-
hilde had borne when seduced by Al-
berich's gold). Hagen is suggesting
that they persuade Siegfried to marry
Gutnme, then ask him to bring Brttnn-
hilde through the flames to wed Gun-
ther. Siegfried's horn is heard and
they see him rowing on the river. They
invite him to land. He does so, and
they lead his horse Grane to a stall.
He tells them that he has left the use-
less gold of Alberich in the dead drag-
on's cave, and brought away only the
Tamhelm and the Ring. Now, Hagen's
father Alberich had charged him to re-
cover the Ring (v. ** Das Rheingold "),
and he learns that Siegfried has given
it to BrOnnhilde. Gutrune brings in a
horn full of a mag^c liquor which effaces
all remembrance. Siegfried, draining
it, forgets Brttnnhilde utterly, and be-
comes so infatuated with Gutrune that
he asks for her hand. Gunther tells of the
fire-guarded Brllnnhilde, and Siegfried
promises to win her for Gunther by
means of the Tarnhelm. The two men
prick their arms with thei^ swords, drop
blood into their wine-horn, and swear
blood-brotherhood, and Hagen cuts the
horn in two to complete the pact.
When asked why he has not joined the
two, he evades the question. Siegfried
and Gunther set forth to find Brllnn-
hilde, while Hagen stays to guard the
house, and bide his time to seize the
376
THE MUSICAL GUIDE
Ring. Scene 2, same as the Prologue.
Brttnnhilde, alone, is visited by her sis-
ter Waltraute (v. *'Die Walkttre").
Asked why she had broken the ban their
father Wotan has put on Brtlnnhilde,
she sa3rs that she has fied from Wal-
halla in terror. The Valkjrrs no longer
seek heroes slain on battlefields ; Wotan
has come home with his spear hewn
asunder ; the sacred ravens have flown
away ; Wotan has made a great pile of
logs from the shattered World-ash tree
and sits with his heroes waiting the
general doom. Waltraute has wrung
from him the word that if the Ring could
be found and flung back into the Rhine
whence it was stolen, and cursed by Al-
bench (v. *' Das Rheingold ") the doom
would be averted. BrQnnhilde, despite
Waltraute*s frenzied pleading, sternly
refuses to throw back into the Rhine-
waves the pledge of love Siegfried has
given her, and Waltraute rushes away
in wild despair. Siegfried*s horn is
heard, and he enters in Gunther*s form
with the Tarnhelm hiding his face.
The terrified Brttnnhilde threatens the
stranger with the Ring. Siegfried says
it shall be their wedding-ring, and takes
it from her after a struggle. He orders
her into the cave, and drawing his sword
Nothung to lay between them as a proof
of faith to Gunther, follows her in.
Act II. — Scene. The river-bank be-
fore the Hall of the Gibichungs. Hagen
is seated, asleep. Alberich, his father,
is talking to him in his dreams, urging
him on to revenge his ancient wrongs
on the ignorant Siegfried. Hagen vows
and Alberich vanishes. Siegfried enters
in the dawn and removes the Tarn*
helm. Hagen wakes, Gutrune enters,
and Siegfried tells how he had won
Brttnnhilde, but kept the sword between
them till he gave her over to Gunther,
who was waiting at the foot of the
mountains. Siegfried had then willed
himself back to the Hall by his Tarn-
helm's power. Hagen summons the
vassals with his horn ; they come ex-
pecting a battle, but are told of the
wedding festivities. Gunther and Brttnn«
hilde arrive in a boat. Brttnnhilde is
dumbfounded at seeing Siegfried, and
swoons in his arms, but he still fails to
recognise her. Then she sees the Ring
on his finger. Gunthe. confesses he
had not given it to Siegfried. Hagen
tells Brttnnhilde that Siegfried had woo
the ring from Gunther by wiles, and
Brttnnhilde in supreme rage accuses
Siegfried of having possessed her body
as well as her soul when he conquered
her. Siegfried swears to Gunther on
Hagen*s spear that Brttnnhilde's accu-
sation is false. Brttnnhilde on the same
spear swears her own statement, and
hallows the point to pierce Siegfried's
heart in revenge. Siegfried tries to re-
assure Gunther, and embraces Gutrune.
Hagen promises the distracted Brttnn-
hilde revenge, and she tells him that he
must stab Siegfried in the back, his only
vulnerable point. Gunther, overcome
with his own position, and believing
that Siegfried has played him false, is
drawn into the plot Hagen plans to
kill Siegfried out of Brttnnhilde's sight
at a hunt. The three then vow the
death of Siegfried, who enters, wreathed
as a bridegroom.
Act III. — Scene I. A valley through
which the Rhine sweeps. In the stream
the Rhine-daughters drift, waiting the
hero who shall restore them the lost
Rhine-gold. Siegfried app>ears ; he has
lost his way, following a bear. The
Rhine-daughters tease him and try to
win the Ring from him, but their prayers
are futile, and threats do not avail to
frighten him, so they swim away. The
hunters now gather with their booty ;
they drink, and Siegfried, under tfie
memory-waking spell of a herb Hagen
has put in his drink, tells them the
whole story of his life, and how he
came to learn the language of birds,
and how he won Brttnnhilde. The sacred
ravens fly past, Siegfried starts up Mxtd
looks after them. Hagen thrusts his
spear into his back. Siegfried turning,
swings his shield high to crush Hagnen,
but with sudden weakness, drops it, and
falls on it. Hagen stalks away. Sicg-
STORIES OF THE OPERAS 377
fried, seeing Brttnnhiide in a vision
wtlcoming him, dies in a rapturous de-
firiom. His body is raised and carried
homeward. Scene 2. The Hall of
the Gibichungs at night. Gutrune is
waiting for Siegfried. Hagen storms
in, announcing Siegfried's return, say*
ing that a wild boar has killed him.
Gutrune faints as the body is brought
in. Gunther declares Hagen's guilt
Hagen admits it, and claims the Ring.
Gonther opposes him, and is killed. As
Hagen moves to take the Ring, the dead
Siegfried's arm rises threateningly and
all fall back in terror. BrQnnhilde en-
ters. She proudly claims the dead hero
as her husband, and Gutrune now real-
ises for the first time the truth. While
a funeral pyre is being raised and
decked, BrOnnhilde muses upon Sieg-
fried, and the tangled net of lies that has
enmeshed his pure soul and brought her
shame. She understands all Fate now,
and taking the Ring from Siegfried's
hand, places it on her own. His body
is put upon the pvre. She calls to the
Rhine-maidens that they will find the
ring burned free of its curse in her own
ashes. She seizes a firebrand, and sets
the pyre ablaze. The ravens fly up
and disappear. She bids all look to the
north when she is dead, to see the burn-
ing of Walhalla. Her horse has been
brought in. Addressing him and bidding
him neifirh gladly to rejoin Siegfried his
lord and her husband, she warns man-
kind to trust only to love and not to gain
or to treachery, and dashes into the
flames. In a g^reat flash the Hall of the
Gibichungs catches fire and is ruined.
The pyre dies out and collapses. The
Rhine overflows and comes rippling
across the Hall. The Rhine-daughters
swim in on the waves. Hagen, who
rushes in to struggle for the Ring, is
dragged down to death by two of them
whue the third holds up exultantly the
Rhine-gold that has returned home at
last from its devastating travels. In
the north a great glow appears. It is
the flash of Uie flames consuming Wal-
halla. With the palace built by deceit
and broken faith, the Are destroys the
race of gods and heroes, and their mer-
ciless, honourless dynasty, leaving Free-
will and Love as the inspiration of man-
kind.
rON fFEBER, CARL MARIA,
Der Freischiitz (d«r fri'-shats), C, II
Franco Arciero (iir-cha'-ro), /. In
French first produced as ** Robin dcs
Bois " ; later with recitatives by Ber-
lioz as "Le Franc Archer" (Itl-fr&A-
kir-sha). The Free Shot.
Three-act Romantic opera. Book by
P'riedrich Kind. Produced, Berlin, June
18, 1821.
CHARACTERS AND THEIR CREATORS.
Geaf Ot'tokar Rubinstein, bar.
KuNo (koo'-no),
His chief forester Waner, bass.
Kas'par,
A forester, . . . Heinrich Blume, bass.
Max (msLx),
A forester (in Italian, Giulio),
Karl StQmer, tenor.
Zamiil (zam-t-«r),
A demon,
A HiRMrr Gem, bass.
Kil'uan,
A peasant Wiedemann, tenor.
Agathe (a'-g^-t^),
Kuno^s daughter^
Frl. Karoline Seidler, sopr.
Aennchen ($n'-kh^n).
Her friend,
Frl. Johanna Eunike, sopr.
Act I. — Scene. Before an inn. The
peasants are congratulating Killian, the
winner of a shooting-match ; he taunts
Max, who has lost. Kuno and Kaspar
enter and learn of Max's humiliation.
Kuno tells how his own grandfather
was made head-ranger to the prince by
a lucky shot that saved the life of a
man bound to a stag ; he will g^ve his
own daughter to the best marksman,
and make him his successor. He hopes
Max may win. Killian speaks of a
certain enchantment with seven magic
378
THE MUSICAL GUIDE
bullets of which he has heard. A trio
concerning the morrow*s match is fol-
lowed by a hunting chorus, and the men
and women dance away. Max alone,
bewails his recent bad luck and his fear
of losing Agathe (" Durch die Waldes,
etc."), while Zamiel, the demon, hovers
about unseen. Kaspar appears and
persuades Max to drink, singing a
boisterous vine-song (** Hier im ird*-
schen Jammerthal ). He persuades
the sceptical Max to shoot at an eagle
almost invisible aloft ; the eagle falls
just as the clock strikes seven ; Kaspar
says that more of the magic bullets may
be had, and after winning from Max a
promise to meet him in the Wolf's Glen
at midnight, he sings a song of diabolic
triumph.
Act II. — Scene i. A room in Kuno*s
house. Agathe preparing for her wed-
ding is gloomy with foreboding ; a pict-
ure had fallen from the wall and cut
her forehead just as the clock struck
seven. Aennchen teases her and sings
a little ballad of a young lover
(*' Kommt ein schlanker Bursch gegan-
gen '*). But Agathe speaks of a hermit
who frightened her with his prophecies.
Aennchen goes, and Agathe leaning
out into the moonlight has a blissful
reverie (*' Leise, leise, fromme Weise ").
She sees her lover coming ; he enters,
and Aennchen returns. Max learns
with dread that Agathe's forehead was
cut by the picture just the moment he
killed the eagle with the mag^c bullet.
He tells her he must go to bring a slain
stag from the Wolf's Glen, and in spite
of her horror of the place he goes.
Scene 2. The wild ravine of the Wolf's
Glen. A chorus of invisible demons.
Kaspar appears and summons Zamiel.
The demon appears to him ; he appeals
to be released from his unholy compact
— he is to die the next day ; he offers as
a bribe to Zamiel to bring a new victim
who wishes the magic **free bullets."
Zamiel accepts, saying that six of the
bullets shall hit, but the seventh shall
betray. Kaspar asks that the seventh
may kill Agathe so that both her lover
and her father shall go mad and fall in
Zamiel's power. Zamtel consents, say-
ing, ** Thou or he to-morrow must be
mine." He vanishes. Max enters in
much terror. They set about casting
the bullets from unhallowed materials ;
as they count them an echo repeats their
words. After the fifth, the demons cry
out ; after' the sixth the echo cries *' Be-
ware," but Max summons Zamiel, who
appears as the seventh is cast.
Act III. — Scene i. Agathe's room.
The bride is still sad and praying. Aenn-
chen enters and Agathe tells of the
fierce storm that raged at midnight ; she
dreamed she was a dove ; a huntsman
appeared ; the dove vanished and an
eagle fell dead. Aennchen tries to re-
assure her by telling comically a fright-
ful dream her grandmother had, all
caused by the family dog getting into
her room. The bridesmaids appear and
sing (** Wir winden dir den Jungfcm
Kranz"). When, however, the bridal
garland is produced, it proves to be a fu-
neral wreath ; but she remembers in her
gloom the roses left for her by the her-
mit and plucks up courage. Scene 2. The
Forest. The Graf and others assembled.
A Hunters' Chorus (** Was gleicht wohl
auf Erden dem jSgervergnttgen "). Kas-
par watching from behind a tree. The
match has taken place and the Graf ac-
cepts the victorious Max as Kudo's
successor ; he asks Max as a last test
(this is his seventh shot) to bring down
a white dove flitting about in the
branches. Agathe's sudden absence is
noted. Max calls on his last bullet to
find its mark, and Kaspar invokes Za-
miel. Agathe, standing near the tree
where Kaspar hides, cries, ** I am the
dove ! " She is stunned but is saved by
the hermit's wreath ; Kaspar is killed
and dies cursing as Zamiel appears to
him. Max confesses his league with
Zamiel and the Graf banishes him in
spite of the entreaties of all. The her-
mit appears, however, and pleads for
him as it was his first sin ; he su];gests
the abolition of the trial-shot, a year's
penance for Max, and then his wedding
to Agathe. The opera ends in rejoicing
and religious fervour.
Musit Eo\)er0' C^clonebia
idarttl
^ronounnng Bictionar?
of
Given Names, Titles, Epithets,
etc.
tbbate (ab'-ba-t«), /. abW (ibbd), F,
Abbot (often honorary).
l*aiii€ 0«n-a). F, The elder, cadet
(ka-da), F, The younger. Usually of
brothers.
camerlingo (ka-m^r-len'-g6)» /► Cham-
berlain.
caiitab(ri|^en8i8). Of Cambridge Uni-
versity.
cayaliere (ka-vil-ya -r«), /. Knight,
sir.
chevalier (sha-vil-ya)» F, Knight.
de, F, Company ; et cie (a se). & Co.
comtc (kont), F,
conte (kon -te), /. Count.
dctto or -a (d€t'-t6). * * Called. "
due (dak), F, duca (doo'-kfi), /.
Duke.
Edler von (at'-Ier f5n). Nobleman of.
fils (fes). F. Son.
Fran (frow), G. Mrs. Friliilein (fn'-
tin). Miss.
Freiherr (frf-hitr), G. Baron.
Geheimrath (gd-hlm'-rfit). G. Privy
counsellor.
Gesellschaft (g^z^l'-shift), G, Asso-
dation, society.
GrafCgrSOt^. Count. Grilfin (gra-
fln). Countess.
Herr (hir), (7. Mr.
Hanptkirche (howpt-ker'-khd), G.
Chief church.
Hofkapellmeister (ml-sht^r). Court-
conductor. Hofmnsik'intendant
(moo-zek'), G. Supt. of court-music.
le jenne (Itt zhttn), F. The younger.
Jostizrath (yoos'-tets-rSt), (7. Coun-
sellor of justice ; often honoraiy.
Kammersinger (ztogk-^r), G. Cham-
ber-singer (to the court).
maestro (ma-as'-tro), /. Master.
il maggiore (el mad-j6'-rC), /. The
greater.
ill
maistre (old French), or maitre
(mfitr), F, Master.
marchesa (m&r-ka'-zfi), /. Marchion-
ess.
il minore (el-me-n6'-ri), /. The lesser.
mus. bach(elor) and mus. doc(tor).
Vide the D. D.
oxon(ensi8). Of Oxford University.
pkre (pftr), F, Father.
Reichslreiherr (rTkhs'-frf-hir), G.
Baron of the empire.
Ritter (rtt'-t^), G, Knight, chevalier.
sieur (sVflr), F. Sir, Mr.
and Sonn (oont zon), G, & Son. and
Sdhne (oont z&-n£), G, & Sons.
▼an (van), Dutch, von (fdn), G, de
(dii), F, di (de), /. and Sp. From,
of.
▼icomtesse (ve-k6n-t^). Viscountess.
le vieux (lii v'yfl), F, The elder.
y (e), Sp. " And," used in joining two
proper names somewhat as we use a
hyphen ; the Spaniard keeping his
mother's, as well as his father s, name.
za (tsoo), G, To.
(Others will be found in the D. D.)
Note. — In the Biographical Diction-
ary* given names are regularly abbrevi-
ated as in the following list, the same
abbreviation serving for one name in its
different forms in different languages.
Abramo (a'-br&-m5), /.
Adam (a -dam), G.
Adalbert (a'-dsU-b^rt), G.
Adelaide (a-da-la-e'-d«), /. and G,
(Ad.) Adolf (a -d610, G,
(Ad.) Adolph, G.
(Ad.) Adolphe (ftd-olO, F,
(Adr.) Adriano (H-drY-ft'-no). /
Adrien (ad'-rt-an), F.
Agathon (a'-ga-tdn), G.
IV
THE MUSICAL GUIDE
(Ap.) Arottino (I^ds-te'-nd), /.
Aimable («m4lb'n). F.
(Alb.) Albrccht (ftl'-br«kht), G.
(Ales.) Alessandro (a.l«s-s&n -drd), /.
(Alex.) Alexan'der.
(Alex.) Alexandre (ftl^x-fthdr), /*.
Alexis (41-dx-es), F,
Aloys (a'-lois).
Aloysia (2-loi'-zl-ft), (7.
Amadeo (2in.&-d&'-d), /. -dent (di'-
oos), G.
Amalie (a'-mal-e), G.
Ambroise (an-bwaz), F,
Ain€d6e (ilm'-ada). F.
Amalie (4m'-a-le), /*.
Anatole (&n-&-tdl), F,
Andr6 (an-dra), F,
(And.) Andrea (&n'^ra-2), /.
(Ands) Andreas (lln'^ra-iis), G,
Ange (afizh), F,
Angelica (ftn.ji'-le-kfi), /.
(Ang.) Anjrelo (iUi'-ja-lo), /.
(A. or AntO Antoine (an'-twftn), /*.
(Ant.) Anton (^'-ton), G,
'A. or Ant.) Ajito'nio, /.
;Ap.) Apollon (ilp-6M6n), F.
Aristide (ftr-!s-ted). F,
Armin (ar -men). G.
Amaud (ir>n5), F,
Arris^o (ar'-re-go), /.
Ars^ne (ir-s^n), F,
Arthur (ir-tur), F,
AtUlio (at-te'-U-o), /.
(Aug.) August (ow'-goost), G,
Auguste (o-gUst), F,
Augustin (ow'-goos-ten, G.) (5-gtis-
tih, F.).
(Aug.) Augusto (a-oo-goost'-6), /.
Baldassare (b^-das-sa'-r^, /.
(Bal.) Balthasar (b&I-t&.z&r'), F,
(Bap.) Baptiste (bil-test), F.
(Bart.) Bartolommeo (bar-t5-16m-
ma'-o), /.
(Bat.) Battista (bat-te'-st^), /.
Benedikt (ba -nd-dekt), (7.
Beniamino (ban-y£-me'-n5), /.
(Dv.) Benyenuto (ban-v^-noo'-to), /.
(Bdo.) Bernardo (b£r-nar'-do), /.
(Bd.) Bemhard (b&rn'-h&rt), G.
Bertrand (b&r-tran), F,
Bianca (be-fin'-kft), /.
\
Blasins (bU'-zI-oos), G,
BonaTentnre (bdn^v-aA-tar"), F,
Boni£ado (b6-ne.f2'^hd), /.
Bonalazio (b6n-e-f2'-tsI-6), /.
Brigida (bre'.je-da), /.
Camille (k&m^'.yfi), F,
Carlo (kar'-16). /.
Casimir (k&s-T-mer), F,
Catherino (k&t-t£r-r€'-n5), /.
Caytan (ka e-tSn), Sp,
C6sar (sa-zftr), F,
Cesare (cha-zft'-r£), /.
(Chas.) Charles (sh&rl). F.
Chrisostomns (kri-sds'-t6-moos), G
(Chr.) Christian (krest'-I.&n), G.
(Chp.) Christoph (kres'-tdph), G.
Cinthie (sftji-te), F,
Claude (kldd), F.
Clement (kli-mlA). F,
Clotilde (kl6.tel .d«), G,
Colin (k6.l&ii), F.
Constanse (kdn-stfln'-ts^, (7.
Cornelius (k6r-na -It-oos). (7.
Costanso (kd-stiin'-tsd), /.
Damaso (d&-m2'-sd), Sp,
(D.) David (dfi-ved), F.
(p.) DaTid (dA'.fet). G.
Delphin (d«l-f&A). F,
Dietrich (det'-rtkh). G,
Dieudonn6 (d*yii-dtin-n2), F.
Diogenio (de-o-ja-ne'-d), /.
Dioma (de-o -mi), /.
g)ion.) Dionisio (de-d-n^'-sY-d), ^.
ionys (dc'-o-nes), G,
(Dom.) Domenico (do-ma' -nT-kd), /.
(Dom.) Dominique (d6m-Y-nek), F,
Dulr^sne (do-frdn), F,
(Edm.) Edmond («d.m6n), F,
(Edm.) Edmund (&t'-moont), G,
(Edw.) Edward (ad-v4r), F,
Egidio (a-je'-dl-o), /.
Eleonore (a-U-d-no -r^), G,
El^onore (a-la-5-n6r), F, Also a mas'
culine name.
Ellas (a-le'-fis). G.
Eligio (a-le'.jd). /.
Eliodoro (4-lI-6-d6'-r6), /.
Eliseo (a-le'-zi^). /.
PRONOUNCING DICTIONARY v
EUxa {Si-It -zSl), L
(Em.) Emaniiel (&-mftn.w£l), F.
tmil (i-mel), G,
mUie (a'-ml-lc), F,
(Em.) Emilio (a-mel'-yo), /.
(Emm.) Emmannele (£m.min-oo-&'-
UO./.
(Ei^.) Engelbert (^ng'^UMrt), G.
Ennco (^-re'-kd)« /.
Erasmo ^a-ri^s'-mo), /.
Ercole (ar'-kd-ia). /.
(Erh.) Erhard (&r -hart), G.
Ernst (irnsc), G,
Errico (ir'-rt-kd). /.
(Et.) fitieime (&t'-y«n). F,
(Eag.) Eiigen (oi'-gan). C.
(Eng.) Eogtee (a-zh^n'). F,
(Eng.) Eugenio (a-oo-ja -ne-d), I.
EnsUche (Os-Ush), /^
ETErisU (i-WUre'-sti), /.
Fabio (fab'-y6), /.
(F.) FcHcc (fa.le'-ch«).
F^Uden (f&.l«s.y&6), /*.
(F.) F«ix (fa'-lex), F,
(F.) FeUx (f4-lex). C7.
(Fd.) Ferdinand (fftr'.dY.n&nt, (7.)
(fir-dt-nlLn, /*.).
(Fdo.) Ferdinando (fdr-de-nfin'^d), /.
Ferencz (f*r'-ens), Hung.
F^^l (fa-ra.6l). /*.
Fernandez (fdr-nan'^^th), ^.
Fernando (f«r-nfin^d5), /.
Fermccio (fer-root'-ch6), /.
Firmin (fer-man), F,
Florence (fldr4ins),. F, Commonly a
masculine name.
(Fran.) ,
Francesco (frfin-thas'-ko), Sp,
Francisco (frSn-thes'-ko), Sp,
(Fran.) Francois (friLn-swft), F,
Frantisek (frSn'.tI-sh«k), Bohemian,
(F«.) Franz (friints). G.
(Fr.) Fr6d6ric (fri-di-rck). F,
Fridolin (fre ^6-len), G,
(Fr.) Friedrich (fret'-rtkh), (7.
Gabriele (g&.brt.r.l«), G,
(Gaet.) Gaetano (gi-i-tft'-nd), /.
(Gasp.) Gaspare (gis-pA'-rd), /.
GeUio (j«l'-lT-«), /.
Geminiano (j^m-en-Y-i'-nd), /•
Gennaro (gdn-nS'-ro), /.
(G.) Georg (ga-orkh^ G,
(G.) George, E.
(G.) Georges (zhorzh). F,
(Ger.) Gerolamo (j$-rd'-l&-m5), /.
(Geron.) Geronimo (j£-rd'-nY-md), /.
Gerrais (zh5r-v6'), F,
Gesn (ha'-zoo), Sp»
Ghislein (ges-lilfi), F.
Giacinto (j£-chen'.t5). /.
Giordano (j6r-dsUnd), /.
Giosefib (jo-s^f'-fo). /.
(GioT.) Giovanne (j6-vto'.n<), /•
Ginditta (joo^Yt'-ti), /.
Giulia (jool'.ya), /.
Ginlio (jool'-yo), /.
(Gius.) Giuseppe (joo-s£p -p<), /.
Gjula (gu'-U), Hunf[,
Gotifredo (gd-te-fri'-dd), /.
(Gf.) Gottined (g6t'-frct), G.
Gotthard (g6t'-hjirt), G,
(Gh.) Gotthilf (g6t'.htlf). G.
(Gl.) Gottlieb (got'-lep). G.
Gottlob (got'.l5p). G,
Greeorio (gnl-g6'-rY-6), /.
Gnido (goo-e'-do), /.
(Guil.) Guillaume (ge-y5m), F.
(Gt.) GnstaT (goos'-tfif), G.
(GTe.) GustaTe (gtts-tftv), F,
Hamish (h&'-mesh), Gaelic,
Hans (h&ns), G.
(H.) Heinrich (hln'-rYkh).
(H.) Henri (an-r€), F,
(H.) Henry.
gin.) Hermann (h&r'-m&n), G,
ieronymns (he-€r-6n'-e-moos), (7.
(Hip.) Hippolyte (ep-S-let), F,
Hugo (hoc -go, G.) (a-gd. /".)•
(Ig^.) Ig^nace (cn-yfts). F,
(Ign.) Ignazio (en-yat'-sY-6), /
(l!)Ijgraz -
Hitch (e'-lltsh). Rus,
(ekh'-rats)» G.
Ilja (el'-ja). Rus,
Ingeborg (Yng .«-b6rkh). (7.
(Ipp.) Ippolito (ep-p6-l€'-td), /.
VI
THE MUSICAL GUIDE
Isidore (c-ze-d6r), F.
Italo (et'.&.15), /.
Tacob (yak'-6p), G.
jacopo (yak'-6-p6), /.
nac.) Jacques (zh&k), F.
an (ySn), Dutch,
an (yan), Polish,
^ avier (hav-y4r), Sp,
n.) Jean (zhan). F,
Jeftc (y«f'-td), /.
Jerome (zha-rom), F,
(Joa.) Joachim (v5'-ft-khem), G,
foaquin (wa'-ken); Sp.
ijn.) Johann (yo -han), G.
(^ ns.) Johannes (yd-han'-n£s), G.
^.) John.
>se (ho-za), Sp,
Jos.) Josef, or Joseph (^S'-zfif, G.)
(zho-zdf, F.).
osquin (zhos-k&n), F,
' nan (hoo-Sn'), Sp,
' ules (zhul). F.
' ulie (zhn-le). F.
' alien (zhUl-yaA), F,
\ uliette (zhul-yfit), F.
\ ulius (yoo'-l!-oos), G,
' uste (zhUst), F,
Justin (zhUs-tan), F,
Karl (k&rl), 6^.
Karoiine (ka-r6-le'-n€), G,
Kasper (kas'-p5r), G,
(Kd.) Konrad (kon -rat), G.
(Konst.) Konstantin (kon-stan-ten)^
G.
Ladislaw (iad'-!s-iaO. Z'^^-
Laure (I6r), F.
Laurent (16-rah), F,
Leberecht (la'-W-r^kht), G.
L6on (la -on), F.
Leonard (la-o-n&r), F,
L6once (la-6hs), F,
Leone (la-o'-nfi), /.
(Ld.) Leopold (la.fi.p61d), F,
(Ld.) Leopold (la -6-polt), G,
Lopez (lo'-p^th), Sp,
(Lor.) Lorenz (lo'-r^nts), (7.
(L.) Louis (loo-e), F.
Louise (loo-cz), F.
Luca Ooo'-ka), /.
Lucien (lOs-ykn), F,
Lucrezia (loo-kra'-tse-a), /•
(Lud.) Ludovico (loo.d6-ve'-k6), /.
(L.) Ludwigr (loot'.vrkh). G.
(L.) Luigi (loo-e'-je), /.
Luigia (loo-e'.ja), /.
Luise (loo-e'-z5), G.
Manfredo (man.fra-dd), /.
Manuel (man'.oo.^l), G.
Marcello (mar.ch«l'-16), /.
Marco (mar'-ko), /.
Mar^erite (mftr-gfi-ret'), F,
(M.) Maria (ma-re'.a), G., /. and Sp.
Commonly a masculine name.
Marie (mft.re), F, Commonly a mas'
culine name.
Mathias (ma-te'-fts), F, and G,
Mathieu (mat-yfi), F.
(Mat.) Matteo (mat-ta'-5), /,
Matth&us (mat-ta'-oos), G.
Mattia (mat.te'.a), /.
Maturin (mat-fi-ran), F.
Maurice (m5-rcs), F,
Max (max), G,
Maximilian (max.Y-mel'.Y-an), G.
Melchior (mai-shl.6r), F,
Melchiore (mgl-kt-^'-r^), /.
Michael (me'-ka.«l), /.
Michel (me-shdl), F,
Michele (me-ka -lef), /.
Miroslaw (me'-ro-slaf), HusHan,
Modeste (mo-ddst), F.
Moritz (mo'-rets), G.
Muzio (moo'-tst-6), /.
NapoUon (na-p6'-la-6n), F.
Natale (na-ta'-ie), /.
Nepomuk (na'-p5-mook), G,
Niccola (nek'-ko-la), /.
(N.) Nicholas, E.
(N.) Nicolas (ne-kd-ias), F,
(N.) Nicol6 (ne-k5-lo ), /.
Nikolai (ne'-ko-la'). (7.
(N.) Nikolaus (ne.kd.lows), G.
Octave (6k-tav), F,
Orazio (6-ra'-tst'.6), /.
Otto (6t'-to). G,
Ottokar (6t'-t6-kar), PoL
PRONOUNCING DICTIONARY vii
Pantaloon (pin-tS-la-dn), F.
Paolo (pa'-o-15), /.
Pascal (p&s.k&l). F,
Pasqnale (pas-kwa'-lQ, /.
Panl (pol), F,
Pedro ^'-dhro), Sp,
Pcregnno (pa-ra-gre'-no), /.
(P.) Peter.
(P.) Peter (pa'-t^r). (7.
Philibert (fe-lt-Mr). F.
(Ph.) Philipp (fe'-ltp). G.
(Ph.) PhiUppe (fe-lep), F.
Pierlniei (pe-ir-loo-e'-je), /.
(P.) Pierre (pt-ir'). F,
(P.) Pietro (pl-a'-tro), /.
PoUbio (po-le'-be^), /.
Pompeo (p6m-pa'-6), /•
Primo (pre'-mo), /.
Prosper (pros'-par), F.
Prudent (prti-dan), F.
Rafael (rS'-f5-«I). /. and Sp.
Regiiault (r^n-yo), F.
Reichardt (rikh'-5rt), G.
Reinhold (nn'-holt), G.
R6n6 (ra-na), F.
(R.) Rob'ert, E. (in F. ro'-Mr, in G.
ro-bart).
Roberte (ro-bart), F.
(R.) Rober'to, /.
Romano, /.
Romnaldo (rom-oo4U'-do), /.
Rose (roz), F,
(Rnd.) Rudolf (roo'-dolO, G.
Rnggiero (rood-ja'-ro), /.
Rnprecht (roo'-pr^khtX G,
Sabine (za-be'-nS), G,
(S.) Salvatore (sSl-va-t6'-r«), /.
(Sml.) Samuel (zam'-oo-«i), G,
Sdpione (she-pY-o'-nd), /.
Sebald (za'-bait). G,
(S6b.) S6bastiaii (sa-bast-yin), F,
(Seb.) Sebastiano (sa-bas-tlT-a -no), /
and Sp,
Siegfried (zekh'-fret). G.
Siegmund (zekh'-moont), G»
Simon (ze'-m5n), G*
(Sim.) Simone (se'-mo-nfi), /.
Spiro (spe'-ro).
Steflfano (stdf-fa'-n6). /.
SyJvain (sel-van). F,
'AbdSulo (ta-6-doo'-lo), /.
I^sa (ta-ra'-sa), /.
Theobald (ta'-o-bait), G,
Theodor (ta'-6-d6r), G.
(The.) Th6odore (ta-fi-d6r), F.
(T.) Thomas.
Thueskon (too-fe'-kon), G.
(Tim^ Timoth6e (te-ni6-ta'), F.
(T.) Tommasso (tftm-mSs'-so). /.
Traugott (trow'-g6t), G.
Turlogh (toor'-lokh), G,
(Val.) Valentin (vai-an-tan), F.
Venanzio (va-nan'-tsY-o), /.
(V.) Vincent (van-san), F.
(V.) Vincent (fen'-ts^nt), G,
(V.) Vincenzo (ven-chan'-tso), /,
Vincesleo (ven-ch5s-la'-6), /.
Violante (ve-6-ian'-td), /.
Wendela (v«n'.d«-la), G,
Wenzel (v«n'-tsei), G.
Werner (var'-n5r), G,
(Wm.) Wilhelm (vel'-hdlm), G,
Wilhelmine (vel-hei-me -n€), G.
Wilibald (ve'-lY-bait), G,
Willem (wYl'-l«m), Dutch,
(Wm.) William, E.
Woldemar (vol'-d^-mar), G.
(Wg.) Wolfgang (volf-gang), G.
Wulf (voolO, G.
(X.) Xavier (ksav-ya), F,
(X.) Xavier (za-fer), G,
Biograpfiical Bictionar^
of
Musicians
N.B. The German modified vowels
i, 0, tk, are often spelled ae, oe, ue.
For convenience they will here be ar-
ranged alphatjetically as if a, o, u.
For the system on which given names
are abbreviated, and for their pronun-
ciation, see the pages devoted to them.
The word ** Gerbert," or ** Cousse-
maker** in a parenthesis means that
some of the composer's works are in
the great collections of Gerbert or Cous-
semaker (q. v.)« Where not otherwise
stated the man is a composer.
Aaron (a -r6n), (i) d. Cologne. 1052 ;
abbot and theorist. (2) (or Aron),
Pietro, Florence, 1480 or *90— bet.
1545-62; theorist.
Abaco (d^ r.bi-k5), E. Fel. dell\
Verona, 1662 — Munich, 1726, court-
conductor and composer.
Abbi-Cornaglia (ab-ba' kor-nill'-y^),
Alessandria, Piedmont. 1851 — 1894 ;
composed operas and church-music.
Abbadia (&b-ba^e-sl), (i) Natale,
Genoa, 1792 — Milan, ca. 1875: dram,
and ch. composer. (2) Luig^a, daugh-
ter of above, b. Genoa, 1821 ; mezzo-
soprano.
Abbatiiii(ib-ba-te'-ne). A. M., Castel-
lo, 1595 ? — 1677 : composer.
Abb< (&b-ba), (i) Philippe P. de St.
Serin, lived i8th cent.; *cellist. (2)
Pierre de St. Sevin, bro. of above ;
*ccllist.
Abbey, J., Northamptonshire, 1785 —
Versailles, 1859 ; organ-builder.
Ab'bott, (i) Emma, Chicago, 1850 —
New York, 1888 ; operatic soprano ;
toured America with great popular
success. (2) Bessie (Pickens), b.
America ; soprano ; pupil of Mrs.
Ashford, N. Y., and of Koenig,
Paris ; d^but 1902 at the Op^ra there,
after singing in ballad concerts in
England.
Abd el Kadir (Abdolkadir) (k^-dSr),
Ben Isa, lived 14th cent. ; Arabian
theorist and collector.
Abd El Mumin (or Abdolmumin).
Vide SSAFFIDDIN.
Abeille (a-bl'-l^), Jn. Chr. L., Bay.
reuth, 1 76 1 — Stuttgart, 1838, com-
poser and court-conductor.
Abel (a'-b^l), (i) Clamor H., b.
Westphalia 17th cent.; court-mus.
(2) Uhr. Fd., gambist at KOthen,
1720-37. (3) Ld. Aug., b. Kmhen,
1720, son of above ; court-violinist.
(4) K. Fr., Kdthen, 1725 — London,
1787 ; bro. of above and the last vir-
tuoso on the gamba. (5) L., Eckarts-
bergra,Thuringia, Jan. 14, 1835 — Ncu-
Pasing, Aug. 13, 1895 ; violinist.
Abela (a-b&.li), (i) Don Pladdo
(don plfi-the'-d5)f Syracuse, 18 14—
Monte C^ssino, 1876 ; prior. (2) K.
Gl., Borne, Saxony, 1803 — Halle,
1 84 1 ; cantor and composer.
Abel' la, — singing-teacher; lived in New
York, 1867.
Abeir, J., London, ca. 1660— Cam-
bridge (?) ca. 1724 ; alto (musico)
and lutenist ; collector and composer.
Abenheim (a -b^n-hlm), Jos., Worms,
1804 — Stuttgart, 189 1 ; conductor and
violinist.
Abert (a -b«rt), Jn. Jos., b. Kocho-
witz. Bohemia, Sept. 21, 1832 ;
double-bass virtuoso and important
composer for the instr. ; also com-
posed operas, etc.
Abes' ser, Edm., Matgolitz, Saxony,
1837 — Vienna, 1889 ; dram, com-
poser.
Ados (a'-bos) (or Avos, Avos'sa),
Gir., Malta, ca. 1700 — Naples,
1786 (?) ; composer of operas, etc.
379
A'braham, (i) John. Vide braham.
(2) (Dr.) Max. Vide peters, c. f.
A'brams, three English sisters, 1775-
84. (i) Harrieti soprano and com-
poser. (2) Theodosia, contralto.
(3) Eliza.
Abrdnyi (a-brSn'-ye), Komel, b. Szent
Gyorgz Abranyi, 1822 ; Hungarian
nobleman ; editor and composer.
Abt (apt), (i) Franz, Eilenburg. Dec.
22, 1819 — Wiesbaden, March 31,
1885 ; court-conductor at Bemburg,
Zurich and Brunswick ; visited Amer-
ica, 1872 ; immensely popular as a
writer in the folk-song spirit, of such
simple and pure songs as * ' fV/t^n the
Swallows Homeward Fly^'' etc. ; c.
500 works comprising over 3,000 num-
bers (the largest are 7 secular can-
tatas) and numerous choruses and
other cantatas. (2) Alfred, Bruns-
wick, 1855 — (of consumption) Ge-
neva, April 29, 1888 ; son of above ;
conductor*
Ab'yngdon, Henry, d. Wells, Eng^
land, 1497 ; composer.
Achard (i-sh&r), L6on, b. Lyons, Feb.
16. 1831 ; tenor.
Achenbach. Vide alvary.
Ack'ermann, A. J., b. Rotterdam,
April 2, 1836 ; composer.
Ac'ton, J. B., b. Manchester (?), 1863 ;
singing-teacher and composer.
Adam (&d-an), (i) Louis, Mutter-
sholtz, Alsatia, 1758 — Paris, 1848 ;
teacher and composer. (2) Adolphe
Charles, Paris, July 24, 1802 — May
3, 1856 ; son of above ; c. many suc-
cessful operas ; Pierre et Catherine
(1829), Le Chdlet (1834). Postilion
de Longjumeau (1836), Le Fidele
Berger^ Le Brasseur de Preston
(1838), Le Roi d Yvetot (1842), La
Poupie de Nuremberg^ Cagliostro^
and Richard en Palestine (1844), the
ballets Giselle y Le Corsaire, Faust ^
etc. ; in 1847 he founded the Thi^
tre National, but was made bank-
rupt by the revolution of 1848, and
entered the Conservatoire as prof,
of composition to succeed his
father.
Adam (at'-am), K. F., Zadel, 1806—
Leisnie, 1868 ; cantor and composer.
Adam de la Hale (or Halle) (&d-ah
da la al), Arras, ca. 1240 — Naples,
1287 ; called **Lc bossu d*Arras"
(Hunchback of Arras) ; a picturesque
trouv^re of great historical impor-
tance; c. chansons, jeux (operettas) and
motets ; his works were pub. 1872.
Adam Von Fulda (at'-am fdn fool'-
da), ca. 1450 — ca. 1537. (Gerbert.)
Adamberger (at'-am-b€rkh-5r), Valen-
tin (not Joseph), Munich, 1743— Vi-
enna, 1804 ; dram, tenor ; assumed
name "Adamonti"; Mozart wrote
the r61e of Belmonte, etc., for him.
Adami da Bolsena (or da Volterra)
(a'-da-me da b5l-sa'-na). And., Bo-
logna, 1664 — Rome, 1742 ; theorist.
Adamon'ti. Vide adamberger.
Adamowski (ad-S-mof'-shkY), (i)
Timoth6e, b. Warsaw, March 24,
1858 ; violinist and composer ; pupil
of Kontchi, Warsaw Cons, and Mas-
sart, Paris Cons. ; 1879 travelled to
America as soloist with Clara Louise
Kellogg, and later with a company
of his own 1885-86; teacher, New
Engl. Cons., Boston; organised the
Adamowski String-quartet (1888). (2)
Joseph, bro. of above. ; *cellist ;
member of the same quartet ; married
Szumowska.
Ad'ams, (i) Th.. London, 1785— 1858;
organist. (2) Charles R., Charleston,
Mass., ca. 1834 — July 3, 1900 ; tenor.
(3) Stephen. Vide maybrick, m.
Ad cock, J as., Eton, England, 1778—
Cambridge, i860; choir-master and
composer.
Ad'dison, J., London, 1765— 1841;
double-bass player, dram, composer.
Adelboldus (^-d^l-bol-doos), d. 1027 ;
Bishop of Utrecht ; theorist. (Ger-
bert.)
Adelburg (fon a -d^l-boorkh), Aug.,
Ritter von, Constantinople, 1830—
(insane) Vienna, 1873 ; violinist.
Adler (at'-l^r), (i) C, b. Ofen. 1806 :
violinist, pianist, teacher and com-
poser. (2) Guido, b. EibenschQU,
Moravia, Nov. i, 1855 1 P"P^ ^
DICTIONARY OF MUSICIANS 381
Academic Gym. in Vieima, and Vien-
na Cons.; C78) Dr. jur., and C80)
Ph. D.; 1885 prof, of mas. science
Prague Univ.; C95) prof, of mus.
history, Univ. of Vienna (vice Hans-
lick). (3) v., Raab, Hungary, April
3, i826--<5cneva, Jan. 4, 187 1; son
of above ; teacher and composer.
Adlgasser (at'-'l-gas-s£r), Aiitoii Ca-
jotan, Innzell, Bavaria, 1728 — 1777 ;
organist.
Adlung^ (at'-loongk), or A'delnng, Ja-
kob, Bindersleben, near Erfurt,
1699 — 1762 ; organist, teacher and
writer.
Adoliati (a-dol-fa -te). And., Venice,
171 1 — Genoa (?) 1760; composer.
Adras'tos, lived Philippopolis ca. 330
B.C.; pupil of Aristotle, and theorist.
Adriano di Bologna. Vide ban-
CHIERI.
Ad'riansen (or Hadrianus), Eman-
nel ; lived Antwerp i6th cent. ;
lutenist and collector.
Adrien (&d-rl.^) or Andrien. (i)
Martin Joseph (called la Neu-
▼illc, or rAm6), Li^e, 1767 —
Paris, 1832 ; bass and composer ; he
had two brothers. (2) Name un-*
known, b. Liige. 1765. (3) Ferdi-
nand, chorus-master Paris Opera
(1799-1801). composer.
i^|;id ins Zamoren'sis, Joannes,
Franciscan monk, Zamora, Spain,
1270; theorist.
Agid'ins de Mnri'no, 15th cent.;
theorist. (Coussemaker.)
Ulsters (^l-st^rs), Georges Jacques,
Ghent, 1770— 1849.
JErts (Srts), (i) Egide, Boom, Ant-
werp, 1822 — Brussels, 1853. (2)
F61ix, St. Trond, Belgium. 1827—
Niyelles. 1888 ('89?); violinist and
writer.
Affilard (laf.fe-iar), Michel 1', 1683—
1708 ; singer to Louis XIV.
Afranio (S-frS'-nt-d), b. Pavia, end of
15th cent ; canon at Ferrara ; inv.
the bassoon.
Afzelitts (af-tsa'-lY-oos), Anrid A.,
Enkdping, Sweden, 1785 — 1871 ; col-
lector.
Agasza'ri (a-gfid-z£'-re), Ag., Siena,
1578 — 1640 ; church-conductor.
Agela'os of Tegea, lived 559 B.C.;
considered the first solo virtuoso on
the cithera.
Agnelli (an-y«l'-lc), Salv., b. Paler-
mo, 181 7; pupil of Naples Cons.;
lived Marseilles and c. operas, can-
tata ApotiUose de NapoUon /.,
etc.
Agnesi (dan-ya'-se), (i) M. Theresia
d', Milan, 1724 — 1780 (?) ; pianist and
dram, composer. (2) Luigi (right-
ly F. L. A^gniez), Erpent, Namur,
1833 — London, 1875 ; bass.
Agniez (an-y£z). Vide agnesi (2).
Agobar'dus, d. Saintonge, 840; arch-
bishop of Lyons ; theorist.
Agostini (ag-6s-te'-ne), (i) Lud.
Ferrara, 1534 — 1590; court-conduc-
tor. (2) Paolo, Vallerano, 1593 —
Rome, 1629 ; wonderful contrapun-
tist, some of his works being in 48
parts. (3) P. Simone, b. Rome,
ca. 1650. c. an opera, etc.
Agramonte (ag-ra-mon'-ta), Emilio,
b. Puerto Principe, Cuba, Nov. 28,
1844 ; eminent vocal teacher, lect-
urer, conductor, and friend of Amer-
ican music ; studied comp, under
Maiden in Spain, and David in
Paris ; piano in Paris ; singing under
Roger, Selva, and Delle Sedie ; 1865
LL.D. at Univ. of Madrid; taught
singing in Barcelona, 1865, Cuba,
1866-68 ; lived since in New York ;
c. (in MS.) a Stabat Mater, etc.
Agrel (a -grifl), J., Loth, Sweden, 1701
— NUrn^rg, 1769; court-violinist and
conductor.
Agric'ola, (i) Alex^ Germany (?)
ca. 1470 — Valladolid, Spain, 1530 ;
court-singer and church-composer.
(2) Martin, Sorau, Saxony, 1486^
Magdeburg, June 10, 1556 ; emi-
nent writer and theorist. (3) Jn., b.
Ntimberg ca. 1570 ; prof, and com-
poser. (4) Wolfgang Chp., Ger-
man composer (165 1) ; (5) G. L.,
Grossfurra, 1643 — Gotha, 1676 ;
conductor. (6) Jn. Fr., Dobitschen,
1720 — Berlin, 1774; court-cond.
382
THE MUSICAL GUIDE
Agthe (ikh'.t«), K. Clu, (i) Hettstadt,
1762 — Ballenstedt, 1797 ; composer.
(2) W. Jos. Albrecht, Ballenstedt,
1790 — ca. 1848 ; son of above ; teach-
er. (3) Fr. W., Sangershausen,
i794--(insane) Sonnenstein, ca. 1828 ;
cantor.
Aguado (S-gpvS'-dh5), Dionisio, Ma-
drid. 1784 — 1849 ; performer and
composer for guitar.
Ag^ilar (a'-gwe-l&r), Emanuel, b.
1824; composer.
Aguiari, Lucrezia. Vide agujari.
Aguilera de Heredia (ii-gwY-Ia'.r& d&
a-ra'-dhe-a), Seb., b. Sargossa, 17th
cent. ; monk and composer.
Arujari (M^goo-hM'-re). Lucrezia
(called La Bastardina, or Bastar-
della, being the natural daughter of
a nobleman), Ferrara, 1743 — Parma,
May 18, 1783; a phenomenal singer ;
Mozart remarked her ** lovely voice,
flexible throat, and incredibly high
range," which reached from middle C
three octaves up ; she could shake on
f" (vide CHART OF pitch) ; she m.
Colla« 1780, and retired from the stage.
Agus (&-zhQs), H., France, 1749—
1798 ; singing-teacher and composer.
Able (r-l«), (i) Jn. Rnd., MuhU
hausen, 1625 — 1673 ; theorist and
church-composer. (2) Jn. G., Mttl-
hausen, 1650 — 1706 ; son of above ;
organist, poet and theorist.
Ablstrdm (sLl'-shtr&m), (i) A. J. R.,
Stockholm, 1762— ca. 1827; organist.
(2) Johan Niklas, Wisby, Sweden,
June 5, 1805 — Stockholm, May 14,
1857 ; probably son of above ; dram,
composer.
Ahna. Vide de ahna.
Aibl (T'-bl), Jos., founded publishing
firm, Munich, 1824 ; later heads were
Eduard Spitz weg (1836) and his sons,
Eugcn and Otto.
Aiblinger (I'-blYng-^r), Jn. Kasper,
Wasserburg, Bavaria, 1779 — Munich,
1867 ; court-conductor, collector and
composer.
Aichinrer (f-khtng-«r), Gregor, Augs-
burg (?) ca. 1561 — 1628; canon and
composer.
AId6 (A-c-da). Hamilton, b. Paris,
1830, of Greek parents ; poet, com-
poser of pop. sones.
Aigner (!kh'-n^r), En^^elbert, Vienna,
1798 — <:a. 1852 ; dram, composer.
Aimo (ft'-e-m6). Vide haym, n. f.
Aimon (dm-6h), Pamphile Ld. Fran.,
b. L'Isle. near Avignon, 1779 ; *cel-
list, conductor, theorist.
Aireton (ar'-tiln), Edw., London,
1727 — 1807 ; violin-maker.
Ajolla. Vide layolle.
X Kem'pis, Florentino ; org. at Brus-
sels, 1650.
Akeroyde (ftk'-^-roid), Samnel, b.
Yorkshire ca. 1650 ; song-writer.
Ala (a -U). Giov. Bat., Monza, 1580—
1612 0 ; organist and composer.
Alabieff (S-l^-bt-^Q* Alex., Moscow.
1802 — 1852 ; composer.
Alard (&l-&r), (i) C6sar, b. Gosse-
lies, fieleium, May 4, 1837; 'cellfet,
entered Brussels Cons, at 9, as vio-
linist ; took up the 'cello and won
prizes; travelled as soloist. (2) J.
Uelphin, Bayonne, March 8, 18 15 —
Paris, Feb. 22« 1888 ; violinist, teach-
er and composer.
Alary (ftl-S'-re), Giulio Engenio
Abramo, Mantua, 1814 — Paris, 1891;
flutist.
Arajrac Vide dalayrac.
Albanese (fil-b2-na'-z£), Albano, 1729
— Paris, 1800; musico and com-
poser.
Aibaneti (Sl-b&-ni'.ze), Carlo, b. Na-
pies, 1856 — London, 1893 ; piano-
prof R. A. M.
Albani (fil-ba -nl) (staple name of Ma*
rie Louise Cecilia Emma La
Jeunesse), b. Chambly, near Mon-
treal, Nov. I, 1852; operaric soprano ;
sang in Ca'-hedral, Albany, N. V.,
whence her name was mistakenly
supposed to have been taken ; pupil
of Duprez, and of Lamperti ; debut
at Messina in 1870.
Albani, Mathias, Bozen, 1621— 1673 ;
famous father of more famous son of
same name and trade, violin-making^ ;
the younger A.*8 violins (iToa-gj)
rival Amati*8.
DICTIONARY OF MUSICIANS 383
Albenix (ftl-bi'-neth), (i) Pedro, Lo-
grofto, 1795 — Madrid, 1855 ; court-or<
ganist. (2) Isaac, b. Camprodon,
Spain, May 20, 1861 ; grandnephew
of above ; lives in London as pianist ;
composed operas, etc. (3) Pedro, b.
Biscay, San Sebastian, 1821 ; monk,
chnrcn-cond. and composer.
Albergati (dil.b^r-ga'.te), (i) Pirro
Capacelli, Conte d-. Lived in Bo-
logna, 17th cent. ; composer. (2) Al-
dobrandini, lived in Bologna, 17th
cent.; dram, composer.
Al'bert, Prinz von Sachsen-Coborg
Gotha, Schloss Rosenau, 18 19 — 1861;
consort of Queen Victoria, patron of
music and composer of an opera,
Jean le Fol (Bagni^res de Bigorre,
1865), an operetta, masses, etc.
Albert (sLl'-b^rt), (i) H., Lobenstein,
Saxony, 1604 — K6nigsberg, 165 1 ;
poet, organist and composer ; called
the father of the German Lied^ and,
as he alludes to a '* ComOdien-musik "
(1644), he must have been, with
Schaltz, one of the founders of Ger-
man opera. (2) Max, Munich, 1835
— Berlin, 1882 ; zither-virtuoso and
inventor. (3) Charles L. N. d',
Nienstetten, near Hamburg, 1809 —
London, 1866; dancing master and
composer. (4) Eugen d', rightiv
En^^ne (Francis Charles) (d&f-
b^, or dil'-b^rt), b. Glasgow, April
10, 1864; son and pupil of above;
pianist ; Newcastle scholar in the
London Nat. Training School, 1876 ;
pupil of Pauer (pf.) and Stainer,
Proutand Sullivan (harm, and comp.);
1 88 1, Mendelssohn scholar and pu-
pil of Richter and Liszt, who called
him "the young Tausig " ; 1881, he
played the Schumann concerto at the
Crystal Palace, London ; Oct. 24,
a concerto of his own, at a Richter
concert; he performed 5 Beethoven
sonatas (op. 31, 53. 90, 109, no) at a
Gewandhaus recital, 1893 ; he mar-
ried the pianist CarreRo in 1892 (di-
vorced 1895) ; first conductor at Wei-
mar, vice lessen, but soon resigned ;
composed a symphony, 3 overtures,
(Hyperion and Esther)^ 2 pf.-concer-
tos, libretto and music of the operas
Der Rubin (Carlsruhe, Oct. I2, 1893),
Ghismonda (Dresden, 1895), Gemot
(Mannheim, 1897), i-act mus. comedy
Die Abreise (Frankfort, 1898), etc.
Aibertaszi (al-b^r-tid'-z^), Emma
(neeHowson), London, 1814— 1847 ;
operatic contralto.
Aiberti(jU-b«r'-te),(i)Jn.Fr.,Tonning,
1642 — Merseburg, 1710 ; organist.
(2) Giuso Matteo, Bologna, 1685—
1746; violinist and composer. (3)
Domenico, Venice, 1707 — Formio,
1740 ; singer then pianist ; in his
piano music he made use of the since-
called •* Alberti bass " (vide D. D.). (4)
K. Edm. Robt., Danzig, 1801 — Ber-
lin, 1874 ; writer.
Alberti'm (il-bdr-te'-ne), (i) Gioac-
chino, b. 1751 — Warsaw, April,
181 1 ; conductor and dram, com-
poser. (2) Michael (called Momo-
let'to), soprano musico at Cassel,
1 8th cent., where his sister (3) Gio-
▼anna (called Romanina) was prima
donna.
Aibicas'tro, Henrico (rightly, Weis-
senburg), b. Switzerland, 17th cent. ;
court-violinist.
Albino' ni, Tommaso, Venice, 1674 —
1745 ; violinist.
Albo'ni, Marietta, Cesena, Romagrna,
March 10, 1823 — Ville d'Avray, near
Paris, June 23, 1894 ; eminent dram,
contralto, compass %'^' (vide pitch,
D. D.) ; pupil of Rossini ; d^but La
Scala, Milan, 1843; m. Count Pe-
poli, 1854.
Albrecht (al'-br«kht), (i) Jn. Lor.,
Gormar (Thuringia), 1732 — Mahl-
hausen, 1773 ; writer. (2) In. Matt.,
Osterbehringen, near Gotha, 1701 —
Frankfort, 1769; organist. (3) Karl,
Breslau, 181 7 (?) — Moscow, 1893 ;
court-conductor. (4) Engen Maria,
St. Petersburg, 1842 — 1894 ; son of
(3) ; violinist and conductor.
Albrechtsberger(al.br£khts-b«rkh-«r),
Jn. G., Klostemenburg, near Vi-
enna, Feb. 3, 1736 — ^Vienna, March
7, 1809 ; eminent composer, court-
384
THE MUSICAL GUIDE
organist, theorist and teacher (Bee-
thoven was his unappreciated pupil).
Albri'ci (ai-bre'-che), V., Rome, 1631
— Prague, 1696 ; court-conductor.
Alcurrot'ti, Giov. Fran., lived in
Italy i6th cent. ; organist, 1740-91.
Al'cock, (i) John, London, 1715 —
Lichfield, 1806 ; organist. (2) J., son
of abovjs ; organist.
Alday (al-d«'), French family, (i) The
father (b. Perpignan, 1737), a man-
dolinist. His two sons (2) A. U
vieux (b. 1763) ; violinist. (3) A.
kjeune (b. 1764) ; violinist.
Al'aen, J. Carver, b. Boston, Mass.,
Sept. II, 1852 : pupil of Carl Fael-
ten, and of Paul, Plaidy, and Pap-
peritz in Leipzig ; teacher at the N.
E. Cons., later at Wollaston, Mass. ;
c. pf.-concerto, etc.
Aldovrandini (£Udo-vran-de'-ne),
Gius. A. v., b. Bologna, 1665 ;
court-conductor and dram, composer.
Al'drich, (i) H., Westminster, 1647 —
Oxford, 17 10 ; theorist and composer.
(2) Richard, b. Providence, R. I.,
July 31, 1863; graduated Harvard,
1885, where he took several scholar-
ships and honours ; studied music
under J. K. Paine ; 1885 he went on
the staff of the Providence Journal,
soon reaching an editorial position,
and being put in charge of the musi-
cal and other critical departments of
the paper; 1888 he spent in study
abroad, chiefly of music ; 1889 to
1891, private secretary to U. S. Sena-
tor N. F. Dixon ; 1891 joined the
staff of the New York Tribune as
associate musical critic with H. E.
Krehbiel, and as collaborator in their
*^ History of the Philharmonic Sod"
ety ; " author of various magazine ar-
ticles, and editor of a series of musical
biographies to be published in New
York, the volume on Schumann being
in preparation by him.
Alembert (d&I-ah-b&r), J. Le Rend
d*, Paris, 1 717 — 1783 ; theorist.
Alessan'dri, (i) Giulio, c. an orato-
rio (ca. 1690). (2) Felice, Rome,
1742 — Berlin (?), 1811.
Alessan'dro Merlo (or Alless. Ro-
mano), called Delia Viola, b.
Rome (?) ca. 1530 ; monk, singer and
composer.
Aiexan'der, John (or Joseph), 'cellist
at Duisburg, 1801.
Allar&bi (^l-ffi-r&'-be), or Alphara-
bins, properly £1 Farabi (abbr.
Far&bi) Farib (now Othrax,) 900 (?)
— Damascus, 950 ; Arabian tlMeorist
who vainly advocated Greek theories.
Alfieri (fil-fe-&'-re), Abbate Pletro.
Rome, 1 801 — 1863 ; Camadulian
monk ; teacher and theorist.
Al'ford, J., lutenist at London, 1568.
Algarot'ti, Count Fran., Venice, 1712
— Pisa, 1764; writer,
Aliani (Sl-Y-S'-ne), Francesco, b. Pia-
cenza ; 'cellist, 1820 ; son and pupil of
a violinist.
Alipran'di, (i) Bdo., b. Tuscany,
Bavaria, ca. 1730 ; his son (2) Bdo.,
'cellist at Munich, 1780.
Alizard (ftl-t-zftr'), Ad. Jos. L., Paris,
1 8 14 — (of consumption) Marseilles,
1850 ; bass, later barytone.
Aikan (ftl-kJUi), (i) Chas. H. VaL
{fainl), Paris, Nov. 30, 18 13 — March
29, 1888; pianist, teacher, and brilliant
composer for piano. (2) Napol^on-
Morhange (m6r-finzh) (U Jeune)^ b.
Paris, Feb. 2, 1826 ; brother of above ;
Sianist*
acci (&l-lilt'-che), Leone (or Leo
Allatius), Chios, 1586 — Rome, 1669;
writer.
Arianson, 169(^^1705 ; English or-
ganist, and church-composen
AlTchin ; conductor Oxford Music So-
ciety, 186^1.
Alleg^ran'ti. Maddalena; dram, so-
Srano; debut, Venice, 1771.
eg^ri (&l-lft'.gr€), (I) Gregorio,
Rome, 1584 — Feb. 18, 1662 ; pnpil
of Nanini; composed a celebrated
Miserere in 9 parts, sung during
Holy Week at the Sisdne Chapel;
its publication was forbidden on pain
of excommunication ; but Mozart
after twice hearing it, wrote it out,
and it has since l>een frequently pub-
blished. (2) Dom.; lived 1610-29 at
DICTIONARY OF MUSICIANS 385
R<»iie ; one of tlie first to write in-
strumental accompaniments not in
mere vmison with the voices.
Al'len, (i) H. R., Cork, 1809— Lon-
don, 1876; bass. (2) G. B., Lon-
don, 1822 — Brisbane, Queensland,
1897 ; singer, organist, conductor,
manager, and composer. (3) Na-
than H., b. Marion, Mass., 1848 ;
pupil of Haupt, Berlin ; organist and
tes^her in Hartford, Conn.; compos-
er of cantatas, etc.
Allihii (il-Ien'), H. Max., b. Halle-on.
Saale, Ai^. 31, 1841 ; writer on or-
gan-building.
ATlisoii, (i) Richard, teacher at
London, 1592. (2) Robt., member
of Chapel Ro3ral till 1609.
Al'litsen, Frances, English singer and
composer; debut, London, 1882.
All'^iroode, , Engli^ church-
c<»nposer, i6th cent.
Ahnagro, A. Lopez, b. Murcia,
Spain, Sept. 17, 1839; pianist and
composer.
Almeida (dal-ma'-e-dhS), Fernando
d', Lisbon, ca. 1618 — 1660; monk
and church-composer.
Almenr&der (21^m«n.r§.d«r), Karl,
Ronsdorf, 1786— Nassau, 1843; virtu-
oso and manufacturer of the bassoon.
Aloysios, Baini's name for palestrina
(q. v.).
Alphara'bins. Vide alfarabi.
Alqnen (d&l-ksLn or diU'-kwan), (i) P.
JiL. d', Amsberg, Westphalia, 1795
— MQlheim-on-Rhine, 1863 ; com-
poser. (2) Fz. d', Amsberg, 18 10
— London, 1887, bro. of above;
pianist.
ATsager, Thos. Massa, Cheshire,
1779 — 1846; English amateur and
patron.
Alshala'bi, Mohammed, 15th cent.;
Arabian theorist.
Alsleben (iUs'-la-b^n), Julius, Berlin,
1832 — 1894 ; editor and writer.
Alzted(t) (iU'-shtit), Jn. H., Herbom,
Nassau, 1588 — ^Weissenburg, 1638;
writer.
Altenbnrfi: (^'-t^n-boorkh), (i) Mi-
chael, Alach, near Erfurt, 1584— Er-
furt, 1640; pastor and composer. (2)
In. Ernst, Weissenfcls, 1734 — Bitter-
neld, 1796 ; trumpet-virtuoso ; son of
(3) Jn. Kasper, do.
Alt^s (ftl-tte), (i) Jos. H., Rouen, 1826
— Paris, 1895 ; flutist. (2) Ernest-
Eugtoe, b. Paris, March 28, 1830,
bro. of above ; • pupil Paris Cons. ;
violinist and conductor ; 187 1 deputy
conductor of the Opera; i87gr^7,
conductor.
Altnikol (alt'-ne-kol), Jn. Chp., d.
Naumberg, 1759: son-in-law and pu-
pil of J. S. Bach ; organist and com-
poser.
Alvary (al-vS-re), Max (rightly
Acheabach), . Hamburg (?) 1858 —
Datenbeig, Thuringia, Nov. 8, 1898 ;
eminent Wagrnerian tenor ; de'but at
Weimar.
Alvsleben, Melitta. Vide otto-alvs-
LEBEN.
Alyp'ios, lived ca. 360 B.C.* Greek
theorist.
Amad^ (&m-&-da), (i) Ladislaw,
Baron von, Kaschau, Hungary, 1703
— Felbar, 1764 ; poet and composer,
(2) Thadd&us, Graf von Pressburg,
1783 — Vienna. 1845 ; pianist.
Anuulei (&m-£i-da-e), R., b. Loreto,
Italy, Nov. 29, 1840 ; succeeded his
father as organist and conductoi;
Amalia (a-md'-lX-H). the name of three
princesses who composed, (i) Anna
A., sister of Frederick the Great,
1723 — 1782. (2) Anna A., mother
of the Grand Duke Ernst August.
I7J9— 1807. (3) Marie A. Fried-
enke, sister of King John of Saxony,
Dresden, 1794 — 1870.
Amati (sUmS'-te), a family of famous
violin-makers at Cremona, Italy, (i)
Andrea, 1520 (?)— 1577 (?), evolved
the violin from the viol ; his younger
bro., (2) Niccold, made fine bass-viols,
1568-86. A.'s 2 sons, (3) Antonio,
1550— 1635, and (4) Geronimo, d.
1638, produced violins of the same
style. The most '^amous was Gero-
nimo*s son, (5) Niccold, Sept. 3,
1596 — Aug. 12, 1684, who buUt the
** Grand Amatis/' large violins of
«HU1«I
\m
m
386
THE MUSICAL GUIDE
powerful tone; his label is **Nico-
laus Amati Cremonens. Hieronimi
filius Antonii nepos. Fecit anno
16-"; he trained Andrea Guameri
and Antonio Stradivari. (6) His son
Geronimo, the last of the family, was
inferior. (7) Giuseppe A., b. 17th
cent., Bologna, a violin-maker, may
have been of the same family.
(8) V. (called Amatut), Cimmina,
Sicily, 1629 — Palermo, 1670; con-
ductor and composer. (9) Antonio
and (10) Ang^elo, brothers, and or-
gan-builders at Pa via, ca. 183a
Ambragetti (ilm.br&.j£t'.te), G., 1817
— 1838; basso-buffo.
Ambros (&m'-br6s), Aug. W., Mauth,
near Prague, Nov. 17, 1816 — ^Vienna,
June 28, 1876; eminent historian
and critic.
Ambrose (Ambro'sius), Treves, a.d.
333 — Milan, April 4. 397 ; Bishop of
Milan ; regulated (384), and deveU
oped Western church-music by intro-
ducing ritual as practised in the East-
em Church ; the adoption of the four
authentic church-modes was probably
due to him ; he has been called ** The
Father of Christian Hymnolog^,*'
though his authorship of the so-called
Ambrosian Hymn is discredited, fur-
ther than the translation of the text
into the ** 7> Deum " ; 't is improL
able that he was acquainted with the
use of letters for notation.
Ames, John Carlowitz, b. Bristol,
England, i860; composer of opera
7'Ae Ixtst of the Incas (1898).
Amejden (a-ml-ddn), Christ, i6th
century church-composer.
Am(m)erbach (am'-^r-bSkh), Elias
Nikolaus, ca. 1540 — Leipzig. 1597;
organist, theorist, and composer.
Amiot (im-yo). Father, b. Toulon,
1 7 18; Jesuit missionary and writer
on Chinese music.
Am(m)on (Sm'-mon), (i) Blasius, b. in
the Tyrol — d. Vienna, June, 1590;
court-sopranist, later Franciscan
friar ; composer. (2) Jn. Ands.,
Bamberg, 1763— Ottingen, 1825 ; vir-
tuoso on the Waldhom.
Am'ner, (i) John, b. late i6th cent.
— d. 164 1 ; organist. (2) His son
Ralph, bass at Windsor, 1623 — 1663.
Amphi'on, the earliest traditional
Greek musician.
Amorevoli (S-mo-r&'-vd-le), Angelo,
Venice, 17 16 — Dresden, 1798 ; singer.
Anacker (S'-nak-^r), Aug. Fd., Frei-
berg, Saxony, 1790— 1854 ; cantor
and composer.
Ancot (2A-k6), a family of pianists
'and composers at Bruges, (i) Jean
{phre), 1779 — ^848. His two sons,
(2) Jean (//f), 1799— Boulogne, 1829,
(3) Louis, 1803— Bruges, 1836.
Ander (ftn'-d(r), Aloys, Liebititz, Bo-
hemia, 1824 — Bad Wartenberg, 1 864 ;
tenor.
An'ders, Gt Eng^., Bonn, 1795 —
Paris, 1866; writer.
An'dersen, Joachim, b. Copenhagen,
April 29, 1847 ; flute-virtuoso ; soloist
at 14 ; toured widely ; 1877, court-
musician, Petersburg; 188 1, Berlin,
soloist court-opera ; from 1 895 lived
in Copenhagen as court-conductor ;
composed notable flute-pieces, etc.
Anderson-Boker, Orleana, b. New
York, 1835 ; pianist and coniposcr.
An'derson, (i) Lucy, nee Philpot,
Bath, 1790 — London, 1878 ; pianist.
(2) Geo. Fr., King's bandmaster in
England, 1 848. (3) Angela, b.
New York ; great-granddaughter of
da Ponte ; pianist, pupil of Stojowsld
and Paderewski ; debut, Paris. 1S99.
An'derton, Thos., b. Birmingham,
England, April 15, 1836; organist,
critic and composer.
An' ding, Jn. Michael, near Meining-
en, 1810— Hildburghausen, 1879;
teacher
Andrade (dfin-drfi'-dh€). Fran. d% b.
Lisbon, 1859 ; barytone ; sttidied
with Miraglia and Ronconi ; sang^
leading r61es in many European
cities.
Andr6 (2A-dril), a musical family of
Offenbach, (i) Jn., 1741 — 1799; P"*>-
Itsher and pianist ; he originated in
1783 the durchkompcnirU Ballade
(vide D. D.). (3) Jn. Ant., 1775 —
DICTIONARY OF MUSICIANS 387
1842 ; third son of above ; pianist,
publisher, theorist. (3) Karl Aug.,
1806 — Frankfort, 1887; publisher
and writer. (4) Julius, 1808 —
Frankfort, 1880; organist. (5) In.
Aug., 1 8 17— 1887 ; publisher; his 2
sons, (6) Karl (b. 1853) and (7)
Adolf (b. 1885), are the present pro-
prietors. (8) Jean Baptiste (de St.
Gilles), 1823— Frankfort, 1882 ; pian-
ist and composer.
Andreoli (an-dra-o'-le), (i) Evanga-
lista, 1810— 1875 ; organist at Mi-
randola ; his two sons, (2) Guglieno
(Modena, 1835 — Nice, i860) and (3)
Carlo (b. Mirandola, 1840), were
pianists, the latter also organist and
composer. (4) Giuseppe, Milan,
1757 — 1832 ; double-bassist and harp-
ist.
Andreozzi (sln-dra-^'-ze), Gaetano,
Naples, 1763 — Paris, 1826; dram,
composer.
Andrevi (an-dra'-ve), Fran., Sana-
buya, near Lerida, 1786 — Barcelona,
1853 ; critic and writer.
Andrien. Vide adkien.
An'dries, Jean, Ghent, 1798 — 1872;
teacher and writer.
Andrieasen. Vide stahmer.
Anerio (a-na'-re-6), (i) Felice, Rome,
ca. 1560 — ca. 1630 ; successor to Pa-
lestrina. (2) Giovanni Fran.,
Rome, ca. 1569 — 1620 (?), bro. of
above; conductor and church-com-
poser.
Anet, Baptiste. Vide baffiste.
Anforge (^'-f6rkh-«), Kd., b. Buch-
wald, near Liebau, Oct. 15, 1862 ;
pianist ; pupil, Leipzig Cons, and of
Lriszt ; toured Europe and America ;
lives in Berlin ; composer.
Anfos'si, Pasquale, Taggia, near
Naples, 1727 — Rome, 1797 ; pupil
and rival of Piccinni ; composed 54
operas, etc.
Angrelet (ah'-zhti-la), Chas. Fran.,
Ghent, 1797 — Brussels, 1832.
Anirelini (lin-ja-le'-nY), Bontempi
GiOT. And., Perugia, ca. 1624 —
1705 ; court-singer and dram. Qom-
poser.
Angeloni (iin-ja-lo'-nt), Lulg^i, Frosi-
none. Papal States, 1758 — London,
1842 ; wnter.
Anelebert (dSA-gltt-bar), J. Bapt. H.
d , 1628 (?) — Paris, 169 1 ; court-cla-
vicembalist to Louis XIV.
Animuccia (an-e-moot'-chi), (i) Giov.,
Florence, ca. 1500— Rome, March,
1571 ; wrote the first Laudi spirituali
for the lectures of Neri in the oratory
of S. Philippo, has hence been called
** Father of Oratorio"; he was Pa-
lestrina's predecessor as conductor at
the Vatican. (2) Paolo, d. Rome,
1563, bro. of above.
Ankerts, D*. Vide dankers, ghise-
LIN.
Anna Amalia. Vide amalia.
Annibale (sln-nY-ba -1^), (i) (called. II
Padora'no, or Patavi'nus, from
Padua, where he was born in the
15th cent.) organist and composer.
(2) Domenico, Italian sopranist in
London, 1756.
Ansani (an-sa -ne). Giovanni, b. Rome,
1 8th cent.; dram, tenor.
Anschtitz (an'-shuts). (i) Jn. And.,
Coblenz, 1772— 1858 ;npianist. (2)
K., Coblenz, 18 15 — New York, 1870;
son of above ; cond. and composer.
Anselm of Parma (Anselmut Par*
niensis)j b. Parma, 1443 ; theorist.
Antegnati (an-tin-ya'-tT), Costanzo,
Brescia, ca. 1550 — ca. 1620; organ-
builder, etc.
An'tico, Andrea. Vide antiquus,
ANDREAS.
Antiquis (an'-te-kwes), Johannes (or
Giovanni) de, 1. 1574, Bari, Na-
ples ; composer.
Antiquus (an'-te-kwoos), Andreas (or
A. de Anti<)uiis Venetut, or
Andrea Antico), b. Montana
(Istria), 15th cent.; music-printer in
Rome.
Anton (an'-ton), Konrad G., Lauban,
Prussia, 1 746-— 18 19 ; writer.
Anto'nio da Bologna (bo-lon'-yS),
1543 ; organist and composer.
Antony (an'-to-ne), (i) Joseph, 1758
'—1836 ; writer and composer. (2)
Far. Jos., Monster, Westphalia,
388
THE MUSICAL GUIDE
1790— 1836; son of above; organ-
ist, conductor, and composer.
Apel (fi'-pCl), Jn. Aug., Leipzig, 1771
— 1816; writer.
Apell (a-p«l'), Jn. D. von, Cassel.
1754 — 1833 ; conductor and dram,
composer.
Apollo, Greek sun-god, and god of
music.
Appel (§p'-p£I), K., b. Dessau, 18 12 ;
violinist, court-leader, composed
opera Die Rauberbraut (Dessau,
1840), and humorous male quartets.
Appun (ip-poon'), G. A. I., Hanau,
1816 — 1885 ; versatile performer on
nearly every instr. ; writer on and ex-
perimenter in acoustics; made an
narmonium of 53 degrees to the oc-
tave.
Aprile (S-prS'-lQ, Gius, Bisceglia,
1738 — Martins, 1814 ; celebrated con-
tralto musico and vocal teacher;
writer and composer.
Ap' thorp, W. Foster^ b. Boston,
Mass., Oct. 24, 1848. Harvard, '69,
studied piano, harmony, cpt. with J.
K. Paine, ^d B. J. Lang ; teacher
of theory, and for many years distin-
guished critic and writer on music;
author of ''Hector Berlioz* ; '*Musi^
Hans and Music-Lovers^ and other
Essays**; ''By the IVay, About Mu-
sic and Afusicians** (iBqg); ** Opera
and Opera Singers " (1901), etc.
Aptom'mas, (i) John, (2) Thomas,
brothers; b. Bridgend, England, 1826,
and 1829; harp-players and teach-
ers.
Araja (ft-r^'-yS), Fran., Naples, ca.
1700— Bologna, ca. 1770; dram,
composer; composed the first opera
written in Russian.
Aranaz (^-^n&th'), Pedro, d. Cuen-
ca, Spain, 1825 ; priest and composer.
Aranda d' (d^ran'-dha). Pasha, b.
Spain ; contemporary court-conductor
to the sultan with rank of G^^ral de
Division.
Aranda (ft-r&n'-da), Matheo de,
Portuguese prof, of mus. (1544).
Arando (d^r-to'-do), del Sessa d',
Italian composer, i6th cent
Arauxo (S-rft-ooks'-5} (or Araujo (i-
ri-oo'-h5))', Franasco Correa de,
ca. 1 58 1 — Segovia, 1663 ; bishop, the-
orist.
Arban (&r-bafi), Jos. J. Bap. Lan-
rent, Lyons, 1825 — Paris, 1889;
comet-viituoso ; teacher at Paris Con-
servatoire.
Arbeau, Thoinot (twfl-n5 ftr4>d).
Vide TABOUROT.
Ar'bnckle, Matthew, 1828— New
York, 1883 ; cometist and bandmas-
ter.
Ar'cadelt, Jacob (or Jachet Aricap
delt, Arcnadet, Arcadet, Harca-
delt), 1541— bet. 1570-75; distin-
guished Flemish composer and teach*
er; 1540, singer in Paris; 1557,
Regius musicus ; composed masses,
etc
Arcais (dSr-k&'-€s), Fran., Marchese
d*, Cagliari, Sardinia, 1830— near
Rome, 1890 ; writer and composer.
Archadet (iir-chS-dil'). Vide arca*
DBLT
Archambeau (dftr'-shftfi-bo), J. Mi-
chel d', b. Herv^, Belgiimi, March
3, 1893 ; organist and composer.
Ar'cher, Fredk., Oxford, England,
June 16, 1838 — Pittsburg, Pa., Oct.
32, 19O1 ; pupil of his father ; stud-
ied in London and Leipzig; or-
ganist and opera-director in I^ndon;
1 88 1, organist of Plymouth Church*
Brooklyn, later in New York ; 1887,
conductor of Boston Oratorio Soc;
1895-98, Pittsburg (Pa.) Orchestra ;
compcMsed cantata, organ-pieces, etc«
Archy'tas, Tarentum, ca. 400--365,
B.C.: Greek mathematician.
Arditi (Sr-de'-te), (i) Michele, Mar-
chese, Naples, 1745 — 1838 ; com-
poser. (2) Lulgfi, b. Crescentino,
Piedmont, July 16, 1822; pupil of
Milan Cons.; violinist, then director
of opera, 1843, Milan, Turin, and
Havana. He visited New York with
the Havana opera company; bas
since travelled widely. Composed
3 operas, vocal waltzes, // Btscic^
etc.; wrote *' My Reminiscences*
(London, 1896).
DICTIONARY OF MUSICIANS 389
Areiis (S'.r&is)« Fz. Xarier, b. near
the Mosel, Germany, Oct. 28, 1856 ;
came to America eariy in vouth ; pu-
pil of :iis father, and of Rheinberger,
etc; conductor, organist; composer
of symphonic fantasia, etc.
Arensky (S^r^n'-shkl), Anton Step-
anovitch, b. Novgorod, Russia,
July 30, 1863 ; composer and pianist;
pupil of Johanssen and Rimsky-Kor-
sakov ; Prof. Imp. Cons. Moscow,
and conductor Imperial Court Choir ;
composed a symphony, 4 suites for
orch., i-act opera Rafaello^ string
quartets, concerto for piano, etc. , in-
<duding ** Essais sur des rythmes ou-
i&/s** f. pf. 4 hands.
Aretino. vide guido d*arezzo.
Amne (d&l Sr'-je-n£), Constantino
iuUl\ Parma, 1842 — Milan, 1877;
composed pop. operas and ballets.
Aria (i'-il-S), Cesare, Bologna, 1820—
1894: singing-teacher.
Aribo (S-re'-bo), Scholas'ticus, d. ca.
1078; probably from the Nether-
lands; writer. (Gerbert)
Arien'zo (dar-I-Sn'.tso), NicoUi d\ h.
Naples, Dec 24, 1843 (or '42) ;
composed 5 operas in Neapolitan dia*
lect, Monzu Gnatio (Naples, i860),
and / Due Mariti (Naples, 1866),
the most successful, realistic and orig-
inal ; also an oratorio, a Pensicro
SinfonicOy overtures, etc.; wrote a
treatise (1879) advocating pure in-
tonation instead of temperament, and
a third mode (the Minor Second), be«
sides the usual major and minor.
A'rion, partly traditional Greek singer
and lyrist (7th cent., B.C.); hence, the
name of a vocal society.
Arios'ti, Attilio, Bologna, 1660— ca.
1740; composed 15 operas; 1716 a
rival of Buononcini, and of HSndel ;
in London in 1720, the three com-
posed the opera Muzio Scatvola,
Aristi'des Qnintilia'nns, Greek teach-
er and writer on music, ca. 160.
Ar'istotle, (i) Stagyra, 384 b.c. —
522 B.C ; Greek philoso{>her, whose
works include valuable information
coocenuDg Greek music. (2) Pseu-
donym of a writer on mensurable
music, I2th — 13th cent.
Aristox'jenos, b. Tarentum, ca. 354
B.C. ; one of the first Greek writers on
music
Armbnist (firm'-broost), K. F.» Ham-
burg, J 849 — Hanover, 1896 ; teacher
and critic.
Armbmster (arm'-broo-st^r), K., b.
Andemach-on-Rhine, Jul^ 13, 1846;
pupil of Hompesch ; pianist and lect-
urer; Hans Richter's assistant con-
ductor at the Wagner concerts, 1882-
84 ; later conducted at various Lon-
don theatres.
Armes, Philip, b. Norwich, England,
1836; Mus. Doc. Oxon, 1864; or-
gan composer.
Armingaud (iir-m&n-g5), Jules, b. Ba-
yonne. May 3, 1820 ; was refused ad-
mission to the Paris Cons, at 19 since
he was ** too far advanced ** ; leader
of a string quartet enlarged to the
Soci^U Classique ; said to have intro-
duced Beethoven's quartets into Paris.
Aniaud (Hr-na), (i) Abb^ Fran., Au-
bignan, 172 1 — Paris, 1784; writer.
(2) J. Et. Gail., Marseilles, 1807 —
Jan., 1863 ; composer.
Ame (Urn), (i) Dr. Thomas Augus-
tine, London, March 12, 17 10 — March
5, 1778 ; by secret nightly practice he
learned the spinet and violin, his fa-
ther wishing him to study law ; 1736,
m. Cecilia Young, a favourite singer
of Handel's ; 1738, he was composer
to the Drury Lane Th. and set Dal-
ton's adaptation of Milton's Comus ;
in his masque ^(^r/</ (1740) is ** Rule
Britannia"; m Dublin (1742-44) he
produced two operas, Britannia and
Elita^ and a musical farce Thomas
and Sally ; 1745, composer to Vaux-
hall Gardens, London ; set to mu-
sic the songs Kn As You Like Ity
•• Where the Bee Sucks,'' in The
Tempest, etc; Mus. Doc Oxon,
1759 ; he was the first to use female
voices in oratorio-choruses {Judith) ;
composed 2 oratorios, many masques,
orch. overtures, vln. -sonatas, organ-
music, harpsichord-sonatas, glees,
> J
390
THE MUSICAL GUIDE
catches, canons, etc. (2) Michael,
London, 1741 — ^Jan. 14, 1786 (not
1806) ; natural son of above ; con-
ductor and dram, composer.
Ameiro (dar-na'-e-r5), Jose Aug.
Ferreira Veiga, Viscount d*, b.
Macao, China, Nov. 22, 1838, of
Portuguese parents ; composed 2
operas.
Arnold (ar'-nolt). (i) C, b. Welds-
berg, Tyrol, 17th cent.; organist.
(2) Samuel, London, 1740— 1802;
organist Westminster Abbey. (3) Jiu
Gottf., near Oehringen, 1773 —
Frankfort, 1806; 'cellist, etc. (4)
Ignaz Ernst Fd., Erfurt, 1774 —
1812 ; writer. (5) fe., near Mergen-
theim, Wttrtembcrg, 1794 — Christia-
nia, 1873 ; son of (3) J. G. ; pianist
and composer. (6) K., b. St. Peters-
burg, 1820 ; son of (5) ; 'cellist in
Royal Orch. ; studied Stockholm.
(7) Fr. W., near Heilbronn, 1810—
Elberfeld, 1864 ; collector and com-
poser. (8) Yourij von, St. Peters-
burg, 181 1 — Simferopol, Crimea,
1898 ; singing-teacher and dram,
composer. (9) Richard, b. Eilen-
burg, Jan. lo, 1845 ; at 8 token to U.
S. ; pupil of Fd. David, 1869-76 ; ist
violinist of Theo. Thomas' orch.,
1878 ; leader New York Philh. Club,
1891 ; 1897, organised a sextet. (10)
Maurice (real name Strothotte), b.
St. Louis, Jan. 19, 1865 ; pupil of
his mother ; then at the Cincinnati
Coll., 1883 ; Vierlingand Urban, Ber*
lin ; Cologne Cons, and Max Bruch,
Breslau ; lived St. Louis, then New
York as teacher in the Nat. Cons, and
pupil of D^'ordk ; composed notoble
*• Plantation Dances^'* a ** Dramatic
Overture,** 2 comic operas, etc. Wrote
** Some Points on Modern Orchestra-
tion.** (11) Hubert, talented violin-
ist ; lives in N. Y.
Ar'noldson, (i) Oscar, 1843 (?) —
Stockholm, 1 881; tenor. (2) Sig^id,
b. Stockholm, ca. 1865, daughter of
above ; operatic soprano ; pupil of
Maurice Strakosch ; debut, Moscow,
1886 ; has sung in Europe and Amer-
ica with success, particularly in Rus-
sia ; m. Alfred Fischof ; lives in Paris,
singing at the Op. Com., 190 1-2.
Amould (&r-noo), Madeleine Sophie,
Paris, 1744 — 1803 ; soprano, created
Gluck's ''IphigMer
Ar'nulf yon St. Gillen, 15th cent.;
theorist. (Gerbert.)
Arquier (ftr-kt-a'), Jos., Toulon. 1763
— Bordeaux, 18 16 ; 'cellist and dram,
composer.
Arrhen (ar'-5n), V. K., Swedish song-
composer ; early part of 19th cent.
Arriaga 7 Balzola (d£r.rI-&'-g§ e baV-
tho-ia), Juan C. J. A. d'. Bilboa,
1806 — 1825.
Arrieta (ir-rt-a'-ta), J. Emilio, Puenu
la Reina, 1823 — Madrid, 1894 ; dram,
composer. '
Arrigfo (ilr-re'-go), Tedesco (Henry
the German), pseud, of Isaac, in
Itoly.
Arrigoni (ir-re-go'-ni). Carlo, Flor-
ence, ca. 1705 — Tuscany (?) ca. 1743 ;
lutenist and composer, rival in Lon-
don to Handel.
Arrange (l^-rofizh), Adolf 1', b.
Hamburg, March 8, 1838 ; pupil of
Gen^e, and at Leipzig Cons.; 1874,
theatre-manager, Breslau ; composed
comic operas, '* SingspieUy* etc.
Artaria (ar-ta-re'-£), music publishing
house in Vienna, founded by Carlo
A., 1780.
Artchibousheff (&rt-she'-boo.sti«0>
Nicholas Vassilievitch, b. Tsars-
koje-Sielo, Russia, March 7, 1S58 ;
lawyer, pianist and composer ; pupil
of Soloviev and Rimsky-Korsakov.
Arteaea (&r-ta-ag'-a), Stefano, Ma-
drid (?), 1730 (?)---Paris, 1799 \ Span-
ish Jesuit ; theorist.
Ar'thur, Alfred, b. near Pittsburg,
Pa., Oct. 8, 1844 ; studied in Boston;
1869-71, tenor; since 1878 as choir-
master, Cleveland, O. ; conductor
since 1873 Vocal Society; director
Cleveland School of Music ; com-
posed three operas, etc.
Artot (ftr-td), (i) Maurice Montagr-
nej (ancestor of a line of musicians
named MonUgney), Gray (Haute-
DICTIONARY OF MUSICIANS 391
Sadne), 1772 — Brussels, 1829; band-
master. (2) J. D6sir6 M., Paris, 1803
— St. Josse ten Noodc, 1887 ; $on of
above ; horn-player and teacher. (3)
Alex. Jos., son of Maurice, Brussels,
18 1 5 — Ville-d*Avray, 1845 ; notable
violinist and composer. (4) Margie*
rite Josephine 06sir6e, b. Paris,
July 21, 1835 ; daughter of (2) Jean-
Desire ; dram. -soprano, pupil of Viar-
dot-Garcia (1855-57) ; debut Brus-
sels, 1857 ; sang Grand Opera, Paris,
1858, etc., m. the Spanish baritone,
Padilla, in 1869.
Artschibnschew. Vide artschibous-
HKFF.
Artosi (ar-too'-ze), GioT. M., Bologna
ca. 1550 — 1613 ; canon and theo-
rist.
Asantchevski (Asantschewski,
Assantchevski) (^sant-sh^f'-shkl),
Michael Pavlovitch, Moscow, 1838
— 1 88 1 ; composer.
Aschenbren ner (a'-sh£n-) Chr. H.,
Altstettin, 1654 — ^Jena, 1732 ; violin-
ist and court-conductor.
Ascher (ash'-£r), Jos., Groningen, Hol-
land, 1829 — London, 1869 ; pianist.
Asli'dowii, Edwin, London music-
publisher, succeeded (1884) Ashdown
& Parry, who succeeded (i860) Wes-
sel &Co.
Ashe, Andrew, Lisbum, Ireland, ca.
1759 — London after 1822 ; flutist and
conductor ; 1799 "larried Miss Comer,
who, as Mrs. Ashe, was a public
singer ; their two daughters were harp-
ist and pianist.
Ashley, (i) John, b. 1805 ; bassoonist
and mans^er ; his three sons were (2)
General, d. 1S18, violinist. (3)
Chas. Jane, 1773 — 1843, 'cellist and
manager. (4) J. Jas., 1771— 1815,
organist and singing teacher. (5) J.,
** Ashley of Bath," 1780— 1830, bas-
soonist. (6) Richard, I775— 1837,
London viola-player.
Ash'ton, Algernon Bennet Lang-
ton, b. Durham, England, Dec. 9,
1859 ; pupil of Leipzig Conservatory,
pf. teacher, R. C. M., London ; com-
poser.
Ash' well, Thos., i6th cent., organist
and composer in England.
Asioli (as-e-d'-le), fioniiacio, Cbr-
reggio, 1769 — 1832 ; at the age of 8
he had composed 3 masses, 20 other
sacred works, a harpsichord-concerto,
a vln. concerto, with orch., and 2
harp-sonatas for 4 hands ; pupil of
Morigi ; successful cembalist, impro-
viser ; his first opera buffa, La yolu-
biU (1785) was successful ; his opera
Cinna^ favourably received in 1793 ;
prof, of cpt. at Milan Cons.
Asola (or) Asula (^-sd-la), Giov.
Mat., Verona ca. 1560 — Venice,
1609 ; church-composer.
Aspa (ste'-pii), Mario, Messina, 1799
— 1868 ; composed 42 operas.
As' pull, G., 18 14— (of consumption),
Leamington, England, 1833 ; pianist
and composer.
Assantsheffsky. Vide asantchevski.
Assmajer (£s-m!-€r), Ignaz, Salz-
burg, 1790 — Vienna, 1862 ; conduc-
tor.
Astarit'ta, Gennaro, Naples, ca. 1749
— 1803 ; composed 20 operas.
As'ton, Hugh, English organist and
composer in reien of Henry VIII.
Astorga (das-tor'ga), Emmanuele,
Baron d', Palermo, 168 1 — Prague,
1736 ; church-composer.
Attaignant (at-tln'-yiln), Pierre (also
Attaingnant, Atteignant), -i6th
cent, music-printer.
Attenhofer (at'-t«n-h6f-«r), K., b.
Wettingen, Switzerland, May 5,
1837 ; pupil of Leipzig Cons.; cond.,
organist, and teacher ; notable com-
poser of male choruses.
At'terbury, Luffmann, d. London,
1796 ; ct-mus. and composer.
At'tey, J., d. Ross, England, ca. 1640 ;
composer.
Attrup (at'-troop), K., b. Copenhagen,
March 4, 1848 : pupil of Gade, whom
he succeeded as organ-teacher Copen-
hagen Cons.; composed studies for
organ and songs.
Att'wood, Thos., London, Nov. 23,
1765 — Chelsea, March 24, 1838 ; im-
portant English composer ; chorister
392
THE MUSICAL GUIDE
and court-organist ; pupil of Mozart ;
1796 organist St Paul's Cathedral,
composed 19 operas, anthems, sonatas
for piano, etc.
Auber (5-b&r), Daniel Francois Es-
prit, Caen, Normandy, Jan. 29, 1782
— Paris, May 14, 1871 ; notable
opera-composer ; his father an art-
dealer in Paris, sent him to London
to learn the trade ; but in 1804 he re-
turned to Paris ; composed o|>era
Julie ^ produced by amateurs in 18 12
with an orch. of six stringed instrs. ;
Cherubini heard of it, recognised A.'s
talent and taught him ; 1842 dir. the
Cons, of Music, Paris, as Cherubi-
ni's successor; 1857 imperial conduct-
or to Napoleon III. A.*s first public
productions were 2 unsuccessful
operas ; La Berg^re Chatelaine (1820)
was a success ; before 1869, he com-
posed over forty operas ; his one se-
rious op)era, Masaniello ou la Muette
de Portici (1828), with Meyerbeer's
Robert le Diable and Rossini's GuiU
laume Tell, established French grand
opera ; its vivid portrayal of popular
fury caused riots in Brussels ; his
comic operas (to Scribe's librettos)
are the best of France ; his last opera
Rhfes d^ Amour ^ was produced when
he was 87 years old. Other operas
are: La Marquise de BrinvilHers
(183 1 with eight other composers),
Le Domino Noir (1837), Zanetta
(1840), Les Diamants de la Couronne
(1841), La Sirhie (1844), Haydie
(1847), VEnfant Prodigue (1850),
Zerline, Manon I^scaut (1856).
Aubert (5-bar), (i) Jac. ('Mevieux"),
b. 166S — Belleville, 1753; violinist.
(2) Louis, 1720 — ^after 1771 ; son of
above ; violinist, etc. (3) T. Fran.
Olivier, b. Amiens, 1763 ; 'cellist
and composer.
Aubery du Boulley (d-ba-re' dtt bool-
le), Prudent-L., Vemeuil, Eure,
1796 — 1870 ; teacher and composer.
Audran (o-dran), (i) Marius-P., Aix,
Provence, i8i6^Marseilles, 1887 ; ist
tenor at the Paris Opera-Comique.
(2) Edmond, Lyons, April 11,
1842 — Tierceville, n. Gisors, Aug.
17, 1901 ; son of above ; pupil of
]^cole Niedermeyer, Paris; Marseilles,
1862, his first opera; produced 36
others, chiefly of a light character.
Among his most pop. works are, Oli-
vette^ La Mascotte (1880), g^ven over
1700 times ; Miss Helyett^ La Poup/e^
etc.
Auer (ow'-ir), (i) Ld., b. Vcszprem,
Hungary, May 28, 1845; vln. -virtuoso;
pupil of Khonetol at Pesth, of Dont,
Vienna, then of Joachim ; soloist to
the Czar, who conferred on him the
order of St. Vladimir, carrying hered-
itary nobility ; violin-Prof, at the St.
Petersburg Cons. (2) Carl, vide
FROTZLER.
Au'gener & Co., London firm of
music pub., founded by G. A., 1853.
Auletta (a-oo-l«t'-tS), (i) Dom.,
dram, composer, Naples, 176a. (2)
Pictro, ct-cond., 1728-52; prod. 11
operas.
Aulin (ow'-len). Tor, ' b. Stockholm,
Sept. 10, 1866 ; violinist ; pupil of
Sauret and Ph. Scharwenka ; from
1889 Konzertmeister Stockholm,
court-opera ; 1887 organised the
Aulin Quartet.
Aulnaye, de 1*. Vide de l'aulnayb.
Aurelia'nus Reomen'sis, 9th cent,
theorist. (Gerbert.)
Aurenhammer (ow-r^n-hSm-m^r),
Josepha. 1776 — 1814; pianist.
Au8 der Ohe (ows'-d^r o -d), AdUe,
contemporary pianist ; pupil of
KuUak and Liszt ; composed 2 piano
suites, concert etude, etc. Has toured
widely with gjeat success.
Auspitz-Kolar (ow'-shp!ts-k6-lar'),
Aug^ste, Prague, ca. 1843 — ^Vienna,
1878 ; pianist and composer.
Auteri-Manzocchi (fi-oo-ta'-rl man-
ts6k'-ke), Salv., b. Palermo. Dec. 25,
1845 : pupil of Piatania at Palermo,
and Mabellini at Florence ; com-
posed successful operas, among them
Gra%iella (Milan, 1894) ; lives in
Trieste.
Anverg^e (d5-v£m), A. d*, Clermont-
Ferrand, Oct. 4, 1 7 13 — Lyons, Feb.
DICTIONARY OF MUSICIANS 393
12, 1797; violinist and dram^ com-
poser.
ATenti'nns, Jns* (rightly Thummay-
cr, or Tarmair), Abensbcrg (whence
Aventinus), July 4, I477— Jan. 9,
1534; writer.
AVcry, J., d. England, 1808 ; organ-
builder.
AVison, Chas., Newcastle-on-Tyne,
1710 — May 9, 1770 ; organist, writer
and composer ; vide Robert Brown-
ing's *' PARLE YINGS."
so-
Ayoglio (a-vol'-yS), Italian
prano in England, 1741.
Ajlward (al'-ward), Th., ca. 1730—
1801 ; teacher and composer.
Ayrcr (f-r^r), Jakob, lived in Ger-
many 16 18 ; reformed the SingspieL
(Vide D. D.)
Ayrton (ir'-tdn), (i) Edm., Ripon,
Yorks, 1734 — Westminster, 1808;
composer. (2) W., London, 1777 —
1858 ; son of above ; writer and ed-
itor.
Aytoa (i'-ttin), Fanny, b. Maccles-
field, 1806 ; English dram, singer.
Azzopardi (ad-z6-pSr'-de), Frances-
co, conductor and theorist at Malta,
1786.
Azvedo (ath-va'-dhd), Alexis Jacob,
Bordeaux, 1813 — Paris, 1875 ; writer.
B
Baader (ba'-d*r), K., viola-player,
lived in Vienna and Liverpool, re-
tired 1869.
Baban (b&'-bUn), Gradan, cathe-
dral conductor and composer, Valen-
cia, 1650-65.
Bal>eil, Wm., ca. 1690— Canonbury,
England, 1723 ; organist, teacher and
composer ; son of a bassoon-player.
Babbi (bab'-be), Christoph (or Cris-
toforo), Cesena, 1748 — Dresden,
18 14 ; violinist and composer.
Babini (bi-be'-ne), Mat., Bologna,
1754 — 1816 ; tenor ; debut, 1780.
Bacchi'as (Senior), ca. 150A.D., Greek
theorist
tt (bSk-koo'-s8), Ippolito, monk ;
composer and cathedral cond., Ve-
rona, 1590.
Bac'fart (or Bacfarre), Valentin
(rightly Graew (grav)), Transylvania,
1515 — Padua, 1576; lutenist and
writer.
Bach (bakh), the name of a Thurin-
gian family prominent for two centu-
ries in music and furnishing so many
organists. Kapellmeisters and cantors
that town musicians were called '*the
Bachs," after them. See the chart.
(19) Bach, Jn. Sebastian, Eisenach,
March 21, 1685 — Leipzig, July 28,
1750 ; youngest son of Jn. Ambro-
sius B. and Elizabeth (nee Lam-
merhit). of Erfurt (vide chart of
backs) ; both parents died when he
was 10, his father having begun teach-
ing him the violin. He went to the
home of his brother Jn. Christoph,
who taught him the clavichord, but
forbade him inspection of a MS. vol. of
works by Frohberger, Buxtehude, etc.,
obtaining it secretly B. copied it by
moonlight for 6 months, though near-
sighted, with results fatal to his eyes
in later life. This desire to study
other men's work characterised his
whole career. At 15 his fine soprano
voice secured him free tuition at St.
Michael's Ch. in LUneberg (he hav-
ing already attended the Ohrdruflf
Lyceum). He went on foot on holi-
days to Hamburg to hear the great
Dutch organist Reinken, and at Celle
he heard the French instr. music used
in the Royal Chapel. He studied
also the work of BOhm, organist at
LUneberg, and practised violin, clavi-
chord and org. often all night ; 1703,
in the Weimar ct.-orch. ; 1704, or-
ganist at Amstadt ; 1705, walked 50
miles to Lttbeck to hear Buxtehude,
and stayed til la peremptory recall from
the Church at Amstadt ; 1707, organ-
ist at MUhlhausen. On Oct. 17, he
m. Maria Barbara Bach, his cousin,
who bore him 7 children, of whom
4 died, leaving a daughter, Wm.
Friedemann, and K. P. E. (See
below.) 1708, he played before the
394
THE MUSICAL GUIDE
Duke at Weimar, and was made ct.-
organist ; 17 14 Konzeitmeister. In
his vacations he made clavichord and
org. tours. 1714, he furnished the
organ-music for a service conducted
in the Thomaskirche, Leipzig, and
produced a cantata. Dresden, 17 17,
he challenged Marchand, a French
organist of high reputation, who was
afraid to compete. 1717 Kap>ellmeis-
ter to Prince Leopold of Anhalt, at
Kdthen, and composed much orch.-
and chamber-music. In 17 19 he re-
visited Halle, to meet Handel, but he
had just gone to England. 1720, his
wife died. He applied for the oi|^an of
the Jacobskirche, Hamburg. B. was
now famous, but a young rival offered
to pay 4,000 marks for the place and
got it. In 1 72 1 he m. Anna Magda-
lene WUlken, daughter of the ct.-
trumpeter at Weissenfels. She bore
him 13 children, 9 of them sons, of
whom only 2 survived him : Jn.,
Christoph, Fr., and Jn. Christian.
His second wife had a fine voice and
musical taste, and wrote out the parts
of many of his cantatas ; for her he
prepared 2 books of music In May, %
1723, cantor at the Thomasschule,
Leipzig, vice Jn. KOhnau ; also or-
ganist and dir. of mus. at the Thom-
askirche and the Nicolaikirche, con-
tinuing as " Kapellmeister vom Haus
aus." to Prince Leopold. He was
made, 1736, hon. cond. to the Duke
of Weissenfels, and court-composer
to the King of Poland, and Elector
of Saxony. He kept his place at
Leipzig for twenty-seven years, and
there wrote most of his sacred music.
He often visited Dresden, where he
could hear the Italian opera, cond. by
Hasse. Frederick the Great having
asked to hear him, on May 7, 1747,
with his son Wilhelm Friedemann, B.
arrived at Potsdam He improvised
upon the various Silbermann pianos
in the palace, followed from room to
room by the king and his musicians.
The next day he tried the principal
organs in Potsdam, improvising a 6-
part fugue on a theme proposed by
the king. He afterward wrote a 3-
part fugue on this theme, a Ricercare
m 6 parts, several canons inscribed
'* Thematis regii elaborationes canon-
icae,"and a trio for flute, violin, and
bass, dedicating the ** Musikalisckis
Opfer *' to the king. 1749. ^'^^ op^-
ations to restore his sight, weakened
by copying his own and other men's
works and engraving his '^^ Art of
Fugue ^'* left him totally blind and
ruined his previous vigour. His sight
was suddenly restored, July 10, 1750;
but 10 days later he died of apoplexy.
He dicUted the choral ** Vor da-
nen Thron tref ich hiemit^ shortly
before his death.
Among his distinguished pupils were
Krebs, Homilius, Agricola, Kimber-
ger, Goldberg, Marpurg; J. Ka^)er
Vogler ; Altnikol, his son-in-law, and
his sons, for whom he wrote the
•* KlavierbUchUin;' and the " Kunst
der Fuge.^* He engraved on copper ;
invented the *' viola pomposa and
the ** Lauten-Clavicembalum " ; he
advocated equal temperament (vide
D. D.), tuning his own pianos and writ-
ing ''Das WohltemperirU A'iazner,'" to
further the cause. This work (known
in English as '* Th^ welHempcred
Clavichord:' or ** The 48-Fupies^
is a set of 48 preludes and fugues,
two of each to each key, major and
minor. The works are very chromatic
and use the keys enharmonically.
Some of his improvements in finger-
ing still survive. Bach was little
known as a composer during his life,
and few of his works were published
then. He was not indeed established
on his present pinnacle till Mendels-
sohn took up his cause, in 1829 ;
Franz was also an important af^nt in
?reparing his scores for general use.
n 1850, a hundred years after his
death, the Bach-Gesellschaft be-
gan to publish his complete works.
Many other Bach societies now exist
B's. enormous list of works includes :
Vocal, 5 sets of church Cantatas for
DICTIONARY OF MUSICIANS 393
Sundays and feast-days. ** Gottes Zeit
ist die besU Zeit^^'' etc., secular be-
trothal cantatas, 2 comic cantatas, the
"Baiurn Cantate " and ** Coffee-Can^
taUj^ a protest against the excessive
use of the beverage, and Trauerode^
on the death of the Electress of Sax-
ony ; 5 Passions, incl. the St. Mat^
thiw, the St. John, and the St, Luke
(doubtful) ; a Christmas Oratorio, in
5 parts ; 4 small masses and the
Grand Mass in B min. ; motets ; 2
Magnificats; 5 Sanctus. Instru-
mental, numerous pieces for clav-
ichord : inventions in 2 and 3 parts ;
6 '* small ** French suites ; 6 ** large **
English suites ; Preludes and Fugues,
incl. ' 'Das Wohltemperirte Klavier " /
pf. -sonatas with instrs., incl. 6 famous
sonatas for pf. and vln. ; solo son-
atas for vln. and 'cello ; solos, trios,
etc., for various combinations of
instrs., concertos for i to 4 pfs., vln.
and other instrs., concertos with orch.
overtures and suites, and fantasias,
toccatas, preludes, fugues, and chor-
ale-arrangements for organ. The
best biography of B. is by Spitta
(Leipzig, 1873-80, 2 vols.; Eng.
transl., London, 1884-85).
The Art of Johann Sebastian Bach.
By Sir Charles Hubert H. Parry.
FOR more than a century before J. S. Bach came upon the scene, a
succession of exceptionally gifted and earnest composers had been hard
at work developing the methods and style of organ -music. Andrea
Gabrieli and his nephew Giovanni Gabrieli and Claudio Merulo in Venice
and Ian I^eterzoon Swelinck in Amsterdam had already done much to define
its true sphere and style before the era of pure choral-music was ended. The
tzAj years of the seventeenth century saw Frescobaldi in the zenith of his
5une, and his pupil Froberger following worthily in his footsteps ; and through-
out the century rapid progress in the accumulation of artistic methods and the
development of true instrumental forms was made by such famous organists as
Scheldt, Scheidemann, Pachelbel, Mu£^t, Reinken, and Buxtehude. And
when it is considered that this branch of art already enjoyed an advantage
over the new secular form of art which began to be cultivated at the end of
the sixteenth century, through having its foundation securely laid in the old
style of sacred choral-music, it seems natural that by the beginning of the
eighteenth century it should appear to be the most mature of all the branches of
art then cultivated. ^ These circumstances had profound and far-reaching
influence upon J. S. Bach's musical character. In unravelling the secrets of
art he was naturally attracted by that branch which possessed methods most
fully developed for the formulation of the artistic impulses which were urging
him to utterance. But the attraction was enhanced by the fact that organ-
music had already become a kind of appanage of German composers, and
had proved the one special form of art in which the fervent religion of Teutonic
Protestants found the highest artistic expression. ^ Hence it came about
396 THE MUSICAL GUIDE
that, great as his powers were as a composer of choral-music and of suites
and secular instrumental music, he was first and foremost a writer of organ-
music, and inasmuch as organ-music was the only branch of art which was
even approximately mature in his youthful and most impressionable days, the
methods and diction of organ-music permeated and served as the fbundation
of his style in all branches of art which he attempted. In his earlier yean
he copied out and studied the works of great composers for the organ, and
watched with critical appreciation the performances of great organbts such as
Reinken and Buxtehude. It is easy to trace in his own work the impression
made on him by the interlinked suspensions of Frescobaldi and Froberger
and by the vivacity of their fugue subjects ; by the treatment of chorale melo-
dies with elaborate figuration of accompanying counterpoint in which Pachelbel
excelled, by the copious picturesqueness of detail and the richness and emo-
tional force of the harmonisation of Buxtehude. ^ He brought all such spedal-
ities of earlier composers into the sphere of his own operations, and fused
them into consistency by the force of his personality, and this assimilation be-
came the foundation of his life's work. Most of his best oryn-music. such
as the sonatas, preludes, fiigues, Stasias, canznnas .and movements toimded
on chorales, and the great passacaglio in C minor, belong to comparatively
early years, and his concentration on this branch of work was only relieved
by the producdon of a few chur^ rantafaw, which showed that he had begun
to consider other forms of art, in which in later years he attained such com-
prehensive mastery. After many years spent in several organistships, came
the singular central episode of his life, when the appointment as Capellmeister
to the Prince of Anhalt-Cothen caused him to apply his mind almost exclu-
sively for some years to secular instrumental music, mainly of a domestic kind.
^He sought for his models and types of procedure in the suites and ordres
of the French composers, such as Couperin and Dieupart ; and among the
examples of the so-called French overture, which came into prominence in
Lulli's operas, and had found such a brilliant imitator in Muf&t. He
studied also the instrumental compositions of the Italians, such as the con-
certos of Vivaldi, and the sonatas for stringed instruments of other Italian
composers such as Albinoni and Legrenzi and even German imitations of
such works like Reinken' s " Hortus Musicus ** ,• and the outcome was a per-
fect outpouring of suites and partitas for the domestic keyed instruments, solo
sonatas for violin, flute, viole de gamba and concertos for strings and varioos
combinations of orchestral instruments ; and last and perhaps most notable of
all, the collection of the twenty-four preludes and fugues in all keys, which
he called — as a sort of manifesto of his belief in the system of equal tempera-
ment, which made all keys equally available for the purposes of the com-
poser— ** Das WoblUmpcrirte Clavier.'*^ Underlying a very large pfo-
DICTIONARY OF MUSICIANS 397
portion of the works of various kinds, even dance tunes or movements for a
solo instrument like the .violin, fiigue principles of procedure are predominant.
The lightest dance tunes have a contrapuntal texture, and in the more serious
tnd artistic examples it is so woven as to display beautiful combinations of
ornament and melodic designs, ingenious sophistications of accent and subtleties
of rhythm such as are only possible in the style of instrumental counterpoint
which had sprung up in the development of the artistic requirements of organ
fugues. ^ In the famous collection of preludes and fiigucs, which he ultimately
increased to forty- eight by the addition of a second collection, the style of in-
strumental counterpoint which had been developed for organ-music found a
new but most congenial sphere. As the works are written for the domestic
keyed instruments such as the tender expressive clavichord, or the pict-
uresque harpsichord, they necessarily illustrated different artistic intentions
from such as characterised genuine organ -music. Large scope of design and
powcrfiil effects of tune were obviously out of place, and more subtle treat-
ment and greater intrinsic interest of detail were inevitable, ^['^^u* ^^
fugue became much more compact than the organ-fiigues, and the treatment
of melodic line and expressive harmony more intimately human. The com-
poser deals with more variety of style than in his organ-compositions, and
many of the fugues may be taken as studies in human moods, such a play-
fiilness and gaiety, pathos and melancholy, contemplation and forvour,
merriment, dignity, and confidence. The adaptation of known principles of
irtisdc procedure to a purpose, at tht% time so novel, was characteristic of
Bach's attitude toward art ; and this is as true of the preludes as of the
fugues. The genealogy of the preludes may in some cases be traced back as
fir as the figurate preludes and little fantasias of such early types as were
produced by the Elizabethan composers of virginal music and then- con-
temporaries in other countries ; though the form is enormously enhanced in
J. S. Bach's hands by the skilfiil use of more definite and attractive figures,
tnd a higher balance of organisation in each work. However, the forms of
the preludes are extremely various. Some seem to be almost without prec-
edent. As, for instance, the rapturous instrumental song with solo part and
accompaniment all combined for one instrument. ^ Among the preludes are
also a few of the rare andcipations of complete sonatas of the harmonic kind,
morements with dbtinct contrast of key in the first half, " working out,"
and modulation in the central part, and a recapitulation of the concrete
material of the opening portion to conclude with. These occasional excur-
•ions out of what seemed to be his most congenial ground, are often thoroughly
nccessfiil, but all the same his venture into the Italian manner and the
Italian type of form prove rather that he grasped their artistic meaning fiiUy
than that he beheved in then* efficiency as vehicles for the highest aspirations
398 THE MUSICAL GUIDE
of the composer. In the latter part of his life J. S. Bach dealt more m the
grand forms which bring into play the methods and resources of many
subordinate forms of art, both instrumental and vocal — such as the noble
settings of the Passion, the masses — especially the great one in B minor — ^ihc
work known as the " Christmas Oratorio^* and the immense collection <rf
church cantatas written for Sundays and festivals in the churches in Leipzig.
In all of these branches of art he had precursors, and the types of virious
kinds had been explored. The Italian aria-form had been more or less
transformed for German purposes before he gave it his own excepdonal
character and high artistic organisation. ^The peculiar form of expressive
recitative, so earnest and deeply emotional, which became a characteristic
feature of German music and prefigured much in its latest dramatic mani-
festations, had found worthy exposidon. The treatment of chorales with
rich harmonisation and elaborate part- writing and the development of the so-
called motet choruses and choral fugues and even the peculiar contrapuntal
treatment of the accompanying instruments had all found charactenstic Ger-
man exponents. Moreover, the form of Passion music had engaged the at-
tention of composers for nearly two hundred years and had arrived at i
considerable degree of development recently in the hands of Kuhnau, Kdser
and Handel himself. But Bach's treatment of the scheme so immeasurably
distanced all those who went before him that in later time his settings " Ac-
cording to St, Matthew '* and ** St. John ** seem to stand almost alone in
their pre-eminent glory. The same js the case with his church cantatas.
^The best work even of such composers as Buxtehude and John Christopbc
Bach seems singularly bald by the side of the copious variety and the inven-
tive vigour of his work of this kind. True it is that in all such cases, and
even in such mighty phenomena as the choruses in the B minor mass, he
built upon the foundation his predecessors supplied and with methods tbey
had helped to make available. ^[His peculiar quality was to divine how the
resources of art which he found in being could be applied to purposes so
grand and comprehensive that it is difficult to realise that the methods were
in truth the same as had been used by his forerunners. Hb artistic powers
and insight were at such an immeasurably higher plane than thos^ who pre-
ceded him that music seems at once to have stepped out of childishness into
maturity at his bidding. ^In a sense his work is final and isolated. His
work stands alone as the summing-up of a long period of preparation ; and
the summing-up in his characteristically Teutonic direction seemed so com-
plete that nothing remained to be said in the lines which he had illustrated.
No composer followed in his footsteps. Those who understood him saw
that they could not approach him ; and the world in general wanted a more
easy-going and accommodating standard of art. So the succeeding genoradon
rikAiAttrik
^fa
««Mi
DICTIONARY OF MUSICIANS 399
of composers cultivated the more plausible Italian manner and the easily manip-
ulated Italian form, ^h was not for a century that his style and methods be-
gan to exert influence, and they came back to regenerate the world growing
stale with the overpersistency of harmonic forms of the sonata order. ^In-
deed it was the rise of what was called the romantic movement which
brought J. S. Bach back into the hearts of men, and made his ways of pro-
cedure suggestive of new developments. The foremost prophets of the
Romantic movement, Schumann and Chopin, were his most ardent admirers.
^To the Classicists the style of J. S. Bach had seemed somewhat archaic.
But as men began to long for human expression in art and the greater elasticity
of form which helps to closer characterisadon of mood and feeling, the richness
of possibilities and the greater pliancy of the forms Bach used became more
and more apparent. At the same time the perfect adaptation of means to
ends which his perfect self-containment manifest may serve as a corrective
and a counterpoise in the turbulent dmes which follow the opening of the
floodgates of dramatic passion. Those who cherish a constant love of the
human art of John Sebastian Bach have still a guiding light which will not
betray them.
(25) Karl Philipp Emanuel C'the
Berlin " or " Hamburg Bach "). Wei-
mar, March (8?) 14, 17 14 — Hamburg
(Sept. 7) Dec. 14, 1788. Son of above
(vide CHART OF backs). Studied phi-
losophv and law at Leipzig and
Frankfort ; cond. a singing society at
Frankfort, for which he composed.
1737 (38?) in Berlin. Chamber-mus.
and clavccinist to Frederick the Great,
1746-57 [or 1740-67?]. 1757 Ham-
burg as Ch.mus.-dir. ; 1767 as Musik-
director of the principal church there,
▼ice Telemann, a position held till
death. He was one of the chief vir-
tuosos of the day. He was the found-
er of the modem school of piano-
pla3ring, and a pioneer of greatest
importance in the sonata and sym-
phony-forms and orchestration, his
works having a graceful modernity
not possessed even by most of his
father's. He wrote ** Versuch Uber
die wahre Art das Clavier tu spie-
len^* (2 parts, 1753-62), an impor-
tant work containing detailed expla-
nations concerning ornaments. His
very numerous comps. include 210
solo pieces ; 52 concertos with orch. ;
quartets, trios, duets, sonatas, son-
atinas, minuets, polonaises, solfeggi,
fugues, marches, etc., for clavier; 18
symphonies ; 34 miscellaneous pieces
for wind-instrs. , trios ; flute-, *cello-,
and oboe-concertos; soli for flute,
viola di gamba, oboe, cello, and harp,
etc., and 2 oratorios (** Die Israeliten
in der Waste,'' and ** Die AufersUh-
ung und Himmelfahrt Jesu'"), 22
Passions : cantatas, etc.
(26) Aug. Wm., Beriin, 1796 — 1869 ;
organist, teacher, and composer. (27)
(Rightly Bak), Albert Ed., b.
Gyula, Hungary, March 22, 1844 ;
teacher, critic, writer and dram, bass ;
debut, 1871. (28) (Dr.) Otto, Vienna,
1833 — Unter-Waltersdorf, 1893 ; con-
ductor and composer. (29) Leon-
hard Emil, b. Posen, March 11,
1849; pianist, pupil of Kullak, Wuerst
and Kiel ; 1874, court-pianist to
Prince George of Prussia ; ca. 1890,
London. Composed opera Irmen-
gard (London, 1892) ; succ. i-act
opera, The Lady of Longford (Lon-
don, 1894) ; succ. i-act comic opera,
400
THE MUSICAL GUIDE
Des Kdnigs Garde (Cologne, 1895),
etc.
Bache (bach), (i) Francis Edw., Bir-
mingham, 1833 — 1858 ; violinist. (2)
Wiuter, Birmingham, 1842 — Lon-
don, 1888, bro. of above ; pianist and
teacher. (3) Constance, b. Birming-
ham, sister and pupil of above ; pupil
of Klindworth and Hartvigson ; since
1883 teacher, translator, and com-
poser in London.
Bachmann (bakh'-man), (i) Anton,
1 7 16— 1800 ; court-musician at Ber-
lin, instr. -maker ; in v. the machine-
head. His son and successor,* (2)
Karl L., 1743 — 1800, court-violinist,
player, married the pianist and singer
(3) Charlotte Karoline Wilhel-
mine Stowe, Berlin, 1757 — 1817.
(4) Pater Sixtus, Ketterhausen, Ba-
varia, July 18, 1754 — Marchthal, near
Vienna, 18x8 ; organist and pianist of
unusual precocity, and memory ; said
to have played by heart over 200
pieces at 9 ; at 12 equalled Mozart,
then 10 years old, in organ-competi-
tion, at Biberach ; became a Premon-
strant monk, composed masses, etc.
(5) G. Chr., Paderborn, 1804 — Brus-
sels, 1842 ; clarinet-maker, soloist and
teacher. (6) Georges, ca. 1848 —
Paris, 1894. (7) Gottlob, Bomitz,
Saxony, 1763 — Zeitz, 1840, organ-
ist.
Bachofen (b£kh'-of-£n), Jn. Kaspar,
Zurich, 1692 — 1755 ; organist.
Bachrich (bakh'-rikh), Sigismund, b.
Zsambokreth, Hungary, Jan. 23,
1841 ; violinist, pupil and now teach-
er at Vienna Cons.; composed 4
comic operas incl. Der Fuchs-Major
(Prague, 1889), etc.
Ba(c)ker-Gr<5ndahl (bak'-€r gron'-dal),
Agathe, b. Holmestrand, Norway,
Dec. I, 1847 ; pianist and composer ;
pupil of Kjerulf, Bulow and Liszt ;
she married 1875, Grondahl, singing-
teacher in Christiania.
Backers, Americus. Vide broad-
wood. ,
Back'ofen, Jn. G. H., Durlach, Baden,
1768 — Darmstadt, 1839; virtuoso
and manufacturer of wind-instrs. at
Darmstadt ; writer and composer.
Ba'con, Richard Mackensie, Nor-
wich, Engl., 1776 — 1844; teacher
and writer.
Badarczevska (bil-d&r-ch^r-shka).
Thela, Warsaw, 1838 — 1862 ; she
composed *' Lapri^re d^utu vUrgt^
etc.
Bader (bS'-d^r), K. Adam, Bamberg,
1789 — Berlin, 1870; cathedral-organ-
ist, Bamberg (1807) ; later first tenor
Berlin court o[)era (1820-45).
Ba4ia (ba-de-a). (i) Carlo Ag., Ven-
ice, 1672 — Vienna, 1738 ; court-com-
poser at Vienna. (2) Luigi, Tirano,
Naples, 1822 — Milan, 1899; com-
posed 4 operas.
Bagge (bag'-g«), Selmar, Coburg,
1823 — Basel, 1896; editor and com-
poser.
Bagnolesi (bSn-yd-l&'-ze), Italian con-
tralto in London, 1732.
Bahn, Martin. Vide trautwein.
B&hr (of Btir, or Beer) (bir), Jn., St
Georg (Austria), 1652 — 1770; court-
conductor and writer of satirico-
musical pamphlets signed ** Ursus
murmuraty'* ** Ursus triumpkai^^
etc.
Bai (or Baj) (bS'-e), Tommaso, Cre-
valcuore, near Bologna, ca. 1660—
Rome, Dec. 22, 1714 ; tenor at the
Vatican; conductor, 1713; composed
a Miserere^ sung in the Pap»al Chap- .
el, during Holy Week, alternately
with those by AlleOTi and Baini.
Baif (b!f), Jn. A. de, Venice, 1532—
Paris, 1589 ; composer.
Baildon (bal'-dCin), d. London, 1774,
Gentleman of the Chapel Royal, and
composer.
Bai'ley, Marie Louise, b. Nashville,
Tenn., Oct. 24, 1876 ; Leipzig, Cons.
Pupil of C. Reinecke, winning a
scholarship, and with Leschetizky;
debut, 1893, Gewandhaus, Leipzig;
Chamber-virtuoso to King Albert of
Saxony ; now lives in Vienna.
Baillot (bt-yo), (i) P. M. Fran, de
Sales, Passy, Oct. 1,1771 — Paris.
Sept. 15, 184a ; eminent yioUnist. popil
DICTIONARY OF MUSICIANS 401
of Polidori, Sainte, Marie, and Poll-
ani ; later prof, of vln. at the Pans
Cons.; toared Europe ; 1821, leader at
the Grand Opera ; 1835, solo violinist,
Royal Orch.; wrote famous ^^ VArt
du Fiolon" (1834) and '' MMode du
Violon;** composed 10 vln. concer-
tos, 3 string-quartets, 24 preludes in
all keys, etc. (2) 'R€n€ Paul, Paris,
1813 — 1889 ; son of above. Prof, at
Paris Cons.
Baini (blUe'-ne), Abbate, Gins.,
Rome, 1775 — 1844; composer and
conductor at St. Peter*s ; wrote famous
life of Palestrina.
Baj (ba'-e). Vide bai.
Bajetti (ba-y^t'-te), Giov., Brfescia, ca.
181 5 — Milan, 1876 ; violinist, con-
ductor and dram, composer.
Baker., (i) G., Exeter, England, 1773
—Rugelcy, 1847 ; organist, violinist,
and composer. (2) BenJ. Franklin,
b. Wenham, Mass., July 10, 181 1 ;
singer, teacher, and editor.
Balaldrew (b£-U-ke'-rgf), Mily Al-
ezejevitch, b. Nijni-Novgorod,
Russia, 1836 ; studied at Kasan
Univ., as a musician, self-taught ;
debut as pianist in St. Petersburg,
1855 ; founded the ** Free Music
School," 1862 ; 1866, opera-conductor
Prague ; 1867-70, conductor Imp.
Music Society^ St. Petersburg, re-
tired 1872 ; composed a symph.
poem ** Tamara'' ; music to ^' Kin^,
Liar " / Russian, Czech and Spanish
overtures ; an Oriental fantasia,
*^ Islamti^* for pf., etc.; pub. 1866, a
colL of Russian Folk-songs. 1901,
Svmphony in C.
Balart (bS-llut'), Gabriel, Barcelona,
1S24 — 1893 ; studied in Paris ; con-
ductor, later director Barcelona Cons.;
composed zarzuelas (Vide D. D.).
Balatka, Hans, Hoffnungsthal, Mo-
ravia, 1827 — Chicago, 18^; studied
at Vienna ; 1849, America ; 185 1,
founded the Milwaukee Musikverein ;
i860, conductor of Chicago Philh.
Soc. ; composed cantatas, etc.
Balb4tre or Balbastre (b&l-bStr),
Claude Lonis, Dijon, 1729 — Paris,
1799 ; pupil and friend of Rameau ;
organist and composer.
Balbi (bal'-be), (i) LudoTico, com-
poser and conductor at S. Antonio,
Padua ; ca. 1606, Franciscan mon-
astery, Venice. (2) (Cav.), Melchi-
orc, Venice, 1796 — Padua, 1879;
church-conductor, theorist and com
poser.
Baldassari (bil-d^sa -rg), Benedet-
to, Italian tenor in London, 1721.
Bal'denecker, (i) Nikolaus, b.
Mavence, 1782 ; violinist (2) Kon-
raa, b. 1828 ; pianist.
Baldewin (biil-d£-ven). Vide BAUL-
DEWIJN.
Balfe (b^lO, Michael Wm., Dublin,
May 15, 1808 — Rowney Abbey, Hert-
fordshire, Oct. 20, 1870; operatic
composer; pupil of O'Rourke, Ire-
land, and C. F. Horn, London ;
1824, violinist Drury Lane; also
sang in London ; went to Italy with
his patron Count Mazzara, and stud-
ied comp. with Frederici at Rome,
and singing with F. Galli at Milan ;
his ballet La Ph'ouse^ prod, there
(1826) ; pupil of Bordogfni, and first
barytone at the Ital. Opera, Paris
(1828), and elsewhere till 1835 J com-
posed several Italian operas ; m. the
Hungarian singer Lina Rosen (1808
— London, 1888) ; he ret. to England,
1835, and prod. The Siege of Ro^
eke lie (Drury Lane) ; failed as man-
ager; went to Paris, returned 1843,
and prod. The Bohemian Girl, very
successful everywhere ; prod. Paris,
1856, in 5-act version as "Za Boh^-
mienne" In 1857, his daughter
Victorie made her debut in Italian
opera ; 1864, he retired to his country-
seat, Rowney Abbey ; he composed
31 operas in all, including 7^he Rose
of Castile (1857) ; Satanella (1858);
// Talismano (1874) '. biog. by C. L.
Kenny (London, 1878), and W. A.
Barrett (do. 1882).
Ballabene (bSl-la-ba'-n^), Gregorio,
lived 1 8th cent (?) ; composed a re.
markable Kyrie and Gloria in 48 teal
parts, performed at Rome, 177a
402
THE MUSICAL GUIDE
Ballasarini (bftl.I2.tsiUre'.ne) (or Bal-
tmgtritd)f Italian violinist; came
from Piedmont to Paris, 1577, and
was court-intendant to Catherine de
Medicis, who gave him the name " M.
de Beaujoyeulx '*; founder of the
ballet, and indirectly of French
opera.
Ballard (b&r-l&r'). a family of French
music-printers ; founded 1552 by
Robert B., with a patent, from
Henri II., as ** Seul imprimeur de la
musique de la chambre, chapelie et
menus plaisirs du roy." The patent
expired 1776 after being held by R.,
and his brother-in-law, Adrien la
Roy ; by Pierre B.» 1633 ; Robt.
£d^ Christophe, 1673; T. ^apt.
695^ ; Chp. J.
1750 ; P'. Robt. Chp., 1763.
Christophe, 1695 ; Chp. J. Fran.,
Baltagerini. Vide ballazarini.
Balthasar (called Balthasar-Flo-
rence) (b&l-tii.zilr fl6.rahs), H. Mat.,
b. Arlon, Belgium, Oct. 21, 1844;
pupil of F^tis ; m. (1863) a daughter
of the instr. -maker Florence ; com-
posed operas, etc.
Baltzar (balt'-tsSr), Thos., Lttbeck,
ca. 1630— London, 1663 ; eminent
court-violinist in England from 1656.
Balt'zell, WUlardJ., b. Philadelphia,
U. S. A., d. 1900 ; teacher Ohio Wes-
leyan University, Ohio ; composed
sonfiTS.
Banchieri (bSn-kl-i'-re), Adr., Bo-
logna, 1567 (?) — 1634; theorist and
organist.
Banck (biink), K., Magdeburg, 1809^
Dresden, 1889; critic and vocal
teacher.
Banderali (bSn-di-ri'-le), Davidde,
Lodi, 1780 — Paris, 1849 ; buffo tenor,
then teacher at Paris Cons.
Bandini (b^n-de-ne), (1) Primo, b.
Pamia, Nov. 29, 1857 ; pupil R.
School of Music there ; composed
successful operas Eufemio di Messi'
na (Parma, 1878), Fausta (Milan,
1886), Janko (Turin, 1897). (2)
Uberto Rieti, b. Umbria, March
28, i860; pupil of Giustiniani, Bol-
doni, Rossi Tergiani, and Sgambati ;
composed prize overture '* EUtmcra*
symphony, etc.
Bandrowski (b&n-drof'-shkl). Alex.
Kitter yoii, b. I^ubackzon, Galicia,
April 22, i860 ; operatic tenor, stud-
ied Cracow University, then with San-
giovanni, Milan, and Salvi, Vienna:
d^but Berlin ; for some years leading
tenor Cologne opera ; has sung also
in Russia, and oratorio in England;
sang Paderewski*s Manru at Warsaw
and in New Vork igo2.
Baa^s (ba-nds), A. Anatole, b. Paris,
June 8, 1856; pupil of E. Duraod;
officer of pub. instruction ; composer
of operettas ; lives in Paris.
Baa'ester, Gilbert, i6th cent; Eng-
lish composer of Flemish influences.
Banister, (i) J., London, 1630^
1676(79 ?); court-violinist and compos-
er. (2) J. (Jr.), d. 1735 ; son of above ;
court- violinist (3) Chas. Wm., 176S
— 1 83 1 ; composer. (4) Hr. Joshua,
London, 1803—1847. (5) Hj. Chas.,
London, 1831 — 1897, son of (3);
pianist, teacher, and writer; pub.
^'^ Lectures on Musical Anafyns^
etc
Banks, (i) Benj., vln.-maker, Lon-
don, 1750 — 1795, succeeded by his
son (2) Beaj. (Jr.). Two other sons,
(3) James, and (4) H., were also vb.-
makers.
Bannelier (b&-n£l-ya), Chas., Paris,
1840 — 1899; writer.
Banti-Gtorgi (biin'.te-j6r'.je), Bri-
(^da, Crema, Lombardy, 1759 — ^^
logna, Feb. 18, 1806 ; dram, soprano;
first a chanieuse in a Paris cafe, later
cngs^ged at the Grand Opera ; toured
Europe with great success ; her voice
was remarkable in compass and even-
ness, but she was musically illiterate ;
m. the dancer Zaccaria Banti.
Ban'tock, Graayille, b. London, Aug.
7, 1868 ; studied R. A. M., took ist
Macfarren Prize for comp.; his first
work, dram, cantata ** Tkt Fire- IV^r-
sAipperSy'* successfully prod., 1S89;
successful i-act romantic opera Ca^d"
mar (London, 1892); conductor of
Gaiety Theatre Troupe; composed
DICTIONARY OF MUSICIANS 403
other operas (text and mus.), also
symph. overture ** Saui" ; dram.
Aphony in 24 parts, ** TA€ Curse
0/jteAaMa" etc.
Btp'tie, David, b. Edinburgh, Nov.
30, 1822 ; lives in Glasgow ; com-
posed anthems, etc. ; compiled hymn-
books.
Btptiste (rightly Baptisle Anet)
(bftp-test-i-na), violinist at Paris,
1700, where he introduced Corelli*s
worki.
Barbaco'la. Vide barbireau.
Barbedette (b&rb-d^t), H., b. 1825 ;
writer and composer.
Barbaja (bSr-bfi -yd), Domenico* Mi-
lan, 1778 — Posilippo, 1841 ; impre-
sario.
Barbaiien. Vide barbireau.
Barbarini (bar-bi-re'-ne), Manfredo
Lnpi; lived i6th cent.; composed
motets under the name of ** Lupi "
(q. T-).
Barbel la, Emannele, d. Naples,
1773 ; violinist and composer.
Barberean (biU'.b&-r5), (i) Maturin-
Ang. Bal., Paris, 1799 — 1879 ; con-
ductor and theorist. (2) Vide bar-
bireau.
Barbier (bftrb-ya), (i) Fr. Et., Metz,
1829 — Paris, 1889 ; teacher and lead-
er; composed over 30 operas. {2)
Jules Paul, Paris, 1825 — Jan., 1901.
collaborator with Carr^, in the lib-
retti of many operas, including Les
Notes dejeannette (Mass^) ; Le Par-
don de rloirmel (Meyerbeer) ; Faust
(Gounod) ; PhiUmon et Baucis (Gou-
nod) ; Rom/o et Juliette (Gounod) ;
Hamlet {P\xc\ix, lliomas). (3) Paul,
b. Paris, 1854, son of above, libret-
tist.
Barbieri {bar-bt-a-re). (i) Carlo
Emm. di, b. Genoa, 1822 — Pesth,
1867; conductor and dram, compos-
er. (2) Francisco Asenjo, Ma-
drid, 1823 — 1894 ; very pop. com-
poser of Zartuelas (Vide D. D.).
Barbireau (b&r-bT-rd) (or Barbiriau,
Barbarieu, Barbyria'nus, Barbe-
raa, Barbing^aut (b&r-b&A-g5), or
Baibaco'la), d. Aug. 8, 1491 ; from
1448 choirmaster of Notre-Dame,
notable cptist., composed masses, etc.
Barbot (b&r-bd), Jos. Th. D6sir«,
Toulouse, 1824— Paris, 1897 ; tenor ;
created **/Vi«j/," 1859; 1875, prof.
Paris Cons.
Bardi (b&r'-de), Gtor., conte del Ver-
nio, Florentine nobleman and patron
of the i6th cent., under whose influ-
ence the attempted revival of the
Greek • lyric drama led to modem
opera. At his house ^*Dafne** was
performed. (Vide peri.)
Bargaglia (bar-g2l'.y£), Scipione,
Neapolitan composer, said to have
first used the word ** concerto " (1587).
Barge (bar'-g«), Jn. H. Wm., b.
Wulfsahl, Hanover, Nov. 23, 1836 ;
self-Uught flutist ; 1867-95 first flute,
Leipzig Gewandhaus Orch., retired
on pension ; teacher Leipzig Cons. ;
wrote " Method for Flute ; com-
posed 4 orchestral flute-studies, etc.
Bargheer (bar'-khar), (i) K. Louis, b.
BUckeburg, Dec. 31, 1833 ; violinist ;
pupil of Spohr, David, and Joachim ;
1863, court-conductor at Detmold,
made concert-tours ; 1879-89, leader
Hamburg Phil. Soc., teacher in the
Cons.; later leader in Billow orch.
(2) A., b. Bttckeburg, Oct. 21, 1840,
brother of above, pupil of Spohr ;
court-violinist Detmold ; since 1866,
Prof. Basel Sch. of Music.
Bargiel (b^r'-gel), Woldemar, Ber-
lin, Oct. 3, 1828 — Feb. 23, 1897;
important composer ; pupil, Leipzig
Cons. ; later Prof, in Cologne Cons.;
1865, dir. and cond. of the Mus.
Sch., Amsterdam; 1874 Prof. R.
Hochschule, Berlin ; 1882, Pres.
•* Meisterschule ftir musikalische
Komposition " ; composed 3 overtures
•• Zu einem Trauer spiel (Romeo and
Juliet) " ''Prometheus:' ** Medea "/ a
symphony ; 2 psalms for chorus and
orchestra ; pf .-pes. , etc.
Baril'li, A., 1826— Naples, 1876 ; half-
brother of Adelina Patti.
Barker, Chas. Spackmann, b. Bath,
1806 — Maidstone, 1879 ; org^-build-
er ; invented the pneumatic lever.
404
THE MUSICAL GUIDE
BtLrmaii (bftr'-mSn), (i) H. Jos., Pots,
dam, 1784 — Munichf 1847 ; clarinet-
virtuoso and composer. His brother
(3) K., 1782 — 1842, was a bassoonist,
(3) K., (Sr.), son of H. J. B., was a
clarinettist ; his son (4) IC., (Jr.), b.
Munich, July 9, 1839 ; pupU of Liszt
and Lacnner ; teacher at Mimich
Cons., lives in Boston, Mass., as
pianist and teacher ; composed piano
pieces.
Bar'nard, (i) Rev. Jn., canon St.
Paul's Cathedral, London ; pub. 1641
the first coll. of cathedral-music. (2)
Mrs. Chas. (nee Alington), 1830—
Dover, 1869; composed popular
sones, etc., under name ** Clari"
bd."
Barn'bjT, (i) Rob., York, England,
1821 — London, 1875 ; alto-singer.
Chapel Royal. (2) Sir Jos., York,
EngL, Aug. 12, 1838 — London, Jan.
38, 1896 ; choirboy at 7 ; at 10 taught
other boys; at 12 organist; at 15
music-master ; 1854 entered the R. A.
M., London ; then organist various
churches and cond. ; 1875, precentor
and dir. at Eton ; 1892 Principal of
Guildhall Sch. of Mus. ; knighted,
July, 1892 ; composed, ** Rebekak^'*
a sacred idyll (1870) ; Psalm 97 ; Ser-
vice in E, etc.
Barnes, Robt., violin-maker, London,
1760— 1800.
Bamett, (i) J., Bedford, England,
July I, 1802 — Cheltenham, Apnl 17,
1890,** The father of English opera •* ;
pupil of C. E. Horn, Price, and
Ries ; brought out his first opera
''Before Breakfast;' 1825; ''The
Mountain Sylph " (1834) ; the very
succ. ** Fair Rosamond " (1837), and
*' FarinelW' (London, 1838); 1841,
singing teacher at Cheltenham ; left
2 unfinished oratorios, a symphony,
etc. (2) Jos. Alfred, London, 18 10
— (?), 1898 ; bro. of above ; comp>os-
«r. (3) J. Francis, b. London, Oct.
16, 1837, nephew of above ; studied
with Dr. Wylde (1849) ; and at R. A.
M., and Leipzig Cons. ; debut as
pianist, 1853 ; 1883, prof, at R. Coll.
of Mui. ; composed oratorio " The
Raising of Lasarut " (1876), sympho*
njr in A min., "Ouverture sympho-
nique" (1868), overture to Ir inter's
Tale (1871), cantatas, etc.
Baron (ba'-r5n), Ernst GL, Breslau,
1696— Berlin, 1760 ; court-lutenist
and theorbtst ; writer and composer.
Barr< (or Barra) (bjlr-ra or bir'-ri).
(i) Leonard, b. Limoges ; singer in
Papal Chapel (1537) and special mu-
sical envoy to the Council of Trent
(1545) ; composed madrigals and
motets. (2) A., printer, etc., Rome,
1555-70, later Milan.
Barret (b&r-ra), A. M. Rose, 1804—
Paris, 1879; oboist.
Bar'rett, (i) J., 1674 — London, 1735
(8 ?) ; organist. (2) Thos., vioUQ-
maker, London, i7io-3a (3) Wm.
Alex., Hackney, Middlesex, 1836—
London (?), 1891 ; editor and writer;
co-editor with Sir John Stainer of a
•* Diet, of Music. Terms."
Barrien'tos, Maria, b. Barcelona, ca.
1884 ; singing with wonderful suc-
cess in Rome at 1 1 years ; took two
medals for violin-pla3ring.
Bar'rington, Daines, Ix>ndon, 1727
— 1800 ; lawyer and musical essay-
ist.
Bar'ry, Chas. Ainslie, b. London,
June 10, 1830 ; pupil of Cologne
Cons, and Leipzig Cons. ; editor and
organist ; compo^ a symphony, 2
overtures, etc.
Barsantt (b&r-s&n'-te), Fran., Lucca,
ca. 1690— 1760 ; flutist, oboist, and
composer ; 1750, viola-player at Lon-
don.
Barsot'ti, Tommaso G. F., Flor-
ence, 1786 — Marseilles, 1868 ; teach-
er and composer.
Bartay (bar'.t&-e), (i) Andreas,
Sz^plak, Hungary, 1798 — Mayence,
1856; 1838 Dir. Nat. Th. Pcsth;
composed Hungarian operas, etc.
(2) Ede, Oct. 6, 1825— Sept., 1901;
son of above ; pupil Nat. Mus. Acad-
emy, Pesth ; founded i>ension-fund for
musicians ; composed overture, **/Vrf-
eles" etc
DICTIONARY OF MUSICIANS 405
Bartei (bSr-Ui'-e), GtroUmo, general of
Augnsdnan monks at Rome ; pub-
lisher and composer (1607-18).
Bartei (b5r'-t€l). (i) Aug., Sonders-
hausen, 1800— 1876 ; son of (2) H.
B., trumpeter in the court-band ; and
brother to (3) Adolf, 1809— 1878,
member of the same band. Aug.
was an excellent teacher, and trained
as 'cellists, his sons, (4) Ernst, 1824
— Remschied, 1868, and (5) Gon-
ther, b. 1833 ; pupil also of Dehn ;
Hves in Dasseldorf, as writer and
composer.
Bart (bart), (i) Chr. Samuel, Glau-
chen. Saxony, 1735 — Copenhagen,
1809; oboist. (2) F. Phil. K.
Ant., b. Cassel, ca. 1773 ; son of
above ; composer. (3) Jos. Jn. Aug.,
b. Grossli[^n, Bohemia, 1781 ;
1810-30, tenor, Vienna. (4) Gus-
tav, Vienna, 1800— Frankfort, 1897 ;
^^^ of (3) ; pianist and conductor.
(5) K. H., b. Pillau, Prussia, July
12, 1847 ; pianist, pupil of Von
BqIow, Bronsart, and Tausig ; 187 1,
teacher at R. HochschQle fQr Musik,
conductor of the Philh. concerts at
Hambun^ (vice von BQlow). (6)
Richard, left-handed violin- virtuoso ;
Univ. Mus. Dir. Marburg, till 1894 ;
since then Dir. of Hamburg Philh.
Concerts.
Barthe, Grat-Norbert (gra-ndr-b^r-
bajt), b. Bayonne, France, June 7,
1828 ; pupil Paris Cons., 1854 : won
the Grand Prix de Rome ; wrote can-
tata ** F'rancesca da Rimini '* ; com-
posed operas ''^ Don Carlos^^ and
* La Fiancee d'Abydos " (1865) ; ora-
tors, '* Judith;' etc.
Barthel (bar'-t^l), Jn. Chr., Plauen,
Saxony, 1776— -Altenburg, 183 1 ;
court-oiiganist .
Barth^lemon (b^r-ti-lii-md^) (in Eng-
Usb Bar'tleman), Fran. Hip., Bor-
deaux, 1 74 1 — London, 1808 ; violin-
ist and composer.
Bartholdy (b&r-t61.de), Jakob Salo-
mofl (of Jewish parents), Berlin,
1779 — Rome, 1825 ; diplomatist and
writer.
Barthoromew, Wm., 'London, 1793 —
1867 ; translator.
Bartlett, (i) J., 17th century. English
composer. <2) Homer Newton, b.
Olive, N. Y., Dec. 28, 1846 ; pupil
of S. B. Mills, Max Braun, Jacob-
son, etc. From 14 organist New
York churches ; now at Madison Av.
Bapt. Ch.; published a sextet, a can-
taU ** Tke Last Chieftain,'' many
songs, etc.; opera, **Za Vallihre^'
oratorio, ** Samuel^' etc., in MS.
Bartolt (bSr-to'-le), Padre Erasmo,
Gaeta, 1606 — Naples, 1656 ; church-
composer under the name ** Padre
Raimo."
Bartolini (le'-ne), V., Italian male so-
prano, in London, 1782.
Bartolo (b^-to'-lo). Padre Daniele,
Ferrara, 1608 — Rome, 1685 ; Jesuit
theorist.
Baselt (ba'-zdlt), Frita (Fr. Gv. O.),
b. Oels, Silesia, May 26, 1863 ; pupil
of KOhler and Bussler ; music-dealer,
teacher and conductor Breslau, Essen
and Naml)erg ; since 1894, director
of Philh. Verein, and *'S&ngcrver-
einigung*' (ca. 1,200 voices), Frank-
fort-on-Main ; composed 9 operettas,
nearly 100 male choruses, etc.
Baseyi (b&-sa'-ve), Abramo, Leghorn,
18 18 — Florence, 1885; journalist and
composer.
Ba'sil (Saint), The Great, Caesarea,
329--Cappadocia, 379 ; bishop ; re-
puted introducer of congregational
(antiphonal) singing into ^e Eastern
Ch., preceding St. Ambrose in the
Western.
Basili (biUze'-le), (i) Dom. Andrea,
i720^Loreto, 1775; conductor and
composer ; his son (2) Fran., Loreto,
1766 — Rome. 1850; prod. 11 operas,
and several dram, oratorios in Rome ;
1837, conductor at St. Peter's, Rome ;
composed also symphonies, etc.
Basiron (b&'-sl-ron), Giovanni, devel-
oped the motet, ca. 1430 — 1480.
Bassani (bas-sa-ne), (i) Giov., ca.
1600 ; conductor at St. Mark's, Ven-
ice. (2) (or Bassiani), Giov. Bat.,
Padua, ca. 1657 — Ferrara, 1716 ; vio-
linist, conductor and composer. (3)
Geron., b. Padua, 17th cent.; singer,
teacher and composer.
Bassano (bfis-sa'-n6) , — • — ; woman
pianist ; debut, London, Philh. So-
ciety, 1842.
Basselin (bis-l&n), Oltyier, lived at
Vire, France, 15th cent.; a fuller
whose songs were said to have been
first g^ven the name ** Vau de Vire,"
whence, vaudeville,
Bassevi (b^sa'-v£), Giacomo. Vide
CERVETTO.
Bass'ford, Wm. Kipp, b. New York,
April 23, 1839 ; pupil of Samuel Jack-
son ; toured the U. S. as pianist ;
now organist at East Orange, N. J.;
also composer.
Bassi (bas -se), Luigi, Pesaro, 1766^
Dresden, 1825 ; barytone and direc-
tor ; Mozart wrote the role of ** Don
Giovanni ** for him.
Bassiron (b&s-sY-roA), Ph., 15th cent.;
Netherland contrapuntist ; composed
masses.
Bastardella. Vide agujari.
Bastiaans (bjis'-te-ans), (i) J. G.,
Wilp, 1812— Haarlem, 1875 ; organist
and teacher at Amsterdam and at St.
Bavo's ; his son and successor (2)
Jn., 1854 — 1885; teacher and com-
poser.
Baston (b^toA), Josquin, lived,
1556, Netherlands ; contrapuntist.
Batch' elder, J. C, b. Topsham, Vt.,
1852 ; pianist and organist ; pupil of
Haupt, Ehrlich, Loeschhom, Berlin ;
organ-teacher in Detroit (Mich.)
Cons.
Bates, (i) Joah, Halifax, 1741—
London, 1799; conductor; promoter
and conductor of the famous ** Han-
del Commemoration" festivals in
London (1784-91). (2) His wife was
a sin|:er. (3) Wm., 1720 — 1790 (?) ;
English opera composer.
Ba'teson, T., England, ca. 1575—
after 161 x ; organist and composer
of madrigals.
Bathe (bath), Wm., Dublin, 1564—
Madrid, 1614 ; writer.
Batiste (ba-test), A. Ed., Paris, 1820-
1876; organist, teacher and coo-
poser.
Batistin (b&-tds-t&n). Vide struck,
I. B.
Baton (b&-ton). (i) H., i8th cent
musette-player. His brother (2)
Chas. (le jeune) performed on the
vielle ; also composer and writer,
1757-
Batta (bat'-ta). (i) Pierre, Maas-
tricht, Holland, 1795 — Brussels, 1876;
'cellist and teacher. His sons were
(2) Alex., b. Maastricht, July 9,
1816 ; 'cellist and composer. (3) }•
Laurent, Maastricht, 18 17 — Nancy,
1880 ; pianist and teacher. (4) Jos.,
b. Maastricht, April 24, 1824 ; 'cellist ;
pupil of Brussels Cons., took 2d
Grand Prix for comp. in 1845 : 9>i^^
1846 player at the Opera-Comique,
Paris ; composed symphonies, etc
Battaille (bit-tl'-yii), Chas. Aimahte,
Nantes, 1822 — Paris, 1872 ; dram,
bass.
Batanchon (b&t-ULn-shon), F., Paris.
1814— 1893; *cellist; inv. (1846) a
small 'cello, the ** barytone."
Bat 'tan, Adrian, ca. 1585 — ca. 1637 ;
English organist.
Bat'tishill, Jonathan, London, 173^
— Islington, 1801 ; conductor and
dram, composer.
Battista (bat-tes'-ta), V., Naples. 1823
— 1873 ; dram, composer.
Battistini (bat-tes-te^ne), Mattia, b.
Rome (?) Nov. 27, 1857 ; dram, bary-
tone ; dibut, Rome, 1878 ; sang at
Buenos Ayres and principal theatres
in Europe.
Battmann (bat'-mim), Jacques L.,
Maasmilnster, Alsatia, 18 18 — Dijon,
1886 ; organist.
Batton (b&t-toA), D6sir< Alex., Paris,
1797 — Versailles, 1855 ; teacher and
dram, composer.
Batttt (biit-tQ), Pantaloon, Paris.
1799 — 1870 ; violinist and composer.
Baudet (b5-da), Hubert Cyrille ; in-
vented *' piano-violin," or ** fnano-
quatuor," 1865.
Baudiot (bod-y5), Chas. N., Nancy,
1773 — Paris, 1849; 'cellist.
DICTIONARY OF MUSICIANS 407
Bandoin (or Bandonyn) (bo-dwiln).
Vide BAULDEWIJN.
Bauer (bow'^r), (i) Chrysostonms,
iSthcent. organ-builder at WOrtem-
benf. (2) Haroldy b. London, 1873,
of English mother and German father;
played violin in pmblic at 9 ; studied
with Gorski, Paris ; then the piano,
in 1892, under Paderewski ; debut
as pianist, Paris, 1893 ; has toured
Europe and, since 1900, America,
with great success.
Banldewijn (bod-w&ii^ (or Banlduin,
Baldewin, Balduin, Bandoiiiy
Bandonyn), No€l (Natalia), Ant-
werp, 15 13 (or 1518 ?)-— 1529 ; conduc-
tor at N6tre Dame ; and composer.
Banmbach (bowm'-b^h), (i) Fr.
Aug., 1753— Leipzig* 1813 ; con-
ductor and writer. (2) Ad., Ger-
many, 1 830 (?) — Chicago, 1 880 ;
teacher and composer.
Bamnlelder (bowm -f€lt-«r), Fr., b.
Dresden, May 28, 1836 ; pianist ; pu-
pil of J. Otto, and Leipzig Cons.
Bamngart (bowm'-gart), £. Fr., Gross-
glogau, 18 1 7 — Warmbrunn, 187 1 ;
editor.
fianingarten(bowm -gSrt-^n), ( i) Gott-
hilf ▼on, Beriin, 1741 — Gross-Stre-
Ktz, Silesia, 1813 ; composed 3 operas.
(2) K. Fr., Germany, 1754 — Lon-
don, 1824 ; violinist and dram, com-
poser.
Bann^^iixtner (bowm'-gdrt-n^r), (i)
Aug., Munich, 18 14 — 1862 ; writer on
" musical shorthand,** etc. (2) Wm.
(Gnilianme), 1820— Zurich, 1867 ;
composer and mus. dir. at St. Gallen.
Banmkcr (blm'-k«r), Wm., b. Elber-
feld, Oct. 25, 1842 ; chaplain and
school-inspector, NiederkrUchten ;
wrote btogs. of Palestrina, Lassus,etc.
Bansch (bowsh), (i) L. Chr. Aug.,
Naumburg, 1805 — I^ipzig, 1871 ;
maker of violins and bows. His 2
sons were also vln. -makers : (2)
Lndmi^ (1829 — Leipzig, 1871) ; lived
New York, then in Leipzig ; and (3)
Otto, 184 1 — 1874.
laoscnem (bows'-nSm), Waldemar
TOO, b. Berlin, Nov. 29, x866 ; studied
at Kronstadt, Pesth, Vienna and with
Bargiel and Fr. Kiel at the Berlin
Hochschule ; since 1894 lives in Dres-
den, as dir. Singakademie and l^id-
ertafel ; composed a symphony, over-
tures, a Zigeuner suite, a music-drama
''Dichterund ^^^" (Weimar, 1897),
etc.
Bayer (bl'-^r), Josef, b. Austria, ca.
1851 — 1871 ; 2d violinist. Court
Opera, Vienna, 1882, ballet-director,
composed operettas, etc.
Bayly, Rev. Anselm, 17 19 — 1792;
English writer. ^
Baxin (bft-z&ii), Fran. Em. Jos., Mar-
seilles, 18 16 — Paris, 1878; dram,
composer.
Bazzini (bad-ze'-ne). A., Brescia,
March 11, 18 18 — Milan, Feb. 10,
1897 ; violinist ; pupil of Camisani ;
at 17 conductor Church of S. Filippo,
where he prod, masses and vespers,
and 6 oratorios with full orch., and
fave successful concert-tours through
Europe. 1873, prof, of comp., 1882,
dir. of Milan Cons. In his compo-
sitions his native melodiousness gained
unusual value from a German solidity
of harmony.
Bazzino (biid-ze'-n5), (i) Fr. M.,
Lovere (Bergamo), 1593 — Bergamo,
1660 ; theorbo virtuoso. (2) Natale,
d. 1639 ; composed masses.
B6, Le. Vide le wk.
Beach, Mrs. H. H. A. (nee Amy
Marcy Cheney), b. Henniker, N.
H., Sept. 5, 1867 ; pianist and com-
poser; pupil of E. Perabo and K.
Baermann (pf.), and Junius W. Hill
(harmony) ; self-taught in cpt., comp.
and orchestration, having transl.
Berlioz and Gevaert for her own use ;
Pres. Board of Councillors, N. E.
Cons., Boston ; composed ** Gtulic "
symphony, Mass with orch., songs,
etc.
Beale, (i) Wm., Landrake, Cornwall,
1784 — London, 1854 ; famous glee-
composer. (2)1., London, ca. 1796 ;
pianist. (3) Thos. Willert, b. Lon-
don, 1828 ; a lawyer and pupil of
Roeckei ; one of the founders of the
4o8
THE MUSICAL GUIDE
New Phtlh. Soc. ; composed operettas ;
used pen-name "Walter Maynard."
B^anon (ba-fi-ndn)» Lambert de, con-
ductor at Sistine Chapel, Rome, be-
fore Josquin des Pres.
Beard, J., England, ca. 1717 — Hamp-
ton, 1791 ; eminent tenor for whom
Hiindel wrote the tenor roles in his
chief oratorios.
Beauchamps (bd-sh^), P. Fran.
Godard de, Paris, ca. 1689 — 1761;
writer.
Beaujoyeulx (bo-zhw^-yii), de. Vide
BALLAZARINI.
Beaulieu (rightly Martin) (bol-ytt', or
mir-tftn), M. D^sird, Paris, 1791 —
Niort, 1863 ; patron, writer and com-
poser.
BeaumaTlelle (b5-m&v-y^l), d. Paris,
1688 ; barytone ; he sang in the first
French opera, 167 1.
Beanqnier (bdk-y&), Chas., b. ca.
1830 ; writer of ** Philosophic de mu-
sique ** (1865), and librettist.
Beaz'ley, Jas. Chas., b. Ryde, Isle
of Wight, 1850 ; lives there as com-
poser ; pupil of R. A. M.
Beccatel li, Giov. Fran., d. Florence,
1734 ; cond. at Prato and writer.
Becher (bdkh'.6r), (i) Alfred Julins,
Manchester, 1803 — ^Vienna, 1848 ;
editor. (2) Jos., b. Neukirchen, Ba-
varia, Aug. I, 1821 ; composed over
60 masses, etc.
Bechstein (b^kh'-shtln), Fr. Wm. K.,
b. Gotha, June i, 1826 ; 1856, worked
in German factories ; later established
the well-known piano factory in
Berlin.
Beck, (i) David, Germany, ca. 1500 ;
organ-builder. (2) Reichardt K.,
lived in Strassburg, ca. 1650; com-
poser. (3) In. Philip, 1677 ; editor.
(4) Michael, b. Ulm, 1653 ; writer.
(5) Of. Jos., Podiebrad, Bohemia,
1/23 — Prague, 1787 ; Dominican
Jater Provincial) friar : organist* (6)
thr. Fr., b. Kirchheim, ca. 1755 ;
composer. (7) F*., Mannheim, 1730
— Bordeaux, 1809 ; court-violinist.
(8) Fr. Ad., pub. at Berlin, **Z>r.
M. LmtMir'4 GaUmJUn Ubcr dU
Musik,'' 1835. (9) K., 1814-V1.
enna, 1879 ♦ tenor ; created ** Loken'
grin" (10) Jn. Nepomnk, Pesth,
1828 — ^Vienna (?) 1893 ; dram, bary-
tone. (11) Jos., b. June 11, 1850;
son of above ; barvtone, sang in
Austria, Berlin (1876), and Frankfort
(1880). (12) Johann Heinrich, b.
Cleveland, Ohio, Sept. 12, 1856;
violinist ; pupil Leipzig Cons. ; lives
Cleveland ; founded the *' Schubert
Quartet " ; composed overtures to
Byron*s ''Lara;' to '' R^mec and
Juliet; " cantata ''Deukalum " (Bay-
ard Taylor), etc.
Beck^ (b^k'-a), Ja Baptist, b. Notd.
berg, 1743 ; court-flutist, in M Onich,
1776.
Beck'el, James Cox, b. Philadelphia,
Dec. 30, 181 1 ; pupil there of Tra-
jetta ; later music-publisher in Phila.,
and editor of '' Musical Clipprr'*',
composed cantatas, etc.
Beck'er, (1) Dietrich (1668), com-
poser at Hamburg, 1668. (2) Jn.,
Helsa, near Cassel, 1726—1803;
court-organist. (3) K. Fd., Leipzig,
1804 — 1877; organist and writer.
(4) Konstantin Jnlius, Freiberg,
Saxony, 18 11 — Oberl5ssnitz, 1859;
editor. (5) Val. Ed., WOrzburg,
18 14 — ^Vienna, 1890; dram, com-
poser. (6) Geor^^, b. Frankenthal,
Palatinate, June 24, 1824; ptanist
and writer ; lives in Geneva ; pub.
** La Musiqu€ en Suisse *' (1874), etc
(7) Albert Ernst Ant., Qucdlio-
burg. June 13, i834~Berlin, Jan. 10,
1899; pupil of Bonicke and Dchn;
1 88 1, teacher of comp. at Sdiar-
wenka's Cons. ; also conductor Beriin
cathedral choir; composed a note-
worthy symphony, a Grand Mass \n^
Bl^ min. (1878), and oratorio ** Se&i
aus Gnade;' etc (8) Jean, Maoni
heim, May 11,1833 — Oct 10, 1884 i
violinist, leader Mannheim oidi.^
after concert-tours, lived in Florccc«
and founded the famous ** Florentine
Quartet"; toured with his childrea^
(9) His daughter Jeanne, b. Man»
heim, June 9, 1859 ; pianist, piqal d
I
DICTIONARY OF MUSICIANS 409
Reinecke and Bargiel. (10) Hans.,
b. Strassburg^, May 12, i860; viola-
player, pupil of Singer. (11) Hug^o,
b. Strassbui^, Alsada, Feb. 13, 1833;
noted *cellist, son and pupil of (8), pu-
pil of Kundiger, then of GrUtzmachcr ;
1884, soloist ^t opera, Frankfort ; since
1894, Prof, at the Hoch Cons, there ;
toured, U. S. 1900-1901. (12) Rhein-
hold, b. Adorf, Saxony, 1842 ; vio-
linist ; lives in Dresden ; composed
succ operas Frauenlob (Dresden,
1892), and Ratbold (Mayence, 1896),
I-act ; symph. poem Der Prinz von
Hamburgh etc. (13) K., b. Kirr«
weiler, near Trier, June 5, 1853;
teacher at Neuwied; pub. song-
books. (14) Jakob, founder (1841)
of large Russian pf. -factory ; present
head (since 1871), Paul Petersen.
Beck'maiin, Jn. r r. Gl., 1737 — Celle,
1792 ; organist, harpsichord-virtuoso,
and dram, composer.
Beck'with, J. Christmas, Norwich,
England, 1750 — 1809; organist and
writer.
Becqiii6 (b^-ysl), (i) Jean Marie (?),
Toulouse, ca. 1800 — Paris, 1825 ;
flutist. His brother (2) (**De Peyrc
Villc")f J«»n Marie, Toulouse,
1797 — Paris, 1876 ; violinist.
BetraroTsky (b^ch'-var-shof'-shkY),
Ant. F., Jungbunzlau, Bohemia,
1754 — Berlin, 1823; organist and
composer.
Bedford, Mrs. H. Vide lehmann,
UZA.
Bedos de Celles (bii-dd' du s«l), Caux,
near B^ires, 1706— St. Maur, 1779 »
Benedictine monk and writer.
Beechgard (or Beehg^ard) (bakh'-
girt), Julius, b. Copenhagen, Dec.
19, 1S43 ; pupil Leipzig Cons., and
of Gade ; lives at Copenhagen ; com-
posed operas *'*' Frodef *^ Frau
Inge " (Prague, 1894), etc.
Beecke (M'-kQ. Ignaz von, ca. 1730
— ^Wallerstein, 1803 ; captain of dra-
goons, then •* Musikintendant ** to
Prince of Otting-Wallerstein ; harp-
sichordist ; composer of 7 operas,
etc
Beellaerts (bal-lslrts), Jean. Vide
BELLERE.
Beer (bar), (i) Jacob Liebmann.
Vide MEYERBEER, (2) Josef, Grttn-
wald, Bohemia, 1744 — Potsdam.
181 1 ; player of the clarinet, for which
he invented the fifth key. (3) Jules,
b. ca. 1833 ; lives in Paris ; com-
posed 5 comic operas, etc. (4) Max
josef, b. Vienna, Aug. 25, 185 1;
pianist ; pupil of Dessoff ; lives in
Vienna ; composed 4 operas, incl. the
succ. **/?^r Strtek der Schmiede'*
(Augsburg, 1897), etc. (5) Anton, b.
Kohlberg, June 29, 1864; studied
with Rheinberger ; leader in Regens-
burg orch. ; later lived in Munich ;
composed an opera ** SUhnCy^ etc.
Beeth (bat), Lola, b. Cracow, 1864;
soprano ; pupil of Dustman, Viardot-
Garcia, and Desir^ Artot ; debut,
1882, at Berlin Court Opera, then
Vienna, after various tours ; sang in
New York ; engaged at Vienna, 1897,
for 5 years.
Beethoven (bat'-ho-f^n, not b5-t6'-v«n),
Ludwig van, b. Bonn-on- Rhine,
Dec. 16 (baptised, Dec. 17, 1770)
(Beethoven said Dec. 16, 1772), d.
Vienna, March 26, 1827; grandson of
Ludwig van B. (a native of Maes-
tricht, bass singer, opera composer,
and conductor to the Elector Clemens
August, at Bonn), 2d child of Jn.
van B. (a tenor singer in the Elec-
toral choir), who had m. a widow,
Magdelena Laym (nee Keverich), a
daughter of the chief cook at Ehren-
breitstein. B. studied at the public
schools at Bonn till 14. From his
fourth year, his father taught him
music with great severity till 1779.
He played the vln. well at 8 ; at 11
he knew Bach's *' Wohltemperirte
Clavier,^'' Became pupil of Pfeiffer,
a music-dir. and oboist ; and Van der
Eeden, court-organist, who predicted
that he would be "a second Mo-
zart"; 1785, studied vln. with Franz
Ries ; 1787, took a few lessons of Mo-
zart; 1792, Haydn, passing through
Bonn, praised a cantata of his (now
410
THE MUSICAL GUIDE
lost). The Elector sent B. to Vienna,
where he studied cpt. with Haydn,
who seemed to neglect him, so that
he secretly studied with Schenck ;
later he went to Albrechtsbei^er, who
said ** he has learnt nothing, and will
never do anything in decent style " ;
he studied the vln. with Schuppanzigh
and consulted Salieri and Aloys F()r-
ster; 178 1, he is believed to have
written a Funeral Cantata in memory
of the English charge d* affaires at
Bonn, who had advanced money
to the family; 1781 (1782?), his first
publication, 3 pf.-sonatas; 1782,
deputy organist ; 1783, cembalist for
rehearsals of the opera-orch., without
compensation ; 1784-92, asst. organ-
ist at an annual salary of 150 florins
(about $63)'; from 1788 also 2d vio-
la of the theatre orch. Visited Vien-
na, 1787, and made a sensation by
extemporising, Mozart exclaiming
•• He will make a noise in the world
some day." In July his tender-
hearted mother died of consumption ;
his father lost his voice and became a
sot. B/s only home was in the fam-
ily of the widow von Breuning, to
whose daughter and son he gave les-
sons. Here he acquired his passion
for English literature. He now made
acquaintance of young Count Wald*
stein, who became his life-long pa-
tron, and in 1792 sent him to Vienna,
where he henceforward lived. The
decade 1782-92 does not show much
fertility in composition : half a dozen
songs, a rondo, a minuet, and 3 pre-
ludes for pf., 3 pf. -quartets, a pf.-
trio ; a string-trio, op. 3 ; 4 sets of
pf . variations ; a rondino for wind ;
the ** RUter Ballet ** with orch. (pub.
1872); ** The Bagatelles,'' op. 33;
2 vln.-rondos, op. 51; the '* Serenade
Trio'* op. 8 ; the lost cantata, a lost
trio for pf., flute, and bassoon, and
an Allegro and Minuet for 2 flutes.
1792, he was sent to Vienna by the
Elector, who paid him his salary for 3
years ; he had growing royalties from
his comps., also 600 florins annually
from Prince Lichnowsky, his .wannest
admirer. March 29, 1795, he played
his C major pf.-concerto in the Burg-
theater, his first public appearance;
1796, he played before King Fr. Wm.
II.; 1798, at Prague, he gave 2 sen-
sational concerts and met two piano-
virtuosi : Steibelt, who challenged
B. to extemporise and was sadly
worsted, and WOlfll, who became bis
friend. 1800 ends what is called
(after von Lenz*s book ''*' B.et ses treis
styles ") his *' first period," of compo-
sition ; the ** second period,'* extend-
ing to 1815 ; the "third" to 1827.
This first period includes op. 1-18.
pf. and string-trios, string-quartets,
9 pf.-sonatas, 7 variations on ** God
Save the Queen," and 5 on *' RuU
Britannia," the aria *' Ah per^;'
etc. Now a severe and early vene-
real trouble affected his liver, and be-
gan to ruin his hearing, which by
1822 was entirely gone. Though he
had always been brusque (especially
with the aristocracy, among whom be
had an extraordinarily long list of
friendships and love-affairs), his for-
mer generosity and geniality speedily
developed into atrocious suspicious-
ness and violence toward lus best
friends. The wild life of a nepbev
whom he supported, brought him
g^eat bitterness. Until the begin-
ning of the ** third period," however,
he had large stores of joy in life,
open-air Nature, and the details of
his compositions, which were worked
up with utmost care from "sketch-
books," always carried with him, and
still extant as a unique example
of genius at work. In the arbitrarj*
but somewhat convenient von Lenz
classification, the 2d period includes
the symphonies III — VIII; the
opera '* Fidelia " ; the music to ^*£§-
mont"'\ the ballet '' Prometkfus'' \
the Mass in C, op. 86 ; the oratorio
'' Chrisius am Oelderg" (1S03); the
** Gfriolantts" overture; 2 pf. -con-
certos ; I vln. -concerto ; 3 quartets;
4 pf. -trios, and 14 pf.-sonatas
DICTIONARY OF MUSICIANS ^n
(among them op. 27, op. 28, 31, No.
2. 53. 57. and 81); the '* Lieder-
ireis," etc The "third period"
incL the five pf. sonatas, op. loi,
III; the ** Jtfissa solfnnis, the
Ninth Symphony, the overture
** Jduins of Athens'** \ the overtures
op. 115, 124; the g^nd fug^e for
string-quartet, and the string-quar-
tets op. 127. 130. 131, 132, 135 (F).
"y^u^/rV," first named '' Uonore,"*
was prod. Nov. 20, 1805, just a week
after the French army entered Vien-
na. It was withdrawn after three
consecutive performances ; revised
and prod. March 29, 1806, but with-
drawn by B. after two performances.
Once more revised, it was revived in
18 14, very successfully; the present
overture is the result of various ver-
sions known as the Leonore overtures
I, 2, and 3. The ^^ Eroica" sym-
phony (No. 3) was called ** Sinfonia
grcuuU Napoleon Bonaparte " in hon-
our of his advocacy of *' liberty,
equality, and fraternity." When
Napoleon proclaimed himself em-
p)cror, B. tore up the title-page in
wrath and changed the name to
•• Sinfonia eroica compos ta per fes-
teggiare il sowenire d^un gran
Momo** (Heroic symphony, com-
posed to celebrate the memory of a
great man). In the Ninth Sym-
phony, a choral Finale is used as
the final addition to the orchestral
climax of ecstasy (the words from
Schiller's ** I/ymn tofoy"). In 1809
Jerome Bonaparte invited B. to be-
come conductor at Cassel with a
salary of 600 ducats (about $1,500) ;
but his Viennese patrons Archduke
Rudolf, and the Princes Lobkowitz
and Kinsky, settled on him an annu-
ity of 4,000 florins ($2,000). Dec,
1826, a violent cold resulted in pneu-
monia ; dropsy followed, B. saying
to the doctors who tapped him three
times and drew out the water, *' Bet-
ter from my belly than from my pen."
Alter an illness of 3 months he took
the Roman Catholic sacraments, a
two-days' agony of semi-consciousness
followed and he died, just after shak-
ing his clenched fist in the air, during
a terrific thunderstorm, the evening
of March 26, 1827. 20,000 persons
attended his funeral.
His complete works comprise 138
opus-numbers, and about 70 unnum-
bered comp. The following are
those published. Instrumental, —
9 Symphonies. — No. i, op. 21, in C ;
2, op. 36, in D; 3, op. 55, in Ej> (the
** Eroica"') ; 4, op. 60, in Bb; 5, op.
67, in C min.; 6, op. 68, in F (** Pas'
toral ") ; 7, op. 92, in A ; 8, op. 93, in
F ; 9, op. 125, in D min. (** Choral''),
•• The BattU of Vittoria" (op. 91);
music to the ballet ^^Prometheus''
(op. 43), and to Goethe's ** Egmont"
(op. 84), both with overtures, besides,
nine overtures — ** Coriolanus"\ ** Leo-
nore" (Nos. I, 2, and 3); ^^Fidelio"\
''King Stephen" \ ''Ruins of Ath-
ens" \ " Namensfeier" op. 115;
" Weihedes Hauses " (op. 124). Also
for orch. : Allegretto in £(> ; March
from ** Tarpeia" in C ; Military
March, in D ; " Ritter-BalUt" ; 12,
Minuets; 12, "deutsche Tanze";
12, Contretanze ; violin - concerto, op.
61. Five pf. -concertos, the last
op. 73, in E (" Emperor") \ also a
pf. -concerto arranged from the vio-
lin-concerto. A triple-concerto, op.
56, for pf., vln., 'cello and orch.; a
** Choral Fantasia" for pf., chorus
and orch. ; a Rondo in B, for pf . and
orch.; cadences to the pf. -concertos.
Two Octets for wind, both in E(>.
Septet for strings and wind. Sextet
for strings and 2 horns. One sextet
for wind, E|;>. Two (quintets for
strings ; fugue for stnng-quintet ;
also quintet arr. from pf.-trio in C
min. Sixteen string-quartets: Op.
18, Nos. 1-6 in F, G, D, C min., A and
Bt> (first p)eriod) ; op. 59, Nos. 1-3 ;
op. 74, in E[>(the ** Harfenquartett")\
op. 95 (second period) ; op. 127 ; op.
130 ; op. 131 ; op. 132 ; op. 135. A
grand fugue for string-quartet, op. 133,
in Bp (third period). One pf. -quartet
412
THE MUSICAL GUIDE
(arr. from the pf .-quintet) ; 3 juvenile
pf. -quartets; five string-trios; eight
pf. -trios, that in E|> being juvenile ;
an arr. of the " Eroica " symphony.
Grand trios for pf., clar. and 'cello
op. II ; in Bb and in £[> (arr. from
septet, op. 20) ; trio for 2 oboes and
cw anglais^ in C op. 87.
Ten sonatas for pf. and violin, incl.
op. 47 i^'' Xreutzer'') ; rondo for pf.
and vln. ; 12 variations for do. Five
sonatas and 31 variations for pf. and
'cello. Sonata for pf. and horn. So-
nata for pf., 4 hands.
38 Sonatas for piano, incl. op. 27,
Nos. I and 2 ('* Quasi Fantasia "),
op. 28 {^'Pastorale ") in D; op. 53
0* Waldstein'' ) in C ; op. 57 ('* Appas-
sionata !') in F min. ; op. 81 (** CaraC'
i/risiique'' — '' Lts adteux, t absence^
U retour'") in E^. Also 6 easy so-
natas, 3 of them composed at age of
10 ; 21 sets of variations for pf. ; 3
sets of bagatelles ; 4 rondos ; fantasia
in G min. ; 3 preludes ; polonaise ;
andante in F ('* Favori "); 7 minuets ;
1*3 Landler. for 4 hands ; 3 marches ;
14 variations.
Vocal. — Opera ** Fidelio^ in 2 acts,
op. 72. 2 Masses, in C and D
{'' SoUtmis'y Oratorio '' Christus
am Oelberg^^* op, 85. CanUta ** Der
glorreiche AugenbUck^ op. . 136
(18 14) ; also arr. as Preis der Ton-
kunsL Meeresstille und Glucklicki
Fahrt^ op. II2 (poem by Goethe).
Scena and aria for soprano, ** Ah
Perfido^^ with orch., op. 65. Trio
for soprano, tenor and bass, *' Trt-
maU, Empt, Tremaie,'* op. 116. ** Of-
ferlied" for soprano solo, chorus and
orch. ^^Bundf sited ^' for 2 solo voices.
3-part chorus and wind. '* EUgiscfur
Gesang** for 4 voice-parts and strings.
66 songs with pf.-accomp. ; one duet,
** Gesang der Monche '* ; 3 voice-parts
a capp. 18 vocal canons. 7 books of
English, Scotch, Irish, Welsh and
Italian songs, with pf., vln. and 'cello.
The best biography is Alex. W.
Thaver's **Z. van BeethovefCs Lt-
benj* 3 vols, in German, transL from
the English MS. by H. Deiters ; last
vol. in preparation. Partial collec*
tions of Beethoven's letters are pub.
and his sketch-books are discuss^ in
Ignaz von Seyfried's ** Ludvtig vsn
Beethoven^ 5 Studien im GemraJbass^
KontraPunkt und in der Komposi-
tioniUnreJ'* Biogs. also by Schindkr,
Nohl, Crowest, etc. Wagner wtote
an estimate.
Beethoven : A Study of Influences.
By H. E. Krehbiel.
IN one respect Beethoven stands alone in the history of mim:. The
influence of all his fellovtrs, from Bach to Wagner and Brahms, can be
determined in matter as well as manner, and set down in plain temu;
his full significance is yet to be grounded. Beethoven was a gigandc reser-
voir into which a hundred proud streams poured then- waters ; he is a mighty
lake out of which a thousand streams have flowed through all the territories
which the musical art has peopled, and from which torrents arc still pouring
to irrigate lands that are srill terrae incognitae, ^In some respects his genius
is an enigma. Whence came his profound knowledge of the musical art as it
existed before him ? He was not precocious as Mozart was. He was a
diligent pupil, but not an orderly one. Except in childhood he was onraly,
and impatient of discipline. The sternness and cruelty of a dissipated fatho
DICTIONARY OF MUSICIANS 4'3
made his earliest studies a suffering and an oppression. In later years he
performed his duties toward Albrcchtsberger, but refused to yield himself to
that teacher's domination as he had already refused to bow to the authority of
Haydn — an authority which he felt was too carelessly exercised. Yet the world
knows how conscious he was of the potency of the learned forms into which
Albrechtsberger strove to induct him, and the charm of romantic expression
exemplified in Haydn. ^He refused to acknowledge these men as his teachers,
while they returned the compliment by refusing to own him as their pupil.
Haydn condemned his first trios ; Albrechtsberger advised his other pupils to
have nothing to do with lum because, as he said, ** he had never learned
anything, and would never do anything in decent style." Yet Beethoven
was proud of his ability in the department of study for which he had gone to
this teacher of counterpoint. In his old age he considered Cherubini the
greatest of his living contemporaries, and Handel the greatest of the great
dead. Note the significance : both were masters in the severe forms.
Taking no account of the canons, fugues, and xad^tioos which occur incident-
ally in his symphonies^ sonatas^ aiid^ quartets, we find that Beethoven left an
extraordinarily large number of compositions in these forms behind him — no
less than thirty. pvp ^a"ons fiv^ independent fugues and thirty-two sets of
variations for different instruments. Could there be a more convincing dem-
onstradon of his devotion to the scientific side of his art ? ^But he was no
more and no less an iconoclast in these forms than in the romantic. Proof
of another kind I found in an anecdote recorded in Mr. Thayer's note-book
as related to him by the nephew of the observer of the incident. ^In 1 809
Wilhelm Rust sat in a coffee-house in Vienna with Beethoven. A French
<^cer happening to pass, Beethoven doubled up his fist and exclaimed : ^' If 1
were a general and knew as much about strategy as I know about coun-
terpoint, being a composer — ^I'd cut out some work for you fellows.'*
^[The great difference between him and his teachers was one of conception
touching the uses to which counterpoint and fugue should be put. To
Albrechtsberger the sciences existed for their own sake ; for Beethoven they
existed only as a medium of expression. There was nothing sacrosanct about
them. As he himself said, it was a good thing to learn the rules in order
afterward to know what was contrary to them, and, he might have added,
also to know how to violate them when musical expression could thereby be
promoted. ^Yet Beethoven's greatest significance as an influence is not as a
destroyer of forms and contemner of rules, as so many would have us believe
who justify all manner of lawlessness to-day and quote Beethoven as an excuse ;
bat as a i^dener of forms and a creator of i\i\e.s. fnr t\\<^. dev^lnprnent of
mK^^n, whichjs and must ever remain the aim of musical art. He was
£eprou>type oT Wagno-'s Hans ^cXs, who 'wished "due respect paid to the
414 THE MUSICAL GUIDE
laws of the poet's craft so that poetical creation might go on within the lines
of beauty, but who also wished spontaneous creative impulse to have its rights.
Where he differed from the pedants who sought to stem the original flow ot
his utterance, was in realising better than they, that art-works are the source
of rules quite as much as their outcome. He felt, with Faust , that ''In the
beginning was the Deed," neither the ** Word," nor the "Thought,** nor
the "Power,** but the "Deed,** ; from that can be deduced the other
potencies. ^ " Beethoven was not only the embodiment of all that was
before him, but also of that which was yet to come. In his works music
returned to its original purpose with its power raised a hundred-fold.** 1
have said this before and elsewhere, but as I cannot say it better and want it
said again, I say it again, and here. It is easy rhetoric to descant upon the
tremendous strides which music has made in the last half century, the trans-
formation of forms, the augmentation of expres^ve potencies (rhythmic,
melodic, harmonic, instrumental), the widening of the horizon of the things
proper to musical expression and much else ; but he has not yet learned his
Beethoven who does not see all that has yet appeared to be essential in these
things distinctly foreshadowed in the music of the master who, in a larger,
more comprehensive, more luminous sense than was dreamed of before or
since, was priest, king, hero, and seer. A priest unceasing in his offerings in
the Temple Beautiful ! A king whose dominion is over the despotic rulers
in man's emotional nature ! A hero who knew his mission and subordinated
to it himself, his longings, his loves, his very life ! A seer, as Ruskin says
of Imagination, " in the prophetic sense, calling the things that are not as
though they were, and foretrer delighting to dwell on that which is not
tangibly present.** ^Like Faust he ever heard the dread words ringing in his
ears : ** Entbehren soils t du, soils t entbehren ! ** Hi8__grt asked his all ;
he knew it and gave his all ; and then the Gottheit which he was wont to
invoke, hushed the noises of the material world that he might the better hear
the whisperings of the spirit pervading it ; and raised a barrier between him
and mankind to force him to be a witness and hbtorian of the struggle
between the human and the divine reflected in his own soul. All the mis-
anthropy which filled his later years could not shake hb devotion to an ideal
which had sprung from truest artistic appreciation and been nurtured by
enforced introspection. This is the key to Beethoven's music. ^ But it
will not serve the purposes of this study merely to generalise. If the con-
tention set forth is to be maintained, there must be some nuutialling of
evidence. Confining ourselves to the cyclical form, the^aym phony, we note
that Beethoven introduced a wider range and a freer use of keys than were
employed by his models, Haydn and Mozart ; abolished much of what
sounds like mere remplissage in the connecting portions between themes.
DICTIONARY OF MUSICIANS 415
substituting therefor phrases developed out of the themes themselves ; intro-
duced original episodic matter ; extended tlip fri*^ f^nt^na gj^^ ^^^ « jicxel-
opcd the old minuet into the scherzo, which could better carry on the psycho-
logical story which he wished to tell in the four chapters of his instrumental
poem ; infiised unity into his works, not only by bringing the spiritual bonds
between the movements more clearly before our percipience, but also by
making the materiaU^onds obvious and incontrovertible. Thb last achieve-
ment has its simplest as well as most eloquent illustradons in the community
of rhythms between the firyt^ third, and last movements of the F(fth Sym-
pb^Mj^ and all the movements of the S(ventb • the recurrence of themes
m different movements of the Fifth and f^inth^ the family likenesses,
physiognomical resemblances, between the principal melodies of the Ninth /
finally the programmadc concdt back of the Stxtb. ^The acceptance and
continuation of the hints contained in these innovadons is published in the
abolition of pauses between the movements in the ** Scotch ** symphony of
Mendelssohn, the adoption of the same device by Schumann, together with
community of theme in the symphony in D minor, the invendon of ** Pidee
Jixe^* by Berlioz for his ** Symphonic Fantastique** and the successive
recapitulation of material already used in the second, third, and fourth move-
ments in the symphony, ** From the New Worlds ^ by Dvorik. ^ It has
not been necessary to go far afield for examples ; the proofs are surely con-
vincing and come down to our own day. Moreover we find an illustradon
of the same principle, coupled with an exposidon of Beethoven's system of
tbemadc, instead' of melodic, development — another form of variadon, in brief
— m all the symphonic poems of Uszt and his imitators down to Richard
Stnoss. ^[Beethoven* s license may have degenerated into lawlessness, but he
pomted a way that has been followed in all the particulars enumerated, and
also broke down the barriers between voices and instruments in the symphonic
fbnns to the delight of many successors. His revolutionary proceeding in the
Ninth S3rmphony found imitation by Mendelssohn in his ** Hymn of Praise^'**
by Berlioz in his ** Romeo and Juliet ^^^ by Uszt in his ** Faust** and
*• Dante** symphonies, by Nicod6 in ** Das Meer^** and by Mahler in his
symphony with contralto solo.
BtfEkra (b^f-fa-ril), Lonis Fran9ois,
Nonancourt, Eure, 1751 — Paris,
1838; 1792- 1816, commissaire de
police, at Paris ; musical historian.
Beffroy de Reisiiy (Mf-frwi dfi r«n'.
yS), Loais Abel (called ** Cousin
Jacques"), Laon. Nov. 6. 1757 —
Fans, Dec. 18, 181 1 ; composed very
socc. operettas.
Bernis (ban'-y^), (i) Gius or Wm.
de, Lugo, Papal States, 1793 — ^Bath(?)
England, 1849 ; buffo singer ; in 1816,
he m. (2) Signora Ronzi, Paris,
1800 (?)-— Italy, 1853; comic so-
prano.
Bemz (ba'-gr^tz), Pierre Ig^nace,
Namur, 1783 — Brunswick, Gcr. ;
1863, dram, tenor.
4i6
THE MUSICAL GUIDE
Behm (b&m), Eduard, b. Settin, April
8, 1862; studied with Paul, Weiden-
bach, Reinecke, Hirtel, Raif and
Kiel ; pianist and teacher in various
cities, then at Berlin as dir. Schwan-
tzer Cons.; composed an opera,
** Schtlm von Bergen " (Dresden,
1890), a symphony, pf.-conccrto, etc.
Behnke (ban'-ke), £inil» Stettin, 1836
— Ostend, 1802 ; teacher and writer.
Behr (bar), (i) F*., b. Lubtheen,
Mecklenburg, July 22, 1837 ; com-
posed p£. -pieces, under pseud, of
'•WUliam Cooper," ** Charles Mor-
ley," or "Francesco d*Orso." (2)
Inerese, b. Stuttgart, Sept. 14,
1876 ; alto ; pupil of J. Stakhausen,
of Schulz Demberg and of Etelka
Gerster ; lives in Mainz.
Behrens (ba'-r^ns), Konrad, 1835 —
New York, 1898 ; operatic bass.
Beier (bl'-«r), Dr. F«., b. Berlin, April
18, 1857 — Cassel, 1889, son of a mil-
itary band-master; pupil Stem and
Kullak Cons. ; cond. at the Royal
Theatre; composed succ. opera ** l>er
Posaunist von Scherkingen " (Cassel,
1889), a parody on Nessler's well-
known *' Der Trompeter von Sdk"
kingen; " succ. comic operetta ** der
Gaunerkdnig'^ (Cassel, 1890), etc.
Belce. Vide RKUSS-BELCE.
Belcke (bei'-kd), (i) Fr. Aug., Lucka,
Altenburg, 1795 — 1874; the first trom-
bone virtuoso. (2) Chr. Gl.» Lucka,
1796— 1875 ; bro. of above ; flutist.
Beldoman'dis (or Beldetnan'dis, Bel-
deman'do), Prosdo'cimus de, b.
Padua, 14th cent. ; prof, of philoso-
phv, ca. 1422 ; theorist.
Beliczay (ba-lt-chfi-d), Julius von,
-Komom, Hungary, 1835 — Pesth,
1S93 ; violinist.
Belin (or Bellin) (bd-l&h), (i) Guil.,
ca. 1547 ; tenor Chapelle Royale,
Paris. (2) Julien, b. Le Mans, ca.
1530; lutenist.
Beliso'nius, Paul, a canon said to
have inv. quills for harpsichords, i6th
century.
Bella (ddr-l& b«r-U), Dom. della, *cel-
list, Venice, 1704.
Beria, JiL» Ld., b. St Nicholan, Up-
per Hungary, 1843 ; canon at Ncn-
sohl ; composed church-music, etc.
Bel'lamy, (i) Richard, d. London (?)
18 13 ; church-composer. (2) His son,
Thos. Ludford, Westminster, 1770
— London, 1843, bass.
Bellasio (bA-U'-sY-d), Paolo, 1579-
95 ; pub. madrigals, etc., at Venice.
Bel'lasis, Edw., b. Jan. 28, 1852;
English writer and composer.
BelPavere (or BellliaTer) (b«14l-Ta'.
r«), v., Venice, 1530 (?>— 1588 (?) ;
organist and composer.
Bellazzi (b«l-lad'-ze), Fran. C.» at
Venice, 1618-28.
Bell^re (b«l-lftr') (or Belle'rus, rightly
Beellaerts) (bil-laru), (i) Jean, d.
Antwerp, ca. 1595 ; publisher. His
son and successor was (2) Balthaaar.
Beriermann, (i) Konstantin, Er-
furt, 1696-— MUnden, 1763 ; rector
and composer. (2) Jn. Fr., Erfurt,
1795 — Berlin, 1874; writer on Greek
music. His son (3), Jn. G£ H., b.
Berlin, March 10, 1832 ; pupil R.
Inst for Ch.-music, 1866 ; {»rof. of
mus. Berlin U. (vice Marx.) ; theorist
and composer.
Bellet'ti, Giov. Bat., b. Sarzana.
1815 ; barytone ; pupil of Pilotti at
Bologna ; d^ut, 1838, Stockholm ;
sang with Jenny Lind on tour ; re-
tired, 1862.
BellevUle-Oury (b^l-vr.yii-oo'-rc),
Emilie, Munich, 1808 — 1880 ; pian-
ist.
Beirhaver, V. Vide bell* A verb.
Belli (bSl'-le), (i) Gir., pub., 1586-
94, madrigals, etc. (2) Ginlio, b.
Liong^ano, ca. 1560 ; ch. -composer
and cond. (3) Dom., 1616; coort-
musician at Parma.
Bellin, G. Vide belin.
Bellincioni (b^l-lYn-ch5'-ne), Gemma,
notable Italian soprano ; toured U. S.
in opera, 1809 ; lives in Florence.
Bellini (b^l-le -ne), (i) Vincenzo, Cau-
nia, Sicily, Nov. 3, 1802 — Puteaur, near
Paris, Sept. 23, 1835 ; opera compos-
er ; son and pupil of an orranist ; a
nobleman sent him (181^ to the
DICTIONARY OF MUSICIANS 417
Cons, at Naples ; studied under
Fumo, Tritto, and Zingarelli, until
1827 ; privately studied with Haydn
and Mozart, and chiefly Pergolesi ;
as a student composed a symphony, 2
masses, several psalms, a cantata, etc. ;
his first opera, **AdelsoH e Salviniy'*
was performed by Cons, pupils, 1825,
whereupon the manager of La Scala,
Milan, commissioned him to write an
opera ; 1826, ** Bianca e Fernando^
was prod, with succ, 1827, ** II Pi-
rata ; " 1829, ** La Siranier:' The
librettist of the latter 2 was Felice
Romani, who wrote the books of all
B.'s operas, except '* / Puritanic
••ZiwVfl" (1829) was a failure; **/
Capuleti e Montecchi^^ written in forty
days (1830), was a great succ. ; ** Zi
Sannambula,'" sjid ** Norma'' (1831),
with Malibran in the title-role, estab-
lished his fame; ^^ Beatrice di Ten-
da'* {Vtmfx, 1833) failed; **/ Puri-
tanr (l'bre"o by Count Pepoli),
written to order 1834, for the TheStre
Italien, Paris, was a great success,
and his last finished work. B.'s work
is a comp>endium of all the virtues
and vices of Italian opera, passionate
and eminently vocal lyrics with empty
and slovenly accompaniment. He
died youngest of all prominent com-
posers— at the age of 33, from dysen-
tery due to overwork. Biog. by
Scherillo (Milan, 1885), Pougin
(Paris, 1868), etc. (2) Carmeio,
CaUnia, 1802 — 1884; brother of
above ; composed Church-music.
Beirman, (i) Carl Mikael, Stock-
holm, 1740 — 1795; Swedish poet who
set his own burlesques to music. (2)
K. Gf., Schellenberg, Saxony, 1760
— Dresden, 1816 ; pf.- and bassoon-
maker. (3) K. Gl., Muskau, 1772,
Schleswig, 1862 ; organist.
Belloc (b«l-16k'), Teresa (G. Trom-
bet'ta-Belloc), San Begnino, Can-
avese, 1784 — S. Giorgio, 1855; mezzo-
soprano ; repertoire of 80 operas.
B^U (b^Md -le), (i) Luigi, Castel-
franco, Bologna, I770--Milan, 1817 ;
hom-plajer and composer. (2) Ag.,
b. Bologrna ; first bom (1819-29) at
La Scala, Milan, and dram, composer.
Bemberg (bah-b^rg). Hermann, b.
Paris, March 29, 1861 ; pupil of
Dubois, Franck and Massenet, Paris
Cons. ; 1887 took Rossini prize ;
composed i-act opera *' Le Baiser de
Susan ** (Paris, Op.-com., 1888), mod.
succ. ; opera Elaine (London, 1892 ;
New York, 1894), and songs.
BemctzTicder(ba'-m«ts-re-d€r), T.,b.
Alsatia, 1743 ; Benedictine monk ;
then composer and writer.
Ben'da, (i) Frans, Alt-Benitek, Bo-
hemia, Nov. 25, 1709 — Potsdam,
March 7, 1786 ; court-violinist to
Frederick XL, whom he accompanied
for 40 years in flute-concertos ;
composed symphonies, etc. His 3
brothers (2) Jn., Alt-Bendtek, 17 13
— Potsdam, 1752 ; violinist. (3) G.,
Jungbunzlau, Bohemia, 1722 — Koes-
tritz, Nov. 6, 179=; ; court-cond., 1748
(Gotha) ; 1764-66, Italy ; prod, at
Gotha ID operas in which he orig-
inated the idea of spoken words with
orchestral accompaniment, literal
•* melodrama." (4) Jos., 1724 — Berlin,
1804 ; violinist. His sister, (5) Anna
Frangiska, b. 1726 — Gotha, 1780 ;
singer. (6) Fr, Wm. H., Potsdam,
1745 — 18 14 ; son and pupil of (i) ;
composed operas, etc. (7) Fr. L.,
Gotha, 1746-— K5nigsberg, 1793 ; son
of (3) ; cond. and composer. (8) K.
Hermann H., Potsdam, 1748 —
1836 ; son of rich father ; court. -
violinist and composer.
Ben'dall, Wilfred Ellington, b.
London, April 22, 1850 ; pupil of
Lucas, Silas and Leipzig Cons. ; com-
poser.
Ben'del, Fz., Sch5nlinde, northern
Bohemia, March 23, 1833 — Berlin,
July 3, 1874 ; pianist ; composed
symphonies, 4 masses, songs, etc., and
piano pieces of great lusciousness of
harmony and fervour of melody.
Ben'deler, Jn. Ph., Riethnordhausen,
near Erfurt, 1660 — Quedlinburg
1708 ; clavecinist, organist and
writer.
4i8
THE MUSICAL GUIDE
Ben'der, (i) Jakob, Bechtheim, 1798
— Antwerp, 1844 ; dir. Antwerp wind-
band ; clarinettist and composer. (2)
Jean Val.» Bechtheim, near Worms,
1801 — Brussels, 1873 ; bro. of above ;
clarinet-virtuoso and band-master.
Ben'dix, (i) Otto, b. Copenhagen,
1850 ; pupil of Ree and Gade, Kul-
lak and Liszt ; pf. -teacher in Copenh.
Cons, and oboist in theatre-orch. ;
lives in Boston, Mass., since 1880, as
teacher and composer. (2) Victor
E., b. Copenhagen, 1851 ; pianist,
pupil and proteg? of Gade ; lives in
Copenh. as pf.-teacher and cond. ;
composed 3 symphonies, incl. ** Zur
Hohe;' in C (1891) (also named
** Felsensteigung'') ; and ** Sommer-
kldnge aus Stidrussland" in D.
Bcn'dr(b€nt'-'l), K., Prague, April 16,
1838 — Sept. 20, 1897; important
Czech composer ; pupil of Blaiok and
Pitsch, at Prague ; chorus-master,
Amsterdam (1864); 1866, cond.
Prague choral society, *'Hlahor*;
composed Czech operas incl. **Dii
Tdbora'' (Child of the Camp), 1892,
(3 acts) ; still g^ven at Prague ; 3
masses, cantatas, an overture, a
•• Dithyramb;' ** Slavonic Rhafh.
sody^' for orch., etc.
Bendler (b«nt'-l^r), Salmon, Quedlin-
burg, 1683 — 1724 ; singer.
Ben'edict, (i) Sir Tulius, Stuttgart,
Nov. 27, 1804 — London, June 5,
1885 ; son of ajewish banker ; pupil of
Abeille, Hummel, and Weber, 1825 at
Naples, where his first opera was
prod. 1829, without success ; his next
(Stuttgart, 1830) was not a success ;
settled in London as pf. -teacher and
concert-giver ; 1836, cond. opera
bufTa ; 1837 at Drury Lane, there his
first English opera, ** The Gypsy's
Warning,'' was prod. (1838) ; he ac-
companied Jenny Lind to America,
then cond. at Her Majesty's Th., and
Drury Lane; 1859 at Covent Garden ;
and *' Monday Popular Concerts";
cond. also ^fo^wich festivals, and
(1876-80) the Liverpool Philhar-
monic ; knighted in 187 1 ; composed
II operas ; 2 oratorios, ** St. CeHHa'*
(1866), and ''St, Peter" (1870); 2
symphonies, 3 pf. -concertos, etc. ;
wrote a biog. of Weber. (2) liilo
Ellsworth, b. Cornwall, Jane 9,
1866 ; pupil of C. Petersilea (pf.). J.
K. Paine (theory); 1883-8410 Eoxope,
spending 3 mos. with Liszt ; lives in
Boston, as pf. -teacher and composer.
Benedic'tus Appenzelders (ap-pte-
tsdlt-£rs) (B. of Appenzell), b. Ap-
penzell, Switzerland ; choir-master in
Brussels (1539-55) and composer;
often confused with Benedictus
Duels.
Benel'li, (i) Alemanno. Vide bot-
TRiGARi. (2) A. Peregrino, Forti,
Romagmf, 1771 — Bomichau, Saxooy,
1830; tenor.
Benes (ba'-n^h) (Cer. Benesch),
Josef, b. Batelov, Moravia, 1793;
conductor, violinist and composer.
Benevoli (ba-na'-vd-le), Orasio, Rome,
1602 — 1672; natural son of Duke
Albert of Lorraine, but lived in pov^
erty; cond. at the Vatican (1646);
remarkable contrapuntist ; in writ-
ing chorals with instrs. he was a
pioneer ; his Salzburg mass being
written on 54 staves.
Benfey (b«n-fl'), Theodor, Norton,
near Gftttingen, 1809 — 1881 ; writer.
Benini (ba-ne'-ne), Signora, Italian
singer in London, 1787, comic <^>era ;
exquisite sweetness but little power.
Beninco'ri, Anr. M., Brescia, 1779 —
Paris, 1821 ; dram, composer.
Ben'nat, Fa., b. Bregenz, Ang. 17,
1844 ; 'cellist ; studied Munich Coos.
and with Servais; since 1864 in
Munich court-orch.; since 1888 in the
Walter Quartet, chamber-mus.
Ben'net, (i) J^ English composer
(1599). (3) Saunders, d. i8oq;
English organist and composer. (3)
Theodora. VidexH. ritter.
Bennett, (i) Wm., b. Teignmoath,
ca. 1767 ; organist. (2) Ijios., ca.
1774—1848 ; oipinist. (3) Alfred,
1805 — 1830; English oiganist. (4)
Sir Wm. Stemdale, Sheffield, Afxil
13, 1816— London, Feb. i, 1875;
DICTIONARY OF MUSICIANS 419
SOD of an organist (who died 1819) ;
at 8 entered the choir of King's Col-
lege Chapel ; at 10 pupil of R. A. M.;
at 17 played there an original pf.-
concerto, later pub. by the Academy;
sent 1837 by the Broadwoods to Leip-
zig for one year ; friend of Schumann
and Mendelssohn; 1844 ^' Mary
Anne Wood, founded the Bach So-
ciety, 1849; cond* Philh. Society,
1856-66; 1856, Mus, Doc. Cam-
bridge and prof, of mus. there ; 1866,
Principal there; 1871, knighted;
buried in Westminster Abbey ; com-
posed I sjrmphony, an oratono ** TA€
IVoman of Samaria,** music to So-
phokles' *^j4jax**,' 5 overtures, ** Pa-
risina,'* ** The Naiads,'' " The
Wood-nymph,"' ''Paradise and the
Pen,'' ** Merry Wives of Windsor,"
sonatas, etc. (5) Jos., b. Berkeley,
Gk>ucesterehire, Nov. 29, 1831; or-
ganist of Westminster Chapel ; then
music critic for various London news-
papers ; finally The Telegraph ;
wrote various libretti ; pub. ** Letters
from Bayreuth" {1877); ''The
M usual Year" (1883), etc.
BennewiU (b«n'-n«.vets), (i) Wm.,
Beriin, 1832 — 1871 ; dram, composer.
(2) Anton, b. Privat, Bohemia,
March 26, 1833 ; violinist ; 1882, dir.
of Prafi^e Cons.
Benois (bOn-wi), Marie, b. St. Peters-
burg, Jan. 1, 1861 ; pianist ; pupil of
Leschetizky (1876), won gold medal
St. Petersburg Cons. ; toured with
success ; (1878) m. her cousin Wassi-
ly Benois.
Benoist (bttn-wii), Francois, Nantes,
1794 — Paris, 1878 ; organ-prof. Paris
Cons. ; composed operas, etc.
Benmt (b(in-w&), Pierre Leonard
Ld., Harlebecke, Belgium, Aug. 17,
1834 — Antwerp, Mar.4,1901; Flemish
composer and writer ; pupil Brussels
Cons., 1851-55; at same time prod,
a small opera and wrote music for
Flemish melodramas; 1856, cond.
Park Th. ; 1857, won the Prix de
Rome, with the cantata ** Le Meurtre
d* Abel" J studied at Leipzig, Dres-
den, Munich, and Berlin, and wrote a
thesis for the Brussels Academy
" V ^coU de musique Jlamande et son
avenir" In 1861 his opera " Le Roi
des Aulnes" was accepted by Theatre
Lyrique, Paris, but not given ; cond.
at the Bouffes-Parisiennes ; from
1867, dir. Antwerp Cons. ; 1882,
member of the R. A., Berlin ; com-
posed Messe solennelle (1862) ; TV
Deum (1863) ; Requiem (1863) ; 2
oratorios "Lucifer" and " De
Schelde" ; 2 operas " Het Dorp int
Gebergte" and " Isa" ; "Drama
Christi" a sacred drama in Flemish ;
a cantau ** De Oorlog War " ;" Chil-
dren's Oratorio" ; a choral sym-
phony, " De Maaiers" (The Rcap
ers); music to "Charlotte Cor day"
and to ** WilUm de Zwijger" (1876) ;
the ** Rubens cantata" "Flanderens
kunstroem "; " Antwerpen" for triple
male chorus (1877) ; vocal works
with orch. incl. " Joncfrou Kathe-
lijne" scena for alto (1879) ; ** Muse
der Geschiednis " (1880) ; and *' Hue-
bald," *• Triomfmarsch " (1880) ;
grand canUta ** De Rhyn " (1889) ; a
mass, etc. Wrote " De vlaamsche
Musiek-school van Antwerpen "
(1873), ** Verhandelung over de na-
tionale Toonkunde" (2 vols., 1877-
79), etc.
Benson, Harry, b. Birmingham, Eng-
land, Dec. 14, 1848 ; pupil of Dea-
kin and Browning in England and
at N. E. Cons., Boston, where he
was for years instructor ; since 1891
with Boston Training School of Mu-
sic ; cond. of various choral societies ;
active devotee of Tonic Sol-fa.
Benvennti (bdn-vH-noo'-te), Tomma-
80, b. Venice, 1832 ; dram, com-
poser.
Berardi (ba-r^'-de), Angr., b. Bologna,
168 1 ; conductor and theorist.
B^rat (ba-rS), Fr., Rouen, 1800 —
Paris, 1855 ; composer.
Berbigiiier (bdr-bYg-yi), Benoit
Tranquille, Caderousse, Vaucluse,
1782— near Blois, 1838 ; flute-vif
tuoso and composer.
420
THE MUSICAL GUIDE
chem (?) near Antwerp, ca. 1500—
1580 ; contrapuntist and conductor.
Berens (ba-r£ns), (i) Hermann,
Hamburg, 1825 (?) — Stockholm,
1880 ; son and pupil of (2) K. B.
(1801 — 1857) ; court-conductor and
composer.
Beret ta, Giov. Batt, Verona, 18 19 —
Milan, 1876; theorist, editor, and
composer.
Berg (b€rkh), (i) Adam, 1540— 1599 *•
music-printer, Munich. (2) Jn. Ton,
1550; music-printer, Ghent, NUm-
berg. (3) G., German composer in
England, 1763-71. (4) Kon. Mat.,
Colmar, Alsatia, 1785 — Strassburg,
1852 ; violinist, pianist, and writer.
Bergrer (b5r' g«r). (i) L., Berlin,
1777 — 1839; from 1615 pf.-teacher
and composer. (2) Francesco, b.
London, June 10, 1834 ; pupil of
Ricci and Lickl (pf.), Hauptmann
and Plaidy ; pf.-prof. R. A. M., and
Guildhall Sch. of Mus.; for years
dir., now sec, Philh.; composed an
opera, a mass (prod, in Italy), etc.;
wrote *^ First Steps at tfu Piano^
forte" (3) Wm., b. Boston, Mass.,
U. S. A., Aug. 9, 1861 ; taken by
parents to Bremen ; pupil of Kiel,
etc. ; lives Berlin as teacher and com-
poser; 1898 won a prize of 2,000
marks, with a setting of Goethe's
^^ Meine Gdttin" (op. 72); composed
** Gesang der Geister iiber den Was*
sern^" mixed choir and orch. in over-
ture form, a dram, fantasy, etc. (4)
Siegfried. Vide chelius. (5) Otto,
Machau, Bohemia, 1873 (?) — 1897 ;
'cellist.
Berggreen (b^rkh'-gr§n), Andreas P.|
Copenhagen, 1801 — 1880 ; teacher.
Berghem. Vide bkrchem.
Bergmann (b^rkh'-man), K., Ebers-
bach, Saxony, 1821 — New York, Aug*
16, 1876; in America, 1850, with
*• Germania " Orch., later its cond., till
1854 ; cond, " Handel and Haydn"
Soc., Boston, 1852-54; in 1855 alter-
nate cond. Philh. Soc, New York;
1862-76, sole cond ; also cond.
" Arion " Society ; active in introduc-
ing Wagner, Liszt, etc. , to America.
Bergner (bdrkh'-n^r), Wm., b. Riga,
Nov. 4, 1837 ; organist ; foimded a
Bach Society and a cathedral choir.
Bergonzi (b«r-g6n'-tse), (i) Carlo,
1716-1755 ; vln. -maker at Cremona,
best pupil of Stradivari. His son (2)
Michelangelo, and his 2 nephews,
(3) Niccolo and (4) Carlo, were less
important. (5) Benedetto, Cremona.
1790 — 1840 ; horn-player and invent-
or.
Bergson (b^rkh'-zon), Michael, b.
Warsaw, May, 1820; pianist and
composer; pupil of Schneider, Run-
fenhagen, and Taubert, Paris (1840);
taly, 1846, where his opera ** lundsa
di Montfort" was succ. (Florence,
1847) ; Paris, 1859. prod, a i-act op-
eretta ; 1863, 1st pf.-teacher and
soon dir. Geneva Cons. ; later in Lon-
don as teacher.
Bergt (b^rkht), Chr. Gl. Aug., b.
Oderan, Saxony, 1772 — Bautzen,
1837 ; organist, violinist and con-
ductor.
Beringer (ba'-rlTng-^r), (i) Robert, b.
FUrtwangen, June 14, 1841 ; 1861
pianist at the Crystal Palace ; cond.
of societies, and lecturer. (2) Oscar,
b, FUrtwangen, July 14, 1844 ; bro. of
above ; pupil of Plaidy, Moscheles,
Leipzig Cons., 1864-^6 ; later of
Tausig, Ehrlich, and Weitzmann,
Berlin ; teacher there, 1869 ; London,
1871 ; since 1873 pf.-prof. in R. K,
M. ; composed Technical Exercises,
etc.
B^riot (dti bar-y5), (i) Chas. Auguste
de, Louvain, Feb. 20, 1802 — Brus-
sels, April 8, 1870; vln. -virtuoso ;
pupil of Viotti and Baillot, but chiefly
of his guardian, Tiby ; at 9 he played
a concerto ; 1821, made a brilliant
debut, Paris ; chamber-violinist to
the King of France, solo-violinist to
the King of the Netherlands (1826-30):
1830-35 toured Europe with Mmc.
Garcia-Malibran, whom he m. in
DICTIONARY OF MUSICIANS 421
1836 ; from 1843-52, prof, at Brussels
Cons.; became blind and paralysed
in left arm ; pub. method and 7 con-
certos, etc., for vln. (2) Chas. Vil-
firide de, b. Paris, Feb. 12, 1835 ; son
of above ; pupil of Thalberg ; prof,
of pf,, Paris Cons. ; composed sym-
phonies, etc.; wrote with his father
a '^M^thode d^ accompagnement.^''
Beriijn (or Berl^) (b£^-len), Anton
{or Aron Wolf (?), Amsterdam, 18 17
— 1870 ; conductor.
Berlin (biLr'-len), Jn. Daniel, Memel,
1710— Drontheim, Norway, 1737 ;
organist and writer.
Berfioz (bar-lY-5s not bar-lY-o), Hec-
tor (Lonis), Cote-Saint-Andr^, near
Grenoble. France, Dec. 11, ;803 —
Paris, March 9, 1869; ** Father of
modem orchestration '* ; conductor,
critic, writer of verse and electric
prose ; sent to Paris to study med-
icine, he accepted disinheritance and
took up music, though he could never
play any instr. save the guitar and
flageolet ; while pupil at the Cons., he
earned a bare living ; joined the chorus
of the Gymnase Dramatique ; left the
Cons, in disgust with Reicha*s forma-
lism, and plunged with characteristic
energy — or rather fury — ^into the cause
of romanticism ; 1825, an' orchestral
mass pven at St. Roch brought the
ridicule he usually had in France
where he was little thought of as a
composer though admired as a writer ;
1828 saw the production of two over-
tures ** WaverUy''' and '* Les Franc s-
y«w," and a Symphonic fantastique,
** Episode de la vie d'un artiste " /
1829. his ** Concerts des Sylphes""
publicly produced at 26, show him
an ardent believer in programme-
music (vide D. D.) and a marvellous
virtuoso in instrumentation. He re-
entered the Cons, under Lesueur, in
^te of Cherubini, who fought his ad-
mission ; 1830, he took the Prix de
Rome with a cantata, ^^ Sardana-
pale** ; after 18 months in Italy
he returned to Paris and took up
journalism with marked success. His
symphony ** Harold en Italic " (1634),
the '' Messe des Aforts" (iS:i7), the
dram, symphony *' Romio et Juli-'
ette^'* with vocal soli and cnorus
(1839), *"d ^^^ overture ** Carn^iml
romain^^* were well received, but the
2-act opera senu-seria *^ Benvenuto
Cellini " failed both in Paris and in
London, 1838. In 1839 he was made
Conservator of the Cons. ; librarian,
1852, but was never made professor
as he desii^d. Concert tours through
Germany and Russia, 1843-47, were
very successful and are described in
his book " Voyage musical." London
(1852) he cond. the "New Philh.
Concerts "; prod, comic opera ** B/at-
rice et Bdn^dict " (1862, Baden-Ba-
den) ; 1865, member of the Academie,
and decorated with cross of Legion
of Honour. He m. Henrietta Smith-
son, an Irish actress who made a sen-
sation in Paris in Shakespearian
roles, but later was hissed off, and
became a peevish invalid. His opera,
''Les Troyens h Carthage" (1863)
was a failure. His son Louis died
1867. ''Les Troyens" in two
parts ; La Prise de Troie^ 3 acts,
and Les Troyens h Carthage^ in 5
acts was given complete for the first
time, at Carlsruhe, 1897. His most
succ. work was his ** oratorio," "La
Damnation de Faust" (1846). His
* ' Traiti d' instrumentation " is a clas-
sic in orchestration, though its then
sensational modernity is lost. B.
strangely despised Wagner, who, how-
ever, confessed his large indebtedness
to B. Other books are *' Soirees
d^orchestre" (1853), ^'Grotesques de
la musique" (1859), "A trovers
chants" (1862), and an autobiogra-
phy, '* Mdnioires" from 1803-65.
In original verse are the text to the
sacred trilogy " LEnfance du Christ "
(Part /. , Le songe d^H/rode ; II. , La
fuite en Egypte ; III., LArrivie h
Sais) ; and his operas "Les Troy-
ens " and • • Beatrice et B/n/dict. " He
composed also sl " Te Deum" for 3
choirs, orch. and org. ; a ** Grande
422
THE MUSICAL GUIDE
svmphonie funibre et triompkaU ** for
nill military band, with strings and
chorus ad lib. ; overture to *' Z/
Corsaire''; '' Le Cinq Mai,^ for
chorus and orch. (on the anniversary
of Napoleon*s death), etc.
Berlioz.
By Ernest Newman.
BERLIOZ'S early influences were as much literary u musical. His
reading was m|inly romantic ; his musical gods were Beethoven,
Weber, and Gluck, whose orchestral works influenced him most.
He knew little of Beethoven's piano writings, and did not like Bach. ^ Into
the intellectual world of the Beethoven symphony and the operas of Glock
and Weber he breathed the newer, more nervous life of the French Roman-
deists. Colour and sensation became as important as form and the pure idea.
^[ These influences and his literary insrincts led him to graft the prognmnn^
form on the older symphony. All his music aims at something concrete.
Instead of the abstract world of the classical symphonists he gives us defimte
emodons, or paints definite scenes. Colour, passion, and veracity were the
prime needs ; form had to follow their guidance. Hence botJi his suc-
cesses and his failures. His virtue is truth and vivacity of expression ; his
defect the pursuit of these to the detriment of the musical interest. ^All
modem programmists have built upon him — Liszt, Richard Strauss, and
Tschaikowsky. Wagner felt his influence, though he belittled it. ^Hi$
own words, << I have taken up music where Beethoven left it," indicate his
position. He is the real beginner of that interpenetration of music and the
poetic idea which has transformed modern art.
Berlyn, Anton. Vide berlijn.
Bennudo (b^r-moo'-dho), Juan, As-
torga, ca. 1510; writer.
Bernabei (b^r-na-ba -e), (i) Gius. Er-
cole, Caprarola, ca. 1620 — Munich,
1687 ; 1672 cond. at the Vatican ;
1674 cond. at Munich ; composed
three operas (prod, in Munich), etc.
(2) Gius. A., Rome, 1659 — Munich,
1732 ; son of above and his successor
at Munich.
Bemacchi (b^r-nSk'-ke), A., Bologna,
ca. 1690 — 1756 ; soprano-musico, en-
gaged by Handel for London, 1729,
as the greatest living dram, singer ;
1736 founded a singing-school at Bo-
logna.
Bernard (b^r-n&r, in F.\ (i) Emery, b.
Orleans, France, i6th cent.; wrote
method of singing. (2) (b^r'-nirt, in
<7.), Moritz, Kurland, 1794—^.
Petersburg, 1 871; pianist and teacher.
(3) Paul, Poitiers, 1827 — Paris, 1879 :
composer and writer. (4) Darnel,
1J41 — Paris, 1883 ; writer. (5)
Emile, b. Marseilles, Aug. 6, 1845 ;
organist of Notre-Dame-desXhamps,
Paris ; important composer of vlii.-
concerto; concert-stQck for pf. with
orch.; overture ^ * Beatrice ** ; 2 can-
tatas ; much chamber-music, etc
Bemardel. Vide lupot.
Bemar'di, (i) StefiEano, ca. 1634;
canon at Salzburg ; theorist and com-
DICTIONARY OF MUSICIANS 423
poser. (2) Francesco. VidessNE-
siNO. (3) Enrico, b. Milan, 1838 —
1900; conductor and dram, com-
poser.
Bemardini (b€r-n&r-d€'-ne), Marcello
(" Marcello di Capua '0, b. Capua,
ca. 1762 ; dram, composer.
Bemasco'ni, (i) Andrea, Marseilles,
171a — Munich, 1784; court-conduc-
tor. (2) P., d. Varese, May 27,
1895 : ofgan-builder.
BenieirnuSy lived in Paris, 1000;
probably a Benedictine monk ; theo-
rist and writer.
Ber'ner, Fr. Wm., Breslau, 1780—
1827 ; organist.
Bemhard (b«r-n&r), (St.), Fontaines,
Burgundy, 1091 — 1153; abbot and
theorist.
Bemhard (b^m'-hlrt), (i) der
Demtsche (d^r doit'-sh^ ; organist,
Venice, 1445-59; known as "Ber-
nado di Steffanino Murer** ; perhaps
inv., certainly introduced, into Italy,
the organ-pedal. (2) Chr., Danzig,
161 - — Dresden, 1692 ; court-con-
ductor and notable contrapuntist.
Bemicat (b«r^nl-kft), Firmin, 1841—
Paris, 1883 ; dram, composer.
Ber'no, Angien'sit, d. Riechenau,
1048 ; abbot and theorist
Bemouilli (bjlr-noo-e'-ye), (i) Jn.,
Basel, 1667—1747. His son (2)
Daniel, Groningen, 1700— Basel,
1782, also was prof, and writer on
acoustics.
Bems'dorf, Eduard, Dessau, March
25, 1825 — 1901 ; Leipzig critic and
composer.
Bemnth (b&r'-noot), Julius von, b.
Rees, Rhine Province, Aug. 8, 1830 ;
studied law and music at Berlin,
1854 ; studied at Leipzig Cons, till
1857 ; founded the ** Aufschwung
Society," and 1859 ** Dilettonte*s Or-
chestral Society '* ; also cond. 3 other
societies ; later cond. at Hamburg ;
1873, dir. of a cons, there ; 1878,
** Roval Prussian Professor.'*
Berr (b«r), Fr., Mannheim, 1794 —
Paris, 1838 ; bandmaster; 1831, prof.
of dar. , Paris Cons. ; 1836, dir. School
of Military Music ; writer and com-
poser.
Berr^ (Wfr-r4), F., b. Ganshoren, near
Brussels, Feb. 5, 1843; composed
operas.
Bersel'li, Matteo, Italian tenor ;
London, 1720-21.
Bertali (b«r-t2'-le). Ant., Verona,
1605 — ^Vienna, 1669 ; court-conductor
and dram, composer.
Bertani (b«r-tft'-ne), Telio, i6th cent.;
court-conductor.
Ber'telmann, Jan. G., Amsterdam,
1782 — 1854; prof, and composer.
Befteltmann, K. Aug.^ GQtersloh,
Westphalia, 1811 — Amsterdam, 1861;
director and composer.
Berthaume (b^r-tdm), Isidore, Paris,
1752— St Petersburg, 1802 ; violinist
and conductor.
Berthelier (b«r.t«l-ya), H., solo-violin-
ist, Paris Opera, 1894.
Bcrthold (b«r'-t6lt), K. Fr. Theodor,
Dresden, 1815 — 1882 ; court-organist.
Bcrti (b«r-te), M. A., Vienna, 1721—
1740; barytone-player.
Berlin (b^r'-tift), Louise Ang^liqne,
Roches, near Paris, 1805— Paris,
1877 ; singer, pianist and dram, com-
poser.
Bertini (Mh-.te'-ne), (i) AbbateGins.,
Palermo, 1756 — 1849 (?); court-cond.
and lexicographer. (2) Benoit
Auguste, b. Lyons, 1780 ; writer.
(3) H. Jerome, London, 1798 —
Meylau, near Grenoble, 1876 ; bro.
and pupil of above ; pianist and
composer ; at 12, toured the Nether-
lands and Germany ; retired, 1859 ;
wrote technical studies. (4) Dom.,
Lucta, 1829 — Florence, 1890 ; teach-
er, critic, theorist and director.
Bertinot'ti, Teresa, Piedmont, 1776—
Bolog^, 1854 ; operatic soprano ; m.
Felix Radicati, a violinist and
composer.
Bertolli (t6r-lY), Fran., Italian singer
in HUndel's operas, London, 1729-
37-
Berton (b^r-t66), (i) P. Montan,
Paris, 1727—1780; conductor grand
opera and dram, composer. (2) H*
424
THE MUSICAL GUIDE
Montan, Paris, 1767 — 1844 ; son of
above; composer. (3) Francois,
Paris, 1784 — 1832 ; natural son of
(2) ; pupil, later prof, of singing, at
Cons. ; composed operas and songs.
Berto'ni, Fdo. Giu., Venice, 1725 —
Desenzano, 1813 ; organist and dram,
composer.
Bertram (Wr'-tr&m), Th., b. Stutt-
gart, Feb. 12, 1869 ; barytone ;
studied with his father ; sang in various
German cities lately with his wife,
Fanny Moran Olden.
Bertrand (b€r-tran), J. Gv., Vaugi-
rard, near Paris, 1834 — Paris, 1880;
writer and critic.
Berwald (b«r'-valt), (i) Jn. Fr., Stock-
holm, 1788 — 1 86 1 ; precocious violin-
ist, etc. ; pupil of Abbe Vogler ; com-
posed a symphony at 9. (2) Fz.,
Stockholm, 1796 — 1868 ; nephew of
above ; dram, composer.
Berwillibald (b^-vlHl-biilt), G. G.,
German singer in London, 17 16.
Berwin (b^r'-ven), Adolf, Schwersenz,
near Posen, 1847 — Rome, 1900 ; dir.
Cecilia Academy, Rome ; writer.
Besard (bti-z&r), Jn. Bap., b. Besan-
9on, ca. 1576 ; writer.
Beschnitt (b^-shnU'), Jns., Bockau,
Silesia, 1825 — Stettin, 1880; con-
ductor.
Besekirsky (bi-z^-ker'-shkY), Vasil
Vasilevitch, b. Moscow, 1836 ; con-
cert violinist and composer.
Besler (b&s'-l^r), (i) Samuel, Brieg,
Silesia, 1574 — Breslau, 1625 ; rector
and composer. (2) Simon, cantor
at Breslau, and composer, 1615-28.
Besozzi (ba-sod'-ze), the name of 4
brothers, all oboists except (3). (i)
Ales., Parma, 1700 — Turin, 1775.
(2) Antonio, Parma, 1707— Turin,
1781 ; (3) HieronimOy Parma, 1713
— Turin (?), bassoonist. (4) Gaeta^
no, b. Parma, 1727. (5) Carlo, b.
Dresden, 1745 ; oboist, son of (2).
(6) Hieronimo, d. 1785 ; son of (3) ;
oboist. His son (7) Henri was a
flutist, and father of (8) Louis D6«
sir^, Versailles, 18 14 — Paris, 1879;
teacher and composer.
Bessems (b^'-sams), A., Antweq),
1809 — 1868 ; violinist and composer.
Besson (bCis-son), Gv. Ang., Paris,
1820 — 1875 I improver of valves in
wind-instruments.
Best, Wm. T., Cariisle, Engl., Ang.
13, 1826 — Liverpool, May 10, 1897 ;
org.-virtuoso ; pupil of Young ; or-
ganist at various ch.,and the Philh.
Society ; in 1880, declined knight-
hood, but accepted Civil-List pen-
sion of ;f 100 per annum ; 18^
retired; 1890 went to Sydney, Aus-
tralia, to inaugurate the organ in the
new Town Hall ; composed overtures,
sonatas, preludes, etc, for organ,
also 2 overtures and march for orch. ;
andpf.-pcs. ; wrote** The Art of Or*
gan-p laying, ^^ etc.
Betts, J. & Edward, London ; vln.-
makers ; pupils and successors of R.
Duke, 1760-80.
Betz (Wts), Fz., Mayence, March 19,
1835 — Berlin, Aug. 12, 1900 ; bary-
tone ; created ** Wotan, " and **Haiis
Sachs."
Beuer (boi'-^r), Elise, b. Carlsbad;
soprano, studied in 1892 at Vienna ;
City-Theatre, Leipzig; 1899, Ham-
burg City Theatre.
Beunter (boin'-t^r), Benj., Mnhl-
hausen, 1792 — 1837 ; organist and
composer.
Bev'an, Fr. Chat., b. London, July 5,
1856 ; pupil of Willing and Hoyte ;
organist various churches ; then stud-
ied singing with Schira, Deacon and
Walker ; 1877 Gentleman of the
Chapel Royal ; composed [>op. songs.
Bevigfiaani (ba-vcn-yfi'-nc), Cavalicre
Enrico, b. Naples, Sept. 29, 1841 ;
pupil of Albanese, Lillo, etc., ist
opera, ** Caterina Bloom ^^^ succ. ;
Czar made him Knight of the Order
of St Stanislas, which g^ves nc^ility
and a life-pension ; chiefly noted as
cond. in London, Moscow and New
York.
Bev'in, Elway, Wales, i56o(-7ol)
— 1640 (?) ; Gentleman of the Chapd
Royal ; organist, writer and com-
poser.
DICTIONARY OF MUSICIANS 425
Bez'field, Wm. Rd., Norwich, 1824
— London, 1853 ; organist and com-
poser,
Beyer (bi'-^r), (i) Jn. Samuel,
Gotha, i66o----Carlsbad, 1744; direc-
tor. (2) Rndol^ Wilther, 1828—
Dresden, 1853 1 composer. (3) Fd.,
Querfurt, 1805 — Mayence, 1863 ;
composer.
Bia^gi (be-dd'-je), Gir. Ales., Milan,
18 1 5 — Florence, 1897; prof., dram,
composer, writer under pseudonym
"Ippolitod*Albano."
Bial(be'.al),(T)Rudolf,Habelschwerdt,
Silesia, 1834 — New York, 188 1 ; vi-
olinist, writer and cond. (2) K.,
Habelschwerdt, 1833 — Steglitz, near
Berlin, 1892 ; bro. of above ; pianist.
Bianchi (be-Hn'-ke), (1) Fran., Cre-
mona, 1752 — Bologna, 1811 : organist;
composed 47 operas. (2) Valentine,
Wilna, 1839— Candau, Kurland,
1884 ; dram, soprano ; debut, 1855.
(3) Bianca (rightly Schwarz), b. in
a village on the Neckar, June 27,
1858 ; dram.-soprano ; pupil of Wil-
czek and Viardot-Garcia ; Pollini
paid her tuition and then engaged
her for 10 years; debut Carlsruhe,
1873- (4) Hliodoro, composed
operas; ** Gara d' A more** (Ban,
1873) ; ** Sarah "/ ** Almamorr
Bianchini (be-an-ke'-ne), P., b. Ven-
ice, Oct., 18, 1828 ; violinist, cond.,
1878-87, teacher at Trieste, then dir.
School of the Padri Armeni, Venice ;
composer.
Bibcr (bc'-b«r), (i) H. Jn. F2. von,
Wartenberg, Bohemia, 1644 — Salz-
burg, May 3, 1704 ; violinist, and
one of the founders of the German
school of vln. -playing ; Leopold I.
ennobled him. (2) Alojs, EUingen,
1804 — Munich, 1858 ; piano-maker.
Bibl (beb'-*l), (i) Andreas, Vienna,
1797 \ organist and composer, as was
his son (2) Rudolph, b. 1832.
Biedermann (be'-d«r-mfin), (i) ,
about 1 786 tax-receiver at Beichlingen,
Thuringia ; a real virtuoso on, and
improver of, the hurdygurdy. (2)
Edw* Jnlius, b. Milwaukee, Wis.,
Nov. 8, 1849 (son and pupil of (3)
A. Jnliut); studied in Germany;
since 1888 organist St. Mary's R. C.
Church, New York.
Biehl (bel), Albert, b. Rudolstadt,
Germany, Aug.- 16, 1833 ; writer of
valuable works on finger technic ; and
composer.
Bierey (ber'-T), Gl. Benedikt, Dres-
den, 1772 — Breslau, 1840 ; conductor
and dram, composer.
Biese (be'-z«), Wm., b. Rathenow,
1822 ; piano-maker, Berlin.
Bigagrlia (be-gal'-ya), Padre Dio-
gemo, 1725 ; Benedictine monk and
compos^.
Big:nami (ben-ya -me), (i) Carlo, Cre-
mona, Dec. 6, 1808 — Voghera, Aug.
2, 1848; cond., violinist and dir.,
Cremona ; Pag^nini called him ** the
first violinist of Italy.'* (2) Enrico,
1842 (?) — Genoa, 1894 ; violinist,
dram, composer.
Bignio (ben -yo), Louis von, b. Pesth,
1839 ; lyric barytone ; Vienna Court-
Opera ; pensioned, 1883.
Bigot (be-go), M. (n^ Kiene), Col-
mar, Upper Alsaria, 1786— Paris,
1820; pianist.
Bilhon (or Billon) (be-y6A), J. de,
i6th cent. ; composer and singer in
the Papal Chapel.
Billema (bel-la -mS), (i) Carlo (b.
Naples, ca. 1822) and (2) Raffaele
(Naples, 1820 — Saintes, Dec. 25,
1874), brothers ; pianists, and com-
posers.
Bfllert (bel'-l«rt), K. Fr. Aug., Alt-
stettin, 182 1 — Berlin, 1875 ; painter
and writer.
Billet (be-ya), Alex. Ph., b. St.
Petersburg, March 14, 1817 ; pianist
and composer.
Billeter (be-yti-ta), Agathon, Manne-
dorf, Lake of Zurich, Nov. 21, 1834;
organist, conductor and composer of
pop. part-songs.
Bil'lings, Wm., Boston, Mass.,
Oct 7, 1749— Sept. 29, 1800; com-
posed hymns; introduced the pitch-
pipe and .the 'cello into American
church-choirs, and is said to have
426
THE MUSICAL GUIDE
given the first concert in New Eng-
kind.
Biriington, (i) Th., pianist, harp-
ist and composer, latter part of i8th
cent. (2) Elizabeth (n<^ Weichsel),
London, ca. 1768 — near Venice, Aug.
23, 18 18 : pupil of her father, a clar-
inettist ; then of J. Chr. Bach ; hand-
some operatic soprano, had a compass
of soctaves, a-a (Vide pitch, d. d.),
1784, Dublin ; 1786, Covent Garden ;
retired, 18 18.
Billrot(h) (bcl'-rot), (i) Jn. Gv. Fr.,
Halle, near Lubcck, 1808 — Halle,
1836; composer and writer. (2)
Theodor, Bergen, Isle of Rdgen,
1829 — Abbazia, 1894 ; surgeon and
writer.
Bilse (bel'-s^), Benj., b. Lieznitz, Aug.
17, 1816 ; ** Stadtmusikus ' at Lieg-
nitz, and trained a remarkable or-
chestra ; retired 1894 as ** Hofmusi-
kus."
Binchoit (Gilles de Binche, called
Biachoit) (b&nsh-wa), Binche, in
Belgian Hainault, ca. 1400 — Lille,
1460 ; one of the early Netherland
composers ; 3-part chanson, ron-
deaux, etc., of his are extant.
Binder (bTnt'-€r), (i) K. Wm. Fd.,
b. Dresden, 1764 ; harp-maker at
Weimar, ca. 1797. (2) K., Vienna,
1 8 16 — 1860 ; conductor and dram,
composer.
Bin! (be'-ne), Pasqualino, b. Pesaro,
ca. 1720 ; violinist.
Bioni (bc-o -ne). A., b. Venice, 1698 ;
composed 26 operas.
Biordi (bc-6r'-de). Giov., Commis-
sioned by Pope Benedict XIII. to
supplement Palestrina's service ; this
was used till 173 1.
Birch, (i) C. Anne, b. ca. 1815 ; pop.
singer ; retired 1856. (2) Eliza, ca.
1830—1857 ; sister of above ; sopra-
no.
Birch'all, Robt., d. 1819; music-pub-
lisher, London.
Birckenstock (b«r'-k^n-sht6k), Als-
feld, 1687 — Eisenach, 1733 ; con-
ductor.
Bird, (i) Wm. Vide byri>. (2) Arthur,
b. Cambridge, Mass., July 23, 1856;
pupil of Haupt, LOschhom, and
Rohde, Berlin, 1875-77 ; organist and
teacher at Halifax, N. S.; founded
the first male chorus in N. S., 188 1 :
studied comp. and orchestration with
Urban, Berlin ; 1885-S6 with Liszt at
Weimar ; 1886, gave a successful
concert, and has lived since, in Berlin,
GrUnewald ; composed symphony and
3 suites for orch.; various pieces for
piano ; comic opera ** Daphne " (New
York, 1897) ; and a ballet, *' RUk-
%ahir
Birkler (bcr'-kl«r), G. Wm., 1820-
1877 ; composer and writer.
Bimbach (bem'-bakh). (i) K. Jof.,
Kopemick, Silesia, 175 1 — Warsaw,
1805 ; conductor. (2) Jos. Benj.
H., Breslau, 1795 — Berlin, 1879;
pianist and composer ; son and pupil
of above.
Bisaccia (be-sHt'-cha), Gior., 1815—
Naples, 1897 ; singer, conductor and
dram, composer.
Biscaccianti (bes-k£t-chan'-te), Eli-
za (nee Ostinelli), Boston, Mass.,
1824 (7?)— 1896; sang in America
and Europe, in opera and concert;
teacher in Rome and elsewhere ; m.
Marquis B.
Bischoff (besh'-60, (0 G. Fr., Ellrich,
Harz Mts., 1780— Hildesheim. 1841;
conductor ; founded the German mus.
festivals. (2) L. Fr. Ch., Dessao.
1794 — Cologne, 1867 ; translator ;
son of (3) K. B., court-mus., Dres-
den. (4) Kasper Jakob, Ansbach.
1823— Munich, 1893; teacher and
composer. (5) Hans, Berlin, 1852—
Niedcrschftnhauscn, near Berlin. 1889:
pf. -teacher, conductor and editor.
Bishop, (i) Sir H. Rowley, London,
Nov. 18, i786~April30, 1855 ; noted
Engl, composer ; pupil of Bianca ; his
first opera, ** The Circassian Bride^
was prod. Drury Lane, when he was
20; 1810-11 comp. and cond. at Co-
vent Garden ; 18 13 alternate cond,
Philh. Soc; 1825 cond. at Drury
Lane ; 1830 musical dir. at Vauxhall;
1841-43, prof, music, Edinburgh;
DICTIONARY OF MUSICIANS 427
knighted, 1842 ; 1848 prof, of music
at Oxford ; 1853, Mus. Doc. (Oxon);
prod, over 80 operas, farces, ballets,
an oratorio, cantata, etc. (2) J.,
b. Cheltenham, 18 14 ; organist, editor
and compo^r.
Bispham (bisp .h&m), David, b. Phil-
adelphia, ca. i860 ; dram, barytone ;
sang in church and oratorio ; 1885-87
pupil of Vannuccini and Wm. Shakes-
peare ; from 1891 in opera at Co vent
Garden, and America, with much
success and versatility; and also in re-
citals, in both of which fields his high
dramatic intelligence plays an unusual
part ; is brilliant in comic or tragic
situations ; knows more than 40 roles.
Bit'ter, K. Hemuum, Schwedt-on-
Oder, 18 13— Berlin, 1855 ; Prussian
Minister of Finance, and writer.
Bitto'ni, Bdo.i Fabriano, 1755 — 1829 ;
organist.
Bixet (be-za), G. (Alex. C^sar Leo-
pold), Paris, Oct. 25, 1833— Bougi-
val, June 3, 1875 ; brilliant pianist
and distinguished composer. At 9,
pipil at Paris Cons, of Marmontel
(pf.), Benoist (ort.), Zimmerman
(harm.), and Halevy (whose opera
•*AV/'* he finished, and whose
daughter Genevieve he m.) ; 1857,
took Offenbach ist prize for an opera
buffa, *' Le Docteur Miracle,"' prod,
at Bouffes Parisiens, 1863 ; also won
the Grand Prix de Rome. In place of
the /Mass prescribed he sent from
Rome a 2-act Ital. opera buffa ^^ Don
Procopio " y 2 movements of a sym-
phony, "Zfl Chasst D Ossian^' ap
overture; and *'Za Gutla de VE-
mir^" ^. comic opera. 1836, his grand
opera ''Us Peckeurs de Perles,''
was prod. Paris (Th. Lyrique) ; it
failed, as did ''La JoUe PiUe de
Perth " (1867), and the i-act '* Dja-
mileh " (1872). In all his music B.
revealed a strong leaning toward
Wagner, then so unpopular in
France ; but 1872, his overture **/'tf-
/ri>," the 2 symphonic movements,
and incidental music to Daudet*s
LArUsienne, brought him success ;
and *' Carmen " (Op^-Com., March
3, 1875) brought him a fame, which
he hardly knew, as he died three
months later of heart disease ; he com-
posed also 2 operas, ** Numa " (1871)
and ''Ivan le Terrible** ; 150 pf. -pes.,
songs, etc.; collaborated with D^-
libes, Jonah and Legouix in opera
** Malbrou^h, sen va-t'ewguerreC*
Biog. by Pigot, 1886.
By Edward E. Ziegler.
AS Bizet's last work was his best, it is logical to argue that his un-
timely death has cheated us of compositions more valuable than
** Carmen i*^ but beyond mere conjecture such an estimate can
have no value and his rank among opera-composers must be determined by
Carmen. That the stage was his real field, is proven clearly by the per-
sistency with which he composed for it, and a study of his different efforts
proves the wisdom of his choice, for there are no masterpieces among his
songs, or among hb piano-compositions, and even his most successful orches-
tral number is the ** First Suite " compiled for his incidental music to
Daudet's " V ArlesienneJ*^ ^His early letters confess his musical creed :
Mozart and Beethoven, Rossini and Meyerbeer ; this is catholic, to say
the least, but later he acknowledged his preference for the Germans in gen-
428
THE MUSICAL GUIDE
eral and Beethoven as the master of all. But Bizet was a stranger to die
larger forms in music — for two years he toiled intermittingly at a symphony
and produced only the ** Roman Suite " as a result — and his work shows
more tendency to follow Gounod's teaching than that of his high ideals.
He was bitterly accused of being a follower of Wagner ; Paris, knowing so
lamentably little of Wagner's music, then condemned that of Bizet's, whidi
it did not like or could not understand, by labelling it '' Wagnerian," and
thus put it hopelessly beyond the possibility of discussion. As a matter of
fact there is no trace of Wagner to be found in Bizet's music, and the onlj
resemblance between the two is that both were innovators who prescnicd
their theories about dramatic art m practical forms, proving them by thdr
operas. ^ Bizet realised the sorry state of the French operatic stage, but
contented himself with an effort at reforming the minor stage of the Opcra-
Comique, and it is doubtless due in a great measure to the precedent of
** Carmen '* that to-day the Opera-Comique is on a higher artistic plane
than the Opera. ^A direct musical influence it would be difficult to trace
to Bizet. As an orchestral colourist he had been outdone and outdared hj
even his contemporaries ; nor did he bequeath to us a new art-form. Bat
because he demanded a more sincere libretto than any of those with which
that maker of marionette opera-books. Scribe, had conjured all Paris, and
because in his music he did not fear contact with throbbing life, he com-
mands our respect. His work shows a musical sincerity foreign to French
composers generally, and he deserved a better &te than a sequence of ^ures
ending with an early death.
Blaet (bias), (i) Arnold Jos., Brus-
sels, 1814 — 1892 ; clarinettist. (2)
M. Elisa, Antwerp, 1820, wife of
above ; teacher.
Bla'sfTove, (i) H. Gamble, Notting-
ham, i8n — London, 1872; violinist.
(2) Richard Manning^, Notting-
ham, 1827— London, 1895 ; bro. of
above ; viola prof. R. A. M.
Blahagr (bla'-hakh) (or Blahak), Jo-
sef, Raggendorf, Hungary, 1779 —
Vienna. 1846 ; tenor, conductor, and
composer.
Blahet ka (or Plahet'ka), Marie-
L^opoldine, Guntramsdorf, near
Vienna, 181 1 — Boulogne, 1887 ; pi-
anist and dram, composer.
BlainTille (bl^-ve'-yd), Chas. H.,
near Tours, 1711 — Paris, 1769; 'cel-
list, writer and composer.
Blake, (i) Rev. Ed., b. Salisbury, d.
1765. (2) Chas. Dupee, b. Walpole.
Mass., Sept. 13, 1847 ; pupil of J. C.
D. Parker, J. K. Paine, etc. ; organist
Union Ch., Boston, and composer.
Blamont (bl&-mdh), Fran. Colin de,
Versailles, 1690 — 1760 ; supt. of the
King's music and composer.
Blanc (bUn), Adolphe, b. Manosqoe.
Basses- Alpes, June 24, 1828 ; pupil
Paris Cons, and of Halevy ; com-
posed 3 operas.
Blanchard (blan-shir), H. L., Bor-
deaux, 1778— Paris, 1858; violinist
and critic.
Blanckenburg^h (blUnk'-^n-boorkfa),
Gerbrandt van, organist at Gouda,
17th century. Vide blankenbukgh.
Blancks, Edw., English composer,
i6th cent.
DICTIONARY OF MUSICIANS 429
Bland (blint), (i) Maria Theresa
(n^ Romanzini), 1769 — 1838 ; pop.
Italian singer in England ; married
an actor. Bland, and had two sons.
(2) Chas.y tenor. (3) James, 1798—
1861, bass.
Blan^ini (blan-j€'-ne), Giu. Marco,
M. Felice, Turin, 1781 — Paris,
1841 ; organist.
Blankenbnrg (blank-£n-boorkh), (i)
Qmrin van, Gouda, Holland, 1654
— The Hague, 1749; probably son
of Gerbrandt van Blancken-
BURGH(q. V.) ; organist and writer. (2)
Chr. Fr. von, Kolberg, Pomerania,
1744 — Leipzig, 1796 ; Prussian offi-
cer and composer.
Blaramberg (bla -ram-b^rkh), Paul I.,
b. Orenburg, Russia, Sept. 26, 1841 ;
pupil of Balakirew ; lawyer, then ed-
itor ; composed succ. operas, **" Maria
Tudor'' (St. Petersburg, 1882); " The
First Russian Comedian'* j *' Tusch-
insky *' (Moscow, 1895).
Bl^s. Vide blaes.
Blasius (blaz'.yOs), Mathieu Fr.,
Lauterburg, Alsatia, 1758 — Ver-
sailles, 1829; cond. Op. Comique,
Paris ; composer.
Blassmann (blas'-man). Ad. Jos. M.,
Dresden, 1823 — Bautzen. 1891 ; pi-
anist, court-conductor and writer.
Blatt (blit), Fz. Thaddiius, Prague,
1793 — (?) ; clarinettist and writer.
Blauwaert (blow'-v&rt), Emil, St.
.Nicholas, Belgium, 1845 — Brussels,
1891 ; barytone.
BUuvelt (blou'.f^lt), Lillian, b. Brook-
lyn, N. Y., 1 870(7) ; soprano ; studied
Nat. Cons., N. Y., and in Paris; af-
ter years of success at home, toured
Europe since 1900 ; decorated in Italy
with the order of St. Cecilia ; m. Royal
Smith (1898 divorced) ; m. again 1901.
Blaze (bliz), (i) (Called CasUl-Blaze)
Fran. H. Jos., Cavaillon Vaucluse,
1784— Paris, 1857 ; *' The father of
modem French musical criticism " ;
son and pupil of Henri Sebastian B. ;
wrote scathing ** VOf&a en France "
(1820) ; was made cntic on *^ Journal
dts Dibats'' where his articles were
signed •• XXX*'; tiansl. Ubretti of
German and Italian operas; com-
posed 3 operas, several "pastiches,**
etc. (2) H., Baron de Bury, Avig-
non, 1813 — Paris, 1888 ; son of above ;
writer.
Bletzacher (blat'-tsakh-^r), Jos.,
Schwoich, Tyrol, 1835 — Hanover,
1895 ; bass.
Bleuer (bloi'-«r), L., Buda-Pesth, 1863
— Berlin, 1897 ; violinist ; 1883-93,
leader of Philh. orch., Berlin ; 1894,
of Philh. Club, Detroit (Michigan).
Blew'itt, (i) Jonathan, London,
1782 — 1853 I organist and director ;
son and pupil of (2) Jonas, organist
and writer.
Blied (blet), Jacob, BrQhl-on-Rhine,
1844 — 1884 ; teacher and composer.
Blitheman, Wm., d. 1591; oiganist,
etc., at Oxford.
Bloch (blokh), G., b. Breslau, Nov. 2,
1847 ; pupil of Hainsch, J. Schubert,
Taubert, and F. Geyer ; teacher in
Breslaur*s Cons., Berlin; founded
Opera Society, 1879 ; composer.
Blocks (blox), Jan., b. Antwerp, Jan.
25, 185 1 ; pianist and composer; pu-
pil, Flemish Mus. School ; from 1886,
teacher of harm, there ; 1901 suc-
ceeded Benoit, at Antwerp cons. ;
composed succ. operas, incl. ** Mattre
Martin^' etc.
Blodek (bl6d-«k), (i) P. Aug. L., Paris,
1784 — 1856 ; viola-player and dram,
composer. (2) Wm., Prague, 1834 —
1874 ; prof, and dram, composer.
Bloom'field-Zeisler(tsls'-l£r), Fanny,
b. Bielitz, Austrian Silesia, July 16,
1866 ; pianist ; at 2 was brought to
Chicago, where she still lives ; played
in public at 10 ; was pupil of Ziehn
and Karl Wolfsohn, and 1876-81 of
Leschetizky ; from 1883 has toured
America with distinction ; from 1893,
Germany, Austria, England and
France with great success.
Blow, John (Mus. Doc. Oxon.), Col-
lingham, Nottinghamshire, 1648-*
Westminster (London), Oct. i, 1708 ;
organist Westminster Abbey, i68o;
was superseded by Purcell, whom he
43°
THE MUSICAL GUIDE
in turn succeeded ; he is buried in
the Abbey ; 1674, organist and (1699)
composer to the Cluipel Royal ; be-
ginning to compose as a boy, he
achieved a vast amount of church-
music.
Blum (bloom), K. L., Bedin, 1786—
July 2, 1844; actor, singer, poet, or-
ganist, 'cellist, cond., and composer;
chamber-musician to the Prussian
Ct., 1822 ; stage mg^. ; prod, nearly
30 operas, ballets, songs, etc.; also
vaudevilles, which he mtroduced to
the German stage.
Blnmenfeld (bloo'.m«n-f$lt), F., b.
Kovalevska, Russia, April 7, 1863 ;
pianist, pupil of Th. Stein ; took gold
medal at St. Petersburg Cons.; com-
posed ""^ Allegro de Concert ^^ with or-
chestra, etc.
Blumenthal (bloo'-m^fn-t^), (i) Jot.
von, Brussels, 1782 — Vienna, 1850;
violinist and dram, composer. (2)
Jacob (Jacqnes), b. Hamburg, Oct.
4, 1826; pupil of Grund, £>cklet,
and Sechter (Vienna), and 1846 of
Herz and Halcvy ; after 1848 in Lon-
don ; pianist to the Queen, and com-
poser. (3) Paul, b. Steinau-on*
Oder, Silesia, Aug. 13, 1843 ; pupil
of R. A., Berlin, 1870; organist,
Frankfort-on-Oder ; from 1870, ** R.
mus. dir. '* ; composed masses, mo-
tets, etc.
Bltxinner (bloom'-n^r), (Dr.) MiJtin,
Fttrstenberg, Mecklenburg, Nov.
21, 1827 — Berlin, Nov. 6, 1901 ; pupil
of S. W. Dehn ; 1876, cond. of Berlin
Singakademie ; titles " R. Musik-dir."
and *' Prof." ; composed 2 oratorios,
''Abraham'' (i860), and '' Der Fall
Jerusalems'* (1881) ; cantata Colum*
bus (1853); TV Deum, etc.
Blttthner (blut'-n^r), Julius Fd., b.
Falkenhain, near Merseburg, March
II, 1824; piano-maker, Leipzig,
from 18^3.
Boccabadati (b6k-kS-ba-d£'-te), Lni-
g^a, Parma — Turin, 1850 ; soprano.
Boccherini (bok-k^-re'-ne), Lui^,
Lucca, Italy, Feb. 19, 1743 — Madrid,
May 28, 1805; 'cellist; toured with suc-
cess ; 1797, made chamber-composer
to Friedrich Wilhelm II., of Prussia,
in return for a dedication ; after the
king's death B.'s fortune left him, and
he died in dire poverty. His prolific
and often fascinatingly gleeful com-
positions include 20 symphonies, tn
opera, an orchestral suite, a 'cello-
concerto, 2 octets, 16 sextets, 125
string-quintets, 12 pf.-quintets, 18
quintets for strings and flute (or oboe),
91 string-quartets, 54 string-trios, 42
trios, sonatas and duets for vln.,etc.;
biog. by Picquot (Paris, 185 1), and
Schlettemd (Leipzig).
Boch (b6kh), Fz. de, b. Potenstein,
Bohemia, Feb. 14, 1808 ; 'cellist.
Bochkoltz-Falco'ni (b5kh'.k61ts), Aa-
na (rightly Bockholtz), Frankfort,
1820 — Paris, 1870; singer and coid-
poser.
Bochsa (b6kh^sl), (i) K., Bohemia-
Paris, T821 ; oboist ; music-seller.
(2) Rob. Nic. Chas., Montmedj,
Meuse, Aug. 9, 1789 — Sydney, Aus-
tralia, Jan. 6, 1856 ; son and pufnl uf
above ; composed a symphony at 9,
an opera at i6 ; pupil of Fr. Beck ;
harpist to Napoleon and to Loob
XVIII.; he eloped with Sir Henry
Bishop's wife, made tours in Europe
and America, and finally to Australa ;
composed 9 French operas, prod, in
Lyons (1804), and in Paris (18 13-16);
4 ballets ; an oratorio, etc. ; YmAit a
standard method for harp.
Bdckeler (b«k'-«.l«r), H., b. Cok>gnc
]\x\y II, 1836— 1862; cond. at Aix-
le-Chapelle ; editor and composer.
Bdckh (b^kh). Aug., Carlsruhe, 17S5
— Berlin. 1867: writer.
Bocklet (bok'-l^t), K. M. Ton, Prague,
1 80 1 — Vienna, 1881 ; violinist.
Bockmtthl (bok'-mttl), Robt. Emil,
Frankfort, 1820— 188 1 : 'cellist.
Bockshorn (b6ks'.h6m) (*'Capricor-
nus"), Samnel» Germany, 1629—
Stuttgart, 1669 (?); composer and
conductor.
Bocquillon-Wilhem (bdk'-e-yoA-ve-
&n), G. L. Vide wilhem.
Bode (bo -d£), Jn. Jot. Chp., Barom.
DICTIONARY OF MUSICIANS 431
Brunswick* 1730 — Weimar, 1793 ;
oboist, publisher and composer.
Bodenscnatz (bd'^'n-shSts), Erhard,
Lichtenberg, Saxony, 1570— Gross-
Osterhausen, near Querfurt, 1638 ;
publisher.
Boedecker (ba'-d«k-«r), Louis, Ham-
burj^, 1845 — 1899; teacher, critic,
and composer.
Boehm, Boehme. Vide bohm (e).
Boekelman (ba'-k^l-mSn), Bemar-
duSy b. Utrecht, Holland, 1838 ; pu-
pil and son of A. J. B. ; director,
studied with Moscheles, Richter and
Hauptmann, at Leipzig Cons. ; von
Bolow, Kiel, and Weitzmann, at
Berlin ; from 1866, lives in New
York ; founded and cond. (till 1888)
the N. Y. Trio Club ; 1883^7, mus.
dir. Miss Porter's School, Farming-
ton, Conn. ; later pianist and teacher
in New York ; composed orch.-pcs. ,
etc. ; ed. an analytical edition of
Bach's " WelUempered Clavichord;'
in colours, etc
Bo^Unuum (bw£l'-m&n), L^on, Ensi-
sheim, Alsatia, .1862 — Paris, 1897;
composer and teacher.
BoCly (bwei'.e), Alex. P. Fran.,
Versailles, 1785 — Paris, 1858 ; pian-
ist and composer.
Boers (boors), Jos. Ksrel, Nymwe-
gen, Holland, 1812— Delft, 1896 ;
cond. and writer.
Boesset (bw6s-sa), (i) A., Sieur de
Villedieu, ca. 1585 — 1673 ; intendant
ofmusic to Louis XIII. (2) J. B., 1612
— 1685 ; son and successor of above ;
and in turn succeeded by his son. (3)
C. \. B., b. ca. 1636.
Boe'tius (or Boethius), Ani'cins
Msn'llns Torqua'tus Sereri'nus,
Rome ca. 475 — executed 524 (?) ; em-
inent poet and writer on music.
Bohlmanii (bol'-mlin), Th. H. Fr., b.
Osterwieck am Harz, Germany, June
23, 1865 ; pianist ; pupil of Dr.
Stade, Barth, Klindworth, Tiersch,
d* Albert, and Moszkowski ; debut
Berlin, 1890 ; toured Germany ; since
1890 pf. - prof. Cincinnati Cons.
U.S.A.
Bohm (bom), K., b. Berlin, Sept. 11,
1844 ; pupil of L5schhom, Reiss-
mann and Geyer ; pianist and com-
poser in Berlin.
Bohm (bam), (i) G., Goldbach,
Thuringia, 1661 — LOneburg, 1734 ;
organist andclavichordist ; composed
important organ preludes and suites.
(2) Elizabeth Riga, 1756 — 1797 ;
soprano, m. the actor B. (3) Theo-
bald, Munich, April 9, 1794 — Nov.
15, 1881 ; inv. the **B6hm flute"
(vide D. D.) ; flutist and composer for
flute ; '* Hofmusikus,'* and player in
royal orch. (4) Jos., Pesth, 1795 —
Vienna, 1876 ; son and pupil of above ;
violinist and prof. (5) Heinrich, b.
Blassia, Bohemia, 1836 ; composed
35 op)eras in Bohemian. (6) Jos.,
KQhnitz, Moravia, 1841 — Vienna,
1893 ; organist, cond. and director.
B5hme (ba'-m«), (i) Jn. Aug., 1794 ;
founder of pub. house at Hamburg.
His son, (2) Justus Eduard, suc-
ceeded him in 1839 ; ^^d his grand-
son, (3) August Eduard, in 1881;.
(4) Aup^. Julius Fd., Ganderheim,
Brunswick, 1815 — 1883; conductor.
(5) Fz. Magnus, Wellerstedt, near
Weimar, 1827 — Dresden, 1898;
teacher, Dresden, later prof. ; com-
poser, writer and collector.
Bohmer (ba'-mSr), K. (Hermann
Ehrfiried), The Hague, 1799— Ber-
lin, 1884 ; dram, composer.
Bohn (b5n), Emil, b. Bielau, near
Neisse, Jan. 14, 1839 > organist, 1884,
founded the Bohn Choral Society,
giving historical concerts ; lecturer,
writer, critic and composer ; R. Prof,
of Music.
Bdhner (bft'-n^r), Jn. L., Tottelstedt,
Gotha, 1787 — near Qotha, i860;
composer ; led a roving life of drunk-
enness and talent ; said to be the
original of Hofmann's ** KreisUr '*
[vide SCHUMANN] ; composed opera,
etc.
Bohrer (b5'-r£r). (i) Anton, Munich,
1783 — Hanover, 1852 ; violinist ;
composer for vln. ; a co-member of
the Bavarian Court-orch. and concert*
432
THE MUSICAL GUIDE
giver with his brother, (2) Max,
Mttnich. 1785— Stuttgart, 1867 ; 'cel-
list.
Boic (boi'-^, (i) John, b. Altona,
March 8, 1822; violinist. (2) H.,
Altona, Sept. 16, 1825; bro. of
above ; violinist and dram, composer.
Boieldien (b5-«ld-yti'), (i) Fran.
Adrien, Rouen, Dec. 16 (not 15),
1775 — Jarcy, near Grosbois, Oct. 8,
1834 ; son of secretary of Archp.
Larochefoucauld and a milliner ; ap-
prenticed to the intemperate, brutal
cathedral organist Broche, he ran
away, at 12, and walked to Paris,
but was brought back. He is not
known to have had other teaching.
At 18, he prod. succ. ** La filU
coupabU'^ (Rouen, 1793) ; 1795, '* J^^
salie et Myrsa" text of both by his
father. Discouraged in a planned
Cons, at Rouen, he again walked to
Paris, and subsisted as teacher and
piano-tuner to Erard. The tenor
Garat sang his still pop. songs, in
public, and won him a publisher.
1796, ''La Dot de SuzetU'' in one
act, was prod, with succ. (Op^ra-
Com.) ; 1797, *' La famille Suisse"
(ran 30 nights at the Th. Feydeau) ;
1798, he pub. sonatas, and a pf.-con-
certo, etc. ; 1800, prof, of piano, Paris
Cons. ** Zoraime et Zulnare'* (1798),
'' Beniowski:' and '' U Calif e de
Bagdad" (1800) were succ. and
ended his first period, one of light
gracefulness. He now studied cpt.
seriously, probably with Cherubini,
who had criticised him. After 3
years' silence, he reappeared with en-
larged powers, succ. in ** Ma Tante
Aurore" (Th. Feydeau, 1803). In
1802 he m. Clotilde Mafleuroy, a
ballet-dancer ; 1803, he went to St.
Petersburg, partially perhaps (but not
surely) because of domestic unhappi-
ness, and became cond. of the Im-
perial Opera, writing by contract
3 operas annually, and a number of
marches. He returned to Paris,
181 1 ; had immense succ, particularly
with **//«» de Paris" 1812; 1817
prof, of comp. at the Cons, and
member of Institut ; 1821, Ch^Her
of the Legion of Honour ; 1818, '* Lc
Petit Chaperon rouge" was succ., fol-
lowed, after 7 years* silence, by " La.
Dame Blanche*' his masterpiece. His
last opera, '' Les Deux NuiU""
(1829), failed. Hiswife d. 1825, and
1827 he m. Mile. Phillis, a sing-
er, who was a devoted wife. The
poverty of their last years was re-
lieved by Thiers, minister of Louis
Philippe, who made him an annuity
of 6.000 francs. He died at his
country-home, of pulmonary trouble.
B.'s work has g^at vivacity and
vitality combined with musical sweet-
ness, and rhythm without jingle. Hb
large gifts in the construction of
ensembles are seen in the septet and
chorus at the end of the 2d act of
*• La Dame Blanche" which up to
1875 had been performed 1340 time
at the same theatre ; its libretto is a
combination of 2 of Scott's novels
" The Monastery " and '* Guy Man-
nering." He collaborated with Che-
rubini in **Za Prisonm^re" (I'jQ/ij)',
with Mehul, Kreutzer, and others,
in '* Z/ Baiser et la Quittance " (1802):
with Cherubini, Catel. and Niccolo
Isouard, in ''Bayard <J M/sihes'' ;
with Kreutzer in "Henri IV, in
Voyage " (18 14) : with Mme. Gail,
in Angela (1814) ; with Hcrold in
"Charles de France" ; with Cheru-
bini, Berton, and others, in "Z4
Cour des F/es " (1821) and " Pkara-
mond" ; with Auber, in *' Les Treis
Genres" ; with Berton. and others,
in "La Marquise de BrinvilHers.^
Bioe. by A. Pougin, 1875. (2) Adri-
cn L. v., b. Paris, 18 16 — ^near Paris,
1883 ; son and pupil of above ; dram.
composer.
Boisdeffre (bwa-d^fr), Chas. H. R^i^
de, b. Vesoul (Haute-Savoie), 1838 ;
Chev. of Legion of Honour; com-
poser of religious and chamber music
the latter taking Chartier prize, 1883 ;
lives in Paris
Boise (bois), Otis Bardwelli b. ObcrHn.
DICTIONARY OF MUSICIANS 433
Ohio, Ang, 13, 1845 * organist ; 1861
papil of Hauptmann, Richter, Mos-
cheles, etc, Leipzig ; 1864, of Kullak,
at Berlin ; 1804-70 organist and
teacher in Cleveland; 1870-76, in
New York; 1876-78, spent in Eu-
rope ; for some years prominent in
Berlin as a teacher ; 1901, settled in
Baltimore ; composed symphonies,
overtures, pf. -concertos, etc., wrote
^^ Music and Its Masters " (1902), etc.
Boisselot (bw2s-ld), (i) T. Louis,
Montpellier, 1785 — Marseilles, 1847 ;
piano-maker at Marseilles ; his eldest
son, (2) Louis (1809 — 1850), was
the manager. His g^ndson, (3)
Francois, is the present proprietor.
(4) Xavier, Montpellier, 181 1 — Mar-
seilles, 1893 ; second son of above ;
composer.
Boito (b5-e'-t5), Arrigo, b. Padua,
Feb. 24, 1842 ; poet, soldier, novel-
ist, editor, essayist, librettist, and
composer ; son of an Italian painter
and a Polish woman. Pupil, 1853-
62, of Milan Cons., almost dismissed
for mus. incompetence (cf. verdi) ;
composed 2 cantatas, ** //^ di Giug^
no'' (i860), and **/> SortlU d'lta-
iS(a** (1862), in collab. with Faccio ;
they met with such great succ. that
the Govt, gave F. and B. funds for 2
years in Paris and Germany. B.had
already taken up Goethe's **/a«j/,^*
long before Gounod, at the suggestion
of his bro. Camillo, an eminent ar-
chitect. B. brought back from Ger-
many a passion for Beethoven, then
little heeded in Italy. 1867 at Paris,
as journalist ; then Poland, where he
sketched out text and music of *'Mef'
istofeUs^"' which was prod, at Milan,
186S (/.a Scala)^ after 52 rehearsals,
and with great hopes ; but it was
then in a rather shapeless state, and
Gounod*s ** Faust*' ha vine mean-
while been prod, at Milan with succ. ,
B.*s work was hissed by some, and
having provoked riots and duels was
withdrawn by order of the police. It
was remodelled with more attention
to stage requirements and prod, with
great succ. at Bologna, Oct. 4, 1875.
An earlier opera, ** Era e Leandro^"^
was never prod., B. lending his own
libretto to Bottesini, and later to
Mancinelli. Other libretti of his are,
Ponchielli's " Gioconda:' Verdi's
''Otello'' and '' FaUtaff," Faccio's
'' AmUto'' and Coronaro's ''Un Tra-
monto,*' Two operas diligently pre-
pared but still refused to the public
are '* Nerone'' and '* OresHader He
has translated 2 of Wagner's libretti
into Italian, and writes often under
the pseud. *'Tobios Gorria." The
King made him '*Cavaliere," and
** Commendatore " ; 1892, Insp)ector-
Gen. of Technical Instruction in the
Italian Cons, and Lycemns ; 1895
Chevalier of the Legion of Honour.
He lives in Milan.
Bolck (bolk), Oskar, Hohenstein,
1837 — Bremen, 1888; dram, com-
poser.
Bol'la, , Italian prima buffa so-
prano ; last of 1 8th century.
Bolsetti (b61-s€t'-te), 1789; buffo;
with his wife played principal r61es in
comic operas, London.
Bolte (b^r-t£), Jns., contemporary
German writer.
Bomtempo (b6m-tam'-po), Jo&o Do-
mingos, Lisbon, 1775 — ^842 ; pian-
ist, director and writer.
Bona (bo'-nfi), Giov., Mondovi, 1609 —
Rome, 1674 ; cardinal and composer.
Bonawitz (bd'-n&-v§ts) (or Bonewitz),
Jn. H., b. Durkheim-on-4lhine, Dec.
4. 1839; pupil Li^e Cons, till 1852,
then brought to America ; 1872-73
cond. '* Popular Symphony Concerts,"
New York; 1873, toured U. S.; prod. 2
operas in Philadelphia ; 1876, ret. to
Europe ; lives in Vienna and London.
Bond, Hugh, d. England, 1792; or-
ganist.
Bdnicke (b&'-nY-k^), Hermann, En-
dorf, 1 82 1 — Hermannstadt, Transyl-
vania, 1879; conductor, composer
and writer.
Boniventi (b6-nt-v«n'-te) (or Bone-
venti), Gius, b. Venice, ca. • 1660 ;
conductor and dram, composer.
434
THE MUSICAL GUIDE
Bonnet (biin-na), (i) Jacques, Paris,
1644 — 1724; writer. (2) J. Bap.,
b. Montauban, 1763 ; organist and
composer.
Bonno (b6n'-n5) (or Bono), Jos., Vi-
enna, 17 10 — 1788 ; court-cond. and
dram, composer.
Bonomet'ti, Giov. Bat., Italian com-
poser; pub. motets, Venice, 1615.
Vide BUONAMENTK.
Bononcini (bo-n6n.che'.ne), (t) Giov.
M., Modena, 1640 — Nov. 19, 1678 ;
conductor, composer and writer of Bo-
logna. (2) Who usually wrote it Buo-
noncini (boo-o-non-chc'-ne), Giov.
Bat., Modena, 1660 — Venice (?),
1750 (?) J son and pupil of above ;
studied with Colonna and Buoni
('cello), at Bologna ; 1685-91, pub. 7
vols, masses and instr. mus. ; in
1690, court 'cellist of Vienna ; 1694,
Rome, prod. 2 operas '* Tullo Osti-
Ho" and '* Serse ; 1699-1701 prod.
2 operas at Vienna; 1703-5, at Ber-
lin as court-composer ; prod. '* Pali'
femo" (1703) ; ret. to Vienna, where
6 new operas were prod. In 17 16,
invited to London as cond. and com-
poser for the new King's Theatre,
and to rival Handel ; this provoked a
famous and bitter war with some suc-
cess for B., who prod. 8 operas, 1702-
27 ; but in 1731 he was caught in a
plagiarism from A. Lotti (a crime of
which HSndel was by no means gfuilt-
less himself) ; 1733 an alchemist
swindled him from affluence to bank-
ruptcy. Later he appeared in Paris
and prod, a motet for the '* Chapelle
royale," playing the 'cello-accomp.
before the King ; 1737 his opera
'' AUssandro in Sidone" and an ora-
torio, '* Ezcchia^*' were prod, in Vien-
na ; 1748, he was called to Vienna to
write peace- festival music and later
went to Venice as theatre-composer,
a post retained at least till he was 90.
(3) Marco An., Modena, 1675 (?) —
1726 ; bro. of above ; court-cond.
there; prod. 11 operas highly rated
by Padre Martini ; also composed an
oratorio.
Bonporti (b6n-p6r'-te), F. A., Tricnt,
ca. 1660; Imperial Counsellor and
composer.
Bontempi (b6n-t£m'-pe) (sumamed
Ang^euni), Giov. Andrea, Perugia,
ca. 1624 — Bruso, near Perugia, 1705;
dram, composer and writer.
Bonvin (bon-vin), L., b. Sides, Swiu-
erland, Feb. 17, 1850; mainly self-
taught ; studied medicine, Vienna ;
entered Jesuit novitiate in Holland ;
became organist and choirmaster;
from 1887, mus. dir. Canisius College,
Buffalo, N. Y. ; pub. 3 masses, etc.
Boom (bom), (i) Jan. E. G. van
(Senior), b. Rotterdam, April 17,
1783 ; flutist and composer for flute.
(2) Jan. (Jns.) van, Utrecht, 1807—
Stockholm, 1872 ; son of above ; pian-
ist, professor and dram, composer. (3)
Hermann M. van, Utrecht, 1809—
1883 ; son and pupil of (i) ; flutist.
Boorn (bom), Edoard van den. 1831
— Li^e, 1898 ; pianist and critic.
Boo'sej, Thos. (1825), founded the
London pub. house of Boosey & Co.
Boott, Francis, b. Boston, Mass.,
June 21, 1813 ; pupil of L. Picchi-
anti, in Florence ; lived in Cam*
bridge, Mass. ; composed imder pseud.
"Telford."
Bord (bor), Antoine, Toulouse, 1814--
Paris, 1888 ; pf. maker and inventor.
Bordese (bdr-da'-z^), Luigi, Naples,
1815 — Paris, 1886; singing teacher
and dram, composer.
Bordier (b6rd-ya),(i) L. Chas., Paris,
1700 — 1764; abb^, conductor, c<Mn-
poser and writer. (2) Jules, 1846 (?)
— Paris, 1896 ; dram, composer.
Bordog^ni (bdr-d5n'-ye), Giulio Mar-
co, Gazzaniga, Bergamo, 1788—
Paris, July 31, 1856 ; distinguished
tenor and singing teacher ; prof.
Paris Cons. ; pub. standard ** Voeah
ises."
Bordo'ni, Faustina. Vide hasse, Fau-
stina.
Borghi (b6r'-gc), Luig^, Italian violin-
ist, came to London, ca. 1780 ; pab.
symphonies, excellent music for Tln«i
etc.
DICTIONARY OF MUSICIANS 435
Borgrhi-Mamo (ma •m5),(i) Adelaide,
Bolog^, 1829 — 1901; mezzo-soprano;
debut, 1846, at Urbino, where she
was engaged ; then in Vienna and
Paris ; later lived in Florence ; her
daughter (2) Erminia, soprano ; d^-
but 1875, Bologna; sang in Italy and
Paris.
Boijon (b6r-zh6n),C. E., 1633— Paris,
1691 ; musette-virtuoso and compos-
er.
Borodin (b6'.r5-den), Alex. Porphjr-
jevitch, St. Petersburg, Nov. 12,
1834— Feb. 27 (28?), 1887 ; composer
of the neo*Russian school : Prof, at
the St. P. medico-surg. Institute ;
Counsellor of State ; Knight ; pres.
of Mus. See. of Amateurs ; at Balaki-
rev's suggestion studied music ; com-
posed ojjera, ** Prime Igor ** (fin-
ished after his death by Rimsky-
Korsakov, and prod. succ. 189 1) ;
3 symphonies ; symphonic poem ;
scherzo for orch., 2 string-quartets,
pf. pes., etc.; biog. by .A. I labels,
in English, London, 1895.
Boroni (bo-ro'-ne) (or Buroni), A.,
Rome, 1738 — 1797 ; court-conductor.
Bortnianski (bort-nyan'-shkl) (or
Bartfiansky), Dimitry Stefano-
Titch, Gluchov, Ukraine, 1752 — St.
Petersburg, Sept. 28 (Oct. 9), 1825 ;
choir dir. and dram, composer, called
"ihe Russian Palestrina ; " pupil of
Galuppi, under patronage of Empress
Catherine , 1779-96 dir. of her choir;
then of her orchestra.
Bor'wick, Leonard, b. Walthamstow,
Essex, Engl., 1868; London pian-
ist ; pupil H. R. Bird, and Clara
Schumann, B. Scholtz, and Ivan
Kaorr at Frankfort Cons. ; debut, at
London Philh. Concert, 1890; toured
Germany. 1895-96.
Bos (bos), Coenraad V., b. Leiden,
Dec. 7, 1875 ; studied Amsterdam
Cons.; played in Berlin, a member
of the ** Dutch Trio " with J. M. van
Veen and T. van Lier.
Boschi (bos -ke), (i) Gius, celebrated
basso, i8th cent.; his wife was (2)
Francetka Vanini, contralto.
Bdsendorfer (ba'-z£n-d6rf-^r), firm of
Vienna pf. -makers founded by (i)
Ignaz B., Vienna, 1795— 1859; later
managed by his son (2) Ludwig^, b.
Vienna, 1835.
Bosio (bo'-zi-o), Ang^olina, Turin,
1830— St. Petersburg, 1859 » niezzo-
soprano.
Bos'si (bos'-se), (i) Pietro B.. Mor-
begno, 1834 — 1896 ; organist. (2)
Marco Enrico, b. Salo, Brescia,
Italy, April 25, 1861 ; son and pupil
of above ; 1 881-91, conductor and
organist at Como Cath.; then till
1895, pi'of. of org. and harm. Naples ;
since 1896, dir. and prof. Liceo Ben-
edetto Marcello, Venice ; member of
the permanent govt, commission for
musical art ; Chevalier of the Italian
Crown and of the Spanish order of
Isabella la Catolica ; composed 2
I -act operas, '' Paquita" and " //
Veggente " ; 4-act melodrama *' L An-
gela Delia NotU *' (Como) ; symph.
poem ** // Cieco" (1897), with tenor
solo, and chorus; ** IVestminster
Abbey" Jnno di Gloria, for chorus
and organ ; Requiem Masses, etc.;
wrote important " Metodo di Studio
per rOrgano moderno^'' with G. Te-
baldini (Milan, 1893).
Bote und Bock (bo'-td oont bok),
firm ot mus. pubs., Berlin, est. 1838
by Eduard Bote and Gustav Bock.
(2) Hug^o Bock, present head.
Bdtel (ba -t«l), H., b. Hamburg, May,
1858; tenor; as cab-driver was " dis-
covered '* by Pollini ; now leading
lyric tenor, Hamburg City Thea-
tre.
Botgrorschek (bot-gor'-shSk), Fz.,
Vienna, 1812 — The Hague, 18S2;
teacher, flutist, and composer.
Bott (bot), lean Jos., Cassel, March
9, 1826 — New York, April 30, 1895 *»
violinist ; son and pupil of a court-
musician ; 1852, court-conductor ;
1878 pensioned ; 1885 came to New
York ; composed 2 op>eras, etc.
Bottle, de Toulmon (dil toomon bot-
ta). Aug., Paris, 1797— 1850; *cel-
list and writer.
43^
THE MUSICAL GUIDE
Bottesini (bdt.t^-se'-n«), Giov., Cre-
ma, Lombardy, 1823 — Parma, 1889 ;
double-bass virtuoso ; conductor and
dram, composer.
Bot'tomley, Jos., b. Halifax, York-
shire, 1786 ; organist, violinist and
writer.
Bottrigari (b^t-tre-gft'-ra, Ercole,
Bologna, Aug. 1531 — S. Alberto,
Sept. 30, 161 2 ; wrote 3 learned theo-
retical treatises, each called by the
name of a friend (a) Patrizio, (b) De-
siderio, and (c) Melone.
Boflcher (boo-sha), Alex J., Paris,
April II, 1778 — Dec. 29, 1861 ; vln.-
virtuoso ; a charlatan but amazing in
technic ; played before the court at 6;
composed vln. -concertos ; his wife
was a clever harpist, also eccentric,
plaving duets with one hand on harp
and one on a piano. ^
Bonich^re (bwe-sh&r), Emile, i860
(?) — Paris, Sept. 4, 1895 ; pupil of G.
Lef^e's Acad. ; est. a vocal acad.
1893 ; composed valuable sacred and
chamber music.
.Boulanger (boo-laA-zha), (i) Marie
Julie (n^e Hallieer), 1786— i8jo;
dram, singer. (2) Henri Alex. An-
dr^ Eniesty b. Paris, Dec. 16, 1815.
Son of above. Pupil of Lesueur and
Halevy at the Cons., taking Grand
Prix de Rome, 1835 ; prof, there
1 87 1. Composed many operettas for
Op^ra Comique. Legion of Honour,
1868.
Bourg^nlt-Ducoudray (boor-g5-d0-
koo-dr^), Loms-Albert, b. Nantes,
Feb. 2, 1840. Pupil of Thomas at
Paris Cons., taking Grand Prix de
Rome, 1862 ; prof, of mus. hist, at
the Cons. 1878 ; wounded as volun-
teer at siege of Paris ; later visited
Greece and wrote on Oriental music.
Bourgeois (boor'-zhwa), (i) Lojs
(Louis), Paris, ca. 15 10 — ?; disciple
of Calvin ; 1545-57, Geneva; one of
the first to harmonise the French
melodies ; wrote " Le droict chemin
de musiqtUy* proposing the naming
the tones after solmisation-syllables,
a system since prevalent in France.
(3) Looit Thomas, Fontaine Xt-
vique, 1676— Paris, 1750 ; tenor and
composer ; d. in poverty.
Bourses (boorzh), (i) Clementine de,
d. Ij6i ; notable woman-composer.
(2) J. Manrice, Bordeaux, 18 12—
Paris, 1881 ; critic and dram, compos-
er.
Bonsqu^ (boos-ka), G., Peiplgnan,
1818— St. Cloud, 1854 ; conductor at
the Paris Opera (1847) ; critic and
dram, composer.
Bov6ry (bd-va-re), Jnles (rightly
Bovy (bo've), A. Nfc. Jos.), Li^,
1808— Paris, 1868 ; self-taught violin-
ist, conductor and dram, composer.
BoTicelli (bd-vT-ch^l'-le), Giov. Bat,
b. Assisi ; writer at Milan, 1594.
Bovy (bo'-ve), (i) Chas. Sml. (known
under pseud. Lysber^), Lysbeiig^,
near Geneva, 1821 — Geneva, 1873;
composer. (2) Vide bov^ry.
Bow'ley, R. K., London, 1813— 1870;
conductor and composer.
Bow'man, Ed. Morris, b. Barnard,
Vt., July 18, 1848 ; pupil Wm. Ma-
son, and J. P. Morgan, at New York,
1866 ; 1867-70, organist St. Louis,
Mo. ; studied in Berlin and Paris,
1873; 1874, St. Louis; 1881 studied
under Bridge, Macfarren, Turpin, and
Guilmant ; was the first American to
I>ass the examination of the London
R. Coll. for Organists ; 1884, one of
the founders o? Amer. Coll. of Mu-
sicians ; organist, Brooklyn, N. Y.
1891-95, prof, of music Vassar Coll.
1895 founded the ** Temple Choir,
Brooklyn (200 voices) ; cond. also the
Newark Harmonic Soc. and the Ce-
cilian Choir.
Boyce (bois), Wm., London, 1710—
Kensington, 1779 ; organist and com-
poser.
Boyer (bwa-ya) (L. Jos. Victor),
Georges, b. Paris, July 21, 1850;
won Prix Rossini, with libretto of
^^ H/rode" (vide chaumet), wrote
libretti for " Le Portrait de Manon^
(Massenet), etc.
Brad bury, Wm. Batchelder, York,
Me., 1816— Montclair, N. J.. 1868;
DICTIONARY OF MUSICIANS 437
teacher, conductor, piano-maker, and
editor.
Brade (bri'.d^, Wm., b. England,
Uved and died at Frankfort, 1647 ;
player of the viol., etc.
Bradlsky (brat'-shke). Wenxel Th.,
Rakovnik, Bohemia, 1833 — 188 1 ;
dram, composer.
Braga (bra'-gi), Gaetano, b. Giulia-
nora, Abnizai, June 9, 1829 ; *ceUist,
pupil of C. Gaetano (1841-52) ; lived
at Florence, Vienna, Paris, and Lon-
don and toured Europe ; dram, com-
poser; also wrote ** Metodo di Via-
Braham (rightly Abraham), J., b.
London, 1774— Feb. 17, 1856 ; noted
tenor ; compass 3 octaves ; composed
pop. ballads.
Brihmig (bri'-mTkh), Tnlins Bd.,
Hirschfeld (Merseburg), r882— Det-
mold, 1872 ; teacher and writer.
Brahms (brims), Jns., Hamburg,
May 7, 1833 — Vienna, April 3, 1897;
son and pupil of a double-bass
player in the Hamburg City Theatre,
later studied with Marxsen of Altona ;
debut Hamburg, at 14, playing his
own variations on a folk-song ; 1853,
toured with Remen3ri. Joachim heard
him and sent him to Schumann, at
DOsseldorf. Schumann, with charac-
teristic openness of mind and enthusi-
asm, pub. an article in the Neue
Zeitschrift fUrMusik^ greeting B.as
the new Messiah of music, a welcome
that was a mixture of blessing and
bane, embarrassing the young Brahms
with a mission that was a white ele-
phant on his hands ; for he forsook
the romanticism which Schumann,
and later Liszt exp>ected of him, and
took up a determined classicism in the
matter of form, in which, however,
be made many modifications to suit
his enormous intellectuality and tech-
nical resource. This early welcome
also gave him over to be bandied be-
tween believers like Hanslick who
were frantic to 6nd an opponent to
the progress of Wagner, and sceptics
who would not have him praised for
any quality. Schumann's advocacy did
not save B.'s publication and concert
performance of his 3 pf. -sonatas and
3 books of songs from failure. After
serving for a time as cond. to the
Prince of Lippe-Detmold, he retired
for study to Hamburg, 1858-62. 1862
Vienna ; 1863-64 cond. of the 5fff^-
akademie there ; 1864-69 Hamburg,
Zurich, Baden-Baden, etc., and
made tours with Stockhausen ; 1869,
Vienna, which was afterward his
head-quarters. In 1871-74, cond.
" Gesellschaf t der Musikfreunde."
In 1877 Cambridge University offered
him the degree of Mus. Doc., which
offer he ignored, accepting, 1881, Dr.
phil. from Breslau and writing in
acknowledgment the ** Akademische
FestouvertUre ; " 1886, a knight of the
Prussian Ordre pour le Merite, with
voting privilege, and a member of
the E^rlin Acad, of Arts. 1889 pre-
sented with the freedom of Hamburg.
His *' German Requiem" op, 45 (the
first 3 choruses given in Vienna, 1867),
was given complete in the Bremen
cathedral, April, 1868, and estab*
lished him on a peak where he has
since remained while the storms of
debate rage below him. He wrote in
almost every form but opera (he had
considered that at one time) but ad-
mitted he **knew nothing about the
theatre." He valued Wagner's
scores, and owned several Wagner
autographs ; Wagner, however, said
** Brahms is a composer whose im-
portance lies in not wishing to create
any striking effect." His first sym-
phony, on which he had spent 10
years, made a sensation when prod.
1876. His vln. -concerto when first
shown to Joachim was so impossible
to the vln. that J. laughed at it till
tears poured down his cheeks ; he is
said to have materially assisted in its
revision. Brahms was a brilliant pian-
ist in his youth ; in his 20th year, at a
concert with Remenyi, the piano was
discovered to be a semitone below
concert-pitch; B., playing without
438
THE MUSICAL GUIDE
notes, transposed the accompaniment
to Beethoven's ** Kreutser" sonata^ a
semitone higher throughout. [Beet-
hoven similarly transposed his own
concerto in C to C$ at a rehearsal.]
Biog. by H. Deiters (Leipzig,
1880^ Part XL. 1898, in Engl., Lon-
don, 1888); B. Vogel (Leipzig);
Widmann (Berlin, 1898) ; A. Dietrich
(Leipzig, 1898).
Compositions (exclusive of Songs for
one voice with pf.). For orch.
Symphonies, Op. 68, in C minor. Op.
73, D, op. 90, F, op. 98, E minor ;
overtures, op. 80, Akademische FesU
overture ; op. 81, Pragische Ouver"
tUre ; op. 1 1 — 16, serenades ; op. 56,
variations on a theme of Haydn*s.
Chamber Music. Op. 8, trio for
pf., vln., 'cello; 18, 36, sextet for
strings ; 40, trios, pf., vln., horn ; 114,
pf., clar. and 'cello; 51, two string-
quartets; 67, string-quartet ; 88, III,
string-quintet; 115, quintet for clar.
and strings.
For Piano, op. 1,2 and 5, sonatas ; 4,
scherzo ; 9, variations on a theme by
Schumann ; 10, four ballads ; 15, 83,
concertos; 21, 35, variations; 24,
variations and fugue on theme by
Hilndel; op. 76, 8 pes.; 79, 2 Rha|>
sodies ; 116, Fantasien ; 117, 3 Inter-
mezzi ; 118, 6 ClavierstUcke (3 Inter-
mezzi, Ballades, Romanze) ; 119, 4
ClavierstUcke (3 Intermezzi, Rhapso-
die ; — unnumbered — Clock's gavotte.
and 2 studies). Forpiano, 4 hands, op.
23, variations on a theme by Scho-
mann ; 34, sonata arr. from op. 34 ;
39, 16 waltzes; op. 25, 26, 60. pf.-
quartets ; 34, pf.-quintet ; 87, loi, f^.-
trios. For piano and 'cello, op. 38,
and 99 ; sonatas ; for vln. , 77, con-
certo; 78, 100—108, sonatas pf.
and vln ; for vln. and *cello, op.
102, concerto ; for clarinet (or
viola) and pf., op. 120, 2 sonatas ; for
organ. Prelude and fugue, and fi^^oe
(unnumbered). For voices, op. 50,
'' Rinaldo"* cantaU (Goethe): 63,
Rhapsodic (from Goethe's ** Harx-
reise "), for alto solo, male chor. and
orch.; 54, ** SckicksalsUed** (Song of
Destiny), for chor. and orch.; 55,
" TriumphUed" (Revelations, chap.
XIX.), for 8-part chor. and orch.; 82,
*'Ndnie" (Schiller), for chor. and
orch.; 89, '* Gesang der Parsen**
(Goethe), for 6-part chor. and orch. ;
op 12^'^ Ave Maria^* female chor.
with orch. (or org.); 13, funeral
hymn, 109. Deutsche Fest-und Ge-
denkspniche, for double chorus, also
numerous works for choruses of all
sorts accompanied or a cappeUa.
Brahms' song^ are generally ad-
mired even by those opposed to him ;
they are very numerous and are pub.
in sets, op. 121 being his last pub-
lished work.
Johannes Brahms.
By James Huneker.
SCHUMANN, in his much-discussed article «« New Paths/* called
Brahms the true successor to Beethoven. Hb prediction was veri-
fied. To-day Johannes Brahms stands for the ultra-classic in sym-
phonic music, though singularly enough he is really a hardy romanticist,
who has widened and deepened the symphonic form. The career of
Brahms compared to Wagner's was a quiet, scholarly, uneventful one. A
severe student and self-critic, he made his way slowly, for the Wagner
furor was at hand, and the modest writer of chamber-music, of songs and
symphonies, was completely eclipsed by the glory of his so-called rival. ^It
DICTIONARY OF MUSICIANS 439
was Von Bulow's audacious epigram, ** The three B*s, — Bach, Beethoven,
and BrahmSy" chat drew down upon the head of the innocent composer the
ire of the Wagner camp. As a matter of record Brahms never posed as an
opponent, much less as a rival of the Bayreuth hero ; indeed he was an ad-
mirer, and knew his scores as only he could know a score — absolutely.
But he was not in the least affected by Wagner — how could he be, working
18 he did in such a totally different genre ? This genre ^ however, was not the
out- worked vein it was so contemptuously christened by the new men.
To-day Brahms is a modem among the modems — indeed his has also been
called the music o{ the future. ^To old forms like the symphony, to the
smaller forms, he has brought an abounding invention, a vitality in execu-
tion, and a musical intellect the most profound since Beethoven's. To
the complex symphonic structure of Beethoven he had superadded a poly-
phony almost Bachian in its mastery of intricate voicing and the weaving of a
marvellous contrapuntal web. The dignity of his themes, the depth and
sweetness of his cantitena, the massiveness of his musical architecture — he is
m music the bom builder — combined with a fecund fantasy, a grim but
elasdc humour, and no little susceptibility, mark Brahms as one of the elect,
a master ^ong masters. His control of the orchestra is absolute in its elo-
quence, though he is no painter, no seeker after the unique word, the only
colour. ^Hc has been reproached for a colour monotone by those critics
who are easily moved by brilliant and showy extemals. But that reproach
£dls to earth when the adaptability of the garb to the musical idea is dis-
covered. Brahms never erred in this matter ; his taste was impeccable.
^He had a message and he delivered it in tones that befitted its weight, its
importance. He is a symphonist primarily ; his themes as if carven from
granite are symphonic and not dramatic themes, and in his development of
them he is second only to Beethoven. A philosopher, he views his subject
from every possible side, and the result is an edifice of tone comparable to a
Gothic Cathedral. In his songs he is the sweet-voiced, the tender German
lyiist, deep in feeling, capricious, noble and moving as Schumann or Schu-
bert. He will rank with these song writers. In chamber-music, in the
amiable conjuncdon of piano and strings, trios, quartettes, quintettes, horn-trio
and two clarinet-quintettes, Brahms is supreme. He has written a sterling
violin-concerto dedicated to Joachim and played first by him. His two piano-
concertos in D minor and B flat major, introduced here by Rafael Joseffy,
are masterpieces ; though pianists complain of the dearth of display passages,
they are sincere in feeling and perfect concertos in the balance of the solo
instrument with the orchestra. ^[The Brahms solo piano-music is a new and
independent literature. He wrote three sonatas ; of these the last is the most
popular ; its andante and scherzo are beaudfiil specimens of piano-writing.
440
THE MUSICAL GUIDE
The solo scherzo in £ flat minor, opus 4, was a great favourite with Liszt,
who saw fn it trace of Chopin. The little pieces written during the clos-
ing years of the composer's life are exquisite and poetic gems, conceived
by a poet, executed with all the dainty cunnmg of a lapidary. These
miniatures are Brahms in his most genial mood. The forger of thunderbolts
was now resting and plotting lovely little gardens of fragrant flowers. ^His
extraordinary technical invention is nowhere better evidenced than in his
Paganini variations for the piano, the Ultima Thule of pianists. Tliese
variations are paralleled in his St. Anthony variadpns for orchestra, a noble
disapproval of the asserdon that Brahms had no intimate feeling for the
orchestra. His German Requiem written in 1868 is tremendous in its
scope and elemental power. It is the apotheosis of a nadon's grief. ^He
was not uniformly successful — little wonder, for his published works number
130. But if this Tinan stumbled, was intermittent in his inspiration, the
main body of his work stands out marmoreal, of overwhelming grandeur,
truly German, and withal, sounding the big note as no one has sounded it
in music since Beethoven.
Brah-MUller (bra-mUl'-lir) (rightly
Miillcr), K. Fr. Gv., Kritschen.
Silesia, 1839— Beriin. 1878; 1867,
dramatic composer.
Brambach (bram'-bakh). (i) Kas-
par Jos., b. Bonn, July 14, 1833;
pupil in Comp. of A. zur Nieden,
then of Cologne Cons.; won Mozart
scholarship, and studied under Fd.
Hiller, Frankfort; 1858-61, teacher
Cologne Cons.; 1861-69, ^i'^- ^^ Bonn,
where he composed important secular
cantatas ; also an opera ^^ Ariadne** ;
concert - overture ^* Tasso**; pf.-
concerto, etc. (2) Wm., b. Bonn,
Dec. 17, 1841 ; since 1872, librarian
Carisruhe; writer.
Brambilla (bram-bel'-Ia), (i) Paolo,
Milan, 1786 — (?); dram, composer.
(2) Marietta, Cassano D*Adda,
1807 — Milan, 1875 ; singer, teacher,
and composer ; contralto and eldest
of five singers. (3) Teresa, Cassano
d'Adda, 18 13— -Milan, 1895 ; sister of
above, soprano ; she created ** Gil-
da" in '' Ri^oletto:* 1851.
Branca (bran -ka), Gnglieimo, b. Bo-
logna, April 13, 1849; pupil of A.
Busi, Bologna Cons. ; composed succ.
operas *^*' La Catalami" (Florence,
1876) ; *• Ilermosa** (Florence. 1883);
and '*Za Figlia di Jorio** (Cremona,
1897).
Brancacdo (bran-kiit'-cho). A., Na-
ples, 1 8 13 — 1846 ; dram, composer.
Brandeis (br£n'-dTs), Fr., Vienna,
1835 — New York, 1899; toured the
U. S., then lived in N. Y., later
Brooklyn, as organist and prolific
composer.
Brandenburg^ (br&n'-d£n-boorkh), Fd.s
b. Erfurt — d. Rudolstadt, 1850;
violinist and dram, composer.
Brandes (brSn'-d£s), Emma, b. near
Schwerin, Jan. 20, 1854 ; pianist,
pupil of Aloys Schmitt and Goiter-
mann ; m. Prof. Engelmann, Utrecht.
Brandl (brSnt'-'l). (i) Jn., Klostcr,
Rohr, near Ratisbon, 1760— Caris-
ruhe, 1837 ; dir. and dram, composer.
(2) Jn., composer of operettas, living
in Vienna \. has prod. 15 or 20 pop.
works since 1869.
Brandstetter. Vide garbrecht.
Brandt (br&nt), Marianne (rigfattj
Marie Bischoif), b. Vienna, Sept. 12,
1842 ; dram, contralto ; pupil Fran
Marschner and of Viardot-Garda ;
DICTIONARY OF MUSICIANS 44^
1868-86 at Berlin Ct. Opera ; created
" Kundry " in Parsifal at Bayreuth,
1882 ; 1886 sang in New York.
Brandt-Boys (brzat-bois), (i) Come-
liii»Alez.y b. Zalt-Bommel, April 3,
1812 ; from 1840 lived in Deventer as
organist and cond. His sons are (2)
Iwins Adrianus (b. 1840) ; (3) L*
F. (1847), organist and conductor at
Rotterdam ; (4) H. (1851), conduc-
tor at Amsterdam and dram, com-
poser.
Brandos, Dnfonr et Cie, Paris firm
of mus.-pubs. founded 1834, by M.
Schlesioc^er, and bought in 1840 by
the brothers Louis (d. 1887) and
Gemniy B. (d. 1873).
Brant (briUit), Jobst (or Jodocnt)
▼om, Jtinior, i6th cent, captain
and ^ov. of Liebenstein ; cptist.
Brassin (brSs-s&n), (i) Louis, Aiz-
la-ChapcUe, 1840 — St: Petersburg,
1884; pianist. (2) Ld., Strassburg,
1843 — Constantinople, 1890 ; bro.
and pupil of above; pianist. (3)
Gerhard, b. Aix-la-Chapelle, June
10, 1844 ; leader ; teacher at Stem
Cons., Berlin ; 1875-80, cond. of
TonkOnstUrverein in Breslau ; since
then, St. Petersburg.
Bratsch (bratsh), Jn. G., Zell, 1817—
Aschaffenburg, 1887 ; director.
Braner (brow'-^r). Max, b. Mannheim,
May 9, 1855 ; pupil of V. Lachner,
Hiller, Jensen and De Lange ; from
1880-88, dir. Kaiserslautem ; since
1888, dir. court-church at Carlsruhe ;
prod. •* Der Lotse^' succ. i-act opera,
Carlsruhe, 1885.
Brebos, Gilles. Vide gilles.
Bree(bra) (Jn. Bemardus), J. Ber-
nard van, Amsterdam, 1801 — 1857 ;
violinist ; 1840, founded the ** Ce-
cUia."
Brddenstein (brf-d^n-shtln), H.
K., Steinau, Hesse, i796--Bonn,
1876 ; dir., composer and writer.
Breitkopf uud H^rtel (bflt'-k^pf
oont h5frt"-l), mus. -publishers, found-
ed (as a printing-office) 17 19 by B.
C. Breitkopf; Klausthal, Harz,
J^S— 1777« His son, J. G. Im-
manuel Breitkopf (1719—1794). suc-
ceeded and revived Petrucci's inven-
tion of movable types and took up
music printing. 179S, Gottfir. Chr.
Hilrtcl (Schneeberg, 1763— 1827),
added a piano-factor>', founded the
**Allg. musikalische Zeitung"(i798) ;
later heads were Florenz Hdrtel
(1827-35), Dr. Hermann HIirtel (d.
1882), and his bro. Reimund (d.
1888) ; two nephews, \Vm. Volkmann
(1837—1893?) and Dr. Oskar von
Hase (b. 1846).
Breitncr (brit'-n^r), Ludovic, b.
Triesi, March 22, 1855 ; pianist and
composer ; studied Milan Cons., and
with Rubinstein and Liszt ; toured,
Germany; Chev. of the Legion of
Honour, officer of Public Instruction,
etc., composed music to ** Wtlhehn
Meister,"' song cycles, etc.
Brema (bra'-ma), Marie, b. of German
parents, in England ; notable dra-
matic soprano in pop. concerts Ix)n-
don ; debut in oi>era, Shaftesbury
Theatre, 1891 ; sang in New York
in frequent seasons; 1897 at Bay-
reuth.
Brem'ner, Robt., Scotland, 1720 —
Kensington, 1789 ; teacher.
Brendel (br^nt'-'l), K. Fz., Stolberg,
18 1 1 — Leipzig, 1868; critic, prof,
and writer.
Brenet (bri1-na), Michel, b. France,
1882 ; wrote ** Histoire de la sym-
phonie h orchesire depuis ses orig-
ines ** (prize-essay), etc.
Brenner (brdn'-ndr), L., Ritter von,
Leipzig, 1833 — 1902 ; pupil of the
Cons. ; toured the Continent ; 15 years
member of the Imp. orch. ; 1872-76,
cond. Berlin Symphony Orch.; 1897,
cond. Meyder's Concert Orch., Bres-
lau ; composed 4 grand masses ; sym-
phonic poems.
Brent, Charlotte, d. 1802, Engl. ;
soprano ; m. Pinto, a violinist, 1766.
Breslaur (bras'-lowr), Emil, b. Kott-
bus. May 20, 1836 ; pupil Stem
Cons., Berlin; 1868-79, teacher Kul-
lak's Acad. ; since 1883 choirm., Re-
formed Synagogue ; founder and dir.
442
THE MUSICAL GUIDE
Piano - Teachers' Seminary ; ed.
** KlavierUhrer*' ; wrote technical
works, etc.
Brethol. Vide pierson-brethol.
Brener (broi'-^r), Han8» b. Cologne,
1869 ; tenor ; studied at the Cons, at
Stolzenberg. Sang **Mime" and
** David •' at Bayreuth.
Breuning (broi -ning), Fd., Brotterode,
Thuringia, 1830 — Aix-la-Chapelle,
1883; pf. prof., Cologne Cons.;
1865, director.
Br^val (bri-vftO. (i) h Bap., Dept.
of I'Aisne, France, 1765 — Chamomile,
1825 ; 'cellist and teacher. (2) Lu-
cienne, b. France, 1870 (?) ; nouble
dramatic soprano at Grand Opera,
Paris, for years ; debut there in VAf-
ricaint^ 1892 ; created BrUnnhiUU
in French ; has sung at Covent Gar-
den, and 1900 in New York.
Brewer, (i) Thos., 1609 — 1676 ; viol.-
S layer, '* father of the glee." (2) J.
lyatt, b. Brooklyn, N. Y., 1856 ; for
7 years boy-soprano ; studied with
Dudley Buck and others; since 187 1
organist various churches, since 188 1
at the Lafayette A v. Presby. Ch. ;
cond. various vocal societies ; com-
posed cantatas, etc.
Briccialdi (bret-chal'-de), Giulio,
Temi, Papal SUtes, 1818— Florence,
188 1 ; flutist.
Bridge, (i) Sir J. Fr., b. Oldbury,
Worcestershire, Engl., Dec. $, 1844;
son and pupil of J. Bridge, lay-
clerk ; pupil later of J. Hopkins and .Sir
J. Goss ; organist 1869 Manchester
cathedral ; 1882 of Westminster Ab-
bey ; 1868 Mus. Bac (Oxford), with
the oratorio ^^ Mount Moriah'\'
now prof, of harm, and cpt. R. A.
M.; cond. Western and the Madrigal
Societies ; 1897, knighted ; composed
cantatas, overtures, etc. ^(2) Jos.
Coz, b. Rochester, Engir, 1S53 ;
pupil and bro. of above ; since 1877
organist of Chester cathedral ; Mus.
Bac. Oxon., 1876 ; Mus. Doc., 1884 ;
composed oratorios, etc.
Bridge'tower, G. A. P., Poland. 1779
I. 1845 ; son of an African fathei
and European mother ; brilliant vio-
linist.
Briegel ibre'-g«l), Wg. K., Ger-
many, 1626 — Darmstadt, 17 12 ; coo-
ductor and composer.
Briehenti (or Brighetti) (bre-gdt -te),
Mana (nee Giorg^), b. Bologna.
1792 ; soprano ; created *' Kosina"
in *' Barbiere di Siviglia***
Brind, Richard, d. 1718 ; organist St.
Paul's Cathedral from 1707.
Brink, Jules Ten (tan brenk). Am-
sterdam, 1838 — Paris, 1889; director
and dram, composer.
BriQS'mead, (i) J., b. North Devon,
Oct. 13, 1814; 1835, founded piano-
factory, London ; in v. ** Perfect
Check Repeater Action ** ; in 1 863
his sons (2) Thomas and (3) Edgar
were taken in partnership.
Brissler (bres-ldr), Fr. Fd., Instcr-
burg, 1818-^Berlin, 1893; pianist
and dram, composer.
Bnsson (bris'-soh), Fr., b. Angoxi-
leme, Charente, 182 1 — Orleans, 1900 ;
teacher and dram, composer.
Bris tow, (1) W. R., England, 1803
— N. Y., 1867 ; cond. in New York.
(2) G. Fr., Brooklyn, N. Y., Dec.
19, 1825 — New York, Dec. 13, 189S ;
son of above ; violinist N. Y. Philh.
Soc.; cond. of the Harmonic Soc,,
later of the Mendelssohn Union ; or-
ganist various churches ; composed
operas, oratorios, etc.
Bnto (bre'-to), Est^ban de, ca. 1625.
Portuguese director and composer.
Brit'ton, Thos., 1651— 1714 ; called
" Musical Small-coal Man,** t>ecause
he earned his living by hawking coal ;
gave concerts in a room over his shop.
which were patronised by the aristoc-
racy ; Hiindel and Pepusch were per>
formers at these concerts.
Brizi (brex'-c), Fz. Xaver, Pragvie.
1732 — 1 77 1 ; conductor and coin-
poser.
Broad' wood & Sons, 6rm of London
pf. -makers ; est. 1730 by the Swiss
harpsichord-maker Burkoard TscliB*
di (or Shudi), succeeded bv his soo>
in-law J. Broad wood (1732 — i8iiQu
DICTIONARY OF MUSICIANS 443
later by James and Thos. Shudi ;
they by H. Fowler Broadwood (d.
London, 1893).
Brock'way, Howard A., b. Brooklyn,
N. Y., Nov. 22, 1870 ; studied pf.
with Korthcuer ; 1890-95, Berlin ;
pupil of Barth (pf.) and O. B. Boise
(comp.) ; since 1895, 1. N. Y. teach-
ing and touring ; his symphony in D
succ, prod. Berlin ; composed also
cantata. Ballade and Scherzo for
orch., etc.
Brod (bro). H., Paris, 1801— 1839 ;
oboist and conductor.
Brodc (bro -d«), Max, b. Berlin, Feb.
25, 1850 ; studied with Paul Mendels-
sohn and at Stern Cons., Leipzig
Cons, and Berlin Hochschule ; de-
but Frankfort-on-Main ; prof, and
teacher at K5nigsberg.
Bro'derip, (i) wm., England, 1683 —
1726; organist, etc.. Wells Cathe-
dral. (2) J., d. 1770; son of above
organist ; (3) Robt., d. 1808 ; bro. of
above ; writer and composer.
Brodsky (brod'-shkT), Adolf, b. Ta-
ganrog, Russia. March 21, 185 1 ; vio-
linist ; pupil of J. Hellmesberger and
Vienna Cons.; member Hellmes-
berger Quartet ; 1868-70 Imp. Opera-
orch.; pupil of Laub, Moscow, later
prof, at the Cons.; 1879, cond. sym-
phony concerts at Kiev ; toured, 188 1 ;
1883, vln.-prof. at Leipzig Cons.;
1891-^, N. Y.; 1894 in Berlin;
1895, prof, of vln., later dir. R. C.
M., Manchester, England.
Broekhoven (brak'-ho-fdn), J. A., b.
Holland, 1852 ; prof, of harm, and
comp. Cincinnati Coll. of Mus.; com-
posed g^nd overture ^^ Columbia^' etc.
Brdr (brar), Ernst, Silesia, 1809 —
Tamopol, 1886 ; 'cellist, organist, and
singing teacher.
Bronsart (bron'-zSrt), (i) von Schel-
lendoi% Hans (Hans von Bron-
sart), b. Berlin, 1830 ; pupil, Dehn,
Kullak, Liszt ; concerts in Paris ;
1867, intendant R. Th. at Hanover ;
1887 '* Hofmusikintendant," Berlin;
composed op>era, cantata, symphony
*• In den Alpen;' etc. (2) Ingeborg,
▼on (nee Starck), b. St. Petersburg,
1840 ; wife (since 1862) of above ;
pupil of Liszt ; composed 3 operas,
etc.
Brooks, Walter M., b. Birmingham,
March 19, 1861 ; pupil of King Edw.
School, later of Prout ; lives in Lon-
don as writer and teacher ; composed
Allegro for orch. (prize at Belfast,
1891), etc.
Bros (bros), Jnan, Tortosa, Spain,
1776-— Oviedo, March 12, 1852 ; con-
ductor ; composed important masses,
etc.
Brosig (brd'-zYkh), Moritz, Fuchs-
winkel. Upper Silesia, 1815 — Bres-
lau, 1887 ; organist and theorist.
Brossard (da bros-s&r), (i) S^bastien
dc, i66o--Meux, France, 1730 ; con-
ductor, lexicographer, and composer.
(2) Noel Matthieu, Chalon-sur-
Saone, Dec. 25, 1789 — after 1853 ;
magistrate and theorist.
Bronck (brook), Jakob de (or de
Prugg), collector, Antwerp, 1579.
B roust et (broo-sti), Ed., b. Toulouse,
April 29, 1836; pupil of Stamaty,
Litolff and Ravina ; pianist and com-
poser; toured Russia, etc.; lives in
Toulouse.
Brown, (i) Dr. J., Northumberland,
171 5 — 1766; writer. (2) Obadiah
Bruen, b. Washington, D. C, July
2, 1829; pupil of Zerrahn, Parker,
Kreissmann, Hause and D. Paine,
and of Lobe and Plaidy, Leipzig,
1869 ; teacher and organist ; pub.
school-songs, etc.
Browne, Lennox, Dr., b. London,
1841; prominent throat-specialist and
writer on the voice ; lives in London.
Brown'smith, J. Leman, Westmin-
ster, 1809 — 1866 ; organist.
Brozer, Philip, b. in Russia ; tenor ;
studied at R. A. M., London ; d^but
1896 at Covent Garden in I Pagliac-
ci ; 1901 in New York.
Bnich (brookh). Max, b. Colog^ne,
Jan. 6, 1838 ; Jewish pianist and
composer ; at first, pupil of his moth-
er (nee Almenrader), a singer ; later
with Breidenstein, Bonn.; if 53 he
444
THE MUSICAL GUIDE
gained the four-year scholarship of
the Mozart Foundation at Frankfort,
and studied with Hiller, Reinecke,
and Breuning ; at 14, prod, a sym-
phony, Cologne ; 1858, his Brst dram,
work, Goethe*s Singspiel^ ^"^Scherz
List und Roche''* (op. i) ; 1864, prod,
opera ^* LoreUy^* etc.; male chorus
''Friikjor\ 1865-67, at Coblenz,
composed his first pop. vln. -concerto
(G minor) ; 1867-70, court-cond. at
Sondershausen ; in 1878 cond. Stern
Choral Union, Berlin ; in 1880,
cond. Liverpool Philh. Soc.; 1883,
dir. Breslau Orchestral Soc.; 1881,
m. Frl. Tuczek, of Berlin, a
singer; lived in Breslau till 1890;
1892, with K. Hochschule in Berlin;
prod. 1872, opera ** Hermione" based
on ** Winter* s TaU'\- 1873-78,
prod, the chorals ** Arminius'* and
Lied von der Glocke*' and the 2d
vln. -concerto ; 1883, came to U. S.
and prod, his ''^ Arminius** Boston.
The epic cantata is his special field ;
among his works of this sort, are
** Odysseus y Arminius^ Lied von der
Glocke^ and Achilleus **; for male
chorus, • ' Friihjof^ SaUmis^ Nor*
mannenzug and Leonidas " (op.
66). He arranged the old Hebrew
^ melody Kol Nidre^ and composed
a cantata ^'^ Das Feuerkreuz" (op.
52, 1888); three symphonies; ora-
torio, ''Moses" (1895); 3 vln..
concertos.
Brack (brook) (or Brouck), Arnold
von (a German Swiss (?)), d. 1545 ;
conductor and composer.
Briickler (brUk'-l^r), Hugo, Dresden,
1845 — 1 87 1 ; composer.
Bruckner (brook'-n^r), Anton, Aus-
felden. Upper Austria, Sept. 4, 1824
— Vienna, Oct. 11, 1896; mainly self-
taught as organist ; 1867, court-or-
ganist at Vienna ; prof, of org., harm,
and cpt. at Vienna Cons. ; 1875,
*• Lektor " of music at Vienna Univ.;
1891, Dr. hon. causa; one of the
chief contemporary organ-virtuosi, and
a disciple of Wagner ; he composed
9 symphonies, the 4th called ^' Ho-
mantie** Biog. by Fz. Bninner
(Linz-on-Danube, 1895).
Brttckner (brUk'-n^r), Oscar» b. Er-
furt, Jan. 2, 1857 ; 'cellist ; pupil of
GrUtzmacher and Draeseke; toured
Germany, Russia, etc. ; Ducal chain*
ber-virtuoso at Strelitz ; since 1889
teacher in the Wiesbaden Cons., and
composer.
Bruhns (broons), Nikolaos, Schwab-
stadt, Schleswig, 1665 — Husum,
1697 ; organist and violinist.
Briill (brll), Ignaz, b. Moravia, Nov. 7,
1846 ; pianist ; pupil of Epstein, Ru-
finatscha and DessofiF ; 1872-78, pf.-
prof. Horak Institute, Vienna; his
first opera '^ Die Settler van Sam-
mar kand** (1864) was not succ., but
''Das Goldene Kreut** (Bcrlm).
1875) was very pop. ; followed by 6
other operas and the succ. comic
opera ** Der Husar** (Vienna, March
2, 1898) ; composed also hunting
overture **/w Walde" etc.
Bnimel (broo'-m£l), Anton, ca. 1480—
ca. 1520 ; Flemish cptist.
Bruneau (brQ-no) (Louis Chas.
Bonaventnre), Alfred, b. Paris,
^farch 3, 1857 ; pupil of Franchomme
at the Cons. ; took lirst *cello {Mize,
1876 ; studied with Savart and Mas-
senet ; 1881, took first prize with can-
tata *^ Sainte Geneinhfe** ; composed
operas ^^JCerim** (Opera-Populaire,
1887), " Le Rive** (Paris, 1892), and
the very succ. drame lyrique *'*' L^At-
iaque du Moulin " (Opera-Comique,
Paris, 1893) ; unsucc. drame lyrique
" Messidor** (Paris. Gr. Opera, Feb.
19, 1897) ; the last three are on texts
from Zola, some of the music being
set to plain prose, as also in the songs
set to CatuUe Mend^* '' LUds en
prose** \ 1893-95, critic of ** (?t7
Bias:* 1895 of ** Le Figaro,** Chcv.
of Legion of Honour ; composed also
Heroic overture; legende ^'^ Pen^
th/siUe, Reine des Ameu^mes:*
etc.
Brunelli (broo-n^l'-le), A., 17th cent;
conductor to Duke of Florence;
writer and composer.
DICTIONARY OF MUSICIANS 445
Bniiietti(bToo-n£t'-te), Gaetano, Pisa,
1753 — Madrid, 1808 ; composer.
Bnmi (broo'-ne), A. Bart., Coni, Pied-
nwmt, 1759 — 1823 ; Tiolinist, cond.
and dram, composer.
Bnumer (broon-n^r), Chr. Trau-
gott, BrQnlos, 1793 — Chemnitz.
1874 f organist and conductor.
Bmyck (broik), K. Bebroid Tan, b.
Brttnn, March 14, 1828 ; studied law,
Vienna, 1850 ; and theory with Rufi-
natscha : writer on Bach, etc.
Bry'cison Bros., London; organ-
builders.
Bryen'oias, Manuel, lived ca. 1320 ;
last Greek theorist.
Bryne, Albertns, ca. 1621 — after 1677;
organist St. Paul's and Westminster
Abbey, London.
Bncfafaolz (bookh'.holts), (i) Jn. Si-
meon, Schlosswippach, 1758 — Berlin,
1825 ; founded firm of organ-builders ;
succeeded by his son (2) K. Aug.
(1796 — 1884), whose son (3) K. Fr.,
d. Feb. 17, 1885.
Bfidmer (bQkh'.n«r). Emil, b. Oster-
ficld, near Naumburg, Dec. 25, 1826 ;
pufnl of Leipzig Cons. ; 1865, court-
conductor ; composed 2 operas, etc.
Buck, (i) Zechariah, Norwich, Eng-
land, 1798 — Newport, Essex, 1879 ;
organist Norwich Cathedral ; teacher
and composer. (2) Dudley, b. Hart-
ford, Conn., March 10, 1839 ; pupil
W. J. Babcock (pf.), then of Plaidy
and Moscheles (pf.) ; Hauptmann
(comp.) and J. Reitz (instnimenta-
tbn), Leipzig Cons. ; later Dresden,
under Reitz and Johann Schneider
(organ); and 1861-62 in Paris ; 1862,
organist of the Park Ch., Hartford,
U. S. A. ; St. James, Chicago, 1872,
St. Paul's and of the Music Hall As-
sociation, Boston ; 1875, organist
Cincinnati May Festival ; then, asst.
cond. to Th. Thomas, New York;
since organist of Holy Trinity Ch.,
Brooklyn ; director Apollo Club ;
composed comic opera ^*' Deseret**
(prod. 1880) ; symphonic overture
Marmion " (1880) , many cantatas ;
the 46th Psahn ; ** TAe Christian
Year" a series of 5 cantatas ; wrote
2 books of Pedal-phrasing Studies,
and ** Illustrations on Chdr-accontpO'
niment^ with Hints on Registration ";
pub. *' TAe Organist* s Repertoire"
. (with A. P. Warren) ; *' TAe Influ-
ence of the Organ in History" (1882) ;
and a ^^ Dutionary of Musical
Terms,"
Bilhler (bti'-l^r), Fz. P. Gregorlus,
Schneidheim, 1760 — Augsburg, 1824 ;
Benedictine monk, 1794 ; conductor
at Botzen ; dram, composer and theo-
rist.
Bull, John, Dr., Somersetshire, Eng-
land, 1563 — Antwerp, March 12,
1628 ; 1582, organist ; 1592, Mus.
Doc. Oxon.; 1596, Prof, of music at
Gresham Coll. on Queen Elizabeth's
recommendation ; resigned on his
marriage, 1607 ; 16 1 7, organist Notre
Dame, Antwerp ; an early English
composer whom Oscar Bie credits
with remarkable originality in the
midst of over-ornamentation.
Bull (bool), Ole (Bomemann), Ber-
gen, Norway, Feb. 5, 1810— Lysoen,
Aug. 17, 1880 ; enormously popular
and brilliant violin-virtuoso, a whit
charlatanic ; pupil of Paulsen ; ftien
self-taught, using a bridge almost
level and a flat fingerboard ; studied
theology, but failed in examinations ;
1828, dir. Philh. and Dram. Soc.,
Bergen ; 1829, studied with Spohr
briefly ; 1832, debut, Paris, after liv-
ing there a year observing Paganini's
methods ; toured Europe frequently,
and North America 5 times (1843-
79) : he died at his country-seat. He
played his own comps. almost alto-
gether ; wrote 2 concertos, and charac-
teristic solos ; biog. by Sara C. Bull,
his second wife, Boston, 1883, and by
Vlik (Beijen, i8jo).
Bul'lard, Fred, r., b. Boston, Mass.,
Sept. 21, 1864. 1888-92, studied
comp. under Rheinberger, Munich ;
teacher of comp., critic and composer,
Boston ; has pub. many successful baU
lads and four-part songs for male
voices, also sacred music.
i^lk
rfttaAMUM
446
THE MUSICAL GUIDE
Billew (fon ba'-lo), Hans Guido ▼on,
Dresden, Jan. 8, 183a— Cairo, Egypt,
Feb. I a, 1894 ; versatile and influen-
tial musician ; pianist and conductor
of remarkable accuracy and memory,
popularising the custom of conducting
without score ; often called the best
interpreter of Beethoven, but rather
cold as a pianist ; at 9, studied pf.
with Fr. Wieck ; harmony with Ebc-
wein ; 1848, entered Leipzig Univ.
as law-student, but studied cpt. with
Hauptmann ; 1849, Wagner's '^ Die
KuHst und die /(evolution^* stirred
him deeply, and having heard
** Lohengrin'* at Weimar under
Liszt's direction, he joined Wagner,
then exiled at Zurich, 1850-51 ; stud-
ied conducting with him, and acted as
cond. in theatres at Zurich and St.
Gallen, and later with Liszt; 1853
and 1855 toured Germany and. Aus-
tria, with success ; 1855-64, first pf.-
teacher Stem Cons., Berlin. 1857,
m. Cosima, Liszt's natural daughter,
whom he later surrendered to his
friend Wagner (q. v.); 1858, court-
pianist ; 1863, Dr. Phil, kon, causa,
Univ. of Jena ; 1864, court-pianist,
Mj»nich ; 1867-69, court-conductor
and dir. School of Music ; 1869-72,
teacher and pianist in Florence;
1875-76, gave 139 concerts in Amer-
ica ; 1878-80, court-conductor at
Hanover; then till 1885, Hofmusik-
intendant, Saxe-Meiningen ; 1882,
m. Marie Schanzer ; 1885-88, teach-
er Raff Cons., Frankfort, Klindworth
Cons., Berlin, and dir. Berlin Philh.
Concerts ; in 1888, founded the succ.
'* Subscription Concerts." Composed
music to * *" Julius desar " (op. 10) ; a
Ballade for orch., **/>« Sdn^ers
Fiuch'' (op. 16); '' Nirwanar a
symphonic Stimmungsbild (op. 20) ;
4 CharakterstUcke for orch. (op. 23) ;
a few pf.-pcs. and songs ; also many
piano arrangements. His critical ed.
of Beethoven's sonatas, and Cramer's
Etudes, are standard ; biog. by hit
2d wife (Leipzig, 1895).
Bulst (bools), Paul, Birkholz Man-
or, Priegnitz, D«c. 19, 1847— Temes*
var, Hungary, March ao, 1902; pupil
of G. Engel; barytone at Dresden
(1876-89), later at Berlin court opera.
Bnlthanpt (boolt'-howpt), H., b.
Bremen, Oct. 26, 1849 ; wrote a valu-
able '* Dratuaturgie der Oper " (Leip-
zig. 1887).
Bnngert (boong-£rt), Angnst* b.
Mohlheim-on-Ruhr, March 14, 1846;
pupil of Kufferath (pf.), later at Co-
logne Cons. ; for 4 years at Paris
Cons.; then (1869) with Mathias;
lived (1873-81) at Berlin, and stud-
ied cpt. with Kiel ; since lives near
Genoa. His life-work has been
•* Das Homerische WeU:' in 2 Ho-
meric opera-cycles, occupying 6
** evenings" {Abende\ each with a
" Vorspiel ; " The Iliad (** Die I Has ")
is unfinished : (a) Achilles ; (b) Kfy-
iemnestra. The Odyssey i^* Die
Odyssee") consists of Circe; Nau-
sikaa ; Odysseus* Heimkekr (Berlin,
March 31, i8q8 ; succ), and Odys-
seus" Tod (Dresden, 1902). Other
comp. are (comic opera) ^^ Die Sim-
denten von Salamanca** (Leipzig,
1884); symph. poem, *"AufcUr IVart-
burg**; '^ Hohes Lied der Liehe^
with orch.; overture, **Tasso^** pif.
quartet, op. 18 ; Florentine quartet
(prize, 1878) ; *• Italienishe Reise-
bilder** etc., for pf.; songs to Car-
men Sylva's ** Lieder einer Kdmgin^
etc.
Bun'nett, Edw., b. Norfolk, England,
1834 ; articled to Dr. Buck, 1849 \ or-
ganist various churches, Mus. Doc
Oxon, 1869; 1871-92, cond. Nor-
wich Mus. Union ; smce 1872 organ-
ist of the Norwich FestiN-als; com-
posed cantata, etc.
Bun'ning, Herbert, b. London, May
2, 1863 ; pupil of V. Ferroni ; c
Italian scena, ^* Ludordco il Afero"
(prod, with succ, 1892), also 3 sjrm-
phonic poems, opera ** The Last
Days of Pompeii " (MS.), etc.
Bunting, Edw., Armagh, Feb., 1773
— Belfast, 1843; historian and ooU
lector of Irish music.
DICTIONARY OF MUSICIANS 447
Boonamente (boo-o-ni-m^n'-tj^), GIot.
Bat., cond. Franciscan monastery at
Assisi ; early and important composer
for violin, also comctti (1623-36) ;
confused by Fctis with Bonometti.
Bnonamici (boo-o-nH-me'-che), Gin.,
b. Florence. 1846 ; pianist ; pupil of
his uncle Ceccherini, and of BQlow
and Rheinberger at Munich; i873«
cond. Florentine Choral .Society
*• Cherubini " : founded the Flor.
** Trio Society " ; pub. etudes, etc.
Bnononciiii. vide bononcini.
Bnrbnre de Wesembeck (bor-bor dii
va-2i6-b«k), L^on Ph. M., Chevalier
de,Termonde, 18 12 — Antwerp. 1889;
Flemish nobleman ; writer and com-
poser.
Biinle-Ney (bQr'.d«-nT'). Jenny,
Graz, 1826 — Dresden. 1886; so-
prano; 1855, m. the actor E.
Bdrde.
Burette (btt-r€t). P. J., Paris. 1665—
1747 ; Prof, of Medicine, Paris Univ. ;
writer on Greek music.
Bfirgel (bOr'-gdl), Konttantin, b.
Silesia. June 24, 1837 ; pupil of Bro-
ag and Kiel ; 1869-70 pf. teacher in
Kullak*s Acad., now private teacher ;
composer.
B&rg^ (bflr'-g«r). Sirmnnd, b. Vien-
na. 1856; pupil of Popper; 'cel-
list ; since 1887 soloist at R. Opera,
Pesth, and teacher in the Cons.
Borgk (boorkh'). Joachim Moller (or
Holler), called Joachim A. Bnrgk
(or Burg, or fiurck). Burg, near
Magdeburg; ca. 1541 — MOlhausen,
Thuringia. May 24. 1610; organist
and eminent composer of Protestant
music.
Borgrmein, J., pen-name of ** Giulio
Ricordi."
Bnrs^mfiUer (boorkh'-mnl-l«r). (i) Jn.
Fr. Fx., Ratisbon. 1806 — Beaulieu.
1874 ; composer. (2) Norbert, Das-
seldorf. 18 10 — Aix-la-Chapelle. 1836;
pianist and composer.
Bnrg^staller (boorkh'-sht&l-l^r). Alois,
b. Holzki-.chen. Sept. 27, 187 1 ;
tenor; studied with Bellurth and
Kniese ; sang small roles at Bayreuth
from 1894, ** Siegfried" (1897);
•*Siegmund"(i899).
Bnrke, Jos., Ireland, i8i8^New
York. Jan. 19, 1902 ; came to Amer-
ica at 12 as prodigy violinist ; pupil
of de Beriot ; retired about 1855.
Bnrkhard (boorkh'-h&t). Jn. Andreas
Chm., Pastor. Leipheim. Swabia;
theorist and editor.
Bnrmeister (boor'-mT-sht<$r), (i) Rich*
aid, b. Hamburg, Dec. 7. i860; pian-
ist ; pupil of Liszt, accompanying him
as he travelled ; teacher Hamburg
Cons.; for 12 years head of pf. dept..
Peabody Inst.. Baltimore; 1898, dir.
N. Y. Scharwenka Cons.; c. pf. -con-
certo (op. i), " The Chase after Fort-
une " (** Diejagd ttach dem ClUck "),
a S3rmphonic fantasy in 3 movements ;
rescored Chopin's F minor concerto,
and wrote orch. accomp. for Liszt's
'* Pathetic'' concerto. (2) Dory
(nee Peterson), b. Oldenburg, i860 ;
pianist ; wife of above.
Bnrmester (boor -ma-shtdr), Willy, b.
Hamburg, 1869 ; violin-virtuoso ;
studied with his father and Joachim ;
toured with his sister, a concert-pian-
ist. Von Bolow aided him and brought
public attention to his abilities; has
toured Europe, and 1899, America.
Bnr'ney, Chas., Shrewsbury, Eng-
land, 1726 — Chelsea, 1814 ; toured
Europe ; Mus. Doc. Oxon, 1769 ;
pub. very interesting and gossipy
*• The Present State of Music in
France and Italy,*' etc. (1771) ;
** do. in Germany, the Netherlands"
etc (1-773) ; ** General History of
Music" (4 vols., 1776-89), etc.
Bnrr, Willard, b. Ohio, Jan. 17, 1852;
graduated Oberlin Cons. ; pupil of
Haupt. Berlin ; lives in Boston, Mass.;
composed grand sonata for pf. and
vln., etc.
Bur'rowes, J. Freckleton, London,
1787 — 1852 ; organist, pianist and
writer.
Bnr'ton, (i) Avery, composer in reig^n
of Henry VIIL (2) J. Yorkshire,
1730 — 1785 ; harpsichord. (3) Fred-
erick R., graduated at Harvard ; L
448
THE MUSICAL GUIDE
Yonkers, N. Y.; founded there, 1896,
a choral society ; c. pop), cantata
'' Hiawatha " tic,
Bur'tius (or Burci (boor'-che)) or Bvr-
zio (^boor'-tsl-o), Nicolans, Parma,
1450— ca. 1520; wrote the earliest
specimen of printed mensural music.
Busby, Thos., Westminster, Eng-
land, 1755 — London, 1838 ; Mus.
Doc. ; composer and writer.
Bus! (boo'-ze), (i) Giu., Bologna, 1808
— 187 1 ; Prof. (2) Alessandro, Bo-
logna, 1833 — 1895 ; son of above ;
'cellist and conductor.
Busnois (bQn-wa), A. (rightly de
Busne (da bUn)), d. 1481 ; Nether-
land contrapuntist.
Busoni (boo-so'-ne), Ferruccio Ben-
venuto, b. Empoli, near Florence,
April I, 1866; pianist; pupil of his
father (Fdo.), clarinettist, and his
mother {n/e Weiss), a pianist ; at 8,
debut at Vienna ; then studied with
W. A. Remy ; 1881, toured Italy ; at
15, elected a member of the Reale
Accademia Filarmonica, Bologna ;
18S6, Leipzig, where he c. a fantastic
opera, a string-quartet (D min.), sym-
phonic suite, etc. ; 1888-89, Prof.
Helsingfors Cons.; 1890, won Rubin-
stein prizes for comp. and pf. -play-
ing, with a ConcertstUck for pf. and
orch., op. 31a ; sonata for pf. and
vln. ; pf. arr. of Bach's Eb Organ
Prelude^ and Fugue ; and other pf.
pes. incl. 2 Cadenzas to Beethoven's
Concerto in G; 1890, Prof, in the
Moscow Imp. Cons. ; 1891-93 at New
England Cons., Boston, U. S. A.;
1895, toured ; now lives in Berlin ;
edited Bach's " Weil-tempered Clavi-
chord'' with etudes ; other comps.,
'*" Lust spiel OuvertUre''; 4 choruses
with orch. ; 2 suites for orch. ; a
*^ Symphonisches Tongedicht'* for
orch., etc.
Biisser (bUs-sa), H. Paul, b. Tou-
louse, 1872 ; pupil of Guiraud and
Gounod ; took first Grand Prix de
Rome, with cantata ^'Antigone";
since 1892, organist at St. Cloud ; c.
succ. j-act pastorale '''' Daphnis et
Chloe" (Paris, Op. Com.). 1897 ; can-
tata ''Amadis de Gaule" 1893 (tak-
ing 2d Grand Prix de Rome); ordics-
tral suite '' A la Villa MedUis'\' a
lyric drama '* Colomba^^* and (^>era,
•* i> MiracU des PerUs^
Bnsshop (bQs-shop), Aug^. GniL,
Paris, 18 10 — Bruges, 1896 ; self-
taught ; c. prize-cantata, """ Le Dra-^
peau Beige ^' 1834, etc.
Bussler (boos'-ldr), L., Berlin, Nov.
26, 1838 — Jan. 18, 1900 ; theori^ ;
son of the painter-author, Robert
Bussler ; pupil of von Hertzbo^,
Dehn, Grell, and Wieprecht ; 1865,
teacher of theory, Ganz School of
Music ; from 1879, ^' ^^^ Stem Cons.,
Berlin ; critic and writer of various
treatises.
Bussmeyer (boos'-ml-^r), (i) Hugo, b.
Brunswick, 1842 ; pianist ; pupil of
K. Richter, Litolff (pf.), and Meth.
fessel (comp.) ; i860, toured in So^ith
America ; i860, N. Y. ; composer
and writer. (2) Hans, b. Brtmswick.
1853 ; bro. of above ; pianist ; pupH
of Royal School of Music at Munich,
and teacher there since 1874 ; also
studied with Liszt ; toured S. Amer^
ica, 1872-74 ; 1879, founded Munich
Choral Society.
Bustini (boos-te'-ne), Aless. ; yoong
Italian composer, prod. succ. opera
" Maria DuUis^*' Rome, 1902 ; li-
bretto by Luigi Ilica.
Buths (boots), Julius, b. Wiesbaden.
May 7, 185 1 ; pianist; pupil of his
father (an oboist), also of Gemshern,
Hiller and Kiel ; 1871-72, cond. the
'* Cecilia," at Wiesbaden ; 1873, woo
Meyerbeer Scholarship, and lived in
Milan and Paris; 1875-79. cond. in
Breslau ; in Elberfeld, 1879-90; since
cond. Mus. Soc. at Elberfeld ; c
concerto, etc., for pf.
Butt, Clara, Eng. contralto ; ^pon a
scholarship at London R. C. M.; de-
but, London, 1892 ; toured America,
1899 ; m. Kennerly Rumford, bary-
tone, 1900. Her great success has
been emphasised by her impoaii|r
beauty (she is 6 f t. 2i inches tall).
DICTIONARY OF MUSICIANS 449
Battstedt (boot'-shtft), Jn. H., Bin-
deisleben, 1666— Erfurt, 1727 ; writer
of a famous defence of sol-mi-sa-tion ;
also organist and composer.
Bans (boos), Jachet (Jacques) de,
b. Bruges (?), 1510 ; Flemish cptist ;
1541, asst. organist, San Marco.
Bnxtehtide (boox'-t€-hoo-dd), Die-
trich, Helsing6r (Elsinore), Den-
mark, 1639 — Ltibeck, 1707; organist;
1673. he established the •* Abend-
mu^en/' which J. S. Bach walked
50 miles to hear ; great composer of
fugues and suites.
Buzzola (bood-zo -12), A., Adria, 1815
— ^Venice, 1871; conductor at San
Marco and dram, composer.
Byrd (Bjrde, Bird, or Byred), Wm. ;
according to his will, discovered in
1897, he was bom London, 1542, or
1543 (not 1538 or 1546, as stated) ; d.
July 4, 1623 ; organist and notable
English composer, in whose work there
is much modernity; 1554, organist ;
1563, choirmaster and organist Lin-
coln Cathedral ; 1575, procured with
Tallis, his former teacher, an exclu-
sive patent for the privilege of print-
ing music and selling music-paper.
C&ballero (ksL-bftl-U'-ro), Manuel
Fernandez, b. Murcia, March 14,
1835 ; pupil of Fuertes (harm.) and
£slava (comp.), Madrid Cons. ; c.
pop. Zar%uelas (v. D.D.) and church-
music.
Cabel (kii-b€l), rightly Cabu, (i) Ed.,
singer Op. Com., Paris. (2) Marie
Josephe (nee Drenlette), Li^e,
1827 — 1885 ; sister-in-law, or perhaps
mother, of above ; soprano.
Cabo (ka -bd), Frdncisco Javier, b.
Naguera, near Valencia, 1832 ; or-
ganist, conductor and composer.
Cacciai (kit-che'-ne), Giimo (called
Romano), Rome, ca. 1 546-— Flor-
ence, ca. 161 5 ; a Revolutionary com-
poser well called ** The father of a new
style of music *' ; studied singing and
flute-plajring with Scipione della Fal-
la. Wrote and sang ^*Musica in Stile
Rappresentativo,'' zxi^ c. '* II Rapti-
mento di Cefalo " (Oct. 9, 1600), the
first opera ever publicly prod. ; he
had also set to music other works bv
Bardi (q. v.), and collaborated witn
Peri (q. V.) in '' Daftu^' the first
opera ever composed. He c. also
a novel set of madrigals justly called
**Z/ nuave musicke^^^ and other
works of notable originality and im-
portance to prcmss.
Cadauz (k&-dd), Justin, Albi, France,
1813 — Paris, 1874 ; dram, composer.
Cadiac (kftd-y&k), P., choirmaster at
Auch, France, and composer (1543-
58).
Cadore (kS-do'-r^), Arturo, young
Italian composer, prod, comic opera
** / Vespri '' (Milan, 1898 ?) and succ.
l-act *' II NataU' (Milan, 1902).
Cassar, Julius, M.D., b. Rochester,
England; amateur composer, 17th
cent.
Cafaro (ki-fa'-ro), Pasq. (called Caf-
fiarierio), San Pietro, Galatina, Italy,
1706 — Naples, 1797 ; noted composer;
c. operas, oratorios, a notable *' Stabai
mater ^^ etc.
Caffareili (rightly Gaetano Majora-
no) (kaf-fa-r«l -h), Bari, April 16,
1703 — Santo- Dora to, near Naples,
Nov. 30, 1783 ; famous male so-
prano ; discovered as a peasant boy,
by Caffaro, a musician, he took the
name CafTarelli out of gratitude ; he
studied 5 years with Porpora ; was a
skilful sight-reader and harpsichord-
ist, a mar\*ellous singer of florid mu-
sic, and also gifted with pathos ; had
most successful debut. Rome, 1724,
in a female role, and sang with enor-
mous success everywhere except Lon-
don ; made money enough to buy a
dukedom.
Caffl (kaf'-fe), Fran., Venice, 1786—
Padua, 1874 ; writer.
Cafifiauz (kaf-fY-a), Dom. Phiilippe
Jos., Valenciennes, 1712 — Paris,
1777 ; abbe and writer.
Cagniar de la Tour (k!n'-y&r dd U
toor'), Baron, Chas^ Paris, 1777—
450
THE MUSICAL GUIDE
1859; iroproved the **S3rren" (v.
D. 1).).
Carnoni (k&n-y5'-nY). A., Godiasco,
1828 — Bergamo, 1896; conductor and
dram, composer.
Cahen (ka-Sfi), (i) Ernest, Paris.
1828 — 1893 ; pianist and dram, com-
poser. (2) AlDert, b. Paris (?), Tan.
8, 1846 ; pianist ; pupil of Nime.
Szarvadv and Cesar Franck; c.
^^ Jean le Pr/curseur^^* biblical poem
(1874) ; com. opera *' Le Bois " (1880,
Op. Com.) ; fairy opera ** La Belle au
Bois Dormant (Geneva. 1886); 4-
act opera *^ Le V/nitien'* (Rouen,
1890) ; unsucc. opera ** La Femme de
CAiwii^" (Paris, Op. Com., 1896);
lives in Paris.
Caillot (k!-y6), Jos., Paris, 1732—
18 16 ; tenor-barytone.
Cain (k&6), Henil, b. Paris. 1859:
painter ; and librettist to Massenet,
etc.
Caimo (k&'-(-m5), Joseffo, b. Milan,
ca. 1540; composer.
Cal'ah, J., 1758 — 1798. English organ-
ist.
Caldara (kftl-d&'-ri). A., Venice, 1678
— Vienna. Dec. 28, 1763 ; court-con-
ductor and noted composer. Vienna ;
c. operas. 70 sacred dramas, etc
Cal'dicott, Alfred Jas., Worcester,
England. 1842— near Gloucester, Oct.
24, 1897 ; organist of St. Stephen's
Church, Worcester, and Corporation
organist ; 1883, prof, at R. C. M.,
London ; from 1885, cond. at the
Albert Palace ; c. cantatas, 13 oper-
ettas etc
Cales;ari (k&Ua-g&'.re), (i) (or Calle-
g^ari) Fran. A., d. Padua, 1742;
a Franciscan monk, 1702-24 ; con-
ductor and writer at Venice, then
Padua. (2) A., Padua, 1758— 1828;
dram, composer and writer.
Cal kin, J. oapt., b. London, March
16. 1827 ; pianist, organist and com-
poser; prof. Guildhall School of
Mus. ; pub. services, etc.
Call, Leonard de, 1779 — Vienna,
iS^S ! guitar virtuoso and compos-
er.
Callaerts (kiU'-lirts), Jos., b. Ant-
werp, Aug. 22, 1838 ; pupil at Brus-
sels Cons, of Lemmens ; organist at
Antwerp Cathedral, and teacher at
the Music School from 1867 ; c. a
prize symphony and pf. trio, comic
opera ; ^ Le Retour Imprivu '* (Ant-
werp, 1889), etc.
Call'cott, (I) J. Wall, Kensington,
Nov. 20. 1766— May 15. 1821 ; main-
ly self-taught; organist; 1789 he
won all the prizes offered by the
** Catch Club; *' 1790, pupil of Haydn;
1800, Mus. Doc. (Oxon) ; 1806. lect-
ured at the Royal Institute ; over-
work on an unfinished musical
dictionary destroyed his reason ; his
^'Grammar of Music^ (1806) is
sundard. (2) Wm. Hutchins, Kens-
ington, 1807 — London. 1882; son of
above ; organist and pianist.
Calliope (kiU-ir-5.p« or kai-le'-d-pa).
the Greek muse of heroic verse.
Calo'ri, Angiola, Milan. 173a — 1790 ;
soprano.
Calsabig:i (kul-sji-be'-je). Ranieroda,
Livomo, 1 7 15 — Naples, 1795 ;
Gluck's librettist and aide in o|>era-
reformation.
CalT^ (k&l-v&), Emma (de Roqoer),
b. Madrid, 1864 ; eminent operatic
actress and soprano ; pupil of Mar-
chesi and Pugets ; 1882. debut in
Massenet*s " ff/rodiade;' Th. de la
Monnaie. Brussels ; 1884. l*aris Th.
Italien ; 1885. Op. Com. ; has sung
constantly in New York. London, etc..
she is an Oflicier d*Academie,and lives
in Paris.
Calvis'ins, Sethas (rightly SetK
Kallwitz (kftl'-vcts)), Feb. 21. 1556—
Leipzig* Nov. 24, 161 5 ; son of a
peasant ; singer for alms, then as a
teacher obtained funds to sttidy;
(1581) mus. dir. ; writer of importaxit
treatises and coniposer.
CalTdr (kSl'-far). Kaspar, Hildesbeim.
1650— Clausthal. 1725 ; theorist,
Cambert (kah-biU-). Rob., Paris, ca
1628 — London, 1677 : first composer
of French operas; oi^ganist at St.
Honore; 1659, '' La Pastorale *'
J
DICTIONARY OF MUSICIANS 451
Slice, prod, at the Chiteau d*Issy ;
and followed by others on the texts of
Perrin, who received letters patent for
establishing the " Academie royale de
musique " (now the Gr. Opera) ; with
Perrin he also wrote the first genu-
ine opera, "/Vwtfw^,'* prod. 1671,
before Lully, who later took the pat-
ent for himself ; he went to England
where he died as Master of the Music
to Charles II.
Cambini (k^Un-be'-ng), Giov. Giii«»
Leghorn, 1746 — Bicetre, 1825 (?);
cond. at Paris, and prolific but cheap
composer of over 60 symphonies, 144
string-quartets, several operas, etc. ;
he died in the almshouse.
Camerana (kam-a-ra'-n£), Lnig^, b. in
Piedmont, 1846 ; theatre - cond. in
Savona; dram, composer.
Camjdg^e, (i) J., ca. 1735 — York,
Engl., 1803 ; organist York cath., 47
years; composer. (2) Mat., York,
1758 — 1844 ; son and successor of
above. (3) J., York, 1790— 1859:
son and successor of (2).
Campag^oli (kHm-pan-^d'-li), Bart.,
Cento, 175 1 — Ncustrehtz, 1827; vio-
linist and court-conductor.
Campana (kam-plt'-ni), Fabto, Leg-
horn, 1819 — London, 1882 ; singing-
teacher and dram, composer.
Campanari (kSm-pa-na'-r£), (i) Lean-
dro, b. Rovigo, Italy, Oct. 20. 1857 ;
pupil at Milan Cons. ; toured Europe
2 years ; America, 1879 1 '*^c<^ *^
Boston ; organised " C. .String-quar-
tet"; 1883 1st prof, of vln. in N.
E. Cons. ; 1890. ist prof, of vln.
and head of orch. dept. Cincinnati
Cons. ; since 1897 conductor at
Milan ; writer and composer. (2)
Giuseppe, eminent dram, barytone,
bro. of above, sings at Met. Op., N.Y.
Campanini (kSm-pa-ne'-ne), Italo»
Parma, 1845 — Vigatto, near Parma,
Nov. 22, 1896; operatic tenor, a
blacksmith when discovered ; d^but,
1869, at Odessa, without much suc-
cess; then studied with Lamperti,
and reappeared. Florence, 1871, as
** Lohengrin," with great succ. ;
toured Europe and U. S. with Nils-
son, Patti, etc.
Camp'bell, Alex., organist, editor,
and publisher, i8th ceAtury.
Camjpenhont (k&m'-p^n-oot), Fran-
cois van, Brussels, 1779 — 1848 ; vio-
linist, then tenor, then dram, com-
poser.
Camplo'li A. Gualandi, called Cam*
piole, b. Germany, of Sp. parents ;
male contralto ; debut Berlin, 1708.
Cam'pion, (i) Thos., d. London, Feb.
16 19 ; English physician, poet, dram-
atist and noteworthy writer and
composer ; pub. two books of Ayres,
etc. (1610); 2 more (1612). (2) Fran.,
1703-19, theorbist, Paris Gr. Opera.
Campio'ni, Carlo A., Leghorn, ca.
1720 — Florence, 1793 ; court-conduc-
tor.
Camporese (k&m-pd-r&'-ze), Violante,
b. Rome, 1785 ; operatic sopr. of
Napoleon's private music ; debut,
London, 1817 ; retired, i82p.
Campos (kim'-pos), Joao Ribeiro de
Almeida de, b. Vizen, Portugal, ca.
1770; cond., and professor.
Campra (k&n.pr&), (i) Andr^, Dec. 4,
1660— Versailles, July 29, 1744 ; cond.
at N6tre Dame ; prod. 2 succ. operas
under hit bro's name and gave up
church-mus. ; cond. Royal Orch. and
c. 18 operas. (2) Jos., bro. of above ;
double-bass player.
Camps 7 Soier (kamps € s5'-lir), Os*
car, b. Alexandria, Egypt, Nov. 21,
1837; Spanish pianist ; pupil of D6hler
and Mercadante ; played in public at
13; lives in Madrid ; writer and theo-
rist.
Candeille (kan-d^'-yii). (i) P. Jos.,
Esuircs, 1744 — Chantilly, 1827;
dram, composer. (2) (Simons-
Candeille) Am^lie Jnlie, Paris,
1767 — 1834 ; operatic sopr., actress,
and composer ; daughter of above ;
lived in Paris as teacher ; she wrote
libretto and music of the succ. oper-
etta ''La Belle /VrwiVr^" (1792) ;
she played the leading rdle and sang
to her own stccomp. on piano and
harp,
452
THE MUSICAL GUIDE
Cange (da kftfizh), Chas.-Du£r^8ne,
sieur du, Amiens, 1610 — Paris, 1668 ;
lawyer and lexicographer.
Cannabich (kan'-nft-blkh), (i) Chr.,
Mannheim, 1731 — Frankfort, 1798 ;
noteworthy violinist and conductor,
a pioneer in orchestral diminuendo ;
son of (2) Mathias, a flutist in the
Electoral Orch. at Mannheim of
which Chr. C. became leader in 1765,
and cond. 1775. (3) K., Mannheim,
1769 — Munich, 1805; son of (i);
court-conductor. (4) Rose, b. about
1762 according to Mozart, whose pu-
pil she was ; daughter of (i) ; notable
pianist.
Canaiciari (kan-ne-cha'-r£), Don
Pompeo, Rome, 1670— 1744; con-
ductor and composer.
Canthal (kan'-tal), Aug., b. Lubeck (?);
flutist 1832 Hamburg Th.; 1847, succ.
concerts, Copenhagen ; 1848, band-
master, Leipzig ; composer.
Can'tor, Otto, Engl, song-writer, lives
in London.
Camper la Martianus Minucius
(Mineus), Felix, 5th cent., Latin
scholar at Carthage ; writer.
"Capel'li," pen-name of Jn. D. von
. ; ApeU.
•Capocci (kil-ppt'-phe), (i) Gaetano,
' Kome; Oet: x6, 1811 — ^Jan. ii> 1^8;
notable teacher ; pub. mucfa sacred
music (2) Filippo, b. Romei. May
II, 1840 ; son of above ; Italian- or-
ganist, perhaps the best living ; since
1875 organist of San Giovanni in
Laterano ; c. for organ^
Caporale (k&-pd-ra-l€), Andrea, d.
London, ca. 1756 ; 'cellist.
Capoul (ka-pool) (Jos. Am^d^), Vic-
tor, b. Toulouse,.. F^b. 27i. i939 J
tenor; pupil of . R^vial- and Mocker,
Paris Cons. ; 1861-72 at the Op.
Com. ; 1892 prof, of operatic singing
in Nat. Cons., New York; asst. dir.
Gr. Ope'ra, Paris, 1899 '* ^9^^ 0) ^^'
rector Op. Com., Paris.
Caraccio (ka-rat'-ch5) (or Caravac-
cio), Giov., Bergamo, ca. 1550—
Rome, 1626 ; conductor,
Caraccioli (ka-rSt-choMe), Luigi,
Adria (Ban), 1849 — London, 1887;
dram, composer.
Caradori-AUan, Maria C. R. (nee
de Munck), Milan, 1800— London,
1865 ; soprano.
Carau de Colobrano Hci-r&'-fi di
kd-15-br&'-n5),« Michele Enrico,
Naples, Nov. 17, 1787 — Paris, July
36, 1872 ; son of Prince Colobrano ;
while very young c. an opera, 2 can-
tatas, etc., with much success ; 1837,
member of the Academy ; 1840, prof,
of comp. at Cons. ; c. also ballets,^
cantatas, and good church-music.
Caramuel' de Lob'kowitz (vets),
Juan, Madrid, 1606 — Vigevano, Italy,
1682 ; bishop and writer.
Cardon (k&r-d6n). (i) Lonis, Paris,
1747 — Russia, 1805 ; harpist (2)
P.. b. Paris, 175 1 ; 'cellist and singer.
Cardoso, Manuel, Fronteira, 1569;
Spanish priest and composer.
Caresana (kar-a-s&'-na), Cristolbro,
b. Tarentum, 1655 ; lives in Naples
as composer.
Carestini (k&-ras-te'-ng), Gior. (stage
name Cusanino), Mente Filatnuio
(Ancona), ca. 1705 — 1760; male so-
prano (musico).
Ca'rey, Henry, 1685 (?)— London, Oct.
4* 1743 ; ^ repuled natural son of
Marquis -of Halif^ix, and disputed
composer of ** God save the King** ;
c. the song ** Salfy in our AO^"' ;
ballad operas, etc.
Carlo (k&-rl.d), Jn. H., Eckemforde,
Holstein, i736--after 1800; trum-
peter.
Carissimi (kfi-ils'-se-me), Giacomo,
Marino, near Rome, ca. 1604 — Rome,
Jan. 12, 1674; ca* 1624, churdi-
conductor at Rome ; important ch.-
composier and writer; many of his
MSS. are lost ; 5 oratorios and other
pieces remain.
Carl, Wm. Crane, b. Bloomfield, N.
J., March 2, 1S65 ; pupil of S. P.
Warren (org. and theory), Mad.
Schiller (pf.) and Guilmant, F^aris:
since 1892, organist First Presby.
Ch., N. Y. ; cond. of N. Y. " Gamut
Club ** ; tours as concert-organist.
DICTIONARY OF MUSICIANS 453
Car'iniclutely Mary Grant, b. Birken-
head, Engl. ; pupil of O. Beringer,
W. Bache, and F. Hartivigson (pf.)
and E. Prout (comp.) ; accompanist ;
c. operetta, ^*' The Snow Queen**/
a pf. -suite ; and many pop. songs.
Car naby, Wm., London, 1772 — 1839 ;
organ composer.
Camicer (k§r'-ne-thar), Ramon, Tar-
egge, Catalonia, Oct. 24, 1789 —
Madrid, March 17, 1855 ; cond.
Royal Opera, Madrid, 1830-54, prof,
of comp. Madrid Cons.; one of
the creators of the Zarzuela (v.
D. D.).
Caron (k2-r6n), (i) Finnin, 15th cent,
cptist. of Netherlands ? (2) Rose,
noted soprano Or. Opera, Paris.
Carpani (kar-pa'-ne), Giu. A., b. Vil-
albese (Como), 1752— Vienna, 1825 ;
writer.
Carpentras (11 Caipentras'so).
Vide ELEAZER GENET.
Carr, Frank Osmond, b. Yorkshire,
ca. 1857 ; 1882 Mus. Bac. Oxon ;
1891, Mus. Doc. ; c. farces, bur-
lesques, and comic operas ; ^^ Joan of
Arc" (1891). ''Blue-Eyed Susan"
(London, 1892), *'/» Town'' (1892),
''His ExceUency'" (1894, libretto by
W. Gilbert), etc.
Carr^ (kiU-.ra), (i) Louis, Clofontaine
Brie, 1663 — Paris, 171 1 ; writer. (2)
Albert, b. Strassburg, June 22, 1852;
1898, dir. Op. -Com., Paris; lib-
rettist.
Carrello (k&r-ran'-yo), Teresa, b. Ca-
racas, Venezuela, Dec« 22, 1853 ;
pupil of L. M. Gottschalk, and G.
Mathias ; notable pianist ; played in
public at 12 ; at 22 toured the U.S.;
1889-90 toured Germany with much
success ; for some years wife of E.
Sauret ; then of Giov. Tagliapietra ;
1892-95, wife of Eugen d' Albert ;
1902, m. Arturo Tagliapietra, bro. of
CHov. T. ; c. a string-quartet and pf .
salon pieces. Her daughter Teresita
Tagrliapietra is a pianist.
Carrodns, J. Tiplady, Keighley
(Yorkshire), 1836 — London, 1895 ;
violinist.
Car'ter, (i) Thos., Ireland, to. 1735 —
London, 1804; composer. (2) H.,
b. London, March 6, 1837 ; organ-
ist ; pupil of Haupt (org.), Pauer (pf.),
Kiel and Hiller (comp.) ; at 9, church
organist; later at Quebec, Boston,
etc.; 1880, prof, in Coll. of Music,
Cincinnati ; 1883 organist Brookl3m,
later N. Y. ; composer.
Cartier (kftrt-ya), J. Bap., Avignon,
1765 — Paris, 1841; violinist and dram,
composer.
Camlli (ka-rool'-le). (i) Fdo., Naples,
1770 — Paris, 1841 ; self-taught gui-
tar-virtuoso and teacher ; c. 400
concertos. (2) Gttstavo, Leghorn,
1880— Boulogne, 1877; son of above;
teacher and dram, composer.
Camso (kfi-roo'-zo), Luig^, Naples,
1754 — Perugia, 1821 ; conductor ; c.
6q operas.
Canralho * (kSr-vil'-o) (rightly Car-
Taille), (i) L^on, in a French colony,
1825 — Paris, 1897 ; from 1875 ^Jr.
Op. Com. (2) Carralho-Miolan
(me-6-lan), Caroline M.-F£lix^
Marseilles, 1827 — Puys, near Dieppe,
1895 ; soprano ; wife of above ; de-
but 1849.
Ca'ry, Annie Louise, b. Wayne (Ken-
nebec County, Me.), Oct. 22, 1842 ;
distinguished operatic and concert
contralto ; studied in Boston and
Milan, and with Viardot-Garcia, etc.;
d^but 1868, at Hamburg ; later
Stockholm, Copenhagen, Brussels,
London, New York (1870), St. Pet-
ersburg (1875) ; 1882, m. C. M. Ray-
mond, Cincinnati.
Casali (kasa'-le), Giov. Bat., d. 1792;
conductor and dram, composer.
Casamorata (ka-sa-m5-ra-ta), Luig^
Fdo., WQrzburg, 1807 — Florence,
188 1 ; editor, writer, and compos-
er.
Casarini (or -a) (k3-sa-re'-ne), Italian
soprano in Handers operas, London,
1748.
Caseria, P., Pieve (Umbria), 1769—
Naples, 1843 ; dram, composer.
Caser'ta, Philippe de, Neapolitan
theorist, 15th century.
454
THE MUSICAL GUIDE
Casini (kH-se'-ne), G. M., b. 1675 (?) ;
Florentine priest ; he tried to revive
Greek modes.
Casseir, GttUlaoffley Lyons, I794~-
Brussels, 1836 ; singer and teacher.
Cassiodo'rus Magnus Aurelius, b.
Syllaceum (Lucanta), ca. 470 ; writer.
Castel (k&s-ta), Louis Bertrand,
Montpellier, 1688— Paris, 1757 ; a
Jesuit writer who attempted without
success to construct a ** Clavecin
oculaire,'* to prod, colour harmonies.
Castellan (k^tel-l&&), Jeanne A., b.
Beaujeu, Oct. 26, 18 19; retired,
1859; singer.
Casterii, (i) IgtULZ Fs.» Vienna, 1781
— 1862 ; editor. (2) , so-
prano in London, i825*-28.
Castelmary (k&s-t^l-mi-re) (stage
name of Comte Armand de Cas-
tan), Toulouse, Aug. 16, 1834 —
New York, Feb. 9, 1897 ; barytone ;
died on the stage of the Met. Op.,
N. Y., just after the first act of
Cas'tro, Jean de, played Lyons, 1570;
composer and lutist.
Castil-Blaze. Vide blaze, f. h. j.
Castnicci (klls-troot'-che), P., Rome,
1689 — London, 1769 ; violinist ; lead-
er of HandeVs opera-orch. ; inv. and
played the violet ta marina. His
bro. (2) Prospero (d. London, 1769);
violinist and composer.
Catalan! (k&t-H-l&'.ne), Angelica,
Sinigaglia, Oct., 1779 — Paris, June
12, 1849; famous operatic soprano of
great beauty ; her voice was notably
flexible and reached to g'" (v. chart
OF pitch) ; in 1806, at London, she
earned over jf 16,000 ($80,000) in one
year ; 18 14-17, she took up manage-
ment of the Th. Italien, Pans, without
succ. After tinal appearance, York
festival, in 1828, she retired to her
country-seat, near Florence.
Catalim (ka-tft-le'-ne). Alfredo, Luc-
ca, July IQ, 1854 — Milan, Aug. 7,
1893 ; pupil of his father a musician
at Milan ; gained admission without
exam, to Paris Cons. ; 1886 prof, of
comp., Milan Cons. ; c. 6 operas, of
which the most succ. were, ** Deh-
nire:' *' LoreUy;' and "Ztf WaUy^
Catel (k&-te(l), Chas. Simon, L'Aigle,
Ome, 1773 — Paris, 1830; dram,
composer and writer.
Catelani (kflt-a-la'-ne), Angelo, Guas-
taila, 18 1 1 — S. Martino di Mugnano,
1866 ; dram, composer and writer.
Catenhausen (ks'-tdn-how'-z^n),
Ernst, b. Katzeburg, 1841 ; conduc-
tor and composer.
Cat'ley, Anne, London, 1745 — 1789;
soprano, d^but, 1762; m. Gen. Las-
celles.
Catrufo (klUtroo'-fo), GiiL, Naples,
1 77 1 — London, 185 1 ; dram, com-
poser.
Caurroy (kor-wft), Fran. Enstache
du, sieur de St-Fremin, Gerbcroy,
1549 — Paris, 1609; singer and con-
ductor.
Ctfbs'ton, Thos., d. Oct. 28, 1569 ; of
the Chapel Royal ; English com-
poser.
CaTaccio (kfi-vilt'-ch5), GioTanni,
Bergamo, ca. 1556— Rome, 1626;
conductor.
CaTaill^CoU. (kft-vT'-yi-kdl) (Dom
Hyacinthe), Aristide, MontoieUier,
181 1 — Paris, 1899; son of famous
org. -builder ; 1771 — 1862, org.-build-
er and inv. of separate wind-chests
with different pressures, etc.
CaTalieri (d«l kS-val-yi'-re), (i) Emilio
del, Rome, ca. 1550— Florence (?),
1599 (?) ; ** Inspector-Gen. of Art and
Artists" to the Tuscan court; ad-
vocated non-polyphonic music : his
^^ Rappresentaziotu di Anima € ii
Corpo " (Rome, 1600) is the first ora-
torio. (2) Katherina, Vienna, 1761
— 1 801 ; singer, whom Mozart wrote
for and praised. (3) Lina, b. Rome,
Dec. 24, 1874, daughter of a laun-
dress ; won notoriety as beauty and
singer in cafes chantants; then
studied with Mme. Mariani-Marsi ;
succ. debut in ''^ Pagliacciy* Lisbon.
1900 ; sang Naples, Warsaw, and
1902, engaged at Dal Verme Th.,
Milan.
CaTal'li, Fran.9 Crema, ca. x6oo—
DICTIONARY OF MUSICIANS 455
Venice, Jan. 14, 1676 (rightly Pier
Francesco. Caletti-Brtini), son of
GUfflbatt. Caletti, caUed Bnmi,
Maestro at Crema. A Venetian
nobleman, Federigo Cavalli, had him
taught and he took his name. He sang
at S. Marco, 1665 ; first organist
there ; 166S, conductor ; he was a pu-
pil of MoQteverde and developed M.'s
principles, composing 41 operas, the
most succ. being ** Giasofu (Venice,
1649); '"Serse" (1654); "' ErcoU
AmanU " (Paris, 1662) ; he c. also a
Qoubie requiem, and other church-
music.
Ca¥alliiii(le'-ne), Eraesto^ Milan, 1807
—1873 ; clarinettist and composer.
CaTal'lo, Peter, Munich, 1819— Paris,
1892 ; organist.
CaT'endish, Michael, English com-
poser, 1509.
CaTos (Idi-v5s), Catterino, Venice,
1775 — St. Petersburg, 1840; 1799,
court-conductor; c. 13 Russian operas;
also others.
Carlos (k«'-lQs), Anne Claude Phi-
lippe de Tnbi^res, comte de, Paris,
1692 — 1765 ; writer.
Casxati (kSd-zi'-te), Manrizio, Man-
tua, 1625 — 1677 ; composer and con-
ductor.
Cecil'ia (Saint), d. Rome, a.d. 230, in
Christian martyrdom ; her feast-day
is Nov. 22d ; legendary inventor of the
organ, and patron samt of Christian
music.
Celestino (cha-l^s-te'-nd), Elig^io,
Rome, 1739 — Ludwigslust, 18 12;
violinist and conductor.
Celler, LndoTic Vide leclerq.
Cellier (sdl'-y^r), Alfred, Hackney,
London, liec. i, 1844 — l^ec« 28,
1891 ; conductor in London, etc. ; c.
15 operettas, incl. the very succ.
'^ Dorothy'' (1886) ; ** The AfounU-
y banks " (London, 1892), etc.
Cemohorskj (or Csemohorsky),
(ch^r-nd-hdr'-shkl), BohnslaT, Nim-
burg, Bohemia, 17th cent. — Italy,
1740 ; a Minorite monk ; conductor ;
hts comps. are still sung in Bohemian
chnrcbn.
Cerone (chi-rd'-nd), Dom. P., b. Ber-
gamo, ca. 1566 ; theorist.
Cerreto (chir-ri'-td), Scipione, Na-
pies, 155 1 — ca. 1632 ; lutist and the-
orist.
Certon (s^r-t6ii). P., i6th cent., con-
trapuntist; choirm. Sainte Chapelle,
Paris.
Cerll (chi-roo'), Dom. Ag^., b. Lucca,
Aug. 28, 1817 ; engineer and writer.
Cenreny (char -v§-ne), V. F. (Wen-
ael Fz.), £>ubec, Bohemia, 1819 —
KOniggratz, Jan. 19, 1896; maker
and improver of brass instrs. and inv.
of the important "roller" cylinder
mechanism, also of the contrabass
(1845), metal contrafagotto ('56), alt-
horn obbligato (*59), primhom (*73).
and the complete waldhom quartet
(primhom, Es alto, waldhom in F,
tenor in Bb, basso, 11 in Dtt), sub-
contrabass and subcontrafagotto ; im-
proved the family of comets, the eu-
phonion, the screwdrum, and the
church-kettledrum, etc.
Cervera (th«r-va'-ra), Fran., b. Val-
encia, i6th cent. ; theorist.
Cervetti. Vide gelinek.
Cervetto (ch«r.v«t'-td), (i) Giacomo
(rightly BasseTi), Italy, ca. 1682 —
London, Jan. 14, 1783 ; 'cellist. (2)
Giacomo, d. Feb. 5, 1837 ; son of
above ; *cellist and composer.
Cesbron (s^'-br6n), Suzanne Cathe-
rine, b. Paris, May 29, 1879, soprano;
pupil of the Cons., taking prizes 1899,
1900, 1901 ; debut, 1901, Opera Co-
mique as Gris^ldis in Massenet's op-
era.
Cesi (cha'-ze). Beniamino, b. Naples,
Nov. 6, 1845 ; pupil of Naples Cons,
under Mercadante and Pappalardo,
pf. -pupil of Thalbcrg ; since, 1866,
prof. Naples Cons. ; c. an opera,
** yi//or Pisani " (not prod.), etc.
Cesti (ch&s'-te), Marc A., Arezzo,
1620 — Venice, 1669 ; Franciscan
monk ; conductor and tenor singer ;
first opera, ** Orontea^^ succ. at Ven-
ice, 1649 ; wrote 10 other operas
mainlv succ; all lost now except **Ztf
Dori (Venice, 1663) ; his cantatas
456
THE MUSICAL GUIDE
are better preserved ; he wrote them
for the stage.
Cevallos (thi-vil'-lds), Fran., 1535—
1572 ; Spanish composer.
Chabrier (shib-rl-a), Alexis Emm.,
Auvergne, Jan. 18, 1842 — Paris, Sept.
13* 1894 ; studied law in Paris, then
music; 1881, choirm. under Lamou-
reux ; c. operettas, a rhapsodie '* Es-
paha *' fororch., etc.
Chad' wick, G. Whitfield, b. Lowell,
Mass., Nov. 13, 1854 ; studied organ,
etc., under Eugene Thayer at Boston;
1876 head of mus. dept. of Olivet
Coll., Mich.; 1877-78 studied Leipzig
Cons. (Reinecke, Jadassohn), his
graduation piece being an overture to
''Rip Van IVinkU ;" studied at
Munich with Rheinberger ; 1880, or-
ganist Boston and teacher of harm.,
comp. and instrumentation at the N.
E. Cons. , of which he is dir. ; cond.
the Worcester Mus. Festivals, re-
signed, 1902 ; c. 3 symphonies ; 4
overtures, ''Rip Van PVinkU" (7g),
" TJiaUa •• C83). •' Melpomene'' ('87).
" The MilUr's Daughter'' ('88); 3
symphonic sketches for orch. ; comic
opera "Tabasco" (New York, '94);
many choral works ; '* The Colum-
bian Ode " (Chicago, *93), etc. ; wrote
a text-book on ** Harmony" (Boston,
1898).
Challier (shal'-lY-^r). Erast, b. Berlin.
July 9, 1843; music-publisher, Berlin.
Cnam'berlaia, Houston Stewart, b.
Portsmouth, England, Sept. 9, 1855 \
son of a British Admiral, took doc-
tor's degree in Germany, and lived at
Vienna because of his health ; pub.
famous book "Richard Wagner"
(Leipzig, 1892), followed by others.
Chambonni^res (shan-bdn-yftr),
Jacques Champion (called '* Cham-
pion de Chamb."), d. ca. 1670 ; first
chamber cembalist to Louis XIV.
Chaminade (shilm'-Y-n^d), C^ile
(Louise Stephanie), b. Paris, Aug.
8, 1861 ; pianist and composer of
unusual spirit and originality ; pupil
of Lecouppey, Savard, Marsick and
Godard ; she lives in Paris ; c the
succ.**ballct-symphomc" ''CeUHrkM"
(Marseilles, 1888) ; the '* symphonie
l)rrique " ** Les Amasufnes " (Anveis,
1888) ; 2 suites for orch. ; ** Coocert-
stUck " for pf . with orch. and many
pop. songs and pf. -pieces ; open in
MS., book by A. Silvester.
Champein (shah-p&A), Stanislas,
Marseilles, 1753 — Paris, 1830; dram,
composer.
Champion (sha]kp-y6ti), Jacques.
Vide CHAMBONNI^RSS.
Champ'ington, J., English oxgao-
builder; 1597.
Channay (shan-n£), Jean de, i6th
cent, music-printer, Avignon.
Chanot (sh&-nd), Fran., Mirecoort,
1787 — Brest, 1823 ; retired as a naval
engineer ; designed a violin which
the Academy pronounced equal to
Stradivari's ; his bro., a Paris Inth-
ier, manufactured it, but found it im-
practicable.
Chap'man, Wm. Rosters, b. Hano-
ver, Mass., Aug. 4, 1855; lives in
New York as chorus-leader, conduc-
tor and composer.
Chap'pel Si Co., music-publishers,
London; founded 18 12 by (i) Sam-
uel C, the pianist, Cramer, and F.
T. Latour (1809— 1888). (2) Wm.
C. became the head of the firm ; in
1840 he founded the ** Antiquarian
Society," and pub. colls, of Old Engl
music. His brothers, (3) Thomas,
founded, and (4) Arthur, conducted,
the Monday and Saturday Pop. Con-
certs.
Chap'ple, Samuel, Crediton (Devon),
1775 — Ashburton, 1833 I organist and
pianist, blind from infancy ; compos-
er.
Chapuis (shSp-we), Aug^. Paul J.
Bap., b. Dampierre - sur - Salon,
France, April 20, 1862 ; pu{»l of
Dubois, Massenet, and C^r Fianck.
Paris Cons., took first prize in harm..
1st prize for org., and the Rossni
prize ; organist at Saint-Roch. ; from
1894, prof, of harm, at the Coos. ;
since 1895, inspector-gen. of music
instruction in Paris soiools; c on-
DICTIONARY OF MUSICIANS 457
sncc. lyric drama, ^^ EnguerratuU'*
(Oo. Com., 1893) ; lyric drama
*' ToMo^ed" (Op. Com.. 1898?); an
oratorio ; a pf. -suite ** on the oriental
scale/* etc.; pub. a treatise on harm.
Char (khar), Fr. Ernst (" Fritx *'), b.
Cleve-on-Rhein, May 5, 1865 ; pupil
of C. KisUer, WttUner and NeiUel ;
cond. opera at Zwichau, Stettin, and
St Gallen ; now at Ulm ; wrote book
and music of succ opera '' Der
Sc/ulm von Bergen " (Zwickau, 1895);
c cantata * Spielmann,*' etc
Chard, G. W., ca. 1765— May 23,
1849 > English organist and compos-
er.
Charpentier (sh^r-pint-ya), (i) Marc
A,, Paris, 1634 — March, 1702 ; con-
ductor to the Dauphin ; c. 16 operas
for the stage and many ** tragedies
i^irituelles ' for the Jesuits, masses,
etc, (2) GustaTe, b. Dieuze, Lor-
raine, June 25, i860 ; pupil of Mas-
sart, Pessard, and Massenet, Paris
Cons. ; 1887, took grand prix de
Rome; c. orch. suite *' Impressions
d'ltaUe'' ; seine lyrique '' Didon'' ;
symphonic drama (or concert opera)
•*Ztf Vie du Po}U " (Grand Opera,
1892), and ^' Itaiien" (Hamburg,
1902); symph. poem ^^ Napoli**
(1891) : book and music of succ. op-
era Louise (Op. Com., 1900) ; also c.
''MarUr '' Orph^er and ''TiU
Rouge ^^^ unprod. ; and songs, ** Les
FUurs du Mai;' ** Quinu pohttes,"
some of them with chorus and orches-
tra.
Chat'tertoo, J. B., Norwich, 1810—
London, 1871; court-harpist and com-
ix)scr.
Cnanlien (shol-ytt), Chas., Paris.
178& — London, 1849 • pianist, teacher
and composer.
Chaumet (sho-ma). J. B. Wm., b.
Bordeaux, April 26, 1842 ; won the
Prix Crcssent, with the comic opera
** BaihyW (prod. 1877), also the Prix
Rossini ; c. comic operas ; lyric drama
Mauprat (MS.), etc.
Chavret (shd-vi), Chas. Alexis,
Mames, June 7, 1837— Aigenton,
Jan. 28, 187 1 ; organist; c noteworthy
org. -music.
Chavanne (sh&-v&n'-n£), Ir^ne too,
b. Gratz, ca. 1867 ; contralto ; pupil,
Vienna Cons., 1882-85 ; since 1885 at
the Dresden court-Opera.
Cheese* G. J., organist, London,
1771 ; writer.
Chelard (shfi-Ur), Hippolyte Andr^
J. Bap., Paris, Feb. i, 1789— Wei-
mar, Feb. 12, 1861 ; 1815, prod, his
first opera, ''La Casa a Vender e,''
Naples; entered the Paris Operatic
orch. as violinist ; in 1827 his op-
era ''Macbeth'' (text by Rouget de
Lisle), was prod., but failed ; he
went to Munich, and 1828 prod, a
revised version of "Macbeth" with
such succ. that he was made court-
conductor; he returned to Paris,
1829, and failed with 3 other operas ;
conducted the German Opera in Lon-
don, which failed ; returned to Mu-
nich, and prod, his best work, "Die
Hermannsschlacht^'. 1835 ; 1836,
court-conductor at Weimar, where he
prod. 2 comic operas.
ChcUcri (k«l'-ie-re), Fortunate (right-
ly Keller), Parma, 1686— Cassel,
1757 ; court-conductor and dram,
composer.
Ch^ri (sha-re), Victor (rightly Cizos),
Auxerre, 1830 — suicide, Paris, 1882 ;
cond. and dram, composer.
Chenibini (ka-roo-be'-ne) (M.) Luig^
(Carlo Zenobio Salvatore), Flor-
ence, Sept. 14, 1 760^ Paris, March
15, 1842 ; one of the greatest masters
of counterpoint ; pupil of his father,
(cembalist, at the Pergola Th.), then
of B. and A. Felici, Bizarri and Cas-
trucci ; 1779 sent (under patronage of
the future Emperor Leopold III.) to
Milan, to study cpt. with Sarti ; at 13,
had c. a mass and an intermezzo for a
society theatre ; at 15, another inter-
mezzo; 1780, " Quiftto Fabio" "vr^iS
prod, without succ. though with better
results in a revised version (1783) ; he
had succ. with 6 other operas, and
was in 1784 invited to London, where
he prod, an opera bufifa, with some
458
THE MUSICAL GUIDE
success, and anotbCT with none ; he
was court composer for one year ;
1788 he prod. " /Jl^enia in Aulide*'
at Turin ; and then lived in Paris,
where his French opera '* p/mophon "
. (Grand Op<h^, 1788) failed ; he then
cond. at a small opera house, until
1792. His opera ** Lodoiska,'* 1791,
showed a new style of emotional
strength, powerful ensemble, and
novel orchestral colour that founded
a school of imitators. 7 other op-
eras and a ballet followed, incl. his
masterpiece (1800), ** Les deux jour-
rUfs " (in Germany called '* Der
IVassertrager'' ; in England, "The
Water-carrier"). 1795 he had been
made one of the inspectors of the new
Cons , Paris, but was not liked by
Napoleon, whose musical opinion he
had not flattered. On invitation he
wrote for Vienna " Faniska^^^ a great
succ. (1806) ; an invitation to write
a mass for the Prince of Chimay, re-
sulted in the. famous 3-part mass in
F. He wrote 4 more operas, but
found church-music more satisfactory.
18 1 5, visited London ; wrote a sym-
phony, an overture, and a Hymn to
Spring, for the Philh. Soc. After
many vicissitudes he became in 18 16
prof, of comp. at the Cons., Paris,
and 1821-41 dir. His enormous list
of works includes 15 Italian and 14
French operas, 17 cantatas, 11 sol-
emn masses, 2 requiems, i oratorio ;
I symphony, i overture ; 6 string
quartets; 6 pf. -sonatas, and a mass
of smaller works, mus. for pf., etc.
The best biog. is by Bellasis (Lon-
don, 1874).
Chev^ (shtt-v5), Emile Jos. Maurice,
Douamenez, Finistere, 1804 — 1864 ;
a physician ; wrote pamphlets attack-
ing the methods at the Paris Cons. His
wife (nee Manine, Paris) collaborat-
ed with him.
CheTillard (shtt-ve-yir), Camille, b.
Paris, Oct., 1859; pupil of G. Ma-
thias ; took 2d pf. prize at Cons.; till
1897, asst.-cond. of the Lamoureux
Concerts ; then cond. ; c. a symph.
ballade, ** Le chhte et It roseau *• / a
symph. poem, a symph. fantasie, etc
Chiabran (shii-bran) (or Chabran or
Chiabrano), Fran., b. Piedmont,
ca. 1723 ; violinist and composer.
Chiaromonte (kc-ftr-6-m6n -t€), b.
Castrogfovanni, Sicily, iSog^ — Brus-
sels, iad6 ; tenor ; prof, of sharing
and dram, composer.
Chic (shek), L^on, b. April 28, 1819 :
son and pupil of army musician, di-
rector of marine and military bands ;
c. various pieces.
Chick'ering & Sons, American firm of
pf. -makers, est. 1823, by (i) Jonas
Chickering: (New Ipswich, N. H.,
1798 — Boston, 1853); his son (2)
Col. Thos. E. C. (Boston, 1824—
187 1), was named Chev. of the Le-
gion of Honour, and took first pf.-
prize at the Paris Exposition, 1867 ;
he was in turn succeeded by his sons,
the present firm.
Chilcot (chn-kdt), Thos., or^nisl.
Bath, 1733, till end of century.
Child, Wm., Bristol, 1606— Windsor.
1697 ; organist.
Chilesotti (ke-la-s6t'-tc), Oscare, b.
Bassano, Italy, July 12, 1848 ; law
graduate Padua Univ. ; flutist and
'cellist ; self-Uught in harm.; lives in
Milan; wrote important historical
works.
Chimenti (ke-m^n'-te), Margarita
(called la Dra^^herina), sang in
London, 1737.
Chipp, Edm. Thos. (Mus. Doc),
London, 1823— Nice, 1886 ; organist.
Chladni (khlSt'-ne), Ernst Florens
Fr., Wittenberg, Nov. 30. 1756 —
Breslau, April 3, 1827 ; prof, of law
and investigator in physics and acous-
tics; discovered the sound-figures
which sand assumes on a vibrating
plate, and which bear his name ; inr.
the euphonitma and clavicylinder (v.
D.D.).
Chollet (sh61-U), J. B. M., b. Paris.
May, 1798 ; violinist and singer in
opera.
Chopin (shd-pAn) (Francois) FrM€-
ric, Zelazowa Wola (Jeliasovaya Vo-
m
DICTIONARY OF MUSICIANS 459
lia), near Warsaw, March i, 1809
(Natalie Janotha declares it to be
Feb. 22, 1810)— Paris, Oct. 17, 1849;
eminent composer for the piano ; son
of Nicholas C. (a native of Nancy,
France, who was at first bookkeeper
in a cigar factory, then teacher in the
Warsaw Gymnasium), and a Polish
woman (nee Justine Kryzanowska).
Cstodied at his father's pnvate school,
among young Polish noblemen ; Al-
bert Zwyny taught him pf. and Jo-
seph Eisner, harm., etc. At 9 he
played in public a pf. -concerto and
improvisations ; c. polonaises, ma-
zurkas, and waltzes ; in 1825, pub.
as op. I a rondo ; op. 2 a fantasie
with orch. He played in German
cities and had at 19 an individual
style of comp., having written his 2
pf. -concertos, mazurkas, nocturnes,
rondos, etc. He started for London,
and played in Vienna, 1B29, with such
success that a critic called him ** one
of the most remarkable meteors blaz-
ing on the musical horizon " : and at
Paris he had such succ. in his first
concert, 1831, that he settled there
for life as a teacher of the pf . and
occasional giver of concerts. His
pupils were of the most aristocratic,
and his friends included Liszt, Ber-
lioz, Meyerbeer, Bellini, Balzac, and
Heine. Schumann with typical spon-
taneity (cf. BRAHMs) was moved in
183 1 by Chopin's op. 2, to say,** Hats
off, gentlemen : — a genius *' ; and in
1839, in reviewing certain of his prel-
udes, mazurkas, and valses* to say
'* He is and remains the keenest and
staunchest poet-soul of the time."
C.'s liaison with Mme. Dudevant
C* George Sand *'), begun in 1836 and
ended in 1844, has caused endless
controversy. In 1838 an attack of
bronchitis drove him to Majorca,
where she seems to have been a de*
voted nurse, but the peevishness and
weakness due to his developing con-
sumption caused bitter quarrels, and
she is believed to have caricatured
him as Prince Karol in her novel
* * Lucretia Floriani, " Concert tours
and social life in England and Scot-
land in 184 1 - 49 destroyed his
streng^. A collection of his letters
was pub. (Dresden, 1877). His many
biographers includ^ Lisat, M. Kara-
sowski (Dresden, 1877), M. A. Aud-
ley, Fr. Niecks (Leipzig, 1889). The
latest, in many ways the best balanced,
estimate of C. and his works, is
Tames Huneker's ** Chopin " (New
York^ 1900). His comps. include
beside those mentioned (74, with opus-
number 12 lacking) : ** Don Ciovan"
ni" fantasia, op. 2 ; *' Krakoviak^^
rondo, op. 14 ; ^ Polonaise^ op. 22 ;
and a fantasia on Polish airs for pf .
with orch ; duo concertant on themes
from •• Robert U DiabW; an introd.
et Polonaise, op. 3, and a sonata, op.
65 for pf . and 'cello ; pf. trio, op. 8 ;
and a rondo for 2 pfs. op. 73. for
PF. SOLO ; Allegro de concert ; 4
ballades ; barcarolle, op. 60 ; ber-
ceuse, op. 57 ; bolero, op. 19 ; 3 ^os-
saises, op. 72 ; 12 grandes etudes, op.
10 ; 12 etudes, op. 25 ; 3 etudes ; 4
fantasies ; 3 impromptus ; marche
fun^bre, op. 72 ; 52 mazurkas.
** Morceau de concert sur la Marche
des Puri tains de Bellini " / i^ noc-
turnes, II polonaises; 24 preludes,
op. 28 ; prelude, op. 45 ; 3 rondos ;
4 scherzos ; 3 sonatas ; tarantelle,
op. 43 ; 13 valses ; variations on **y^
vends des scapulaires^^ op. 12 ;
** Variation dans PBexam&on'* ; 16
Polish songs op. 74.
46o THE MUSICAL GUIDE
_ ._ . — —
Frederic Francois Chopin.
By James Huneker.
CHOPIN'S home education doubtless preserved in him t certain femi-
nine delicacy which never deserted him. ^ At the age of nine
he played a Gyrowetz concerto in public and improvised, but
seemed more solicitous about the impression his new coUar made on the
audience, than for the success of his music. ^As a composer of nineteen he
was remarkable 4ind far in advance of his critics and audiences. The db-
turbed political atmosphere of Poland coupled with an unsuccessful love
affair — he vainly adored the smger Constantia Gladowska — decided him on a
residence in Vienna. There his playing did not create any enthusiasm, and
in the fiill of the year he went to Stuttgart en route for Paris. It was in the
German city that he heard of t{ie downfall of Warsaw and of his patriodc
hopes ; for Chopin was a fierce patriot, but because of his slender physique, a
non-combatant. He journeyed at once to Paris and settled there. ^ His
intimacy with the famous novelist George Sand lasted ten years, and her
influence, hurtful according to some, and valuable according to others, was
most potent and enduring. His sensitive nature was subject to many rude
shocks during his companionship with the coarser-fibred and more inteUectual
woman. Yet it cannot be denied that from his most ardent pangs, he,
artist-like, contrived to wring some of his sweetest and most subtle music.
The shock of the separation, a separation that was inevitable, shattered
Chopin's bruised spirit, and two years later he died, if not of a broken heart,
partially of disappointment, chagrin, and spleen. His lungs, always weak,
became hopelessly diseased, and after a profitless tour in England and Scotland,
where he was really too weak to play, he died of consumption and was
buried in Pere-Lachaise, near the graves of Cherubini and Bellini. His
funeral, an imposing one, called out the representative artistic spirits of the
city. Seldom has genius been so accompanied to its last resting-place.
^ During his lifetime Chopin was the centre of a circle of wit, talent, and
fashion. Balzac, Delacroix, Liszt, Meyerbeer, Heine, Bellini, Berlioz,
Mendelssohn, were a few among his intimate associates. His spiritual and
original piano-playing admitted him into the inner circle of aristocracy, and
he was sought for persistently until his life was sapped by sorrow and constant
social duties. ^Chopin played but seldom in public, for he was unfitted by
nature to cope with the audiences of the larger concert halls. That task be
gratefully resigned to Liszt. But in the twilight of the salon among the
favoured choice souls, his playing took on almost unearthly qualides. His
touch, light in weight, was exquisite in timbre ; his tone ranged ^om /arte to
a feathery pianissimo, while his style was absolutely unique. Tender, martial.
DICTIONARY OF MUSICIANS 461
ironical, capricious, gay, and sad, this young Pole held in bondage the entire
emotional gamut. Never had the piano sounded so before, sounded so
terial, so witty, so passionate ; and it may be doubted if it has sounded thus
sbce ; for, while Liszt, Rubinstein, Tausig, Joseffy, Heyman, DePachmann^
Essipoff, Rosenthal, and Paderewski were, and are, remarkable interpreters,
yet those who heard Chopin the pianist despair in their efforts to describe his
spiritual performances. His light, finely articulated hand explains some of
the characteristics of his technics ; the wide-spread harmonies, the changeful
play of inner voices ; the novel £guradon ; and the lovely melodic life.
^ Chopin is the poet of his instrument, the musical poet of Poland. He
caught up and treasured the folk-songs of his country, and gave them to the
worid in an idealised form. Hb mazurkas are tiny poems full of caprice,
wounded pride, ecstatic moments ; his four ballads are epical in scope, con-
taining noble melodies, the form absolutely original ; the four scherzos are
evidences of Chopin's creative powers, for here the form is again novel ; the
content startling. Bitterness, frantic and cruel, followed by rapturous out-
bursts of melody arouse in the listener the most vivid emotions. It is Chopm
at the apex of his power. The polonaises are passionate and patriotic, or
else fimtastic and graceful, but always wonder-breeding. His waltzes are for
the salon, and for the soul — like the mazurkas. Of the three sonatas, the
one in B flat minor is the most satisfactory. Without organic unity it never-
theless astonishes by its originality and depth. Its slow movement is the
funeral march, now a banal concert number. In his four Impromptus Chopin
is full of charm, while in the Barcarolle and in the Fantaisie, Opus 4^ he
almost achieves perfection. The nocturnes and Cradle Song, now for the
most part war-worn from repetition, contain much beautiful music. The
Studies^ opus 10 and 2^ with the Preludes, opus 28 are Chopin m all his
dazzling invention, his never-failing ^cy, poetry, daring harmonic innova-
tions and* moving melodic richness. ^He changed the modem map of
music by his subtle and profound experimentings with the possibilities of
chromatic harmonies, and A)r this ranks among the great composers. Within
his range he is the most perfect lyrist that ever sang, and the ethereal sono-
rities of his style, his discreet and original use of the tempo rubato, make him
a fi^rerunner of all that is fi-ee, individual and exotic in latter-day music.
5r Chopin was not happiest in writing for ochestra or for piano in conjunction
with violin or violoncello. His two concertos contain charming episodes, but
do not cohere, do not make the eloquent appeal of the smallest of his
mazurkas. He was not fashioned for the epic, this master of intimate moods.
He wrote variations, fantasies, a 'cello-sonata, a piano-trio and bolero, a tar-
antelle and songs. ^We have forgotten them ; but never so long as the piano
remains the piano, will Chopin be forgotten. He is, as Rubinstein said, its
ioiiL
462
THE MUSICAL GUIDE
Chor'ley, H. Fothergill, Blackley
Hurst, Lancashire, i8o8-'London,
1872 ; critic and widely travelled
writer. -
Choron (sh6-rdft), Alex. Et., Caen,
Oct. 21, 1772— Paris, June 29, 1834 ;
an ardent student of musical theory
and practice, historian and benefactor
who devoted his fortune to the ad-
vance of the art.
Choudens (shoo-dans). A., b. Paris,
1849; son of a music publisher; c.
2 operas, ** GrazUlW (Paris, 1877) ;
and ** La Jeunesse de Don Juan^**
etc.
Chouqnet (shoo-ka), Ad. Gt., Havre,
1819 — Paris, 1886; teacher and writer
of historical works.
Christiani (kres-tl-i'-nS). (i) Ad. Fr.,
Cassel, 1836— Elizabeth, N. J., 1885 ;
pianist and writer; livfd in Lon-
don, then America. (2) Elise, Paris,
1827 — Tobolsk, 1853 ; remarkable
'cellist ; debut, Paris. 1845.
Christ'mann, (i) Jn. Fr., Ludwigs-
burg, WUrtemberg, 1752 — Heuting-
sheim, 18 17; composer and writer.
<2) Fz. X., Austrian organ-builder,
d. Rottenmann, Styria, 1875.
Chrysander (kre'-zant-ir), Fr., Lub-
theen, Mecklenburg, July 8, 1826—
1902 ; editor and writer of the stand-
ard bioeraphy of Hilndel, etc.
Chrysan thos of Madyton ; writer
19th century ; teacher of church sing-
ing, Constantinople, later Archbishop
of Durazzo in Albania.
Church, J., Windsor, 1675 — ^Jan. 5,
1741 ; composer.
Chwatal (khwa-tal), (i) Fz. XaTer,
Rumburg, Bohemia, 1808 — Elmen
(Soolbad), 1879; teacher and com-
poser. (2) Jos., b. Rumburg, Jan.
12, i8ii, bro. of above; org. -builder
in Merseburg ; in v. minor improve-
ments.
Ciaja (ch&'-yS), Azzolino Bdo. della,
b. Siena, 1671 ; organist, amateur
org. -builder, and composer.
Ciampi (ch&m'-pe), Legjenzio V.,
b. Piacenza, 1719; dram, composer.
CtaAchetttai (chlln-k£t-te'-ne),(z)Vei^
onica (n^ Dnssek), Czaslao, Bohe-
mia, 1779; composer and teacher.
(2) PiO| London, 1799 — 1849; son of
above ; composer and pianist ; first
appearance at 5 years; at 10 per-
formed an original concerto in public
Cibber (slb'-b«r), Snsanna M. (oee
Ame), 1714 — 1766; great English
actress and notable singer, sister of
Dr. Ame.
Cientat (s'yti-ta), H. Maurice, b.
Paris, July 15, 1861 ; pupil of S.
Rousseau ; c. vaudevilles and com.
ops. from 1885.
Cifra (che'-frS), A,, Rome, ca. 1575—
Loreto, ca. 1636 ; important com-
poser of the Roman School; pupil
of Palestrina and B. Nanini; court-
conductor.
Cimador (chS'-ma-ddr), Giambattif-
ta, Venice, 1761 — London, ca. 1806 ;
violinist, 'cellist, pianist and com-
poser.
Cimarosa (ch8-nuUr5'-sS), Domenico,
Aversa, near Naples, Etec. 17, 174^—
Venice, Jan. 11, 1801 ; the orphtnof
a poor mason ; studied at Minorite
charity-school, his first teacher being
Polcano, monastery organist ; when I3
years old was given a scholarship is
the Cons, di S. Maria di Loreto,
where he studied singing with Manna
and Sacchini, cpt. with Fenaroli, and
comp. with Picdnni. 1770 his ora-
torio ^^Giuditta " was prod, in Rome ;
1772, his first opera, **/> Strav^-
gan%e del Conte^* at Naples, without
succ., which was won, however, next
year by **Z<j Finta Parigina,^ Of
phenomenal facility, he c. 76 operas in
29 years. He lived alternately in
Rome and Naples. 1781, he prod,
two operas in Naples, one in Rome«
and two in Turin ; invited 1789 to be
court-composer at St. Petersburg
(vice Paesiello), he spent 5 months of
triumphal progress thither, being
lionised at various courts ; be stayed
there 3 years, prod. 3 operas and wrote
500 pieces of music for the court;
but he could not tolerate the climate,
and was reluctantly released, being
DICTIONARY OF MUSICIANS 463
engaged as cond. to Emperor Leo-
pold at Vienna, with a salary of la,-
000 florins. He prod. 3 operas incl.
Us masterpiece " // Matrimonio Se*
greto** (1787). which won an all-
effacing success. 1793, he returned to
Naples. 1799, he took part in the
Neapolitan revolutionary demonstra-
tion on the entrance of the French
army, and was condemned to death
by King Ferdinand, but banished in-
stead ; he died suddenly at Venice.
It being everywhere claimed that he
had been poisoned by order of Queen
Caroline of Naples, the Pope's phy-
sician made an examination, and
swore that he died of a gangrenous
abdominal tumour. ParticuUrly in
comic, but at times also in serious
opera, C. almost challenges compari-
son with Mozart for fluency of melo-
dy and orchestral richness. His best
operas are *'Za Finta" (Naples, 1773),
*"VItaIiana in Londra'^ (Rome, 1774),
**// Fanatico per gli Antic hi Romani "
(Naples, 1777), m which were intro-
duced dramatically vocal-trios and
quartets, **Za Ballerina Amante**
(Naples, 1782), ''Le Trame Delust^
(Naples, 1786). ''V Impresario in An-
gustie"^ (Naples, 1786), '* Giannina e
Bermid0H€"{Stip\es, 1788). "Ztf F^r-
gine del Sole " (St. Petersburg, 1791),
*•// Matrimonio Segreto** (Vienna,
1792), "'/^ Astuxie Femminile** (Na-
ples, 1794). He also prod. 2 orato-
rios, 7 symphonies,, several cantatas ;
masses, etc.
CipoUiiii (chc-pol-le'-ne), Gaetano, b.
Tropca. Italy, Feb. 8, 1857; pupil of
Francesco Coppa ; now lives at Mi-
lan as dram, composer.
CipoUone (che-p61-16'-n£), Alfonso, b.
Fara S. Martino (Chieti), Nov. 25,
1843; pupil of M. Rute ; lives at
Terano as teacher and composer.
Ciprandi (che-pran'-de), Ercole, ca.
1738 — after 1790 ; tenor.
Claassen (klas -s^n). Arthnr, b. Star-
gard, Prussia, Feb. 19, 1859 ; grad-
uated from Danzig Gym. ; 1875,
studied under MttUer-Hartung, Gott-
schalk and Sulze, Weimar Music
School ; 1880-84, cond. GOttingen
and Magdeburg; 1884, cond. "An-
on ** and other societies of Brooklyn,
N. V. ; est. the ** Claassen Mus.
Inst."; c. choruses, incl. *'/>fr Kam-
erad *' (prize) ; and symph. poem
'* Hohen/riedberg," etc.
Clag'g^eCy Chas., London, 1755 —
1820 ; violinist and inventor.
Clapissoii (kl&-pls-s66), Antoine L.,
Naples, 1808 — Paris, 1866; violinist,
professor and dram, composer.
Clan (kir-re), GioT. M., Pisa, 1669—
Pistoia, ca. 1745 ; conductor and
composer.
' ClarioeL Vide mrs. chas. barnard.
Clark(e)y (i) Jeremiah, London, 1670
— (?), ca. 1707 ; organist and dram,
composer ; a suicide for love. (2)
Richard, Datchet (Bucks), 1780—
London, 1856 ; composer and writer.
(3) Vide scoTSON clark.
Clarke, (i) Jas. Peyton, Scotland,
1808 — Toronto, Canada, 1877 ; or-
eanist and professor. (2) Hugli
Archibald, b. near Toronto, Can-
ada, Aug. 15, 1839; son and pupil of
above ; organist in Philadelphia
churches ; 1875, prof, of music in the
Univ. of Pennsylv.; made Mus. Doc.
(1886) by the Univ. when his music
to Aristophanes' ^'' Acharnians'*^ was
prod. ; also c. an oratorio, ^^Jeru-
salem*' (Phila.. 1891). etc. (3)
J. (Whitfield-Clarke), Gloucester,
England, 1770 — Holmer, 1836 ; or-
eanist, professor and editor. (4)
James Hamilton Smee, b. Bir-
mingham, England, Jan. 25, 1840; at
12 organist; 1866 at Queen's College,
Oxford; Mus. Bac, 1867; cond.
various theatres ; 1893, cond. Carl
Rosa Opera Co. ; c. operettas, 2 sym-
phonies, etc. (5) Wm. Horatio, b.
Newton, Mass., March h, 1840; 1878-
87, organist at Tremont Temple,
Boston, then retired to Readmg,
Mass., where he has an estate and a
chapel of music, Clarigold Hall, con-
taining a large 4-manual oi^n with
100 stops ; wrote 15 instructive works
1
464
THE MUSICAL GUIDE
" Outline of tht Structure of the
Pipe-Organ'' (1877), etc. (6) Ma-
ria Victoria (Cowden-Clarke).
Vide NOVKLLO.
Clams (klfi'-roos), Max., b. Muhl-
berg-on-Elbe, March 31, 1852 ; pu-
pil of his father, the municipal mus.
dir. there, and of Haupt, Schneider,
and L6schom, Berlin ; cond. in va-
rious German, Austrian and Hunga-
rian theatres ; 1890, mus. dir. Bruns-
wick court ; from 1884 cond. the
* * Orpheus, " and from i8go the * * Chor-
gesang^erein "; c. ** Patriotic spectac-
ular" opera, *'/?« Grossen Konigs
Rekrut (Brunswick, 1889) ; succ.
romantic opera ^Wlse'* (Brunswick,
1895) ; ballets, etc.
Clasing (kir-zlng), Jn. H., Hamburg,
1779 — 1829 ; teacher and dram, com-
poser.
Claudia (kl5-d&n), (i). Vide sermisy.
(2) Le Jeune. Vide lkjeunk.
Claudius (klow'-dY-oos), Otto, Ka-
menz. Saxony, 1793 — Naumburg,
1877 ; cantor and dram, composer.
Claussen (klows'-s^n), Wm., Schwe-
rin, 1843 — 1^69 ; composer.
Clausz-Szarvady(klows'-sh^-v&'-de),
Wilhelmine, Prague, 1834— Paris,
1882 ; pianist.
Clay, Fr. (of English parents), Paris,
1840 — Great Marlow, near London,
1889 ; dram, composer.
Cleaver, Mrs. Eleanor (nee Beebe),
b. Detroit, Mich. ; alto ; sang two
years as soprano in New York ; after
short stage career, studied with Delle
Sedie, and Bertin (acting), Paris ;
concert debut, London, 1900 ; has
sung there frequently with much suc-
cess ; 1902, sang in New York.
Cleeman (kla -man), Fr. Jos. Chp.,
Kriwitz, Mecklenburg, 1771 — Par-
chim, 1827 ; writer.
Cleg^, J., Ireland (probably), 17 14 —
Nisane, 1742 ; remarkable violinist
and composer.
Clem'efls, Jacob (called *'C1. Non
Papa " ) (1. e., *• not the Pope" Clem-
ent VII.) ; d. ca. 1557 (?) ; played
teveFal instrs. and composed.
Clement (kla'-m«nt), Fs., Vienna,
1784 — 1842 ; violinist and dram, com-
poser.
Clement (kU-mftA), (i) Chas. Fran.,
b. in Provence, ca. 1720; lived in
Paris as pf. -teacher, writer and dram,
composer. (2) F^x, Paris, 1822—
1885 ; organist.
Clementi (kla-m£n'-te), Mnzio, Rome,
1752 — near Evesham, England,
March 10, 1832 ; son of a goldsmith
and musical amateur who had him
taught by A. Buroni, then by the
organist Condicelli. At 9 he was
chosen as an organist in competition
with older players ; until 14, studied
under G. Carpani (comp.) and Bar-
tartelli (voice); 1766, an Englishman
named Beckford secured permission to
educate him in England, and till 1770
he lived and studied in Dorsetshire ;
then made a sensation as pianist in
London. 1773, pub. pf. -sonatas ded-
icated to Haydn, and highly praised
by Emmanuel Bach ; i777-55o^ cem-
balist at the Italian Opera ; 1781
toured the continent, meeting Mozart
in ** friendly " rivalry, without victory
for either; lived in London, 1782-
1802 ; he amassed a fortune as a
teacher, pianist and composer in spite
of losses from the failure of Lcmg-
man and Broderip, instr. -makers ; be
estab. a succ. piano-factory and pub.
house (now Collard*s). 1802, he
made a brilliant tour with his pupil
Field ; he taught other famous pupils,
incl. Nloscheles, Kalkbrenner, M«^-
beer. His comps. incl. symphonies
and overtures; 106 pf.-sonatas (46,
with vln., 'cello, or flute); fugues,
preludes and exercises in canon form,
toccatas, etc. His book of etudes,
the ** Gradus ad Parneissum," i8i7»
is a standard ; biog. by Giov. Frojo
(Milan, 1878) ; O. Chilesotti (Milan,
1882). and Clement (Paris, 1878).
Clement y Cavedo (kla'-m^t e ki-
va -dho), b. Gandia, Spain, Jan. I,
1 8 10; organist at Valencia; 1840-
52, at Gueret, France ; lived hi Mftd*
rid as composer.
DICTIONARY OF MUSICIANS 465
Clarice (kUUres), Justin, b. Buenos
Ayres, Oct 16, 1863 ; 1882, pupil of
D^libes and Pessard, Paris Cons. ;
liYCS in Paris ; prod. 4 comic operas,
etc.
Clicqnot (kle-ko), Fran. H., Paris,
1728 — 1791 ; oijfan-buiider.
Clifford, Rev. Jas., Oxford, 1622—
London, 1698 ; composer.
Clifton, J. Chas., London, 1781—
Hammersmith, 1841 ; teacher, con-
ductor and dram. ct>mposer ; inv. the
Eidomusicon (v. D. D.).
CUve, Catherine (nee Raftor) (called
** Kitty Clive **), London, 1711— Dec.
6, 1785 ; famous actress, also singer.
Cln'er, J., d. London, .1729, English
publisher, reputed inventor of engrav-
ing on tin plates.
Cobb, Gerard Francis, b. Nettle-
stead, Kent, Oct. 15, 1838 ; Fellow
Trinity Coll., Cambridge, 1863;
studied music, Dresden; 1877-92,
chairman Board of Music Studies,
Cambridge ; c. Psalm 62, with orch.,
etc.
Cocchi (k6k'-ke), Gioacchino, Padua,
1720 — Venice, 1804; dram, composer.
Cocda, (k6t'-cha). Carlo. Naples,
1782 — ^Novara, 1873; cond. and dram,
composer.
Coccins (k6k'-tsY-oos), Th», Knaut-
hain, near Leipzig, 1824 — Leipzig,
1897 ; pf.-teacher.
Coccon (k6k.kdn), Nicold, b. Venice,
Aug. 10, 1826 ; pupil of E. Fa bio ;
1856 organist, 1873 conductor at San
Marco; c. over 450 numbers, an
oratorio, ** Sau/,** 8 requiem masses,
30 ** messe da gloria,** 2 operas,
etc.
Cocliliiiis(k6kh'-l^oos), Jns. (rightlv
Jns. Dobnek, pseud. ^'Wendel-
stein "0. 1479 — Breslau, 1552 ; writer;
opponent of Luther.
Cocks, Robt., Si Co., firm of London
mus. publishers, founded, 1827, by
(i) Robt. Co succeeded by his sons,
(2) Arthnr Lincoln C, and (3)
Stfx>nd Lincoln C. d. 1868; (4)
Robt. Maclarlane C. is now in
Codico (kd'-kle-ko) (Co'cUcus), Ad-
rian retit, b. in the Hennegau
(Hainaut), ca. 1500 ; singer and com-
poser.
Coenen (koo'-n£n), (i) Jns. Meinar-
dus, b. The Hague, Jan. 28, 1824 ;
'bassoonist, pupil of LQbeck Cons.
1864, cond. at Amsterdam ; later
municipal mus. dir.; c. ballet-mus., 2
symphonies, cantatas, etc. (2) Fz.,
b. Rotterdam, Dec. 26, 1826 ; violin-
ist; pupil of Vieuxtemps and Molique;
lived in Amsterdam, 1895, dir. of the
Cons, and prof, of vln. and comp. ;
solo violinist to the Queen ; leader of
a quartet ; and composer of a notable
symphony, cantatas, etc. (3) Wil-
lem, b. Rotterdam, Nov. 17, 1837 ;
bro. of above ; pianist, toured S.
America, and W. Indies ; since 1862,
concert-giver in London ; c. oratorio,
** Lazarus " (1878), etc (4) Corne-
lius, b. The Hague, 1838 ; violinist ;
1859, cond. at Amsterdam ; i860
bandm. Garde Nationale, Utrecht ; c.
overtures, etc.
Coeme (k^r -n£), Louis Adolphe, b.
Newark, N. J., 1870; 1876-80
studied at Stuttgart and Paris, then
entered Harvard College and studied
with Paine and Kneiscl, Boston, U.
S. A.; 1890 studied with Rheinberger
and Hieber, Munich ; 1893 organist
at Boston, also at the Columbian
Exposition ; 1893-96 dir. Liedertafel,
Buffalo ; c. an opera ** TA^ Maid of
MarbUhead,^^ symph. poem '' Nia^
watha" etc.
Co'g^an, Phillip, b. Cork, 1750; or-
ganist, teacher and composer.
Cohen (kow'-tfn or k6'-€n), (i) H.,
Amsterdam, 1808 — Brie-sur-Mame,
1880 ; writer. (2) L^once, b. Paris,
Feb. 12, 1829 ; violinist and dram,
composer ; pupil Lebome Cons. ;
1 85 1 Gpnd prix de Rome. (3)
Jules Entile uavid, b. Marseilles,
Nov. 2, 1835; pupil of Zimmerman,
Marmontel, Benoist. and Halevy,
Paris Cons. ; won first prize for pf.,
organ, cpt. and fugue ; 1870, teacher of
ensemble singing at the Cons. ; since
466
THE MUSICAL GUIDE
1877 Chef de Chanty and chorus-
master Gr. Op^ra ; prod. 4 operas ;
c. 3 cantatas, several symphonies,
masses, oratorios, etp. (4) K. Hu-
bert, b. Laurenzkirg^ (near Aix), Oct.
18. 185 1 ; a priest, studied at Aix
and Raliston, 1879-87 cond. Bam-
berg ; now at Cologne Cath. ; c.
masses, etc. (5) Isidore. Vide
LARA, DE.
Colasse (kd-lis), Pascal, Rheims (or
Paris), 1639 (?) — Versailles. 1709;
cond. and dram, composer.
Col'bran, (i) Gianni, court-musician
to Kins: of Spain, i8th century. (2)
Isabella A., Madrid. 1785— Bou-
logne, 1845, daughter of above; singer
and composer.
Cole, Blanche, d. London, 1888, con-
cert-singer ; 1868, m. Sidney Naylor.
Co'lerid^e-Taylor, Samuel, b. Lon-
don, Au^. 15, 1875 (of African de-
scent ; his father a native of Sierra
Leone, his mother, English) ; one of
the leading living English composers;
pupil (vln.) of the R. A. M., 1890;
won composition-scholarship in 1893;
until 1896 pupil of V. Stanford ; i8q3
pub. an anthem; c. a nonet for pt.,
strings, and wind (1894) ; a sympho-
ny (1896) ; a quintet for clar. and
strings (1897), a string-quartet, and a
Morning and Evening Service ; pub.
a ballade for viola and orch., operetta
*' Dream Lovers ^^"^ 4 waltzes for orch. ;
succ. cantata ^ Hiawatha^*' etc.
Colin (k6.1&n). P. Gilbert (Colinus,
Colinans, Chamault), singer and
notable composer, Paris, 1532.
Colins (k6-Uns), Jean Bapt., b.
Brussels, Nov. 25, 1834 ; pupil of
Wery; from 1863 teacher at the Cons ,
from 1888 also' at Antwerp school of
music.
Col'la, — cond. at Parma, 1780. when
he m. Ag^jari, who preferred his
compositions to all others.
Collard (k6Ul&r'), a London familv of
pf.. makers, (i) Fr. W. Collard
(1772 — 1860), in partnership with
Clementi, bought out Longman &
Broderip, 1798, then C. bought out
Clementi ; he inv. various devices;
the firm name now Collard & CoUard,
(2) Chas. Lnkey C. being the head.
Collins, (i) Isaac, 1797 — London.
1871 ; violinist, gave concerts with
his 5 children, (2) ViotU (violin-
ist) and (3) G. ('cellist, d. 1869)
being the best known.
Col'man, (i) Chas.,d. in Fetter Lane,
London, in 1664 ; teacher and coo-
poser. (2) Edward, d. Aug. 19.
1669, son of above ; teacher, com-
poser and singer.
Colombani (kd-16m-b&'-n«), Orasio,
monk, conductor, and cptist. at Vero-
na, 1576-92.
Colom'bi, Vincenxo, Italian orgin-
builder, Rome, 1549.
Colonna (kd-16n'-n&), GioT. Pado,
Bologna (or Brescia), ca. 1640— Bo-
logna, 1695 ; organist, conductor,
and dram, composer.
Colonne (ko-ldn'). Edonard (rightly
Jndas), b. Bordeaux, July 23, 1838 ;
pupil of Girard and Sauzay (vln.).
Elwart, and A. Thomas (comp.),
Paris Cons. ; 1874, founded the fa-
mous ** Concerts du Chatelet "; 1878,
cond. official Exposition concerts;
1892 cond. at the Gr. Opeia ; cood.
often in London, and 1902, Vienna.
Coltellini (le'-ne), ' Celeste, b. Leg-
horn, 1764 — retined, 1795 ; celebrated
mezzo-sopr. ; m. Mclicofrc.
Combs, Gilbert Raynolds, b. Phila-
delphia, Jan. 5, 1863, son and pnpil
of a pianist, organist and composer :
oi^nist and conductor in Philadel-
phia ; 1885 founded the Broad St.
Cons, of Mus.
Comes (k5'-m&s), Juan Baptista, Va-
lencia, ca. 1560 ; conductor and com-
poser.
Comettant (kdm-^t-tiA), (J. P.) Os-
car, Bordeaux, Gironde, 18 19 —
Montvilliers, 1898 ; writer and com-
poser.
Commer (k6m'-m^), Fs., Cok>gne.
1813 — Berlin, 1887 ; editor and com-
poser.
Compenins (k6m-pa'-nY-oos), (i) H.,
b. Nordhausen, 1540; orgain-baikkr.
DICTIONARY OF MUSICIANS 467
etc. His bro. (?)» (a) Esajas, organ-
builder, inv. tb^ ** DuiBOte " pipe.
Comp^e (kon-p&r), Louis (diminutive,
Loyset), Flanders, 15th cent. — St.
Quentin, Aug. 16, 1518 ; famous con-
trapuntist.
Co'akcher & Co., organ-builders,
Huddersfield, since 1854.
Concone <k6n-ko'-n£), Giu., Turin, ca.
18 10 — ^June, 1861 ; organist, famous
singing-teacher in Paris, 1832-48,
later court-organist Turin; c. 2 operas
and famous vocal exercises.
Con'dell, H., d. June, 1824 ; English
violinist and composer.
Conforti (k6n-f6r'-te), Giov., b. near
Miieto, 1560; singer.
Conirhrit de St. Julien, a musical
society, Paris, 1 330-1761.
Co'ninck, (i) Jacques Ftiix de, Ant-
werp, 1791 — Schaerbeck-les-Brux-
elles, 1866; conductor at Berlin, and
composer. (2) Fran, de, b. Leb-
beke, Belgium, Feb. 20, 1810; pian-
ist : pupil of Pixis and Kalkbrenner,
Paris ; . teacher and composer, at
Brussels. (3) Jos. Bernard de, b.
Ostend, March 10, 1827 ; dram, com-
poser ; son of (i) ; pupil of de Leun,
Antwerp, and Lebome, Paris Cons. ;
lived in Paris.
Conradi (kon-ra-d£), (i) Jn. G., 17th
cent. ; conductor ; one of the first
composers of German opera, his
works prod, at Hamburg. (2) Jo-
han G., Norway, ca. 1820 — Chnsti-
ania, 1896 ; composer. (3) Aug.,
Berlin, 1821 — 1873; organist and
dram, composer. (4) Jules, b. Li^e,
Jan. 27, 1834 ; pupil of Dechameux
and of Daussoigne-M^hul at Li^e
Cons, (comp.) ; he won second grand
prix de Rome at Brussels ; 1864, prof,
of solfeggio at the Cons. ; c. 5 i-act
comic operas, etc.
CoQstantin (kon - stUh - UA),- Titus
Cbas., b. Marseilles, Jan. 7, 1835 ;
pupil of Thomas, Paris Cons., i860 ;
cond. of the ** Fantasies Parisi-
ennes ** ; 1875, Op. Com. ; c. a
comic - opera, ** Vans la ForH**
(1872). etc.
Conti (kdn'-te)» (i) Fran. Bart., Flor-
ence, 168 1' — 1732; court - theorbist
and dram, composer. (2) ('* Conti*
ni ") Ignazio, Florence, 1699 —
Vienna, 1759 \ ^^^ ^"^^ successor of
above; composer. (3) Gioacchino
(named Gissiello, after his teacher
Dom. Gizzi), Arpino, Naples, 1714 —
Rome, 1 761 ; famous male soprano ;
1739, in London' with Handel ; re-
tired to Arpino in 1753. (4) Carlo,
Arpino, Naples, 1797 — Naples, 1868 ;
prof, and dram, composer. (5) Gia-
cinto, Brescia, 1815 — 1895 ; violin-
ist and composer ; son and pupil of
(6) Defendente, theatre -dir. at
Brescia.
Continuo (k5n-te'-noo-5), GioT., d.
Mantua, 1556 ; conductor and con-
trapuntist.
Con' Terse, Chas. Crosat (pen-names,
K. Redan, C. NeTers, etc.), b.
Warren, Mass., Oct. 7, 1832 ; pupil
of Richter, Plaidy, Leipzig Cons. ;
lawyer, Erie, Pa. ; pub. Amer. Con-
cert-overture, ^^ Hail Columbia^^ for
orch. (Paris, 1869); FesUOuvertUn
(1870) ; cantata (on the 126th Psalm)
for soli, chorus and orch. (1888),
^* Jesus ^ lover of my souV (very
pop.) ; in MS. 2 symphonies, 2 ora-
torios, etc.
Cooke, (i) H., d. July 13, 1672 ; buried
Westminster Abbev ; court-composer
and teacher. (2) Nathaniel, b.
Bosham, 1773 ; organist. (3) Benj.,
London, 1734 — 1793; conductor and
composer. (4) Thos. Simpson,
Dublin. 1782 — London, 1848; con-
ductor, later tenor, then prof, at the
R. A. M.; prod, nearly 20 operas at
Drury Lane. (5) H. Angelo Mi-
chael (called Grattan), son of above;
oboist and bandmaster.
Coombe, Wm. Francis, b. Plymouth,
1786 ; son of a singing teacher ; com-
poser.
Coombs, (i) Jas. Morrison, Salis-
bury, I76o--i820 ; organist and com-
e>ser. (2) Cbas. Whitney, b.
ucksport, Maine, Dec. 25, 1859;
pupil of Speidel (pf.) and Max Sei-
468
THE MUSICAL GUIDE
friz, Draeseke (comp.), Hermann
John, P. Janssen, and Lamperti;
1887-91, organist Amer. Ch, in
Dresden; returned as organist Church
of the Holy Communion, New York,
still there ; pub. ** The Vision of SU
John,** cantata with orch. and org.,
songs, etc.
Coo' per, (i) H. Christopher, Bath,
Engl., 1819 — Glasgow, 1881, con-
ductor. (2) G., Lambeth, London,
1820 — London, 1876 ; organist and
composer.
Coote, Chas., England, 1809 — Lon-
don, 1880 ; bandmaster, etc.
Coperario (ko-pfir-ft'-rt-o) (rightly J.
Cooper), famous English lutenist
and viola-da-^mbist, i6th century.
Cop'pola, (i) Gin., singer in London,
1777. (2) P. A. (Pierantonio),
Castrogiovanni, Sicily, 1793 — Canta-
nia, 1877 ; dram, composer and con-
ductor.
Coquard (k6-k&r), Arthur, b. Paris,
1846 ; pupil of Cesar Franck ; mus.
prof. Nat. Inst of the Young Blind ;
critic for " Z^ Monde** ^ c. operas
''VEpie du Roi** (Angers, 1884);
**/> Mari d*un Jour** (Paris,
1886) ; lyric dramas, Voiseau bleu **
(Paris, 1894) ; ''La Jacquerie** (Monte
Carlo and Paris, 1895), etc.
Corbet (kdr-ba), Francisque, Pavia,
ca. 1630 — Paris, 1700; guitar virtu-
oso and composer.
Cor'bett, Wm., 1669 (?)— London
(?), 1748 ; Engl, violinist and com-
poser.
Cordans (k6r-dans), Bart., Venice,
1700 — Udine, 1757; Franciscan monk,
then conductor and dram, composer.
Cordel'la, Giacomo, Naples, 1786 —
1846 ; dram, composer.
Cor'der, Fr., b. Hackney, London,
Jan. 26, 1852 ; pupil of R. A. M. ;
1875, won the Mendelssohn Scholar-
ship ; 1875-78, pupil of Ferd. Hiller ;
1880, cond. of Aquarium Concerts
at Brighton where he lives as a transl.
and critic, and composer of operas,
cantatas, etc.; wrote '* The Orchestra
and how to write for it^** etc.
Cordier (kdrd-y§), Jacques, Lorraine,
ca. 1580 — Paris, ca. 1629; vk>tin-
ist.
Corel'li, Arcangelo, Fosignano, near
Imola, Italy, Feb. i, 1653 — Rome,
Jan. 13, 1713; pupil of Bessani and
Simonelli ; toured Germany, then
lived under patronage of Cardinal
Ollobone ; one of the founders of
vln. -style, systematiser of bowing and
shifting, introducer of chord-playing ;
a composer for the vln. whose works
still hold favour. On invitation from
the King of Naples he gave a socc
court-concert, but at a second made
various blunders and returned to
Rome, in chag^, increased with
fatal results on finding or imagining
himself supplanted there by a poot*
violinist named Valentini. His mas-
terpieces ' * Concerti grossi^ were pub.
just before his death. Many spuri-
ous comps. were issued under bis
name.
Corfe, (i) Jos., Salisbury, 1740—1820:
organist and composer. (2) Arthnr
T., Salisbury, 1773 — 1863 ; son of
above ; pianist, organist and writer.
(3) Chas. W., son of above ; organ-
ist Christ Church, Oxford.
Cornelius (k6r-na'-Il-oos), Peter, Ma-
yence, Dec. 24, 1824 — Oct. 26, 1874,
unsucc. actor ; then studied cpt. with
Dehn at Berlin, and joined the Wag-
nerian coterie at Weimar. His open
'^ Der Bar bier von Bagdad'" was a
failure through organiseid of^x^sitioo
which led Liszt to leave the town,
but in 1886-87 it succeeded. C
wrote his own libretti and transL
others. 1886-87, ^^ Dresden, and
other cities ; 1859, with Wagner at
Vienna, and Munich, where he be-
came reader to King Ludwig, and
prof. ; prod, the opera ** Der Cid^
Weimar, 1865; he left '' GtmUd"
unfinished ; Lassen completed it, and
it was prod., Strassbu^, 1892; he
pub. many songs. Biog. by Sand-
berger (Leipzig, 1887).
Cornell', J. H., New York, 1828-
1894 ; oiganist, composer and writer.
DICTIONARY OF MUSICIANS 469
Cor'nyshe, ^i) Wm., d. before 1526;
English teacher and composer. (2)
Wnu, son of above ; composer.
Cornet (kor'-nat), (i) Julius, S. Can.
dido, Tyrol, 1792 — Berlin, i860 ;
tenor and dir. His wife, (2) Franz-
iska (1806 — 1870) was also a singer.
Coronaro (k6-ro-n£'-r5), (i) Gaetano,
b. Vincenza, Italy, Dec. 18, 1852; vio-
linist ; till 1873, pupil, Milan Cons.,
then in Germany ; prod, the succ.
opera **6^« Tranufnto^* (Milan Cons.
Tb.. 1873); 3-act ''La CreoW
(Bologpa, 1878); '' II Malacarne^'
(Brescia, 1894) ; for several years
prof, of hamtL, and since 1894,
prof, of comp., Milan Cons. (2)
Gellio Bv., b. Italy, ca. 1863 ; pian-
ist (protege of Sonzogno) ; debut at 8 ;
at 9, organist in Vincenza ; at 13, th.
cond., Marosteca ; at 15, chorusm. ;
at 16, pupil Bologna Cons., g^aduat-
mg with first prizes ; c. a symphony ;
opera, ''Jolanda"'' (1889?); unsucc.
**Cibi#^iVi" (Milan, 1895).
Corn (k6r'-re), Dom., Rome, 1744 —
London, 1825 ; dram, composer and
writer.
Cor'si, Jacopo, b. ca. 1560 ; Florentine
nobleman, in whose house and in
Bardies, Peri, Caccini, Emilio del
Cavaliere, Galilei, Rinuccini, and
others met and inaugurated modem
opera (v. peri) ; C. was a skilful gra-
Ticembalist.
Corteccia (k6r-t^t'-cha), Fran. Bdo.
diy Arezzo, i6th cent., Florence,
1571 ; organist, conductor and com-
poser.
Coss'maim, B., b. Dessau, May 17,
1822 ; 'cellist ; pupil of Espenhahn,
Drechsler, Theo. MQller and Kum-
mer; 1840, member of Gr. Opera
Orch.» Paris ; 1847-48, solo 'cellist at
Gewandhaus, Leipzig; then studied
comp. under Hauptmann ; 1850, at
Weimar, with Liszt ; 1866, prof. Mos-
cow Cons.; 1870-78 at Baden-Baden ;
since prof, of 'cello, Frankfort Cons.;
composer.
Cos'ta, (i) Sir Michael (rightly
Midiele), Naples, Feb. 4, 1810
(1807 ?) — Brighton, England, April
29, 1884; son and pupUof (2) Pas-
quale C. (composer ch.-mus.) ; pupil
also of Tritto, Zingarelli (comp.),
and Crescentini (singing) at the
Naples Cons.; prod. 4 succ. operas
at Naples, was sent to Birmingham,
England, to cond. a psalm of Zin-
garelli's, but through a misunder-
standing, had to sing the tenor part ;
he thereafter lived in England as dir.
and cond. of King's Th., London,
where he prod, three ballets ; 1846,
cond. of the Philh. and the new Ital.
Opera ; 1848, Sacred Harmonic So-
ciety ; from 1849, cond. Birmingham
festivals; from 1857, the Handel festi-
vals ; knighted in 1869 ; 187 1 dir. of
the music and cond. at H. M.'s
Opera ; c. 3 oratorios, 6 operas, 3
symphonies, etc. (3) Andrea, b.
Brescia, settled London, 1825 ; com-
poser and teacher. (4) Carlo, Naples,
1826 — 1888 ; teacher Naples Cons.
(5) P. Mario, b. Taranto, July 26,
1858, nephew of above ; a cham-
ber-music and pop. songs in Neapoli-
tan dialect ; also 2 pantomimes, '* Le
ModiU Rhje;' and the succ. " VHis-
toire (tun Pierrot " (Paris, 1894 ?).
Costantini (te'-ne), r abio, b. Rome,
ca. 1570 ; composer and teacher.
Costanzi (ko-stan'-tsY), Juan (or Gio-
annino), Rome, 1754 — 1778 ; con-
ductor.
Coste (k6st), Gaspard, composer at
Avignon, 1530.
Cost'eley, Wm., Scotland, IJ31— Er-
reux, 1606 ; organist and writer.
Gotta (kot'-ta), Jn., Ruhla, Thuringia,
1794 — Willerstet, near Weimar, 1868;
pastor and composer.
Got'to (Cotto'nius), Jns., nth to
1 2th cent. ; writer.
Gottrau (k6t-tr6, or kot-tra -00), (i)
Guillaume (Guglielmo), Paris, 1797
— Naples, 1847 ; composer. His
sons (2) Teodoro (pen-name Euta^
Undo Martelli) (Naples, 1827 —
1879) and (3) Giuho (Jules), also
song-composers; the latter c. 3
operas.
470
THE MUSICAL GUIDE
Cotumacd (ko-too-mllt'-che)i Carlo,
Naples, 1698 — 1775 ; organist and
composer.
Coucj (dA koo-s^X Res^ult, Chate-
lain, de, d. Palestine, 1192; trouba-
dour to Richard Coeur de Lion ; a
poem of ca. 1228 tells that he befi;s:ed
that his heart be sent to his love,
whose husband intercepted it, and
had it roasted and served up to his
wife, who died broken-hearted on be-
ing told of her menu ; his songs are in
MSS. in the Paris Library, and have
been re-published.
Couperin (koo-pii-r&&), a family of
French musicians, famous for two
centuries. The first known were
three brothers: (i) Louis, 1630 —
1665 ; organist of St. Gervais and
composer. (2) Fran. (Sieur de
Crouilly), 163 1 — 1701 ; organist and
composer. (3) Chas., 1638 — 1669;
organist ; his son, (4) Fran, (called
Le Grand), Paris, 1668— 1733 ; the
first g^reat composer to write exclusive-
ly for the harpsichord (or clavecin);
pupil of Thomelin, and successor of
his uncle Fran9ois, at St. G., 1698 ;
1701, clavecinist and organist to the
King ; c. brilliant and fascinating mu-
sic pub. at Paris, and wrote " IJArt
di toucher du Clavecin''' (17 1 1). (5)
His son Nicholas, Paris, 1680 —
1748, was organist. (6) Armand
Louis, Paris, 1721 — 1789, son of (5),
a remarkable org. -virtuoso. His wife
(7) Elisabeth Antoinette (nee
Blanchet), b. 1721, was an organist
and clavecinist, and played in public
at 81. They had 2 sons (8) P. Louis
(d. 1789), his father's asst. organist,
and (9) Gerrais Fran., his father's
successor.
Courtois (koor-twi), Jean, i6th cent.,
French contrapuntist ; conductor and
composer.
CourtTille (koort'-vTl), (i) Raphael,
d. 1675 ; of the Chapel Royal. (2)
d. ca. 1735 ; organ-composer, son of
above. (3) Raphael, d. 1771, son
of (2) ; organist and writer.
Courroisier (koor-vwSs-ya, or koor'*
foi-sSr), K., b. Basel, Nov. 12, 1846;
violinist : pupil of David, R6ntgea
and Joachim ; 187 1, a member of the
Thalia Th., orch., Frankfort; thco,
till 1875, cond. of singing with Gus-
Uv Barth ; '76, cond. Dosseldoff
Th., orch., and choral societies
since 1885 singing-teacher at Liver
pool ; c a symphony, 2 concert-orer-
tures, a vln. -concerto (MS.), etc
wrote ""Die VioUntechnik^ (transL
by H. E. Krehbiel; N. Y., 1896);
an *• &C0U de la velocity and a ''Mi-
thode *' (London, 1892).
Coussemaker (koos-mii-k^, Chts.
Ed. H., Bailleul, Nord, April 19,
1805 — Bourbourg, Jan. 10, 1876; i
remarkable sight-reader, studied qjt
with V. Lef 5bvre ; while serving as a
judge he made musical research his
avocation, and pub. important worb
on Hucbald and mediaeval instru-
ments, theory and composers, incL his
*' Scriptores de musua medii m,
nova scries** (1864-76, 4 vols.), a
great collection intended as supple-
ment to Gerbert.
Cousser. Vide kusser.
CoTerley (kAv'-«r-iY), Robert, b.
Oporto, Portugal, Sept. 6, 1863, of
Scotch father and aristocratic Portu-
guese mother; studied cpt. , orch. and
vln. with Hill, Ludwig, and Jacqai-
not, in London ; lived in New YoH:
many years, since 1898 in London;
pub. many graceful and succ songs,
orch. and pf .-pieces ; c. the immense-
ly succ. march ** The Passing Regi-
ment '* and a comic opera (MS.).
Cow'ard, (1) Jas., London, 1824—
1880 ; organist, conductor and com-
poser. (2) H., b. Liverpool, Nov.
26, 1849; gmd. Tonic-sol-fa CoD.
i88q Mus. Bac; 1894 Mus. Doc.
Oxon ; singing-teacher and cond. at
Sheffield.
Cow'en, Frederic Hjrmen, b. Kings-
ton, Jamaica, Jan. 29, 1852; at 4
brought to London to study, pupU of
Ben^ict and Goss, then of Haopt-
mann, Moscheles, Reinecke, Riditcr.
and Plaidy, Leipzig ; and Kid, Ber*
DICTIONARY OF MUSICIANS 47'
lin; 1883, dir. Edinburgh Acad, of
Music ; 1887, cond. London Philh. ;
1888-9, mus.-dir. Melbourne Centen-
nial Exhibition ; 1896, cond. LiTer-
pool Phil., and the Manchester
Concerts; prod, four operas; two
oratorios. The Deluge (1878), and
Ruth (1887) ; 7 cantatas ; 6 sympho-
nies (Na 3 *' Sca$tdinavian " (1880),
4 •• Welsh," 6 " fdylUc ") ; four or-
chestral suites, ** The Language of
Flowers:' ''In the Olden Time;*
''In Fairyland;' Suite de Ballet;
Sinfonietta in A for orch. ; 2 over-
tures; pf. -concerto ; pf.-trio; pf.-
quartet; pf.-pcs.; over 350 songs.
Cramer (kdl'-mdr or kra'-mdr), (i)
Win., Mannheim, 1745 (i743?)--
London, 1799 (1800?); violinist and
conductor. (3) K. Fr., Quedlinburg,
1753 — Paris, Dec. 1807; professor. (3)
Jn. Bap., Mannheim, Feb. 24, 1771
— London, April 16, 1858 ; eldest son
and pupil of (i). Brought to London
when a year old ; pupil of Benser,
Schroeter, then of Clementi; in comp. ,
chiefly self-taught ; toured as concert-
pianist at 17 ; in 1838 est. a mus.-
pub. firm (now Cramer & Co.) in
partnership with Addison ; managed
It till 1843 ; 1832-45, lived in Paris ;
pub. "a Method for pf. {''Crosse
prahtische PfU.'Schule'\ in 5
parts,** the last containing the cele-
brated " 84 Studies " (op. 50), still a
standard; c. 7 concertos, 105 sonatas,
quartet, quintet, and many pf.-pcs.
(4) Fx., b. Munich, 1786 ; nephew of
(i), first flute in the Munich orch.,
and composer. (5) Josef Hubert,
b. Wageningen, HoUand, Feb. 39,
1844 ; violinist ; studied with Graven-
stein and van Bree, I..eonard and
David ; at I3 played in public at
Amsterdam where he now lives as
teacher in the Cons., and com-
poser.
Crane, Helen, American composer;
pupil of Ph. Scharwenka, Berlin, for
3 years; c. symphonic poem '* The
Last Tournament,** suite and sere-
nade for orch., etc
Crang & Hancock, organ-builders in
London during i8th cent.
Crans (kriints), August, Hambuiv,
mus.-pub. firm, founded 18 13 by A.
H. Crans (178^1870). His son Al-
win (b. 1834), IS now the head.
Craywinckel (krl'-vlnk-^l), Fd. Ma-
nuel Martin Lonis EUirth^emy
de, b. Madrid, Aug. 34, 1830 ; pupil
of Bellon ; cond. St. Bruno, at Bor-
deaux, where he lived from 1835 ; c.
excellent masses and other church-
mus.
Cre(c)quillon (kr^k-we-yon), Thos.,
n. Ghent, (?) — Bethune, 1557; ca.
1544-47 conductor and compos-
er.
Crescentini (kriUsh^n-te'-ne), Giro-
lamo, Urbania, near Urbino, Feb. 3,
1766 — Naples, April 34, 1846; fa-
mous male soprano and composer.
Crespel (kr^pei), Guillaume, Bel-
gian composer 15th cent.
Cressent (kr^s-s^), Anatole, Argen-
teuil, 1834 — Paris, 1870; lawyer and
founder of the triennial prize *'prix
Cressent,** endowed with 1 30,000
francs, to be equally divided between
the librettist, and the composer of the
best opera; first awarded to Chaumet,
1875.
Creyghton (kr&'-tiln). Rev. Robt., b.
ca. 1639 ; English composer.
Cristofo'ri, Bart, (wrongly Cristo-
iall and Cristofani), Padua, Mslj 4,
1653 — Florence, March 17, 1731; mv.
the first practical hammer-action to
which he gave the name '* piano-
forte** (v. D. D.) ; in 171 1 he substi-
tuted for the plucking quills *'a row
of little hammers striking the strings
from below,'* the principle ;idopted by
Broadwood, and called the ** English
action."
CriTel'li, (i) Arcangelo, Bergamo, (?)
— 1610; tenor and composer. (2)Gio¥.
Bat., Scandiano, Modena (?)^Mo-
dena, 1683 ; organist and conductor.
(3) Gaetano, Bergamo, 1774— Bres
cia, 1836 ; famous tenor. (4) Dom.,
b. Brescia, 1794 - son of above , dram,
composer.
472
THE MUSICAL GUIDE
Croce (kr5'-chQ, Gior. dalla (caHed
•* II Chiozzotto"). Chioggia, ca. 1560
— Venice, 1609 ; conductor and com-
poser.
Croes (kroos), H. Jas. de, Antwerp,
1705 — Brussels, 1786 ; tiolinist and
conductor.
Croft(8), Wm., Nether-Eatington,
Warwickshire, Engl., 1678— Bath,
1727 (buried Westm. Abbey) ; 17C54,
joint organist, 1707, sole organist
Westm. Abbey ; pub. ** Musica
sacra " (the first English church-music
engraved in score on plates).
Crogaert (krd'-^irt), J. Ed., b. Ant-
werp : pupil of Benott ; 1882 cond.
at Antweq>, since 18S2 lives in Paris;
writer of treatises.
Croisex (krwa-si), Alex., b. Paris (?),
18 16 : composer and writer.
Croa'dill, J., London, 1751 — Escrick,
Yorkshire, 1825 ; 'cellist.
Cross, Michael Hurley, Philadelphia,
1833 — 1897 ; composer and director.
Cross'ley, Ada, Australian soprano;
d^butt Melbourne as a girl ; has sung
with succ. in London for many years,
also in Paris, etc.
Crotch, Wm., Norwich, Engl.. July 5,
1775 — Taunton, Dec. 29, 1847 ; at
the age of 2)- he played on a small
organ, built by his father, a master-
carpenter ; at 10 played in public at
London ; at the age of 11 asst. or-
ganist of Trinity and King*s Colleges
Cambridge ; at 14 c. an oratorio,
•* TAe Captivity of Judah'' (perf.
1789). became organist of Christ Ch.,
Oxford; 1797, prof, of mus. Oxford ;
1799, Mus. Doc. there; 1822 principal
of the new R.A.M., c. 2 oratorios.
Crouch, (i) Mrs. Anna M. (n^ Phil-
lips), 1763 — Brighton, 1805 ; Enel.
operatic singer. (2) Fr. Nicholis,
London, July 31, 1808 — Portland,
Me., Aug. 18, 1896 ; basso, 'cellist
and singing-teacher ; c. 2 operas, and
songs, incl. ** KathUen Mavourneeny
Crow, Ed. J., b. Sittingboume, Engl.,
Sept II, 1841 ; organist Leicester,
1861-73 ; since, at Ripon Cath. ; 1882,
Mus. Doc. Cantab. ; c oratorio.
'' Harvest4ime'' ; Psalm CXLVI,
for orch. and chorus, etc.
Cro'west, Fr. F., b. London, 1850 ;
organist Christ*s Church, Kilbum;
writer and composer.
Cro'ziar, Wm., b. Upper Norwood,
Dec. 20, 1870 ; celebrated Engl,
oboist.
Criiger (krU'-g^r), Jns., Gross-Breesen,
near Guben, 1J98 — Berlin, 1662;
organist.
Crussel (kroos'-s^l), Bemhard, Fin-
land, 1775 — 1838; composer.
CruTel'li (rightly Crilwell) (krU'-vfl),
(I) Friederike M., Bielefeld, West-
phalia, 1824 — 1868 ; contralto in Loo-
don, but lost her voice and died of a
broken heart. (2) Jne. Sophie Char-
lotte, b. Bielefeld, Mar. 12, 1826,
sister of above ; also contralto, and
ill-trained, but had enormous success
Paris Gr. Opera, 1854, at a salary of
100,000 francs ; in 1856 m. Comte
Vigier, and left the stage.
Cudjnore, Richard, Chichester, 1787
— Manchester, 1840 ; organist, vk)-
linist and conductor.
Cui (kwe), C^sar Antonovitch, b.
Vilna, Russia, Jan. 6, 1835 ; one of
the most important of Russian com-
posers ; pupil of Moniuszko and Ba-
lakirev ; a military engineer ; Prof,
of fortification at the St. Petersburg
Engineering Acad. ; from 1864-8,
critic of the St. P. '' GavtW ;
1878-9, pub. articles in Paris, on
** La musufiu en Russie^\' c. 5 op-
eras, •• William RatcHffe'' (St. P..
1869) ; •• Tfu Prisoner in the Cau-
casus'' (1873); "'Angela'' (1876);
*• The Mandarin's Son " (1878) ; ly-
ric comedy, " Le FiUbustier " (Paris,
1894) ; the very succ. *' Sareudn" {^.
P., 1899) ; s)rmphonies, etc., 2 scher-
zos and a tarantella for orch. ; suite
for pf. and vln. ; pf.-pcs. ; 50 songs.
'* Esquisse critique " on Cui and his
works by the (jomtesse de Mercy-
Ar^enteau.
Cum ming^s, Wm. Hayman, b. Sud-
bury, Devon, Eng., Aug. 2a, 1831 ;
organist Waltham Abl^; prol. o(
DICTIONARY OF MUSICIANS 473
mnging R. ColL for the Blind, Nor-
wood; i8g6, principal of Guildhall
Sch. of Mus. ; founded the Purcell
Society, edits its pubs. ; wrote biog.
of Purcell (London, 1882) ; has also
pub. a music *' Primer ^^^ 1877 ; and
a *^ Biog, Dictionary of Musicians^*
(1892) ; c. a canuta, ** The Fairy
King,*' etc.
Cord (koor'-che). Gin., Barletta, 1808
— 1877 ; singing teacher and dram,
composer.
Carianl (koo-ri-5'-ne), (i) ( ), so-
prano In London, 1754, perhaps the
mother of (2) Alberico, b. ca. 1790,
Italian tenor.
Cnrachmann (koorsh'-m&n), K. Fr.,
Berlin, 1805 — Langfuhr, near Dan-
zig, 184 1 ; singer, dram, composer
and pop. sone-writer.
Citrti (koor -te), Fz. (or Francesco),
Cassel, 1854 — Dresden, 1898 ; dram,
composer.
Cnrtis, Dr. H. Holbrook, b. New
York, Dec 15, 1856; grad. Yale,
1877 ; 1880, M.D. ; vice-pres. Am.
Soaal Science Assn. ,prominent throat
spedaiist and writer on the voice,
c^. "Voice Building and Tone
Placing:," 1898.
Cnr^wen, (i) Kev. J., Heckmondwike,
Yoricshire, Engl., 18 16 — near Man-
chester, 1880 ; 1862, resig^ned his pas-
torate, and founded a college, also a
5 nb. -house, to exploit Tonic-sol-fa. (2)
. Spencer, b. Plaistow, 1847 ; son
and pupil of above ; pupil also of G.
Oakeyand R.A.M.; writer, and since
1880 pres. Tonic-sol-fa Coll.
Cnsanino. Vide carkstini.
Cnsins (kfiz'-lns). Sir Wm. G., London,
1833 — Remouchamps (Ardennes),
1893 ; pf.-prof. R.A.M. ; knighted
1892 ; conductor and composer.
Cntell', Richard, English writer of
15th century.
Cnt'ler, Wm. H., b. London, 1792 ;
organist and ^ger.
CoflUon (ka-ve-ydfi), T. Bapt. Phil^
mon de, b. Dunkirk, 1809 ; pupil,
later prof. Paris, Cons.; notable vio-
linist and teacher.
Cnszoni (kood-zS'-nS), Fran., Parma,
1700— Bologna, 1770 ; d^but 1719 ;
m. the pianist Sandoni ; very success-
ful contralto till her latter days, when
it is said she earned a pittance by
covering silk buttons.
Czartoryska (char-td-re'-shksL), Mar-
celline (n^e Princess Radsiwill),
b. Vienna, 1826 ; pianist ; lives since
1848 in Paris ; pupil of Czemy.
Czarwenka (chiir-v£n'-kd), Jos., Be-
madek, Bohemia, 1759 — Vienna,
1835 ; oboist and professor.
Czemy (Cemy) (char'-ne), Karl, Vi-
enna, Feb. 21, 1791— July 15, 1857 ;
pupil of his father Wenzel C, later
of Beethoven ; and had advice from
Clementi and Hummel ; made an
early reputation as pianist and was an
eminent teacher from his i6th year ;
Liszt, Dohler, and Thalberg were
among his pupils; pub. over 1,000
works, his pf. -studies, still standard,
incl. many such works as ** Die Sckule
der Geldufigkeir (School of Velocity)
(op. 299) ; c. also masses, sympho-
nies, overtures, etc.
Czersky (char'-shkt). Vide tschirch.
Czibulka (che-boor-ka), Alphons,
Szepes-Virallya, Hungary, May 14,
1842 — Vienna, Oct. 27, 1894 : pianist
and conductor ; c. 5 operettas, incl.
** Der^ Bajazxo'' (Vienna, 1892),
waltzes, etc.
D
Daase (dS'-z«), Rudolf, b. Beriin,
Feb. 21, 1822 ; pupil of A. W. Bach,
Marx and Wilsing ; lives in Berlin as
conductor and teacher ; c. orch. and
choral-pieces, etc.
Dachs (d^khs), Jos., Ratisbon, 1825
— Vienna, 1896; teacher and pianist.
Dachstein (dakh'-shtin), Wol^ang,
ex-priest and composer at Strass-
burg, 1554.
Dalayrac (or D'Alayrac) (d&l-^-riik),
Nicolas, Muret, Haute-Garonne,
June 13, 1753— Paris, Nov. 27, 1809 ;
prod, about 60 operas.
474
THE MUSICAL GUIDE
Dalberg (d&l'-bilrkh). Jn. Fr. Hiig:o,
Reichsfreiherr von, Aschaffenburg,
1752 — i8i2 ; writer and composer.
D' Albert, Engen. Vide albert, d'.
Dall (d&l), Roderick, lived at Athol,
1740 ^tbe last of the Scotch ** wan-
dering harpists/'
Dal'lam, Engl, family of organ-build-
ers 17th cent, (also spelled Dallans,
Dallam, Dalham).
Dallery, organ-builders i8th cent, at
Amiens.
Dair Argine (dfil-flr'-zhe-na), Const.,
Parma, 1842 — Milan, 1877 ; dram,
composer.
Dalvimare (d&l-ve-mi'-r^) or d'Alvi-
mare (d&l-vY-m&r), Martin P.,
Dreux, Eure-et-Loirc, 1772 — Paris,
1839; composer.
Damascene (di-m&-sha'-n£), Alex.,
Italian, b. in France ; d. July 14,
1719 ; alto singer and song- writer in
England.
Damcke (dam'-k^), Berthold, Han-
over, 1812 — Paris, 1875; conduc-
tor.
Damm (dilm), (i) Fr., b. Dresden,
March 7, 1831 ; pianist and compos-
er ; pupil of Krfigen, J. Otto, and
Reichel; lived in North Germany,
then in the U. S., then in Dresden.
(2) G., y. STEINGRABER.
Damoreau (d&m-o-ro), Laure-Cinthie
(n^ Montalant, first known as
•• Mile. Cinti"), Paris, 1 801— Chan-
tilly, 1863 ; soprano, later prof, of
singing, Paris Cons. ; wrote Mithode
<U chant:'
Damrosch (dSm'.r6sh), (i) Dr. Leo-
pold, Posen, Prussia, Oct. 22, 1832
—New York, Feb. 15, 1885 ; 1854.
M.D. ; took up music as solo-violin-
ist ; then as cond. at minor theatres ;
1855, solo violinist Grand Ducal
Orch., at Weimar ; here he m. Hel-
ene von Heimburg, a singer; 1859-
60 cond. Breslau Phil. Soc., etc.;
187 1, invited to New York to con-
duct the Arion Society, made his
first appearance as conductor and
composer and violinist ; 1873, found-
ed the Oratorio Society; 1878 the
S)rmphony Society ; 1880 Mns. Doc
Columbia Coll.; 1884, cond. German
opera at Met. Op. ; c. 7 cantata^;
symphony; music to Schiller's **y«ji
of Arc:' etc. (2) Frank, b. Breslau.
June 22, 1859 ; son and pupil of
above ; pupil of Pruckner, Jean Vogt,
and von Inten (pf.), Moszkovsld
(comp.) ; 1882-85, cond. Denver
(Col.) Chorus Club ; 1884-85, super-
visor of music in public schools, also
organist in various churches ; 1885-
91, chorusm. Met. Op.; till 1887
cond. the Newark Harmonic Sodety;
1892 oiganized the People's Singing
Classes ; 1897, supervisor of musk,
N. Y. City public schools ; now coo<L
the ** Musurgia," Oratorio Society,
and Mus. Art Soc. (N. Y.), Oratono
Soc., Bridgeport (Conn.) ** Orpheus"
and "Eurydice" Phila., etc.; pub. a
few songs and choruses, and a meth-
od of sight - singing. (3) Walter
(Johannis), b. Breslau, Silesia, Jan.
30, 1862 ; son and pupil of (i) ; pa-
pil of Rischbieter and Draeseke
(harm.), von Inten, Boekelman, and
Max Pinner, (pf.), von BOlow (con-
ducting) ; 1885-99 cond. N. Y. Ora-
torio and Symphony Societies; 1S9J
founded the N. Y. Symphony Orch.:
1894, organized and cond. the Dam-
rosch Opera Co. ; 1899, cond. ai
Philadelphia; 1902, cond. N. Y.
Philh. (vice Paur) ; prod, opera,
•* The Scarlet Ufier'' (Boston, 1896).
text by Geo. Parsons Lathrop ; c
MS. opera ** Cyrano de BcrTgcrac,"
text by W. J. Henderson ; " Memik
Te Deum " / ** Danny Deever^^ etc.
Da'na, (i) Chas. Henshaw, West
Newton, Mass., 1846 — Worcester^
1883 ; pianist, oi|[anist and compos-
er. (2) Wm. «., b. Warren, O.,
June 10, 1846 ; pupil of Haupt, and
1Cullak*s Cons., also R.A.M., Loo-
don ; dir. Dana's Mus. Inst., Warreor
Ohio; wrote text-books; c. *'iV
Profundis " for ch. and orch.
Danb6 (dilA-ba), Jules, b. Caea,
France, Nov. 15, 1840; TioUntsz ;
pupil of Paris Cons.; till 1892 2sm1
DICTIONARY OF MUSICIANS 475
dir. of the Cons. Concerts ; 1895,
cond. Op. Com., Paris ; composer.
Dan'bj, j.y 1757 — London, May 16,
1798 ; English organist and compos-
er.
Dance, Wm., 1755 — 1840» musician ;
one of the founders of the Phil.
See., London.
Dan'do, Jos. H. B., b. Somers Town,
London, 1806 ; violinist.
Danda (dSA-klil), (i) J. Bap. Chas.,
tx Bagn^res-de-Bigorre, Dec. 19,
1818 ; 1828 pupil of Baillot, Hal^,
and Berton, Paris Cons.; 1834, 2nd
sdo vln. Op. -Com.; 1857, prof, of vln.
at the Cons., giving famous quartet
soirees ; c. four symphonies, over 130
works for vln., etc.; wrote 5 techni-
cal books, ** Les compositeurs ctufs
d*orck€stre,''^ etc. (2) Arnaud, Bag-
n^res^e-Bigorre, 1820 — 1862, bro. of
above ; 'cellist and writer. (3) L60-
?old, Bagn^res-de-Bigorre, 1823 —
aris, 1895, bro. of above ; compos-
er.
Danel (ds-nj^l), L. A. J., Lille, 1787
— 1875 ; a printer who inv. a nota-
tion.
Danhanser (diin-how'-zj^r or dan-o-
25'), Ad. Ld., Paris, 1835— 1896;
prof, of solfeggio at Cons, and dram.
composer.
Danican. V. philidor.
Daniel, (i) Hn. Adalbert, b. C5then,
1812 ; Uieolog^an and writer. (2)
Salvador, for a few days dir. Paris
Cons. , under the Commune ; killed
in battle, May 23, 187 1 ; writer.
Danjoa (dan'-zhoo), J. L. F., Paris,
1812 — Montpellier, 1866 ; 1840, or-
ganist and erudite historian.
Dan'kers (or Danckerts), Ghiselin,
b. Tholen, Zealand ; chorister in Pa-
pal chapel, 1538-65; composer and
writer.
Danks, Hart Pease, b. New Haven,
Conn., April 6, 1834 ; bass and mus.
dir. in various churches ; pupil G. E.
Whiting; c. over 1200 hymns and
songs, and operetta *^ Pauline **
(1872}.
Danneley (d&n'-H). John Feltham,
Oakingham, Berkshire, England, 1786
— London, 1836 ; organist and pub-
lisher.
Dannrentber (dfin'-roi-t«r), (i) Ed-
ward, b. Strassburg, Nov. 4, 1844 ;
at 5 taken to Cincinnati, where he
studied with F. L. Ritter ; later, pupil
of Richter. Moscheles, Hauptmaon,
Leipzig Cons.; 1863, London, as
pianist ; 1872 founded and cond.
London Wagner Society ; wrote
*^ Richard Wagner, His Tendencies
and Theories ** (London, 1873) ; also
composer. (2) GustaT, b. Cincin-
nati, July 21, 1853 ; pupil of de
Ahna and Joachim (vln.) and Heitel
(theory), Berlin ; lived in London till
1877; joined Mendelssohn Quintet
Club of Boston, where in 1880 he
settled as a member of the newly
formed Symphony Orch. ; 1882-84
dir. Philh. Soc. Buffalo, N. Y. ;
founded the * ' Beethoven String-
Quartet*' of N. Y. (called •*Dannr.
Q." from 1894) ; for 3 years leader
Symphony and Oratorio Societies,
N. Y. ; wrote •* CA/frd and Scale
Studies /or Young Players."
Danzi (dan'-tse), (i) Fz., Mannheim,
May 15, 1763 — Carlsruhe, April 13,
1826 ; dram, composer ; son and pu-
pil of (2) Innocenz D., 'cellist to the
Elector. (3) Franziska. Vide le-
BRUN.
Da Ponte (da p6n'-t^), Lorenzo, Cen-
eda, near Venice, March 10, 1749 —
New York, Aug. 17, 1838 ; of Jew-
ish race ; poet-laureate to Joseph II.
at Vienna, until 1792 ; wrote text of
Mozart's ** Don Giovanni ** and ** Cosi
Pan Tulle"; London, 1803, teacher
of Italian and poet to the Italian
Opera ; made a failure of different
pursuits in the U. S. A., and was
finally teacher of Italian at Columbia
College, N. Y. ; pub. ^* Memorie"
(Memoirs). There is a sketch of his
life in KrehbieVs *' Music and Man-
ners" (^. Y., 1899).
Daquin (d&-k&n), L. Claude, Paris,
1694 — 1772 ; notable organist and
composer.
476
THE MUSICAL GUIDE
Darconrs (dir-koor), Charles. Vide
RETY. ^
DuxfomjzBkj (dSr - gd • mesh' - shke),
Alex. Serg^eTitch, Toula, Feb. 2,
1813 — St. Petersburg, Jan. 29, 1869;
pianist and composer ; pupil of Scho-
berlechner; his opera ** £smera/da"
(c. 1839) was prod. 1847 with succ;
his best opera '* Russaika^' followed
in 1856 ; in 1867, at Moscow, an
opera-ballet, ** The Triumph of Bac-
rAtf J " (written 1847), was instrument-
ed ; left an unfinished opera, ** Kam-
mennoi Cost " (*' The Marble
Guest ") (finished by Rimsky-Korsa-
kov). '''• Rogdana^^^ ^ fantasy-opera,
was only sketched ; it follows the
latest operatic creeds; c. also pop.
orch. works.
Da(8)ser (dii'-s^r), (Dasserus) Lud-
wi^, until 1562 conductor and com-
poser at Mimich, predecessor of Las-
sus.
Daube (dow'-bS), Fr., Cassel (Augs-
burg ?), 1730 — Vienna, 1797 ; com-
poser and writer.
Daublaine et Callinet, Paris firm of
org.-builders, founded 1838.
Daucresme (d5-kr£m), Lucien, El-
beuf, Normandy, 1826 — Paris, 1892 ;
. dram, composer.
Dau'ney, Wm., Aberdeen, 1800 —
Demerara, 1843 ; writer.
Dauprat (d5-pr^), L. Fr.» Paris, 1781
— ^July 16, 1868 ; notable horn-player
and composer. •
Daa88oigne-M6hul (dos'-swin-ma-
til). L. Jos., Givet, Ardennes, 1790 —
Li^e, 1875 ; dram, composer.
Dauverg^e (d6-v$m), Ant. C, Fer-
rand, 17 13 — Lyons, 1797 ; violinist
. khd dram, composer.
Davenport, Francis W., b. Wilders-
lowe, near Derby, England, 1847 ;
pupil of Macfarren, whose daughter
he m. ; 1879, prof. R. A. M.. and
1882 Guildhall Sch. of Music ; c. two
symphonies (the ist winning ist prize
at Alexandra Palace, 1876), and
other comps. ; wrote text-books.
DaTid (da'-fct), (i) Fd., Hamburg, Jan.
19, 18 10— near Klosters, Switzerland,
July 18, 1873 ; pupil of Spohr and
Hauptmann ; at 15 played in the Ge^
wandhaus, Leipzig ; 1827, in KOnig-
stadt Th. orch. , Berlin ; at 19, ist
vln. in the private quartet of the
wealthy Baron von Liphardt, at Dor-
pat, whose daughter he m. ; gave
concerts till 1835 in Russia ; at 26
leader of the Gewandhaus Orch. at
Mendelssohn*s invitation ; his rigor-
ous precision of drill is still a ternfy-
ing tradition. In the composition of
Mendelssohn's vln. -concerto he was
almost a collaborator (cf . Joachim and
Brahms). The Cons, was estab. in
1843, and D.'s unsurpassed gifts as
a teacher had a large influence in
making its reputation, among his pu-
pils being WUhelmj and Joachim ; as
a leader he had a wonderful faculty
of inspiring the players with his own
enthusiasm. His student editions <^
classical works embrace nearly ail
compositions of standard vln. litera-
ture ; edited many classics, including
the ''Hohe SckuU des ViclintpieUr
His comp. include an opera, ** Ha$ts
IVacht^^ (Leipzig, 1852) ; 2 sympho-
nies ; 5 vln. -concertos, etc. ; wrote a
standard meth. for vln. (2) Peter
Panl, b. Leipzig, Aug. i, 1840, son
of above ; violinist ; 1862-65, leader
Carlsruhe orch.; then teacher at Up-
pingham, England.
David (d£-ved), (3) F^Ucien C^sar,
Cadenet, Vaucluse, April 13, 18 10—
St. Germain-en- Laye, Aug. 29, 1876 ;
at 7 a pupil and chorister in the ooal-
trise of Saint-Sauveur at Aix; c
hymns, motets, etc.; 1825-28 studied
in the Jesuit college, but ran away to
continue his music, and became asst.-
cond. in the theatre at Aix, and at
19 cond. at Saint-Sauveur; 1850
Paris Cons., under Benobt (org.),
Reber and Millot, (harm.), Fetis (cpt.
and fugue). 1 831, his rich uncle with-
drew his allowance of 50 francs a
month, and he took up Saint- Simon-
ism, composing hymns for this social-
istic sect, which coming under ban of
the law in 1833, he went with othci
DICTIONARY OF MUSICIANS 477
members on a tour through Turkey,
Eg^rpt, etc. ; he returned in 1S35 with
a fund of Oriental musical impres-
sions, resulting in an unsucc. volume
of '' Mihdies OrientaUsr He re-
tired to the country home of a friend
and c 2 symphonies, 24 string-quin-
tets, etc. 1838 his first symphony
was prod. ; and 1844, his ode-sym-
phonie '' U DiserV had a "deliri-
ous succ" ; the oratorio, ^^Motse ««
Sinai^^ 1846 ; a second symphonic-
ode ''Christophe Colombe^ and
" LEdtn:" a " mystery " in 2 parts
(Grand Op^ra, 1848) had no succ;
his opera " La PerU du BrMV {Th.
Lyrique, 185 1), is still popular; the
opera "Z^i Fin du Monde ^^ was re-
jected by the Gr. Op^, and put- in
rehearsal, but not produced, by the
Th. Lyrique, and in 1859 produced
at the Gr. Opera as ** Herculaneum^*
the great state prize of 20,000 francs
being awarded it in 1867; **' Laila
Rookh** (1862) was a decided succ,
but ••/> Saphir" (1865) also at the
Op. Com., failed, and he now aban-
doned dram, comp., withdrawing ** La
Captive^** 1869, Academician and li-
brarian of the Cons. Biog. by Aze-
vedo (Paris, 1863). (4) Samuel,
Paris, 1838--1895 ; professor, direc-
tor and dram, composer. (5) Ad.
Isaac, Nantes, 1842 — Paris, 1897 ;
dram, composer. (6) Ernst, Nancy,
1844 — Paris, 1886 ; writer.
DaTide (d&-ye'.d£),(i) Giacomo (called
le p^re), Presezzo, near Bergamo,
1750 — Bergamo, 1830 ; famous tenor.
(2) GioTanni, 1789, St. Petersburg,
ca. 185 1 ; son of above ; tenor of
remarkable range Bk-b".
Davidofir(da -vl-dof), Karl, Goldingen,
Kurland, 1838 — Moscow, 1889; solo
•cellist to the Czar ; 1876-87, dir. St.
Petersburg Cons. ; c. aymph. poem,
" Tk€ Gifts ofPerekr etc
DaTies (di -vYs), (i) Ben, b. Ponadawz,
near Swansea, Wales, Jan. 6, 1858 ;
operatic and concert tenor; 1880-3
pupil of Randegger at R. A. M. ;
won bronze, silver, and gold medals,
and the Evill prize for declamatory
Engl, singing; 3 years with Carl
Rosa Opera-troupe ; most prominent
in oratorio; since 1803 has often sung
in U. S. (2) DaTia Ffranrcon, b.
Bethesda, Carnarvonshire, Dec 11,
i860 ; barytone ; M. A. Oxford ; pu-
pil of Shakespeare ; debut Manches-
ter, 1890 ; sang with Carl Rosa Op-
era Co., then oratorio ; toured U. S.
(3) Fanny, b. Guernsey, June 17,
1861 ; pianist ; pupil of Reinecke,
Paul and Jadassohn, Leipzig Cons. ;
later of Frau Schumann and Dr.
Scholz ; d^but Crystal Palace, Lon-
don, 1885 ; has toured in Eneland,
Germany and Italy. (4) HenryvVal-
ford, b. Oswestry, Engl., Sept. 6,
1869 ; pupil and asst. of Sir Walter
Parratt ; 1898 organist of the Temple
Church ; 1898, Mus. Doc, Cantab. ;
1895 prof, of cpt. R. C. M.; c Sym-
phony in D, cantata ** Herv/ Riel^*^
etc.
DaVison, (i) Arabella. Vide god-
da rd. (2) J. W., London, 18 15 —
Margate, 1885 ; pianist, critic and
composer.
Da'vy, (i) Richard, Engl., comp. i6th
century. (2) John, Upton-Helion,
Exeter, 1765 — London, 1824 ; violin-
ist.
Day, Dr. Alfred, London, 18 10 — 1849;
physician and theorist.
Dayas (dl'-^), W. Humphries, b.
New York, Sept. 12, 1864 ; pupil of S.
{ackson, Warren, S. B. Mills and
oseffy ; organist of various churches ;
then studied with Kullak, Haupt,
Erlich, Urban, and Liszt ; made
concert-tour 1888 ; 1890 pf. -teacher
Helsingfors Cons. ; in Dttsseldorf
(1894), Wiesbaden Cons., and Co-
logne Cons. ; c organ and piano
sonatas, etc.
De Ahna (da-S'-na), (i) H. K. Her-
mann, Vienna. 1835 — Berlin, 1892 ;
violinist, teacher and composer. His
sister (2) Eleonore, Vienna, 1838 —
Berlin, 1865 ; mezzo-soprano.
De Angelis (da £n'-Ja-les), Glrolamo,
b. Civita Vecchia, Jan. i, 1858 ; pupil
478
THE MUSICAL GUIDE
of Bazzini, Milan Cons. ; 1881, prof,
there of vln. and via. ; 1879-97, solo
violinist at La Scala ; 1897 teacher
Royal Irish Acad, of Music, Dublin ;
c. (text and music) '* JO Innocente "
(Novi Ligure, 1896).
Deane, Thos., English organist, vio-
linist and composer, 17th cent.
Debain (dd-bin), Alex. Fran.,
Paris, 1809— Dec. 3, 1877; 1834
made pianos and organs in Paris ;
in v. the harmonium 1840, also '*anti-
phonel " and " harmonichorde " ; im-
proved the accordion.
Debillemont (da-be'-ytt-m6A), J.
Jacques, Dijon, 1824 — Paris, 1879 ;
dram, composer.
Debois (dA-bwil), F., BrUnn, 1834—
1893 ; cond. and composer.
DebuBtj (dtt-btts-se), Achille Claude,
b. Paris (?), 1862, French composer of
much individuality; prod. '* Feil/as et
M/Usande^*' libretto based on Maeter-
linck's play. Op. Comique. Paris,
Apr. 30, 1902, with sensational ef-
fect ; he was a pupil of Guiraud, Paris
Cons., took grand Prix de Rome,
1884, with cantata *^ V Enfant pro-
digue''; began '' PelUas et Mr in
1893 ; c. also orch. prelude ** VAprh^
tnidi d'un Faune ; " pf. suite for 4
hands; ''* Chansons de Bilitis"
** Proses lyriques" etc.
Dechert (d«kh'-«rt), Hug:o, b. Pots-
chappel near Dresden, Sept. 16, i860 ;
'cellist ; studied with his father, then
with H. Tiets, and at the Beriin
Hochschule ; toured ; since 1894 solo-
ist court-chapel, Berlin.
Deck'er, Konst., Farstenau, Bran-
denburg, 1 8 10 — Stolp, Pomerania,
1878 ; pianist and dram, composer.
Dedekind (da -d^-klnt), (i) Henning,
abt. 1590 cantor, theorist and com-
Doser at Langensalza, Thuringia. (2)
Konst. Chr., Reinsdorf, Anhalt-
K6then, 1628— -ca. 1697 comp.
Dedler (dat'-l«r), Rochus, Oberam-
mergau, Jan. 15, 1779 — Vienna, Oct.
15, 1822 ; c. music still used in the
Passion-Play.
De(e)r'ing, Richard, b. Kent, d. Lon-
don (?), 1630 ; studied in Italy ; cooit-
organist; pub. the oldest ezuot
comp. with basso continuo, etc.
Defesch (da-f«sh'), Wm., d.ca. 1758;
Flemish organist and violinist.
Defies (daf.&s), L. P., b. Toulouse,
July 25, 18 19 ; pupil of Halevy and
Barbereau, Paris Cons., took Grand
prix de Rome for cantata *' VAnge
et Tobie"; his i -act com. -op. ** TAn-
neau tT argent" was prod. Paris,
1855 ; 14 others since, the last very
succ, '^Jessica*' (Toulouse, 189S) ;
now dir. of the Toulouse brandi of
the Cons. ; c. also masses, etc
Degele (da'-g£-l£), Engen, Munich,
1834 — Dresden, 1866 ; baiytone and
composer.
De Ciosa (di j5'-s&), Nicola, Ban,
1820— 1885 : cond. and composer.
De Haan, (i) Willem, b. Rotterdam,
Sept. 24, 1849; pupil of Nicolai, de
Lange, and Bargiel, also at Leipzig
Cons. ; 1873 dir. at Bingen ; cond.
** Mozartverein " at Darmstadt,
1876 ; 1895 court-conductor there ;
c. 2 operas * * Die Kaiser stockier " and
the succ. *^ Die Inkasoktu" (Darm-
stadt, 1895) ; 3 cantatas. (2) Mani-
largres, A. Pauline, b. Rotterdam,
Apnl 4, 1872 ; concert and oratorio
alto, pupil of Julius Stockhausen.
Dehn (dan), Sie|^ried Wm., Altona.
Feb. 25. 1796— -Berlin, April 12, 1858;
noteworthy theorist and teacher;
among his pupils Rubinstein, Kul-
lak, Glinka, Kiel, Hofmann, etc.
Deiters (di'-t^rs), Hermann, b. Bono,
June 27, 1833 ; 1858, Dr. jur., and
Dr. phil.,at Bonn; dir. of gymnasia
at Bonn, 1858, and other cities ; 18S5
of the "Provincial Schulralh " at
Coblentz ; writer and translator.
De KoVen (Hennr Louis) Reginald,
b. Middletown, Conn., April 3, 1659;
educated In Europe, took degree at
Oxford, Engl., 1879; pupil of W.
Speidel (pf.) at Stuttgart, Leber!
(pf.), and Pruckner (harm.). Dr.
Hauf! (comp.), Vanuccini (singing),
Cvenee (operatic comp.) ; 1902 organ-
ised and cond. Philharmonic Orch. at
DICTIONARY OF MUSICIANS 479
Washington, D. C, where he has
lived since 1900; c. many succ.
comic operas, incl. '* RoHn Hood^''
(Chicago. 1890) ; " The FenHng
Master " (Boston, 1892) ; ** The High,
vyayman'" (New Haven, 1897);
** Maid Marian '* (1901) ; sUso many
songs ; an orch. suite, and a pf .-
sonata in MS.
DeUborde (dfl-li-bdrd), (i) J. Benj.,
Paris, 1734 — guillotined, I794; dram,
composer and writer. (2) Elie Mi*
nam, b. Chaillot, France, Feb. 8,
1839 ; pupil of Alkan, Liszt, and Mo-
scheles ; pf.-prof. at Paris Cons, and
dram, composer.
Delaconr (dfl-U-koor'), Vincent Con-
rad F61iz, Paris, 1808 — 1840 : harp-
ist and composer.
Del&tre (dfl-Ut'r), (i) Olivier, Belgian
music-pub. Antwerp, (1539-55). (2)
Claude Petit Jan., conductor and
composer at Liege, 1555.
De Lattre (dfi-Utr), Roland. Vide
LASSO, DI.
De rAnlnaye (dfl-ldl-ni), Fran.
Stanislas, Madrid, July 7, 1739 —
Chaillot, 1830; writer and theor-
ist.
Delderex (diil-dtt-vfe), Ed. Ernest,
Paris, 18 17 — 1897 ; 1859, asst.-cond.
Gr. Op^ and Paris Cons. , dram,
coniposer and writer.
Delemcque (d£l-dek), Ld., b. La
Haye, Feb. 7, 1821 ; violinist and
teacher ; pupil Paris Cons. ; founder
and cond. *' Soc. des Symphonistes,"
1861-83 ; c. vln. pieces, etc.
De Lera (da-l&'-vS), Enrico, b.
Naples, Jan. 19, 1867 ; pupil of Pan-
nani and Rossomandi (pf.) ; Puzzoni
and d*Arienzo (harm.) ; his Canzo-
netta Napoletana ** £ Spingole Fran-
gese,** was very succ, as are many of
his songs ; c. opera " La Car mar go "
(not prod.).
Delezenne (dii-lfi-zdn), Chas. Ed.
Jos., Lille. 1776— 1866; writer.
Delhasse (d«l-^), F61iz, b. Spaa,
Jan. 8, 1809 ; lives in Brussels ;
writer.
(dii-leb), Clement Philib^rt
L60, St. Germain-du-Val, Sarthe,
Feb. 21, 1836— Paris, Jan. 16, 1891 ;
a composer of fascinating grace and
polish ; entered the Paris Cons, in
1848, Le Couppey, Bazin, Adam, and
B^noist being his chief teachers ; 1853
organist at the Ch. of St.-Jean et St.-
Francois; his first operetta ^^ Deux
Sacs de CharboHy'* was followed by 13
more ; 1865, 2nd chorus-master Gr.
Opera ; his first ballet " La Source**
was prod, here 1866, later in Vienna
as •* Naila " ; the second, ** Coppe-
Ha " (Gr. Op^ra, 1870), is still popu-
lar, as is ''Syhia** (1876); 1881,
prof, of comp. at the Cons.; c.
also the succ. opera " Lakm/" (v.
STORIES OF operas), and others.
Delicati (di-ll-ki'-te), MargheriU,
Italian soprano in London with her
husband, 1789.
Delionz (De Sayignac) (dfil-yoo dii
silv-en-y&k), Chas., b. Lorient, Mor-
bihan, April, 1830; self-taught as
pianist; studied harmony with Barbe-
reau, and comp. with Hal^ ; 1846
took Grand Pnx for cpt.; prod, i-act
comic opera ** Yvonne ctLoie** {Gym"
nase, 1854); c. pf.-pcs and wrote tech-
nical works.
Delia Maria (d^l'-U m2.r€'-S), Do-
minique, Marseilles, 1768 — Paris,
March 9, 1800; son of an Italian
mandolinist ; played mandolin and
*cello; at 18 prod, a grand opera;
studied comp. in Italy, and c. 7 operas,
incL the very succ. ** Le Prisonnier**
(1798).
Delle Sedie (d«l.l« sid'-yd), Enrico,
b. Leghorn, June 17, 1826 ; pupil of
Galeffi, Persanola, and Domeniconi ;
1848, imprisoned as a Revolutionist ;
then studied singing; d^but, Flor-
ence, 185 1 ; later prof, of singing
Paris Cons. ; has lived in Paris since
as singing teacher.
Dellinger (d«l'-llng-«r). Rndolf, b.
Graslitz, Bohemia, July 8, 1857;
1883, conductor at Hamburg ; 1893,
Dr^en Ct. Opera ; c. operettas, incl.
succ. **CapitSn Fracas se " (Hamboig,
1889), and ** />>/ QhamanetU " (Dres-
48o
THE MUSICAL GUIDE
den, 1894); Prague, 1895, ''DieSdng^
* ft
trtn.
Dell' Orefice (d«l o-ra-fe -chd), Gin.,
Fara, Abruzzio, Chictino, 1848 —
Naples, 1889 ; cond. and dram, com-
poser.
Del Mela (d£l ma'.l&), Don Domeni-
co, an Julian priest ; 1730, inv. the
*' upright" piano.
Delmotte (dei-m6t), Henri Florent,
Mons, Belgium, 1799— 1836 ; writer.
Delprat (dtil-prii'), Chas., 1803— Pau,
Pyrenees, 1888 ; singing-teacher and
writer there.
Delsarte (dQl-sUrt), Fran. Alex.
Nicholas Ch6ri, Solesme, Nord,
18 1 1 — Paris, 187 1 ; tenor; teacher of
a well-known physical culture; 1855
inv. the Guide-Accord, or Sonotype,
to facilitate piano-tuning.
Del Valle de Pas (ddl viLl'-U dH p&tz),
Edg^do, b. Alexandria, Egypt,
Oct. 18, 1861 ; pf.-pupil at Naples
Cons., of Cesi (pf.), and Serrao
(comp.) ; at 16 toured in Italy and
Egypt, now prof, in Florence Cons. ;
pub. pf. -method, etc.; c. orchestral
suites, etc.
Demantius (di-mUn'-tsY-oos), CHr.,
Reichenberg, 1567 — Freiburg, Sax-
ony, 1643 ; prolific composer of
church-music and songs; wrote a
vocal method.
Demelins (da-mi'-lY-oos), Chr., Schlet-
tau. Saxony, 1643 — Nordhausen,
1711 ; compfoser.
Demenr (dCi-miir'), (i) Anne Arstoe
(n^ Charton), Sanjon, Charente,
1827 — Paris (?), 1892 ; soprano ; m.
(2) J. A. Demeur, flutist and com-
poser.
Demol (dti-m61), (i) Pierre, Brussels,
1825 — Alost, Belgium, 1890; dir.
and composer. (2) Fran. M., Brus-
sels, 1844 — Ostend. 1883 ; nephew of
above ; cond., prof., and dram, com-
poser.
Demanck', (i) Fran9oi8, Brussels,
181 5 — 1854 ; 'cellist and prof. (2)
Ernest, b. Brussels, Dec. 21, 1840;
son and pupil of above; pupil of
Servais ; lived in London, then Paris ;
1870, 'cellist Weimar Court ordL;
1879 °^ Cariotta Patti ; 1893. prof.
R.A.M., London.
Demuth (da-moot'), Ld., b. Broim,
Nov. 2, 1861 ; barytone ; studied
Vienna Cons., with Gansbacfaers,
sang at Halle, etc., later Hamboxi^
and Vienna.
DenefVe (dii-nfiO* Jules, b. Chimty,
18 14 ; 'cellist and dram, composer.
Denn6e (d^n-na), Chas., b. Oswego,
N. v., Sept. I, 1863 : studied with
Emery, Boston ; lives there as teadier
and composer of comic operas, etc
Dengremont (d&n-grd-mon), Maurice,
b. of French parents, Rio de Janeiro,
1866— Buenos Ayres, 1893 ; violinist;
at II played with succ. in £ur(^)e.
Den'ner, Jn. Chp., Leipzig, 1655—
Ntkmbeig, 1707 ; maker of wbd-
insts. ; inv. 1690 or 1700 the darinet,
perhaps also the Stockfagott and the
Rackettenfagott.
Denza (d^n'-tsfi), Luigi, b. Castellam-
mare di Stabbia, Feb. 24, 1846; pu-
pil of Naples Cons.; c. opera *' WaU
Unstiin " (Naples, 1876), many pop.
songs (some in Neapolitan dialect),
incl. ** Funiculi-Funicula."
Deppe (d^p'-pd), Lndwig, Alverdissen,
Lippe, 1828 — Pyrmont, Sept. 5-6,
1890; notable pf. -teacher and con-
ductor.
Depr^s (or Despr^s) (dii-pr^' or da-
pri), ^oss^ (known as Josqnin),
Conde (?) in Hainault, Burgundv, ca.
1450 — Cond^,Aug. 27,1521. [Hisepi-
taph reads *' Joss^ Despres^'; other
spellings are Despr^, De(s)prez,
Depret, De(s)pret(s), Dupre, and by
the Italians, Del Prato, Latinixed as
a Prato, a Pratis, Pratensis, etc. ;
Josquin appears as Joss^, Jossien,
usquin, Giosquin, Josquinus, Jaco-
bo, Jodocus, Jodoculus, etc.] One
of the most eminent of musicians and
the chief contrapuntist of his day:
pupil of Okeghem ; 1471-84 a singer
in the Sistine Chapel, and about
1488 in Ferrara ; he was already now
accepted as **princeps musiconnD,**
and had interoationai vogoe. He was
DICTIONARY OF MUSICIANS 48.
received with honour by various
princes, and was court-musician to
Louis XII., many amusing anecdotes
of his musical humour being told. He
finally returned to Conde as Provost
of the Cathedral Chapter. Bumey
called him '*the father of modem
harmony." The florid and restless
cpt. of his church-works and the sec-
ular cantus firmus (v. D.D.) that was
the basis of most of them, brought
his school into disfavour and disuse
when the revolutionary Palestrina ap-
peared. But he was at least the culmi-
nation of his style, and his erudition
was moulded into suave and emo-
tional effects, so that Ambros says
that he was the " first musician who
impresses us as being a genius." His
period coinciding with the u^ of
movable types for music, his works
are preserved in large quantities in
▼olumes and in the collections of Pe-
trucci and Peutinger. His French
chansons were pub. by T. Susato,
1545, P. Attaignant, 1549, and Du
Chemin, 1553 ; excerpts in modem
notation are in the ** Bib Hot he k fUr
Kirchtnmusik^^ 1844 ; in Commcr's
•' CoUecHo;* Rochlitz' *' Sammlung
vor%agluh€r GesangstUcke^'' 1838,
Choron's '* Collection*^ and in the
histories of Ambros, Bumey, Haw-
kins, etc.
Deprosse (dd-pr6s'-s^, Anton, Mu-
nich, 1838-— Berlin, 1878 ; dram, com-
poser.
De Reszk^ (dtt r^h'-k§), (i) Jean, b.
Warsaw, Jan. 14, 1852 ; perhaps the
chief tenor of his generation, great in
opera of all schools ; pupil of Ciaf-
fei, Cotogni, etc. ; 1874, d^but as
barytone at Venice, as Alfonso in
•• La Favorita^'* under the name ** De
Reschi '* ; after singing in Italv and
Paris and studying with Sbriglia, he
made his debut as tenor in *' Robert
U DtabU*' (Madrid, 1879) ; 1884. Th.
des Nations ; 1885 at the Gr. Op^ra,
Paris, creating Massenet's '* Le Cid'*;
since '87 has sung constantly in Lon-
jdoo, and since '95 in New York* (2)
31
Edouard, b. Warsaw, Dec. 23, 1855,
bro. of above ; pupil of his broth-
er, of Ciaffei, Steller, and Coletti ;
debut, Paris, April 22, 1876, as the
King in '' Aida" (Th. des luliens),
sang there two seasons, then at Tu-
rin and Milan ; 1880-84 at the Italian
Opera. London; since then, Paris,
London, America ; a magnificent
basso of enormous repertory and
astonishing versatility as an actor;
a master in tragic, comic, or buffa
opera. His sister, (3) Josephine,
was a soprano of greatest promise,
but left the stage on her marriage.
Dering, v. derring.
De Sanctis (da s&nk'-tes), Cesare, b.
Allbano, Rome, 1830 ; 1876, prof, of
harm, in the Liceo ; c. overture,
Requiem Mass, ** 100 fugues," a cap-
pella in strict style ; pub. treatises.
D^saugiers (da-s6-zha), Marc Ant.,
Fr^jus, 1742 — Paris* 1793 ; prod, nu-
merous succ. short operas.
Deshayes (dQz-dz), Prosper Didier,
prod., 1780, oratorio ** Les Macha-
i/es " / c. operettas and ballets, etc.
Desmarets (da-m&-ra), H., Paris, 1662
— Luneville, 1741 ; dram, composer.
Desormes (da-zdrm), L. C, Algiers,
1845 — Paris, 1898 ; composer and
conductor.
Dessau (dSs'-sow), Bd., b. Hamburg,
March I, 1861 ; violinist; pupil of
Schradieck, Joachim, and Wieni-
awski ; leader at various theatres ;
1898 Konzertmeister at the court-
opera, Berlin, and teacher Stem cons.
Dessauer (dds'-sow-Sr), Jos., Prague,
May 28, 1798 — Mttdling, near Vien-
na, July 8, 1876 ; c. 5 operas and
manjrpop. songs.
Dessoff (d^s'-sof). Felix Otto, Leip.
zig» 1835 — Frankfort, 1892 ; court-
cond. at Carlsruhe.
Destinn (da'-shtYn), Eminy, b. Prague,
Feb. 26, 1878 ; soprano ; studied
with Loewe-Destinn ; 1898 court
opera, Berlin.
Destouches (dMoosh), (i) Aiidr6
Cardinal, Paris, 1672 — 1749; dranu
composer. (2) Fraiu Seraph toiI|
482
THE MUSICAL GUIDE
b. Munich, 1772 — 1844; dram, com-
poser.
Desvigaea (da-ven'-yti). Frai., Trier.
1805 — Metz, 1853 ; violinist ; founded
conservatory at Metz ; dram, com-
poser.
Deswert (di-vlr), (i) G&spard Isi-
dore, Louvain, 1830 — Schaerbeck,
near Brussels, 1896 ; 'cellist ; prof.
Brussels Cons. (2) Jules, Louvain,
1843 — Ostend, 1891, brother of above;
conductor and dram, composer.
Deszczynski (d£sh-chen -shkt), Jos.,
b. Wilno, 1781 ; Polish composer.
Dett'mer, Wm., b. Breinum, near
Hildesheim, 1808 ; operatic bass ;
son of a peasant ; joined a troupe of
players ; sang minor roles at Han-
over ; 1842 engaged for leading roles
Dresden ; retired 1874.
Deutz (doits). Vide magnus.
Devienne (dCiv-yin). Fran., Joinville,
Haute - Marne, Jan. 31, 1759 —
(insane), Charenton, Sept 5, 1803 ;
flutist and bassoonist ; important in
improving wind instr. ; prof., com-
poser and writer.
Dewey, Ferdinand, Montpelicr, Vt,
U. S. A., 185 1— Beverley, U. S. A..
1900 ; pianist, composer, and teacher.
Dez^de (or Dezaides) (da-z£d),
Lyons (?) 1740 — Paris, 1792 ; prod.
15 pop. operas and operettas.
Diabelli (dea-b^l'-le), Antonio,
Mattsee, near Salzburg, Sept. 6,
1781 — Vienna, Aprils, 1858 ; pf.-and
guitar-teacher ; partner of Cappi, the
music-publisher ; c. opera and pop.
sonatinas, etc.
Diamandv. Vide nuovina.
Diaz (de la PeOa) (de'-&th dtt-U-pin'-
ya), Eugene l^mile, Paris, Feb, 27,
1837 — Oct., 1901 ; son of the painter;
pupil of Paris Cons. (Halevy, R^ber);
prod, the com. opera " Le Rot Can-
dauW' (1865, Th. Lyrique); 1867
won the prize for opera, **Ztf Coupe
du Rot de Thule " (Grand Opera) ;
1890 prod, lyric drama ** Benvenuto *'
(Op. -Com.) , pub. many songs.
Dib'din, (i) Chas., Dibdin, near
Southampton, 1745 — London, 1814 ;
composer, singer, accompanist, actor,
manager and writer. (2) Hemy Ed-
ward, Sadlers Wells, 1813— 1866;
harpist, organist, violinist and com-
poser ; voungest son of above.
Dick, Chas. Geo. Cotsford, b.
London, Sept. i, 1846; law-student
at Worcester Coll., Oxford ; later
musician ; produced succ. operettas,
and 2 comic operas, a ** children's
opera," etc
Dic'kons, Mrs. (n^ Poole), Loodon,
ca. 1770— May 4, 1833 ; scMprano.
Did'ymus, b. Alexandria, Egypt, 63
B.C. ; wrote 4,000 works in all, ind.
a treatise on harmonv. Vide tbtea-
CHORDS and comma (d. d.). |
Diehl (del), Louis, b. Mannheim, 183S;
1863, m. Alice Mangold ; composer.
Diem (dem), Jos., KeUmonz, nesr
Memmingen, 1836— Constance, 1894 ;
'cellist.
Dimmer (d'y&-m&), Louis, b. Paris,
Feb. 14, 1843; pianist; puinl at Cons,
of Marmontel ; took ist pf.-prixe at
13, later ist harm., 2nd 017^. and ist
cpt. -prizes ; pupil Ambr. Thomas
and Bazin; 1887 pf.-prof. at the
Cons, (vice Marmontel) ; besides
brilliant concerts of modem music
he has organised most delightful coo-
certs of ancient music played on an-
cient instrs. ; c. pf. -concerto, cham-
ber-music, etc., ed. collections.
Dienel (de .n«l). Otto, b. Tiefenfurth,
Silesia, Jan. if, 1839; pupil Gorlitz
Gym., Bunzlau Seminary, R. InsL
for church music, Berlin, and R.
Academy , organist Marienkircbe,
Berlin; 1881 ''Royal Mnsikdiiec-
tor."
Diener (de'-n^r), Fx., Dessan. 1849—
1879 ; tenor.
Dierich (de'.r¥kh), Cari, b. Heinrich-
au, March 31, 1852; tenor in con-
cert, opera and oratorio ; studied with
Graben- Hoffman.
Di«s (de .«s). Albert K., Hanover.
1755— Vienna, 1832; writer.
Diet (di^l), Edmond M., b. Psris,
Sept. 25, 1854 ; pupil of Cter Franck,
and Guiraud ; officier of the Academy ;
DICTIONARY OF MUSICIANS 483
prod. 3 operas, incl. '' StraUmice"
(1887), many baUets and pantomimes,
etc.
Diet(t)er (dc'-t«r). Chr. L., Ludwigs-
burg, 1757 — Stuttgart, 1822 ; dram,
composer.
Dietrich (de'-trtkh) (or Dieterich), (i)
Sixtua, Augsburg (?) 1490 (95)— St.
Gallen, Switzerland, 1548 ; composer.
(2) Albert Hn., b. Golk, near Meis-
sen, Aug. 28, 1829 ; important com-
poser; pupil of J. Otto, Moscheles,
Reitz and Schumann ; 1855-61, con-
cert-cond., 1859, principal mus.-
dir. at Bonn ; 1861, court-cond. at
Oldenburg; 1894 Leipzig; c. succ
opera '' HoHh Hoed'' (Frankfort,
1879) ; a notable symphony ; over-
ture, ''^ Normannenfahrt'' ; cantatas
with orch., *celIo- and vln. -concertos,
etc. (3) Marie, b. Weinsberg ;
studied Stuttgart and with Viardot-
Garcia ; colorature soprano at Stutt-
gart court-opera ; then at Berlin.
Dietsch (detsh), Pierre L. Ph., Di-
jon, 1808 — 1865 ; composer and con-
ductor.
Diets (dets), (i) Jn. Chr., Darmstadt,
i788---in Holland, 1845 ; instr. -mak-
er ; inv. melodeon (1805), etc. ; his
son and assistant (2) Chr., a famous
pf.-maker. inv. the Polyplectron.
Dtenpart (d*yii-p&r), Chaa., 1 8th cent.,
violinist and harpsichordist.
Diez (dets), Sophie (n^ Hartmann),
Munich, 1820— 1887 ; soprano.
Dig'nitm, Chaa., Rotherhithe, 1765 —
1837 ; Engl, singer and composer.
DU'Uger, Jn., Eisfeld, 1590 — Coburg,
1647 , cantor and composer.
Dinrelatedt (dTng'-«l-sht«t), Jenny
(ncc Lntzer), Prague, 18 16-— Vienna,
1877 ; a colorature singer ; m. the poet
Fz. D.
Dippel (dlp'-p^l), Andreaa, b. Cassel,
Nov. 30, 1866 ; notable tenor ; stud-
ied with Hey, Leoni and Rau ; 1887-
92, Bremen opera, then in New York
for several seasons, also in Breslau,
Vienna; 1889 at Bayreuth, from 1897,
at Covent Garden.
Dimta (de-roo'-ti), (i) Gir., b. Perugia,
ca. 1560; organist; pub. technical
books on org., cpt., etc. (2) Ag., b.
Perugia, 1622 ; Augustine monk ;
composer.
Dia'tin, (i) John, 1793— 1863 ; Engl,
trumpeter, mv. key-bugle. (2) Theo-
dore, Brighton, England, 1823 — Lon-
don, 1893 ; son of above ; barytone ;
later bass singer and composer.
Dit'son, (i) Oliver, 1811—1888;
founder of the music-pub. firm O.
Ditson Co., at Boston, Mass.; 1867,
his eldest son, (2) Chaa., took charge
of N. Y. branch (C. H. Ditson &
Co.). Since 1875 (3) J. Edward
Ditaon has cond. Philadelphia branch
(J. E. D. & Co.). A branch for the
importation of instrs., etc., was est. at
Boston in i860 as John C. Haynes &
Co. ; and since 1864 a Chicago
branch, Lyon & Healy.
Dittera (dit'-t«rs) (von Ditteradorf),
Karl, Vienna, Nov. 2, 1739 — Neu-
haus, Bohemia, Oct. 24, 1799; note-
worthy as forerunner of Mozart, and
early writer of programme-music (v.
D. D.) ; pupil of KOnig and Ziegler,
of Trani (vln.), and Bono (comp.); he
played in the orch. of his patron
Prince Joseph of Hildburghausen,
1759, and then in the ct.-Th. at Vienna
(1761) ; toured Italy with Cluck, and
made great succ. as violinist ; 1764-
69 conductor to the Bishop of Gross-
Wardein, Hungary. Prod, his first
opera, ^* Amcre in Musica" 1767;
followed by various oratorios, and
much orchestral and chamber-music.
Later conductor to the Prince-Bishop
of Breslau ; built a small theatre and
prod, several pieces. 1770 the Pope
bestowed on him the Order of the
Golden Spur; 1773 the Emperor en-
nobled him as "von Dittersdorf."
Prod. 28 operas ; ** Doctor und Apo-
theker'' (Vienna, 1786), still pop. ;
several oratorios and cantatas, 12
symphonies on Ovid's *''' Metamor-
phoses'' (Vienna, 1785) (noteworthy
as early attempts at programme-mu-
sic) ; 41 other symphonies ; a ** Con-
certo grosso" for ii concerted instrs.
48+
THE MUSICAL GUIDE
with orch. ; 12 vin. -concertos, etc.
Autobiography (Leipzig, 1801).
Divitia (de'-vl-t^), Antoniua (rightly
Antoine Le Riche), French contra-
puntist and singer, i6th century.
Dizi(de-ze), Fran.!., Namur, France,
Jan. 14, 1780— Paris, Nov., 1847;
composer and harpist.
Dlabacz (dlfi'-bfich), Gottf. J., Boh-
misch-Brod, Bohemia, 1758 — Prague,
1820; pub. a biog. diet., etc.
Djemil, Bey Q6m'-e\ ba), b. Constan-
tinople ca. 1858 ; court-'cellist to the
Sultan.
Dobrsynaki (dd-brti-tsen'-shky), Igna-
cy F^Ux, Romanoff, Volhynia, Feb.
25, 1807— Oct. 9, 1867 ; pupil of
Eisner ; pianist and dram. comp>oser.
Doebber (d6p'-b€r), Ja., b. Berlin,
March 28, 1866 ; pupil of Radecke,
Bussler and Agghazy, Stem Cons.;
taught the ist pf.-class in Kullak*s
Cons. ; then conductor at KroU's
Th.; at Darmstadt ct.-Th.; since 1895
cond. at the ct.-Th. in Coburg-Gotha,
and tutor to Princess Beatrice ; c.
succ. operas, ** Die Strassens&nge'
r««'*(Gotha, 1890); '' Der Schmied
von Gretna-Green " (Berlin, 1893) ;
burlesque-opera ** Doketta " (Bran-
denburg, 1894) ; ** Die Rose von Gen^
Mand" (Gotha, 1895) ; '' Die Grille''
(Leipzig, 1897), etc.
D5hlcr &§'-l«r), Th., Naples, 1814—
Florence, 1856 ; pianist and dram,
composer.
Dohnanyi (d5-n£n'-yg), Ernst von, b.
Pressburg, Hungary, July 27, 1877 ;
notable pianist and promising com-
poser ; first lessons from his father,
an amateur 'cellist ; later studied with
Foerstner, Kessler, Thoman, and
Eugen D'Albert ; d^but, Vienna ;
1898, won prize there with his pf.-
concerto. 1900 and 1901 toured in
America with great succ. ; began com-
posing early and was favorably no-
ticed by Brahms ; c. also symphony,
pf. -quintet, pf.-pcs., etc.
Doles (d6'-l«s). J. Fr., Steinbach.
Saxe-Meiningen, 1715 — Leipzig, 1797;
director and composer.
Dominiceti (dd-mS-nS-ch&'-te), Ce-
sare, Desenzano, Lago di Garda,
182 1 — Sesto di Monza, 1888 ; ptof.
of comp. at Milan Cons., and dram,
composer.
Dom'mer, Airey von^b. Danzig, Feb.
o, 1828 ; pupil of Richter and Lobe
(comp.), and Schallenburg (org.);
1863 Hamburg as a lecturer, critic,
and (1873-79) sec. to the Town Li-
brary; 1892, Dr. phil. hon. causa
(Marburg Univ.); writer and com-
poser.
Donati (dd-ni'-te), (i) Ignazio, CasaU
n^ggiore, near Cremona, i6th cent.,
composer and conductor. (2) Bal-
dassaro, d. Venice, 1603 ; cond. and
composer.
Done (don), Wm., Worcester, 18 15 —
18^5 ; Engl, organist and conductor.
Doni (do'-ne), (i) A, Fran., Florence,
1 5 19 — Monselice, near Padua, 1574 ;
pub. a ''*' Dialogue on Music /^ {2)
Giov. Bat., 1593— 1647 ; Florentine
nobleman of great learning and re-
search in ancient music; mv, tbe
Lyra Barberina or Amphichord.
Donizetti (dd-ne-ts^t'-te), (i) Gaeta*
no, Bergamo, Nov. 25, I797--April 8,
1848 ; son of a weaver ; pupil of Sa-
lari (voice), Gonzales (pf. and ac-
comp.), and Mayr (harm.); Pilotti
and Padre Mattel {cpt.) ; his father
opposing his making mus. a profes-
sion, he entered the army, was posted
at Venice, where he c. and prod, with
succ. *• Enrico di Borgogna " (1819) ;
•* // Falegname di Livonia " (Venice,
1820), first given as ^* Pietro il
Grande** also succeeded ; ** LeN'oxse
in Villa** (Mantua, 1820) failed;
'* Zoraide di Granata** (1822) suc-
ceeded and he left the army ; 1823 he
m. Viiginie Vasselli (d. 1837) ; 1822-
29 he c. 23 operas, none of them of
g^at originality or importance. With
**Anna Bolena" (Milan, 1830), he
began a better period, incl. the
great successes *' VEHsir d'Amcre"*
(Milan, 1832), ** Lucresia Borgia"
(La Scala, MiUn, 1833), " Lucia di
Lammermoor " (Najdes, 1835). 1835
DICTIONARY OF MUSICIANS 485
at Paris he prod. " Marino Falter o^
1837 dir. Naples Cons. The censor
forbade his ** PoUuto " (it was prod,
at Naples after his death, 1848), and
in wrath he left for Paris, where he
prod, with much succ. " La FilU du
Regiment'' (Op.-Com., 1840), *'Z/j
Martyrs " (a new version of PoUuto)
rOpera, 1840)? and *'Zfl Favorita*'
(Op^ra, 1840). Returned to Italy,
and succ. prod. " Adelasia" (Rome,
1841), and *' Maria PadiUa " (MiUn.
1 841). At Vienna, 1842, c. and prod,
with great succ. " Linda di ChamoU"
nix" The Emperor made him Court
Composer and Master of the Imperial
Chapel ; c. a Miserere and an Ave
Ibfana in strict style. ^^ Don Pas*
auale^ was prod, in Paris, 1843.
Violent headaches and mental depres-
sion now assailed him, but he contin-
ued to write and prod. ** Cater ino
Comoro** (Naples, 1844), his last
work; he was found stricken with
paralysis, never recovered, and died
m 1848 at Bergamo. Besides 67
operas, all of them produced, he c. 6
masses, a requiem ; cantatas ; 12
string-quartets ; pf.-pcs. and songs.
Biog. by Cicconetti (Rome, 1864).
(2) Alfredo, b. Smyrna, Sept. 2,
1867 ; pupil of Ponchielli and Domi-
niceti, Milan Cons., graduating with
a noteworthy ** Stabat Mater" with
orch. ; lives at Milan as cond. and
teacher of cpt. ; c. i-act operas
"TVfliw" (Milan, 1889), and '*Z><^
TAve Maria" (Milan, 1897), very
succ., ** Ui Locandiera" (comedy in
3 acts), a s3rmphony, etc.
Dont (d6nt), (i) Jos. Val., Georgen-
thal, Bohemia, 1776 — Vienna, 1833 »
'cellist. (2) Takob, Vienna, 18 15 —
1888; son of above; violinist and com-
poser.
Doiig:em (d6n.j£r-lg), Dom., Beiga-
mo» i790--Bologna, 1873 I tenor.
Door (dor), Anton, b. Vienna, June
90f 1833 ; pupil of Czemy and Sech-
ter ; court pianist at Stockholm ; 1859
teacher at the Imp. Inst, Moscow;
1864 prof, at the Cons. ; 1869 ist
prof. Vienna Cons., resigned 1901 ;
has edited classical and instructive
works.
Dopp'ler, (i) Albert Fr., Lemberg,
182 1 — Baden, near Vienna, 1883 ;
flutist, conductor, professor, and
dram, composer. (2) Karl, b. Lem-
berg, 1826 ; bro. of above ; flutist,
and conductor; c. operas, incl. **£r-
gebeth " in collab. with his bro. and
Erkel. (3) Arpad, b. Pesth. June
5» 1857 ; son and pupil of (2) ; pupil
of Stuttgart Cons., later pf. -teacher ;
1880-83 New York ; returned to
Stuttgart Cons., also since 1889
chorusm. at the ct.-Th. ; c. opera
•* Viel LSrm urn Nichts " (Leipzig,
1896) ; suite, FestouvertUre^ etc.
Ddrfiel (d^rf'-f^l), Alfred, b. Walden-
burg. Saxony, Jan. 24, 182 1 ; pupil
at Leipzig of Fink, Muller, Mendels-
sohn, etc. ; mus.-libr. Leipzig City
Library ; critic and editor ; 1885 Dr.
phil. h. c, Leipzig U.
Do'ria, Clara, (i) v. mrs. c. k.
ROGERS. (2) V. KLOUS, A.
D5ring (da-rYng), (i) G., Pomeren-
dorf, near Elbing, 1801 — 1869 ; can-
tor ; pub. choral books and historical
essays. (2) Karl, b. Dresden, July
4, 1834 ; pupil Leipzig Cons. ; 1858,
Dresden Cons. ; 1875, prof. ; c. suites
for strine-orch., Grand Mass, etc.
Dom, (i) H. (L. Edm.), K5nigsberg,
Nov. 14, 1804 — Berlin, Jan. 10, 1892;
pupil of Berger, Zelter, and Klein,
Berlin ; ct.-cond. at KOnigsberg ;
cond. Cologne ; founded the " Rhein-
ische Musikschule," which, 1850, be-
came the Cologne Cons. ; cond. Royal
Opera, Berlin ; teacher and critic ;
notable composer of 12 operas, sym-
phonies, etc. (2) Julius Paul, b.
Riga, June 8, 1833 ; son and pupil of
above ; pianist ; teacher in Poland «
Cairo, and Alexandria ; 1865-68
cond. the Crefeld '* Liedertafer' ;
since pf. -teacher at the. R. Hoch-
schnle, Berlin, with title " Royal
Prof." ; c. over 400 works, incl. 3
masses with orch. (3) Otto, b. Co-
logne, Sept. 7, 1848 ; son and pupil
486
THE MUSICAL GUIDE
of (i) ; studied at Stern Cons., took
the Meyerbeer scholarship (ist prize),
1873 ; lives in Wiesbaden ; c. succ.
opera '' Afraja** (Gotha, 189 1);
symphony, ** Prometheus " / over-
tures, " Hermannsschlacht^'* and
** Sappho" etc. (4) Edward,
Pen-name of J. L. Rdckel.
Ddrner (d«r'-n5r), Armin W., b.
Marietta, Ohio, June 22. 1852;
studied in Berlin, Stuttgart and Paris ;
pf.-prof. Cincinnati Coll. of Music ;
pub. '* Technical Exercises."
Dornheckter (dom'-h^k-tdr), Robert,
Franzburg, Pomerania, 1839— Stral-
sund, 1890 ; conductor, organist and
composer.
Dorus - Gras (d6 - rU - gras), Julie
Aim^e Jos^phe (rightly) Van
Steenkiste (Dorus, stage-name) ;
Valenciennes, 1803 — Paris, 1896 ;
operatic soprano ; created important
roles.
Doss (dds), Adolf von, Pfarrkirchen,
Lower Bavaria, 1825 — Rome, 1886;
Jesuit priest and dram, composer.
Ddtssch (detsh), Aug., 1858— Wies-
baden, 1882 ; 'cellist.
Dotzauer (d6t'-tsow-dfr), (i) Justus J.
Fr., Hasselrieth, near Hildburghau-
sen, 1783 — Dresden, i860 ; 'cellist,
and dram, composer. (2) Justus B.
Fr., Leipzig, 1808 — Hamburg, 1874;
son of above ; teacher. (3) K. L.
(" Louis **), b. Dresden, Dec. 7,
1811 ; son and pupil of (i); 'cel-
list.
Douay (doo-^'), Georges, Paris, Jan.
7, 1840 ; pupil of Duprato ; amateur
composer of operettas, etc.
Dourlen (door-lin), Victor Chas.
Paul, Dunkirk, i78o^Batignolles,
near Paris, 1864 ; prof, and dram,
composer.
Dow'land, (i) John, Westminster,
London, 1562 — London, April, 1626 ;
lutenist and composer to Christian
IV. of Denmark. (2) Robert, 164 1 ;
son of above ; lutenist and editor.
Draeseke (dra'-z^-kS), Felix Aug.
Bhd., b. Coburg, Oct. 7, 1835 ; im-
portant composer; pupi! of Rietz,
Leipzig Cons., and of Lisst at Wei-
mar; 1864-74 Lausanne Cons., ex-
cept 1868--69, in the R. M. S. at Mn-
nich ; 1875 Geneva, then Dresden as
teacher ; 1884 prof, of comp. at the
Cons. ; c. 4 operas ; ** Sigttrd,'^
** Gudrun" (Hanover, 1884), ** Ber.
trand de Bom " (book and music)«
and the succ. ** Herrat" (Dresden,
1892) ; 3 symphonies (op. 40 ** Trag"
tea" in C) ; Grand Mass with orch. ;
** Akademische FestouvertUre "y sym-
phonic preludes to Calderon's ** Li/e
a Dream:' Kleist's '' PentkeHlea''
(both MS.), etc.; wrote treatises and
a ** Harmony " in verse.
Draghi (dril'-ge), (i) Antonio, Ferrara,
1635 — Vienna, 1700 ; c. 87 operas,
87 festival plays, etc. (2) Gio. JBat.,
1667 — 1706, harpsichordist, oi^nist
and composer, London.
Dragonnet'ti, Dom., Venice, April
7, 1763 — London, April i6, 1846 ;
called ** the Paganini of the contia-
basso " ; composed, played and
taught.
Drath (drfit), Th., b. Winzig. Silesia,
June 13, 1828 ; pupil of Marx ; can-
tor at Bunzlau Seminary; Royal
** Musikdirector" ; composer and the-
orist.
Draud (drowt) (Dran'dius), Geors^,
Davemheim, Hesse, 1573 — Butzbacn,
1635 ; pub. *• Bibliotheca ClasHca,'^
and other musical works of great in-
formational value.
Drechaler (dr«khs'.l«r). (i) Jos., WatU
isch-Birken (Vlachovo Bred). Bohe-
mia, 1782 — Vienna, 1852 ; organist,
conductor and dram, composer. (2)
Karl, Kamenz, 1800 — Dresden,
1873 ; 'cellist teacher.
Dregert (dra'-g^), Alfred, Frank-
fort-on-Oder, 1836 — Elberfeld, 1893 ;
conductor, dir. and composer.
Dreael (dra'-z«l), Otto, Andcmach,
1826 — Beverly, Mass., 1S90 ; eom«
poser.
Dress'ler, (i) Louis Raphael, b. New
York, 1861 ; son and pupil of (2)
Wm. (a conductor at >f. Y.) ; Uvcs
there as pianist and composer.
DICTIONARY OF MUSICIANS 487
Dresser (drfeh'-€r), Anastasius W.»
b. Kalisch, Poland, April 28, 1845 ; a
brilliant pianist at 12 ; studied with
During, krebs, and FiHh, Dresden
Cons.; lived in Leipzig ; 1868, Halle ;
founded a music-school of which be is
still dir. ; c. 2 symphonies, opera
" Valmoda," etc.
Dreyschock (drf'-^ok), (i) Alex.,
Zack, Bohemia, Oct. 15, 18 18 — Ven-
ice, April I, 186^ ; one of the most
dextrous of pf. -virtuosi ; c. an opera,
etc. (2) Raimtind, Zack. 1824 —
Leipzig, 1869, br. of above ; leader.
His wife (3) Elisabeth (nee Nose),
Cologne, 1832, a contralto. (4) Felix,
Leipzig, Dec 27, i860 ; son of (i) ;
pianist ; student under Grabau, Ehr-
uch, Taubert, and Kiel at the Ber-
lin Royal Hochschule ; prof. Stem
Cons., Berlin ; c. a vln.-sonata (op.
i(^, etc.
Driebergr (dr«'-b«rkh), Fr. J. von,
Charlottenburg, 1780—1856; writer
on Greek music ; dram, composer.
Drobisch (dro'-bYsh). (i) Merits W.,
b. Leipzig, Aug. 16, 1802; from 1842
prof, of phil., Leipzig Univ. ; pub.
important treatises on the mathemat-
ical determination of relative pitches.
(2) Karl L., Leipzig, 1803 — Augs-
burg, 1854 ; bro. of above ; c. 3 ora-
torios.
Drdbs (drfps), J. And., near Erfurt,
1784 — Leipzig, 1825 ; organist.
Drouet (droo-a), L. Fran^. Ph., Am-
sterdam, 1792— Bern, Sept 30, 1873;
fludst and composer.
Dubois (dQ-bwa) (i) (CUment Fran.)
Th.» b. Rosnay, Mame, Aug. 24,
1837 ; studied at Kheims, then under
Marmontel, B^noist, Bazin, and
Thomas (fugue and cpt.) at Paris
Cons. ; took Grand prix de Rome
with the cantata '* Atala"; also first
prizes in all departments ; sent from
Rome a Solemn Mass (perf. at the
Madeleine in 1870), a dram, work,
•• La Prova d'un Opera Seria'' and
2 overtures; returned to Paris as a
teacher ; cond. at Saint-Clotilde ;
since organist at the Madeleine ;
1871 prof, of harm, at the Cons. ;
1891 prof, of comp. ; [894, elected to
Acad. ; 1896, dir. of the Cons., and
officier of the Legion of Honour ; c.
4 operas ; oratorios : ** Les Septs Pa-
roUs du Chrisr (1867), '* Le Para-
dis Perdu'' (1878) (city of Paris
prize), and '* N6tre Damede la Mer''
(1897) ; cantatas ; masses, etc. ; 3
overtures, incl. ^^ Prithioff." (2)
L^on, b. Brussels, Jan. 9, 1849 ; pupil
of the Cons., took Grand prix de
Rome. Since 1890 second cond.,
Th. de la Monnaie, Brussels ; c. 3
operas, ballet, symphonic poem,
'•/^/ai^,"etc.
Dnburg', Matthew, London, 1703 —
1767 ; violinist and conductor.
Dncange. Vide cangb, du.
Duels (du-se), Benoit (Benedictns
Duels), b. Bruges, 1480; important
composer : not to be confused with
Benedictus of Appenzell.
Dnfay (du-f£'), GuiU., ca. 1400— Cam-
brai, Nov. 27, 1474 ; a canon ; said
to have inv. white (open) notes.
Dn^ason (dQ-g&-zdn), Louise-Rosa-
he (nee Lefkvrc), Berlin, 1753 —
Paris, 182 1 ; untrained singer in light
opera, so charming in both young
and old r51es as to give rise to the
descriptive terms *' Jeunes Duga-
zon," and ** Mires Dugazon."
Dug'gan, Jos. Francis, b. Dublin,
July 10, 1817 ; opera-conductor and
teacher in various cities in America,
also Paris and London ; c. succ.
operas, ^* Pierre^'* and ^* L^onie^'*
and 3 not produced ; 2 symphonies,
etc.
Duiffopnigrar (rightly Tiefifenbriick-
er) (dwcf -fo-proog-gfir or tef'-f^n-
brOk-^r), (i) Caspar, Freising, Ba-
varia, 1514 — Lyons, 1572; long con-
sidered the first vln. -maker ; went to
Lyons in 1553, naturalised in 1559,
and made violas da gamba and lutes.
Other instr. -makers of the same sur-
name were (2) Wendelin, (3) Leon-
hard, (4) Leopold, (5) Ulrich, and
(6) Magnns. The latest made lutes
at Venice, 1607.
4S8
THE MUSICAL GUIDE
Dnlcken (dool'-k^n), (i) Louise (n^
David), Hamburg:, 1811 — London,
1850, a sister of Fd. David ; pianist.
(2) Fd. Quentin, London, June i,
1837 — ^Astoria, N. Y., 1902 ; son of
above ; pupil of Mendelssohn, Mo-
scheles, Gade, Hauptmann, Becker
and F. Hiller ; prof. Warsaw
Cons. ; toured in Europe ; lived for
years in New York ; c. an opera,
'* fVieslav'* ; a mass, etc.
Dnlon (doo'-l5n), Fr. L., Oranienbur^:*
near Potsdam, 1769 — ^ Wttrzburg,
1826 ; a blind flutist and composer.
Dulong (doo'-longk), (i) Fs. Henri
von, b. Hamm, Westphalia, Feb. 26,
1861 ; tenor, studied with Vannucini
in Florence ; toured as concert-singer.
(2) Magda von (n^e John), b. Halle,
Feb. 29, 1872 ; wife of above ; con-
cert-alto; studied with Hromada,
Frau Joachim, and Gerster ; first
sang as Mag^da Loaaen.
Dun, Finlay, Aberdeen, 1795 — 1853 ;
viola-player, singing-teacher, editor
and composer.
Dun'ham, H. Morton, b. Brockton,
Mass., July 27, 1853 ; pupil N. E,
Cons., and Boston Univ. Coll. of
Mus. ; has taught in both places
since; pub. ^^ Organ School "\ 2 or-
gan-sonatas, etc.
Duni (doo'-ne), Eg^dio Romualdo,
Matera, near Otranto, Feb. 9, 1709
— Paris, June 11, 1775 ; pupil of Du-
rante ; his first opera, ** Nerone^*
prod. Rome, 1735, with great succ,
triumphing over Pergolesi's last ope-
ra ** Olimpiadc^^ which the generous
Duni said was too good for the pub-
lic, declaring himself " frenetic©
contre il pubblico Romano " ; he c.
French operettas with such succ. that
he settled in Paris, where he is con-
sidered the founder of French opera-
bouffe ; c. 13 Italian operas and 20
French.
Dunk'ley, Fd. (Louis), b. London,
England, July 16, 1869 ; pupil of G.
A. Hjggs, Bainbridge, J. HiM:s(cpt.),
and E. H. Turpin (comp.) ; and at
R. A. M. (Scholarship), under Parry,
Bridge, Martin, Gladstone, Sharpe
and Bamet ; 1893, dir. at St. Agnes'
School, Albany, N. Y. ; also organ-
ist since 1897 at Trinity M. El. Ch. ;
pub. •* The Wreck of the Hesperus;*
ballade for soli, chor., and orcb.,
etc. ; 1889 took prize of 50 guineas
with orch. suite.
Dunoyer (dttn-wfi-yi'). Vide gaik>
QUIER.
Dun' stable (Dunstaple), John, Dun-
stable, Bedfordshire, England, 1400
(?) — Walbrook, Dec. 24, 1453 ; called
by Tinctor one of the " fathers " o£
counterpoint.
Dupont (da-pdii), (i) Pierre, Rodie^
taill^, near Lyons, April 23, 1821 —
Saint-:^tienne, July 25, 1870 ; c. the
words and tunes of popular and
political songs which Reyer wrote
out ; provoked such riots that Napo-
leon banished him, 185 1. (2) Jo-
seph (ain^), Li^ge, 1821 — 1861 ; vio-
linist ; prof* and dram, composer.
(3) J. I^ran., Rotterdam, 1822 —
NQmberg, 1875 ; violinist and dram.
composer. (4) Aug., Ensival, near
Li^ge, 1828 — Brussels, 1890; com-
poser. (5) Alex., Liige, 1833 — 18S8 ;
bro. of above; pub. a ^^ R^perUire
dramatique Beige;* (6) Joa. (le
jeune), b. Enstval, near Li^, Jan.
3, 1838 ; bro. of (3), pupil at Li^
and Brussels Cons., took Grand pnx
de Rome at Brussels ; 1867 cond. at
Warsaw; 1871, in Moscow; 1872,
prof, of harm., Brussels Cons. ; cond.
Th. de la Monnaie, the Society of
Musicians, and the Popular Concerts.
(7) Jos. D., d. The Hague, June 26,
1867 ; bro. of above ; dir. German
Op. at Amsterdam.
Duport (dtt-p6r), (i) J. P., Paris, 1741
—Berlin, i8i8 ; 'cellist. (2) T. L.,
Paris, 1749 — 1 8 19; more uunous
bro. of above; also'celiist; composer
and writer.
Duprato (da-pra'-t5), Jules Laurent,
Nfmes, 1827 — Paris, 1892 ; prof, of
harm, and dram, composer.
Duprea (dtt-pra), L. Gilbert, Paris,
1806 — 1896 ; tenor and composer.
DICTIONARY OF MUSICIANS 489
Dnpnis (da-pw€), (i) Jos^ (Joseph
Lambert), Li^c, 1833 — Nogent-
sur-Mame, 1900; opera-bouffe singer.
(2) Sylvain, Li^e, Nov. 9, 1856 ;
pupil Li^e Cons., 188 1 Prix de Rome;
now teadier of cpt. and cond. of a
singing-society ; c. 3 operas, incl.
the succ. com. opera **' VidylU,^' 3
cantatas, symphonic poem, *^ Mac-
beth*' etc.
Diipny (dU-pwe). Vide putkanus.
Durand (rightly Dnranowsld) (dO-
ran or doo-rSn-6f'-shkl), (i) Aiig^ste
Fr^d^ric, b. Warsaw, 1770 ; violin-
ist and cond., son of a court-mus. (a)
fiinile, b. St.-Brieue, Cotes dn Nord,
Feb. 16, 1830 ; while still a pupil at
the Paris Cons, he was app>ointed
teacher of an elementary singing-
class ; 1 87 1 prof, of harm ; dram,
composer and writer. (3) Marie
Anguste, Paris, July 18, 1830 ; pu-
pil of Benoist, 1849-74 organist at
various churches ; 1870 est. mus.-pub.
business of ** Durand et Schttne-
werk." later ** Durand et Fils " ; a
critic and composer.
Dnrante (doo-ran'-t«), Fran., Fratta
Maggiore, Naples, March 15, 1684 —
Naples, Aug. 13, 1755 ; director and
conductor, with salary of less than
$100 per annum ; he is an important
teacher and composer of the ** Nea-
politan School " ; c. 13 masses, etc.
Durastanti (doo-ri-stan'-te), BAar-
g^arita, ca. 1695 Italian prima don-
na, of wonderful popularity in Lon-
don.
D'Ur'fey, Thos., Exeter, ca. 1649—
Feb. 26, 1723; operatic composer
and editor.
Dflrrner (dtr'-n€r), Ruprecht Jus.
Julius, Ansbach, Bavaria, 18 10— Ed-
inburgh, 1859 ; composer, writer, ed-
itor.
Dnrutte (do-rOt), Fran. Camille
Ant., Ypres, East Flanders, 1803 —
Paris, 1881 ; wrote a new but errone-
ous system of harm. ; c operas, etc.
Dn(8)8ek (Doiek, Dnschek) (doos'-
9«k or better doo'-sh«k), (i) F«.,Chot-
iborz, Bohemia, 1736 — Prague, 1799 »
composer, pianist and teacher. (2)
Josephine, b. Prague, 1756 ; pianist,
composer, singer. (3) J. Ladislans,
Caslav (Tschaslau), Bohemia, Feb.
9, 176 1 — Saint - Germain - en •• Laye,
March 20, 1812 ; a boy-soprano at
Iglau, pupil of Father Spenar at the
Jesuit College ; organist Jesuit
Church, Kuttenburg, for 2 years;
studied theology at Prague Univ.,
also music ; became organist of Saint-
Rimbaut*s, Mechlin ; lived Bergen-
op-Zoom ; Amsterdam ; The Hague,
1783 ; studied with C. P. E. Bach,
Hamburg ; became famous pianist
and performer on Hessei's *' Har-
monica," Berlin and St. Petersburg;
lived in Lithuania a year at Prince
Radziwill's Court ; lived ^^1%
Paris, London ; 1792 m. (4) Sofia
Corri (b. Edinburgh, 1775 ; a singer,
harpist and composer). He entered
a mus.-business with his father-in-
law, 1800, failed and fled to Ham-
burg to escape creditors. He was in
the service of various Princes, and
(1808) of Prince Talleyrand in Paris.
A pioneer among Bohemian and Po-
lish virtuosi and composers he dis-
puted with Clementi the invention of
the " singing-touch." Prod. 2 English
operas in London with success, and
pub. a Mass (comp. at the age of 13),
oratorios and church - music ; pub.
nearly 100 works for pf. , incl. 12 con-
certos, 80 sonatas with vln. ; 53 so-
natas for pf.-solo, etc. ; pub. a
'''Method:*
Dnstmann (doost'-man), Marie Lulse
(n^e Meyer), Aix-la-Chapelle, 1831
— 1899; soprano.
Dutch (dtttsh), b. Denmark— d. Frank-
furt-on-Main, 1863 ; prominent Rus-
sian composer.
Duval (da.v&r), Edmond, b. Enghien,
Hainault, Aug. 22, 1809; pupil Paris
Cons., 1828-32, when he was dis-
missed for irregular attendance; at
Mechlin became interested in Jans-
sen's studies of Gregorian music;
was commissioned by the Bishop to
revise the church-ritual, and visited
49°
THE MUSICAL GUIDE
Rome; he pub. "revised version,"
etc., of ecclesiastical song, which F^
tis declares altogether wrong.
Duvemoy (or Uuvemois) (du-v^m-
wi), (i) Fr., Montb^liard, 1765 —
Paris, 1838 ; prof, at the Cons. ; com-
poser. (2) Charles, Monttx^liard,
1766— Paris, 1845 ; bro. of above ;
clarinettist ; prof, and composer. (3)
Chas. Fran., Paris, 1796 — 1872 ;
singer. (4) H. L. Chas., b. Paris,
Nov. 16, 1820 ; son of (3) ; pupil
of Hal^vy and Zimmermann, Paris
Cons. ; 1 839, assist, -prof. ; 1 848 , prof,
there of solfeggio; composer. (5)
Victor Alphonae, Paris. Aug. 31,
1842 ; pupil of Bazin and Marmontel
Paris Cons. ; took first pf . prize ; now
teacher of piano at the Cons. ; a
Chev. of the Legion of Honour, and
officier of public instruction ; 1892
prod, the succ. opera '* SardanapaU**
(Lyons), also opera '' HelW' (Gr.
Op^ra, 1896) ; hissymph. poem, ** La
Tempite,'* won the City of Paris prize.
(6) J. Bapt., composer and pf.-
teacher, Paris, 1825.
Duysen (doi'-S(i^n), Jea Lewe, b. Flens-
bura^, Aug. I, 1820; i860 founded a
pf. factory at Berlin.
Drofik (dvdr'-sh&k),Antoiiin,b.MQhl.
hausen, Bohemia, Sept. 8, 1841 ;
chief of Bohemian composers ; son of
an inn-keeper, who wished him to be
a butcher, but he learned the vln.
from the schoolmaster, and at 16 en-
tered the Prague Org.-Sch. under
Pitzsch, earning a livelihood as vio-
linist in a small orchestra ; graduated
in 1862, became via. -player at the
Nat. Theatre. He was 33 before an
important comp. was prod., a hymn for
male chorus and orch., which attract-
ed such attention that 1875 he re-
ceived a government stipend and de-
voted himself to composition. 1891
Mus. Doc. Cambridge Univ.; 1892-
95 dir. Nat. Cons., New York ; since
has lived at Prague ; 1901, director
of the Prague Cons ; 1902, prod, opera
''Armida," Pilsen Nat. Th. He is a
strong believer in nationalism in mu-
sic, and provoked much controversy by
advising American composers to ioand
their school on the harmonic and mel-
odic elements of plantation-music.
In his 5th symphony, op. 95, •* J^r^m
the New V/orld^* he made some use
of such a manner. His other comp.
are : Bohemian operas ** Th^ King
and the Charcoal-Burner^^ (Prague,
1874); ''Wanda'' (1876); '' Selmm
SedUk*' (1878); '' Turde PaHce*'
(1881); ''DimitHje'' (1882); ''The
Jacobins'' (1889); '' Rusalka^ tkt
Water Nixie" (Nat. Th. Prague,
1901); oratorio ''St. LudmiW
(Leeds Mus. Fest., 1886); Requiem
Mass^ op. 89, with orch. (Birming-
ham Fest., 1891); cantatas '• Tie
Spectre's Bride," op. 69, with orch.
(Birmingham Fest., 1885), and " The
American Flag" (N. Y., 1895);
Hymn of the Bohemian Peasants^
for mixed ch. ; hymn for mixed ch.
and orch.; " Stabat Mater** with
orch. (London, 1883) ; Psalm [49
with orch."; 5 symphonies; 3 or^
chestral ballades, " Der IVasser^
mann" "Die Mittagshexe,^' and
"Das goldene Spinnrad" ; 2 sets oC
symphonic variations for orch. ; over-
tures, **iV«« //eim," "//uH/shm,"
"In der Natur," "Othello," '^ Car-
neval"; concertos for *cello, pf., vln.;
*• Slavische Tdnte," and *' Sknnsche
Rhapsodien "; scherzo cappriccioso
for orch. ; string-sextet ; 2 strings-
quintets ; pf. -quintet ; 6 string-quar-
tets ; 2 pf.-quartets ; a string-trio ; 2
pf. -trios; mazurek for vln. with
orch. ; serenade for wind with *celk>
and double-bass; nottumo for
string-orch. ; pf. music, "LegetuUn,^
" Dumha " (Elegy), ** FurianU "
(Boh. natl. dances) ; ' ' Kldnge ami
Mahren," and '* Silhouetten" for pf.
4-hands ; violin-sonata, op. 57 ;
songs, etc.
Dwight, J. Sullivan, Boston, MassL^
181 3 — 1893 ; editor and critic ; one
of the founders of the Harvard Musi*
cal Association ; was a member of
the Brook Farm Conmiunity; 1852-
DICTIONARY OF MUSICIANS 49^
8 1, edited ** Dwight^s Journal of
Music:'
Dykes (Rev.), J. Bacchns, Kingston-
upon-Hull, tng., 1823 — St. Leon-
ard's, 1876 ; conductor.
Dyne, John, suicide, Oct. 30, 1788 ;
English alto singer and composer.
Eager, John, b. Norwich, 1782 ; violin-
ist and teacher.
Eames (amz), Emma, b. (of American
parents) at Shanghai, Aug. 13, 1867 ;
at 5 went with her mother, her first
teacher, to Bath, Maine; pupil of
Miss Munger at Boston ; 1886-88 at
Paris, of Madame Marchesi (voice),
and Pluque (acting, etc.) ; 1888, en-
gaged at the Op. -Com. , but made d^
but with succ. at the Gr. Opera,
March 13, 1889, as Juliette in Gou-
nod's ** Rom/o €t Juliette" a r6le pre-
viously sacred to Patti ; sang at the
Opera for 2 years, creating *'Co-
lombe" in St.-Saens* ** Ascania" and
as ** Zaire" in De La Nux's opera;
1891, Covent Garden in ** Faust/' m.
the painter Julian Story the same year,
and in Oct. appeared in New \ ork ;
since then she has sung regularly in
N. Y. and London, except 1892-93,
at Madrid, and 1895-96, during ill-
health ; her "Sieglinde" is perhaps
her best role.
East'cott, Richard, Exeter, 1740 —
Livery Dale, Devonshire, 1S28 ; writ-
er and composer.
Eb'den, Thos., Durham, 1738— 1811 ;
organist and composer.
Ebeling (a-b^-llng), (i) J. G., Ltine-
burg, ca. 1620 — Stettin, 1676 ; prof,
and composer. (2) Chp. Daniel,
Garmissen, near Hildesheim, 1741
— Hamburg, 1817 ; prof, and writer.
Ebell (a'.bdl), H. K., Neuruppin.
i775"--Oppeln, 1824 ; conductor and
dram, composer.
Eberhard (i) voa Freisinfifen (a-b^r-
hSrt f5n fr!'-z!ng-€n), Eberhar du8
Friseng^en'ais, Benedictine monk,
I f th cent. ; wrote on the scale of
pipes and bell-founding. (2) J.
Aug^., Halberstadt, 1739 — Halle,
1809 ; professor.
Eberl (a'-bdrl), Anton, Vienna, June
13, 1766— March 11, 1807; famous
pianist, conductor and dram, com-
Doser
Eberlin (i'-b^r-len), (i) Daniel, Nam-
berg, ca. 1630 — Cassel, 1691 ; con-
trapuntist and violinist ; famous as a
composer in his day. (2) (or Eber-
le) J. Ernst, Jettenbacht, Swabia,
1702 — Salzburg, 1762 ; conductor and
composer.
Ebers (a-b^rs), K. Fr., Cassel, 1770
— Berlin, 1836 ; conductor and dram,
composer.
Eberwein (a'-b5r-vTn), (i) Traug^ott
Maximilian, Weimar, 1775 — RudoU
stadt, 1831 ; dram, composer. (2)
Karl, Weimar, 1786— 1868, bro. of
above ; dram, composer.
Eccard (^k'-kart), J., MQhlhausen,
Thuringia, 1553 — Berlin, 161 1 ; im-
portant comp>oser of church-music.
Eccles («k'-kdls), (I) John, London (?),
1668 — Kingston, Surrey, 1735 ; son
and pupil of the violinist, (2) Solo-
mon E. C. His brother (3) Heniy,
was violinist and composer. {4)
Solomon Thomas, bro. of above,
also violinist.
Eck (ek), (i) J. Fr., Mannheim, 1766—
Bamberg (?), 1809 (1810?); violinist
and composer. (2) F«., Mannheim,
1774 — insane, Strassburg, 1804 ; bro.
and pupil of above ; violinist.
Eckelt («k'-«lt), J. Val., Wemings-
hausen, near Erfurt, 1680— Sonders-
hausen, 1734 ; writer.
Ecker (fik'-^r), (i) K., Freiburg, Bad-
en, 18 13 — 1879; composer. (2)
Wensel, pen-name of W. Gericke.
Eckert (UkUn), K. Ant. Florian,
Potsdam, 1820 — Berlin. 1879; *^ ^^
c. an opera, at 13 an oratorio ; court-
conductor and dram, composer.
Ed'dy, Clarence H., b. Greenfield,
Mass., June 23, 1851 ; pupil of J. G.
Wilson and Dudley Buck ; 1871 of
Haupt and Lttschhom (pf.) ; toured
in Germany, Austria, Switxerland,
492
THE MUSICAL GUIDE
and Holland ; 1874, organist, Chica-
go; 1876, dir. Hershcy School of
Musical Art ; later m. its founder
Mrs. S. 6. H. ; toured America and
Europe, 1879 g^ve 100 recitals at
Chicago without repeating a number;
for some years cond. Chicago Philh.
Vocal Soc. ; c. organ and church
music, etc.; pub. ** The Church and
Concert Organist;' ** The Organ in
Church " (1887), and transl. Haupt*s
*• Cpt, and Fugue " (1876).
Ed'son, Lewis, Bridgewater, Mass.,
1748 — Woodstock, N. Y,, 1820 ; pub.
a coll. of hymns, etc.
Ed'wards, Julian, b. Manchester,
England, 1855 ; pupil Sir H. Oakley,
Edmburg, then of Macfarren, Lon-
don ; 1875, pianist to Carl Rosa Opera
Co.; 1877, cond. Royal Ene. Opera
Co. and prod. ** Victorian Covent
Garden. 1880, prod. ** Corinne*' at
St. James's Hall, London ; cond.
Engl. Opera at Covent Garden, and
pro4. 2 operas, *'Corinne'* and
^' Victorian'^ at Sheffield, 1883;
came to the U. S., 1889, and prod,
with success various comic operas,
incl. *' Mcuieleine or the Magic Kiss "
(Boston, 1894), and ** Brian Boru "
(N. Y., 1896); ''The Wedding
Day," " The Jolly Musketeer^*
'' Princess Chie" (i%QC^), ''Dolly Var-
den" (N. Y., 1902). and " IVhen
Johnny Comes Marching Home";
prod, also romantic opera " King
R/ne^s Daughter" ; c. gr. opera "Elfi-
nella" (MS.), symphonies, overtures,
etc.
Eeden (sl'-d^n), Jean Baptiste van
den, b. Ghent, Dec. 26, 1842 ; pupil of
Ghent and Brussels Cons. ; ist prize
for comp. (1869) with the canta-
ta "Fausfs Laaste Nacht" ; 1878
dir. of Cons, at Mons.; c. opera, *' A^«-
mance" (Antwerp, 1897), 4 orato-
rios and the trilogy "Judith" 2 can-
tatas with orch.,a symph. poem, "La
Lutte au XVL SikU;' etc.
E'fl^an, Eugene, Irishman, less than
xoMx feet tall ; 1740 built organ in
Lisbon Cathedral.
Eeenolff (or Egenolph) (a'-g£n-^,
Chr., ca. 1485 ; a slovenly and pirat-
ical German mus.-printer.
Eggrelingr («g'-g«-ltng), (Ednard,
Brunswick, 18 13 — Harzburg, 18S5 ;
pf.-teacher, writer and composer.
Eg^hard (£g -hSrt), Julius ^)en-naiDe
of Count Hardegen), Vienna, 1834—
1867 ; composer.
Eg:!! (al'.ye or a'-gle), Johana Hetn-
rich, Seegraben, canton Zurich, 1743
— 1810 ; c. *• Oden" etc.
Ehlert (a'-l£rt), Louis, Konigsbeig.
1825 — Wiesbaden, 1884 ; teacher and
critic ; conductor and composer.
Ehmant (a-mant), Anselm, 1832—
Paris, 1895 ; conductor, teacher and
writer.
Ehnn-Sand (an'-zant). Bertha, b.
Pesth, 1848 ('45 ?) ; dramatic soprano,
pupil of Frau Andriessen.
EhrUch (ar'-likh), (i) Chr. Fr., Mag-
deburg, 18 10 — 1887 ; conductor, sing-
ine-teacher, and dram, composer. (2)
Alfred H., b. Vienna, Oct. 5, 1821 ;
pupil of Henselt, Bocklet, Thalberg
(pf.), and Sechter (comp.) ; court-
pianist to King George V. ; 1864-72
pf.-teacher Stem Cons., and 1866-9S
critic in Berlin ; composer and editor.
Eibenschttts (t-b^n-shuts), (i) Albert,
b. Berlin, April 15, 1857 ; pianist ; pu-
pil of Reinecke and Paul, Leipzig
Cons., won the Diploma of Honour.
1876-80, prof, in Charkoff (Russia) :
1880-84 at Leipzig Cons., then Co-
logne Cons.; 1893, dir. Cologne Lic-
derkranz ; 1896, ist pf.-prof. Stem
Cons., Berlin ; c. pf. -sonatas, etc.
(2) Ilona, Pesth, Ma^ 18, 1872;
cousin of above ; piamst ; at 5 she
played in a concert with Liszt ; 1S7S-
85; pupil of Hans Schmitt ; 1885-89.
studied with Frau Schumann ; lives
in Vienna and makes tours thence.
Eichberg: (!kh'-b«rkh or Ich'-bttr^). (i)
Julius, b. DQsseldorf, June 13, 1824 —
Boston, Mass., Jan. 18, 1893 ; violin-
ist and notable teacher ; c. 4 operet-
tas, etc. (2) Oskar, Berlin, 1845—
1898 ; singing-teacher, conductor,
critic, editor, and composer.
DICTIONARY OF MUSICIANS 493
Eithborn (Tkh'-bdrn), H. L., b. Bres-
lau, Oct. 30, 1847 ; studied pf., flute,
trumpet, horn, etc., at an early age ;
at 14 pupil of the trumpeter Ad.
Schok; studied theory with Dr. E.
Bohn ; became a Waldhom virtuoso;
1882 inv. the Oktav (or soprano)
Waldhom ; wrote musical essays,
etc. ; cond. at Gries, near Bozen ;
editor, writer and composer.
Eichhom (Ikh'-h6m). (i) J. Paul E.,
1787 — 1823 ; court-musician, Coburg;
his sons (2), J. G. Ernst, 1822-44,
and (3) J. K. Ed., 1823-97, per-
formed on the vln, respectively at 6
Eilers V-l«rs). Albert, 1831— Darm-
stadt, 1896 ; basso cantante.
Eisfeld (Ts'.f«lt), Th., WolfenbQttel,
April II, 18 16 — Wiesbaden, Sept.
16 (?), 1882 ; important figure in New
York music ; 1848-66 previously con-
ductor at Wiesbaden ; then of *' Con-
certs Viviennes,'* Paris.
Eissler (Is'-I^r), (i) Marianne, b.
Brann, Nov. 18, 1865 ; violinist, pu*-
pii of Hessler ; her sister, (2) Emma,
is a pianist.
Eitner (it'-n€r), Rob., b. Breslau, Oct.
i2, 1832 ; pupil of Brosig ; 1853,
teacher at Berlin ; est. a pf.-sch.,
1863 ; important for work in musical
literature, and research in i6th and
17th centuries, Dutch music, etc. ; c,
••Biblical opera," ''Judith''; over-
ture to ''Der Cid'' ; etc.
Elandi (a-lto'-de), Rita, b. Cincinnati,
O. ; soprano ; pupil of Marchesi,
Paris ; sang in Italy, Spain, and Ger-
many ; created ** Santuzza " in ** /
Pagiiacci" in English with Carl Rosa
Opera Co.; 1900, in N. Y. with Amer-
ican Opera Co.
Erderinjg, Bram, b. Groningen,
Holland, July 8,* 1865 ; violinist ;
studied with Poortmann, Hubay, and
Joachim ; Konzertmeister Berlin
Philh. ; then do. in Meiningen ct.-
chapel.
Elers (i'-l^rs) (called Erenis), Fz.,
Uelzen, ca. 1500— 1590, Hamburg ;
teacher, director, and composer.
Elewyck (vin a'-ld-vek), Xavier Vic-
tor (Chevalier) van, Ixelles les Brux*
elles, Belgium, 1825 — in an insane
asylum, Zickemont, 1888 ; writer.
El'g^ar, Edw. Wm., b. Broadheath,
Worcester, Engl., June 2, 1857; im-
portant English composer, violinist,
and organist ; cond. Worcester In-
strumental Soc., 1882-89; 1885-89,
organist at St. George's ; 1891, lived
in Malvern ; c oratorio, ** 7 he Light
of Life'' (1896) ; " The Dream of
Gerontius" (1900); 2 cantatas; a
choral suite ; concert - overtures,
**Frotssart," and ''Cockaigne" (iQpi);
6 Scenes from the Bavarian High-
lands, for chorus and orch. (1896) ;
Spanish serenade for ch. and orch. ;
romance for vln. and orch. ; church-
music ; pes. for vln. and pf. ; organ-
sonata ; songs, etc.
Eliaa (a'-lT-as), Salomonis, monk at
Saint-Astire, Perigord, wrote in 1274
the oldest extant book of rules for im-
provised counterpoint.
EHsi (a-le'-ze), Filippo, Italian tenor
in London, 1765.
El'la, John, Thirsk, Yorkshire, 1802—
London, 1888 ; violinist, lecturer and
writer.
El'ler, Lonis, Graz, 1819— Pau, 1862:
vln.-virtuoso; c. ** Valse DiaboUque^'*
a "Rhapsodic ffongroise" etc., for
vln.
Erierton, J. Lodge, Chester, 1807—
London, 1873 ; dram, composer.
Elliott, Jas. Wm., Warwick, Engl.,
Feb. 13, 1833 ; pupil of Macfarren ;
organist various churches; since 1874
at St. Mark's, London ; c. 2 operet-
tas, etc.
Ellis, Alex. J., London, 1814— Ken-
sington, 1890; writer on musical
science.
Elmblad («lm'-biat), Jns., b. Stock-
holm, Aug. 22, 1853 ; bass ; studied
with Stockhausen and Garcia ; 1876,
Wagner chose him for "Donncr"
(Rheingold). but his father, a prof, of
theology, objected; 1880, he went into
opera and sang in various cities, as
well as in London and America ;
494
THE MUSICAL GUIDE
1896, sang "Fafncr" at Bayreuth;
since 1897 at ct.-Th., Stockholm.
Elmenreich (er-mdn-rikh), Albert,
1856, actor in the Court Th. at
Schwerin.
EUenheimer (dl'-zen-hl-mdr), Nicho-
las J., b. Wiesbaden, 1866 ; pupil of
his father and of Jakobsthal, Strass-
burg, LL.D., Heidelberg; 1890,
America ; 1891, prof, at Coll. of Mu-
sic, Cincinnati ; c. cantata '* VaU-
rian^^ with orch. '* Belshaztar^^ etc.
Eisner («ls'-n«r), Jos. Xaver, Grott-
kau, Silesia, 1769 — Warsaw, 1854;
writer and composer of 19 operas.
El'son, Louis Chas., b. Boston, April
17, 1848 ; writer and teacher ; pupil of
Kreissmann (singing), Boston, and
Gloggncr-Castelli (theory), Leipzig;
edited the Vox Humana; then on
the Music Herald ; for years critic
of the Boston Courier^ now of the
Advertiser ; since 1 881 prof, of theo-
ry and lecturer on the orch. and musi-
cal history at N. E. Cons. ; has lect-
ured on music with much success ;
pub. '• Curionties of Music;' '* The
History of German Song,'' ** The
Theory of MuHc:' *' The Realm of
Music" ' * German Songs and Son^'
writers,'^ ** European RemintS'
cences^ ** Syllabus of Musical His-
tory^' and ** Great Composers cmd
Their PVorh'' (i^l '' The National
Music of America (1900), *' Home
and School Songs''; c. operettas,
songs, and instr. -works ; transl. and
arranged over 2,000 songs, operas,
etc.
Erterlein, Erast von. Vide gott-
SCHALD.
El'vey, (i) Stephen, Canterbury, 1805
— Oxford, i860 ; organist. (2) Sir
George (Job), Canterbury, i8i6 —
Windlesham, Surrey, 1893 ; bro. of
above ; c. oratorios.
Elwart («r.vart), Antoine Aimable
Elie, Paris, 1808 — 1877 \ violinist
and dram, composer.
Em'erson, Luther Orlando, b. Par-
sonsfield, Mass., Aug. 3, 1820 ; cond.
and composer.
Em'ery, Stephen Albert, Paris,
Maine, Oct. 4. 1841 — Boston, April
15, 1891 ; prof, of harm, and cpc ;
asst.-ed. Musical Herald ; i^ccfnl
composer and pop. theorist.
Emmerich (£m'-mdr-lkh), Robt.,
Hanau, 1 836-— Stuttgart, 1891 ; com-
poser.
Encke («nk'.«), H., Neusudt, Bava-
ria, 181 1 — Leipzig, 1859; pianist
and composer.
Enckhausen (dnk'-how-zte), H. Fr.,
Celle, 1799 — Hanover, 1885 ; court-
organist, pianist and director.
Engel i*ng'-dl), (i) Jn. Jakob, Par-
chim, Mecklenburg, 1741 — 1802 ; dir.
and composer. (2) David H" ,
Neumppin, 1816 — Merseburg, 1877 ;
organist, writer and dram, composer.
(3) K., Thiedenweise, near Hanover,
18 18 — suicide. London, 1882 : organ-
ist and writer. (4) Gv. E<L, K&-
nigsberg, 1823 — Berlin, 1895 ; sing-
ing-teacher, composer and theori;^.
(5) Pierre Emile, b. Paris, Feb. 15,
1847 ; tenor ; sflidied with Duprez ;
d^but, Th. Italien, 1869 ; then sang
in New Orleans, Brussels, and since
1889 at Paris.
En'na, Aug., b. Nakskov, Denmark,
May 13. i860; grandson of an Italian
soldier in Napoleon's army ; son of a
shoemaker ; self-taught in pf . and in-
strumentation, and had almost no
teaching in vln. or theory ; went with
a small orch. to Finland (1880) ;
played various insts., even a drum be-
fore a circus-tent; returned to Copen-
hagen ; prod, the operetta ** A Vil.
lage Tale " (1880) in provincial the-
atres ; played at dancing-lessons, and
gave pf.-lessons at 12 cents an hoar ;
1883, cond. for a small provincial
troupe, for which he wrote act-tmies,
and 10 overtures ; pub. songs, pf.-
pcs., an orchl. suite, and a symplioD]r;
this gained him, through Gade*s in-
terest, the Ancker scholarship, enab-
ling him to study in Germany (i88S^
89). After producing an operetta
'* Areta^' he prod, with unequalled
succ. for a Dane, the opera ** Tkt
DICTIONARY OF MUSICIANS 495
fVifcA," 1892, at the R. Opera House,
Copenhagen. The opera ** Cleopa-
tra " (Copenhagen, 1894) failed, but
1895, with new cast, was succ. as
also *^* Aucassin and Nicole tie'* (Co-
penhagen, 1896 ; Hamburg, 1897).
Opera '' Aglaia,'' in MS. Pub. a
vln. -concerto, etc.
Cnoch & Co., London music-pub.
, firm, est. 1869.
Epine (d^-la-pe'-n£), Francesca Mar-
f;erita de 1'., extremely popular
talian singer and harpsichordist in
Lx)ndon, from ca. 1698 — 1718, when
she m. Dr. Pepusch ; her sister sang
in London from 1 703-1 748 as Maria
Gallia.
:eiii (€p'-shtln), (i) Julius, b.
Agram, Aug. 14, 1832 ; pupil of
Lichtenegger, Halm (pf.), and Rufi-
natscha (comp.) ; from 1867 prof, of
pf. Vienna Cons. His two daugh-
ters, (2) Rndolfine ('cellist), and (3)
Eug^^nle (violinist), toured Austria
^ and Germany, 1876-77.
Erard (a-rir), (i) S^bastlen, Strass-
burg, April 5, 1752 — near Paris, Aug.
5, 1831 ; notable piano-maker and in-
ventor; inv. a ** Clavecin Mecan-
ique " ; the "Piano organise," fin-
ally the double-action mechanism,
which made a new instr. of the harp
(v. D. D.); perfected in 18 11 his
greatest achievement, the repetition
action of the piano (v. d. d.). His
successor as a piano-maker was
his nephew, (2) Pierre (1796 — 1855),
succeeded by Pierre Schaffer (d. 1878);
the present head is the Count de
Franaueville.
Eratosthenes, Cyrene, 276 — Alex-
andria, Egypt, 195 B.C. ; writer.
Erb (<rp), M. Jos., b. Strassburg,
Oct. 23, i860 ; pupil of St.-Saens,
Gigout, and Loret, Paris ; now lives
in Strassburg as teacher and or-
ganist at the Johanniskirche and
the Synagop^e ; c. a symphony ;
a S3rmphonic suite ; sonatas and
"dram, episode" " Der Uttte Ruf'
(Strassburg, 1895), with some succ.
etc.
Er'ba, Don Dionig^, nobleman and
composer at Milan, 1694; Hiindel
appropriated some of his best works.
Erbach (€r'-bakh), Chr., Algesheim,
Palatinate, ca. 1560 — Augsburg,
1628 ; composer and organist.
Er'ben, Robert ; 1894, conductor at
Frankfort-on-M.; 1896, at Mann-
heim ; prod, the succ. i-act opera
''Enoch Arden'' (Frankfort-on-M.,
1895), and a "fairy comedy," **Z>»V
Heinzelmdnnchen*' (Mayence, 1896).
ErdmannSddrffer (£rt'-mans-d£rf-f£r),
(i) Max, b. NUmberg, June 14,
1848; pupil Leipzig Cons., and in
Dresden of Rietz ; 1871-80, ct.-cond.,
Sondershausen ; 1882, dir. Imp.
Mus. Soc. at Moscow, and prof, at
the Cons. ; 1885, founded a students*
orch. society ; returned to Germany,
cond. the Bremen Philh. Concerts till
1895 ; 1896, cond. Sjrmphony Con-
certs St. Petersburg ; 1896, cond. at
the ct.-Th., Munich ; c. " Prinussin
Ilscy'' "a forest-legend"; and other
works for soli, chor. and orch. ; over-
ture to Brachvogel's '^Narciss^** etc.;
1874 he m. (2) Pauline Fichtner
Oprawik, b. Vienna, June 28, 1847
(1851 ?) ; pupil of Pirkhert and Liszt ;
court-pianist.
Erhard (^r'-hart) (called Erhar'di),
Laurent ius, b. at Hagenau, Alsatia,
1598 ; cantor at Frankfort-on-Main,
1640, etc.
Erk (^rk), (i) Adam Wm., Herpf,
Saxe-Meiningen, 1779 — Darmstadt,
1820 ; organist and composer. (2)
Ludwig(Chr.), Wetzlar, 1807 — Ber-
lin, 1883 ; son of above ; conductor.
(3) Fr. Albrecht, Wetzlar, 1809^
DUsseldorf, 1879 ; bro. of above ;
pub. the '^ Lehrer Commersbuch,'*
etc.
Erkel («r'-k«l), (i) Franz (or Ferencz),
Gyula, Hungary, Nov. 7, 18 10—
Pesth, June 15, 1893 ; the father of
Hungarian opera; conductor and
prof., compcKser of operas incl.
'' Hunyddy Ldzld" and ''Bank
Bdn." (2) Alexander (or Alexius),
Pesth, 1846 — 1900, son of above;
496
THE MUSICAL GUIDE
dir. of Philh. Cone, Pesth, 1875-93 ;
1896, dir. Royal Opera, Pesth ; prod,
opera " Tempefdi** (Pesth, 1883).
(3) Gyula, son of (i), prof, at Acad,
of Mus., Pesth ; conductor for many
years at R. Opera.
Erlangrer (^r-Iin-zha), (i) Camille, b.
Paris, May 25, 1863 ; pupil of D^libes,
Paris Cons. ; 1888 took Grand prix
de Rome with cantata ** Velleda^\' c.
symphonic piece, **Ztf Chasse Fan*
tastique*\' dram, legend, ** Saini
JuUen VHosfitalier^ (V^ns, 1896);
the succ. lync drama ^^ JCermaria^^
(Paris, Op.-Com., 1897), etc. (2)
Baron Frtd^ric d' (pen-names Fr,
Reg^nal or Federico Ringel), son
of a banker ; prod. succ. opera '*yif-
kan de Saintr^,^* Hamburg (1894),
and mod. succ. opera ** Inez Mendo^*
(London, 1897).
Erier, (i) Hermann, b. Radeberg,
near Dresden, June 3, 1844; 1873
est. a mus. -pub. business (now Ries
and Erier) ; editor and critic. (2)
Ernst IL, Duke of Saxe-Coburg-
Gotha, Coburg, 1818 — Keinhards-
brunn, 1893 ; dram, composer. (3)
Fz. Anton, Georgenthal, Bohe-
mia, 1745 — Gotha, 1805 ; violinist
and orch. -leader. (4) H. Wm.,
Brunn, 1 8 14 — Nice, 1865 ; vln.-vir-
tuoso ; toured, then lived in London ;
composer. (5) Heinrich, b. Dresden,
Sept, 19, 1846 ; nephew of above ;
pupil of Pesth Cons., 1872; barytone
Leipzig Th., then studied with Reb-
ling and became tenor; 1875, Royal
Opera, Berlin. (6) Alfred, ca. 1855
—Paris, i8q8 ; writer.
Errani (€r-r& -ne), Achille, Italy, 1823
— New York, 1897 ; operatic tenor
and notable singing-teacher in N. Y.
Errcra (5r-ra'-ra), Ugo, b. Venice, Oct.
25, 1843 ; composer.
Ert'mann, Baroness, ca. 1778 — ^Vien-
na, 1848 ; pianist ; intimate friend of
Beethoven.
Eschmann (^sh'-mSn), Jn. K., Win-
terthur, Switzerland, 1826— Zurich,
1882 ; pianist, teacher and composer
at Leipzig,
Eacudier (^s-klld-ya), two brothets,
of Castelnaudary, Aude, (i) Maxie,
1819 — 1880, and (2) L^oOy 1821 —
Paris, 188 1 ; journalists.
EsUya («s.la -vfi), Don Mis^nel Hi-
lariO| Banlada, Navarra, 1807 — Ma-
drid, 1878 ; court-conductor, editoc
and theorist.
Espagne (ds-p&kh'-nd), Fz., Monster.
Westphalia, 1828 — Berlin, 1878; di-
rector and editor.
Es'ser, H., Mannheim, 1818 — Salz-
burg, 1872 ; court-conductor.
Es'sipoff (or Essipova) (^s1-p6f .^,
Annette, b. St. Petersburg, Feb. i,
185 1 ; pianist; pupil of Wielborski
and L^chetizky, whom she m. 1S80;
d^but, 1874, St. Petersburg; toured
Europe with great succ ; toured
America (1876) ; 1885. pianist to the
Russian Court; 1893, pf.-prcrf. St,
Petersbui^g Cons.
Este (or Est, East, Easte), (i)
Thomas, London music-printer,
ca. 1550— 1625. (2) Michael, son
of above ; 17th cent, composer.
Esterh&zy (esh'-t«r-ha-zc). Count
Nicholas, 1839 — Castle Totis, Hun-
gary, 1897 ; generous patron of mu-
sic.
Est' wick. Rev. Sampson, D.D.,
1657 — 1739; English composer.
5tt («t), Kaspar, Erringen, Bavaria,
1788 — Munich, 1847 ; court-ox^ganist
and composer.
Enlenbnrg (tsoo oi'-Wn-boorkh), Ph.,
Graf zu, b. Kbnigsberg, Feb. is,
1847 ; Royal Prussian Ambassador,
Stuttgart; c. songs (words and music).
Enlenstein (oi'-l^n-shtln), Clias.,
b. Heilbronn, Wartembeig. i8os ;
virtuoso on the Jew*s harp ami guitar.
Enler (oi'-l^r), Leonhardt, Basel.
1707— -St. Petersburg, 1783 ; acousti-
cian.
Euter'pe, patroness of flute-players,
the Muse of Music.
Ev'ans, Chas. S., 1778 — 1849 1 Eng-
lish alto and composer.
Everard (^v-d-rllr), CamiUe Fran..
b. Dinant, Belgium, Nov. 15, 1S25;
basso ; pupil of Li^ Cons.,
DICTIONARY OF MUSICIANS 497
Cons. (Ponchard), and of Rossi and
Manzini, Naples ; sang Naples, 1847^
50 ; studied with Lamperti ; sang in
various cities ; 1870-90, prof, of sing-
ing St. P. Cons. ; 1890, Kiev Conser-
vatoire.
Evers (a-v^rs), K., Hamburg, 1819 —
Vienna, 1875 ; pianist and composer.
Evesham (evz'-Hm), Monk of. Vide
ODINGTON.
E'w' er & Co., London mus. -publish-
ers ; founded 1820 by J. J. Ewer,
succeeded by E. Buxton ; i860, W.
Witt ; 1867, became Novello, Ewer
& Co.
Eweyck (a'-vik), Arthur van, b. Mil-
waukee, U. S. A., May 27, 1866 ;
studied with Felix Schmidt, Berlin,
where he lives as concert and oratorio
barytone.
Eximenio (£x-!-ma'-nY-5), Ant., Bal-
bastro, Aragon, 1732 — Rome, 1798 ;
Jesuit priest ; had historical contro-
versy with Padre Martini.
Eybler (f-bl«r), Tos. (later, in 1834,
Edler von Eybler), Schwechat, near
Vienna, 1765 — SchOnbrunn, 1846 ;
conductor and composer.
Eyken (I'-k^n), (i) Simon van (or
Eycken ; dn Chesne). Vide quer-
cu. (2) (Eijken), Jan Albert van,
Amersfoort, Holland, 1822 — Elber-
feld, 1868 ; organist and composer ;
c. valuable chorals, etc. (3) Gerard
Isaac van, bro. of above ; organist
and teacher at Utrecht from 1855.
Eymieu (^m'-yti), Henri, b. Saillans
Drome, France, May 7, i860 ; a law-
yer, but studied with E. Gazier
(theory) and Widor (comp.) ; now
lives in Paris as writer and critic for
•*Z^ MMestrel,'* etc.; c. a stage-
piece, ** Un Mariage sous N/ron**
(Paris, 1898), and an oratorio, ** Mar-
the et Marie '*(Asni^res, 1898), etc.
Faber (fft'-b«r), (i) Nikolaus (Nicol),
priest at Halberstadt, 1359-61, built
there what is considered the first
organ made in Germany. (2) Niko-
laus (H.), a native of Botzen, Tyrol ;
pub. '''' Rudimtnta musicae" Aug^
burg, 1516. (3) Heinrich, ** Magis-
ter, d. Lichtenfels, Oelsnitz, Saxony,
1552 ; rector of a school, whence he
was expelled for satirical songs
against the Pope ; then rector of
Brunswick ; pub. a pop. book of ru-
diments. (4) Benedikt, Hildburg-
hausen, 1602 — Coburg, 1631 ; com-
poser.
Fabozzi (f£.b6d'-ze), Genaro, b.
Italy ; blind pianist ; court-pt. to
Dowager Queen, prof, at Inst, for
Blind, Naples.
Fabio. Vide ursillo.
Fabri (ffi'-bre). (i) Stefano (// mag-
giore), b. Rome, ca. 1550; 1599—
1601, conductor. (2) Stefano (t7
minore), Rome, 1606— 1658 ; conduc-
tor and composer. (3) Annibale Pio
(called Balino), Bologna, 1697 — Lis-
bon, 1760 ; tenor, etc.
Fabriciu8(fa-bre'-tst-oos), (i) Werner,
Itzehoe, 1633 — Leipzig, 1679 ; com-
poser. (2) J. Albert, Leipzig, 1668 —
Hamburg, 1736, son of above ; pro-
fessor.
Faccio (fat'-cho). Franco, Verona,
March 8, 1841 — Monza, July 23,
1 891 ; an important composer ; criti-
cised as Wagnerite ; -notable cond. ;
prof, at Milan Cons, (harmony, later
cpt.) Vide BOITO.
Faelten (f^l'-t^n), K., b. Ilmenau,
Thuringia, Dec. 21, 1846; studied as
a school-boy with Montag ; for 6
years orchestra-violinist ; 1867 studied
with J. Schoch, Frankfort, and was
for 10 vears friend of Raff ; 1868-82
Frankfort ; 1878 Hoch Cons. ; 1882-
85 Peabody Institute, Baltimore,
U. S. A.; 1885-97 N. E. Cons.,
Boston ; dir. 1890-97 ; 1897 founded
the Faelten Pf.-School (Teachers*
Seminary), at Boston; pub. text-
books
Fago (fV-go). Nicola (called " II Ta-
rentino'^), Tarento, 1674— 1730 (?) ;
c. oratorio, masses; prod, several
very succ. operas.
498
THE MUSICAL GUIDE
Fahrbach (f ilr'-Mkh), (i) Jos., Vienna,
1804 — 1883 ; flutist, conductor, and
composer. (2) Ph. (Sr.), Vienna,
1815 — 1885 ; conductor and dram,
composer. (3) Wm., Vienna, 1838
— 1866 ; conductor and composer.
(4) Ph. Qr.). Vienna, 1843—1894 ;
son of (2) ; conductor.
Faig^ient (f!n-yan), Nog, b. Antwerp,
ca. 1570, Flemish contrapuntist.
Fair'lamb, J. Remington, b. Phil-
adelphia, Jan. 23, 1837 ; studied in
Paris and Florence ; 4 years in Zurich
as consul ; organist Phila., etc., and
from 1884 New York, St. Ignatius ;
c. grand opera ** Fal/ri/ (M.S,),
etc.
Faiszt (fist), Immanuel G. Fr., Es-
sligen, Wartemberg, 1823 — Stutt-
gart, 1894 ; organist.
Falckc (faik), Henri, Paris, 1866—
May, 1901; pupil of Saint-Sa^ns,
Massenet, Dubois, and Mathias, Paris
Cons. ; won ist prizes in pf. and
harm. ; studied in Germany ; pub. a
useful text-book on arpeg^os.
Falcon (f&l-kon). M. Coni61ie, Paris,
181 2 — 1 897 ; soprano singer.
Faliero (fal-T-a -ro), Nina, b. Naples,
April 10, 1878 ; studied with Mme.
Kraus ; toured widely in concert ;
lives at Geneva
Falk Mehligr {mk miMYkh), Anna, b.
Stuttgart, June 'II, I846 ; studied at
the Cons., also with Liszt ; toured as
concert pianist throughout Germany,
England, and America ; court-pianist
to the king of Wttrtemberg.
Faltin (fal'-ten), R. Fr., b. Danzig,
Jan. 5, 1835 1 pupil of Markell,
Schneider, and Leipzig Cons. Since
1869 lives at Helsingfors, Finland, as
cond.; pub. *' FinnisA Folk- Songs**
and a '* Finnish Song-Book.**
Faminzin (fa-men'-tsen), Alex. Ser-
g^eyitch, Kaluga, Russia, 1841 —
Ligovo, near St. Petersburg, 1896 ;
critic and dram, composer.
Fan'ing, Eaton, b. Helston, Cornwall,
May 20, 1850 ; pupil of the R. A. M.,
took Mendelssohn Scholarship in
1873 and the Lucas Medal in 1876 ;
1894 Mus. Bac, Cantab.; since 18S5
dir. music at Harrow School ; c. 3
operettas, cantata for female voices,
symphony in C minor, overture, " Tkx
Holiday, etc.
Farabi. Vide alfarabi.
Fargas 7 Soler (fSr'-gSs e s5-lir')f
Antonio, Spanish writer, pub. ** Bi-
ografids de los Musicos** etc. (issued
since 1866, in parts), etc
Farinel'li, (i) Carlo Broschi (bros'.
ke), Naples, June 24, 1705 — Bologna,
July 15, 1782 ; famous male soprano ;
d^but 1722 at Rome ; he sang with
the utmost brilliancy and success, be-
ing only once overcome by a rival
(Bemacchi) from whom he immedi-
atelv took lessons ; he joined the <^
position to H&ndel in London, and
Handel went into bankruptcy and
took to oratorio. He amassed great
wealth and became the chief adviser
of Philip V. of Spain ; bi<^ by
Sacchi (Venice, 1784). (2) Gin.,
Este, 1769 — Trieste, 1836 ; org. ; c
60 operas.
Farkas (f^'k&sh), Edmund (Hung.,
Oddn), b. Puszta-Monostor (Heves),
Hungary, 1852 ; important figure in
national Hungarian music ; of noble
family, intended to be a civil engi-
neer ; but studied 3 years at the R.
Mus. Acad., Pesth ; next year be-
came dir. at the Cons, at Klausen-
burg, Transylvania ; was for a time
op. cond. and wrote mus. articles ;
1876, while still studying engineering,
he prod, a i-act opera ^^BayiuUr^
(Pesth) ; won the Haynald prize of
300 florins with a mass ; c. also
mixed choruses, and the orch. works
''Dawn** (Virradat), ''Evensong'^
{Estidal), «• Twilighr (Alkmty\
and ** Dits irce** ; a pop. sjrmphony
and 5 string-quartets ; a prize ** Fest-
ouveriUre^ ; and the operas ''Fairy
fountain " ( TUnderharrds)^ i-act.
(Klausenburg, 1892); "The Pernio
tenr\Vesek^k) (Pesth, 1893); " Ba>
lassa Balint** comic (Pesth, 1896) ;
and *• The Blood-crdtaV* (Tttemu
Hivds) (not prod.}.
DICTIONARY OF MUSICIANS 499
% (i) H., Nottingham, England,
iSig — 1891 ; violinist and organist.
(2) J., Nottingham, Aug. 16, 1836 —
July, 1901; nephew of above; pupil of
Leipzig Cons, and of Spath; teach-
er in Zurich for some years ; 1862-85
inus.-master at Harrow School, then
organist at Balliol Coll., Oxford,
where he founded a mus. society ;
edited song-books, etc.; c. an orato-
rio ; a fairy opera ; comic cantata ; a
requiem, etc.
Far'naby, Giles, English composer,
1580-98.
Far'r&nt, (i) John, English organist,
ca. 1600. (2) John, English organist,
Salisbury cath. , ca. 1600. (3) Rich-
ard, d. Nov. 30, 1580 ; English or-
ganist and notable composer of
church-music.
Farrenc (f&r-rank), J&cq. Hipp,
Aristide, Marseilles, 1 794 — Paris,
1865 ; teacher and composer. (2)
Jeanne Louise (nee Oumont),
Paris, 1804 — 1875 ; wife of above,
pf.-professor.
Far'ipreil, Arthur, American composer;
?upil of H. A. Norris, Boston, and of
lumperdinck ; founded at Newton
Center, Mass., 1901, the ** Wawan
Press " for the artistic pub. of supe-
rior comps. by Americans ; c. ballade
for vln. and pf . , and songs, etc.
Fasch (fash), (i) Jn. Fr., Buttlestadt,
near Weimar, 1688— Zerbst, 1758 (?);
court-conductor, composer. (2) K.
Fr. Chr., Zerbst, 1736 — Berlin,
1800 ; cembalist ; son of above ; con-
ductor.
Faachey (fo-she), Paul, former ** chef
du chant,'* Op. Com. Paris ; prod,
comic opera, 1897.
Fang^es, Vincent (or Fauques, Fa'-
gnSy La Fage) (fog, fok, 1^ fazh),
15th cent, contrapuntist.
Faure (fdr), J. Bapt., b. Moulins,
AUier, Jan. 15, 1830 ; 1841, Paris
Cons.; choir-boy at the Madeleine,
and studied with Trevaux ; took ist
prize for comic opera ; 1852-76, at
the Op Com. as leading baritone
with great succ.; 1857, teacher m the
Cons.: since 1876 sang in concert ;
pub. 'TArtdu Chant:'
Faur6 (fo-ra), Gabriel Urbain, b. Pa-
miers, Ari^e, May 13, 1845 ; pupil
of Niedermayer, Dietsch, and Saint-
Saens ; 1866, organist at Rennes,
then at St.-Sulpice and St.-Honore ;
1885 took Prix Chartier for chamber-
music ; 1896 organist at the Made-
leine, and prof, of comp., cpt., and
fugue at the Cons, (vice Massenet) ;
c. i-act opera '' VOrganiste'' (1887);
** La Naissance de Venus ^^ for soli,
chorus, and orch.; ^'^ Ckaur de
Djinns " / requiem; symphony ; vln.-
concerto ; orchestral suite ; 2 pf.-
quartets ; EUgie, for 'cello ; Berceuse
and Romance^ for vln. and rch., a
vln.-sonata (1878), etc.
Faust (fowst), K., Neisse, Silesia,
1825 — Bad Cudowa, 1892 ; bandm.
and composer.
Faustina. Vide hasse, Faustina.
Favars^er (fa-vir-zha), R^n6, Paris,
18 1 5 — fetretat, 1868 ; composer.
Favre (fivr), Jules. Vide v. m. wat-
SON.
Faw'cett, (i) J., Kendal, England, 1789
— Bolton, Lancashire, 1867 ; teacher
and composer. (2) J. (jr.), Bolton,
1824 — Manchester, i887,son of above;
organist and composer.
Fay, Amy, b. Bayou Goula, Miss., May
21, 1844 ; pianist and teacher, Chica-
go ; pupil of Tausig, Kullak, Liszt ;
wrote the popular *' Music- Study in
Germany'' (Chicago, 188 1).
FayoUe (fi-yol), Fran. Jos. M., Paris,
1774 — 1852 ; mus. biographer and
lexicographer.
Fayr'fiaz, Robt., Mus. Doc, Cantab
and Oxon, 1504-11; organist and
composer.
Fechner (f^kh'-n^r), Gv. Th., Gross-
Sarchen, Niederlausitz, 1801 — Leip-
zig, 1887 ; writer.
Fcdele (fa-da'-l«). Vide treu.
Federici (fa-da-re'-che), V., Pesara,
1764 — Milan, 1827; went to London,
where he became cembalist ; returned
to Italy in 1803 and prod, many succ.
operas.
500
THE MUSICAL GUIDE
Federlein (f&'^^r-lTn), G. (H.), b.
Neustadt-an-der-Aisch, near Nttm-
berg, Nov. 5, 1835 ; pupil of Munich
Cons.; lives in New York; singing,
teacher, composer and writer.
Felstein (f^r-shtln) (called Felsti-
nen'sis), Sebastian von, ca. 1530 ;
church-conductor and composer, Cra-
cow.
Feltre (da f^l'tr), Alphonse Clarke,
Comte dc, Paris, 1806 — 1850 ; dram,
composer, etc.
Fenaroli (fa-nii-rd'-le), Fedele, Lan-
ciano, Abruzzi, i730^Naples, 1818;
teacher and composer.
Fen'ton, Layinia, d. Greenwich, 1760;
singer and actress at London.
Feo (fa -o), Francesco, b. Naples, ca.
1685 ; composer and teacher.
Ferlen'dis , b. Rome, ca. 1778 ;
operatic contralto.
Fer(r)abosco (f^r-ra-bos'-ko), (i) Al-
fonso, Italy, 1515 ; c. madrigals. (2)
Dom. M., Rome, i6th cent., mem-
ber Papal Choir; composer, (3)
Costantino, court-musician and
composer at Vienna, 1591. (i) Al-
fonso, Greenwich, England, ca. 1580
— 1652 ; probably son of (i) ; com-
poser. (5) John, d. 1682, son of
(4) I organist Ely Cathedral.
Ferrari, (i) Benedetto (called del-
la Tiorba **the theorbist") (f$r.
ra'-r« dei-la te-6r'-ba), Rcggio d'Emi-
lia, 1597 — Modena, 168 1 ; court-con-
ductor and dram, composer. (2)
Domenico, Piacenza, (?)— Paris,
1780 ; violinist, conductor and com-
poser. (3) Carlo, Piacenza, ca.
1730 — Parma, 1789, bro. of above ;
'cellist. (4) Giacomo Gotifredo,
Roveredo, Tyrol, 1759 — London,
1842 ; cembalist, writer, teacher, and
composer. (5) Francisca, Chris-
tiania, ca. 1800 — Gross-Salzbrunn,
Silesia, 1828; harpist. (6) Sera-
fino Amadeo de', Genoa, 1824 —
1885 ; pianist and dram, composer.
(7) Carlotta, b. Lodi, Italy, Jan. 27,
1837 ; pupil of Strepponi and Panzi-
ni (1844-50) of Mazzucato at Milan
Cons.; wrote text and music of succ.
operas **C/fo" (MiUn, 1857): "i*-
/a*' (Lodi, 1866); ''EUatufra ^-
Arborea'* (Cagliari, 1S71) ; also
masses ; a Requiem for Turin, 1868,
etc
Ferreira (f£r-ra'-e-r2), Da Costa, Rod-
rigo, d. 183^1 (37?); Portuguese writer.
Fer(r)et'ti, Giov., b. Venice, ca. 1540;
composer.
Fern (f^r'-re), (i) Baldassarc, Peru-
gia, 1610— Sept. 8, 1680 ; one of the
most gifted and successful of sii^rers ;
through a boyhood accident became
a male soprano; possessed extraor^
dinary endurance of breath, flexibil-
ity of voice, and depth of emotioa ;
at 65 returned to Perugia ; on his
death left 600,000 crowns for a pious
foundation. (2) NicoUl, Mola di
Bari, Italy, 1831 — London, 1S86;
Naples, singing teacher and dram,
composer.
Ferrier (f^r-rl-i), Panl Raoni Mi-
chel M., b. Montpelier, March a8,
1843 ; c. light operas for Paris,
Ferron (fer'-r6n). Ad., 1892, conduc-
tor Th. Unter den Linden, Berlin;
1897 at Carl Th., Vienna; prod, at
Berlin the burlesque *^ Adam umd
Eva " (1891), and other operettas.
Ferro'ni, v. Emidio Carmine, b.
Tramutola, luly, Feb. 17, 1858 ; papil
Paris Cons.; ist prize in harm, and
comp., 1880-83 ; 1 88 1, asst.-prof. of
harm, at the Cons. ; since 1888 prof.
of comp. at Milan Cons., and mos.
dir. of the ** Famiglia Artistica,'*
1897, Chevalier of the Ital. Crown ;
c. operas *' Rudello^* (Milan, 1892);
and (text and mus. oO *^ Ettore FU"
ramosca " (Como, 1896).
Fes'ca, (i) Fr. Ernst, Magdebmig,
I789---Carlsruhe, 1826; violinist and
composer. (2) Alex. Ernst, Caiis-
ruhe. May 22, 1820— Brunswick, Feb.
22, 1859 « ^n o^ above ; brilliant pi-
anist and dram, composer.
Fes'ta, (i) Costanzo, Rome, ca. 1490
— April 10, 1545 ; singer and contra-
puntist. (2) Giu. M., Trani, 1771—
Naples, 1839; violinist^ conductor
and composer. (3)
DICTIONARY OF MUSICIANS 501
Naples, 1778 — St. Petersburg, 1836 ;
operatic singer ; m. Maffei.
Fest'inif, Blichael Christian, Lon-
don (?) 1680 — 1752 ; son of a flutist,
of same name ; conductor, violinist,
and composer.
Feszler (f«sh'-l£r), Eduard, b. Neu-
berg, Bavaria, Oct. 5, 1841 ; oper-
atic barytone ; studied with Fz.
Hauser, Munich.
F6ti8 (fa-tes), (i) Francois Joseph,
Mens, Beleium, March 25, 1784 —
Brussels, March 26, 187 1 ; indefatig-
able scholar and historian ; he worked
16-18 hours a day ; his father, organ-
ist and conductor at the Cathedral,
was his first teacher ; he learned the
vln., and c. at 9 a concerto for vln.
and orch. ; the same year became or-
ganist to the Noble Chapter of Saint
Waudra ; 1800-03 in the Paris Cons.;
1803, Vienna, for study of fugfue, and
master-work of German music ; here
began an investigation of Guido
d'Arezzo's system and the history of
notation. 1804 he started a short-lived
mus. periodical. 1806 he began the
30 years* task (still unpub.) of revis-
ing the plain-song and entire ritual of
the Roman Church. He m. a wealthy
woman, and was enabled to pursue
his studies comfortably till 18 11,
when her fortime was lost. He re-
turned to the Ardennes and made re-
searches into harmony, which led to
his formulating the modem theor}* of
tonality. 181 3, organist and teacher
at Douai ; wrote ** La Science de
r Organist," and '* M^thode ^Umen-
taire d'^harmonie et d^accompagne"
mcni." 1818, Paris, where he prod.
various operas with succ. 182 1,
prof, of comp. at the Cons., later li-
brarian. 1827-35 founded and edit-
ed "Ztf Revue Musicale.'* In 1832
began historical lectures and concerts.
1833, cond. to King Leopold I.,
Brussels, and for 39 years dir. of the
Cons. Cond., and 1845 member of,
the Belgian Academy. On his wed-
ding-jubilee a Mass of his was sung,
and his bust was unveiled. In 1806,
he began collecting and preparing for
his great ^^ Biographic universeUe des
tnusiciens et bibliographic gAt&ale de
la musique '* in 8 volumes (1837-1844).
This invaluable monument is, like
everything else of its kind, bristling
inevitably with error, bias, and excess ;
yet is a standard of highest repute,
rub. many treatises and c. 6 operas
(1820-32); 2 symphonies, an overture
for orch. ; masses, a requiem, motets,
etc. Biog. in his Dictionary by L.
Alvin (Brussels, 1874) ; and Gollmick
(Leipzig. 1852). (2) Ed. L. Fran.,
b. Bouvignes, near Dinant, May 16,
1812 ; son of above ; editor ; for
years libr., Brussels Library; pub.
^^ Lcs musiciens Beiges" (1848). (3)
Adolphe L. Eugene, Paris, 1820—
1873 ; son and pupil of (i) ; pianist,
teacher and dram, composer.
Feurich (foi'-rlkh), Julius, Leipzig,
1 82 1 — 1900 ; founded pf. factory,
1851.
Fevin (fu-viln). Ant. (Antonius) de,
ca. 1490 (?) — 15 1 5 (?) ; Netherlandish
(?) contrapuntist ; contemporary with
Josquin Despr^, and rated second
only to him. (2) Robert (Robertus),
Cambrai, 15th cent. ; c. masses.
Fiala (fe'-a-la), Lobkowitz, Bohemia,
1749 — Donauschingen, 1816; oboist,
^cellist, composer, and conductor.
Fibich (fe'bikh), Zdcnko, Seborschitz,
Bohemia, Dec 21, 1850— Prague,
Oct. 1900 ; pupil at Prague, Leipzig
Cons. (1865), and of Lachner; 1876
asst. cond. at the National Th.,
Prague ; 1878, dir. Russian Church
Choir; notable Czech dram, com-
poser. Prod, at Prague 6 operas incl.
^' Sarka" (1898); c. the symphonic
poems ''Othello" '' Zaboj and Sla^
voj" •• Toman and the Nymph,"
and *'Vesna"; '' Lustspiel Ouver^
tare," etc. ''A Night on KaarU
stein" and other overtures.
Fiby (fe'-be), Heinrich, b. Vienna, May
15, 1834; pupil of the Cons.; from
1857 city mus. dir., Znaim ; founded
a music-school and a society; c. 3
operettas ; pop. male choruses, etc.
502
THE MUSICAL GUIDE
Ficher (fekh'.«r), Fd., Leipzig. 1821
— New York, 1865 ; pianist and com-
poser.
Fiedler (fet -l^r), August Max, b. Zit-
tau, Dec. 3. 1859 ; piano pupU of his
father, and studied organ and theory
with G. Albrecht ; 1877-80 Leipzig
Cons. ; won the Holstein Scholarship ;
since 1882 teacher, Hamburg Cons.;
c. a symphony, etc.
Field, (I) John, Dublin, July 16, 1782—
Moscow, Jan. 11, 1837 ; a great though
gentle revolutionist of music, to whom
much of Chopin's glory belongs, for
Field developed the more lyric manner
of pf. -playing and carried it into his
composition, in which he gave the
piano-song or poem its first escape
from the old stiff forms. He created
the Nocturne, and many of his comps.
in this form have practically every
quality and mannerism characteristic
of those of Chopin, who excelled him
in passion, resource, and harmonic
breadth. He was the son of a violinist,
and grandson and pupil of an organ-
ist, who compelled him to practise
so hard that he ran ^way, but was
brought back and later was appren-
ticed to Clementi as a salesman. He
also had lessons from C, and went
with him to Paris in 1802, making a
great stir with his interpretation of
Bach's and Handel's fugues ; he was
kept at his salesman's tasks till 1804,
when he settled at St Petersburg as
a teacher and pianist of g^eat vogue.
After touring Russia, in London, 1832,
he played a concerto of his own at
the Philh.; then to Paris; 1833 Bel-
gium, Switzerland, Italy, where he
was not a succ. Intemperance and
fistula kept him nine months in a Na-
ples hospital; whence he was rescued
by a Russian family Raemanow and
taken to Moscow, playing in Vienna
with greatest succ. ; but his health
was lost and he died a few years later
and was buried in Moscow. Besides
20 nocturnes (of which only 12 were
so named by Field) he c. 7 concertos
(No. 4 in £ flat the most popular) ;
4 sonatas ; ** Air russf** y *'*^Air
russe vari^** (^ hands); ** CAans^
russe varU^* in D min. ; polooaise ;
*^ Reviens^ reviens" Romanza and
Cavatina in £ ; 4 ronoances ; 7 ron-
deaux ; rondeau with 2 vlns. , vioU,
and bass ; variation in C ; 2 diver>
tissements with 2 vlns., viola, and
bass ; a fantasias ; and pf. -exercises
in all keys. (2) Henry, ** FtcW of
Bath," Dec. 6, 1797 — May 19, 184S ;
pianist and teacher.
Fielitz (fon fe'-llts), Alexander too,
b. Leipzig, Dec. 28, i860; pupil in
Dresden of J. Schulhoff(pf.)and Kret-
schmer (comp.) ; he became opera-
cond. in ZQrich, LQbeck, and Lc^pjig
(City Th.) ; a nervous disorder com-
pelled his retirement ; lives in Italy
as a composer of sacred choruses,
orch. 4x:s., songs, etc. His songs
have attained much solid popularity.
Filippi (fe-lYp'-pI) (i) Gitu de, Milan,
1825 — Neuilly. near Paris, 18S7 ;
writer. (2) Filippo, Vicenza^ 1830
— Milan, 1887 ; critic, writer, and
composer.
Fiirmore, J. Comfort, Franklin,
Conn., 1843 — 1898 ; studied at Obcr-
lin (O.) Coll., and Leipzig Cons.;
1884-95 founder and dir. of Sch. of
Mus. in Milwaukee ; then mus. dir.
Pomona Coll., Claremont, Cal. ; pub.
** A Study of Omaha Indian J^usix "
(with Miss Fletcher and F. La
Flesche ; Peabody Museum, 1893);
etc.
Filtsch (feltsh), Karl, Hermannstadt,
Transylvania, 183 1 — Vienna, 1845 i
pianist ; pupil of Chopin and Liszt :
died at 15.
Finck (fink), (i) Heinricb, 1482. con-
ductor to John Albert I., Cracow ;
eminent contrapuntist. (2) Hermann,
Pima, Saxony, 1527 — Wittenburg,
1558, grand-nephew of above ; com-
poser and writer. (3) Henry The-
ophilus, b. Bethel, Missouri, Sept.
22, 1854 ; prominent American critic
and essayist ; influential advocate of
Wagner; lived in Oregon, then (1876)
graduate of Harvard, having studied
DICTIONARY OF MUSICIANS 503
theory and hist, of mus. with J. K.
Paine ; 1876, attended the first Bav-
reuth festival, and studied at Municn;
pub. the valuable ** IVagpur and His
Wcrks" (N. Y., 1893, 2 vols., Germ,
trans!., Breslau, 1897) ; 1877-78,
studied anthropology at Harvard ; re-
ceived a Fellowship and spent 3 years
at Berlin, Heidelberg, and Vienna,
studying comparative psychology and
senmng mus. letters to N. Y. Nation;
has since been mus.-ed. of the N. Y.
Evening Post; pub. '* Chopin^ and
ether Mus, Essavs^* ** Fader ewski
and his Art^^ Songs and Sonr*
JVriters " (1901) ; 3 books of travel :
''PaHfie Coast ScenU Tour,'' '' Lo.
toS'time in Japan,'* '* Spain and Afo-
rocco *' / and a important books on
the psychology of love, ^* Romantic
Love and Personal Beauty,' having
reached 4 editions ; ** Primitive Love
and Love Stories ** (1900).
Fincke (ftnk'-«), Fritz, b. Wismar.
May I, 1846; pupil Leipzig Cons.;
theorist and violmist, Frankfort, then
organist at Wismar ; 1879, teacher of
singing, Peabody Inst., Baltimore;
writer and composer.
Findeisen (fYnt -i-z£n), Otto, 1890,
conductor Wilhelm-Th., Magdeburg,
prod. succ. operetta ** Der Aite Des*
sauer'* (Magdeburg, 1890); and the
succ. folk -opera ** Henings von
TreffenfeW (ib. 1891).
Finger (ftng'-«r), Gfl, b. Ohntttz, Ba-
Taria ; in England, 1685-1701 ; then
chamber-mus. to Queen of Prussia,
till 1717.
Fink, Gf. Wm., Suiza, Thuringia.
1783 — Halle, 1846 ; editor, writer,
and composer. (2) Chr., b. Detting-
cn, Wttrlemberg, Aug. 9, 1831; pupil
Esslingen Seminary ; Leipzig Cons.,
and ^hneider, Dresden ; till i860
lived as organist and teacher, Leip-
rig ; then teacher and organist, Ess-
lingen, and prof, in 1862 ; composer.
Fink'enstein (shtin), Jettka, b. Seni,
Russia, March 22, 1865 ; alto ; stud-
ied at Berlin Hochschule, and with
Vlardot Garcia ; ist. alto at Darm«
stadt ct.-theatre till 1891, then
toured ; lives in Breslau.
Fioravanti (fe-6r4Uvfin'-te), (i) Valen-
tino, Rome, 1764 — Capua, June 16,
1837 ; opera-cond. and composer.
(2) Vincenzo, Rome, 1799 — Naples,
1877, son of above ; conductor and
dram, composer.
Fiorillo (fi-d-rir-lo), (i) Ignazio,
Naples, 1 715 — Fritzlar, near Cassel,
1787 ; court-conductor and composer.
(2) Federig^o, b. Brunswick, 1753 (?);
son and pupil of above ; viola player
and composer.
Fiqu6 (fe-ka), Karl, b. Bremen, 1861 ;
pupil of Leipzig Cons. ; lives in Brook-
lyn, N. Y. ; pianist and composer.
Fischel (ftsh -«!), Adolf, b. KOnigs-
ber^, 18 10; pupil of Spohr ; cigar-
dealer in Berlin ; violinist and com-
poser.
Fischer (fTsh'.*r), (i) Chr. Fr., Lu-
beck, 1698 — Kiel, 1752; cantor and
writer. (2) Jn. Chr., Freiburg,Ba-
den, 1733 — London, 1800 ; oboist and
composer. (3) Chr. Wm., Konrads-
dorf, near Freiburg, 1780— Dresden,
1859; basso buffo. (4) Ludwig^,
Mayence, 1745 — Berlin, 1825 ; oper-
atic bass, ofgreat range (D - a'). (5)
Michael Gottbard, Alach, near
Erfurt, 1773 — Erfurt, 1829; cond.
and composer. (6) Anton, Ried,
Swabia, 1777 — Vienna, 1808 ; com-
poser. (7) Ernst Gf., Hoheneiche,
near Saalfeld, 1754— Berlin, 1831 ;
prof, and acoustician. (8) Gf. Emil,
Berlin, 1791— 1841, son of above;
singing-teacher and writer. (9) K.
L., Kaiserslautem, Bavaria, 18 16 —
Hanover, 1877 ; court-conductor and
composer. (10) Ad., Uckermunde,
Pomerania, 1827 — Breslau, 1893 ; or-
finist and composer. (11) K. Aug.,
bersdorf, Saxony, 1828 — Dresden,
1892 ; organist. (12) Fz., b. Munich,
July 29, 1849; *cellist, pupil of H.
Mailer; 1870 soloist National Th.,
Pesth, under Hans Richter ; later at
Munich and Bayreuth with Wagner ;
1877-79. court-conductor at Mann-
heim, then Munich. (13) Paul,
50+
THE MUSICAL GUIDE
Zwickau, 1834 — Zittau. 1894 ; cantor
and writer. (14) Ad., Brussels, 1847
— insane in Brussels, 1891 ; 'cellist.
(15) Ignaz, 1828 — Vienna, 1877;
conductor ct.-opera, Vienna. (16)
Josef^ 1828— Stuttgart, 1885 ; com-
poser. (17) Emil, b. Germany, ca.
1835; notable German basso in Wag-
nerian r61es ; debut 1849 ; sang at
Met. Op. N. Y. many jrears ; 1899 m.
Camille Seygard ; divorced 1902.
Fischhof (ftsh -SO. Jos., Butschowitz,
Moravia, 1804 — Vienna, 1857; prof.,
composer and writer.
Fish, wm., Norwich, 1775— ca. 1863;
violinist and oboist.
Fish'er, (i) John A., b. Dunstable,
1774, pf.-and organ-virtuoso ; violin-
ist and composer. (2) Wm. Anns,
b. San Francisco, April 27, 1861 ; pu-
fil of J. P. Morgan (org. and pf.),
I. W. Parker, and DvoHk, New
York ; also studied singing in Lon-
don : lives in Boston as teacher,
composer of songs, and editor.
Fissot (fls-so) Alexis Henri, Air-
aines (Somme), 1843 — Paris, 1896 ;
pf. and organ-virtuoso and com-
poser.
Fitzenhagen (fYts'-£n-hakh-£n), Wm.
K. Fr., Seesen, Brunswick, 1848—
Moscow, 1890 ; 'cellist.
Fitzwilliam, Edward F., 1824— Jan.
30. 1857 ; English composer.
Fladt (flat), Anton, b. Mannheim,
1775 ; oboist and composer.
Flag^'ler, Isaac van Vleck, b. Albany,
N. Y., May 15, 1844 ; pupil of Beale
at Albany, Batiste in Paris, etc. ;
organist various churches, then (1899)
a publisher and concert-organist;
Chautauqua-lecturer for 13 years;
teacher at Syracuse and Cornell Uni-
versities and Utica Cons. • composer.
Flazland (flix-IaA), Gve. Alexandre,
Strassburg, 182 1 — Paris, 1895 ; pub.,
Paris.
FUgier (fla-zha), Ange, b. Marseilles,
Feb. 25, 1846 ; pupil of Marseilles
Cons, and Paris Cons. 1870; returned
to Marseilles ; c. i-act comic opera,
''FaHma'' (Mars. 1875), *' Osnan;'
and '* Fran^oise di Rimini^ cantita,
with orch., etc.
Fleischer (fll'-shfr), (i) Reinhold. b.
Dansau, Silesia, April 12, 1&42;
pupil of the R. Inst, for Chmdt-
music, and R. Akademie, at Beriin ;
1870, organist at GOrlitz and dir.
Singakademie ; 1885, Royal Mas.
Dir. ; c. a cantato, *'Ifoida,''tXc (2)
Oskar, b. ZOrbig. Nov. i, 1856;
studied in Italy on govt, stipend;
pupil and, since 1896, successor of
Spitta as Prof. Extraordinary, at the
Berlin Univ., also custodian of tbe
Royal Coll. of Mus. Instis., and
teacher of history at the Hochscfauk
for Musik ; pub. a study of neumes,
1895, etc. (3)rlei8cher-£del(i'-da),
Katharina, b. Mfllheim, Sept. S7,
1873 ; soprano ; studied with Iffert ;
sings at court-opera, Dresden.
Flem'ming, Fr. Fd., Neuhaosen.
Saxony, 1778 — Berlin, 18 13; c pop.
** Integer vita,''* etc.
Floertheim (flars'-him). Otto, b. Aix-
la-Chapelle, March 2, 1853 ; pupH of
Fd. Hiller, Cologne; 1875, ^^
York; 1880. edited TJU MtuusJ
Courier, since 1894 manager of its
Berlin Branch ; c. *' Prelude nd
Furue,'* ''ScAerzo," for orch., etc
Flondia (flo-rcd'-ya), (Napolino) Pie-
tro, b. Modica, Sicily, March 5, i860;
pianist, pupil of S. Pietro a MajeQo,
Naples ; while there he pub. succ.
pf.-pcs. ; prod. succ. comic <^>era
•* Car/otta CUpier " (Naples, 1882),
later burned the score, retired for
3 years to Sicily; toured 1885-86;
1888-90, prof, of pf. Palermo Cons. ;
1889, his grand symphony won ist
prize of the Soc. del Quartetto, Mil-
an ; w. text and music of succ. open
** Marunsa'" (Venice, 1894) ; lives in
Milan ; c. (with Luigi Illica) " /> ^
Ionia Libera *V also **FestouvertSri'*
serenata, etc.
Florimo (fl6'-rt-m6), Fran., San Gior-
gio Morgeto, Calabria, 1800 — Napks,
1888 ; writer, teacher, and composer.
Flo'rio, Caryl, pen-name of WoLjai*
Robjohn.
DICTIONARY OF MUSICIANS 505
Flor'ixel. Vide reuter.
Flotow (fld'-to), Friedrich, Freiherr
von, Teutendorf, Mecklenburg, April
27, 18 12 — Darmstadt, Jan. 24, 1883 ;
composer of 2 extremely popular and
melodious, also extremely light, op-
eras ; son of a landed nobleman ;
studied composition with Reicha,
Paris ; he fled from the July Revolu-
tion to Mecklenburg, where he c. 2
operettas ; returning to Paris, he
iwod. '' Sh'aphiner 1836, ''Rob
Hoy^" and the succ. *' Le Naufrage
de la M^duse^'' 1839, (given Ham-
bors:, 1845, as ** Die Matrosen "), in
which he collaborated with Paloti and
Grisar ; 3 later works failed, incl. the
ballet ''Lady Harriet (Op^ra.
1843) ; afterwards rewritten with
great succ. ^s" Martha" (Vienna,
1847). " AUssandro Stradella "(Ham-
burg, 1844 ; rewritten from a **pi^e
lyrique. "Stradella;' Paris, 1837),
made his name in Germany. He fled
from the March Revolution (1848),
and prod. ** Die Gross-fUrstin " (Ber-
Un, 1853). and " Indra'' (Berlin Op-
era, 1850) ; 3 later works failed.
1856-63, he was intendant of court-
music, Schwerin, and c. a ** Torch-
Dance " and excellent music to Shake-
speare's " Winter's Tale" ; 1863-68.
he prod. 2 operettas, 2 operas, and 2
ballets, without succ. ; 1868, he re-
tired to one of his estates, near Vien-
na, made visits to Vienna, Paris, It-
aly ; 1870, 'T Ombre" (Paris, Op.
Com., 1870 ; prod, in London, 1878,
as the "Phantom") was very succ. ;
" Natda" (Milan, 1873) and " //
Fior d Harlem " (Turin. 1876) were
revisions, and he rewrote ** Indra " as
*'V Enchanteresse" (Paris and London,
1878); lUly, "AlmaVIncancatrice";
Germany "Die Hexe'^ ; after his
death " Rosellanar '' Der Graf
Saint'M/grin " (Cologne, 1884), and
" Die Munkanten" (Hanover, 1887)
were produced.
Plow'ers, Geo. French, Boston, Eng-
land, 18 1 1 — 1872, organist, teacher,
composer, and writer.
Flttg^el (fla'-gei), (i) Gu8tav,Nienburg.
on-Saale, July 2, 1812 — Stettin, 1900;
cantor, organist, writer, and compos*
er. (2) Ernest Paul, b. Stettin, Aug.
31, 1844; son and pupil of above;
studied at the R. Inst, for Church-
music, and the Akademie, Berlin;
private pupil of von Bttlow ; 1867,
organist and teacher at the Prenzlau
Gymnasium ; in 1879, cantor, Brcs-
lau, and founded the ** FlQgelverein " ;
writer and composer.
Fo'dor, (i) Jos., Vanlos, 1752 — 1828 ;
violinist and composer. (2) Jo-
sephine, b. Paris, 1793 ; soprano ;
retired, 1833 ; daughter of above ;
m. the actor Mainvielle.
Foerster (f^r'-sht^r), Ad. Martin, b.
Pittsburg, Pa., Feb. 2, 1854; impor-
tant American composer ; pupil of his
mother and of Leipzig Cons. ; 1875-
76, teacher at Ft. Wayne (Ind.),
Cons., then Pittsburg, Pa., where he
still lives as a teacher of singing and
pf.; c. "Faust" overture; march-
fantasia ; festival music, 2 suites (No.
I, *• The Falconer"), festival march
(May festival, 1891, under Seidl) ;
** Symphonic Ode to Byron" and
•• DedicaHon March " (Carnegie Hall,
Pittsburg) ; *' Thusnelda," etc.
Fogg^a (fod'-ja), Fran., Rome, 1604 —
16S8, composer and conductor.
Fogliani (fol-ya -ne), Ludovici, Mo-
dena, 15th cent. — ca. 1540; theorist
and composer.
Foignet (fw£n'-ya), (i) Chas. Gabriel,
Lyons, ca. 1750 — Paris, 1823; teach-
er. (2) Fran., Paris, ca. 1780 —
Strassburg, 1845 ; tenor, later bary-
tone and dram, composer.
Fdldesy (fttl'^S-she), , b. Hun-
gary ; young 'cellist, succ. in London,
1902 ; son of a military bandman at
Budapest ; pupil of Becker.
Fo ley (•* Signor Foli "), Allan Jas.,
Cahir, Tipf>erary, Ireland, 1842—
Southport, England, Oct. 20, 1899 ;
concert and operatic bass. ^
Folville (f6l-vc'.yii), (Eugenie Emi-
lie) Juliette, b. Li^e, Ian. 5, 1870 ;
brilliant pianist, yioUnist, teacher,
5o6
THE MUSICAL GUIDE
conductor and composer; pupil of
her father, a distinguished lawyer;
studied vln. with Malherbes, Musin,
and Cesar Thomson ; in 1879, debut
at Li^ge as concert-violinist ; fre-
quently directs her own orchestral
works ; annually conducts at Li^e
Cons, a concert of ancient music, and
g^ves clavecin-recitals ; prod. 1893,
very succ. opera *' Afala** (Lille,
1892 ; Rouen, 1893) ; 1898, pf. prof,
at Li^e Cons. ; c. 3 orchestral suites :
" Scht^s (a) champitres, (b) <U la
mer^ (c) cChiver*^ etc.
Fonda, (Mrs.) G. A., 1837 — Louis-
ville. 1897; wrote ''Life of CotU
schalk,"* etc., under pseud., *' Octavia
Hensel."
Fontaine (fon'-t^n), (i) Mortierde,
v. MORTiER. (2) Hendrik, b. Ant-
werp, April 5, 1857 ; concert-bass ;
pupil of the Cons, and singing-teach-
er, 1883.
Fontana (f6n-t&'-n&), Giov. Bat., d.
Brescia, 1630 ; composer.
Foote, Arthur Wm., b. Salem, Mass.,
March 5, 1853 ; prominent American
composer ; pupil of B. J. Lang (pf.),
S. A. Emery, and J. K. Paine (comp.)
1875, A. M. Harvard (for mus.) ;
since 1878, organist of the first Uni-
tarian Ch.. Boston ; pub. overture,
"" In the Mountains ^^^ symphonic pro-
logue, '' Francesca da Rimini" cel-
lo concerto ; orch. suite and choral
works, *• Farewell of Hiawatha*'
*• The Wreck of the Hesperus:' and
** The Skeleton in Armour'' ; pf.-
quintet, quartet in C ; pf.-trio in C
min.; sonata for pf. and vln.; 2
string-quartets ; pes. for vln. and
'cello, and pf.-pcs.; 2 suites, and
songs.
Forbcrg (for'-b^rkh). Robt., LUtzen,
1833 — Leipzig, 1880; mus. pub. at
Leipzig.
Forbes, H., 1804 — 1S59; Engl, organ-
ist, pianist, and dram, composer.
Forchhammer (f6rkh'-ham-mdr), Th.,
b. Schiers, Gray Cantons, July 29,
1847 ; pupil of Stuttgart Cons.; 1885,
organist at Magdeburg Cath. ; 1888.
Royal Mus. Dir.; writer and
poser.
Ford, (i) Thos., England, ca. 1580—
1648 ; composer and writer. (2)
Ernest A. C, b. Ix>ndon, Feb. 17,
1858 ; pupil of Sullivan and Lalo ;
cond. Empire Th., London ; pnxl. 2
operas ; comic-opxra. "^^Jone Annie*' ;
a cantata; motet '' Domine L>eus"
(for 250th anniv. of Harvard Univ.),
etc.
For'kel, Jn. Nikolaus, Meeder, near
Coburg, 1749 — GOttingen, 1818 ;
historian, organist, harpist, and
teacher.
Formes, K. Jos., Molheim-on- Rhine,
1 8 16 — San Francisco, 1889 ; opera-
bass. His wife (2) a notable con-
tralto in N. Y. (3) Theodor, MqI-
heim. 1826 — Endenich, near Bonn.
1874 ; tenor, bro. of above.
Formschneider (f6rm'-shnl'-d<?r). Vide
GRAPHAUS.
Fornari (f6r-nfi'-rc), V., b. Naples.
May II. 1848; pupil of Sira (pf.)
and Battista (comp.) ; c operas,
'' Afaria di 7>rr^ " (Naples, 1872),
'' Salammbo," '' Zuma'^ (Naples,
1881), and I -act opera-seria " ^'«f
Dramma in Vendemmia " (Florence,
i8g6), succ.
Fomasari (f6r-nfi-sa'-re). Luciano,
Italian bass ; debut ca. 1828; toured
widely and retired 1846.
Fdmer (ffr'-ndr), Chr., Wctlin, 1610
— 1678 : organ-builder ; ca. 1675, inv.
the ** wind-gauge."
Forqueray (fork-rd). //r. contcmpo-
rary French composer.
Forster (f5r'-shter), G., (i) Amberg<?)
— Ntlmberg, 1568 ; editor and colL
(2) G., (II), d. Dresden. 1587:
double-bass ; conductor. (3) Niko-
laus (called Fortius), 1499 — '535 ;
contrapuntist. (4) (or Fdrster)
par, Danzig. 16 17 — 1673 ; com{X)ser,
theorist and conductor. (5) Wm.
(Sr.), Brampton, Cumberland, 1739 —
London, 1808 ; vln. -maker ; hi^ son
and successor was (6), Wm.» Lon-
don. 1764 — 1824.
Fdrster (fdr'-sht^r), (i) v. forstek
DICTIONARY OF MUSICIANS 507
(4). (2) Chr., Bebra, Thuringia,
1693 — Rudolstadt, 1745 ; oijanist,
conductor and composer. (3) Eman-
uel Aloys, Neurath, Austrian Sile-
sia, 1748— -Vienna, 182J; theorist
and composer. (4) Jos., b. Osojnitz,
Bohemia, Feb. 22, 1833 ; Prague
School of Organists; organist in various
churches ; since 1887. Prague Oath. ;
prof .of theory, Prague Cons. ; c. masses
and requiems, org. -pes ; wrote a trea-
tise on harmony. (5) Vide foerster.
(6) Alban, b. Reichenbach, Saxony,
Oct. 23, 1849 *. violinist ; pupil R.
Blume, later of Dresden Cons. ; lead-
er at Carlsbad, Breslau, Stettin; 18 71,
court mus., and cond. Neustrelitz,
188 1, teacher in Dresden Cons.,
cond. of the Liedertafel ; since 1882,
court-cond. at Neustrelitz, 1875 I c.
comic operas, ballet pantomime, orch.
and chamber music, etc.
Forsyth', Bros., mus. publishers,
London and Manchester.
Forti (for'-te), Anton, Vienna, 1790 —
1859 ; bar>'tone.
Fortla^e (f6rt'-ia-g«), K., Osnabruck,
1806 — ^Jena, 1881; writer.
Fdrtsch (f«rtsh), Jn. Ph., Wertheim.
Franconia, 1652 — Eutin, 1732 ; con-
ductor, singer, and dram, composer.
Fos'ter, (i) Stephen Collins, Law-
renccville (Pittsburg), Pa., July 4,
1826 — New York, Jan. 13, 1864 ;
chiefly self-taught as flageolet-play-
er and com|x>ser ; a writer of words
and music of genuine American folk-
song ; he enjoyed enormous vogue,
receiving $500 for the privilege of
singing **Old Folks at Home" (or
** Suwanee River") before its publi-
cation ; c. 160 songs, incl. ** My Old
Kentucky Home," *' Nellie was a
Lady," and many war-songs ; his
melody, though simple, was rarely
banal and has elements of immortal-
itv. (2) (Myles) Birket, b. London,
Nov. 29, 1851 ; organist and com-
poser ; pupil of Hamilton Clarke, and
at R. A. M. of Sullivan, Prout, and
Westlake ; 1873-74, organist at Ha-
weis' Church ; 1880--92, at the Found-
ling Hospital ; then mus.-ed. for
Boosey & Co.; c. 2 Evening Ser-
vices ; symphony, ** IsU of Arran " ;
overtures, etc.
Fouqu^ (foo-ka), P. Octave, Pau, Bas-
ses-Pyrenees, 1844 — 1883; libr., Paris
Cons. ; critic and writer.
Foumeaux (foor^no), NapoUon,
Leard, 1808 — Aubanton, 1846 ; im-
prover of the reed instruments.
Fournier (foom-ya), (i) P. Simon,
Paris, 1 7 12 — 1768 ; introducy of
round-headed notes, and writer on
history of music-types. (2) 6 mile
Eugene Alex., Paris, 1864 — Toin-
ville-le-Pont, 1897 ; pupil of Delibes
and Dubois at Cons.; 1891 took 2d
Grand prix de Rome, and 1892 Prix
Cressent, for i-act opera ^'' Straionice**
(Gr. Opera, Paris, 1892); c. opera
•* Carloman" etc.
Fox, Geo., b. 1854, Eng. (?) ; bary-
tone, with various opera troupes m
London and the provinces and c. pop.
operettas, ''Robert Macaire,^* 1887;
•* The Corsican Brothers," 1888, and
** Nydia"' 1892— all prod, at the Crys-
tal Palace ; c cantatas, songs, etc.
Fradel (fra'-d«l), Chas. (Karl), b.
Vienna, 182 1 ; music-teacher New
York, then London ; composer.
Framery (fritm-rc), Nicolas 6t., 1745
— Paris, 1810; writer.
Francesco. Vide landing.
Francesina (lii fran-ch&-se -ni). La
(rightly Elizabeth Duparc), French
singer in Italy, and, 1738-45, London,
where she created Handelian roles.
Franchetti (fran-k$t'-te), (i) Alberto
(Baron) ; b. Turin. Sept. 18, 1850 ;
pupil of N. Coccon and F. Magi ;
then of Draeseke, and at the Munich
Cons.; prod. ** dram. legend"
'' AsraiU^' (Brescia, 1888); opera,
** Cristoforo Colombo'*'' (Genoa, 1892),
'' Fior d'Alpe'' (Milan, 1894), ** //
Signor di Pourceaugnac''* (Milan,
1807), all succ. ; c. a symphony, etc.
(2) Valerio, b. Italy ; violinist ;
nephew of above ; opp)osed by bis
family he made succ. as '* Oiiveira " ;
played with succ. Berlin, 1S92.
5o8
THE MUSICAL GUIDE
Franchinns (frfln-ke'-noos). Vide
GAFORI.
Franchi - Vcrncy (fran'-ke-v^r'-na),
Giu. Ip.,Conte dclla Valetu ; b. Tu-
rin, Feb. 17, 1848 ; 1874 gave up law for
music ; 1875-77 under the pen-name
•* Ippolito Valetta " contributed to
various papers ; 1893 (?), m. Teresina
Tua ; c. succ. lyric sketch ** // FaA
dese " (Turin, 1885), and succ. ballet,
'' liJifula/fo'' {Naples, 1896).
Franchomme (fran-shtlm), Aug^uste,
Lille, April 10, 1808 — Paris, Jan.
31, 1884 ; 'cellist ; teacher at the
Cons, and composer.
Franck (frank), (i) Melchior» Zittau,
ca. 1580 — Coburg, June i, 1639 J
from 1603 court -cond. at Coburg ; a
prolific and important c. of secular
and church- music, a pioneer in im-
proving instrumental accompaniment;
two of his chorales ^^JerusaUm^ das
hochgebaute Stadt,"' and *' Wenn ich
Todesnothen bin" are still sung ; he
is said to have written the text for
many hymns. (2) Jn. W., Hamburg,
1641 — Spain, 1688 (or later) ; opera-
cond.; c. 14 operas. (3) (frfin), 06-
sar Aug^uste, Li^e, Dec. 10, 1822
— Paris. Nov. 8, 1890 ; important
and influential French composer ;
pupil Liige Cons., then of Paris
Cons., where he took ist prize for
piano, and 2d for comp., also suc-
ceeding his organ-teacher, Benoist, as
prof, there in 1872, and as organist
at Ste. Clothilde; c. a notable symph.
poem with choxMS** Les beatitudes ^"
symph. poem ** Le chasseur maudit^
a symphony in D minor, a succ. com.
opera ** Hulda " (Monte Cario, 1894),
2 oratorios, an unfinished opera
*^GhiseUa,'* a sonata for pf. and
vln.; pf.-pcs.; chamber-music, songs,
etc. ; biog. by Derepas (Paris, '97),
and by Destranges. (4) Eduard,
Breslau, 181 7 — Berlin, 1893 ; pro-
fessor and composer. (5) J08., b.
Li^e, ca. 1820 ; bro. of (3) ; organ-
ist and teacher, Paris ; pub. Ode to
St. Cecilia (with orch.) ; cantatas,
etc.
II
II
Francke (frilnk'-Q, An^. Hii^ 1865,
founded Leipzig pf. -factory.
Fran'cOy a name honoured in mensonl
music and probably belongiii^ to two,
perhaps three, men : (i) r . of Paris
(the elder), cond. at Notre-Dame,
Paris, ca. iioo (?) A.D.; and (2) F.
of Cologne, Dortmund and prior erf
the Benedictine Abbey at Cologne in
1 190, author of 2 treatises.
Francoeor (friln-ktlr), (i) Fran^oss,
Paris, 1698 — 1787 ; violinist and
dram, composer. (2) Louis Jos.,
Paris, 1 738-— 1804 ; nephew of above;
violinist, conductor and dram, com-
poser.
Frank (i) Melcbior. Vide francs.
(2) Ernst, Munich, 1847 — (insane),
Oberd6blin^, near Vienna, 1889;
court-organist and dram, composer.
Franke (fr&nk'-«), Fr. W., b. Bar-
men, June 21, 1862 ; studied Beriin
Hochschule; organist at Stralsund,
later at Cologne, also teacher in the
Cons.
Frankenberger (frank'-^n-birkh-^).
H.yWOmbach, Schwarzburg-^Sondcrs-
hausen, 1824 — Sondershausen, 1885 ;
conductor, violinist, and dram, cooo-
poser.
Frank'lin, Benj., Boston, Mass.,
1706 — Philadelphia, 1790; the emi-
nent philosopher ; inv. the harmonica
(v. D. D.), and wrote wittily on
Scotch and contemporary music, etc.
Franz (fronts), (i) K., Langenbielau,
Silesia, 1738— Munich, 1802 ; virtu-
oso on the waldhoro, and the bary-
ton. (2) J. H., pen-name of Coum
B. von Hochberg. (3) Robt., Halle,
June 28, 18 15 — Oct. 24, 1892 : 1847,
changed his family-name Knaatfa,
by royal permission ; long opposed
by his parents, he finished his musi-
cal studies 1835-37, under Fr. Schnei-
der, Dessau ; returned to Halle, and
spent six vears studying Bach, etc;
1843, his first album of 12 songs ap-
peared, and was cordially rec*d by
Liszt and Mendelssohn, and by Schu-
mann, who wrote about him in his
periodical. He became organist at
DICTIONARY OF MUSICIANS 509
the Ulrichsldrcbe, and 'later cond. of
the Singakademie, and mus. dir. at
HaUe Univ., which made him Mus.
Doc., 1861. In 1868, deafness at-
tacked him, and nenroos disorders
prevented bis writing further. His
distress was relieved by the receipt of
$25,000, from a series of concerts or-
nnised 1872, in Germany, by Helene
Magnus, Joachim, Liszt, and in
America, by Dresel, Schlesinger, and
B. J. Lang. His wife (4) Marie (nee
Hlnrichs, 1828-91), pub. many ex-
cellent songs. His supplementing of
the old musical shorthand of Bach
and Handel, by full scores with mod-
em instrumentation has been of in-
valuable service. He also pub. es-
says and "open letters" to Hanslick
on Bach and HSndel. He pub. 257
songs; the 117th Psalm, for double
chorus a cappella ; Kyrie for soli and
4-part chorus, a cappdla^ a liturgy for
6 chorals, 6 part-songs for mixed
chorus, and 6 do. for male chorus.
Biog. sketches, by Ambros, Liszt,
Dr. W. Waldmann (Leipzig, 1895),
etc.
Robert Franz.
By Henry T. Finck.
NEXT to Schuberty Robert Franz is undoubtedly the most original of
German song-writers. Unlike Schubert, he was a specialist, con-
fining himself almost entirely to the field of art-songs, of which he
wrote 279. These short songs represent, however, multum in parvo. As
he himself once remarked, they are ** like a mirror reflecdng the development
of music from a to z." By thdr simple strophic structure they remind one
of the early folk-song. Many of them are as stately and majestic as the Prot-
estant chorals of the dme from Luther to Bach. ^Like Bach's music, the
pianoforte parts of Franz's songs are polyphonic ; that is, the melody is not
confined to the voice, but each part of the instrumental accompaniment is a
melody, too, and these diverse melodies arc interwoven with magic art. At
the same time his harmonies and tone-colours are as modem as Chopin's, espe-
cially in the use of chords widely extended with the aid of the pedal. ^ Franz
admitted he could never have become what he was, had it not been for Schu-
mann and Schubert ; yet his style is entirely different fi'om theirs. He was
also more critical than any of his predecessors, retaining in his desks all songs
that did not please him ; hence the proportion of good ones is greater in his
case than in any other. His songs are a happy blending of the romantic
spirit and the classical style, of the modem declamatory style and a genuine
hel canto.
Fr&nzl (fronts*!), (i) Ignaz» Mann-
heim, 1734 — 1803 ; violinist, conduc-
tor and composer. (2) Fd., Schwet-
zingen. Palatinate, 1770 — Mannheim,
1833 ; son and pupil of above ; con-
ductor and dram, composer.
Frauenlob (frow'-^n-l6p). Vide von
MEISSEN.
Frauscher (frow'-sh^r), Moritz, b.
Mattighafen, Austria, 1861; studied
with Jn. Ress, sang Pogner i^'' Meis-
510
THE MUSICAL GUIDE
ierstnger"), Bayreuth, 1892; since
189^, Vienna, ct.-opcra.
Frasi (fra -ze), Giulla, Italian singer in
England, 1743-58 in Handel's works.
Frederick II. (the Great), of Prussia ;
Berlin, 1712 — Potsdam, 1786; flute-
player and composer of remarkable
skill — for a king.
Fr6d^riz (fra-da-rex), Gv., Li^e,
1834 — Brussels, 1894 ; critic.
Frcge (fra'-gd), Livia (nee Gerhard),
Gera, b. June 13, 18 18; singer; pu-
pil of Pohlenz ; debut at 15 with
Clara Wieck, who was then 13, at the
Gewandhaus, Leipzig.
Freiberg (frl'-b^rkh). Otto, Naum-
burg, April 26, 1846 ; studied, Leip-
zig Cons.; from 1865, violinist in
court-orch., Carlsruhe ; studied with
V. Lachner ; became mus. dir. Mar-
burg Univ.; 1887, mus. dir. and prof.
G^ttingen.
Fr^ne (fr^n), Eugene H., Strassburg,
i860 (?) — Paris, 1896 ; conductor.
Fr^re (frilr). Marguerite Jeanne
(called Hatto), b. Lyons, Jan. 30,
1879; soprano; pupil of the Cons.,
took 2 opera prizes, 1899 ; debut Ope-
ra, 1899 ; created " Floria " in Saint-
Saens' '*^ Les Barbares" ; sang at
Monte Carlo, etc.
Freschi (fr«s'-ke), Giov. Dom., Vi-
cenza, 1640— 1690 ; conductor and
dram, composer.
Frescobaldi (fr^s-ko-bsl'-de), Girola-
mo, Ferrara, 1583 — (buried) Rome,
March 2, 1644 ; the greatest organist
of his time, a revolutionist in harmo-
ny and important developer of fugue
and notation ; he was so famous
that 30,000 people attended his first
performance as organist of St. Peter's,
Rome (1610, or -14) ; pupil of Luz-
zacchi ; organist at Mechlin probably
1607 ; c. org.-pcs., fugues, double-
choir church-music, etc.; biog. by
Haberl.
Freudenberg (froi'-d^n-b^rkh), Wm.,
b. Raubacher HUtte, Prussia, March
II, 1838; studied in Leipzig; th.-
cond. in various places ; 1865, cond.
of the Cecilia Singing Society, and the
Synagog^nverein, Wiesbaden ; 1870.
founded a Cons , and till 1886, cond.
the Singakademie ; later opera-cond.
at Atigsburg and (1889) Ratisbon;
c. many operas, chiefly comic ; symph.
poem, etc.
Freund (froint), Robt., b. Buda-Pesth.
April 7, 1852 ; pianist ; studied with
Moscheles, Tausig, and Liszt ; Utcs
in Zurich.
Frey (fri), M., d. Aug. 10, 1832 ; vio-
linist, court-cond. at Mannheim, and
dram, composer.
Frcystatter (fri'-sht«t-t«r). Wm.,
1836 — Munich, 1892, critic.
Frezzolini (fr^-zo-le'-ne), Erminia,
b. Orvieto, 181 8 ; soprano ; debut,
1838.
Friberth (frt'-b^rt), K., WuUersdoif,
Lower Austria, 1736— Vienna, 1816;
tenor ; conductor.
Frick (or Frike) (frtk, or ivh'M),
Ph. Jos., near WUrzburg, 1740—
London, 1798 ; organist and com-
poser.
Fricke (frTk'-e), Aug. Gf., Brunswick,
1829 — Berlin, 1894 ; bass.
Frickenhaus (frTk'-dn-hows), Fanny
(n^e Evans), b. Cheltenham, Eng-
land, June 7, 1849 ; pianist ; po^
of G. Mount, Aug. Dupont (BrusseJs
Cons.), and Wm. Bohrer ; 1869, de-
but, London.
Friedheim (fret'-him), Arthur, b. St
Petersburg, Oct. 26, 1859; pianist
and conductor; pupil of Rubinstein
one year, and of Liszt, 8 years; c
concerto, etc.
Friediander (fret'-ldnt-^r). Max., b,
Brieg, Silesia, Oct. 12, 1852 ; concert-
bass and editor; pupil of Manuel
Garcia and Stockbausen ; debut,
1880, London; 1881-83, Frankfort;
since in Berlin ; 1882, Dr. Phil. h.
c. (Breslau).
Friedrich II. Vide Frederick.
Fries (fres), Wulf (Chr. JnUus).
Garbeck, Holstein, Ger. Jan. 10,
1825 — Roxbury, Mass., April 29,
1902 ; self-taught 'cellist ; at 17 in
the Bergen Th. orch. and Ole Bull's
concerts ; 1847, Boston, Mass., one
DICTIONARY OF MUSICIANS 5»»
of the founders of the Mendelssohn
Quintet Club ; later a member of the
Beethoven Q. Club.
Frike. Vide frick.
Frimmel (frlm'-m«l). Th., b. Amstet-
ten. Lower Austria, Dec. 15, 1853 ;
M. D. (Vienna) ; writer.
Fritze (frlt'-z«), Wm., Bremen, 1842
— Stuttgart, 188 1 ; conductor, writer,
and composer.
Fritzsch (fntsh), Ernst Wm., b.
Latzen, Aug. 24, 1840 ; pupil Leip-
zig Cons. ; acquired the music-pub.
business of Bomnitz in Leipzig ;
since 1870, ed. the radical '* Afusi"
kalisches Wochenblatt;' and 1875
surted i}D^ '' AfusikaHscke Hausbl&t^
ter " / is a member of the Gewand-
haus Orch. ; pub. the works of Wag-
ner, Grieg, etc., and aided progress.
Froberg^r (fro -b^rkh-fir), Jn. Jakob,
1605 (?) — H^ricourt, France, May
7, 1667 ; chief German organist of
the 17th cent. ; son of a cantor at
Halle ; studied in Rome with Fresco-
baldi ; court organist at Vienna ; trav-
elled, and in England, being robbed,
became a bellows-treader ; he over-
blew during Chas. ITs marriage and
was beaten by the organist Gibbons ;
he fell to improvising shortly after,
and was recognised by a pupil who
presented him to the king.
Frd(h)lich (fra-likh), (i) Jos., Wurz-
burg, 1780— 1862 ; musical director ;
writer and dram, composer. (2) The
name of three sisters b. Vienna, (a)
Nanette (Anna), 17Q3 — ? pianist,
teacher, and singer, (b) Barbara,
1697 — ?, contralto and painter, m. F.
Bogner. (c) Josephine, 1803 — 1878,
notable singer and teacher.
Fromm (fr6m), Emil, b. Spremberg,
Niedcrlausitz, Jan. 29, 1835 \ pupil
of R. Inst, for Church-music, Berlin ;
1866, Royal Mus. Dir. ; 1869, organ-
ist and conductor at Flensburg ; c. 2
Passion cantatas, an oratorio, etc.
Frontini (fr6n-te'-ne), F. Paolo, b.
Catania, Aug. 6, i860 ; pupil of P.
Platania, and Lauro Rossi ; now
dir. Catania Mus. Inst. ; c. succ.
opera ** yVa/w" (Bologna, 1893);
oratorio ** Sansone^* (1882), etc.
Froschauer (frosh'-ow-dr), Jn., printer
at Augsburg; said to have printed
the first music with movable type in
1498.
Frost, (i) Chas. Jos., b. Westbury-
on-Tyne, Engl., June 20, 1848 ; son
and pupil of an organist at Tewkes-
bury, also pupil of Cooper, Goss, and
Steggall ; organist various churches ;
1882, Mus. Doc. Cantab. ; 1880 prof,
of organ Guildhall Sch. of Mus. ;
c. oratorio, ** Nathan^ s Parable "
(1878) ; a symphony, etc. (2) H. Fr.,
London, March 15, 1848 — ^June,i90i ;
studied organ with Seb. Hart. ; 1865-
91, organist of the Chapel Roval,
Savoy; 1880-88, pf.-prof. Guildhall
Sch. of Mus. ; from 1877 critic of
*• Th€ Academy:' \9itexol ''TheAthe-
tueum;" and ** The Standard'*; pub.
biog. of Schubert, and the ** Savoy
Hymn-tunes and Chants:*
Frotz'ler (frots'-Ur), Carl («« Auer "),
b. Stockerau, Lower Austria, April
10. 1873 ; pupil of his father ; at 15,
had c. a g^and mass, an offertory,
etc. ; then entered Vienna Cons,
studying under Krenn ; 1887-93, or-
ganist at the Pfarrkirche, Stockerau,
and chamber-pianist to Prince Hein-
rich Reuss IV ; 1893-97, cond. to
Count Esterhazy at Totis, Hungary ;
since, cond. City Th., Linz-on-Dan-
ube ; c. operas ^* Arnelda** (Totis,
1894 ; took Philh. Ger.-Amer. Opera
Society's prize) ; ** Der Liebesring** ;
'' Mathias Corvinus'* {?t!sX\i, Royal
Opera, 1896) ; 3 masses ; a symphony,
etc.
Fmgatta (froo-gat'-ta). Gin., b. Ber-
gamo. May 26, i860 ; pianist ; pupil
of Bazzini (comp.) and Andreoli (pf.)
at Milan Cons.; became prof, there;
also at the " Collegio reale delle Fan-
ciulle " ; composer.
Frtth (fra), Armin Lebrecht, Mahl-
hausen. Thuring^a, Sept. 1$, 1820—
Nordhausen. Jan. 8, 1894 ; dram,
composer ; inv. 1887, of the ** Semeio-
melodicon " (vide P. Pj,
512
THE MUSICAL GUIDE
Fruytiers (froi'-t«rs), Jan., Flemish
composer at Antwerp i6th century.
Fry, Wm. H., Philadelphia, 1813—
Santa Cruz, 1864 ; dram, composer ;
critic N. Y. Tribune,
Fuchs (fookhs). (i) G. Fr., Mayence,
1752 — Paris, 1821 ; clarinettist and
bandm. (2) Aloys, Raase, Austrian
Silesia, 1799 — Vienna, 1853 ; col-
lector and writer. (3) K. Dorius,
Jn., b. Potsdam, Oct. 22, 1838 ; pupil
of his father and v. BUlow, Weitz-
mann and Kiel ; Dr. phil., Greifswald;
1871-75, concert pianist, teacher and
critic, JBerlin ; 1875-79, Hirschberg ;
1879, Danzig; since '86, organist at
the Petrikirche, there . Pub. numerous
valuable musical treatises. (4) Jn.
Nepomuk, Frauenthal, Styria, May
5, 1842 — Vienna, Oct. 5, 1899 ; from
1893, dir. of Vienna Cons. ; dir. and
dram, composer. (5) Robt., b. Frau-
enthal, Feb. 15, 1847 ; bro. of above ;
pupil, since 1875 prof., at Vienna
Cons. ; pub. a symphony, 3 valuable
serenades, etc. ; prod. 2 operas : succ.
"Spieloper" ''Die Teufelsglocke''
(Leipzig, 1893) and the succ. com.
opera '* Die KonigsbrauV'' (Vienna,
1889). (6) Albert, b. Basel, Aug. 6,
1858 ; pupil of Leipzig Cons. ; 1880,
mus. dir. at Trier ; 1889, owner and
manager Wiesbaden Cons. ; composer.
(7) Anton, b. Munich, Jan. 29, 1849 !
barytone ; studied with Hey and
Milner ; sang at the court-opera ;
since 1882 at Bayreuth, first as singer
then as manager.
FUchs (faks), Fd. K., Vienna, 1811—
1848 ; dram, composer.
Fuentes (foo-an'-t6s). (i) Don Pas-
quale, b. Albayda, Valencia, d. there
1768 ; conductor and composer. (2)
Francisco De Santa Maria de,
Franciscan monk and writer at Ma-
drid, 1778.
Fuertes, M. S. Vide soriano.
Ftihrcr(fll'.r«r), Robt., Prague, 1807—
Vienna, Nov., 1861 ; organ-com-
poser.
Fnhrmann (foor'-man), (i) G. Ld.,
wrote work on the lute, Nttmberg,
1615. (2) Martin H., ca. 1670— ca.
I7j6 ; theorist and writer.
Fulda, Adam von. Vide adam.
Fulszt^nski (foolsh-ten'-shkl), Se
bastian, Polish theorist, i6th c.
FumagalU (foo-ma-gal'-Ie), name of
four bros. b. at Inzago, Italy: (i)
Disma, 1826 — Milan, 1893 ; profes-
sor and com'poser. (2) Adolfb, iSaS
— Florence, May 3, 1856 ; pianist.
(3) PolibiO, b. Oct. 26, 1830; pia-
nist and composer. (4) Luca, b.
May 29, 1837 ; pupil Milan Cons. ;
concert-pianist; prod, opera ''^ Lmgi
JT/ " (Florence, 1875).
Fumagal'lo, Mario L6:>n, b. Milan,
Sept. 4, 1864 ; studied with Ceina ;
barytone of wide travel
Fumi (foo'-me), Vinceslao, Moote-
pulciano, Tuscany, 1823 — Florence,
1880 ; conductor, violinist, dram,
composer and collector.
Fur'ker, one of the best vln.-makeis,
London, 1780— 1840.
Furlanetto (foor-la-nSt'-t5), Bona-
▼entura (called Mnsin), Venice,
1738 — 1817 ; singing-teacher, con-
ductor and composer.
Furno(foor'-n6), Giov., Capua, 1748—
Naples, 1837 ; professor and dram,
composer.
Furscn-Madi (foorsh'-ml-de), Emmy,
Bayonne, France, 1847 — WarrenvilJe.
N. J., Sept. 20, 1894 ; pupil of Paris
Cons., debut Paris; came to America,
1874, with the New Orleans French
Opera Company ; 1879-81, Covcnt
Garden, London ; her final appear-
ance was as *' Ortrud,** N. Y., 1894.
FUrstenau (fOrsht'-^now), (i) Kas-
par, MUnster, Westphalia, 1772— Ol-
denburg, 1819 ; flute-virtuoso; com-
poser. (2) Anton B., Manster, 1792
— Dresden, 1852 ; son and pupil of
above ; flutist and composer. (3)
Moritz, Dresden, 1824 — 1889 ; son
and pupil of (2) ; flutist and writer.
Fiirstner (fQrsht'-nSr), Ad., b. Berlin.
Jan. 2, 1835 ; founded (1868) a mas.-
pub. house, Berlin.
Fux (foox), Jn. Jos., Hirtenfekl,
Upper Styria, i66(>— Vienna, Fel^
DICTIONARY OF MUSICIANS 513
14, 1741 ; eminent theorist, organist,
and court-conductor and writer; c.
405 works (few pub.), incl. 18 operas,
ID oratorios, 50 masses, incl. missa
canonua. He wrote the famous
treatise on cpt. " Gradus ad Pamas-
sum *' in dialogue form ; it is based
on the church-modes. Biogr. by
KOchel (Vienna, 1872).
G.
Gftbler (gSp'-l^r), In., d. ca. 1784 ; or-
gan builder at Ulm.
Gabriel (i) (gS'-brl-^, Mary Ann
Virginia, Banstead, Surrey, Engl.,
1825 — London, 1877 ; c cantatas,
operas, etc. (2) (gi'.brl-^l). Max,
1890, cond. Residenz Th., Hanover;
prod, the succ. 3-act operettas,
•• Steffen Longer " (Magdeburg,
1889); •• Der Freiwerber " (Hanover,
1890); **I>tr Garde- Uhlan" (Bres-
bn, 1892; Berlin, 1893, as *' Der
Gar-de-Husar'').
GatMieli (gft-brT-iMe), (i) Andrea,
Venice,^ ca. 1510—1586 ; eminent or-
ganist and teacher and composer of
the first " real" fugues (v. d.d.). (2)
GioT., Venice, 1558 — Aug. 12, 1613
(ace to his monument) ; nephew and
pupil of above, and equally famous ;
an extraordinary contrapuntist, his
"symphoniae sacra" employing 3
simultaneous choirs independently
bandied ; he has been called ** the
father of the chromatic style** be-
cause of his bold modulations. (3)
Dom. (called '* Menghino del violon*
cello "),' Bologna, ca. 1640— ca. 1690;
'cellist, conductor, and composer.
GabrieUi (gft-brl^l'-le). (i) Catterina,
Rome, Nov. I2, 1730— April, 1796 ;
daughter of Prince G.*s cook (and
hence called ''La Cochetta," or
*' Cochettina ") ; one of the most
beautiful and brilliant of singers ; her
extraordinarily flexible voice had a
"thrilling quality" (Bumey) ; her
caprices and her high-handed treat-
ment of the nobility and royalty ena-
aoored of her malK her a most pict«
uresque figure ; she sang with great-
est succ. all over Europe and retired
wealthy. Her sistet (2) Francesca
(called " La GabrielUna," or «* La
Ferrarete"), Ferrara, 1755 — Ven-
ice, 1795, was a celebrated prima
donna buffa. (3) Conte Nicolo,
Naples, 1814 — 1891 ; prod. 22 operas
and 60 ballets.
Gabriels'ki, (i) Jn. Wm.« Beriin, 1791
^1846; flutist and composer. (2)
Julius, Berlin, 1806— 1878 ; bro. and
pupil of above ; flutist. (3) Ad., ist
flutist, Berlin Royal orch., son of (2).
GabrilowiUch (gi[-bre-l5'-vYtsh), Os*
sip, b. St. Petersburg, Jan. 26, 1878;
studied at the Cons, with Tolstoff
and Rubinstein ; at 16 took the Ru-
binstein prize; studied with Les-
chetizky at Vienna, 1894-96; 1896
began touring with success ; 1900-02
America; c. pf. -pieces.
Gabnssi (gi-boos -se), V., Bologna,
1800— London, 1846; teacher and
composer.
Gade (gtl'-d^O, Niels Wm., Copen-
hagen, Feb. 22, 18 17 — Dec. 21, 1890;
son of an instr. -maker ; at 15 refused
to learn his father's trade, and be-
came pupil of Wexschall (vln.) Berg-
green (theory) ; at 16 a concert- violin-
ist. His overture, ** Naehkldnge
von Ossian,** took first prize at the
Copenhagen Mus. Soc. competition
(184.1) and won for him a royal stipend.
In 1842 the C min. symphony, and
1846 the cantata * ' Cowala, were prod .
by Mendelssohn at the Gewand-
haus. He travelled in Italy ; then,
1844, lived in Leipzig as sub-cond. to
Mendelssohn, and regular cond. at
his death (1847) ; 1848, he returned
to Copenhagen as cond. of the Mus.
Soc. and as organist ; 1861, court-
cond., made Prof, by the King, and
Dr. Phil. -*. e. by the Univ. ; 1886,
Commander in the Order of Dane-
brog; 1876 the govt, voted him a
life-pension. Autobiog. ** Au/zeicA-
nungen und Briefs " (Basel, 1893).
Pub. 7 symphonies (D minor. No. 5
with pf.); 5 overtures, '' Nack'
SH
THE MUSICAL GUIDE
kldnge von Ossian" ** /m Hoch^
lamU;' ** HamUt:' ** Michtlangelo:'
octet, sextet, and quartet for strihgs ;
8 cantatas, ** i5/v^rj>ti«</'\(Erl-King's
daughter), * * FrUhlingsbotschaft, "
''Die Heilige Nacht;* '' Zion;*
'' Kalanus:' ''Die Kreutfahrer :'
''Psyche^** etc.; a vln. -concertos ; pf.
sonata and pes., songs, etc.
Gads'by, H. Robt., b. Hackney, Lon-
don, Dec. 15, 1843 ; pupil of Wm.
Bayley, but mainly self-taught ; or-
ganist at St. Peter's, Brockley ; 1884,
prof, of harm. Queen's ColL London;
also at Guildhall Sch. of Mus. ; c.
•* Festival Service ** ; 3 symphonies ;
3 overtures, "Andromeda, "The
Golden Legend," tmd" The Witckei
FroHc,'' etc.
Gad'sl^, Johanna, b. Anclam, Prus-
sia, June 15, 187 1 ; soprano, edu-
cated at Stettin ; 1893, m. H. Pausch-
er ; sang in U. S. A. for many years,
1899 Covent Garden and as ** Eva "
{Meistersinger), at Bayreuth.
Gaforio jML-ta'-rl-d) (or Gafori, Gain-
ri, Ganurio), Franchino (Latinized
** Franchinus Gafurius," or ** Fran-
chinus"), Lodi, Jan. 14, 1451—
Milan, June 24, 1523 ; priest, emi-
nent theorist, choirmaster and singer.
Ga|:liano (gdl-ya'-nd). (i) Marco di
Zanobi da, b. Florence ; d. there,
Feb. 34, 1643 ; conductor and com-
poser. (3) A family of Naples vln.-
makers, (a) Alessandro, pupil of
Stradivari, worked ca. 1695 — 1725.
His sons, (b) Nicold (170C-40), and
(c) Gennaro (lyio-so), and his
grandson, (d) Ferdinando (1736-81)
succeeded him ; later descendants est.
factory of strings, still famous.
G&hrich (ga'-rlkh), Wenzel, Zercho-
witz, Bohemia, 1794 — Berlin, 1864 ;
violinist, ballet-master, and dram,
composer.
Gail (ga-el). Edm6e Sophia (n<^
Garre), Paris, Aug. 28, 1775 — ^July
24, 1 8 19; singer and dram, com-
poser.
Galeazzi (gS-U-ad'-ze), Fran., Turin,
1758 — Rome, 1819; violinist.
Galerat'ti, Catterina, Italian contral-
to, in London 17 14-21.
Galilei (ga-lt-la'-e), V., Florence, ca,
1533— ca. 1600 ; lutenist, violinist
and theorist ; father of the astrono-
mer.
Galin (gi-Un), P., Samatan Gcrs,
France, I786--Paris (?), 1821 ; wrote
pop. method ** MeloplasU " (v. d. m.\
Galitzin (^a-le'-tshen), (i) Nicolas
BorissoTitch, d. Kurski, 1866; a
Russian prince, to whom Beethoven
dedicated an overture, and 3 quartets;
he advanced Beethoven liberal sums
for his dedications ; a skilful 'cellist
(2) G. (Prince), St. Petersburg, 1823
^1872 ; son of above ; composer
and cond. ; maintained in Mos-
cow (1842) a choir of 70 boys ; hter
an orchestra.
Gallay (g&l-l£), (i) Jacques Fran.,
Perpignan, 1795 — Paris, 1864; horn-
virtuoso and composer. (2) Jnles,
Saint-Quentin, 1822 — Paris, 1897 ;
amateur ^cellist of wealth ; made re-
searches and pub. valuable treatises.
GallenberflT (e^'-Un-b^rkh), Wenzel
Robt., Graf von, Vienna, 1783—
Rome, 1839 ; c. ballets.
Galle'tius, Fran, (rightly Francois
Gallet (g^-l&)), b. Mons. Hainaui:,
i6th cent.; contrapuntist.
Gal'li, (i) Filippo, Rome, 1783— Paris,
June 3, 1853 ; first most successful
as a tenor ; illness changed bis voice,
and he achieved great success as a
bass. (2) — — , d. 1804 ; Italian
mezzo-soprano in London from 1743
Gal'iia. Vide epine.
GaUiard (gal'.lT-&rt), Jn. Ernst, CeUe.
Hanover, 1687 — London, 1749; oboist
and organist.
Gal'lico, Paolo, b. Trieste, May 13,
1868 ; at 15 gave a pf. -recital at
Trieste; then studied Vienna Cons,
with Julius Eppstein ; at 18 graduat-
ing with first prize and ** Gesell-
schafts *' medal ; toured Europe :
since 1892 pianist and teacher, Nev
York.
Gallic'ulus, Jns., contrapuntist at
Leipzig, 1520-48.
DICTIONARY OF MUSICIANS 515
Galli-Marid (g&l-ll m&r-ya). Cel^s-
tine (nee Marie de I'Isle), b.
Paris, Nov., 1840 ; mezzo-soprano ;
daughter of an opera-singer ; d^but
Strassburg, 1859; sang Toulouse,
i860, Lisbon, 1861, Rouen, 1862;
1862-78, and 1883-85, Paris Op^ra
Comiquc ; she created *' Mtg^on "
(i866), ** Carmen " (1875), etc.
Gal'lus, (i) Jacobus (rightly Jacob
HIindl, Handl or Hiihnel) ; Camio-
la, ca. 1550 — Prague, 1591 ; compos-
er and conductor. (2) Jns. (Jean le
Cocq, Maitre Jean, or Mestre
Jhan), d. before 1543 ; a Dutch con-
trapuntist, conductor and composer.
(3) Vide MEDERITSCH, JN.
Galnppi (g^-loop'-pY), Baldassare
(called II Buranello), Island of Bu-
rano, near Venice, Oct. 18, 1706 —
Venice, Jan. 3, 1784; harpisichord
virtuoso ; organist 1765-68 ; conduc-
tor ; c. 54 comic operas.
Gambale (gam-bii'-U), Emm., music-
teacher, Milan ; pub. '* La riforma
musicaW^ (1840), etc, advocating a
scale of 12 semitones.
Gambini (|am-be'-ne), Carlo Andrea,
Genoa, 18 19 — 1865 ; c. operas, etc.
Gam'ble, Joan, English violinist and
composer, 17th century.
Gamucci (gS-moot'-che), Baldassare,
Florence, 1822 — 1892 ; pianist and
writer.
Gaaassi (ga-nsis'-s^), Silvestro, b.
Fontego, near Venice, ca. 1500
(called " del Fontego ") ; editor and
writer on graces.
Gand (gah), Ch. Nicolas Eugene,
ca. 1826 — Boulog^e-sur-Seine, 1892 ;
vln. -maker. V. lupot.
Gandillot (g^-de-yd), L6on,b. Paris,
Jan. 25, 1862 ; writer of comedies
and composer of Parisian vaudevilles.
Gandini (gSn-de'-ne), (i) A., Modena,
1786 — Formigine, 1842 ; conductor
and dram, composer. (2) Alessan-
dro, Modena, ca. 1807 — 1871 ; son,
pupil (1842) and successor of above ;
dram, composer and writer.
Ganne (g&n). L. Gaston, b. Buxi^res-
le»-Mines, Allier, April 5, 1862; pupil
of Dubois and Franck, Paris Cons. :
c. comic opera ** Rabtlais " (1892),
vaudeville operetta, ballets, etc.
Gftnsbacher (g^ns'-bakh-^r), Jn.,
Sterzing, Tyrol, 1778 — Vienna, 1844 ;
conductor and composer.
Gan'tenberg (-b«rkh), H., b. Beriin,
Nov. 29, 1823 ; flutist ; studied with
Gabrielskv; from i860 chamber-mus. ,
pensionea 1893 ; from 1872 teacher
at the Hochschule.
GantToort (g^t'-von), Arnold J.,
b. Amsterdam, Dec. 6, 1857 ; 1876,
in America as teacher in various col-
leges; 1894, Coll. of Mus., Cincin-
nati ; pub. school music-readers.
Ganz (gants), (i) Ad., Mayence, 1796
— London, 1870 ; violinist and cond.;
his 2 brothers were, (2) Moritz,
Mayence, 1806— Berlin, 1868 ; *cel-
list ; (3) Ld., Mayence, 1810 — Ber-
lin, 1869 ; violinist and composer ;
Adolfs 2 sons were, (4) Eauard,
Mayence, 1827 — 1869; pianist. (5)
Wilhelm, b. Mayence, Nov. 6, 1833;
pianist, professor, conductor.
Garat (^2i-ra), P. J., UsUritz, Basses-
Pyrenees, April 25, 1764 — Paris,
March it 1823 ; roost remarkable
French singer of his time, a barjrtone
of great compass and amazing mem-
ory and mimicry ; professor and com-
poser.
Garalid6 (gilr-&-d&), Alexis de, Nan-
cy, 1779 — Paris, 1852 ; professor,
composer and writer.
Garbini (g&r-be'-n€), Edoardo, b.
Parma ; stable-boy there, when dis-
covered ; now pop. tenor in opera.
Garbrecht (gSr -br«kht), Fr. F. W.
(d. 1875), founded at Leipzig (1862)
a music engraving establishment,
owned since 1880 by Os. Brandstetter.
Garcia (gar-the'-a), a notable family of
Spanish vocal teachers, (i) Don
Fran. Saverio (Padre Garcia, called
*'lo Spagnoletto "), Nalda, Spain,
1 73 1 — Saragossa, 1809 ; conductor
and composer. (2) Manuel del Po-
polo Vicente, Sevilla, Jan. 22, 1775
— Paris, June 2, 1832 ; eminent as
tenor, teacher, and progenitor of sing-
5i6
THE MUSICAL GUIDE
ers ; successful as manager, cond.
and composer; took his family, his
wife, son (3), and daughter (5) and
others to America for a v. succ. opera
season, 1825-26. Produced 43 ope-
ras and c. others. (3) Manuel, b.
Madrid, March 17, 1805; son of
above ; bass (in Paris) ; he was a scien-
tific investigator, and inv. the laryn-
foscope, receiving Dr. Phil. A. r.
I6nigsberg Univ.; 1847, prof, at the
Cons. , 1850, London, R. A. M. Jenny
Lind was one of his pupils; pub.
*• Traiti compUt de Vart du chant*'
1847. (4) Eugenie (nee Mayer),
Paris, 18 18 — 1880 ; wife and pupil of
(3) ! soprano and teacher. (5) M.
F^cit^y V. MALiBRAN. (6) Pauliue,
V. viARDOT GARCIA. (7) Mariano,
b. Aoiz, Navarra, July 26, 1809 ; not
related to the others ; dir. of the
Pampeluna School of Music; com*
poser of church-music.
Garcin (g&r-s&n), Jules Aug. Salo-
mon, Bourges, 1830 — Paris, 1896;
violinist, conductor and professor.
Gardano (gir^a'-no), (i) A. (till 1557
called himself Gardane), ca. 1500 —
Venice, 157 1 (?) ; early Italian mus.«
printer, succeeded by sons, (2) Ales*
sandro and (3) Angelo.
Garden, Mary, b. Aberdeen, Feb.
20, 1877 ; soprano ; as a child
brought to America ; pupil of- Mrs,
Duff ; (1896), Paris with Trabadello
and Fugire ; debut, 1900, Paris Op.
Com. ; has created various roles there,
including ** M^lisande" in Debussy's
" PelUas et M/lisande,'' 1902 ; sang
at Covent Garden, 1902.
Gardo'ni, Italo, b. Parma, 1821 ; re-
tired, 1874 ; operatic singer.
Garg^ulo (gar-joo'-l6), (i) Chevalier
Enrico, b. bari, Italy, March 31,
1865 ; mandolinist ; son and pupil of
a dram, barytone (2) Eugenio.
Garibol'di, Giu., b. Maccerato, Italy,
March 17, 1833 ; flutist and compos-
er of operettas.
Garlan'aia, Johannes de, ca. 1210-
32 ; French theorist.
Gamier (g&m-ya), Fran. Jos., Lauris,
Vaucluse, 1759— ca. 1825 ; oboist sad
composer.
Gar'rett, Geo. Mnrsell, Windiester,
England, 1834 — Cambridge, 1897 ;
pianist, conductor, composer and 1^*
urer.
Glirtner (g«rt'-n«r), Jos., Tachan,
Bohemia, 1796— Prague, 1863 ; oig.-
builder and writer, Prague.
Gas'par van Weerbeke (var'-b^-Uf),
b. Oudenarde, Flanders, ca. 1440;
eminent contrapuntist and teacher.
Gaspari (g&s-pS'-re), Gaetmno, Bo-
logna, 1807 — 188 1 ; librarian, pro-
fessor and composer.
Gasparini (or Gnasparinl) (gSs-paUre-
ne), (i) Fran., Camaiore, near Lucca,
1668 — Rome, 1737 ; director, con-
ductor and theorist. (2) MIchelaA-
j^elo, Lucca, 1685 — ^Venice, 1732;
male contralto and dram, composer.
(3) DonQuirino, 'cellist at Turin;
1749-70 : conductor and composer.
Gasparo oa Salo (gSs-pa'-ro da si'-lo)
(family name Bertolot'ti), Sak>,
Brescia, Italy, ca. 1542 — Brescia (?),
160^ ; famous maker oryiols.
Gassier ^:fts-ya), L. Kd., France,
1822 — Havana, 187 1 ; barytone.
Gassmann (gas'-man), Florian L.,
Brux, Bohemia, 1723 — ^Vienna, 1774;
court-conductor and dram, composer.
Gass'ner, F. Simon, Vienna, 1798—
Carlsruhe, 185 1 ; violinist, teadier,
editor and composer.
Gast, Peter. Vide koseutz.
Gastaldon (gfts-tal'^dn), Stanislas,
b. Turin, April 7, 1861 ; at 17 pubw
nocturnes, daUaHU, songs, etc., some
of them V. pop.; c* succ. i-act opeia-
seria, '* II Pater'* (Milan. 1894), etc
Gastinel ^^ils-tY-nSl), L6on G. Cjp-
rien, b. \lllers, near Auxonne, Aug.
I5f 1833; pupil of Hal^vy, Paris
Cons. ; took first Or. prix de Rome
with cantata '* Velasquez** \ prod,
comic operas; ballet "i> Rhe*^
(Gr. Opera, 1890), etc
Gastoldi (gSs-tdl'-de), Gior. Giaco-
mo, Caravaggio, ca. 1556 — Milan (3),
1622; conductor, contrapuntist and
composer.
DICTIONARY OF MUSICIANS 517
Gatayes (g&t^'), (i) GniU. P. A.,
Paris, 1774 — i84i6; guitar-player and
composer. (2) Jos. L6011, Paris,
1805 — 1877 ; son of above ; harpist,
critic and composer. (3) F61iz, b.
Paris, 1809 ; bro. of above ; pianist,
chiefly self-taught ; for 20 years
toured Europe, America and Austra-
lia ; c. excellent symphonies and over-
tures ; military music, etc.
Gathy (gfi-te), Aug., Li^, 1800—
Paris, 1858 ; editor, teacher and com-
poser.
Garty, Alfred Scott, b. Ecclesfield,
Yorks., April 25, 1847; 1880 Pour^
smvant of Arms, Heralds* Coll. Lon-
don ; c. 2 operettas, many pop. songs,
particularly in imitation of American
Plantation songs, pf.-pieces.
Gancquier (gok-va), Alard (rightly
Dimoyer, Latinized Nucens), called
dn Gaacquier and Insuianus from
Lille-l*isle, court-bandm. to Maxi-
milian II. ; famous i6th cent, contra-
puntist.
Ganden'tios, a Greek writer, 1652.
Gaol (g61), Alfred Robt., b. Norwich,
England, April 30, 1837 ; at 9 a
ca£. chorister articled to Dr. Buck ;
1863, Mus. Bac. Cantab.; 1887, cond.
Walsall Philh.; later teacher and
cond. at the Birmingham and Mid-
land Inst., etc.; c. oratorio ^* Heze-
kiak " (1861); cantatas, incl. " Ruth "
and " The Holy City;' etc.
Gan(l)tier (gdt-yi), (i) Tacques (G.
^AngUterre^ or Vancien)^ Lyons, ca,
1600— -Paris, ca. 1670 ; lutenist. (2)
Denis ije jeune, or IHllusir^), Mar-
seilles, i6oo(-io?) — d. Paris; cousin
of above, and his partner in a lutenist
school ; famous lutenist and collector
of lute-music. (3) Pierre, b. Orleans ;
c. suites for lute (1638). (4) Enne*
mond, Vienne, Dauphine, 1635 — ^be-
fore i68o ; son of (i) ; lutenist. (5)
Pierre, Cioutat, Provence, 1642—
drowned, Cette, 1697; dnm. com-
poser. (6) Aloysius Ed. Ca-
mille, (Abb^ Italy, ca. 1755— Paris,
1818: wrote a method for teach-
Gaunt'lett, H. J., Wellington, Shrop-
shire, 1805 — Ix>ndon, 1876; organ-
ist and composer.
Gauthier (got-ya), Gabriel, b. hi
Soane-et- Loire, France, 1808 ; be-
came blind when 11 months old ; was
?upil and (1827-40) teacher Paris
nst. for the Blind, then organist of
St. £tienne-du-Mont, Paris; pub.
treatises.
Gautier (g5t-ya), (i) v. gaultier. (2)
J. Fran. Eug., Vaugirard n. Paris,
1822 — Paris, 1878 ; conductor and
dram, composer.
Gaveaux (gi-vS), P., B^ziers, He-
rault, Aug., 1761 — insane, Paris, 1825 ;
tenor; c. operas, incl. ** Leonore**
(1788), the same subject afterwards
used in Beethoven's ''Fidelia:'
Gavini^s (ga-ven-y&), P., Bordeaux,
1726 — Paris, 1800; violinist, pro-
fessor and dram, composer.
Gaztambide (gath-t&m-be'-dh^), (i)
Toaquin, Tudela, Navarra, 1822 —
Madrid, 1870; composer, teacher
and conductor. (2) Xavier, a young
relative, also c. zarzuelas (see D. D.).
Gazzanig^ (giid-zSn-e'-ga), Giu.,
Verona, 1743 — Crema, 18 19; con-
ductor and dram, composer.
Gear (ger), Geo. Fr., b. London, May
21, 1857; pianist; pupil of Dr. Wylde
and J. F. Bamett ; 1872 scholarship
London Acad, of Mus., now prof,
there ; 1876-92 mus.-dir. German-
Reed Company ; composed scena for
sopr. solo and orch. , etc
Gebauer (zhii-bo-a), (i) Michel Jos.,
La Fire, Aisne, 1763 — 1812, on the
retreat from Moscow ; oboist, violin-
ist and viol-player; also extraordi-
nary virtuoso on thejew's harp. He
had 3 brothers, (2) r rancois K 6n6,
Versailles, 1773 — Paris, 1845 ; bas-
soonist, prof., writer, and composer.
(3) P. Paul, b. Versailles, 1775 ; died
young ; pub. 20 horn-duets. (4) Et.
Fran., Versailles, 1777 — Paris, 1823;
flutist and composer. (5) (g€-bow'-
ir), Fz, X., Eckersdorf, near Glatz,
1784 — Vienna, 1822 ; *cellist, con-
ductor, teacher and composer.
5i8
THE MUSICAL GUIDE
Gcbcl (ga'.b€l). (I) Geoi^ (Sr.). Bres-
lau, 1685 — 1750 ; organist ; in v.
claviciiord with quarter tones and
clavicymbalum with pedal-keyboard ;
composer ; he had a sons, (2) Georg
(Jr.), Brieg, Silesia, 1709-— RudoU
stadt, 1753 ; son of above ; conduc-
tor, organist and composer. (3)
Georg Sigismund, d. 1775; organ-
ist and composer. (4) Fz. X., FQr-
stenau, near Breslau, 1787 — Moscow,
1843 ; conductor, pf.-teacher, and
composer.
Gebhard (g^p'-hart), Martin Anton,
b. Bavaria, 1770 ; Benedictine monk,
then, 1 83 1, a priest at Steinsdorf;
theorist.
Gebhar'di, Ludwig Erast^Nottleben,
Thuringia, 1787 — Erfurt, 1862; or-
fanist, composer and teacher.
dalge (zha-d&lzh), Andr6, b. Paris,
Dec. 27, 1856 ; pupil of Guiraudatthe
Cons. ; took 2nd Grand prix de Rome,
1885 wrote lyric drama '' H/Une'\-
c. pantomime '*i> Petit Savoyard*^
(Paris, 1891) ; a succ. i-act opera-
bouffe '' PHs au Piige'' (Paris,
1895) ; 2 symphonies, etc.
Gehring (ga'-rXng), F., 1838 — Pen-
zing, near Vienna, 1884 ; writer.
Geijer (g!'-£r). Erik Gustaf, Ran-
setter, Wermeland, 1783 — Upsala,
1847 ; coll. of Swedish folk-songs.
Geisler (gIs'-Wr), (i) Jn. G., d. Zittau,
1827 ; writer. (2) Paul, b. Stolp,
Pomerania, Aug. 10, 1856 ; g^ndson
and pupil of a mus.-dir. at Mecklen-
burg ; studied also with K. Decker ;
1881-82 chorusm. Leipzig City Th.,
then with Neumann's Wagner Co. ;
1883-85 at Bremen (under Seidl) ;
then lived in Leipzig ; prod. 5 ope-
ras; c. 12 symphonic poems, incl.
•*Z>^r Ratten/dnger von Hameln''
(1880), *• Till EuUnspiegei:' etc.
Geistinger (gis'-ttng-dr)» Maria
(" Marie •») Charlotte Cecilia, b.
Graz, Styria, July 26, 1836; soprano,
etc.
GeUnek (ga'-lt-nek), (i) Hn. Anton
(called Cervetti), Horzeniowecs,
Bohemia, 1709 — Milan, 1779; cx-
priest, violinist and composer. (2)
Joseph, Abbe ; Selcz, Bohemii.
1758 — Vienna, 1825 ; teacher and
composer.
Geller-Wolter (ggl'-lSr-vdl-t^r), Ln-
ise, b. Cassel, March 27, 1863; op-
era and concert alto ; studied with
Frau Zottmayer and Mme. Marchesi.
Geminiani (j£m-e-nY-a'-ne), Fran.,
Lucca, i68o--Dublin, Dec. 17, 1762:
brilliant and eccentric violinist c^
great importance in English progress,
and the author of the first vln. method
pub. (1740).
Gemiinder (g^-mUnt'-^r), Ingelfingen,
Wurtemberg, March 22, 18 14 — New
York, Sept. 7, 1895 ; a maker whose
vlns. were of the very highest per-
fection ; his sons succeed him.
Genast fe^-nist'), Ed., Weimar, 1797
— Wiesbaden, 1866 ; barytone and
composer.
Gen6s (zha-na), Franx Friedridi
Richard, Danzig, Feb. 7. 1823—
Baden, near Vienna, June 15, 1895 ;
pupil of Stalleknacht, Berlin; theatre-
conductor various cities ; a student,
then conductor and operatic composer;
1868-78 at Th. an der Wien, Vienna;
wrote libretti for many of his own
works and for Strauss and others;
c. light operas with succ, incl. " Dtr
Geiger aus Tirol," ''Nanon:' etc.
General! Qa-n^-r&'-le), Pietro (righUy
Mercandet'ti), Masserano, Pied-
mont, 1783 — Novara, 1832 ; conduc-
tor and dram, composer.
Genet (zh{i-na), Eleazar (called il
Carpentras'so, or Carpentras (kir-
p&n-tr^)), Carpentras Vaucluse, ca.
1745 — Avignon (?), ca. 1532 ; singer,
then cond. , then bishop ; his ad-
mired masses, etc., were the first
printed in round notes without liga-
ture.
GengentMich (g£ng'-£n-bakh), Niko-
laus, b. Kolditz, Saxony ; cantor at
Zeitz, and writer, 1626.
Genss (g^ns), Hermann, b. Tilsh,
Jan. 6, 1856 ; pianist ; pupil of the
Royal Hochsch. fttr Mus., Berlin;
teacher in various cities; 1893, co-
DICTIONARY OF MUSICIANS 5»9
dir. Scharwenka-Klindworth Cons.,
Berlin ; c. orch. works, etc.
Georges (zhorzh), Alex., b. Arras,
France, Feb. 25, 1850; pupil, now
prof, of harm., Niedermeyer Sch.,
Paris; c operas **Z^ Printemps"
(1888) and '' Pohnes cT Amour''
(1892) ; ** Charlotte Corday" (1901) ;
2 oratorios, a mystery ** Im Passion "
(1902) ; symph. poem, eta
Gerard (zha-rir), H. P., Li^e, 1763 —
Versailles, 1848 ; teacher and writer.
Gdrardy (zhi-r&r-de), Jean, b. lAu
tich, Dec. 6, 1878 ; notable 'cellist ;
studied with Bellmann ; a pupil of
Griltzmacher ; played as a child in
Eng^land ; at 13 in E>resden ; 1899,
etc., toured America ; lives at Spa.
Ger'ber, (i) H. Nikolaus, Wenigen-
Ehrich, near Sondershausen, 1702 —
Sondershausen, 1775 ; organist and
composer. (2) Ernst L., Sonders-
hausen, 1746 — 18 19 ; son, pupil and
successor (1775) of above ; 'cellist,
org^anist, lexicographer and compos-
er.
Gcrbert (g^r'-WJrt), (von Homau)
Martin, Hor-bon-Neckar, Aug. 12,
1720 — ^St. Blaise, May 13, 1793 ; col-
lector of the invaluable ** Scriptores
ecclesicLstici cU musica sacra potissi-
mum*' noteworthy treatises of the
Middle Ages, reproduced exactly (the
compilation was continued by Cousse-
maker). The work is briefly referred to
in this book as ** Gerbert." He be-
came in 1736 cond. at St. Blaise ;
when he died, the peasants erecting a
statue to him ; pub. also other very
important works, and c. offertories,
etc.
Gencke (ga'-rf-k«), Wilhelm, b. Graz,
Styria, April 18, 1845 ; pupil of Des-
soflF, Vienna, Cons., then cond. at
Linz ; 1874, 2d. cond. Vienna ct.-
opera (with Hans Richter) ; 1880,
cond. of the ** Gesellschaftsconcerte "
(vice Brahms) ; also cond. the Sing-
CTverein ; 1884-89, cond. Boston
(Mass) Symphony Orch., resuming
the post 1898 (vice Emil Paur) after
being dir. ** Gesellschaftsconcerte " at
Vienna until 1895 ; pub. several cho-
ruses, pf.-pcs. and songs; also c.
operetta '* Schon Hdnnchen " (Linz,
1865) ; a Requiem ; a concert-over-
ture, etc.
Gerlach (g^rMUkh), (i) Dietrich, d.
Ntlmberg, 1574 ; music - printer,
1566-1571. (2) Theodor, b. Dres-
den, June 25, 1861 ; pupil of Willi-
ner ; at 22 prod, a notable cantata,
''Luther's Lob der Musica," 1884;
Italy,' 1885 ; cond. Sondershausen
Th. , then of German Opera in Posen ;
his '* Epic Symphony" caused his ap-
pointment as ct.-cond. in Coburg,
1891; 1894, cond. at Cassel; c. succ.
opera (book and music) *' Matteo Fal-
cone^' (Hanover, '98, Berlin, 1902).
orch. pieces, etc.
Gerlc (g«r'.l«), (i) Konrad, d. Nttm-
berg. 152 1 ; lute-maker. (2) Hans,
d. Ntlmberg, 1570; probably son of
above ; violinist and vln. -maker.
Ger'man, J. Edw., b. Whitchurch,
Shropshire, England, Feb. 17, 1862 ;
violin pupil of R. A. M. ; 1889, dir.
Globe Th., London ; 1901 completed
Arthur Sullivan's unfinished opera
•*The Emerald Isle," prod, with
succ. London, 1901 ; c. operetta ; 2
symphonies ; various suites, including
the ** Gipsy" suite, chamber-music,
songs, etc. His incidental music to
Shakespeare*s plays is especially no-
table.
Germer (g^r'-m^r), H., b. Sommers-
dorf. Province of Saxony, Dec. 30,
1837 ; pupil Berlin Akademie ; teach-
er, pianist and writer.
Gem, August, organ-builder, London.
Gernsheim (g£ms'-hlm), Fr., b.
Worms, July 17, 1839, of Hebrew
parents ; pupil of Rosenhain and
Hauff, Frankfort, and Leipzig Cons. ;
1865, teacher of comp. and pf. Co-
logne Cons.; 1872, Prof.; 1874, dir.
of the Cons, at Rotterdam and cond.
"Winter Concerts"; since 1890 at
Stem Cons., Berlin ; c. 4 symphonies,
overtures, etc.
Gero (ga'-ro), Jhan (Johann) (called
Maister Jan or Jehan, or Joannes
520
THE MUSICAL GUIDE
Gallos), conductor and composer at
Orvieto Cath., i6th cent.
Gersbach (g£rs'-bakh), (i) Joseph^
Saddngen, Baden, 1787 — Carlsruhe,
1830; teacher and composer. (2)
Anton, Siicldngen, 1801— -Carlsrohe,
1848 ; bro., pupil and successor of
above.
Gerson (gir-s^ii), J. Charlier de,
Gerson, near Rethel, 1363 — Lyons,
1429; writer.
Gerster (g^r'-sht«r), Etelka, -b. Ka-
schau, Hungary, June i6, 1857 ; one
of the most remarkable coloratura-
sopranos of her time ; 1874-75, a
pupil of Marches!, Vienna Cons.; v.
suca d^but Venice, Jan. 8, 1876 ; m.
her impresario Dr. Carlo Gardini and
toured Europe and America: lost
her voice suddenly and opened (1896)
a singing-school, in Berlin.
Gerrasoni (j£r-viUs5'-ne), Carlo» Mi-
lan, 1762-1819; writer and theor-
ist.
Gerrinus (g^-ve'-noos), George Gf.,
Darmstadt, 1805 — Heidelbei^g, 1871 ;
professor and writer.
Geselschap (g^-z^l'-sh&p), Marie, b.
Batavia, Java, 1874 (?) ; pianist ; pu-
pil of X. Scharwenka, Berlin ; played
in America, etc.; 1895 in London.
Gesius (rightly Gdss) (g&'-sY-oos;
g£s), BartholomHus, MQncheberg,
ca. 1555 — Frankfort-on-Oder, 1613;
cantor and composer.
Gesualdo (ja-zoo-al'-d5), Don Carlo,
Prince of Venosa, d. 1614; one of
the most intellectual and progressive
mus. of his time ; wishing to revive
the chromatic and enharmonic genera
of the Greeks, he strayed out of the
old church-modes and, becoming one
of the '* chromaticista," wrote almost
in modem style.
Gevaert (zhQ-v&rt'), Francois Au-
fi^ste, b. Huysse, near Oudenarde,
July 31, 1828 ; pupil of Sommire (pf.)
and Mengal (comp.) at Ghent Cons.,
taking Gr. prix de Rome for comp. ;
1843, organist at the Jesuit church ; he
prod. 2 operas ; lived in Paris (1849-
50) ; then went to Spain and c.
** FoHtasia sobre motives espamks^
still pop. there, for which he vas
given the order of Isabella la Cat(^ica ;
he sent back reports on Spanish mo-
sic (pub. by the Academy, 185 1); be
returned to Ghent 1852, prod. 9 ope-
ras, 2 of them, ** Georgette'* and "Z*
billet de Marguerite,** with much suc-
cess; in 1857 his festival cantata
•* De Rationale Verjaerdag** broogfat
him the Order of Leopold ; 1867-70
chef de chant Gr. Op^ra, Paris ; 1871,
dir. Brussels Cons, (vice F^tis) ; pab.
colls, of Italian music, also the valu-
able fruits of much research in old
plain-song. His*' Trait/d'itutrumen'
tation" (186^) revised as '* Namven
trait/** etc. (1885), threatens to siq>-
plant Berlioz' great work ; he prod,
also 3 cantatas, *' Missa pro De/umc-
tis** and ** Super Flumina Bahjh
lams'* for male chorus and orch.;
overture ** Flandre au Lum'* fXc
Geyer (gf-^r), Flodoard, Berlin, 1811
— 1872 ; prof., critic, theorist and
dram, composer.
Gheyn (g^n), Matthias Tan den^'Hrle-
mont, Brabant. 1721 — Loavain, 1785;
one of a Flemish family of bell found-
ers; organist. Of his 17 children hi»
son Jo8s6 Thos. (b. 1752) was his
successor as organist.
GhiseUn^e) (ge-ze-liing) (or Ghlae-
linus), Jean, Netherlandi^ ; contri'
puntist i5-i6th cent.
Ghislanzoni (ges-lin-ts5'-ne). A., Lec-
00, 1824— Caprino-Beigamasco, 1893;
barytone and writer.
Ghizeghem. Vide ubynb.
Ghiszolo (eed'-zd-ld), Gio., b. Bres-
cia, 1560 (?) ; monk and composer.
Ghymers (ge'-m£rs), Jnlea Engtoe,
b. Li^, May 16, 1835 ; pupil of
Li^ Cons.; pianist and critic
Gy« fees), Joseph, Ghent, i8oi— St
Petersburg, 1848 ; violinist, teacher
and composer.
Giacche (j&k'-kiO- Vide bbrchbi*
Giacchet'to. AHde buus.
Giacomelli (j&k^m€l'.le), Geffllsisiiio>
Parma, 1686 — ^Naples, 1743; dniii-
composer.
DICTIONARY OF MUSICIANS 5^^
Gialdini (jSl^e'.ne), GUldino, b. Pes-
da, Nov. xo, 1843 ; pupil of Mabel-
lini, Florence ; h^ first opera, ** Ifos-
mtmda^ won prize offered by the Per-
gola Th., Florence, but was unsuc;
1868, prod. 8 *'opere buffe*' in
collai>oration, then devoted himself to
cond. with great succ.; prod, opera
'•/ Due Sod** (Bologna. 1892) and
••Ztf PupiUa** (Trieste, 1896) with
success.
Gianelli (j&.n«r-le), Pietro, (Abbate)
Friuli, Italy, ca. 1770— Venice, 1822
(?) ; lexicographer.
Gianettiiii (j^-n^t-te'-nS) (or Zanet-
tiiii), A., Venice, i64^Modena,
172 1 ; dram, composer.
Gianotti (ja-not'-te), P., Lucca^
Paris, 1765 ; double-bassist, composer
and writer.
Giardini iSzi-dh'-nl), Felice de, Tu-
rin. 1716— Moscow, 1796; violinist
and dram, composer.
Gib'bona, (i) Rev. Edw.. ca. 1570 —
ca. 1650; organist. (2) Ellis G., d. ca.
1650 ; bro. of above ; organist Salis-
biury cath. (3) Orlando, Cambridge,
England, 1583 — Canterbury, June 5,
1625 ; bro. of above ; one of the
foremost of Engl, oiganists and com-
posers ; Mus. Doc. Oxon ; 1604, or-
ganist Chapel Roval ; 1623, organist
Westminster Abbey. (4) (Jhris-
topher, London, • i6i5---Oct. 20,
1676 ; son of (3), organist and com-
GiMl (ge'-b^ (or Gibe'Uns), Otto»
Island of Fehmam (Baltic), 1612— >
Minden, 1682; composer.
GibelUni (je-b«l-l«'.ne), Eliseo, b. Osi-
mo, Ancona, ca. 1520; until 1581
composer and conductor.
Gibert (zhe-bftr), Paul C^sar, Ver-
sallies, 1717— Paris, 1787; dram.
Gi?urt(he^b«rt) (or Gisbert, Gitpert),
Frandaco Xavier^ Granadella,
Spain — Madrid, 1848; priest, cond.
and composer. •
GitMo'ne, Guillaame I^^nace, b. Lon-
don, ca. 1826; pianist; pupil of
Moscfaeles ; also dram, composer.
Gide (zhed), Casimir, Paris, 1804—
i868 ; composer.
Gigout (zhe-goo), Eue^ne, b. Nancy,
France, March 23, 1844 ; organ- virt-
uoso, critic, etc.; pupil in £e mat'
trise of Nancy cath.; at 13 entered
Niedermeyer Sch., Paris, and was
later teacher there for over 20 years ;
studied also with Saint-Saens ; 1863,
organist at the Ch. of St. Augustin ;
succ. concert organist throughout
Europe; 1885, founded an organ-
sch. subsidized by the govt.; com-
mander of the order of Isabella la
Catolica ; 1885, offider of pub. in-
struction ; 1895, Chev. of the Legion
of Honour ; pub. over 300 Gregorian
and plain-song compositions.
Gil (hel), Francisco Assis, b. Cadiz,
1829 ; pupil of Fctis ; prof, of har-
mony, Madrid ; writer, theorist and
dram, composer.
Gil 7 Llagostera (hel e U-gds-ti'-rS),
Caytan, b. Barcelona, Jan. 6, 1807 ;
first flute at the theatre and cath.,
Barcelona ; c. symphonies, etc.
Gilchrist, W. Wallace, b. Jersey
City, N. T., Jan. 8, 1846; pupil of
H. A. Clarke at the U. of Penn.;
from 1877 organist and choirm. Christ
Ch., Germantown; from 1882 teach-
er Phila. Mus. Acad.; cond. of vari-
ous choral societies ; c. prize Psalm
xlvi, for soli, chorus, orch. and org.
(Cincinnati Festival, 1882), ** Song of
Thanksgiving " fof chorus and orch.;
a cantau ** The Rose" (1887), etc.
Giles (jllz), Nathaniel, near Wor-
cester, Enel., ca. 1550 — Windsor,
Jan. 24, 1633 ; organist ; Mus. Doc.
Oxon ; writer and composer.
Gillc (gel'-ld), Karl, 1897 conductor
at Hamburg City Th.; previously con-
ductor at the Ct.-Th. , Schwerin,
Gilles (rightly, G. Brebos) (zhel brii-
bo), called Maitre G.» or '' Mase-
giles," d. 1584; organ builder at
Louvain and Antwerp.
Gillct (zhe-ya), Ernest, b. Paris,
Sept. 13, 1856; pupil Niedermeyer
Cons.; solo 'cellist Gr. Op^; then
lived in London ; c "Z^n du bar*
522
THE MUSICAL GUIDE
and other pop. and graceful pf.-
pieces.
Gillmeister (gYl'-ml-sht^r), Carl, b.
Sch6nebeck, Dec. 25, 1856 ; bass ;
studied at the Hochschule, Berlin ;
d^but at Augsburg; 1888 at Bay-
reuth, igoo at Hanover.
Gil' more, Patrick Sarsfield, near
Dublin, Dec. 25, 1820 — St. Louis,
Mo., Sep. 24, 1892 ; an immensely
popular conductor, some of whose
mnuence went to the popularising of
good music ; on occasions he cond.
an orch. of 1,000 and a chorus of
10,000, also an orch. of 2,000 and a
chorus of 20,000, reinforced with can-
non fired by electricity, an organ, an-
vils, chimes, etc. (cf. Sarti) ; he c.
fx>p. military and dance music*
Gilson (zhel-soh), Paul, b. Brussels,
1869 ; self-taught ; his cantata ** Si-
nai " won the Grand prix de Rome,
1892 ; 1896 prod, opera ** Aivar"
Brussels ; completed Ragghianti's
opera **/fan-Afarif" ; c. symph.
sketches ** La Mfr^" etc.
Ginguen^ (zh^fi-ga-na), P. L., Rennes,
1748— Paris, 1816 ; writer.
Giordani (j6r-da'-ne), name of a family,
father, 3 sisters and 2 brothers, all
singers in comic opera at Naples, till
1762 when they came to London (ex-
cept Giuseppe) ; one of the brothers
wrote the still pop. song ** Caro mio
ben."' (i) Tommasa (rightly Car-
mine), Naples, ca. 1740 — Dublin
after 18 16 ; dram, composer. (2)
Giuseppe (called Giordanel'lo),
Naples, 1744 — Fermo, 1798 ; bro. of
above ; conductor ; c. 30 operas.
Giordano (j6r-da'-no), Umberto, b.
Foggia, Aug. 27, 1867 ; studied
with Paolo Cerraos at the Naples
Cons. ; notable neo-Italian, living at
Milan ; c operas ; very succ. ** An-
drea Chanter" (La Scala, Milan,
1896 ; also in Berlin, 1898, and U. S.);
also ''Marino'* unsucc, '' Re^na
Diaz '• (Naples, 1894) ; and succ. 3-
act melodrama ''Mala Vita " (Rome,
1892, prod, as *' // Voto" Milan,
X897) ; •* Fedora " and " Siberia,''
Giorgi (j6r'-je). Vide banti.
Giomovichi. Vide jarnovic.
Giorza (jor'-tsS), Paolo, b. Milan,
1838 ; son and pupil of an organst
and dram, singer ; studied cpt. with
La Croix ; lived New YoA some
years, later London ; prod, nnsncc
opera ** Corrado " (Milan, 1869), and
many very succ. ballets at La Scala.
Giosa, Nicola de. Vide db giosa.
Giovanelli (jd-va-n^l'-le), Rnggiero,
Velletri, ca. 1560 — Rome, ca. 1620 ;
1599 successor of Palestrina as con-
ductor at St. Peter's, Rome ; an im-
portant composer.
Giraldoni (zhe-r&l-d5'.ne), Leone,
Paris, 1824 — Moscow, 1897; bary-
tone.
Girard (zhS-rftr), Nardsse, Nantes.
France, 1797 — Paris, i860; conduc-
tor and violin professor.
Girardeau ^zhe-riU'-dd), Isabella,
called la Isabella, Italian singer in
London, ca. 1700.
Girelii-Ag^ilar, , Italian singer
in Vienna and London, ca. 1771.
Gismonde (zhes-m6&d), Celeste, d.
1735 ; mezzo-soprano.
Giuglini (jool-ye-ne), Antonio, d. in-
sane, Pesaro, 1865 ; Italian tenor.
Gizziello (gYd-zl-^l-ld), Gioacchino.
Vide coNTi.
Glad' stone, Francis Edw., b. Snm-
mertown, near«Oxford, May 3, 1845 ;
pupil of S. Wesley; one of chief Engl,
contemporary organists; organist vari-
ous churches, then became a Catholic
and was until 1894 choir-dir. St Mary
of the Angels, Biayswater; 1879 Mus.
Doc., Cantab; 188 1, prof, of cpt.
Trinity ColL, London ; prof, of
harm, and cpt. R.C.M.; c. an over-
ture, chamber-music, etc.
Giarea'nus, Henricns (rightly Hetn-
rich Lo'ris, Latinised, Lori'tns),
Glarus, 1488 — Freiburg, Baden,
March 28, 1563 ; poet and impor-
tant theorist.
Glasenapp (gla'-z^-n&p), Karl Fr.,
b. Riga. October 3, 1847; studied
philosophy at Dorpat ; since 1875
head-master at Riga ; wrote on Wag-
DICTIONARY OF MUSICIANS 523
ner, a biog^phy in 3 vols., a lexi-
con, and a Wagner Encyclopaedia,
etc.
GUUer (gla'-zer), (i) K. G., Weissen-
feb, 1784 — Barmen, 1829 ; mus. dir.
and later dealer, composer and
writer. (2) F*., Obergeorgenthal,
Bohemia, 1798 — Copenhagen, i86i ;
conductor, violinist, and dram, com-
poser.
Guue(o)iuiow (glft'-tsoo-n60> Alex.^
b. St. Petersburg, Aug. 10, 1865 ;
studied till 1883 at Polytechnic Inst.,
then took up music ; studied with
Rimsky - Korsakov ; 1881 his first
symphony was produced, repeated
under Liszt in 1884 at Weimar ; he
cond. his second symphony in Paris,
1889 ; his fourth symphony, London
Phil., 1896-97, with Kimsky-Korsa-
kov and Liadov, cond. Russian Sym-
phony Concerts at St. P. ; c. 5 sym-
phonies, 2 overtures on Greek themes ;
overture ** Carnaval"' ; £legie ''A la
wt/moire tPun h/ros "/ symphonic
poem *' SUnka Rasine" ; symphonic
picture ''The Forest'*; '' ChopinU
ana " orch. suite ; and other orchl.
pes., string-quartets, pf.-pcs., suite
on S. A. C. H. A. (his nickname) for
pf., etc.
GleasoQ (gle'-siin), Fr. Grant, b.
Middletown, Conn., Dec. 17, 1848 ;
pupil of Dudley Buck and at Leip-
zig Cons. ; later at Berlin, of Loesch-
om, Weitzmann and Haupt; later
with Beringer (pf.) in London ; 1875
organist Hartford ; 1877, teacher
Hershey Sch. of Music, Chicago;
critic for years of Chicago Tribune ;
c. (text and music) grand operas
**0tk4> Visconti'* and ''Montezuma "/
cantau ** The Culprit Fay,*' with
orch.; "Praise-song to Harmony,"
symphonic cantata ; ** Auditorium
Fesrival Ode," symph. cantata with
orch.; op. 21, " Edris,** symphonic
poem (after the prologue to " Ar-
dath " by Marie Corelli). etc.
Gleich (glikh), Ed., Erfurt, 18 16—
Langebrnck, near Dresden, 1898 ;
critic and writer ; c. symphonies.
Gleichmann (gllkh'-m^n), Jn. G.»
Steltzen, near Eisfeld, 1685 — Ilme-
nau, 1770 ; organist.
Gleissner (glis-n^r), Fz., Neustadt-
on-the-Waldnab, 1760 — Munich, after
18 15 ; printed songs of his own by
lithographic process, the first music
so printed.
Gleits (gilts), K., b. Hetzerode, near
Cassel, Sept. 13, 1862 ; studied Leip-
zig Cons, and Munich Music School,
and in Berlin ; c. symph. -poem " Fa~
ta Morgana'^ (played by Nikisch at
the Beriin Philh. concerts, 1898) ;
" Ahasuerus;* " Venus and Belbna,"
etc. , for orch. ; * 'Ha/bur and Signild^*
for chorus ; *' Inlichter^'' a pf.-fanta*
sy with orch.; vln. -sonata, etc.
Glinka (glYnk'.&), Michail Ivan-
OTitch, NovospaskoY, near Smolensk,
Russia, June i (new style), 1804 —
Berlin, Feb. 15, 1857; piano-virtuoso
and composer, father of the new na-
tionalistic Russian Musical School ;
of noble birth ; pupil of Bohm
(vln.), Mayer (theory and pf.), John
Field (pf.). Of very weak health, he
studied vocal composition in Italy ;
1834 with Dehn in Berlin ; prod, at
St. Petersburg, 1836, the first Russian
national opera "A Life for the Czar "
(Zarskaja Skisu ox Ivan ' Sussanina),
with succ. still lasting ; the next
opera ** Russian and Ludniilla " (St.
P., 1842) was also succ. (book by
Pushkin) ; 1844 in Paris he gave orch.
concerts strongly praised by Berlioz ;
1845-47, Madrid and Seville, where
he c. " JotnAragonese^* a '* Capriccio
brillante" for orch., and '* Souvenir
d'une nuit d'/te it Madrid," for
orch.; 1851, Paris; 1854-55, near
St. Petersburg writing his autobiog-
raphy, planning a never-attempted
opera ; he visited Dehn at Berlin in
1856, and died there suddenly ; Glin-
ka's other comp. incl. 2 unfinished
symphonies; 2 polonaises for orch.; a
fantasia, "La Kamarinskaja*' ; u
septet ; 2 string-quartets ; trio for
pf., clar. and oboe ; dramatic scents ;
vocal-quartets, songs and pf.-pcsi
5H
THE MUSICAL GUIDE
Gldggl (gl«g'-gl), (I) Fz. X., Linz.
on-Danube, 1764 — after 1832; con-
ductor, mus. dir.; writer. (2) F*.,
Linz, 1797 — Vienna, 1872 ; son of
above ; est. music business, 1843 ;
writer and mus. director.
Glover (gliiv'-«r), (i) Sarah Ann, Nor-
wich, Engl., 1785 — Malvern, 1867;
inv. the Tonic Sol-fa system of nota>
tion and wrote about it. (2) Chas.
W.j Feb., 1806— London, 1863;
violinist, etc. (3) Stephen, Lon-
don, 1812— Dec 7, 1870; teacher
and composer. (4) W. Howard,
London, 1819 — New York, 1875 ;
violinist and critic ; sang in opera.
(5) William, b. London, 1822 ; or-
jranist etc.
Gluck (gloo'k). Chnstoph Wilibald
(Ritter von), Weidenwang, near Neu-
markt. Upper Palatinate, July 2, '
1714 — Vienna, Nov. 25, 1787; son of
head-gamekeeper to Prince Lobko-
witz ; at twelve sent to the Jesuit
Coll. at Komotau (1726-32), where he
learnt the violin, clavecin, and or-
gan, and was chorister in the Ch. of
St. Ignaz ; at eighteen he went to
Prague, earning a living by playing
at rural dances, giving concerts and
singing and playing in various
churches ; under the tuition of Fa-
ther Czernohorsky he mastered sing-
ing and the 'cello, his favourite instr. ;
1736 entered the service of Prince
Melzi, Vienna, who took him to Mi-
lan and had him study harm, and cpt
with Sammartini. After four years*
study he prod. *' Arias^rse" (La
Scala, 1741) with great succ. and was
commissioned to c. for other thea-
tres; prod. 8 operas 1742-45. On in-
vitation he went to London 1745 as
composer for the Hay market, in op-
position to Hiindel. *' La Cadtua
dei Giganti " was given on the defeat ■
of the Pretender, Y'j^t,''^ Ariamene^^^
followed by *' Piramo e Tisbe," a
pasticcio of his best arias had no succ.
and led Handel to say that the music
was detestable, and that Gluck knew
no more counterpoint than his cook.
The operas G. had written up to tlos
time were thoroughly Italian. The in-
fluence of Handel and Rameaa's woris
heard at Paris awakened him, and
led him to that gradual reform which
made him immortal, though it
brought on him the most ferocioos
opposition. ** La Semiramide JUa-
nosciuta " (Vienna, 1748) b^fan tbe
change to more serious power. 1750-
62 he prod. ** TeUmaco** (Rome,
1750), "Ztf CUf/unza di TiU'* (Na-
pies, 1 751), and 4 others. 1754-64
he was dir. court-opera Vienna and
prod. 6 more works. He made great
succ. in spite of opposition with
''Orfeo ed EuHdice'^ (1762). 'MA
eeste'* (1767), '' PaHde ed Elena''
(1769), libretti by Calzabigi. 2 other
inferior works were performed by
members of the royal family (1765). In
the dedicatory prefaces to *'*' AkesU**
and ''Paride ed Elena;' G. ex-
pressed his protest against the Italian
school, and declared for dramatic con-
sistency unhampered by rigid fonnn-
lae for arias, duets, etc., and inter-
polated cadenzas. He had such
harsh criticism at home and such en-
couragement from du Rollet of tbe
French Embassy at Vienna in 1772
that he went to Paris. But here also he
met such opposition, that all his diplo-
macy and all the power of his former
pupil. Queen Marie Antoinette hard-
ly availed to bring about the presenta-
tion of ''IphigMie en AuHde^' (1774);
its great succ. was repeated in ** Or-
phe/s " (Aug., 1774). '^Alceste'' (1776).
and Armide (1777). Piccinni was
brought to Paris as a rival, and pn>d.
*' Roland" while Gluck was preparii^
the same subject. Gluck burned his
score- and published a letter which
precipitated an unims^nably fierce
war of pamphlets. Both men now
set to composing ** IphigMeen 7W»-
ride "/ here Gluck forestalled his rival
by two years (1779), and PiccinnTs
work on appearing was not a suoc,
while Gluck*s succeeded enormoudy.
His last opera, *' Echo et Narasst,"
DICTIONARY OF MUSICIANS 525
wasnotsucc. (Sept. 21, 1779); 1780, he an incomplete cantata, *'^ Das JUngsU
retired to Vienna and lived on his well- Gericht" finished by Salieri, and 7
earned wealth, till apoplexy carried odes for solo voice and pf. Biog. by
htm off. He wrote a De profundis A. Schmidt (1854) ; Marx (1863) ;
for chorus and orch., 6 overtures and Desnoiresterres (1872).
Gluck.
By Ernest Newman.
TAKEN up in his twenty-second year by an amateur of lulian music,
and put under Sammartini at Milan, Gluck' s earliest models were
Italian. Though his first works showed slight, unconscious traces of
Northern origin, he probably thought, for twenty years, of little more than
producing opera after opera in the Italian style. The intellectual changes
that led to the reform of the opera with Orfeo were perhaps due in part to
the influence of Rameau and Handel. The French light opera, also, and
his own attempts in it, seem to have taught him something of direct, con-
temporary expression, as distinguished from the conventional operatic mouth-
ing of antique sentiments. Apart from these musical influences, he was
strongly swayed by the general aesthetics of the eighteenth century, whose
ideal of art was the veracious imitation of Nature. He had probably read
Algarotti's book on the Opera (1763), which advocates many of the reforms
he afterwards carried out. ^ Three rich currents intercrossed in him when
he came to consciousness of himself. His Italian practice had gjven him ease
and grace of style ; his Northern nature and training made him at home in the
world of grave and dignified passion ; from the French opera he had learned
to seek in musical tones the natural correlatives to the verbal idea. To these
three musical qualities he added the power of penetrating reflection upon the
essence of his art. ^ The opera, when he took it up, was the laughing-stock
of Europe. It left his hands a serious form of art, carefully thought out in
all its details, with a new method and unity of purpose. The overture was
made to throw light on the coming drama ; the libretto was kept on as high
a level as the taste and subjects of those days would permit ; the old distinc-
tion of aria and rccitadve was undermined, the aria becoming -more dramatic
while not ceasing to be lyrical when required, and the recitative being raised
from its previous conventional lines into a living, organic musical speech ; the
orchestra no longer merely accompanied the singer, but helped in the expres-
sion of the emotions of the actor ; the senseless vocal ornaments of the Italian
opera were discarded, and the singers taught to exist for the opera instead of
the opera existing for them ; in a word, brains and a purpose occupied the
field hitherto filled only by vanity and imbecility. ^ Had Europe not under-
gone such startling changes at the end of the last century, Gluck's influence
526
THE MUSICAL GUIDE
would have borne great fruit. But the new social and intellectual life broa^t
in a new world, for which a new music had to be found ; while elsewhere hit
influence was lost sight of in the dazzling artificiality of the later Italian open.
Still, all the serious dramatists — Beethoven, Wagner, Weber, Berlioz—had
their way made easier by the labour of Gluck. ^ Like Wagner and Bach,
he stands in a category of his own, seeming almost to be without ancestors
and without descendants. His place is among the masters of dramatic grip
and veracious poetic expression. Even yet, indeed, some of his work ii
incomparable in these respects.
Gmeiner (g'mi'-ndr), Lula, b. Kron-
stadt, Aug. 16, 1876 ; alto ; studied
vln. with Olga Grigorourcz ; then
studied voice with Gr. Walter and
Emilie Herzog ; lives in Berlin.
Gnecco (n'y£k'-ko), Francesco
Genoa, 1769-— Milan, 18 10 ; dram,
composer.
Gobbaerts (gtib'-bilrts), Jean Louis,
Antwerp, 1835 — Saint Gilles, near
Brussels, 1886; pianist and com-
poser.
Gobbi (gob'-be), (i) Henri, b. Pesth.
June 7, 1842 ; pupil of R. Volkmann,
and Liszt ; music-teacher and critic,
Pesth ; c. a festival cantata celebrat-
ing Liszt's public career, etc. (2)
Aloys, b. Pesth, Dec. 30, 1844; bro.
of above ; violinist and teacher.
Gdbel (ga -b^l), K. H., Berlin, 1815—
Bromberg, 1879: pianist, conductor,
and dram, composer.
Gockel (gok'-^l), Aug., Willibadessen,
Westphalia, 18 31 — 1861 ; pianist and
composer.
Godard (god^r), Benjamin (Louis
Paul), Paris, Aug. 18, 1849 — Cannes,
Jan. II, 1895 ; studied vln. with
Hammer and played in public at 9 ;
then studied with Reber (comp.) and
Vieuxtemps (vln.), Paris Cons.; 1865
pub. a vln. -sonata, later other cham-
ber - compositions ; rec'd the Prix
Chattier from the Institut de France
for merit in the department of cham-
ber-music ; prod. 5 operas, incl. '*yi?-
cclyn' (Brussels, 188S), and the very
succ. posthumous " La Vivandihre *
(Paris Op. -Com., 1895), the last 2
acts orchestrated by Paul Vidal; 2
operas not prod.; he c. also indd.
mus. and 6 symphonies; ** /> Toss/"
(Tasso), dram, symphony with soli
and chorus took the city of Paris
prize in 1878 ; concerto for vln. ; a
pf. -concerto, song^ and pf.-pcs.
God'dard (Dayison), Arabella, b. St
Servan, near Saint Malo, Brittany,
Jan. 12, 1838 ; at 4 played in public,
at 6 studied with Kalkbrenner at
Paris, at 8 played to Queen Victoria;
pub. 6 waltzes and studied with Mrs.
Anderson and Thalt>erg; at is
played at the Grand National Con-
certs ; 1850-53 pupil of J. W. Davi-
son, whom she m. (1S60) ; toorci
Germany and at 17 played at Leip-
zig Gewandhaus 1855; 1873-76
toured the world ; retired 1880 and
lived in Tunbridge Wells.
Godebrye. Vide jacotin.
Godefroid (god-fwa), (i) Joles Jo-
seph, Namur, Belgium, 18 11 — Paris,
1840 ; harpist and dram, composer.
(2) Dieudonnd Jos. Gait F^lix,
Namur, 1818 — Villers-sur-mer, 1897 ;
bro. of above ; harpist and dnun.
composer.
Godfrey, (i) Chas., Kii^ton, Surrey,
1790 — 1863 ; bassoonist and con-
ductor. (2) Daniel, b. Westminster,
Engl., Sept. 4, 183 1 : son of above;
pupil R.A.M., later Fellow and Prof,
of Military Mus.: 1856 bandm. of
the Grenadier Guards; 187a and
1898 toured the U. S. with his band ;
composer. (3) Adolphus Fred.,
b. 1837, son of (i) ; conductor. (4)
DICTIONARY OF MUSICIANS 527
Charles, b. 1839, son of (i) ; con-
ductor.
Godowski (g6-d6f-shke), Leopold,
b. Wilna (Vilno), Russian Poland,
Feb. 13, 1870 ; pianist ; debut and
tours at 9; pupil of Wilna, and 1S81-
84 R. Hochschule, Berlin ; at 14
toured America ; 1887-90 studied
with Saint-Saens; 1890-91 toured
America again ; 1894 dir. pf.-dept.,
Broad St. Cons., Phila.; 1895-99
head of pf.-dept., Chicago Cons.;
them toured Europe ; since 1902 lives
in Berlin ; began first comp. at 7 ;
pub. Moto Perpetuo^ Polonaise in C.;
elaborations of Chopin, etc.
Goeplart(g«p'-fart), (i) Chr. H., Wei-
mar, 1835 — Baltimore, Md., 1890;
organist and composer. (2) Karl
Ednard, b. Weimar, March 8, 1859;
son of above ; since 1891 cond.
Baden-Baden Mus. Union ; c. ** .Siz-
rasiro^** Si sequel to Mozart's " Magic
FIuU,'^ etc (3) Otto Ernst, b.
Weimar, July 31, 1864 ; bro. of
above ; since 1888 Weimar town can-
tor and composer.
Gocring (ga -ring), Th.. b. Frankfort-
on-Main, Oct. 2, 1844 ; critic, 1880-
83 Paris, then Munich ; now music
correspondent Cologne Zeitung.
Goes (go'-ds), Damiao de, Alemquer,
Portugal, 1501 — Lisbon, 1573 ; am-
bassador, theorist and composer.
Goethe (ga'-td), Walther Wg. von,
Weimar, 1818— Leipzig, 1885: grand-
son of the poet ; c. 3 operettas, etc.
Goetschins (g£t'-shY-oos), Percy, b.
Paterson, N. J., Aug. 30, 1853; pupil
Stuttgart Cons.; 1876 teacher there ;
1885 Royal Prof.; critic for various
German music papers ; 1890-92 prof.
Syracuse (N. Y.) Univ. and Mus.
Doc. ; 1892-96, taught comp. and
lectured on mus. hist., etc., N. E.
Cons., Boston ; since 1896 private
teacher Boston, and essayist ; since
1897 organi'it First Parish Ch. , Brook-
line : pub. important and original
treatises ; c. 2 Concert-Fugues, etc.
Goet2 (g£ts), Hn., KOnigsbeig, Prus-
sia, 1840 — Hottingen, near Zurich,
1876 ; 1863, organist and conductor ;
c. operas, songs, etc.
Gogavi'nus, Ant. Hn., Dutch phy-
sician at Venice 1552 ; writer.
Goldbeck (g51t'-bek), Robert, b.
Potsdam, April 19, 1839; pupil of
Kohler and H. Litolff ; gave v. succ.
concerts in London and prod, oper-
etta ; 1857-67 in New York as teach-
er; 1868 founded a Cons, at Chicago;
dir. till 1873 ; cond. the Harmonic
Society, and co-dir. Beethoven Cons.,
St. Louis ; New York, 1885 ; c. 2
operas; cantata. Burger's '' Leottore^'*
etc
Goldberg (golt'-b^rkh), (i) Jn. G.
(Theophilus), KOnigsberg. ca. 1730
— Dresden (?), 1760 (?) ; organ and
clavichord player. (2) Jos. Pas-
quale, Vienna, 1825 — 1890; vln. -pupil
of Mayseder and Sey fried, then oper-
atic bass and teacher. His 2 sisters,
(3) Fanny G.-Marini and (4) Cath-
erine G.-Strossi, are singers.
Golde (gol'-dd). (i) Ad., Erfurt, 1830—
1880 ; son and (1872) successor of (2)
Joseph G., dir. Soller Singing-So-
ciety, Erfurt.
Goldmark (g5lt'-mark), (i) Karl, b.
Keszthely, Hungary, May 18, 1830
(not 1832, as usually stated); violinist
and pianist, pupil of Jansa (vln.),
later of Bohm (theory) at the Vienna
Cons. , then mainly self-taught ; d^-
but 1858, Vienna, with his own pf.-
concerto ; the popular overture '"Sa-
kuniala " (op. 13); and a Scherzo,
Andante, and Finale for Orch. (op,
19) won him success strengthened by
his opera '* Die Konigin von Saba *
(Vienna, 1875); c. also operas ''Mer-
lin " (Vienna, 1886) v. succ. ; ** Das
Heimchen am Herd*'' based on Dick-
ens''* Cricket on the Hearth" (Vi-
enna, 1896) ; '* Die Kriegsgefangene*^
(Vienna Ct. - opera, 1899) ; " Der
Fremdling'* (not prod.^ and ** Gotz
von Berlichingen ; " c. also 2 sympho-
nies, incl. ""' Ldndliche Nochzeit** ;
overtures, •• Im Friihling" *' Prome-
theus Bound,'' and ''Sappho," etc.
(2) Rubin, b. New York City, 1872 ;
528
THE MUSICAL GUIDE
composer; nephew of above; at 7
began to study with A. M. Livonius,
with whom he went to Vienna, 1889 ;
studied t^ere also with Door and
Fuchs ; later in New York with Jo-
seffy and Dvorak ; since 1892 lives
in Colorado Springs, Colorado;
founder and dir. of a Coll. of Mus.
there. At 19 c. ** Theme and Varia-
tions " for orch. (performed by Seidl,
1895) ; c. a pf.-trio, cantata with
orch. ** Pilgrimage to Kevlaar^^^ over-
ture '* Hiawatha " (played by Boston
Symph. Orch.), vln. -sonata, etc.
Goldner (golt'-ndr), Wm., b. Ham-
burg, June 30, 1839 • pupil Leipzig
Cons. ; lives in Paris as a pianist and
composer.
Goldschmidt (golt-shmlt), (i) Sig^s-
mund, Prague, 18 15— Vienna, 1877,
pianist and composer. (2) Otto, b.
Hamburg, Aug. 21, 1829 ; pianist ;
pupil of Jakob Schmitt and F. W.
Grund, Mendelssohn, and Chopin ;
1849 London with Jenny Lind, whom
he accompanied on her American
tour and m. (Boston, 1852) ; 1852-55
Dresden ; 1858-87 London ; 1863
vice-principal of the R.A.M., 1875
founded Bach Choir, also cond. mus.
festivals at DUsseldorf (1863) and
Hamburg (1866); c. oratorio *' Puth "
(Hereford, 1867) ; pf. -concerto and
trio, etc. (3) Adalbert von, b.
Vienna, 1853; pupil Vienna Cons.;
amateur composer ; prod, with g^eat
succ. cantata '* Die Sieben Tod-
siiftden*' (Berlin, 1875), and succ.
opera *' Helianthus " (Leipzig, 1884);
prod, trilogy " Gaea " 1889. (4)
Hugo, b. Breslau, Sept. 19, 1859 ;
1884 Dr. jur.; studied singing with
Stockhausen (1S87-90) ; 1893 co-dir.
Scharwenka-Klindworth Cons., Ber-
lin ; writer.
Gold' win, John, d. Nov., 1719 ; Engl,
organist and composer.
Golinel'li, Stefano, b. Bologna, Oct.
26, 1818 ; pianist ; pupil of B. Do-
nelli and N. Vaccai ; pf.-prof. Liceo
Musicale till 1870 ; c. 5 pf.-sonatas,
etc
Gollmick (g6r.mtk). (i) Fr. K., Ber-
lin, 1774 — Frankfort-on-Main, 1852;
tenor. (2) Karl, Dessau, 1796-
Frankfort-on-Main, 1866; son of
above ; theorist and writer. (3)
Adolf, Frankfort-on-M., 1825 — ^Lod-
don, 1883 ; pianist ; son and |>u{nl of
(2) ; studied also with Riefstahl,
1844 ; c. comic operas, etc. ,
Goltermann (gol -tdr-man), (i) G.
Ed., Hanover, 1824 — Frankfort-oo-
M., 1898 ; 'cellist and composer. (2)
Jn. Ang. Julius. Hamburg, 1825—
Stuttgart, 1876 ; ^cellist. (3) Aug.,
1826 — Schwerin, 1890 ; court pianisL
Gombert (gdm'-b^rt), Nicolas, Bin-
ges, ca. 1495 — ^Jter 1570; a most im-
portant i6th cent, composer, one of
the first to take up secular music
seriously ; a lover of Nature and a
writer of descriptive and pastoral
songs of much beauty ; his motet
*• Paster Noster " was prod, at Paris
by Fetis with impressive effect.
Gomes (or Gomez) (go'-mas), Anto-
nio Carlos, Campinas, Brazil, July
II, 1839 — Para, Sept. 16, 1896; pu-
pil of Rossi, Milan Cons. ; E^. of
Para Cons.; c. succ. operas ** Saha-
tor Rosa;' '' Lo Sckievo;' ^' Mmria
Tudor;' etc.
Good'ban, (i) Thos., Canterbury,
1780 — 1863 ; writer and cond. His
3 sons were (2) Chits., (3) Heary
Wm., 'cellist, and (4) Thos., violin-
ist. (5) Jas. F., nephew of (i), violin-
ist and organist.
Good'gfroome, (i) John, b. ca. 1630;
composer. (2) John, probably son of
above ; organist, 1735. (3) Theo-
dore, Pep3rs* teacher ; probably bro.
of (i).
Goodrich, (i) Alfred John, b. Chik,
Ohio, May 8, 1847; eminent theorist;
except for a year's instruction from
his father, wholly self-taught ; teacher
theory Grand Cons., N. Y., 1876;
voice, pf. and theory Fort Wayne
Cons. , Ind. ; dir. vocal-dept. Beethoven
Cons., St. Louis; 2 years at Nfartha
Washington ColL, Va.; lived in Chi-
cago, now in New Yoric as teacher;
DICTIONARY OF MUSICIANS 529
pab. theoretical essays and books of
radical and scholarly nature, the im-
portant products of research and in-
dividuality, ind. ** Compute Musical
Anafysis^' (iSSg), '' Analytical Har^
wumy'* (1S94). •' Theory of Jnter^
pretation'' (1898), ''Counterpoint:'
(2) John Wallace, b. Boston,
1870 (?) ; notable organist ; studied
Boston, Munich and with Widor,
Paris; teacher N. £. Cons., Boston ;
tours in concert ; 1902 chorusmaster
Worcester Festival.
Good'son, (i) Richard, d. 1718 ; or-
papist and professor at Oxford. (2)
Kichard, d. 1741; son and successor
of above ; organist.
Goodwin, Amina Beatrice, b. Man-
chester, Engl.; pupil of her father;
at 6 played in public, then studied
with Reinecke, Jadassohn, Delabord,
Liszt and Frau Schumann ; 1895
founded a pf.-coU. for Ladies, Lon-
don; m. an American, W. Ingram-
Adams ; pub. a work on technic and
* c. pf. -pieces.
Gooraerts (go'-vflrts), Alphonse, J.
M. Andr6, b. Antwerp, May 25,
1847 ; 1866, assist, librarian, Ant-
werp ; founded an amateur cathedral
choir to cultivate Palestrina and the
Netherland cptists ; 1887 royal ar-
chivist, Brussels; writer and composer.
Gdpfert OB:«p'-^^rt), (i) K. And., Rim-
par, near Warzburg, 1768 — Meining-
en, 18 iS ; clarinetist and dram, com-
poser. (2) K. G., Weesenstein, near
Dr»den, 1733 — Weimar, 1798 ; vln.
virtuoso ; conductor and composer.
Gordi^iani (g6r-ded.ja -ne), (i) Gior.
Bat., Mantua, 1795 — Prague, 1871;
son of a musician ; dram, composer.
(2) Antonio, a singer. (3) Luigi,
Modena, 1806 — Florence, i860; bro.
of (i); dram, composer.
Gor'don, (i) John, Ludgate, 1702 —
1730 ; Prof. (2) W,, Swiss flutist
of En^l. descent ; 1826 began im-
provements on the flute, which later
B6hm carried to success, though W.
G. went insane 1836 from discourage-
ment.
34
Goria (gd-rS'-a), Alex, f d., Paris,
1823 — 1860; teacher and composer.
Gomo (gdr -no). Albino, b. Cassalmo-
rano (Cremona), Italy; pupil Milan
Cons., graduating with 3 gold medals ;
pianist and accompanist to Adelina
Fatti on Amer. tour 1881-1882 ; then
pf.-prof. Cincinnati Coll. of Music;
c opera, cantata ** Garibaldi " etc.
Gdroldt (ga'-rolt), Tn, H., Stempeda,
near Stolberg (Harz), i773--after
1835; mus. dir., writer and com-
poser.
Gorria, Tobio. Vide boito, arrigo.
Gorter (g6r'-tdr). Albert, b. NUmberg,
Nov. 23, 1862 ; studied medicine ;
then music at R. Mus. Sch., Mu-
nich ; took 3 prizes for composition ;
studied a year in Italy ; assist, cond.
Bayrcuth Festivals; cond. Breslau,
etc.; 1894-99 assist, cond. Carlsruhe
Ct.-Th., then cond. Leipzig City Th.;
c (text and mus.) opera **/^ar£?/(/"
and comic opera '' Der Schatz des
RhampHnnit (Mannheim, 1894); 2
symphonic poems, etc.
G08S, (i) John Jeremiah, Salisbury,
1770—1812; alto. (2) Sir John,
Fareham, Hants, England; 1800 —
London, 1880; organist; knighted,
1872 ; composer and writer.
Gossec (gos'-sdk) (rightly Goss6, Gos-
set or Gossez) (gos-sa), Francois
Joseph, Vergniers, Belgium, Jan,
17. 1734— Passy. near Paris, Feb. 16,
1829; 1741-49 chorister Antwerp
cath. ; for 3 years he then studied vln.
and comp.; 175 1 Paris, cond. private
orch. of La Popelini^re ; then fer-
mier-g/n/ral ; 1754 he pub. his first
symphonies (5 years before Haydn's);
1759 his first string-quartets which
became pop.; 1769 his '' Messe des
Aforts" made a sensation (the ''Tuba
mirum" being written for 2 orch.,
one for wind, instrs., concealed, a new
effect he repeated in his first oratorio);
1762 cond. of Prince Conti's orch.
at Chantilly; from 1764 prod. 3-act
operas " Le Faux Lord,** etc., incl.
succ. " Les PScAeurs*' (Commie It.,
1766) ; 1770 founded Concerts des
530
THE MUSICAL GUIDE
Amateurs; 1773 reorganised and
cond. the Concerts Spirituels till
1777 ; 1780-82 assist, cond. Acade-
mic de Musique (later Gr. Opera);
1784 founded and dir. Ecole Royale
de Chant, the beginning of the Cons,
of which (1795) he was an inspector
and prof, of comp. ; c. 26 symphonies,
3 symphonies for wind, *' Sympfionie
■ concertanW* ioT 1 1 insts., overtures,
3 oratorios, etc.; masses with orch.;
strinp^-quartets, etc.
Gost'lmg:, Rev. John, d. 1733 ; bass,
famous for his range ; Purcell wrote
for him a song ranging from D-e' (v.
PITCH, D. D.).
Gottschald (got'-shalt), Ernst, b. El-
terlein. Saxony, Oct. 19, 1826 ; a ju-
rist and writer under pen-name
"vonEltcrlein."
Gottschalgr (g6t'-shalkh), Alex. W.,
b. Mechelrode, near Weimar, Feb.
14, 1827; pupil Teachers' Seminary,
Weimar ; succeeding Gttpfer there
later ; court organist, teacher, editor
and writer.
Gottschalk (g6ts'-ch61k), (i) Louis
Moreau, New Orleans, 1^., May 8,
1829 — Rio de Janeiro, Dec. 18, 1869;
brilliant and original pianist and com-
poser ; studied in Paris ; began c. at
10 ; c. operas, etc., and 90 pf.-pcs. of
distinct and tropical charm. (2)
Gaston, bro. of above, singer and
for years teacher in Chicago.
Gdtzc (ga'-zd), (i) Jn. Nik. K., Wei-
mar, 1 791 — 186 1 ; violinist and dram,
composer. (2) Fz., Neustadt-on-
Orla. 1814 — Leipzig, 1888; tenor,
teacher and comp)oser. (3) Karl,
Weimar, 1836 — Magdeburg, 1887 ;
pianist and dram, composer. (4) H.,
b. Wartha, Silesia. April 7, 1836 ;
studied singing with (2) ; lost his
voice ; .teacher in Russia and Bres-
lau ; 1885 Ziegenhals, Silesia ; 1889
Royal Mus. Dir.; wrote 2 technical
books; c' a mass with orch., etc.
(5) Aug^uste, b. Weimar, Feb. 24,
1840 ; daughter of (2) ; teacher Cons. ,
Dresden ; founded a school there ;
189 1 taught at Leipzig Cons. ; wrote
under nanlfe "Aug^uste Weimar.**
(6) Emil, b. I^ipzig, July iq, 1856 :
pupil of Scharfe, Dresden ; 1878-81,
tenor Dresden Ct.-Th., then at Co-
logne Th., then toured as ** star."
1900 lived in Berlin as court-singer.
(7) Otto, 1886, conductor at Esseo-on-
Ruhr; prod. succ. opera ** /^iscaiU"
(Sondershausen, 1896). (8) Fz., 1S92,
prod. Volksoper ** Utopia" (Stettin,
1892) and i-act opera ** Dit Rosevsm
Thiessow^* (Glogau, 1895). (9)
Marie, b. Berlin, Nov. 2, 1865;
alto, studied Stem Cons, and with
Jenny Meyer and Levj'^ohn ; sang
Berlin opera, then at Hamburg City
Th. ; 2 years in America; 189a Beriin
ct. -opera.
Goudimel (goo-dT-m^l), Claude, Vai-
son, near Avignon, ca. 1505 — killed in
St. Bartholomew massacre, Lyons,
Aug. 24, 1572 ; pupil perhaps of Jos-
quin Despr^ ; est. a school and
formed Palestrina and other pupils,
winning name ; ** Father of the Ro-,
man School " ; a music printer for a
time; his important comp, incl. ** Tkt
Psalms of David ^^ complete.
Gould, Nathaniel Duren, Chelms-
ford, Mass., 1781 — Boston, 1864;
conductor and writer.
Gounod (goo-no), Charles Fran-
cois, Pans, Tune 17, 1818— Oct. 17,
1893 ; son of a talented painter aiul
engraver ; his mother taught him the
pf. and he entered the Lyc^ Saint-
Louis ; 1836 studied at the Paris
Cons, with Reicha (harm.), Halcvy
Sept. and fugue), Lesueur and Pacr
comp.) ; took 2nd Prix de Rome
with cantata ** Afarie Stuart ct Rit-
aiV'in 1837; his cantata ^" FertMn-
da " won the Grand Prix de Rome in
1839, and he studied church music at
Rome ; 1841 his orch. mass was per-
formed ; in 1842 he cond. his Re-
qui em at Vienna with great succ ;
returned to Paris as precentor and or-
ganist of the Missions ^trangeres;
studied theology 2 years, intended to
take orders and was called I'Abb^
Gounod by a publisher in 1846; after
DICTIONARY OF MUSICIANS ss^
5 years of seclusion, parts of his
Messe SoUnnelle were played with
profound succ. in London ; he prod,
a symphony, but his opera ^'^ Sappho**
failed (Gr. Opera, 185 1) ; revised
1884, it failed again ; a gr. opera,
'"La Nonne Sanglante'' (1854), and
a comic opera, ** Le Af^decin Malgri
Lui " (played in London as * ' The
Mock Doctor") (1858), both failed;
1852-60 cond. the *' Orpheon," Paris,
and c. choruses and 2 masses. The
opera ''Faust'' (Th. Lyrique, 1859)
was and still is a great succ. '* PhiU-
men et Baticis " (i860); " La Reinede
Saba " (in London as " Ir^ne ") (1862);
'' MirtilU" (1864), ''La Colombe*'
(1866), were not great works, but
*' Romeo et Juliette " (1867) still holds
the stage ; 1866 member of the Insti-
tut de France and commander of the
Legion of Honour. In 1870, during
the war he lived in London ; founded
Gounod's Choir. In 187 1 he prod.
** Gallia^''* a cantata based on ** lam-
entations " ; 1875 returned to Paris,
prod. * * Cinq Mars " (Op^ra Comique,
1S77)/' Pofyeuete " (Gr. Opera, 1878),
and " Le Tribut de Zamora" (1881),
none succ. The sacred trilogy ** La
Redemption " (Birmingham, 1862)
(music and French words), and ''Mors
et Vita •• (Birmingham, 1885) (Latin
text arranged by Gounod) are stand-
ard. He also c. ** Messe Solennelte h
Ste. Of! Zf " y masses; " Angeli custo
des " (1882) ; "Jeanne d'Arc " (1887) ;
a Stabat Mater with orch.; the orato-
rios '* Tobie,'' " Us Sept ParoUs de
Jisus'' "J/sus sur U Lac de Tib/--
riade'\* the cantatas "A la Fran-
Hire'' (1870, Gr. Opera), " Le Vin
des Gaulois^'' and "La Danse de
rEp/e,*' the French and English
songs, etc. He left 2 operas, "Mat-
ire Pierre** (incomplete) and
*' Georges Dandin " (said to be the
first comic opera set to prose text,
cf. Bruneau). He wrote " M^thode
de cor h pistons** essays, etc. Biog.
by Jules Claretie (Paris, 1875); Mme.
Weldon (London, 1875) ; Paul Voss
(Leipzig, 1895) ; ** Mtfmoires ** (Paris,
1895).
Gounod.
By Vernon Blackburn.
GOUNOD'S music belongs entirely to a world of its own. In a
word, he made that world, and then he set his music in it. You
would not say that it was first-rate by any means, and you would not
have the heart to say that it was second-rate. But, just as the old writers con-
ceived a condition after death in which man received neither reward nor pun-
ishment, a sort of midway house where the dross of the flesh had not been
expunged and where the fire of the spirit had not entirely departed, so Gounod
is a kind of mingled spirit in music. He is the idol of gold with the feet of
clay. ^Yet he had one note, one separate characteristic in his music which
does certainly divide him from every other musician in the world. None
has sounded as he has sounded the peculiar note of eroticism which is absolutely
sexual. Instance it by one example (the song of Marguerite at the end of
the second act of** Faust,^* when she throws open the window to give ex-
pression to her emotion) as a creation of sexualness which no other song in
the world has probably possessed. I have heard it said that the performance
532
THE MUSICAD- GUIDE
of Gounod's masses in Paris used to be regarded by ladies of fiishion 9nd
quality as something in the light of an orgy. For this was Gounod's doin-
inant note, his dominant quality. ^He was not a master of melody, but he
wrote quite beautihil melodies. He was not a master — and in each case I
am using the word ** master " in the superlative sense — of technique, bat he
had a mystic-second-rate mysdc, but, all the same, mysdc, quality in his
work. He was not really dramadc ; *' Philemon et Baucis^'* ** Faust,** and
Romhf** are there to prove so much ; but he was charming m just not the
great way. As a song-vmter, though, he often achieved something like
greatness. The much-hackneyed ** Quand tu chant es,** ** Nazareth,** bat,
above all, **Le Juif Errant,^* prove that in little flights of emotion, separate
swingings into the sky, as it were, Gounod could do as well as anybody.
But he was not a great master ; he was a great contemporary, as I have sdd
elsewhere, and his death was mourned by contemporaries. Whether future
generations will rank him any higher than Emanuel Bach, time alone can
prove. ^Gounod's personality can scarcely be said to have made any im-
pression upon the world, and his influence died like a bright ** exhalation <^
the evening." You can prove it to-day only in mediocre song- writers.
Gouvy (goo-ve), Louis Theodore,
GoffoDtaine, Rhenish Prussia, 1819 —
Leipzig, 1808 ! pianist and composer.
Gow, (i) Niel, Strathband, 1727 —
Inver, Scotland, 1807 ; violinist and
composer. (2) Nathaniel, 1766 —
183 1 ; son of above, also violinist and
composer. {3) Donald, brother of (i),
was a 'cellist. And (4) Niel, Jr.,
1795 — 1823, son of (2), was violinist
and composer. (5) George Cole-
man, b. Ayer Junction, Mass., Nov,
27, i860; studied with Blodgett,
Pittsfield and Story (Worcester) ;
graduate Brown Univ., 1884, and
Newton Theol. Seminary, 1889 ; then
teacher of harm, and pt. Smith Col-
lege ; studied with BQssler in Berlin ;
1895 prof, of music Vassar Coll.;
composer and writer.
Graan (gran), Jean de, Amsterdam,
1852 — The Hague, 1874 ; violinist.
Graben-Hoffmann (gT&'-bSn h6f'.
man), Gastav (rightly Gustav Hoff-
mann), Bnin, near Posen, March 7,
1820 — Potsdam, May 21, 1900 ; sing-
ing teacher, writer and composer.
Grabcrt (gra'-b«rt), Martin, b. Arns-
walde. May 15, 1868 ; studied with
Bargiel and Bellerman. Berlin, R, I.,
for church-music, 189 1 winnings Mey-
erbeer-stipend, 1894 Mendelssohn
prize; lived in Berlin as organist, chor-
dir. and composer of choruses, etc
Graba(t) (grft-ba), Louis (or Levris),
French operatic composer at the Eng-
lish court, 1666-90.
Griidcncr (gra'-dfi-ngr), (i) K. G. P.,
Rostock, 18 12 — Hamburg, 1883 ;
dir., conductor, writer, and dram,
composer. (2) Hermann (Th. Otto),
b. Kiel, May 8, 1844 ; son and popO
of above; later studied Vienna Cons.;
1873 teacher harmony HoraVs Pf,
Sch., later Vienna Cons.; from 1890
lecturer on harm, and cpt. Vienna
Univ. ; cond. Sing^kademie ; c. Ca-
priccietta and Sinfonietta for orch.
(op. 14), etc.
Graew (grSv). Vide bacfart.
Graffig^na (grif.fen'.3ra), Achille, San
Martino Dal I'Argine, Italy, 181^—
Padua, 1896; conductor, teacher,
and dram, composer.
DICTIONARY OF MUSICIANS 533
Gra'ham, Geo. F., Edinburgh, 1790
— 1867 ; composer and writer.
Gramtnann (gr^Un'-man), Karl, LQ-
beck, 1844 — Dresden, 1897 ; dram,
composer and writer.
Granai (gran'-de), Ales, de, Venice (?)
— Bergamo, 1630 ; singer and com-
poser.
Grandval ^an-vil), Mme. Marie
F61icie CUmence de Reiset,
Vicomtesse de, b. Saint- Remy-des-
Monts (Sarthe), France, Jan. 20,
1830 ; pupil of Flotow and Saint-
Saens (comp.) ; prod, the operas
" PiccoUni *' (Op.-Com., 1868). " Les
Fiances des Rosa" (Th.-Lyr., 1863),
"Atala'* (Paris, 1888), '' Mazeppa''
(Bordeaux, 1892) and others ; won
the Prix Rossini with oratorio ** La
FiUe de Jaire," ** drame sacr^,"
** Sainte-Agnh** \n MS.; has prod,
symph. works and songs ; sometimes
wrote under |>en-names " Tesier,
Valgp'and, Jasper, Banger," etc.
Gran'meer, thas. Alb., b. Cincin-
nati, Jan. 2, 186 1 ; pupil Coll. of
Mus.; dir. several mus. societies;
prof, in the College for Music.
Granjon (grafi-zhon), Robert, music-
printer, Paris, Lyons and Rome, 1582.
Gran' am, Louis C. A., English com-
poser, 1751.
Graphilus (gra'-fS-oos), Hieronymus,
d. May 7, 1556; music-printer NUm-
berg from 1533.
Grassini (gris-se'-ne), Josephina,
Varcsc, Lombardy, 1773 — Milan,
1850 ; Italian soprano of remarkable
talent and beauty.
Gras (dortt-grHs), Mme. Julia Alm^e
Dorus, Valenciennes, 1807 — retired,
1850 ; operatic singer Paris and Lon-
don.
Grasse (gr&s), Edwin, b. New York
City, 1874 (?) ; blind violinist ; pupil
of Carl Hauser, N. Y.; at 13, of
C^sar Thomson, Brussels, then at
the Cons., taking ist prize ; 1901
took "Prix de Capacity "; debut
Berlin, Feb. 22, 1902, with great
succ
Grasset (griis-sd), J. Jacques, Paris,
ca. 1767 — 1839 ; violinist, conductor,
professor, etc.
Gratianl. Vide graziani.
Graumann (grow'-man), Mathilde.
Vide MARCHESI.
Grann (grown), (i) Aug. Fr.. 1727-
71, tenor, cantor. (2) Jn. Gl., 1698
— Berlin, 177 1 ; bro. of above ; vio-
linist ; pupil of Pisendel and Tartini;
in service of Fredk. the Great and
cond. of Royal band ; c. 40 sympho-
nies, etc. (3) K. H., Wahrenbrtlck,
Prussian Saxony, May 7, 1701 — Ber-
lin, Aug. 8, 1759 ; bro. of above ; or-
ganist, singer, court-conductor, and
composer.
Graupner (growp'-n5r), Chp., Kirch-
berg, Saxony, 1683 — Darmstadt,
1760 ; dram, composer.
Graziani (gra-tse-a'-ne), (i) (Padre)
Tommaso, b. Bagnacavallo, Papal
States ; conductor and composer of
i6th cent. (2) (or Gratlani) Boni-
face, Marino, Papal States, ca. 1606
— Rome, 1664 ; cond. and composer.
(3) Ludovico, Fermo, Italy, 1823 —
1885; tenor. (4) Francesco, Fer-
mo, April 16, 1829 — Fermo, June 30,
1901, bro. of above ; barytone, sang
in Italy, Paris, New York.
Grazzini (gr^-ze'-ne), Reg^naldo,
b. Florence, Oct. 15, 1848 ; studied
R. Cons, with T. Mabellini ; op.-
cond. in Florence, later prof, of mus.
theory and artistic dir. Liceo Bene-
detto Marcello, Venice ; c. sympho-
nies ; a mass with orch., etc.
Great'orex, Thos., North Wingfield,
Derby, Engl., 1758 — Hampton, near
London, 1831 ; orj^anist, teacher, and
composer (1789-03) ; then conductor.
Greco (gr^'-ko) (or Grec'co), Gaetano,
b. Naples, ca. 1680 (?) ; composer
and teacher.
Greef (graQ, (i) Wm., Kettwig-on-
Ruhr, 1809 — Mors, 1875 ; organist
and singing teacher. (2) Greei-An-
driessen. Vide stammer, a.
Green, Samuel, London, 1730— Isle-
worth, 1796 ; organ-builder.
Greene, (t) Maurice, London, 1696
(1695 ?)-— 1755 ; teacher and compos*
534
THE MUSICAL GUIDE
er. (2) (Harry) Plunkct, b. Old
Connaught House, Co. Wicklow,
Ireland, June 24, 1865 ; basso ; stud-
ied with Hromada and Goetschius,
Stuttgart, 1883-86, and 6 months
with Vannuccini of Florence ; later
with J. B. Welch and Alf. Blume,
London; d^but, Jan. 21, 1888, in
"^ Messiah'' ; debut in opera at Cov-
ent Garden, 1S90; excels in recitals;
has sung frequently in America.
Greet ing, Tnos., teacher of flageo-
let, London, latter half 17th cent. ;
taught Pep}'S.
Grefinger (or Grafinger) (gra'-ftng-5r),
Jn. vV., Vienna, i6th cent, com-
poser.
Gregh (gr^g). Louts, Paris music-pub-
lisher; 1894 prod, pantomime ; vaude-
ville operettas, etc.
Gre^oir (grag-wir), (i) Jacques Ma-
thieu Joseph, Antwerp, 1817 — Brus-
sels, 1876 ; teacher and dram, com-
poser. (2) &d., Turnhout, near
Antwerp, Nov. 7, 1822 — Wyneghem,
June 28, 1890 ; bro. and pupil of
above ; pianist, dram, composer and
writer.
Gregoro'vitch, Charles, b. St. Pet-
ersburg, Oct 25, 1867 ; violinist ;
pupil of VVieniawski, Dont and Joa-
chim ; 1896-97 toured Europe and
America.
Gregory I. (•♦The Great"), Rome,
540-604 ; Pof)e from 590 ; reformer
and reviser of Roman Catholic ritual.
v. GRKGORIAN and MODES" (D.D.).
Grell, Ed. Aug., Berlin, 1800 — Steg-
litz, near Berlin, 1886 ; organist, con-
ductor, prof, and composer.
Grenid (griln-ya), Gabriel Jos., Bor-
deaux, 1757 — Paris, 1837 ; inv. of
the orgue expressif (v. HARMONIUM,
D. D.), which firard improved.
Gresnich (gr«n-tsh). Ant. Fr^ddric,
Li^ge, 1755 — Paris, 1799 ; conductor
and dram, composer.
Grdta (gra'-ta), Jeanne (nee Greta
Hughes), b. Lancaster, Mo.; colora-
tura soprano ; studied with Gott-
schalk, Chicago, Agramonte, New
York, Mme. La Grange, Critikos,
and Dubulle, Paris ; debut St. James'
Hall, London, 1897 ; toured England
and Scotland with great success, when
at a concert before the Princess of
Teck she caught a severe cold, neces-
sitating a long retirement ; now sing-
ing again in New York ; 1899, m,
Herbert Witherspoon.
Gr^try (gra-trwe), (i) Andr£ Ernest
Modes^e, Li^e, Feb. 9, 1741—
Montmorency, near Paris, Sept 24,
18 13 ; dram, composer ; son of a vio-
linist. Chorister at 6, but dismissed
for incapacity at 11, then pupil of
Leclerc and Renekin. R. failing to
keep him to the strict course of cpL
Moreau later tried with equal failure;
1758 he prod. 6 symphonies at Li^;
1759 ^ mass for which the Canon da
Harlez sent him to study in Rome,
to which he walked ; he studied cpt
and comp. with Casali and Mardni
for 5 years, but was again dismissed
as impossible ; a dramatic intermezzo,
'' Le Vendemmiatrice C* was socc
1765, but reading Monsigny's " R9%t
et Colas ^'^ he decided that his restless
dramatic longings were best adapted
for French opera comique. He was a
long time finding a fit librettist (Vol-
taire declining his invitation). He
reached Paris slowly tna Geneva,
where he taught singling a year and
prod, the succ. i-act ** IsahelU et
Gertrude.^* In Paris after 2 >'cars'
hardships his ** Les Mariagts Sam-
mies " was rehearsed, and though not
prod., won him a patron in Count
Creutz, the Swedish Minister, who
secured him as libretto Marraontel's
comedy ** Le //uron.^^ This was
prod. (Op. -com., 1768) with a great
succ, enjoyed also in extraordinary
degree by an astounding series of
works, mostly comic and mostly suc-
cessful, the best of which are *'Zj»-
cile^* •♦ Le TabUau Parian^ (1769),
''Les Deux Avares" '' Z/mire ei
Azor'' {\nii), "/^ Magnifiqm"
(1773); ''La Rosi>re di Saknty"*
(1774) \" La Fausse Magie " (1775).
*• Le Jugement de Midas** (in which
DICTIONARY OF MUSICIANS 535
he satirised the old French music
and its rendition at the Academie),
and '' VAmant Jaloux'' (1778);
the grand opera ** Andromaqut "
(1780) (in which the chief role is ac-
companied by, 3 flutes throughout) ;
** La DoubU Epreuve'" (or ** ColineU
te h la cour ") (1782) ; /* TfUodore et
Pauline^'' (or ^*L Epreuve villa-
geaist^^) \ and ''^Richard Caur de
Lion'' (his best work, still played in
Paris) ; the gr. opera *' La Caravane
du Caire** (1785, performed 506 times;
(libretto by the Comte de Provence,
later Louis XVIII.); ''La Ronhre
Republicaine'' (1793) ; ''La File de
la Raison'^ (prod. 1794 during the
Revolution) ; '* Lisbeth " / ** A nacre-
on chez Polycraie " (1797) ; c 50
operas in all, remarkable for sponta-
neity, grace and fervour of melody,
dramatic effect and general charm,
but open to serious criticism as
works of formal art. He was called
**the Moli^re of music." Mozart and
Beethoven wrote Variations on themes
of his. Once launched, his progress
was a triumph of honour of all kinds;
in 1802 Napoleon made him Chev-
alier of the Legion of Honour with
a pension of 4,000 francs. He bought
Rousseau's former residence at Mont-
morency and retired there ; wrote
Memoirs^ etc. He had several chil-
dren, including the gifted Lucille (v.
infra)^ all of whom he outlived. He
left 6 unprod. operas and c. also 6
symphonies ; 6 pf. -sonatas, 6 string-
quartets, church-mus., etc. Biog. by
his nephew, A. J. G. (1815); Gregoir
(1883) ; Brunet (1884), etc. (2) Lu-
cille, Paris, 1773-93 ; daughter of
above, who instrumented her opera
** Zi? Mariage d' Antonio,'* written
and prod, at the Op.-Com., with
succ. when she was only 13 ; the next
year her opera " ToinetU et Louis "
was not a success ; she married un-
happily and died at 20.
Greolicii (groi'-Wkh), (i) K. W.,
Kunzendorf, Silesia, 1796 — 1837 ;
teacher and composer. (2) Ad.|
Posen, 18 19 — Moscow, 1868 ; teach-
er and composer. (3) Ad., Schmiede-
berg, Silesia, 1836 — Breslau, 1890;
conductor, bass., organist and com-
poser.
Crieg (greg), Eduard Hagerup,
b. Bergen, June 15, 1843 \ pupil of
his mother, a pianist ; at 15 entered
Leipzig Cons.; pupil of Hauptmann
and Richter (harm, and cpt.) ; Rietz
and Reinecke (comp.) ; \Venzel and
Moscheles (pf.) ; then with Gade.
Copenhagen. With the young Nor-
wegian composer Rikard Nordraak,
he conspired, as he said, *' Against
the effeminate Mendelssohnian-Gade
Scandinavianism, turning with enthu-
siasm into the new, well-defined path
along which the Northern School is
now travelling." 1867 Grieg founded
a Musical Union in Christianfa and
was cond. till 1880 ; 1865 visited
Italy, again in 1870, meeting Liszt in
Rome. 1879 ^^c performed his pf.-
concerto at the Gewandhaus, Leipzig.
Since 1880 lives chiefly in Bergen ;
lately cond. the Christiania Phil.;
1888 played his concerto and cond.
his 2 melodies for string-orch. at Lon-
don Phil. 1894 Mus. Doc. Cantab.
C. concert-overture **/« Autumn'' ;
op. 20, *' Vor der Klosierp/orte," lor
solo, female voices and orch.;
*"" Lander kennung" for male chorus
with orch. ; ** Der Einsame " for bary-
tone, string orch. and 2 horns ; op.
35, ** Norwegische Tanze," for orch.;
op. 40, "' Aus Hohberg's Zeit," suite
for string orch.; ** Bergliot," melo-
drama with orch.; ^'^ Peer Gynt^"
suites I and 2 for orch.; op. 50,
"^'Olav Trygvason" for solo, chorus,
and orch.; *' Sigurd Jorsalfar" for
orch., etc.; op. 22, 2 songs for male
voices and orch.; various pes. for
string orch., string-quartet in G min.;
pf.-concertb ; pf. -sonatas, 3 vln.-so-
natas, a 'cello-sonata, also for pf.-
** Poetische Tonbilder," Romanzen
and Balladen ; several sets of ** Zy-
rische StiUke'' ** Symphonische
StOcke" (4 hands), " iVtfrtw^'jf^
536 THE MUSICAL GUIDE
Volkslieder und Tdnze,'' '' Bilder incl. song-cycle to Garbof]g:*s " At^?-
aUs dem Volksleben" PeerGyntsmit tussa" Biog. by Ernest Closstm
No. I (4 hands), and many songs, (Fischbachcr, Pans, 1892).
Eduard Grieg.
By Henry T. Finck.
WHEN Hans von Biilow called Grieg the Norwegian Chopb be
doubtless had in mind the melodic fertility, the harmonic origi-
nality and boldness, the eloquence of style, and the almost ezda-
sive devotion to the shorter forms of composition, which these two mascen
have in common. There is another point of resemblance. For a long time
musicians believed that the striking peculiarities of Chopin's music were due
to the influence on him of the Polish folk-music, whereas, in truth, they ire
only the product of his own genius. The same must be said of Grieg with
reference to the Norwegian folk-songs, which are generally supposed to hare
been the sources of his inspiration. It is only necessary to study these folk-songs
of Norway to see how utterly erroneous thb idea is. He caught their spirit —
half melancholy, half wild — but his melodies and harmonies are his own, and
they are more beautiful than any folk-music. ^ As a youth he came under
the influence of Schubert, Schumann, Chopin, and Wagner, but in hb songs
(beginning with the third Grieg Album in the Peters edition) he is all Grieg,
and the same is true of his pianoforte and other instrumental pieces. Apirt
from a concerto for the pianoforte, three sonatas for piano and violin, one for
piano and 'ceUo, a few choruses, an overture and a few orchestral suites
(among which the two Peer Gynt are best known), he has written only songs
(120 up to date), and a large number of short pianoforte pieces. Haifa
dozen of hb songs have been arranged with pianoforte accompaniments. •[
As a harmonbt Grieg is even bolder than Wagner and Uszt ; he has spoken
the last word in modulation. His best productions are still far too little
known. His music has influenced nearly all the younger Scandinavian com-
posers, and not a few others, who sometimes help themselves to his ideas, in
the innocent belief that they are simply copying Norwegian folk-melodies.
A kindred spirit to Grieg is the most original of American composers, Edward
MacDowcU.
Griepenkerl (gre"-p^nk-«rl), (i) F. Windsor, 1798 — London, 1875 ; son
K., Peine, Brunswick, 1782 — Bruns- of the 'cellist. (2) J. C. G., pianist,
wick, 1849 ; Prof. (2) W. Rob., 'cellist, dir. and writer.
Holwyl, 18 10 — Brunswick, 1868; son Griesinger (gre'-zYng-^), G. Aii|^., d-
of above ; teacher and writer. Leipzig, 1828 ; writer.
Orietbftch (gres'-biUdi), (i) John Hy., Grif mit (i) Thos,, English ofgio-
DICTIONARY OF MUSICIANS 537
builder i8th cent. (2) George En-
gene, 1781— London, 1863; Engl,
pianist and composer.
Grill, (i) F., d. Odenburg, Hungary,
ca. 1795 ; composer, etc. (2) Leo,
b. Pesth, Feb. 24, 1846 ; pupil of F.
Lachner ; since 187 1 teacher of cho-
ral singing and theory Leipzig Cons. ;
c, overture '"'' Hilaroaia" 1892.
Grillet (gre-ya), Laurent, b. Sancoins,
Cher, France, May 22, 185 1 ; pupil of
A. Martin ('cello), E. Mangin $iarm.),
and Ratez (cpt. and fug^e); cond.
various theatres ; 1886 Nouveau-
Cirque, Paris ; writer ; c. comic opera
" Graciosa"' (Paris 1892), ballets, etc.
Grimm, (i) Fr. Melchior, Baron von,
Ratisbon, 1723 — Gotha, 1807 ; one
of the advocates and controversial-
ists for the Ital. opera buffa, (2)
Karl, Hildburghausen, 18 19 — Frei-
borg, Silesia, 1888 ; 'cellist and com-
poser. (3) K. Konst., lived in Ber-
lin, 1820— 1882; harpist. (4) Ju-
lius Otto, b. Pemau, Livonia, March
6, 1827 ; pianist ; pupil of Leipzig
Cons. ; founded vocal society at
GOttingen, then R. Mus. Dir. Mun-
ster Academy and cond.; c a sym-
I>hony, 2 suites in canon-form, etc.
Grim'mer, Chr. Fr., Mulda, Saxony,
1800—1850; composer.
Grisar (gre-zir), Albert, Antwerp,
Dec. 26, 1808 — Asni^res, near Paris,
June 15, 1869; prolific dram, com-
poser ; biog. by Pourin, Paris.
Grisart (gre-zir), Chas. J. Bapt.,
prod, light operas in minor theatres,
the last **/> PeHtBois'' (1893) and
'\VoiUiU RoV' (1894).
Grisi (gre'-ze), (i) Giuditta, Milan,
July 28, 1805 — near Cremona, May i,
1840 ; famous mezzo-soprano ; pupil
of Milan Cons. ; m. Count Bami,
1834. (2) Giulia, Milan, July 28,
181 1 — ^Berlin, Nov. 29, 1869; sister
and pupil of above ; famous dra-
matic sc^rano ; pupil of Giacomelli,
Pasta and Marliani ; m. Count Mel-
gr, later m. Mario.
Gntzinger (grtts'-!ng-«r), Lion, b.
Bojan, Austria, Sept. ao, 1856;
tenor; studied in Vienna and sang
10 years at the opera house there ;
then in various cities, 1900 Bruns-
wick court-theatre.
Groninger (gro'-nIng-«r), S. van, b.
Deventer, Holland, June 23, 185 1 ;
pupil of Raif and Kiel, Berlin ; pian-
ist ; teacher in Zwolie. The Hague ;
now at Leyden ; composer.
Grosheim (gros'-him), G. Chr., Cassel,
1764 — 1847 ; dram, composer.
Grosjean (gro-zhSn), (i) J. Romarj,
Rochesson, Vosges, France, 18 15 —
St. Di^, 1888 ; org. composer and
writer. (2) Ernest, b. Vagney, Dec.
18, 1844 ; nephew of above ; organist
at Verdun.
Gross (jgros), Jn. Bcnj., Elbing, West
Prussia, 1809 — St. Petersburg, 1848 ;
'cellist and composer.
Gros'si (gros'-se), (i) G. F. Vide si-
face. (2) Carlotta (rightly Char-
lotte Grossmuck), b. Vienna, Dec.
23, 1849 ; coloratura singer ; studied
in the Cons, there; 1869-78 at the
Berlin Opera.
Gross'man, Louis, b. Kalisz, Po-
land, 1835: c. overtures '*Lear"
and *' Marie " and succ. operas
*' Fisherman of Palermo " (Warsaw,
1866) and •• W^oyewoda's Ghat*'
(1872).
Grove, Sir George, Clapham, Surrey,
Aug. 13, 1820 — London, May 28,
1900 ; civil engineer ; Sec. to the So-
ciety of Arts ; 1852, Sec, and 1873 a
member of the Board of Directors,
Crystal Palace ; edited MactnillatCs
Magazine ; later dir. of the Royal
Coll. of Mus.; 1883, knighted ; 1875
D.C.L. Univ. of Durham ; 1885
LL.D., Glasgow; wrote important
book ** Beethoven and His Nine
Symphonies'"' (1896), etc., and was
the editor-in-chief 1879-89 of the mu-
sical dictionary known by his name.
Grua (groo'-a), (i) C. L. P., court-
conductor at Mannheim and com-
poser, 1700— 1755. (2) Paul, Mann-
heim, 1754 — Munich, 1833 ; son ot
above; conductor and dram, com
poser.
538
THE MUSICAL GUIDE
Gruber (groo'-b^r), Tn. Sig:i8mund,
NUrabcrg, 1759 — ^^5 * lawyer and
writef.
Gruenberg (grttn'-b^rkh), Eug^ene, b.
Lemberg, Galicia, Oct. 30, 1854;
violinist ; pupil at Vienna Cons. ; for
10 years member Leipzig Gewand-
haus Orch.; then (till 1898) Boston
Symph. Orch. ; for 3 years vln. -teach-
er at the Boston Cons.; later at the
N. Engl. Cons.; pub. '* Theory of Vio-
lin Playing " ; studies, essays, etc. ; c.
a symphony (performed at the Ge-
wandhaus), etc.
Griin(grQn),Friederike,b. Mannheim,
June 14, 1836; soprano, at first in
the opera-chorus, then sang solo parts
at Frankfort, later (1863) at Cassel
and 1866-69 Berlin ; 1869 m. Russian
Baron von Sadler ; studied with Lam-
perti at Milan and continued to sing
with success.
GrUnbergr (grUn'-b^rkh), (i) Paul Emil
Max, b. Berlin, Dec. 5, 1852 ; vio-
linist ; leader at Sondershausen, later
at Prague ; now teacher in Berlin.
(2) Vide GRUENBERG.
Griinberger (grUn'-b«rkh-«r), Lud-
wir, Prague, 1839 — 1896 ; pianist
and composer.
Grund (groont), Fr. Wm., Hamburg,
1 79 1 — 1874 ; conductor and dram,
composer.
Grttnfeld (gran'-f^lt), (i) Alfred, b.
Prague, July 4, 1852 ; pianist and
composer ; pupil of Hoger and Krej-
ci, later at Kullak's Academy, Berlin ;
1873, chamber- virtuoso, Vienna ;
toured Europe and the U. S. (2)
Heinrich, b. Prague, April 21, 1855 ;
bro. of above ; *cellist ; pupil of
Pragrue Cons.; 1876, teacher in Kul-
lak's Academy ; 1886 'cellist to the
Emperor.
Griinmgr (gru'-ntngk), Wilhelm, b.
Berlin, Nov. 2, 1858 ; tenor, studied
Stem Cons.; sang in various thea-
tres ; toured America ; then 1889-97
at Bayreuth as Parsifal, Siegfried,
etc. ; 1900 Berlin court-opera.
Gnis (grUs), L^on, 1835— Paris, July,
1902. Publisher ; also c. under name
" Elscn."
Griitzmacher (grOts'-makfa-^r), (i)
Fr, Wm. L., b. Dessau, Majxfa i,
1832 ; eminent 'cellist ; son and po-
{>il of a chamber-musician at Dcssaa ;
ater studied with Drechsler ('cdb)
and Schneider (theory) ; at 16 joined
a small Leipzig orch.; was ^*discDT.
cred " by David, and at 17 made ist
'cello, Gewandhaus orch. and teadi-
er at the Cons.; 1869 Dresden, later
Cologne ; 1902 Philadelphia ; c. coo-
certo for 'cello, orch.- and chamber-
music, pf.-pcs., songs, etc (2) Ld^
b. Dessau, Sq)t. 4, 1835 ; bro. and
pupil of above ; studied with Drechs-
ler ('cello) and Schneider (theory);
played in the Gewandhaus ordL,
Leipzig ; then ist 'cello Schwerin
court-orch. ; 1876 chamber virtri-
oso at Weimar, (j) Friedrich,
son and pupil of (2) ; ist *celk)
Sondershausen court-orch. , then Pcsth
(1890) ; 1892-94 prof, at the Cons,,
Pesth ; 1894 in the GQrzenich Orch.
and teacher at the Cons., Cologne.
Guadag^ (goo-£-dto'-ye), (i) Gaeta-
no, Lodi, 1725 (?)— 1785 (97 ?); male
contralto (later a soprano) of iStb
cent.; Gluck wrote ** TeUmaco"* (or
him. (2) ; sister of above; sai^in
London ; m. F. Alessandri.
Guadagnini (goo-&-dan-ye'-ne), familf
of vln. -makers of the Cremona school,
(i) Lorenzo and (2) John Baptiste,
worked 1 690-1 740. (3) J. B,, the
younger (son of Lorenzo), also made
excellent violins.
Guardacci (goo-Hr-doot'-che), Monte-
fiascone, ca. 1720 (?); Italian singer
in London, 1766-71.
Guameri (goo-ar-na'-re) (Latinised
Guame'rins), family of famous vln.-
makers at Cremona, (i) Pietro An-
drea, b. ca. 1630; worked 1650-95:
pupil of N. Amati; his labeMiiirMJ
Guarmrius Cremona su6 tUoh San-
ta Theresia 16—. (2) Giuseppe, b.
1660 ; son of above ; worked 1690-
1730; his \a\ifX Joseph Guarnerims
filius Andreas fecit Cremona suh ^
tolo St. Theresia 16—. (3) P., b. ci.
1670 ; son of (i) ; worked i6go-i7«'^
DICTIONARY OF MUSICIANS 539
(4) P., son of (2) ; worked 1725-40.
(5) Giuseppe Antonio (known as
Guameh del GestI, i.e., '' the Je-
sus," from the ** I H S " on his labels),
June 8, 1683 — ca. 1745 ; the best of
the family, nephew of (i) ; his label,
Joseph Guarnerius Andrea Nepos
CretnofUB 17 — , I H S.
Gudehus (goo'-d£-hoos), H., b. Alten-
hagen, Hanover, March 30, 1845 ; tenor,
son of a village schoolmaster ; pupil
of Frau Schnorr von Karolsfeld at
Brunswick ; 1870-73 engaged for the
court opera, Berlin ; 1872, studied
with Louise Ress, Dresden ; reap-
peared 1875 ; 1880-90 at Dresden
ct.-opera, creating ** Parsifal " at Bay-
reuth, 1882 ; in New York 1890-91,
later at Berlin ct.-opera.
Gudnin (ga-ndh), Marie Alex., Mau-
beuge (Nord), France, 1744 — Paris,
18 19 ; violinist and composer.
Guercia (goo-ar-che'-a), Alphonso, b.
Naples, Nov. 13, 1831; pupil of Mer-
cadante ; dram, barytone for a time ;
since 1859 vocal teacher, Naples ;
c. succ opera "^i/ii" (Naples, 1875),
etc.
Gudrin (ga-rilh), Emmanuel, b. Ver-
sailles, 1779 ; 'cellist.
Guerrero (gfir-ra'-ro), Francisco, Se-
villa, Spain, 1528 — 1599; conductor,
singer and composer.
Guest, (i) Ralph, Basely, Shrop«^bire,
1742 — 1830 ; organist ?jiA composer.
(2) Georg^e, Bury St. Edmunds,
1771 — Wisbeach, 1831 ; organist and
composer.
Guejmard (g^'-mir), (i) Louis, Chap-
ponay (Isire), France, 1822 — Cor-
beil, near Paris, 1880 ; tenor, 1848-
68 at the Or. Ope'ra. (2) Pauline
(n& Lauters), b. Brussels, Dec. i,
1834 ; wife of above ; mezzo-soprano ;
pupil of the Cons.; debut 1855, Th.
Lyrique, Paris ; later at Gr. Opera.
Guglielmi (gool-y^l'-me), (i) Pietro,
cond. to Duke of Modena. His son
(2) P., Massa di Carrara, Italy, 1727
(1720 ?) — Rome, Nov. 19, 1804 ; con-
ductor, teacher and composer of over
200 operas. (Perhaps the (3) Signora
G. who sang in London 1770-72 was
the wife he treated so shamefully.)
Rival of Passiello and Cimarosa ;
1793 cond. at the Vati6in, composed
only church-music. (4) Pietro Car-
lo (called Gug^lielmini), Naples, ca.
1763 — Massa di Carrara, 1827 ; son
of above ; dram, composer, teacher
and conductor.
Guicciardi (goo-et-char'-de), Giuliet-
ta (or Julie), Countess (or Grfifin),
Nov. 24, 1784 — March 22, 1855 ; pi-
anist ; pupil of Beethoven and his
enamoured inamorata; a Viennese
woman, m. Count Gallenberg, 1803.
Gui de Chalis (ge da shal-es) (Gui-
do), end of the 12th cent.; writer.
Guidetti (goo-e-d6t'-te), Giov., Bo-
logna, 1532 — Rome, 1592 ; pupil and
assistant of Palestrina ; conductor
and composer.
Guido d'Arezzo (^oo-e'-do dar-rW-
zo) (Latinised Areti'nus),Arezzo, Ita-
ly, ca. 995 — Avellano (?), May 17 (?),
1050 (?) ; eminent revolutionist in
music ; a Benedictine monk at
Pomposo, near Ferrara, later per-
haps at Arezzo ; his abilities as
a singing-teacher and musician led
Pope John XIX. to summon him
to Rome ; he was later probably
a Prior at Avellano ; though he
is being stripped of many of his
early honours, it seems true that he
introd. the 4-line staff, and ledger-
lines and Solmisation (v. aretinian ;
GAMUT and SOLMISATION, D. D.).
Guido de Chalis. Vide gui de
CHAI.IS.
Guignon (gen-yon), J. P., Turin, 1702
— Versailles, 1775 ; violinist and
composer.
Guilmant (gel-man), (i) Alex. F^lix,
b. Boulogne, March 12, 1837 ; son
and pupil of the org. (2) Jean Bap-
tiste G. (Boulogne, 1793 — 1800);
later pupil of LemmensandG.Carul-
li (harm.) ; at 12 substituted for his
father at the church of St. Nicolas ;
at 16 organist at St. Joseph ; at 18
prod, a solemn mass ; at 20 choirm.
at St. Nicholas, teacher in Boulogne
^
540
THE MUSICAL GUIDE
Cons, and cond. of a mus. soc.; 187 1
organist of Ste. Trinit^ ; 1893 chev.
of Legion of Honour ; 1896 org.-
prof., Paris* Cons.; 1893, 1897-98
toured Europe and U. S. with much
succ; 1901 resigned from Ste. Tri-
nity ; c. symphony for organ and
orch.; ** lyric scene '* '* Belsazar " for
soli, chorus and orch.; ^^ Christus
Vinci t,*' hymn for chorus, orch.,
harps and org. ; 4 orjg^. sonatas, etc.
Guindani (goo-en-da -ne), Ed., Cre-
mona, 1854 — 1897 ; dram, composer.
Gairaud (g^ro), (i) Ernest, New
Orleans, June 23, 1837 — Paris, May
6, 1892 ; son of (2) Jean Baptiste
G. (Prixde Rome, Paris Cons., 1827),
at 12 in Paris ; at 15 prod, opera
** i> roi David" 2X New Orleans;
studied Paris Cons., and took Grand
prix de Rome ; later prof, of accom-
paniment Paris Cons, and dram, com-
poser.
Gulbranson (goor-br&n-z6n), Ellen,
b. Stockholm ; notable soprano ;
studied with Marchesi, sang in con-
cert ; 1889 entered opera, singing
BrUnhilde, 1899 Kundry at Bayreuth
and other roles in other cities ; lives
on her estate near Christiania.
Gumbert (goom'-b€rt), Fd,, Berlin,
18 18 — 1896; tenor and barytone;
also critic and dram, composer.
Gumpeltzhaimer (goom'-p^lts-hl-m^r),
Adam, Trostberg, Bavaria, 1559 —
Augsburg, 1625 ; composer and theo-
rist.
Gumpert (goom'-p^rt), Fr. Ad., b.
Lichtenau, Thuringia, April 27,
1841; pupil of Hammann ; from 1864
ist horn Gewandhaus Orch., Leipzig;
writer and composer.
Gumprecht (goom'-pr^kht). Otto, b.
Erfurt, April 4, 1823 ; studied law,
Dr. jur.; 1849 critic and writer.
Gungrl (or Gunpr'l) (goong'-l), (i) Jo-
seph, Zsambek, Hungary, Dec. i,
1810— Weimar, Jan. 31, 1889; oboist,
bandmaster and composer of pop.
dance-music. (2) Virg^inia, daughter
of above; opera-singer; debut ct.-ope-
ra, Berlin, 1871 ; later at Frankfort.
(3) Jn., Zsimbck, 1828— Pecs, Hnn-
gary, 1883 ; nephew of (i) ; com-
poser.
Gunn, (i) Barnabas, d. 1743 ; HngL
organist. (2) Bamabj, 1730-53,
organist. (3) John, Edinburgh (^,
1765 (?)— ca. 1824 ; Chelsea Hos-
pital, 1730-53 ; 'celk)-teacher and
writer.
GUnther (gUn'-t^r), (i) Hemuum,
Leipzig, 1834-71 ; a ph3rsician ; c
opera under name ** F. Hesthcr." (2)
Otto, Leipzig, 1822 — 1897 ; bro. of
above ; dir. (3) Glinther-Bacfa-
maon, KaroUne, DQsseldorf, 1S16
— Leipzig, 1874; singer.
Gunz (goonts), G., Gaunersdorf, Lov-
er Austria, 1831 — Frankfort, 18^;
tenor.
Gura (goo'-rfi), (i) Eugen, b. Pressem.
n. Saatz, Bohemia, Nov. 8, 1842;
barytone ; pupil of Pol3rtechnic and
the Akademie, Vienna ; then Munich
Cons., debut 1865, Munich, 1867-7Q
Breslau ; 1870-76 Leipzig with great
succ; 1876-83 Hamburg, Munich,
1883-95. His son (2) Hermann is a
barytone.
Gurlitt (goor'-ht), Cornelius, Alto-
na, near Hamburg, Feb. 10, 1820 —
Berlin, 1901 ; pupil of the elder Rci-
necke and Weyse ; army mus, dir. in
the Schleswig-Holstein campaign ;
prof. Hamburg Cons.; 1874 R<^al
Mus. Dir.; c. 3 operas, incl. ** Dit
romische Mauer** (Altona, 1S60),
etc.
Gttrrlich (gUr'-llkh), Jos. Angustin,
Munsterberg, Silesia, 1761 — BeHin,
1817 ; organist, bass, court-conduct-
or and dram, composer.
Gusikow (goo'-zl-koQ, Michael Jos.,
Sklow, in Poland, Sept. 1806— Aix-la-
Chapelle, Oct., 1837; remarkable virt-
uoso on the xylophone.
Gutmann (goot'-mSn), Ad., Hddd-
berg, 1819 — Spezia, 1882 ; composer.
Gyrowetz (ge -ro-vets), Adalbert,
Budweis, Bohemia, Feb. 19, 1763—
Vienna, March 19, 1850 ; son and
pupil of a choirm.; c. symphonies,
operettas, etc.; court-conductor.
DICTIONARY OF MUSICIANS 541
H
Habeneck (nb'-^-n^k), Francois
Ant.y Mezi^res (Ardennes), France,
June I (Jan. 25?), 17S1 — Paris, Feb.
8, 1849 * ^^ ^^^ pupil of a German
musician ; studied Paris Cons. ; later
cond. of its concerts and vln.-prof.;
introd. Beethoven's symphonies to the
French public ; composer.
Haberbier (ha-b^r-ber), Erast, K5-
nigsberg, Oct. 5, 1S13 — Bergen, Nor-
way, March 12, 1S69 ; son and pupil
of an oiganist; court-pianist at St.
Petersburg ; later toured with great
success ; composer.
Haberl (ha'-b«rl). Fz. X., b. Oberel-
lenbach. Lower Bavaria, April 12,
1840 ; took orders 1862 ; 1862-67
cath. cond. and mus. dir. Passau
Seminary ; 1867-70 organist, Rome ;
1871-82 cath. -cond. at Ratisbon ;
1875 founded famous sch. for church-
music; edited Palestrina's works, etc.;
1889, Dr. TheoL A, c, Univ. of WUrz-
burg; 1883, Pope Leo XIII, in-
trusted him with the cataloguing of
the invaluable archives of the Sistine
Chapel, of which he published a no-
table bibliography and thematic cata-
logue; his pub. works are of the
greatest importance in the history of
church-music.
Habermann (h&'-b^r-min), Fz. Jn.,
KOnigswarth, Bohemia, 1706 — Eger,
1783 ; conductor, teacher and com-
poser.
Habert (h^'b^rt), Jns. ETangelisU,
Oberplan, Bohemia. 1833 — Gmunden,
1806 ; editor and collector.
Hackel (hH'-k^l), Anton, Vienna,
— 1846 ; composer.
Hackh (hak), Otto (Chp.). b. Stutt-
gart, Sept. 30, 1852 ; pupil of Stutt-
gart Cons, and of A. de Kontski (pf .),
at New York ; 1872-75 teacher at
the Cons.; 1877-78 toured; 1878
teacher in London ; in 1880-89 Gr.
Cons. , New York ; later private
teacher and composer.
Had'lej, Henry K., b. Somerville,
Mass., U. S. A., 1871 ; notable com-
1779
poser, son and pupil of a music-
teacher ; also studied with Chadwick,
Heindl and Allen, Boston ; 1894-96
at Vienna with Mandyczewski ; 1896
in charge of music St. Paul's school,
Garden City, N. Y.; c. 2 symphonies
•* YouiA and Ufe" (prod by Seidl,
i8p7), and ** The Seasons,'' a ballet,
smte, cantata ; 2 comic operas, etc.
Had'ow, Wm. H., b. Ebrington,
Gloucestershire, Dec. 27, 1859; com-
poser, lecturer and writer of *' Studies
in Modem Music,** etc.
Hadria'nus. Vide adriansen.
HafFner (h^f'-n^r), Jn. Chr. Fr., Ober-
schttnau, near Suhl, 1759 — Upsala,
Sweden, 1833 ; organist, court-con-
ductor, dram, composer and collec-
tor.
Hagemann (ha-g£-mfin), (1) Fran-
cois Willem, b. Zutphen, Holland,
Sept. 10, 1827 ; 1846 royal organist
Appeldoom; 1848 cond. at Nijkerk ;
studied 1852 Brussels Cons.; oreanist
and composer at Batavia. (2) Maa-
rits Leonard, b. Zutphen, Sept. 23,
1829 ; bro. of above ; violinist and
pianist ; pupil of Brussels Cons.;
1865-75 dir. Cons., Batavia ; 1875
founder and dir. of a Cons., Leu-
warden ; c. oratorio '* Daniel " etc.
Hagen (ha'-gdn), (i) Fr. H. von
der, Schmiedeberg, Ukraine, 1780 —
Berlin, 1856 ; prof, and writer. (2)
Tn. Bapt., Mayence, 1818 — Wies-
baden, 1870 ; conductor and com-
poser. (3) Ad., b. Bremen, Sept.
4, 185 1 ; son of above ; violinist ;
1879-82 cond. Hamburg Th.; 1883,
court cond. Dresden, and 1884 man-
ager of the Cons.; c. comic op-
era *' Zwei Komponisten** Hamburg,
1882, etc. (4) Theodor, Hamburg,
1823 — New York, 1871 ; teacher,
critic and composer.
Hager, Jns. Vide hasslinger-has-
SINGEN.
Hague (hag), (i) Chas., Tadcaster,
1769 — Cambridge, 1821 ; prof, and
composer. (2) Harriet, 1793 — 18 16 ;
daughter of above ; pianist and com-
poser.
542
THE MUSICAL GUIDE
Hahn (hSn), (i) Bd., Leubus, Silesia,
lySo—Breslau, 1852 ; cath. -conduct-
or and writer. (2) Albert, Thorn,
West Prussia, 1828 — Lindenau, near
Leipzig, 1830 ; teacher. (3) Rcy-
naldo, b, Caracas, Venezuela, Aug.
9, 1874 ; pupil of Massenet, Paris
Cons.; lives in Paris ; c. 3-act " idylle
polynesienne " ''LIU du Reve''
(Paris, Op.-com., 1898); opera, " La
Carmelite^'' (MS.) ; songs of remark-
able beauty and originality, etc.
Hahnel (ha -nSl). Vide gallus, j.
Haigh, Thos., b. 1769 ; Engl, violin-
ist, pianist and composer.
Haines, Napoleon J., London, 1824
— New York, 1900 ; founder of
Haines Bros. Piano MJfrs., N. Y.
Hainl (&nl), Georges Francois, Is-
soire, Puy-de-D6me, 1807 — Paris,
1873 ; 'cellist ; conductor, writer and
composer.
Haizinger (hT'-tstng-€r), Anton, Wilf-
ersdorf, Lichtenstein, 1796 — Vienna,
1869 ; tenor.
Hale (i), Philip, b. Norwich, Vt.,
March 5, 1854 ; notable American
critic and essajnst ; as a boy, organ-
ist Unit. Ch., Northampton, Mass.;
1876 grad. Yale Univ.; 1880 ad-
mitted to the Albany bar ; pupil of
D. Buck, 1876 ; 1882-87 studied or-
gan and comp. with Ilaupt, Faiszt,
Rheinberger and Guilmant, Urban,
Bargiel, Raif and Scholz ; 1879-82
organist St. Peter's, Albany ; 1887-
89 St. John's, Troy ; since 1889 of
First Religious Soc, Roxbury, Mass.;
1887-89 also cond. of Schubert Club
at Albany; 1889-91 critic successively
of the Boston Honu Journal^ Post ;
1891, Journal ; 1 897-1 901 edited
Mus, Record ; 1901, Ed. Musical
World ; lecturer on mus. subjects ;
1884 m. at Berlin (2) Irene Baum-
gras, b. Syracuse, N. Y., U. S. A. ;
pupil Cincinnati Coll. of Mus.; tak-
ing gold medal 1881 ; then studied
with Moszkowski and Raif, Berlin ;
ruined her health by overwork ; lives
in Boston; c. son^s and pf.-r>cs.
under pen-name "Victor Ren6.
H41e (or Halle). Vide adam db la
HALE.
Hal^vy (&-Ia-ve), Jac. Fran^. Fro-
mental filie, Paris, May 27, 1799—
of consumption, Nice, March 17,
1862 ; of Jewish parentage ; pupil erf
Cazot, Lambert (pf.), and BertOD
(harm.), Cherubini (cpt.); Paris Cons,
winning 2nd harmony prize ; 1S16
and 1817, 2nd Prix de Rome; 1819
won Prix de Rome ; 1827 prof, oi
harmony and accomp. at the Cons. ;
1833 prof, of cpt. and fugue ; 1S29
prod. 2 succ. operas ; 1830 succ. bal-
let ** Manon Lescaut " / 1830-46 ri//
de chant at the Opera ; 1832 he com-
pleted Herold's *' Ludovic*' witli
succ; 1835 he wrote and prod. 2 great
successes, his master - piece "Z^
Juiv^ " (Gr. Opera) and a comic opera
'' VEclaW ; Chevalier of the U-
gion of Honour ; 1836 member of the
Acad^ie ; 1854, secretary for life.
In 1836 Meyerbeer appeared, and in
efforts to rival his prestige H. wrote
too much with inferior librettos,
among his works being (1841) ** iU
Reine de Chypre,'* He collaborated
with Adam, Auber and Carafe in 4
operas ; he left 2 unfinished operas,
** Vanina d'Omano*" (completed by
Bizet) and ** U DSluger Biogr. by
his brother L^on (1862), etc.
Halir (ha'-ler), (i) Karl, b. Hohcn-
elbe, Bohemia, Feb. i, 1859; ^nolin-
ist ; pupil of Bennewitz, Prague Cons,
and Joachim in Berlin ; 1884 leader
of the ct.-orch., Weimar; 1S96
toured the U. S. His wife (2) The-
resa (n^e Zerbst), b. Berlin, Nor.
6, 1859, and m. in 1S88 ; soprano;
pupil of Otto Eichberg.
Hall, (i) Henry, Windsor, ca. 1655—
1707 ; organist and composer. (2)
Henry, Jr., d. 1763; son of above;
organist and composer. (3) Wni.,
17th cent, violinist and composer.
(4) Chas. King, London, 1845 (?)—
Sept. I, 1895 ; organist, dram, com-
poser. (5) Glen, b. Chicago (?), 1876;
tenor ; pupil of Henschel, etc.
Halle (&1). Vide adam de la h.
DICTIONARY OF MUSICIANS 543
Halle (hal'.l^, Jn. Samuel, Barten.
stein, Prussia, 1730 — 1810 ; prof,
and writer.
HaU4 (U-li), Sir Charles (nghtly
Karl Halle), Hagen, Westphalia,
April II, 18 19 — Manchester, Oct. 25,
1893 ; pianist and conductor, Paris,
1836-48 ; later pop. cond. at Man-
chester and dir. of ** Gentlemen's
Concerts " there ; also closely con-
nected with London Popular Con-
certs ; i888 m. Mme. Neruda (q.
v.).
Hallen (hal'-l^n), Anders, b. Goten-
burg, Dec. 22, 1846 ; pupil of Rei-
necke, Rheinberger, and Rietz ; cond.
of the Mus. Union, Gotenburg ; 1892
cond. Royal Opera, Stockholm ; c. 3
operas, ^' Ilarald der Viking'^ (Leip-
zig, 188 1 ; Stockholm, 1883); v. succ.
'' HexfalUn'' {'' Der Hexenfang'')
(Stockholm, 1896); '' Waldemar''
(Stockholm, 1899) ; 2 Swedish Rhap-
sodies ; ballad cycles with orch. ; sym-
phonic poem ^*^ Ein Sommermdr'
cAfft*' ; romance for vln. with orch.;
German and Swedish songs, etc
Haller (h^l'-l^r), Michael, b. Neusaat
(Upper Palatinate), Jan. 13, 1840;
1864 took orders ; studied with
Schrems ; 1866 cond. ** Realinsti-
tut " ; teacher of vocal comp. and
cpt. at the Sch. of Church-music ;
writer and composer ; completed the
lost 3rd-choir parts of six 12-part
comps. of Palestrina's.
Hallstrom (hSl'-stram), Ivar, Stock-
holm, June 5, 1826 — 190 1 ; dram,
composer; librarian to the Crown
Prince, now King of Sweden ; 1861
dir. of Sch. of Music. His first opera
failed — having 20 numbers in minor
keys ; his 2d also ; but others were
succ, incl. *' Nyaga'' (1885; book
by •• Carmen Sylva ").
Halm (halm), Anton, Altenmarkt,
Slyria, 1789 — Vienna, 1872 ; pianist
and composer.
Hambourg (ham'-boorg), Mark, b.
Ciogutschar-Noronez, Russia, June
I, 1879 ; notable piano-virtuoso ;
studied with his father (now a teacher
in London), and with Leschetizky ;
has toured widely with brilliant suc-
cess ; 1900, America ; lives in Lon-
don.
Ham'boys. Vide hanboys.
Hamel (a^mdl), (i) M. P., Auneuil
(Oise), France, 1786 — Beauvais, after
1870 ; amateur expert in organ-build-
ing ; writer. (2) Eduard, b. Ham-
burg, 181 1 ; violinist and pianist;
Grand Opera orch., Paris ; from 1846
at Hamburg as teacher and com-
poser. (3) Margarethe. Vide
SCHICK.
Ham'erik, Asger, b. Copenhagen,
April 8, 1843 ; pupil of Gade, Mat-
thison-Hansen and Haberbier; 1862
of von BUlow ; c two operas ; 1870 at
Milan prod, an Ital. opera *'Za Ven-
detta'*; 1 87 1 dir. of the Cons, of the
Peabody Institute and of the Pea-
body symphony concerts, Baltimore,
Md.; 1890 knighted by the King of
Denmark ; c. 1866 a festival cantata
to commemorate the new Swedish
constitution, '^ Der Wanderer"
(1872) ; 1883 *• Oper ohne Worte "/
a choral work *' Christliche Trilo^
gie" (si pendant to a *' Trihgte ju-
daique " brought out in Paris) ; 5
symphonies, etc.
Ham'erton, Wm. H., b. Nottingham,
1795 ; singing-teacher and composer.
Hamilton, Jas. Alex., London, 1785
— 1845 ; writer.
Hamma (ham' -ma), (i) Benj., b.
Friedingen, WUrtemberg, Oct. 10,
183 1 ; studied with Lindpaintner
(comp.) at Stuttgart ; then at Paris
and Rome ; till 1870 cond. and teach-
er at Kdnig^berg ; now dir. sch. of
mus. at Stuttgart ; dram, composer.
(2) Fz. X., b. Wehingen, WQrtem-
berg, Dec. 3, 1835 ; bro. of above ;
organist at Basel ; then at Obersta-
dion ; now teacher at Metz ; com-
poser.
Hammerschmidt (ham'-mSr-shmtt),
Ands., BrOx, Bohemia, 161 1 — Zit-
tau, Oct. 29, 1675 ; organist, 1639,
at Zittau ; c. important and original
concertos, motets, madrigals, etc
544
THE MUSICAL GUIDE
Hampel (ham'-p€l), Hans, Prague,
1822 — 1884 ; Drg^nist and composer.
Han'boys (or Hamboys), John, Eng-
lish theorist ca. 1470.
Hand (hant), F. G., b. Plauen, Sax-
ony, 1786 — ^Jena, 185 1 ; writer.
Handel (or H&ndel, Handl). (i) Vide
GALLUS. (2) Vide HANDEL
Hiindel (h^nt -1) (Hendel, Hendeler,
Handeler or Hendtler), George
Friedrich (at first spelt Hendel in
England ; later he anglicised it to
Georg^e Frederic Handel (h&n'-
d^l, the form now used in England),
Halle, Feb. 23, 1685 — London, April
14, 1759 ; son of a barber (afterwards
surgeon and valet to the Prince of
Saxe- Magdeburg) and his second wife
Dorothea Taust. Intended for a
lawyer ; in spite of bitter opposition
he secretly learned to play a dumb
spinet. At 7 on a visit to his elder
step-brother, valet at the court of
Saxe- Weissenf els, Handel while play-
ing the chapel-organ, was heard by
the Duke, who persuaded the father
to give the boy lessons. Zachau, or-
ganist of Halle, taught him cpt., ca-
non and fug^e, and he practised the
oboe, spinet, harpsichord and organ ;
he soon c. sonatas for 2 oboes and
bass, became assist, organist, and for
3 years wrote a motet for ever)' Sun-
day. In 1696 his skill on organ and
harpsichord won him at Berlin the
friendship of Ariosti, and the jealousy
of Bononcini. The Elector offered to
send him to Italy ; but his father
took him back to Halle ; the next
year his father died, and he went to
Halle Univ. (1702-03) to study law,
at the same time serving as organist
at the cathedral at a salary of $50 a
year. 1703 he went to Hamburg as
violino di ripieno. He fought a duel
with Mattheson, later his friend and
biographer, and was saved by a but-
ton. When Keiser the dir. fled from
debt, H. was engaged as clavecinist.
He c. a ** Passion and prod. 2 op-
eras, ** Almira" (succ.) and *' Nero**
(1705) ; he was also commissioned to
write ''Florindound DapAfu** (1708),
an opera filling two evenings In
1706, with 200 ducats earned by
teaching, he went to Italy and made
success and powerful acquaintances,
incl. the Scarlattis. In Florence
(1707) he prod, with succ. ^*^Rodrigo^
(Venice, 1708), and '* Agrippina"
with great succ. In Rome he prod.
2 oratorios, and in Naples a serenata,
^* Aci^ Galatea j Polifemo*'' in whidi
is a bass solo with a compass of 2 oc-
taves and a fifth. 1709, in Germany
as cond. to the Elector of Haoorer ;
1 7 10 visited England on leave of ab-
sence. In 2 weeks he c. the open
** JUnaliio^'* a pasticcio of his older
songs. It was prod, at the Haymarket
Th. with great succ; 17 12 he returned
to London on leave ; but stajred.
His first two operas were not succ. ;
but an ode for the Queen's birthday,
and a Te Deum and Jubilate in cele-
bration of the Peace of Utrecht won
him royal favour and an annuity of
£200 \ 1 7 14 his Hanover pacroa
became George I. of England, and
only the good oflfices of Baron Kil-
manseck and the production of the 25
pieces called the ** Wa/fr-J/iwiV," at
a royal aquatic fete, restored him to
favour. 1 7 16-18 he went to Hanover
with the King. He there c his only
German oratorio, the '* Passum";
1 71 8 cond. to the Duke of Chandos
and c. the EngHsh oratorio ^^Estktr,'*
the secular oratorio '^^Aeis and GaU'
tea** and the Chandos Te Deums and
Anthems. He taught the Prince of
Wales* daughters, and c. for Princess
Anne ** Suites de Pihes** for harpsi-
chord {The Lessons) including ** The
Harmonious Blacksmith**
He was dir. of new R. A, of M.
1720 prod, the succ. opera *^ Rada-
misto" (prod. 172 1 in Hamburg ts
^' Zenobia*'). Now Bononcini and
Ariosti appeared as rivals and a fa-
mous and lasting feud arose ronnd the
three after they had prod, one opera. "
** Afutio Scaevola** in which each
wrote an act. B. had rather tlie bet-
DICTIONARY OF MUSICIANS 545
ter of it, when he was caught in
a plagiarism (a crime not unknown
in Handel's works (v. lotti). B.
left England without reply (1731).
Up to this time H. had prod. 12
operas.
1726 he was naturalised. 1729-31
he was in partnership with Heidegger,
proprietor of the King's Th.. where
he prod. ** Lotario''' followed by 4
more operas. 1732 he prod, his two
oratorios revised ; 1733 the oratorios
'' Deborah'' laixA ''Aihaliak" at Ox-
ford, when he was made Mus. Doc. h.c.
1733 he began a stormy management
of opera, quarrelled with the popular
singer Senesino, and drove many of
his subscribers to forming a rival
troupe *• The Opera of the Nobility."
with Porpora and afterwards Hasse
as composer and conductor; 1737 the
comptanies failed, H. having prod. 5
operas; the ode '''^ Alexander's Feast'*
(Dryden), and the revised *' Trionfo
del Tempo e della Vert la." Over-ex-
ertion brought on a stroke of paraly-
sis in one of his hands and he went
to Aix-la-Chapelle, returning to Lon-
don with improved health. He now
prod., under Heidegger, 5 operas,
incl. '' Faramondo;' ** Serse" {il^^),
and ** Deidamia" (174 1).
Now he abandoned the stage and
turned to oratorio, producing " Saul,"
and ''Israel in Egypt" (1739) ; the
*• Ode for St. Cecilia's Day," and in
1740 ** L' Allegro and II Penseroso'*
(Milton), and a supplement ** // Mo-
derato" written by Chas. Jennens, who
also wrote the text of the Messiah.
1 74 1 he visited Dublin and prod,
there his masterpiece the ** Messiah*'
April 13, 1742. This re-established
him in English favour and raised him
from bankruptcy. It was followed by
•* Samson" the '' Dettingen Te De-
um," '' SemeU:' ''Joseph" (1743),
* • Belshattar;' and * * HeracUs "
(1744). His rivals worked against
him still, and in 1745 he was again
bankrupt, writing little for a year and
a half, when he prod, with renewed
success and fortune his ** Occasional
Oratorio" and *' Judas Maccabaeus"
(1746); ''Joshua" (1747). ''Solo^
mon " (1748) ; ** Susannah " (1748) ;
" Theodora " (1749) ; " The Choice
of Hercules" (1750); and " Jeph-
thah " (1752), his last During the
comp. of " Jephthah" he underwent
three unsuccessful operations for cat-
aract. He was practically blind the
rest of his life, but continued to play
org. -concertos and accompany his ora-
torios on the organ up to 1759. He
was buried in Westminster Abbey.
His other comp. incl. the "Forest
Musick" (Dublin, 1742), etc., for
harps.; the "Fireworks Musick"
(1749) for strings; 6 organ-concertos;
concertos for trumpets and horns ;
and for horns and side drums (MS.) ;
sonatas for vln., viola and oboe, etc.
A complete edition of his works in
100 vols, was undertaken in 1856 for
the German Handel Soc. by Dr.
Chrysander as editor. Biog. by Mat-
theson (1740) ; Mainwaring (1760) ;
Forstemann (1844); SchOlcher (1857);
Rockstro (1883).
Handel.
By John F. Runciman.
IF Handel cannot be called the greatest of the musicians^ he is without
doubt the greatest man who ever wrote music. The resource and
energy of the man and the splendour of hb personality altogether threw
into the shade the magnificence of his music. The man eclipses the music u
the sun eclipses the moon \ the music indeed seems merely to reflect a small
546 THE MUSICAL GUIDE
part of the light issuing fi-om that miraculous sun, the man. Had he devoted
the whole of his life to music^ his music would have been a wonderful
achievement ; had he devoted his whole life to his business enterprises
and to fighting the aristocracy^ it would still seem a life wonderfully and
greatly lived ; and when one remembers that he wrote most of the glorious
music the same time that he was fighting aristocracy and trying to run opera
in England, he does indeed appear as one of the most astounding phenomena
the world has produced and stared at. ^ Born in Germany towards the end
of the seventeenth century (1685), he promptly entered upon an infentilc
struggle on the question of whether or not he should become a musician.
His father, a doctor, thought it a more honourable — ^it was everywhae
thought a more respectable — proceeding to earn a livelihood by sending
people slowly or swiftly to the next world than by making them miserable in
this, through playing on instruments tuned according to the old " natural *'
temperament. The fact that the child Handel found a means of carrying his
point, is characteristic of the man. He was apprenticed after the old-worid
German fashion to an old-world German organist, Zachau, and learned to
play the organ and a few other instruments, studied all the music in use at
his master's church or known to his master, and was taught to write anthems
at a moment's notice. When he considered the time ripe he set out on his
travels to learn all that could be learned elsewhere. He was for a time
attached to an opera-house ; he visited Italy, and finally came to England.
He returned to Germany for a short time after his first English trip, but
returned and made England his permanent home. ^ He acquired the con-
trol of opera, at first having the aristocracy at his back. The aristocracy
quarrelled with him and tried to crush him. They started a rival opera-
house ; and the result was that the two enterprises fiiiled for want of sufficient
support. Handel became bankrupt and lost hb health. He took a trip
abroad and returned to try his luck with opera once more. His aristocratic
rivals never tried again. They were wise. Even Handel, without com-
petitors, was not able to succeed. ** The Beggar* s Opera"** was all the
rage. All the world rushed night after night to hear it. Italian opera (old-
fashioned Italian opera, of course) was in pretty much the same condidon in
London, as Middle- Victorian Italian opera is in to-day in London and
America. People were sick of its inanities and went to something not, per-
haps, much more reasonable, but at any rate more interesting and intelligible.
** The Beggar* s Opera " was not a very stimuladng concoction ; but com-
pare the libretto with the perfectly idiotic drivel that Handel had to set —
drivel of which the bulk of his audiences understood nothing save that it wss
drivel — and one can easily see why all the world gave it the preference.
So Handel, beaten, not by the aristocracy, but by the changing taste o^ the
DICTIONARY OF MUSICIANS 547
time, reluctantly relinquished opera^ and, going m for oratorio, immediately
became once again a popular favourite and made a fortune. ^[ It is neces-
sary to consider these roughly selected details of hb life. As has been
inc&cated, no esdmate of Handel can afford to leave out the man. Moreover
his purely artistic development is very hard to understand if we forget the
life led by the man as apart from the life led by the composer. In his youth
he acquired the German technique of his day. The same technique as John
Sebastian Bach acquired. That is the fbundadon of all his art. But whereas
Bach remained in Germany, an obscure and all but unknown schoolmaster
and organist, and evolved his perfected mode of expression out of the German
technique, Handel immediately went to Italy and learned something that
could be added to it. He learned, that is, the value of Italian song ; and
the lesson immediately bore splendid fruit. ^ No one ever wrote more
magniiicendy for the voice than Bach ; but Handel learned to write beauu-
fully, simply, plausibly. His first Italian operas are full of wonderful tunes.
Italian melodic outlines grafted on German harmony, and shaped so as to
become infinitely more dignified and expressive than any Italian music save
Palestrina's had ever been. Then he came to London, where Purccll's
music was all the vogue, and it was from Purcell that he learned the art of
handling the chorus and of wriung picturesque music for chorus or solo voice
or orchestra. ^ Had he never come to England, had he never known Pur-
ccll's music, his name might indeed have lived as the author of a few divinely
inspired songs, but it b safe to say that Handel, the gigantic chorus writer,
would never have been heard of. ^ There is scarcely a thing in the later
Handel, in the Handel all England knows and adores, that does not derive
from Purcell. His method of painting musical pictures, as used throughout
such portions of ** Israel in Egypt ** as are his own, as used in such «* Mes-
siah** choruses as " All we like sheep have gone astray,** is simply a more
elaborate development of Purcell' s plan of writing a chorus. His trick,
always certain of its effect, of hurling enormous tone-masses at his hearers had
also been extensively used by Purcell. ^ His music may be said to be made
up of the old German technique or trickery in writing flowing parts, of Italian
singable melody, of Purcell, and of Handel. Not that — apart from his
undeniable thefts — he can be called a thief. These thefts — after all, only so-
called — need not detain us more than a moment. ^ All his life, as has been
pointed out, Handel was greatly occupied by other matters than the writing
of music ; he had again and again to throw together an oratorio at a few days'
notice ; he did it and probably never thought of ** immortality " or any of
his pieces d* occasion being regarded a century later as masterpieces. If in his
hurry he put in a few choruses by this, that, or the other German or Italian
forgotten no- or litde- body, he did it quite openly. Of course, as Handel
548
THE MUSICAL GUIDE
has turned out to be so much vaster a genius than he himself suspected, it is
well that we should know precisely how much of his music really is his ; and
now that Dr. Chrysander has finally settled the whole question it might be
dropped. ^ Handel never stole. What he learned from Italy he assimi-
lated and made his own ; he assimilated and made his own Purcell's methods ;
and what he brought into music was a very notable thing. It was a splendid
radiant spiritual robustness, a magnificent sense of the sublime, and a tender-
ness that is not surpassed even by the tenderness of Mozart, Beethoven, or
Wagner, There is also a quality of electric speed in many of his choruses,
and a power of heaping climax on climax until one's very nerves yield to the
strain put on them. Two very femiliar choruses, " For unto us a child is
born^^ and ** Worthy is the Lamb,*^ exemplify this power in an astounding
way. His tenderness, his sheer strength, lus sublimity, may all be found m
the well-known oratorio. ^ But one cannot but believe that in the long run
Handel will be better known by his songs than by anything else. It was in
the writing of these songs — of strings of them called Italian operas — that he
found his most congenial occupation, and he only gave it up when he was
fiurly driven out of it. Great as his choruses are, they are not greater than
his songs. There are hundreds of them only waiting to be sung once again
to be appreciated. Beyond what may be called the strictly personal qualities
that Handel brought to music, Handel added nothing. Consequently he
left no field unworked for any successors. Consequently, also, English
musicians ever since have gone on imitating his successes without any success
whatever. He killed for many generations any chance there ever was of an
Englishman becoming an original composer. Nevertheless, he was a great
man and even an Englishman may forgive him.
Hand'lo, Robert de, Engl, theorist of
14th century.
Hand'rock, Julius, Nauraburg, 1830
— Halle, 1894 ; teacher and compos-
er.
Hanel von Cronenthai (ha-n^l fdn
kro -n«n-tal), Julia, b. Graz, 1839 ;
wife of the Marquis d'H^ricourt de
Valincourt ; studied in Paris ; c. 4
symphonies, 22 pf. -sonatas, etc.
Hanfst&ngel (hanf-sht^ng-^I), Marie
(nee Scnr5der), b. Breslau, April
30, 1848 ; soprano ; pupil of Viardot-
Garcia ; d^but, 1867, Paris ; studied
1878 with Vannucini ; 1882-97 Stadt-
theatre, Frankfort.
Hanisch (hi'-nYsh), Jos., Ratisbon,
18 12 — 1892; oiganist, teacher and
composer.
Hanke (h&nV-^, K., Rosswalde,
Schleswig, 1754— Hamburg, 1835;
conductor and comp>oser.
Hans'com, E. W.,b. Durham, Maine,
U. S. A., Dec. 28, 1848 ; studied
there and in London, Berlin, and
Vienna; organist and composer at
Auburn, Maine.
Hanslick (hans'-lYk). Ednard, b.
Prague, Sept. ii, 1825; eminent
critic and writer; Dr. Jur., 1849;
studied piano under Tomaschek at
Prague 1848-49 ; critic for the lVi^»-
er Zeitung ; among his many boots
his first is most famous, ** Vom Mm-
DICTIONARY OF MUSICIANS 549
siAaHscA'ScA^en" (Leipzig, iSs4); a
somewhat biassed, yet impressive plea
for absolute music as opposed to pro-
j^mme (v. D. D.) or fallaciously
sentimental music ; he has been a
bitter opponent of all Wagnerianism
and an ardent Brahmsite ; 1855-64
mus. editor /*r^ss£ / since, of the J^eue
freie Presse ; lecturer on mus. hist,
and aesthetics Vienna Univ.; 1861
prof, extraordinary, 1870 full prof.;
1895 retired.
Hanssens (hslns'-s^ns), (i) Chas. L.
Jos. (aine), Ghent, 1777 — Brussels,
1852 ; conductor and composer. (2)
Chas. L. (cadet), Ghent, 1802—
Brussels, 1871 ; conductor, professor,
'cellist and composer.
d'Hardelot (ge^&rd'-l5), Guy (Mrs.
Rhodes), b. Ch&teau d'Hardelot,
near Boulogne, France ; lives in Lon-
don ; c. operetta ** £IU et Lui *' and
many pop. songs.
Har'ington, Henry, Kebton, Eng-
land, 1727—1816; composer.
Hark'nes. Vide senkrah.
Harms'ton, J, Wm., London, 1823 —
Ldbeck, 1881 ; teacher and compos-
er.
Harp'er,(i) Thos., Worcester, 1787—
London, 1853 \ trumpet virtuoso.
His 3 sons were (2) Thomas, his
successor. (3) Charles, horn-player.
(4) Edward, pianist.
Har'raden, Samuel, Cambridge,
Engl., 1821 (?) — Hampstead, Lon-
don, 1897 ; org. -professor.
Harriers-Wippem (hSr'-rt-^rs vtp'-
p€rn), Louise (n^ Wippem), Hil-
desheim, 1837 — Grobersdorf, Silesia,
1878 ; soprano.
Har'ris, (i) Jos. M., London, 1799 —
Manchester, 1869 ; organist and com-
poser. (2) Augustus (Sir), Paris,
1852 — Folkestone, Engl., June 22,
1896 ; an actor, debut as Macbeth in
Manchester, 1873 \ then stage man-
ager ; 1879 leased Drury Lane Th.
for spectacle ; 1887 he took up
opera and controlled successively H.
M.*s Th., the Olympia, etc., finally
Covent (^rden. (3) (Wm.) Victor,
b. New York, April 27, 1869 ; pupil
of Charles Blum (pf.), Wm. Court-
ney (voice), Fredk. Schilling (harm,
and comp.), Anton Seidl (cond.) ;
1889-95 org. various churches; 1892-
95 rjp^titeur and coach at Met.
Op.; 1893-94 cond. Utica Choral
Union ; 1895-96 asst.-cond. to Seidl,
Brighton Beach Concerts ; now lives
as vocal teacher and accompanist,
N. v.; c. a pf. -suite, a cantata, an
operetta **Af//<f. Mai et M, de Sem-
bre,'' songs, etc. (4) Chas. Albert
Edw.) b. London, Dec. 15, 1862 ;
(son and pupil of (5) Edwin H., or-
ganist) ; Ouseley scholar St. Michaers
Coll., Tenbury, 1875; 1881 private
organist to the Earl of Powis ; since
1883 he lives with his father at Mon-
treal, Canada, as organist ; c. an op-
era, a cantata, etc.
Harrison, (i) Wm., London, 1813 —
London, 1868 ; tenor. (2) Annie
Fortescue (wife of Lord Arthur
Wm. Hill), contemporary English
composer ; c. operetta (London,
1884), a cantata, songs, etc.
Hart, (i) James, d. 17 18 ; Engl, bass
and composer. (2) Philip, d. ca.
1749 I Gentleman of Chapel Royal ;
son of above (?) ; organist and com-
poser ; wrote music for ** The Morn-
ing Hymn " from Book V. of Milton's
''Paradise Lost," (3) J. Thos.,
1805 — London, 1874 ; vln. maker.
(4) George, London, 1839 — 1891 ;
son of above ; writer.
Hartel (hdr'-t«l), (i) Vide brkitkopf
UND HARTEL. (2) G, Ad., Leipzig,
1836 — Homburg, 1876 ; violinist,
conductor and dram, composer. (3)
Benno, b. Jauer, Silesia, May i,
1846 ; pupil of Hoppe (pf.), Jappsen
(vln.), Kiel (comp.) ; 1870 teacher of
theory, Berlin Royal High Sch. for
Music ; c. an opera, over 300 canons,
etc. (4) Luise (nee Hauffe), DOben,
1837 — Leipzig, 1882 ; pianist ; wife
of (5) Hermann H. Vide brkit-
kopf.
Hart'mann, (i) Johan Peder Emiii-
tis, Copenhagen, May 14, 1805—
55°
THE MUSICAL GUIDE
Copenhagen, March lo, 1900; or-
ganist and dram, composer; grand-
son of a German court-cond. (d.
1 763) ; son of an organist at Copen-
hagen. (2) Emil (jr.) Copenhagen,
1836—1898 ; son and pupil of above,
a«d court-organist ; composer. (3)
Ludwig, b. Neuss-on-Rhine, 1836 ;
pianist, comf>oser and critic (son and
pupil of (4) Friedrich, song-com-
poser, b. 1805) ; also studied at Leip-
zig Cons, and with Liszt ; lives in
Dresden ; prominent Wagnerian
champion ; c. an opera, etc. (5)
Arthur, b. Philadelphia, July 23,
1882 ; violinist. (6) Ferdinand,
clarinettist ; lives in Munich as court-
musician. (7) Peter, Franciscan
monk of Hochbrunn-on-the-Lahn,
prod. succ. oratorio ** Sankt Fran-
ziskus'* (Munich, 1902).
Har'tog, (i) Edouard dc, b. Amster-
dam, Aug. 15, 1826; pupil of I loch,
Bartelmann, Litolflf, etc. ; 1852 in Paris
as teacher of pf., comp., and harm. ;
decorated with the orders of Leopold
and the Oaken Crown ; c. operas, the
43rd psalm with orch., etc. (2)
Jacques, b. Zalt-Bommel, Holland,
Oct. 24, 1837 ; pupil of Wilhelm and
Fd. Hitler ; prof. Amsterdam Sch.
of Music.
Hartvigson (hart'-vlkh-z6n), (i) Frits,
b. Grenaa, Jutland, May 31, 1841 ;
pianist ; pupil of Gade, Gebauer,
Ree, and von BUlow ; since 1864,
London ; 1873 pianist to the Princess
of Wales ; 1875 prof, at the Norwood
Coll. for the Blind ; 1887 pf.-prof.
Crystal Palace. (2) Anton, b. Aar-
hus, Oct. 16, 1845 ; bro. of above ;
pianist ; pupil of Tausig and Neu-
pert ; lives in London.
Har'wood, Edw., Hoddleson, 1707 —
Liverpool, 1787 ; composer.
Hase (Dr.), Oskar von. Vide breit-
KOPK UND HARTEL.
Haser (ha'-zer), (i) Aug^. Fd., I^ip-
zij?. 1779 — Weimar, 1S44; theorist,
conductor, writer and composer. (2)
Charlotte Henriette, b. Leipzig,
1784 ; sister of above ; singer ; m. a
lawyer Vera. (3) Heinrich, b. Rcnne,
Oct. 15, 181 1 ; bro. of above ; prof.
of med. at Jena ; writer.
Hasert (ha -z^rt), Rudolf, b. Greifs.
wald, Feb. 4, 1826 ; studied with Knl-
lack (pf.), and Dehn (comp.) ; 1S60
Berlin as teacher ; 1873 pastor at
Gristow.
Has(s)ler (hasM^r), (i) Hans Leo
von, Nttrnberg, 1564 — Frankfort,
June 5, 161 2 ; the eldest of 3 sons of
((2) Isaac H., town-mus., Nambeig);
pupil of his father ; organist and com-
poser. (3) Jakob, NQmbcrg, 1566
— Hechingen (?), 1601 ; bro. of (i),
conductor, organ virtuoso and com-
poser. (4) ICaspar, Numbei^, 1570
— i6i8 ; bro. of above ; organist.
Haslinrer (has'-ilng>dr). (i) Tobias,
Zell, Upper Austria, 1787 — Vienna^
1842 ; conductor and publisher. (2)
Karl, Vienna, 1816— 1868 ; son and
successor of above ; pianist ; c
opera '* tVandOy** etc.
Hasse (h^^s^), (i) Nikolans, ca.
1650 ; organist and UTitcr at Ros-
tock. (2) In. Ad., Bergedorf, near
Hamburg, March 25, 1699 — Venice,
Dec. 16, 1783 ; famous tenor and r.
succ. operatic cond. ; rival of Porpora ;
c. over loo operas, etc. (3) Faustina
(n^ Bordoni), Venice, 1693 (1700)—
1783 ; of noble birth ; one of the
most cultivated mezzo -sopr. ; m.
the above 1730, a happy union, she
collaborating in his success. (4)
Gustav, b. Peitz, Brandenburg, Sept
4, 1834 ; studied Leipzig Cons. , after-
ward with Kiel and F. KroU;
settled in Berlin as teacher and com-
poser.
Has'selbeck, Rosa. Vide sucher.
Hasselt-Barth (h^'-s^lt-bart). Ansa
Maria Wilhelmine (nee Tan Has-
selt), b. Amsterdam, July 15, 1S13 ;
soprano ; debut Trieste (183 1).
Hassler (h«s -l^r), (i) Jn. Wm., Er-
furt, March 29, 1747 — Moscow,
March 25 (29?), 1822 ; organist and
composer ; important link between
Bach and Beethoven. (2) Sophie,
wife of above ; singer.
DICTIONARY OF MUSICIANS 551
Hasslinger-Hassingen (has'-lYng-dr
has'.slng.€n), Jos., *' Hofrath" Frei-
herr von Vienna, 1822 — 1S98 ; dram,
composer. Used pen-name "Jos.
Hast mgs, Thos., Washington,
Conn., 1787 — New York, 1872;
editor and composer.
Hastreiter (hast'-ri-t€r), Helene, b.
Louisville, Ky., Nov. 14, 1858 ; op-
eratic contralto, popular in Italy ;
pupil of Lamperti, Milan ; m. l5r.
Burgunzio ; lives in Genoa.
Hatto. Vide fr^re.
Hat'ton, J. Liphot, Liverpool, Oct.
20, 1809— Margate, Sept. 20, 1886 ;
cond. and dram, composer.
Hattstadt (hat'-sht^t), J. J., b. Mon-
roe, Mich., Dec. 29, 1851; studied in
Germany ; pf.-teacher and writer in
Detroit, St. Louis, and for 11 years,
Chicago Coll. of Mus.; 1886, dir.
Amer. Cons., Chicago.
Hau(c)k (howk), Minnie, b. New
York, Nov. 16, 1852 (53 ?) ; notable
soprano ; pupil of Errani and Moritz
Strakosch; d^but 1869, N. Y., as
** Norma "; 1868-72 Vienna ct-opera;
1875, Berlin ; has sung with great
succ. in Europe and America. She
is court-singer in Prussia, Officier
d* Academic. Paris, and member of
the Roman Mus. Academy.
Hauer (how'-«r), K. H. Ernst, Hal-
berstadt, 1828 — Berlin, 1892 ; organ-
ist and composer.
Haufif (howQ, Jn. Chr., Frankfort,
181 1 — 1891 ; founder and prof.,
Frankfort School of Music ; writer
and composer.
Hau£fe (howf'-fd), Luise. Vide har-
TEL, LUISE.
Hanpt (howpt), K. Aug., b. Kunem,
Silesia, Aug. 25, i8io — Berlin, July
4, 1891: pupil of A. W. Bach, Klein,
and Dehn ; famous as organist and
teacher at Berlin ; composer.
Hauptmann (howpt'-man), Moritz,
Dresden, Oct. 13, 1792 — Leipzig,
Jan. 3, i863 ; violinist ; pupil of
Spohr ; famous as theorist and teach-
er; from 1842 prof, of cpt. and
comp. Leipzig Cons., and dir. Tho-
masschule. His canon was "unity
of idea and perfection of form,
exemplified in his comps,, enforced
upon his many eminent pupils
and exploited in many essays and
standard works, incl. •'/?!> Natur
der Harmonik und iT/?/r»>*' (1833) ;
the posthumous, " Die Lehre von der
Harmonik^''' 1868, etc., c. opera,
''Mathilde'' (Cassel, 1826); quar-
tets, masses, etc.
Hauptner (howpt'-n^r), Thuiskon,
Berlin, 1825 — 1889; conductor and
composer.
Hauschka (howsh'-ka),Vincenz, Mies,
Bohemia, 1766 — ^Vienna, 1840; 'cel-
list and barytone player ; composer.
Hause (how-zd), Wenzel, b. Bohe-
mia, ca. 1796 ; prof, of double-bass,
Prague Cons.; writer.
Hauseggcr (hows'-^g-g^r), (i) Fr. von,
b. Vienna, April 26, 1837 ; pupil of
Salzmann and DessofT ; barrister at
Graz ; 1872 teacher of history and
theory, Univ. of Graz ; writer. (2)
Siegmund von, German composer of
notable symphony ^^ Barbarossa'^
(Munich, 1900) ; 2d cond. Munich
Kaim orch.; 1902, cond. Frankfort
Museum (vice Kogel) ; 1903, ist
cond, Munich Kaim orch.
Hauser (how'-zdr), (i) Fz., b. Craso-
witz, near Prague, 1794 — Freiburg,
Baden, 1870 ; bass- barytone ; teach-
er. (2) Miska (Michael), Press-
burg, Hungary, 1822 — Vienna, 1887;
vln.-virtuoso ; composer.
Hauser (hl'-z^r), Jn. Ernst, b. Dit-
tcbenroda, near Quedlinburg, 1803 ;
teacher, Q. Gymnasium ; writer.
Hausmann (hows'-man), Valentin,
the name of five generations, (i) V.
I., b. NUmberg, 1484; a friend of
Luther ; composer and conductor.
His son (2) V. n., organist and
composer. His son (3) V. IIL, or-
ganist at Lttbejfln, expert in org.-
building. His son (4) V. IV., or-
ganist and court-conductor at K6th-
en ; writer. His son (5) V. V. Vide
BARTHOLOMAUS ; LObejUn, 1678—
552
THE MUSICAL GUIDE
Lauchstadt^ after 1740 ; cath. oipin-
ist and theorist (6) Robt., b. Rot-
tleberode, Harz Mts., Aug. 13, 1852 ;
*cellist; pupil of Th. Mttller, and
Piatti in London; teacher, Berlin
Royal ** Hochschulc"; since 1879,
member Joachim quartet.
Hau(l)tin (6-tin). P., La Rochelle,
ca, 1500 — Paris, 1580 ; first French
founder of musical types.
Hav'ergal, Rev. Wm. H., Bucking-
hamshire, 1793 — 1870; composer.
Haweis (hdz), Rev.-H. R., Egham,
Surrey, 1838 — London, Jan. 30. 1901;
amateur violinist and popular writer
on music.
Hawes (h5z), Wm., Engl., London,
1785 — 1846 ; conductor and com-
poser.
Haw'kins (Sir), J., London, March
30, 17 19 — Spa, May 14, 1789 ; an at-
torney ; eminent historian of music ;
knighted, 1772.
Haw ley, Chas. B., b. Brookfield, Con-
necticut, U. S. A., Feb. 14, 1858;
organist at 13 there ; studied with G.
J. Webb, Revarde, Dudley Buck,
Mosenthal, etc., N. Y.; bass singer,
organist and composer of excellent
soncfs, New York.
Hay' den, Geo., Engl., organist and
composer, 1723.
Haydn (hid'-'n), (2) (Fz.) Josef, Roh-
rau-on-Leitha, Lower Austria, March
31, 1732 — Vienna, May 31, 1809; sec-
ond son of a wheelwright who was the
sexton and organist of the village
church, and a line tenor, and whose
wife, Maria Koler, had served as
cook for Count Harrach. She sang
in the choir. At 5, H. was taken to
the home of a paternal cousin, Frankh,
who taught him Latin, singing, the
vln. and other instrs. He was en-
gaged as a chorister for St. Stephen's,
and taught by Reutter the cond., who
gave him no encouragement and dis-
missed him in 1748. At 8, he went
to Vienna, and studied singing, vln.
and clavier, vnth Finsterbusch and
Gegenbauer. He studied harmony
chiefly from Fux' * ' Gradus adParncu-
sum" and Mattheson's ** Volkommt-
ner Kappellmeister." At 13 he c 1
mass. He obtained a few pupSs,
and a Viennese tradesman lent turn
150 florins, with which he rented an
attic-room and an old harpsichord. He
practised C. P. Bach's first 6 sonatas
and the vln. ; Metastasio taught him
Italian, and recommended him to a
Spanish family as teacher for tbeir
daughter, who was studying witli
Porpora. From Porpora, in retnni
for menial attentions, H. received
some instruction in comp. and a rec-
ommendation to the Venetian ambts-
sador for a sripend of 50 francs a
month. At 20, he had c. 6 trios,
sonatas, his first mass, and a oomic
opera *^ Der neue krumme Teufd*
(Stadttheater, 1752), a satire on the
lame baron Aflligi the ct. -opera dir.;
this work was suppressed but reviTed
afterwards, and he received 24 ducats
for it. He began to make powcifal
friends, and became Muslkdirektor
and Kammercompositeur to Count
Fd. Maximilian Morzia. i759Priiia
Paul Anton Esterhazy heard his ist
symph. and 1760 took him into his
service as 2d (later ist) conductor ; the
same year H. m. Maria Aima, tbe
elder sister of the girl whom he loved
and who had entered a convent
This marriage was as unhappy as
one would expect Prince Nikolaos
Esterhdzy, who succeeded his bro, in
1762, retained H. as conductor and
in his service H. c. 30 symphonies,
40 quartets, a concerto for French
horn, 12 minuets, most of his operas,
etc. He was soon very pop. through
Europe, and royalty sent him gifts.
1785 commissioned to write a mass..
** The Seven Words on the Cross, "*
for the Cath. of Cadiz ; in I79£>
Prince Nikolaus was succeeded by lus
son Anton, who kept H. as coi»l
and increased his stipend of 1,000 flo-
rins to 1,400. In 1 79 1 on a pressbf
invitation brought by Salomon, hk
went to England and was for i5
months the lion of the season. Ox-
DICTIONARY OF MUSICIANS 553
ford made him Miis. Doc.; and he c.
the so-called ** Salomon Symphonies ^^
for his concerts. On his way home,
he visited his native place to witness
the unveiling of a monument erected
in his honour by Count Harrach. In
this year Beethoven became his pu-
pil. 1794, he revisited London, with
renewed triumph, the King urging
him to stay, but, at the invitation of
a new Prince Esterhazy, he returned.
1797, he c. the Austrian national
Anthem. At 65, he prod, his great
oratorio *' The Creation" (''Die
Schopfung'') ; in 1801 " The Sea^
sons'^ V'Die Jahreszeiten **). His
health failing he went into retire-
ment, appearing in public only once
in 1808, when he was carried in a
chair to hear a special performance
of the ** Creation.'' His agitation
was so great that he had to b^ taken
away after the first half ; the throng
giving him a sad farewell, and Beet-
hoven bending to kiss his hands and
forehead. In 1809, his death was
hastened by the shock of the bom-
bardment of Vienna by the French.
His astounding list of works in-
cludes besides those mentioned, 125
symphonies and overtures, incl. the
'* Farewell " (" AhschiedssymphonU:*
1772). the ** Fire S." (*' Fuersymph.,
I774)» the ''Toy Sr {'' Kinder^
symph,), "La Chasse'' (1870), the
"Oxford' (1788), the "Surprise;'
(" S. mil dem Paukenschlag" 1791) ;
" S. with the drum-roir {" S. mil
dem Faukenwirbel" 1795); 51 con-
certos for harpsichord, vln., 'cello,
lyre, barytone, double-bass, flute and
horn; 77 string-quartets; 175 num-
bers for barytone ; 4 vln. -sonatas ;
38 pf .-trios ; 53 sonatas and diverti-
menti ; an oratorio " Jl Kitorno di
Tobia *'/ 14 masses ; 4 operas ; 4
Italian comedies ; 14 Ital. opere
buffe, and 5 marionette-operas ; mu-
sic to plays ; 22 arias ; cantatas, incl.
" Ariana a Naxos^' " Deutsch lands
Klage auf den Tod Friedrichs des
Grossen" " The 10 Commandments''
in canon-form ; 36 German songs ;
collections of Scotch and Welsh folk-
songs, etc Biog. by S. Mayr, 1809 ;
K. F. Pohl (Leipzig, 1875, 1882;
completed by E. von Mandyczewski).
Haydn's diary is quoted from ex-
tensively in Krehbiel's "Music and
Manners " (New York, 1898).
Joseph Haydn.
By August Spanuth.
WHILE the relative station in musical history of Bach^ Handel,
Gluck, Mozarty and Beethoven is universally and definitely agreed
upon, various opinions may still be entertained of the merits and
ubscquenc influence of Joseph Haydn's work as a composer. ^ This is all
be more remarkable as he never met with much opposition. Only at one time
luring his life, a few rather inferior critics earnestly tried to belittle him; how-
ver, these were insignificant attempts, wholly unworthy of the closer attention
f the historian. Nowhere has the musical public been slow in acknowledg-
ig Haydn's genius. Even at the time when he was Kapellmeister in the remote
tde town of Eisenstadt, his fame spread all ever Europe, and his compositions
rere loved, played, and sung in all the big and small cides. Nor has there even
een a violent partisanship pro and contra Haydn. All of which is easy enough to
Dmprehend, inasmuch as he did not offend anybody's taste, even where he was
554 THE MUSICAL GUIDE
most progressive in his compositions, and remained with his feet on the ground
when his ideals were ever so lofty. ^The source of his musical inventions wai
the song and the dance of the people, yes, one might say, the children's song,
and his artistic development was as slow as it was steady, thus allowing hs
admirers time to grow with him. Even where he reaches the very summit of
his art, his melodic invention bears the ear-mark of childlike naivete. ^ And
yet it seems impossible to have any two musicians determine the value ot
Joseph Haydn for the development of music, both entirely alike. Was he a
reformer ? The one will answer, ** Yes," and point out that there was no
real symphony before Haydn ; that the old Italian symphony was nothing
else but an introduction to, or an interlude during, the opera ; that what there
was of instrumental music before Haydn, was either in the way of fugues, and
in the style of the concerto, or purely descriptive music. He will, fiirthff-
more, assert that Haydn created a thoroughly novel oratorio, doing away
almost entirely with the old Italian style, and holding up his individuality in
spite of the tremendous influence of the Handel oratorio. ^ The other ok
will deny him the exalted title of a reformer, and, while he may readily
admit that Haydn has added the Menuetto to the symphony, and fortunately
got rid of the clavicembalo, that he, moreover, succeeded in giving the solo-
sonata and the string- quartette a concise and plastic shape, he will probably
insist that Haydn has done only very little that was essentially new, and that,
in musical history, he can only rank as the man who paved the way for the
giant Beethoven. •[[ But no matter how opinions may differ on this point,
one must own of Haydn, that he .was the first great musician to introduce an
element of subjectiveness into instrumental music. And in so far one cannot
deny him the instinct of a reformer, though he hardly was conscious of it.
He never abandoned traditions just because he had decided to create a 'ncvf
musical language ; he simply followed the inner voice of his genius. ^ And
he could do so all the more freely, since he had never enjoyed a thorough and
severe musical education. He learned from here and there, he had modds
like Philipp Emanuel Bach, or Porpora, and Handel, etc., but he followed
none of them so closely as to restrict his own individuality in the least. On
the other hand, there was no trace of the spirit of revolt in his system. His
very life is a strong proof for his peaceful and benevolent nature. When his
sweetheart took the veil, he allowed himself to be persuaded to marry her
older sister, who was three years his senior, and a Xantippe. This, and the
fact that he lived with her for more than forty years, stamps the man as of an
almost angelic character.
Haydn (hld'-'n), (2) Jn. Michael, Roh- chorister, with compass of 3 octaTcs,
rau, Sept. 14, 1737 — Salzburjj, Au^. at St. Stephen's, Vienna, replacing his
lOf i8o6 ; bro. of above; soprano brother Josef. Studied vln.andor-
DICTIONARY OF MUSICIANS SS5
gan, and became asst - organist ;
I757» cond. at Grosswardein ; 1762,
dir. to Archbishop Sigismund , Salz-
burg; 1777, organist of the Cath.
and St. Paul's Ch. He m. Maria
Magdalena Lipp, an excellent sopra-
no ; 1880 he lost his property, by the
French occupation, but was aided by
his bro. and 2 others, and the Em-
press Maria Theresa rewarded him
for a mass c. at her command, in
which she sang the soprano solos. He
founded a school of composition, and
had many pupils, incl. Reicha and
Weber. Prince Esterhazy twice
offered to make him vice-cond.; but
H. refused, hoping to reorganise the
Salzburg Chapel. His best works
were sacred music, which his brother
esteemed above his own. He declined
publication, however ; c. 360 church-
comps., incl. oratorios, masses, etc.,
30 symphonies ; operas, etc. Biog.
by Schinn and Otler (Salzburg, 180S).
Hayes (haz), (i) Wm., Hanbury, Wor-
cestershire, Dec, 1706— Oxford, July
27, 1777 ; ora^antst, conductor and
writer. (2) Philip, Oxford, April, 1738
— Ix)ndon, March ig, 1797 ; son and
pupil of above, and his successor as
Univ. Prof, of Mus. at Oxford ; also
organist there; c. oratorio ; a masque;
6 concertos, etc. (3) Catherine,
Ireland, 1825 (or 6) — Sydenham, 1861;
singer.
Haym (him), (i) (or Hennius), Gilles,
Belgian composer i6th cent. (2)
Italian composer, Aimo (a'-e-mo), (3)
Niccol5 Franc, Rome, ca. 1679 —
l^ndon, 1729 ; 'cellist and librettist.
Haynes, Walter B., b. Kempsey,
Engl., 1859; studied Leipzig Cons. ;
organist various churches ; prof,
of harm, and comp., R. A. M.
Hays, Wm. Shakespeare, b. Louis-
ville, Ky., July 19, 1837; pub. nearly
300 pop. songs.
Heap, Chas. Swinnerton, Birming-
ham, Engl., April 10, 1847 — June 11,
1900 ; won the Mendelssohn scholar-
ship and studied at Leipzig Cons. : also
organ with Best ; Mus. Doc. Cam-
bridge, 1872 ; cond. Birmingham
Phil. (1870-86), and other societies ;
c. an oratorio ** TA^ Captivity " ; can-
tatas, etc.
Hebenstreit (hab'-*n-shtrit), Pantale-
on, Eisleben, 1660 (9?)-— Dresden,
1750; conductor; improved the dul-
cimer as the " Pantalon " (v. D. D.).
Hecht (h€kht), Ed., Durkheim, Rhine
Palatinate, 1832 — Didsbury, near
Manchester, 1887 ; pianist ; prof.
and composer.
Heckel (hdk'-^l), Wolf, lutenist at
Strassburg, i6th cent.
Heckmann (h^k'-man), (i) G. Julius
Robt., Mannheim, 1848 — Glasgow,
18^1 ; violinist. His wife (2) Marie
(nee Hartwig), Greiz, 1843 — Co-
logne, 1890 ; pianist.
Hedge land, Wm., organ - builder,
London, 1851.
H^douin (ad-wih), P., Boulogne,
1789 — Paris, 1868 ; lawyer, writer,
librettist and composer.
Heermann (har'-man), Hugo, b. Heil-
bronn, March 3, 1844 ; violinist ;
studied with J. Meerts Brussels Cons,
since 1865 ; lives in Frankfort as so-
loist and teacher at the Hoch Cons.
Heerhigen (ha'-rlng-^n), Ernst von,
Grossmehlza, near Sondershausen,
i8to — Washington, U. S. A., 1855 ;
unsuccessful innovator in notation
and scoring.
Hegar (ha-gar), (i) Fr., b. Basel,
Oct. II. 1841; studied Leipzig Cons.,
1 86 1 ; from 1863 cond. Subscription
Concerts, and of the Choral Soc,
Zurich ; 1875 founded Cons, at
Ziirich ; c. vln. -concerto in D ; succ,
dram, poem, *' Manassf,*' for soli,
chorus and orch.; *^ Ffstouvertiire"
etc. (2) Emil, b. Basel, Jan. 3, 1843;
bro. of above ; pupil, later 'cello-
teacher at Leipzig Cons., and ist
'cello Gewandhaus Orch. ; then stud-
ied singing, now vocal-teacher Basel
Sch. of Mus. (3) Julius, bro. of
above ; 'cellist at ZUnch.
Hegediis (h^g-^-dUsh), Ferencz, b.
Hungary, 1872 (?) ; violinist ; succ,
debut, London, 1901.
556
THE MUSICAL GUIDE
Hegner (hikh'-n^r), (i) Anton, b.
Copenhagen, March 2, i86i ; *ocllist;
studied Copenh. Cons. ; at 14 played
with great succ; now teacher N. V.;
c. 4 quartets ; 2 concertos for 'cello,
etc. (2) Otto, b. Basel. Nov. 18,
1876 ; pianist ; pupil of Fricker, Ru-
ber, and Glaus; made debut very
early at Basel (1888), England and
America, at the Gewandhaus, Leip-
zig, 1890 ; c. pf.-pcs.
Heide, von der. Vide von der h.
Heidin^feld (hl'-dlngs-fdlt), L., b.
Jauer, Prussia, March 24, 1854; pu-
pil, later teacher Stem Cons., Berlin;
compx>ser.
Height'ing^on, Musgjave, 1680 —
Dundee, 1774 ; organist and com-
poser.
Heinefetter (h!'-n«-f<ft-ter), (i) Sa-
bine, Mayence, 1805 (i8og?) — (in-
sane) Illenau, 1872 ; noted soprano ;
m. Marquet; her five sisters also sang
with succ. : (2) Clara (Mme. Stdck-
el), Mayence, i8 16— (insane), Vienna,
1857. (3) Kathinka, 1820 — 1858.
(4) Fatima, m. a nobleman, Miklo-
witz. (5) Eva, and (6) Nan-
ette.
Heinemeyer (h!'-n^-m!-«r), (i) Chr.
H., 1796^1872 ; flutist at Hanover ;
composer. (2) Ernst Wm., Han-
over, 1827 — Vienna, 1869 ; son of
above ; flutist and composer.
Heinichen (hl'-ntkh-«n), Jn. D., Kr(Ss-
suln, near Weissenfels, 1683 — Dres-
den, 1729 ; dram, composer and
writer
Heinrich (hTn'-rtkh), (i) Jn. G.,
Steinsdorf (Silesia), 1807 — Sorau,
1882 ; organist, writer and composer.
(2) Heinrich XXIV., Prince Reuss
j. L., b. Dec. 8, 1855 ; pianist ; c. a
symphony, a pf. -sonata, etc.
Heinrichs (h!n'-rlkhs), (i) Jn. Chr.,
b. Hamburg, 1760; lives in St. Pet-
ersburg; writer on Russian music.
(2) Anton Ph., SchOnbUchel, Bohe-
mia, 1 78 1 — New York, 1861 ; known
as ** Father H." ; composer.
Heinroth (hin'-rot), (i) Chp. Gl., for
62 years organist at Nordhausen. (2)
Jn. Ang. Gttnther, Nordhausen,
1780 — GOttingen, 1846; soo d
above ; director and composer.
Heintz (hints), Albert, b. Eberswalde,
Prussia, March 21, 1882 ; orguaA
'* Petrikirche," Berlin ; writer ot
Wagner; composer.
Heinze (hints'^), (i) Wm. H. E, b.
1790 ; clarinettist in the Gcwandhai^
Orch. (2) Gv. Ad., b. Leipzig, Oa
I, 1820 ; son and pupU of above; at
15 clarinettist in the Gewandhais;
1844, 2d cond. Breslau Th., aod
prod. 2 operas (of which his irife
wrote the libretti) ; 1850, Amstcrdan:
as cond. ; c. 5 oratorios, 3 masses, 5
overtures, etc. (3) Sarah <n^ Mas'
nus), b. Stockholm, 1839; |»anist;
pupil of KuUak, Al. Dreyscbock, asJ
Liszt ; lives in Dresden.
Heise (hl'-z^), Peder Arnold, Copec-
hagen, 1830 — 1879 I teacher anJ
dram, composer.
Heiser (hl'-z^r), Wm., Berlin, 1816-
Friedenau, 1897; singer, bandnuster,
and composer.
Hek'king, Anton, *cello virtuoso aod
teacher at the Stem Cons.
Hel ler, Stephen, Pesth, May U.
1815— Paris, Jan. 14, 1888 ; nout^
composer who, like Chopin, confined
his abilities to the pf . Lacking tbe
breadth, passion and colour of Oto-
pin's, his music has a candour loi
vivacity and a fascinating quaintnc*^
that give it peculiar charm; ^^
etudes, simpler than Chopin's, are 32
well imbued with art and persocul*
ity. Studied piano with F. Brauff ;
at 9 played in pub. with succ. ; tba
studied with Czemy and Halm ; ^
12, gave concerts in Vienna, a^
toured ; at Pesth studied a link
harmony with Czibulka ; at ko^
burg, fell ill, and was adopted br 1
wealthy family, who aided his studies,
1838, Paris. Schumann praised to
first comp. highly. 1849, LondoE,
he played with succ though infr^
quently because of nenrousnes;
thereafter lived in Paris. C sertd
hundred pf.-pcs., ind. 4 sonatas td
DICTIONARY OF MUSICIANS 557
the famous £tudes. Biogr. by H.
Barbadctte (1876;.
HelimesberEer (h^r.m^b^rkh-^r),
(i) G, (Sr!), Vienna. 'iSoo—Neuwal-
^^SSt 1873 ; violinist, conductor and
composer. (2) G. (Jr.). Vienna,
1830— Hanover, 1852 ; son and pupil
of above ; violinist and dram, com-
poser. (3) Rosa, daughter of (2),
was a singer, debut 1883, ct. -opera,
Viemuu (4) Jos. (Sr.), Vienna, 1829
— 1893 ; son of (i) ; conductor, vio-
linbt and professor. (5) Jos. (Jr.),
b. Vienna, April 9, 1855 ; son of (4);
violinist and composer of operettas,
ballets, etc. 1902, cond. Vienna
Pbilh. Orch. (6) Fd., b. Vienna,
Jan. 24, 1863 ; bro. of above ; 'cellist
m ct.-orch. from 1879; from 1883 with
his father's quartet ; 1885 teacher at
the Cons. ; 1886, solo *cellist, ct.-opera.
adlwig (hdl'-vtkh), K. Fr. L., Ko-
nersdorf, 1733 — Berlin, 1838 ; con-
ductor and dram, composer,
ielm, Theodor, b. Vienna, April 9,
1843 ; studied law, entered govt,
service ; since 1867 critic for various
journals, and writer; 1874, teacher of
mus. hist, and aesthetics, Horak's
School of Music.
ielmholtz (h^lm'-holts), Hermann L.
Fd., Potsdam, Aug. 31, 1821 —
Charlottenburg, Sept. 8, 1894 ; emi-
nent scientist ; pub. famous treatises
such as ** Sensations of Tone as a
Physiological Basis for the Theory of
Alusic *' {Lehre von den Tonenipfin'
dungen a Is physiologische Grundlage
far die Theorie der Musik) (Bruns-
wick, 1863 ; English trans, by Ellis,
1875) ; this work, the result of much
experiment, is the very foundation of
modem acoustics, though Riemann,
who was in some opposition to H.,
says his conclusions are not infallible,
and attacks are increasing upon him.
H. inv. also a double harmonium
with 24 vibrators to the octave ; this
lacks the dissonant 3rds and 6ths of
equal temperament (v. D. D.) and
permits the same modulation into all
Keys.
Hel'more, Rev. Thos., b. Kidder-
minster, May 7, 181 1 ; composer.
Henderson, Wm. Jas., b. New-
ark, N. J., Dec. 4, 1855 ; prom-
inent American critic and writer ;
graduated Princeton Univ., 1876;
mainly self-taught in music ; 1883 re-
porter, from 1887 critic, N. Y. Times;
lecturer on mus. hist. N. Y. Coll. of
Mus.; c. various light operas, songs,
etc. ; pub. a * ' Story of Music,'* ''Prel-
udes and Studies/' *• PVhat is Good
Music r' (1898), ''J/ow Music De-
velcped'* (New York, 1899), " The
Orchestra and Orchestral Music**
(1899). " ^«^«^r " (1902).
Henkel (hdnk'-dl), (i) Michael.
Fulda, 1780 — 1 85 1 ; composer. (2)
G. Andreas, Fulda, 1805 — 1871 ;
organist and composer. (3) H., b.
Fulda, Feb. 14, 1822 ; son and pupil
of (i), also studied with Aloys
Schmitt, and theory with Kessler and
Anton Andre ; 1849, teacher, etc.,
Frankfort. (4) K., son of (3) ; stud-
ied in Berlin Hochschule ; lives in
London, as violinist.
Hen'ley, Rev. Phocion, Wooten Ab-
bots, 1728 — 1764 ; English coniposer.
Henneberg(hen'-n«-b«rkh),Jn.Bapt.,
Vienna, 1768 — 1822; organist, con-
ductor and composer.
Hen'nen, (i) Arnold, b. Ifeerlen, Hol-
land, 1820; pianist; 1845 took first
pf. -prize, Li^ge Cons.; lives at Heer-
len ; composer. (2) Fr., b. Heerlen,
Jan. 25, 1830; bro. of above ; 1846
took first vln. -prize Li^e Cons.;
1847, medal 1850-71, soloist in va-
rious London orchestras ; then re-
tired to Strythagen, near Heerlen ;
composer. (3) Chas., b. Dec. 3,
1861 ; son of (2) ; violinist at Ant-
werp. (4) Mathias, b. Heerlen,
1828 ; bro. of (i) ; 1852, first pf.-
prize Li^ge Cons.; since i860 teacher
at Antwerp, and prof, at the Cons. ;
composer, etc.
Hennes (h^n'-n^s), (i) Aloys, b. Alx-
la - Chapelle, 1827 — Berlin, 1889 ;
pf. -teacher at various places ; com-
poser. (2) Therese, his daughter, b.
558
THE MUSICAL GUIDE
Dec. 21, 1 86 1 ; pianist ; studied with
Kullak.
Henoig (h«n-n!kh), (i)K., Berlin, 1819
— 1873 ; organist, dir. and composer.
(2) K. RaUel, b. Jan. 4, 1845 ; son
of above ; pupil of Richter and Kiel;
1869-75, organist Posen ; 1873,
founder of '* Hennig" Vocal Soc;
1883, Royal Mus. Dir. ; 1892, R.
Prof. ; composer and writer.
Hen'nius. Vide haym, gilles.
Henschel (h^n'-sh^l), (i) ^Isidor)
Gcorg, b. Breslau, Feb. 18, 1850;
prominent barytone, pianist, and
teacher ; pupil of Wandclt and
Schaeffer, Breslau ; of Leipzig Cons,
also Kiel and Ad. Schulze (singing);
Berlin ; 1877-80, lived in Ivondon ;
1881-84, cond. Boston (U. S. A.)
Symph. Orch.; since 1885, London;
founded the " London Symphony
Concerts*' ; 1886-88, proif. of singing
R. C Mus.; c. operas, ^' Fricdrich der
Schdne" and ''Nubia''; operetta, ''A
Sea Change^ or Loves Castaway "/
an oratorio, etc. (2) Lillian (nee
Bailey), Columbus, Ohio, Jan., i860
— London, Nov. 4, 1901 ; pupil and
188 1 wife of above ; also studied
with C. Hayden and Viardot-Garcia ;
concert-soprano ; she and her hus-
band gave recitals with great art and
success. (3) Helen ; daughter of
above, soprano ; sang N. Y. 1902.
Hensel (hdn'-zdl), (i) Fanny Cacilia
(n^e Mendelssohn), Hamburg, Nov.
14, 1805 — Berlin, May 14, 1847 ;
eldest sister of felix m., whose de-
voted companion she was, and who
died six months after her sudden
death. He said she was a better
pianist than he, and six of her songs
are pub. under his name : viz. , his op.
8 (Nos. 2, 3, 12), and op. 9 (7, 10,
12) ; she pub. under her own name
** Gartenliedef-,'* part-songs and
songs; c. also pf, -trios and f)cs. (2)
Octavia. Vide fonda.
Henselt (h^n'-z51t). Ad. von, Schwa-
bach, Bavaria, May 12, 1814 — Warm-
brunn, Silesia, Oct. 10, 1889 ; eminent
pianist who played with remarkable
sonority and emotion ; to obtain his
remarkable reach he c. and pra:-
tised incessantly verj* difficult studies ;
he c. a famous pf.-concerto, etudes,
etc.
Hentschel (h^fnt'-shfl), (i) Ernst Jo.
lius, Langenwaldau, 1804 — Weisscn-
fels, 1875. (2) Fz., Berlin. 18 14—
1889 ; teacher and dram, composer.
(3) Theodor, Schirgiswalde, Uj^w
Lusatia, 1S30 — Hamburg, 1S92;
conductor, pianist and dram, com-
poser.
Herbart (h^r'-bart), Jn. Fr., Olden-
burg, 1776 — Gdttineen, 1841; writer.
Herbeck (hSr'-bek), Jn. Fz.' von, Vi-
enna, Dec. 25, 1831— Oct. 28, 1877;
important cond., mainly self-taught;
dir. 1866, ct.-cond. at Vienna ainl
prof, at the Cons.
Herbert, Victor, b. Dublin, Ireland.
Feb. I, 1859 ; a grandson of Samod
Lover, the novelist ; at 7, sent to
Germany to study music; ist 'ccilo
ct.-orch. Stuttgart, and elsewhere;
1886 solo 'cellist. Metropolitan Orch.
New York ; later Theodore Thomas'
and Seidl's orchs. (also associate-
cond.) ; 1894, bandm. 22d Regt.vvice
Gilmore ; 1898, cond. of Pittsburg.
(Pa.) Orch. (70 performers); c. spirited
pes. for orch. and 'cello ; a 'cello-
concerto ; an oratorio, ** Tke Ozf-
tive " (Worcester Festival) ; and nu-
merous comic op)eras, incl. ** Prima
Ananias s" a failure, ** Th^ Wisard
of t/ie Niler v. succ, " TAc Stre-
nader *' The IdoVs Eye^ ** Tki
Fortune Teller'' and ^' The Singing
Girl'' all v. succ., in which the un-
usual combination of Irish musical
humour and German scholariincss
justifies their great success.
Hering (ha-rlng), (i) K. Gl., Sdua-
dau, Saxony. 1765 — Zittau, 1S55 ;
teacher, editor and composer, (a)
K. E., b. Oschatz, Saxony, iSogr—
Bautzen, 1879 ; son and pupil ol
above and successor as editor; also
dram, composer. (3) K. Fr. Anf^..,
Berlin, 1819 — Burg, near Ma^eboxF
iSSo ; violinist and composer.
DICTIONARY OF MUSICIANS 559
Herion (ha'-rY-on), Abraham Adam,
Schonau, Odenwald, 1807 — Dresden,
1893 ; pf. -teacher.
Heritte - Viardot (iir-et-v'yilr-do),
Louise Pauline Marie, b. Paris,
Dec. 14, 1841 ; daughter of Viardot-
Garcia ; vocal-teacher St. Petersburg
Cons.; later at Frankfort, and Ber-
lin; ni. Consul-General Heritte; c.
opera "^ IJuJora'' (Weimar, 1879),
and cantatas.
Hermann (her' -man), (i) Matthias,
called Verrecoiensis, or Verreco-
rensis, from his supposed birthplace,
VVarkenz or Warkoing, Holland ;
Netherland cptist. i6th cent. (2)
Jn. D., Germany, ca. 1760— Paris,
1846 ; pianist and composer. (3)
Jn. Gf. Jakob, Leipzig, 1772 — 1848 ;
writer. (4) Fr., b. Frankfort, Feb.
I, 1828 ; pupil of Leipzig Cons.;
1846-75, viola-player, Gewandhaus
and theatre orchs.; 1848, vln. -teacher
at the Cons. ; 1883 Royal Saxon Prof. ;
c. symphony, etc.; editor and collec-
tor. (5) Rheinhold L., b. Prenz-
lau, Brandenburg, Sept. 21, 1849;
pupil of Stem Cons., Berlin ; 1878-81
dir. of it ; 1871-78 singing-teacher
and cond. New York ; 1S84, cond.
X. Y. ** Liederkranz" ; 1887, prof,
of sncred history at the Theol.- Semi-
nary ; 1898, cond. Handel and Haydn
Soc., Boston; 1900 returned to Ber-
lin; c. 4 operas incl. ^' Vineta''
(Breslau, 1895), and '* Wttl/rin'' (Co-
logne, 1896) ; 5 cantatas, overtures,
etc. (6) Robt., b. Bern, Switzer-
land, April 29, 1869 ; studied Frank-
fort Cons ; previously self-taught in
zither, pf., comp. and had c. works
of much originality in which Grieg
encouraged him ; 1893, studied with
Humperdinck, then went to Leipzig
and Berlin, where (1895) his sym-
phony, and a concert-overture were
prod, at the Philh., provoking much
critical controversy ; now lives in
l^ipzig ; c. also ''^PetiUs variations
pour rire^'' for pf. and vln.; etc.
(7) Hans, b. Leipzig, Aug. 17. 1870;
contrabassist and composer ; left an
orphan, he had a struggle with pov-
erty ; studied with Rust, Kretz, Scho-
ner and von Herzogenberg ; lives in
Berlin, and c. string-quartets, pf.-
pcs., etc., and many notable songs.
(8) J. Z. Yide zennkr. (9) Vide
HERRMANN.
Herman'nus (called Contrac tus or
** der Lahme," for his lameness),
Graf von Yehrihgen, Sulgau, Swabia,
July 18, 1013 — Alleshausen, near Bi-
berach, Sept. 24, 1054 ; important
w riier and theorist.
Hermes (hfir'-m^s), Ed., b. Memel,
May 15 (?), 1818 ; merchant, and com-
poser in Kc)nigsberg, Prussia.
Hermesdorff (her' -ni€s-d6rf), Michael,
Trier (Trtves), 1833 — 1885 ; organ-
ist, composer and editor.
Hermstedt (hdrm'-sht^t), Jn. Simon,
Langensalza, near Dresden, 1778—
Sondershausen, 1846 ; composer.
Hernandez (dr-nan -ddth), Pablo, b.
Saragossa. Jan. 25, 1834 ; pupil of
Madrid Cons.; organist and (1863)
auxiliary prof, there; c. zar&uelas ;
a mass, symphony, etc.
Hernando (6r-nan -do), Rafael Jos6
M., b. Madrid, May 31, 1822; pu-
pil of R. Camicer, Madrid Cons.,
1848-53, he prod, several succ. zar-
zuehis, some in collab.; later dir.
and composer to Th. des Varietes ;
1852, secretary, later prof, of harm.,
Madrid Cons.; founded a Mutual
Aid Mus. Soc.
H6rold (a-rol), (i) Louis Jos. Fd.,
Paris, Jan. 28, 1791 — ^of consumption)
Themes, near Paris, Jan. 19, 1833 ;
son of (2) Fran. Jos. H. (d. 1802 ;
pf. -teacher and composer, pupil of
P. E. Bach), who opposed his study-
ing music, though Fetis taught him
solfege and L. Adam, pf. After his
father's death (1802), he studied piano
with Louis Adam, Paris Cons, (first
prize, t8io); harmony with Catel
and (from 1811) comp. with Mehul ;
[812 won the Prix de Rome, with
cantata '' MIU. de la Vallihe"' ;
studied at Rome and Naples, where
he was pianist to Queen Caroline,
560
THE MUSICAL GUIDE
and prod, opera **Za GioventU di
Enrico Quinto " (1815) ; Paris, 1815,
finished Boieldieu*s '* Char Us de
France** (prod, with succ. 18 16, Op.
Com.); '"Les Rosihres** and ''La
Clochette** followed 1817, both v.
succ; others followed; the last (1820)
failing, he imitated Rossini in several
operas, but recovered himself in the
succ. **iViirt>" (1826); 1824, pianist,
later chorusm. at the Ital. Opera,
but soon relinquished. 1827 Chef du
Chant, at the Gr. Opera, for which
he wrote several succ. ballets, incl.
" La SomnambuU** which gave a
suggestion to Bellini ; 1828, L^on of
Honour. ''Zampa ** (1831) eave him
European rank and is considered his
best work by all except the French,
who prefer his last work ** Le Pre
aux Clercs** (1832); he prod, also
'TAuberge if/i»>o'" (1830) (with
Carafa), *' La Marquise de BrinviU
Hers** (1831), with Auber, Boieldieu,
Cherubini, and 5 others; and **Za
M/dicine sans M/decin " (1832) ; he
left ''Ludoinc** unfinished, to be com-
pleted by Hal^vy with succ. ; c. also
much pf.-mus. Biogr. by Jouvin
(Paris, 1868).
Herrmann (h^r'-man), (1) Gfl,Sonders-
hausen, 1808 — Lubeck, 1878 ; violin-
ist, pianist, organist and dram, com-
poser. (2) K., d. Stuttgart, 1894;
cellist. (3) Klara, daughter of (2) ;
pupil of Leipzig Cons.; pianist ; lives
in Lubeck.
Herschel (h^r-sh«l), Fr. Wm. (Angli-
cised, Sir William Herschel, K.C.
H., D.C.L.), Hanover, 1738 — Slough,
near Windsor, 1822 ; oboist ; organ-
ist at Bath ; astronomy, in which he
won such fame, was till 1781 only his
diversion.
Hertel (h6r'-t*l), (i) Jn. Chr., Oetting-
en, Swabia, 1699— Strelitz, 1754 ; sing-
er, viola da gambist, violinist and
composer. (2) Jn. Wm.» Eisenach,
1727 — Schwerin, 1789; son and pu-
pil of above ; violinist, conductor
and composer. (3) K., 1 784-1 868 ;
violinist. (4) Peter L.| Berlin,
1817 — 1899; son of above; cook-
poser.
Herther (h^r'-tSr), F.» pen-name of
H. Gunther.
Hertz (h£rtz), Alfred, b.Frankfoit-o&-
Main, July 15, 1872; studied Rif
Cons.; from 1895 2d-cond. vario^
cities; 1899 cond. city theatre Biesbc;
1899 London ; 1902 Met. Op., N. Y.
Hertzbers^ (h£rts'-b£rkh), Rodolph
von, Berlm, 18 18 — 1893; conductor
and editor.
Herv6 (rightlv Florimond Ronger
(£r-va or ron-zha), Hoodain, near
Arras, June 30, 1825 — Paris, Nov. 4i
1892 ; singer, then organist, cod>
ductor; in Paris actmg as tibrettist.
composer and actor, and prcxlodog
flippant but ingenious little works is
which French operetta finds a real
origin ; c. over 50 operettas, also
heroic symphony ** TJU Ashamitt
War** and ballets, (a) Gardel, soi
of above, prod. 187 1 operttta ** Ni^
ni^ c*e5t fini**
Hervey (har'-vt), Arthur, b. of Irish
parents, Paris, Jan. 26, 1855 ; pq&!
of B. Tours (harm.) and Ed. Marlois
(instr.) ; intended for the diplomadc
service, till 1880 ; critic of " Vanity
Fair** ; from 1892, London ** uP?*/";
c. a i-act opera, a dram, overtnit
'' Love and Fate** etc.
Herz (h^rtsor £rs), (i) Jacques Simon,
Frankfort, Dec. 31, 1794 — Nice,
Jan. 27, 1880 ; of Jewish parentis ;
studied at Paris Cons, with Pradher :
pianist and teacher in Paris; tbea
London; 1857, acting-prof. Psaris
Cons. J c. vln.-sonatas, etc (21
Henri, Vienna, Jan. 6, i8o6 — Paris,
Jan. 5, 1888 ; ist prize pf.-pufEJ
Paris Cons. ; very popular as tonriag
pianist ; succ. as mf r. of pianos ; ob-
tained extravagant prices for bis
comps. ; prof, at the Cons. ; writer.
Herzhergr (h^rts'-b^rkh), Antoa, b
Tamow, Galicia, June 4, 1825 ; P«*"
nist; pupil of Bocklet and Preyer,
Vienna ; toured Europe, and reodred
many decorations; 1866, pf.-teacfaer
Moscow; composer.
DICTIONARY OF MUSICIANS 561
Herzog (h«r'-ts6kh), (i) Jn* G., b.
Schmolz, Bavaria, Sept. 6, 1822 ;
pupil of Bodenschatz, and at Altdorf
Seminary ; 1842, organist at Munich ;
1848, cantor ; 1850, organ - prof,
at the Cons.; 1854, mus. dir. £r-
langen Univ.; 1866, Dr. Phil.;
later prof. ; retired 1888 ; lives in
Munich; composer. (2) Emilie, b.
Diessenhofen, Thurgau, ca. i860 ;
soubrette coloratura - singer ; pupil
Zurich Sch. of Mus.« then of Glogg-
ner, and Ad. Schimon, Munich ; de-
but, Munich (1879?); 1889, BerUn
ct. -opera.
Herzogenberg^ (h€r'-ts6kh-^n-b5rkh),
(i) H. von, Graz, Styria, June 10,
1843 — Wiesbaden, 1900 ; prof, at
Berlin, etc; director, professor and
composer. (2) Elizabeth (nee von
Stockhausen) (?) 1848 — San Remo,
1802 ; pianist, wife of above.
Has eltine, Jas., d. 1763; English or-
ganist and composer.
HesSy (i) Joachim, organist, writer and
carillonneur, Gouda, Holland, from
1766 — 1810. (2) A. H., organ-builder
at Gouda ; bro. of above. (3) Willy,
b. Mannheim, July 14, 1859 I violin-
ist, pupil of his father and Joachim ;
at 19 Konzertmeister at Frankfort,
i386 at Rotterdam, then England ;
1895 1st vln.-prof. Cologne Cons,,
and ist vin. GUrzenich Quartet.
Hesse (h«s'-s€), (i) Ernst Chr.,
Grossen-Gottem, Thuringia, 1676 —
Darmstadt, 1762 ; viola-da-gambist,
conductor. (2) Ad, (Fr.), Breslau,
1809 — 1863 ; org.-virtuoso and com-
poser. (3) Jolius, Hamburg, 1823 —
Berlin. 1881 ; introduced the present
measurement for pf.-keys ; and pub.
a method. (4) Max, b. Sonders-
hausen, Feb. 18, 1858 ; 1880 founded
mus. pub. house in Leipzig ; in 1883,
founded H. und Becker.
Hetsch (h«tsh), K. Fr. L., Stuttgart,
1806 — Mannheim, 1872 ; pianist,
violinist and dram, composer.
Henberger (hoi'-b£rkh-«r), Richard
Fz. Jos,, b. Graz, Styria, June 18,
1850 ; a civil engineer ; in 1876 took
36
up music, which he* had previously
studied; chorusm., Vienna academi-
cal Gesangverein; 1878 cond. Sing,
akademie ; c. operas '* Abenteuer
einer Neujahrsnacht** (Leipzig,
1886); ''Manud Vemgas*" (do., iSs^,
remodelled as *^ Mirjam*' (Vienna,
'94) ; 2 operettas ; overture to Byron's
•• Cain," etc.
Heubner (hoip'-n«r). Konrad, b.
Dresden, i860 ; pupil of the ** Kreuz-
schule" there; 1878-79, at Leipzig
Cons, and writer ; with Riemann, lat-
er NottebOhm, Vienna ; Wullner,
Nicod^ and Blassmann, Dresden ;
1882, cond. Leipzig Singakademie ;
1884, asst. cond. Berlin Singakade-
mie ; 1890, dir. Coblenz Cons, and
Mus. Soc.; c. a symphony, overtures,
etc.
Heugel (il-zhj^l), Jacques Ld,, La
Rochelle,' 18 15 — Paris, 1883; editor
and publisher.
Heumann (hoi'-m&i), Hans, b, Leip-
zig, Aug. 17, 1870; at 18, double-
bass in orch. at Cassel ; studied with
W. Rust, at Leipzig Cons, and
Kretschmer at Dresden ; later with
von Herzogenberg at Berlin ; lives in
Berlin; pub. a suite in sonata-form
for vln. and pf.; over 100 songs of
all kinds, etc
Hewitt, J, H., b. New York, 1801;
from 1845 lived in Baltimore ; c.
oratorios, incl. ^^Jephtha" operas,
etc.
Hey (hi), Julius, b. Irmelshause,
Lower Franconia, April 29, 1832 ;
studied with Lachner (harm, and
cpt.), and F. Schmitt (singing) ; later
with von BUlow at the Munich Sch.
of Mus. (estab. by King Ludwig
II. on Wagner's plans); attempted a
reform in the cultivation of singing,
but resigned at Wag^er*s death
(1883). and pub. important vocal
method, ^^ Deutscher Gesangsunter*
richt" (4 parts, 1886), exploiting
Wagner's views. Wagner called him
"the chief of all singing-teachers.**
1887, Berlin; later Munich; com«
poser.
56i
THE MUSICAL GUIDE
Heybers^er (hl'-Wrkh-^r), Jos., Hett-
stadt, Alsatia, 1831 — Paris, 1892 ;
organist, composer and conductor.
Hcyden (hl'-d'n), (i) Sebald, NQm-
berg, 1498 (1494?)— 1561; cantor,
writer. (2) Hans, Nttmberg, 1540—
161 3 ; son of above ; organist ; inv.
the " (ieigenclavicimbal.'
Heydrich (hl'-drlkh), Bruno, b. Leu-
ben, near Loramatzsch, Saxony, 1865;
pupil of Dresden Cons.; 1879-82,
took prizes as double-bass player,
pianist and composer ; for a year in
von BUlow's Weimar orch.; 4 years
Dresden ct.-orch.; also studied sing-
ing with Scharfe, Hey and v. Milde ;
succ. debut as tenor at Sonders-
hausen theatre ; prod. v. succ. I -act
opera-drama, with pantomimic pro-
logue, *'^/«^/*," Cologne, 1895; c.
songfs.
Heymann (hl'-man), (i) Karl, pianist,
b. Filehna, Posen, Oct. 6, 1854. Son
of (2) Isaac H. (cantor) ; pupil of
Hiller, Gemsheim, Breunung and
Cologne Cons, and of Kiel ; ill-health
ended his promising career as virtu-
oso ; till 1822, mus. dir. at Bingen ;
court-pianist to the Landgrave of
Hesse, 1877-80, Hoch Cons., Frank-
fort; c. concerto ^' ElfenspieV*
*' Mummenschanz'^ '* Phantasies
stUckgy^ etc., for piano.
Heymann-Rheineck (hi'-man-ri'-n^k)
(K. Au^. Heymann), b. Burg-Rhei-
neck on Rhine, Nov. 24, 1852 ; pian-
ist; pupil Cologne Cons., and R.
Hochsc'iule, Berlin ; since 1875,
teacher there ; composer.
HsyneVanGhizegfhem (also Hayne,
or Ayne, "Henry"); Netherland
contrapuntist and court-singer, ca.
i4r)S.
Hiebsch (hepsh), Josef, Tyssa, Bohe-
mia, 185-I. -Carlsbad, 1897; teacher
and writer in Vienna.
Hiedler (het'-ler), Ida, b. Vienna,
Aug. 25, 1867; soprano ; studied with
Ress ; debut, Berlin ct. -opera, 18S7.
Hientzsch (hentsh), Jn. Gf., Mo-
krehna, near Torgau, 1787 — Berlin,
1 856 ; teacher, composer and writer.
Hieron'ymos de Morvia, ca. 1260,
Dominican friar, Paris ; writer.
Hi^nard (en-y&r) (J. L.), Aristkle,
Nantes, 1822 — Vernon, 189S ; lHc
preface to his ** HamUt*^ written
1868, not prod, till Nantes, iSi'.
shows him to have attempted a ne«
and serious manner, but he foood
production only for comic operas
which were usually succ.
Hildach (Ml'-diikh), (i) Eugen, b. Wi:-
tenberg-on-the-Elbe, Nov. 20, 1849:
barytone ; pupil of Frau Prof. EL
Dreyschock. (2) Anna (nee Sdm-
bert, b. Kttnigsberg, Prussia, Oct. $.
1852; wife of above; mezzo-sopnuo;
teacher Dresden Cons., 1880-S6.
Hildebrand (hel'-di-brant). (i) U-
charias, Saxony, 1680 — 1743 : org-
builder. His son, (2) Jo, Gl, was
equally eminent.
Hiles (hllz), (i) J., Shrewsbury, 1810
— London, 1882 ; ore^nist, writer
and composer. (2) H., b. Shrews-
bury, Dec. 31, 1826: bro. and pupil
of above ; organist various churche :
1867, Mus. Doc. Oxon ; 1876, lect-
urer ; later, prof. R. Manchester
Coll. of Music ; 1885, editor and
writer ; c. 2 oratorios, 3 cantatas, an
historic opera, etc.
Hilf (helO, (i) Amo, b. Bad Ekter,
Saxony, March 14, 1858 ; vln.-vimi-
oso ; son and pupil of (2) Wm. Chr.
H. ; from 1872 he also studied with
David. ROntgen, and Schradicck,
Leipzig Cons.; second conccrtm.,
1878, and teacher at Moscow Cons.,
(1888) Sondershausen ; 1878, leader
Gewandhaus orch., Leipzig; ist vln.
prof, at the Conservatorium.
Hill, (i) Wm., London, 1800 — 1870;
org. -builder. (2) Wm, Ebsworth,
London, 18 17 — Hanley, 1895 ; rla-
maker. (3) Thos. H. Weist, Ix*-
don, 1828 — 1891; violinist, conduc-
tor and composer. (4) Urcli C,
New York, 1802 (?) — 1875 ; violinist
(5) Wm., b. Fulda, March 28, 183S;
pianist ; pupil of H. Henkcl and
HaufT ; since 1854 lives in Frankfort;
c. prize-opera ** AlotM '*/ vln.-soi*
DICTIONARY OF MUSICIANS 563
tas, etc. (6) Junius Welch, b.
Hingham, Mass., Nov. 18, 1840; pu-
pil of J. C. D. Parker, Boston, and
of Leipzig Cons.; organist various
churches ; till 1897, prof, of Mus.
at Wellesley CoU. ; now teacher and
editor. (7) K., Idstein, Nassau,
1840 — insane asylum. Sachsenberg,
Mecklenburg, 1893 ; barytone ; cre-
ated '* Alberich " at Bayreuth.
Hille (hll -15), (I) Ed., Wahlhausen.
Hanover, 1822 — GOttingen, 1891 ;
cond. and teacher, {z) &▼., b. Jeri-
chow-on-£lbe, near Berlin, May 31,
185 1 ; violinist; pupil of R. WUerst
(theory), Kullak's Acad., 1869-74 w.
Joachim (vln.) ; lives in Berlin, as a
solo -player; 1879, invited to the
Mendelssohn Quintet Club, Boston,
Mass.; toured; then teacher at Mus.
Acad., Phila.; c. 5 vln. -concertos
with orch., etc.
Hillemnacher (hTl'-l^n-nUUch-er, or el-
an-m&-sha), two brothers, (i) Paul
Jos. Wm., b. Paris, Nov. 25, 1852.
(2) Lncien Jos. Ed., b. Paris, June
10, i860 ; both studied at the Cons.,
and took the first Grand Prix de
Rome, (i) in 1876; (2) in 1880.
They write all their scores in collab-
oration. C. symph. legend ** Lord-
ly" (1882, City of Paris prize) ; succ.
opera ** St. Megrin '* (Brussels,
1886), etc.; '' OrsoW (Gr. Opera,
Paris, 1902).
HiUer (Hflllcr) (hH'-ldr), (i) Jn.
Adam, Wendisch-Ossig, near G6r-
litz, liec 25, 1728 — Leipzig. June
16, 1804 ; pupil of Homilius (Kreuz-
schule) and U. of Leipzig ; flutist in
concerts, and teacher; 1754 tutor to
the son of Count Brtthl ; 1758, ac-
companied him to Leipzig, where he
lived thereafter ; ^1763, revived, at
his own expense, the subscription
concerts, which developed into the
famous "Gewandhaus' concerts, of
which he was cond.; 1 771, founded a
singing-school ; 1 789-1 801, cantor
and dir. Thomasschule. He founded
the ** Singspiel^''^ from which German
*• comedy-opera " developed, contem*
poraneously with optra buffa and
Qp^ra C0miqu€. In his dram, works
the aristocratic personages sing arias,
while the peasants, etc., sing simple
ballads, etc. His SingspuU, all
prod, at Leipzig, had immense vog^e,
some of the songs being still sung ;
1766-70, he wrote, edited collections,
etc. ; c. also a Passion cantata, funer-
al music (in honour of Hasse), sym-
phonies and partitas, the looth
Psalm, etc. Biog. by Carl Peiser
(Leipzig, 1895). (2) Fr. Adam,
Leipzig, 1768 — KOnigsberg, Nov. 23,
1 8 12; violinist and tenor; son and
pupil of above ; mus. dir. of Schwe-
rin Th.; 1803, cond. of K5nigsberg
Th.; c. 4 operettas, etc. 13) Fd.
▼on, Frankfort. Oct. 24, iSii— Co-
logne, May 12, 1885 ; of wealthy Jew-
ish parentage ; a pupil of Hofmann
(vln.), Aloys Schmitt (pf.) and VolU
weiler (harm, and cpt.) ; at 10 played
a Mozart concerto in public, at 12
began comp.; from 1825 pupil of
Hummel ; at 16 his string-quartet
was pub. Vienna ; at 15, he saw Beet-
hoven on his death-bed ; 182S-35,
taught Choron*s School, Paris ; then
independently giving occasional con-
certs ; 1836, he relumed to Frank-
fort, and cond. the Cacilien-Verein ;
1839, prod. succ. opera " A*t>////V</<7,"
at Milan; oratorio, *' Die Zt-rstor^
ung JerusaUms " (Gewandhaus,
1840) ; 1 84 1, studied church-music
with Baini, Rome ; 1843-44 he cond.
the Gewandhaus ; prod, at Dresden,
2 operas ; 1847, municipal cond. at
Di'isseldorf ; 1850 at Cologne, where
he organised the Cons. ; cond. GUrze-
nich Concerts, and the Ix>wer Rhine
Festivals ; 1852-53, cond. Opera Ita-
lien, Paris ; 1868, Dr. Philh. h, c.
Bonn Univ. ; 1884 he retired. He
was a classicist in ideal of the Men-
delssohn type and his comp. are of
precise form and great clarity. He
was also a lecturer and writer on
music. Hec. 3 other operas, 2 orato-
rios, 6 cantatas, 3 overtures, 3 sym-
phonies, a ballad ''Richard Lowen*
564
THE MUSICAL GUIDE
hert'' with orch. (1883), etc. (4)
Paul, b. Seifersdorf, near Liegnitz,
Nov., 1830; 1870, asst.-organist.
and since 1881 organist Sl Maria-
Magdalena, Breslau ; composer. (5)
Emma, b. Ulra; studied with Sit-
tard and Hromada ; court-singer at
WUrteraberg.
Hill'mer, (i) Fr., Berlin, ca. 1762 —
1847 \ viola-player ; a son of his (2)
was a singing- teacher in Berlin.
Hil'pert, W. Kasimir, Fr., Nam-
berg. 1 84 1 — Munich, 1896 ; 'cellist.
Hil'ton, J., d. 1657 ; English organist
and composer.
Him'mel, Fr. H., Treuenbrietzen,
Brandenburg, 1765 — Berlin, 1814;
court-cond. and dram, composer.
Hind'le, J., Westminster, 1761 — 1796;
composer.
Hine, Wm., Oxfordshire, 1687 — 1730;
composer and organist.
Hings'ton, J., d. 1683; Engl, organ-
ist to Chas. I. ; and composer.
Hinke (htnk'-«), (i) Gv. Ad., Dresden,
1844 — Leipzig, 1893 ; oboist. Son of
(2) Gf. H., d. 185 1.
Hiarichs (hTn'-rlkhs), Fz., Halle-on-
the-Saale, ca. 1820 — Berlin, 1892 ;
composer and writer on music. His
sister (2) Maria. Vide franz.
Hip'kins, Alfred Jas., b. West-
minster, June 17, 1826 ; writer ; an
authority on ancient instrs., etc. ;
was for a time in business with
Broadwood ; wrote many articles for
the ** Encyclopedia Britannica'^ and
** Grovels Dictionary of Music ^^^ also
books on old instr. ancl pitch.
Hirn (hem). Gv. Ad., Lc^elbach, near
Colmar(Alsatia), 1815 — Colmar, 1890;
writer.
Hirsch (hersh), (i) Dr., Rudolf, Napa-
gedl, Moravia, 18 16 — Vienna, 1872;
critic* poet and composer. (2) Karl,
b. Wemding, Bavaria, March 17,
1858; studied in Munich; 1885-87.
church mus.-dir., Munich; 1887-92,
Mannheim ; then Cologne ; since
1893, dir. various societies, etc. ; c.
numerous pop. a cappella chomses,
cantatas ; ** Werinker^* a dram.
poem with orchestration (op. 119).
etc.
Hirschbach (hersh'-baUch). H., Beriia,
1812— Gohlis, 1888 ; editor and a»&-
Doser.
Hirschfeld (hersh'-f«lt), Ro1>t., b. Mo.
ravia, 1S58 ; studied Vienna Cons, ;
later lecturer there ; 1884 teacher of
musical aesthetics ; took Dr. PhiL
with dissertation on ^* Jokanms dt
Muris "/ he wrote a pamphlet against
Hanslick in defence of ancient a cap^
Jfella music, and founded the ** Re-
naissance-Abende ** to cultivate it.
Hitz'ler, Daniel, Haidenheim. Wflr-
tenberg, 1756 — Stuttgart, 1635; writer.
Hobrecht (ho'-brdkht) (or Obrecht,
Obreht, Ober'tus, Hober'tos), Ja-
kob, Utrecht, ca. 1430— Antweip,
ca. 1506 ; church composer of great
historical importance.
Hobbs, J. Wm., Henley, 1799 — Croy-
don, 1877 ; tenor and composer.
Hochbers: (hokh'-b^rkh). Boiko, Graf
von (pseud. J. H. Franz), b. FOretcn-
stein Castle, Silesia, Jan. 23, 1S43 ;
maintained the H. quartet at Dresden;
1876 founded the Silesian music festi-
vals ; 1886, general intendant Prus-
sian Ct. Th.; prod. 3 operas; c
symphonies, etc.
Hod ges, (i) Edw., Bristol. EngL. 1796
— Clifton, 1867 ; organist and writer.
(2) Faustina Hasse, daughter of
above; d. New York, Feb., 1896:
organist and composer. (3) Rev. J.
Seb. Bach, D.D., son of above;
rector St. Paul's Ch.. Baltimore; <»*•
g^nist.
Hoffmann (h6f -m^), (i) Enchanns,
b. Heldburg, Franconia. cantor at
Stralsund ; writer and composer,
1577-84. (2) Ernst Th. (Aiaa-
deus) Wm. (h^ added Amadeus from
love of Mozart), K5rugsberg. 177^
Berlin, 1822; gifted poet, caricaturist,
and dram, composer. (3) H. Ane.
(called H. von Fallersleben), FiJ-
lersleben, Hanover, 1798 — Castle
Korvei, 1874 ; writer. (4) RtchanL
b. Manchester, Engl., May 24. 1S31;
pianist and teacher ; pupil of his
DICTIONARY OF MUSICIANS 565
father, and de Meyer, Pleycl, Mosch-
eles, Rubinstein, Ddhler, Thalberg^,
and Liszt; since 1847, New York ;
solo pianist with Jenny Lind on
tours, etc.; also with von BUlow,
in N. Y. (1875) ; c. anthems, pf.-
pcs., etc. (5) Karl, b. Prague. Dec.
12, 1872; violinist; studied Prague
Cons.; founder and ist vln. the fa<
mous ** Bohemian String-quartet."
(6) Baptist, b. Garitz. July 9, 1864 ;
barytone; studied with Tipka and
Stockhausen ; 1888-94 at Cologne ;
1807 ct.-opera, Berlin.
Hoffmeister (h6f--ml-sht£r), Fz. An-
ton, Rotenburg-on-Neckar, 1754 —
Vienna, 18 12 ; conductor and dram,
composer, etc.
Hof haimer (h6f .hl-m^r) (Hoffheimer,
Hoffhaimer, Hoffhaymer), Paulus
Ton, Radstadt, Salzburg, 1459 — Salz-
*^^"18»t 1537 ; eminent organist ; luten-
ist, composer and teacher.
Hofmann (h6f-mSn), (i) Chr., ca.
1668 ; cantor at Krossen ; writer.
(2) H. (K. Jn.), Berlin, Jan. 13,
1842 — ^Tuly 19, 1902; pupil of WUrst,
Kullak s Academy ; famous pf. -vir-
tuoso and teacher; prod. succ. op-
eras ''Cartouche'' (Berlin, 1869)
and ** Donna Diana'' and 4 others ;
and succ. orch. works, ''Hungarian
Suite " (1873) and *' Frithjof" syraph.
(1874) ; is a Prof., and a member of
the Berlin R. Acad, of Arts; c. 6
other operas, ** secular oratorio "
"Prometheus" (1896); cantatas;
" Schauspiel" overture; " Trauer^
marsch' tXx:,i for orch.; a vln.-so-
nata, etc. (3) Richard, b. Delitzsch,
Prussian Saxony, April 30, 1844 : son
of municipal mus.-dir.; pupil of
Dreyschock and Jadassohn ; lives in
Leipzig as teacher ; pub. a valu-
able ** Praktische Instrumentations-
schule" (Leipzig, 1893), a catechism
of instrs., etc. (4) Casimir (rightly
Wywkowski) (wesh.k6f'.shkl), b.
Cracow, 1842 ; pianist ; prof, of
harm, and comp. at Cons. , and cond.
of opera, Warsaw. (5) Josef, b.
Cracow, Jan. 20, 1877. Son and
(till 1892) pupil of (4) ; at 6 played in
public ; at 9 toureid JEurope ; at 10
gjave 52 concerts in America ; then
studied 2 years with Rubinstein and
made new debut in Dresden, 1894, and
has toured Europe since and (1899)
America ; from being a sensational
prodigy, he has developed into a solid
artist of great power, virtuosity and
charm ; lives in Berlin ; c. concerto,
etc.
Hofineister (h6r-ml-sht«r), (i) Fr.,
1781 — 1864 ; publisher ; his son and
successor (2) Ad, H., ca. i8i8 — Leip-
zig, 1870 ; was succeeded by Albert
Rothing^, b. Leipzig, Jan. 4, 1845.
Ho'garth, G., Carfrae Mill, near Ox-
ton, Berwickshire, 1783 — London,
1870; 'cellist and composer; his
daughter m. Charles Dickens.
Hohlield (hdl'.f^lt), Otto, Zeulenroda,
Voigtland, 1854 — Darmstadt, 1895 ;
vln. -virtuoso and composer.
Hohnstock (hon'-shtok), Carl, Bruns-
wick, 1828-— 1889 ; teacher, violinist,
pianist and composer.
Hoi, Richard, b. Amsterdam, July 23,
1825 ; pupil Martens (org.) and of
Bertelman (harm, and cpt.) ; teacher
at Amsterdam;- 1862, city mus.-dir.,
Utrecht ; 1869, cath.-organist ; 1875,
dir. Sch. of Mus.; also cond. ** Dili-
gentia " Concerts at The Hague, Clas-
sical Concerts at Amsterdam ; 1878,
officer of the French Academy; c.
oratorio "David" (op. 81) ; 2 operas ;
2 symphonies, etc.
Hol'Dome, Antony and Wm., Eng-
lish composers, 1597.
Hol'combe, (i) H., Salisbury, ca.
1690 — ca. 1750 ; singer, teacher and
composer. (2) Josephine, soprano,
N. Y., and (3) Philip G., harp-
maker, London, both descendants
of (I).
Hol'den,* Oliver, Charlestown, Mass. ;
before 1792, publisher ; composer,
his comp. incl. the hymn-tune Cor~
onation. *
Holder, (i) Rev. Wm., Nottingham.
shire, ca. 16 14 — Amen Comer, 1697 ;
writer, editor and composer. (2)
566
THE MUSICAL GUIDE
Jos. Wm., St. John's ClerkenwcU,
1764 — 1823 ; organist and composer.
Hold'rich, Geo. M., English org.-
builder, 1838.
Hollander (hol'-lant-«r), (i) Tans (de
Hollandere), or Jean ae Holland,
Netherland contrapuntist (1543-58).
(2) Chr. Janszone, Dordrecht (?),
Holland, ca. 1520 — Munich, ca.
1570; son of above; conductor and
composer.
Hollander (hol'-l^nt-^r), (i) Alexis,
. b. Ratibor, Silesia, Feb. 25, 1840;
pianist ; pupil of Schnabel and Hesse
at Breslau ; cond. of the Gymnasium
Singing Society; 1858-61, studied
with Grell and A. W. Bach, and K.
Bohmer, Berlin, R. Akad.; 1861,
teacher at Kullak's Acad.; 1864,
cond.; 1870, cond. the *'Cacilien-
verein " ; 1888, professor ; c. 6 pf.
Intermezzi for left hand, etc. (2)
Gv., b. LeobschUtz, Upper Silesia,
Feb. 15, 1855 ; played in public very
early ; pupil of David, of Joachim
(vln.), and Kiel (theory) ; 1874, prin-
cipal teacher Kullak's Acad, and
royal chamber-mus. ; toured Austria
with Carlotta Patti ; 188 1, teacher at
the Cons., Cologne; 1884, leader at
the Stadttheater ; 1894, dir. Stem
Cons., Berlin; 1896, concertmeister
of a new orch., Hamburg; c. vln.
and pf.-pcs. (3) Victor, b. Ixob-
schUtz, April 20, 1866 ; pupil of Kul-
lak ; c. the succ. i-act comic operas
" Carmosinelia " (Frankf. -on - M.,
188S) ; '' Tht Biyof Morocco " (Lon-
don, 1S94) and piano-pieces.
HoUangue. Vide monton.
Hollraann (hol'-man). Josef, b. Maes-
tricht, Holland, Oct. 16,1852; not-
able 'cellist ; studied with Gervais ;
toured Europe, England and Amer-
ica; court-mus., Holland, and wears
many decorations. •
Holly, Fz. Andrs., Luba, Bohemia,
1747 — Breslau, May 4, 1783; dir.
and writer at various theatres ; com-
poser.
Holmes (homz), (i) Edw., near Lon-
don, 1797 — U. S., 1859 ; pf.-teacher,
editor and critic. (2) \Vni. H.,
Sudbury, Derbyshire. 18 12 — Londoo,
1885 ; pianist and professor. (3)
Alfred, London. 1837 — Paris, 1876;
son of above ; dram, composer. (4)
Hy., b. London, Nov. 7. 1839; bro.
of above ; vln.-prof. R. C. M.; 0,4
symphonies, etc.
Holmes (61'-m6s) (rightly Holmes),
Augusta Mary Anne, b. (of Irisfa
parents) Paris, Dec. 16, 1847; at
first a pianist ; studied comp. with
Lambert, Klose and Cesar Franck;
1873, prod, a psalm. **/«^xito";
1874, a i-act symphony " IIh'« et
Leandre " (Chatelet) ; the sympho-
nies '* LuUce*' and ** Z^j Argc-
natUes'' 1883; symph. '' IrUuuU^
1885 ; unsucc. drama ** La MonUgm
Noire''' (Gr. Opera), 1895 ; sympbonic
poems, ''Roland,'' '' Pohgm, *' Am
Pays Bleu" ; 2 operas, etc.; she
sometimes uses pseud. '* Hermann
Zentar
Hoist (hoist). Edward, Copenhagen,
1843 — N. Y., 1899; lived in N. V..
was an actor, stage-dancer, dancing-
master and playwright ; also com-
poser of pop. song and pf.-pcs., over
2,000 works in all.
Holstein (hol'-shtln), Fz. (Fr.) Ton,
Brunswick, 1 826-— Leipzig, 1878;
dram, composer.
Holten (h6i-t«n). K. von, b. Ham-
burg, July 26, 1836 ; pianist ; pupi!
of J. Schmitt, Ave-Lallemant aiid
Greener, and at Leipzig Cons.;
since 1874, teacher Hamburg Cons.;
c. a Kinder symphonic^ etc
Holy (o'-le), Alfred, b. Oporto, hxsg.
5, 1866 ; harp- virtuoso ; son and pu-
pil of a cond. and teacher frooi
Prague ; studied at Prague Cons.,
and lived there till 1896, when he
went to the Berlin ct.-opera.
Holyoke (har-yok), Samuel, Bos-
ford, Mass., i77i--Concord, N. H.,
1816 ; teacher.
Holz (holts), K., Vienna. 1798 — 1858 ;
violinist and composer.
Holzbauer (hdlts'-bow-^r), Ignaz, S\-
enna, 1711— Mannheim, 1783; court-
DICTIONARY OF MUSICIANS 567
conductor and dram, composer ; high-
ly praised by Mozart.
Hblzel (hdl'-tsdl), (i) K., Linz-on-
Donau, 1808 — Pesth, 18S3; composer.
(2) Gustav, Pesth, 18 13— Vienna.
1883 ; bass and composer.
H6I2I (hdl'-ts'l), Fz. Scvcrin, Malacz-
ka, Hungary, 1808 — Funikirchen,
1884 ; conductor and composer.
Homey er (ho'-mi-^r), name of a mu-
sical family. The most prom, of
them is (i) JPaal Joseph M., b. Os-
terode, Harz, Oct. 26, 1853 ; famous
organist at the Gewandhaus, and
teacher Leipzig Cons. (2) Jn. Tust.
Adam, editor. His son (3) H. H.
(1832 — 189 1), was organist at Lam-
springe ; St. Leipzig Cons. ; and also
with his uncle (4) J. M. H. (d. Oct. 5,
1894), organist at Duderstadt.
Honulins (ho-me'-It-oos), Gf. Aug.,
Rosenthal, Saxony, 17 14 — Dresden,
1785 ; eminent organist and com-
poser.
Hood, Helen, b. Chelsea, Mass., June
28, 1863 ; pupil of B. J. Lang (pf.)
and Chad wick (comp.), Boston ; and
Moszkowski (pf.) ; lives in Boston ;
composer.
Hook, Jas., Norwich, 1 746— Boulogne,
1827 ; oi^nist and composer.
Hoop'er, Edmond, Halberton, De-
von, ca. 1553 — 1621 ; composer.
Hope'kirk, Helen, b. near Edinburgh;
studied with Lichtenstein and A. C.
Mackenzie ; for 2 years at Leipzig,
later with Leschetizky ; d^but as
pianist at Gewandhaus, Leipzig,
1878 : gave concerts in Great Britain
and (1883-84) U. S.; 1897-1901,
teacher N. E. Cons.; now private
teacher, Boston, Mass.; c. Concert-
stnck for pf. and orch.; 1894, orch.
pes.; a pf. -concerto ; sonata for pf.
and vln., and songs.
Hopfifcr (h6p'.f«r), L. Bd., Berlin, 1840
— Niederwald, near Rudesheim, 1877;
dram, composer.
Hop' kins, (i) Edw. J., Westminster,
June 30, 18 1 8 — London, Feb. 4,
1901 ; self-taught organist at various
churches ; 1843-1898, to the Temple
Ch., London; wrote ** The Organ ;
its History and Construction " (Rim-
bault) ; contributed to Grove's Diet,
of Mus. ; c. 3 prize anthems, hymn-
tunes, chants and church - senices.
(2) Edw. Jerome, Burlington, Vt.,
1836 — Athenia, N. J., 1898 ; self-
taught in harmony ; began composing
at 4 ; organist, editor and lecturer.
(3) Harry Patterson, b. Baltimore ;
graduated Peabody Inst.. 1896 ;
studied with Dvordk in Bohemia ;
lives in New York ; c. a symphony,
songs, etc.
Hoplit. Vide pohl, r.
HorAk (ho'-rak), (i) Wenzel (Vaclav)
Emanuel, Mscheno-Lobes, Bohe-
mia, 1800— Prague, 1871 ; organist,
teacher and comf>oser. (2) Ed., Ho-
litz, Bohemia, 1839 — Riva, Lake of
Garda, 1892 ; teacher and writer. (3)
Ad., b. Jankovic, Bohemia, Feb.
15. 1850; bro. of abo\e and co-
founder, "Horak" Pf.-School, Vi-
enna ; writer.
Horn, (i) K. Fr., Nordhausen, Saxony,
1762 — Windsor, Engl., 1830 ; organ-
ist, writer and theorist. (2) Chas.
Edw., London, 1786 — Boston,
Mass., 1849; son of above; singer,
teacher, cond., and com[x)ser. (3)
Aug., Freiberg, Saxony, 1825 —
Leipzig, 1893 ; dram, composer.
Homeman (hor'-n^-man), (i) Johan
OleEmil, Copenhagen, 1809 — 1870;
composer. (2) Chr. F. Emil, b.
Copenhagen, Dec. 17, 1841 ; son and
pupil of above ; studied at Leipzig
Cons. ; dir. of sch. of mus. in Copen-
hagen ; c. overtures ^^ Aladdin'' and
'' NeidmUben," tic,
Hornstein (h5m'-shtTn), Robt. von,
Stuttgart, 1833 — Munich, 1890;
dram, composer,
Hors'ley, (i) Wm., London, 1774—
1858 ; organist, theorist and com-
poser. (2) Chas. Edw., London,
1822 — New York, 1876 ; son and pu-
pil of above ; organist, writer and
composer.
Horwitz (hor'-vtts), Benno, b. Berlin,
March 17, 1855 ; violinist and com*
568
THE MUSICAL GUIDE
poser ; pupil of the Rl. Hochschale,
and of Kiel and Albert Becker ; c.
symph. poem *^ Dionysos" etc.
Hostinsl^ (h6-shten'.shkl), Ottokar,
b. Martinoves, Bohemia, Jan. 2,
1847 ; Dr. Phil., Prague ; writer.
Hoth^bT (or Hothobns, Otteby, Fra
Ottobi), Tohn (or Johaimes), d.
London, Nov., 1487; English Carmel-
ite monlc ; famous for science.
HotteUrre (ot'-t&r), (i) Henri, d.
16S3 ; instr.-maker, musette player,
ct -musician. (2) Louis (called ''Le
Ronudn," having lived in Rome) ;
son of above ; notable flutist and
writer. (3) Nicolas, d. 1695 ; noted
bassoonist and oboist ; bro.^of (2).
Ho'Ten, J., pen - name of V. voii
Pntt-Linffen.
How'ard, (0 Samuel, 1710— 1782;
English oi^nist and composer. (2)
G. rl., b. Norton, Mass., Nov. 12,
1843 ; pupil of J. Tufts (theory), and
B. F. Baker (singing), also at Leip-
zig Cons.; teacher in Boston; 1891,
founder and dir. School for Teach-
ers ; composer.
How' ell, (i) Jas., b. Plymouth, Eng-
land, d. 1879 ; singer and double-bass
player. His 2 sons : (2) Arthur, d.
1885 ; double-bass player and bass
singer. (3) Edw., 'cellist.
Howg^ill, Wm., Engl, organist and
composer. 1794.
Hoy'land, (i) J., Sheffield, 1783— 1827 ;
organist and composer. (2) Wm., d.
1857 ; son of above ; ora;anist.
Hrimaly (hVlm'-fi-le), Adalbert, b.
Pilsen, Bohemia, July 30, 1842 ; vio-
linist ; pupil of Mildner, Prague
Cons., 1861; cond. Gothenburg orch.,
1868 ; National Th., Prague ; at the
German Th., there in 1873, and
at Czemowitz, Bukowina, in 1875 ;
his succ. opera ** Der VerzauberU
Priwi" (1871) is still played at
Prague.
Hromada (hV^'-mii-dii), A., Kladno,
Bohemia, Dec. 23, 1841 — 1901 ; not-
able bass-barytone ; pupil of Pivoda,
Stockhausen and Fra Lamperti; debut
Ct.-opera, Stuttgart, 1866; has sung
there since ; has also toured and b
heavily decorated.
Hnbay (hoo'-b£-e) (or Huber), (i)
K., Varjas, Hungary, 1828 — Pesdi,
1885 ; vln.-prof., Pesth Cons.; con-
ductor and dram, composer. (2)
Jend (known as Eug^ Huber in
Germany), b. Budapesth, Sept. 15,
1858 ; violinist ; son and pupil of
above, and 1886 his successor as
prof.; also studied with Joachim;
gave succ. concerts in Hungary
and at Paris; 1882 principal vhi.-
prof., Brussels Cons.; 1894, m.
Countess Rosa Cebrian ; c succ.
opera *' Der Gtigenmacker von Cre-
m«w" (Pesth, 1893); opera **i4&-
nor *' (Pesth, 1892) ; succ. Hungarian
opera ** A Fain Rosssa ** (The Town-
loafer) (Budapesth, 1896) ; a sym-
phony, etc.
Huber (hoo'-Wfr), (i) F., d. Bemc,
Feb. 23, 18 [o; poet and song-com-
poser. (2) Fd., 1 79 1 — St. Gallen,
1863 ; Swiss sone- writer. (3) K.
Vide HUBAY. (4) Jos., Sigmaringen,
1837— Stuttgart, 1886 ; violinist and
dram, composer. (5) Hans, b.
Sch5newerd, Switzerland. June 28,
1852; pupil Leipzig Cons.; teacher
at Wesserling for 2 years, then at
Thann (Alsatia), later Basel Music
School ; 1892, Dr. Phil. A. f., Basel
Univ. ; 1896, dir. of the Mus. Sch. ;
c. succ. operas ** IVeltfriikHng''
(Basel, 1894); and *' Gudrun^
(Basel, 1896) ; cantatas, sonatas,
concertos, overtures ** Luiispiel^''
symph. ♦* 7>//," etc. (6) Engeo.
Vide HUBAY, JENO.
Hubermann, Bronislaw, Polish vio-
linist ; succ. debut as prodigy ; re-
tired for five years* study ; reap-
peared, Bucharest, 1902.
Hubert (hoo'-b^rt), Nikolai Alberto-
vitch, 1840— 1888 ; prof, and writer,
at Moscow.
Hubert! (U-b^r'-te), L^on Gvc, b.
Brussels, April 14, 1843 '. pupil Brus-
sels Cons. ; 1865, won Prix de Rome;
1874-78, dir. of Mons. Cons. ; iSSo-
89, Antwerp ; since prof, at Brussels
DICTIONARY OF MUSICIANS 569
Cons., and dir. of the Mus.-School of
St. Josse - ten - Noode - Schaerbeek ;
189 1, member of the Belg^n Aca-
demy ; 1893, chevalier of - the
Legion of Honour. C. 3 oratorios,
the dram, poem *' Verlichting^*
('* Fiat lux "), with orch. ; symphonic
poem ** Kinder lust en Leed" chorus
and orch., etc.; symphonie fun^bre,
festival marches, etc.
Hncbald (hook'-biUt, orllk-bll) (Hue-
tMU'dus, Ubal'dus, Uchubal'dus)
de S. Ainaiid(o), ca. 840 — St. Amand,
near Toumay, June 25 (or Oct. 21),
930 (or June 20, 932). He is perhaps
credited with some works belonging
to a monk- of the same name living a
century later, pupil of his uncle,
Milo, a mus.-dir., whose jealousy
drove him to Nevers, where he taught
sii^Qg \ 872 he succeeded his uncle ;
ca. 893, the Archbishop of Rheims
invited him to reform the music of
the diocese. His works (Gerbert)
contain the first known notation
showing difference of pitch on lines.
Had'son, (i) Robt., 1731 — Eton,
18 15 ; singer, oi^ganist and composer.
(2) Mary, daughter of above ; organ-
ist and composer, 1801.
Hne (tt), Geors^es Ad., b. Versailles,
May 6, 1858; pupil of Paris Cons.,
took 1st Grand prix de Rome ; later
Prix Cressent ; 1. Paris as teacher ;
c. op. com. '* Les Pantins^' (Op.-
Com., 1881) ; ^^RUbezahl" symphonic
legend in 3 parts (** Concerts Co-
lonne," 1886) ; succ. *' Feerie drama-
tique " ''La Belle au Bois Dormant
(Paris, 1894) ; ** ^isode sacre "
^^RessurrecHon** ; a symphony, a
symphonic overture ; 2 operas ** Va-
tanta:' and ** Le Rai de Paris " (not
prod.), eta
Hneffer (httf'-f«r), Francis, MUnster,
i843---London, Jan. 19, 1899 ; 1869,
lived in London ; from 1878, critic of
The Times ; librettist and writer.
Hugo von Reutlingea (hoo'-gd fon
roit'-llng-fin) (called **Spechzhart"),
1285 (1286?)— 1359 (1360?) ; writer.
Kii(aeiiet (Og-nft). Vide oirard.
Huhn (boon), Charlotte, b. LOneburg,
Sept. 15, 1868 ; alto ; studied with
Hoppe, Hey, and Marianne Brandt ;
sang 2 years at the New York Opera,
then at Cologne; 1895 Dresden; 1900
Vienna ct. -opera.
Hul'lah, John Pyke, Worcester, June
27, 18 1 2 — London, Feb. 21, 1884 ;
professor, conductor, writer and
dram, composer.
Httller, J. A. Vide hiller.
Htillmandel (hTl'.mSnt.'l), (i) Nicho-
las Jos., Strassburg, 1751 — Lon-
don, 1823 ; pianist and harmonica-
player. (2) Rodolphe, famous horn-
virtuoso and composer , uncle of
above
Htillwc'ck (htl'-vek). (i) Fd., Dessau,
1824 — Blasewitz, 1887 ; concert-vio-
linist and composer. (2) K., b. Dres-
den, April 15, 1852 ; son of above ;
pupil of Fr. GrUtzmacher ('cello) ;
Reichel and Merkel (harm, and cpt.);
1877-82 'cellist Dresden ct.-orch. ;
'cello-teacher, Dresden Cons. ; com-
pHjser.
Httlskamp (hlls'-kamp), Henry (or
Gv. Hemrich), b. Westphalia ; 1850
established a factory at Troy, N. Y. ;
1866, N. V.
Hume, Lobias, Engl, viol da gambist,
etc., 17th cent.
Hum'jfrey (Humphrey, Humphrys),
Pelham, London, 1647 — Windsor,
July 14, 1674 ; important English
composer. Charles II. sent him to
Paris to study with Luliy ; 1672
master Chapel Royal children and
with Purcell ct. -composer.
Hummel (hoom'-mdl), (i) Jos., music-
master Wartberg Military Acad. ;
1786, conductor at Vienna. (2) Jn.
Nepomuk, Pressburg, Nov. 14, 1778
— Weimar, Oct. 17, 1837; son of above;
a famous pianist and improviser, and
a comix>ser of once popular pieces in
which ornament outweighs matter ;
and form, interest ; protege of Mo-
zart ; debut 1787 ; toured Europe fre-
quently; 1793 studied with Albrechts.
berger ; asst.-cond. to Haydn, 1804-
{I ; 1830 and 1833 cond. German
f7o
THE MUSICAL GUIDE
opera in London ; c. operas, canta-
tas, ballets, 3 masses, sonatas; he pub.
a notable pf. -method ; c. dram, pes.,
concertos, sonatas, septet in D mmor,
etc. (3) Elisabeth (nee Rdckl),
1783 — Weimar, 1883 ; wife of above;
opera-singer. (4) Jos. Fr., b. Inns-
brOck, Aug. 14, 1841 ; pupil Munich
Cons., 1861-80 ; th.-cond. Vienna,
since 1880 dir. Mozarteum at Salz-
burg, and cond. Liedertafel. (5)
Fd., b. Berlin, Sept. 6, 1855 ; son
and pupil of a musician ; at 7 a harp
virtuoso; 1864-67 toured Europe,
and received a royal grant for study
at Kullak's Akademie, Berlin ; 187 1-
75, studied R. High Sch. of Mus.,
then at Akademie; c. succ. operas,
''Mara'' (Berlin, 1893); '' Ein
Tretur Scfulm " (Prague, 1894) ;
**^war^ai" (Gotha, 1898); a sym-
phony, sonatas, etc.
Humperdinck (hoom'-p^r-dYnk), En-
^elDert, b. Siegburg, near Bonn,
Sept. I, 1854 ; studied architecture,
Cologne, then mus. at the Cons. ;
won Mozart scholarship at Frank-
fort ; studied 2 years with Franz
Lachner, Munich, also with Rhein-
berger and Barmann at the Cons. ;
pub. Humoreske for orch. and *' Die
Wallfahrt nach Kevclaar " for cho-
rus ; 1878 won the Mendelssohn
prize (3,000 marks), 1880 the Meyer-
beer prize (7,600 marks) ; 1885-86,
prof. Barcelona Cons.; 1881-82, a
special protege of R. Wagner in Bay-
reuth ; made pf. -scores, and aided in
the preparation of *' Parsifal.'* Re-
turned to Cologne, 1887, went to
Mayence in the employ of Schott &
Co. ; 1890 teacher Hoch Cons.,
Frankfort. Critic on the Frankfort
Zfitung^ since lives at Boppard-on-
Rhine. His first international succ.
was the graceful 2-act fairy-opera
'' Hdnsel und Gretei;' Munich,
1893 (prod, at Milan, 1897, as Nino
e Rita) ; c. also ** Dornroschen "/
** Die Konigskinder " (1896); ** Saint-
Cyr / " •' Die 7 Geiesiein " (" MSrch-
enspiel fur die Kleinen *') ; symph.
incid. mus., *' Moorish RhapsedU"
for orch., etc.
Huneker (hu'-n^k-^r), Jas. (Gibbons),
b. Philadelphia, Jan. 31, i86o;
prominent critic and writer ; at first
intended for the priesthood ; pupil of
Michael Cross (pf.) at Philadelphi^i,
1878, with Th. Ritter and Ld. Doa-
treleau, Paris ; since 1888 lives ip
New York as pf. -teacher at the Nar.
Cons. ; for some time mus. and dram«
critic of the Commercial Adz>ertise>
and The Recorder; 1901 of the N. Y.
Sun ; has for many years written the
brilliant ** Raconteur" department of
the Mus. Courier. Many of his es-
says were reprinted with g^reat succ.
aiS '' Mezzotints in Modern Afusic"
(New York, 1899) ; his biogr. and
critical ''Chopin, the Man and his
Music'* (N. Y., 1900) is an impor-
tant book ; and his ** Melonumiacs'"
(1901), studies of musical ptersonalities
and moods in the form of short sto-
ries, is a work of unique insight and
ingenuity. He is preparing a life of
Liszt.
Hungar (hoong'-Hr), Ernst, b. ScfaAo-
bach, Aug. 5, 1854 ; barytone ; pu(»l
of Stockhausen ; teacher at Dresden
and Cologne Cons. ; sang at Schwerin
cL -opera ; lives in Leipzig.
Hunke (hoon'-ke), Jos., Josephstadt.
Bohemia, 1801 — St. Petersburg, 1883;
choirm. Russian ct.-chapel ; com-
poser.
Httnten. (hYn'-t^n), (i) Fz., Coblenr.
1793 — 1878; c. pop. pf.-jxs., etc
His brothers, (2) wm., pf. -teacher,
Coblenz. and (3) Peter Ernst, at
Duisburg, also c. pop. pieces.
Hurel de Lamare (Q'-r^l-da-la-m&r),
Jacques Michel, Paris, 1772 — Caen,
1823 ; 'cellist and composer ; his
friend Auber pub. some comp. under
H.*s name.
Huss (hoos), (i) G. J., b. Roth, near
NUrnberg, Sept. 25. 1828 ; son and
pupil of (2) Jn. Michael (pianist),
also studied org. with I^mbrecht ;
1848, America as organist various
churches. 1856, New York, oig. pf .-
DICTIONARY OF MUSICIANS 57>
teacher and composer. (3) H. Hold-
en, b. Newark, N. J., June 21, 1862 ;
concert-pianist and teacher ; son and
pupil of (i) ; studied with O. B.
Boise (cpt. and comp.), also at Mu-
nich Cons.; lives in N. Y. as teacher
of pf., comp. and instr.; pub. pf.-
concerto, ballade "" HaidtnrosUiny''
etc.; he has also works in MS., but
performed with succ. : rhapsody for
pf. and orch., ^'' Festival Sanctus"
for chorus and organ, with orch.; a
vln. -concerto ; romanze and polonaise
for vln. with orch.; a pf.-trio, **CleO'
patrcCs Dtatk'" etc.
Hatch'inson, (i) J.y organist and com-
poser Durham cath., 17th cent. (2)
Francis, English composer under
pseudonym ^^ Francis Ireland*''
1771.
Hotschenniijter (hoot'-sh<fn-roi-t*r),
(i) Willem, Rotterdam, 1796— 1878 ;
horn- and trumpet-virtuoso ; profess-
or, conductor, director and dram,
composer. (2) Willem, b. March
22. 1828; son of above; horn-virtu-
oso.
Hattenbrenner (htt' - t«n - br^n - n€r),
Anselm, Graz, Styria, 1794— Ober-
Andritz, 1868 ; pianist, conductor
and dram, composer.
Hykacrt (or Ycaert) (e-kirt), Bd.,
cantor in Belgium, ca. 1480 ; theorist
and composer.
Hyllested (hiil'-l^-stadh). Aug:., b. (of
Danish parents) Stockholm, Tune 17,
1858 ; violinist ; at 5 played in pub-
lic; studied with Holger Dahl till
1869, and then made succ. tour
through Scandinavia ; entered the
Royal Cons, at Copenhagen ; 1876,
organist of the Cath., and dir. of a
mus. soc.; 1879, studied with Kullak,
Kiel, and later Liszt ; 1885, toured U.
S.; 1886-91, asst.-dir. Chicago Mus.
Coll.; 189T-94, Gottschalk Lyric
Sch.; 1S94-97, toured Europe ; prod,
in London, symph. poem *^ Elha-
beth** with double chorus; 1897,
Chicago; c. romantic play ** Die
Rheinnixe** orch. ** suite roman-
tique," etc.
/
Ibach (e'-b^h), (i) Jns. Ad., 1766—
1848 ; pf. and organ-builder. His son
(2) C. Rudolf (d. 1862), and (3)
Richard, joined the firm ; a third
son (4) Gustav J., founded another
business 1869. (5) Rudolf (d. Herren-
alb, Black Forest, July, 1892), son of
(2), continued the pf. -factory, and
Richard, the organ-factory.
Iliffe (I'-ltQ, Fr.i b. Smeeton-Westerby,
Leicester, Engl., Feb. 21, 1847; since
1883, organist and choirm. St. John's
Coll., Oxford ; cond. of Queen's
Coll. Mus. Soc. 1873, Mus. Bac.
Oxon. ; wrote *' Critical Analysis of
Bach's Clavichord'* (London, 1896 ;
4 parts) ; c. oratorio, ** 7^he Visions
of St. John the Divine**; cantata
with orch. ^^ Lara,** etc.
Ilinski (e-lYn'-shkY), Count Jan Stanis-
law, b. Castle Romanov, 1795 ;
composer.
Im'mjns, (i) J., 1700 (?)— London,
1764; lutenist. (2) J., d. 1794; son
of above ; organist.
Inc'ledon, Chas., Bery St. Kevem,
Cornwall, 1763 — 1826; tenor, called
** The Wandering Melodiste."
Indy (din-de), Paul M. Th. V. d',
b. Paris, March 27, 1851; pupil of
Cesar Franck (comp.) and at the
Cons., 1875, chorusm. with Co-
lonne ; played drum-parts for 3 years
to learn instrumentation ; he is pres.
of various concert-societies; mus.-
inspector of Paris schools ; chev. of
the Legion of Honour ; c. a 3-part
symph. poem *' IVallenstein** (Part
II., **/ Piccolomini" prod. 1874 by
Pasdeloup) ; symphonies (i) " 0» a
French mountaineer-song** and (2)
^Jean Hunyadi** symphonic legend
La forit enchant/e ** ; overture to
'Antony and Cleopatra**; ^' La Che-
vauchSe du Cid** for orch. ; sym-
phonic pf. -concerto ; prod, i-act com-
ic opera, ^'Attendez-moi sous TOrme**
(Op,-com., 1882); c. text and mus.;
succ. mus. drama, ** Fervaal** (Brus-
sels, 1897); ''VEtranger** (do. 1902).
t<
<t
<4
572
THE MUSICAL GUIDE
Ingegperi (€n-^n-y&'-re), Marco A.,
Venice (or Cremona), ca. 1540— Fer-
rara (?), 1603; conductor, composer
and publisher.
Ing^'lott, Wm., 1544 — 162 1 ; Eng.
organist.
Insanguine (en-siin-gwe'-na), Giaco-
mo (called MonopoU), Monopilo,
1744 — Naples, 179s ; teacher and
dram, composer.
Ireland, Francis. Pen name of Hutch-
inson (2).
Irgang(er -gJUig),Fr. Wm., b. Hirsch-
berg, Schleswig, Feb. 23, 1836 ; pu-
pil of Grell and A. W. Bach. R.
Acad., Berlin, 1856-59; then teacher
in Proksch's Sch., Prague ; 1863,
founded sch. at GOrlitz ; also organ
composer.
Isaak (e'-z^), H. (or Isaac, Izak,
Yzac, Ysack ; in Italy Arrig^o Te-
desco. Henry the German; Low;
Lat. Arrighus), ca. 1450 — ca. 1517
famous contrapuntist doubtless of
Netherlandish birth; conductor and
organist.
Tsham, J., d. London, 1726 ; organist
and composer.
Isido'nis (Hispalen'sis), Saint, Car-
tagena, ca. 570 — 636; writer (Gerbert).
Isnardi (es-n&r'-de), Paolo, b. Ferrara,
ca. 1525 ; conductor and composer.
Isouard (e-zoo-&r), Niccold (called
Niccolo de Malte), Malta, 1775 —
Paris, March 23, 1818 ; pupil of
Amendola, Sala, and Guglelmi ; or-
ganist, conductor and prolific dram,
composer.
Israel (es'-Hl-^l), K., Heiligenrode,
Electoral Hesse, 1841 — Frankfort-
on-M., 188 1; critic and bibliographer.
rvan(h)off, Nicholas, b. 1809 ; Rus-
sian tenor.
Ives, Simon, d. London, 1662 ; Engl
singer and composer.
iTry (dev-re), Paul Xavier D6sir6,
Marquis Richard d', b. Beaune,
C6tc D*Or, Feb. 4, 1829; pupil of
A. Hignard and Lebome ; since 1854
lives in Paris as amateur ; c. operas,
** Fatma:* *• Quentin Metays " (1854),
**Xtf MaisoH du Docttur*' (Dijon,
1855), " Omphale et PAUlo^;* ''La
Amanis de V^one"' (1867), under
the pen-name "Richard Inrid;**
revised as *' Rom/o et JuHeUe^
1878 ; ** PersHfirance LTAm^mr "
(MS.) ; concert-overture, songs, etc
Izac. Vide isaak.
Jachet. Vide berchsm.
achmann- Wagner (yikh'-mfln). Vide
WAGNEit, JOHANNA.
Jack'son, (i) VTm., Exeter, 1790—
1803 ; organist, writer, and dram.
composer. (2) VTm., Masham,
Yorks, Engl., 1815 — Bradford, 1866;
organist, conductor, writer and com-
poser. (3) Samuel P., Manchester,
Engl., 1818— Brooklyn, N. Y., 1885;
composer ; son of (4) James J., or-
gan-builder. (5) Edwin W., Eng-
lish justice of the peace, pab. in
German (Leipzig, 1866) a Talnable
manual of* finger-gymnastics. (6) J.
P., English writer; pub. books and
transl. of Wa^er*s operas.
Ja'coh, (i) Benj., London, 1778 — 1829;
organist, conductor and composer.
(2) F. A. L. , Vide jakob.
Jacobs (zh&-kd), Edouard,b. Hal, Bel-
gium, 1851 ; pupil of Servais, Brus-
sels Cons.; 'cellist Weimar ct. orch.,
for some years; 1885 prof. Bmssete
Cons.
Jacobsohn (y&k'-6p-z5n), Simon E.,
b. Mitau, Kurland, Dec 24, 1839;
violinist ; pupil Leipzig Cons. ; i36o
leader Bremen orclu; 1872, of Theo-
dore Thomas's orch., N. V.; t^^rbfr
Cincinnati Cons., then Chicago.
Jacobsthal (yfik'-6ps.UU), Gv., b. Py-
ritz, Pomerania, March 14, 1845 ;
1872, lecturer on music Strassbaig
Univ.; 1875 professor extraordinary;
writer.
Jacotin (rightly Jacques Godehrye),
(zhSic-6-t£fi) (or g6d-bre), ca. 1445 —
March 24, 1529; famous Flemish
cptist. ; singer and composer at Ant-
werp.
DICTIONARY OF MUSICIANS 573
Jacqiutfd (zh&k-kiir), Ldon J., Paris.
1826—1886; 'cellist; composer.
Jadassohn (yS'-das-zdn). Salomon,
Breslau, Aug. 13. 183 1 — Leipzig, Feb.
I, 1901 ; eminent theorist ; pupil of
Hesse (pf.), Ldstner (vln.) and Bro-
sig (harm.) ; later Leipzig Cons., then
with Liszt, and Hauptmann (comp.);
from 1852 lived in Leipzig ; 1866
cond. •* Balterion" choral soc.; 1867-
69 cond.** Euterpe**; from 187 1, prof,
of pf., harm., cpt., comp. and instru-
mentation at the Cons. 1877, Dr.
Phil., i. c; 1893 Royal Prof. He m.
a singing-teacher. Wrote occasion-
ally under name " Lttbenau " (IQ'-
W-now). Pub. very succ. text-books
all trans, in English. ** Harmonie-
lehre'* (Leipzig, 1883); '' Kontra-
punkf' (1884) ; *• Kanon und Fuge''
(1884) ; ''Die Format in den Werk-
en dtr Tonkunst'' (1889) ; '' Lehr^
buck der Instrumentation ** (1889) ;
''Allgemeine MusikUhre" (1895).
His comps. are notable for form, par-
ticularly his many works in canon
incl. serenade for orch. (op. 35), and
ballet-mus.; which have won him the
name ** Musical Krupp " ; c. also
4 symphonies ; 2 overtures ; a pf .-
concerto ; The looth Psalm, for
double chorus with orchestration,
etc.
Jadin (zhi-dilfi), (i) Louis Emman-
uel, Versailles, 1768 — Paris, 1853;
prof., conductor and dram, compos-
er. Son and pupil of (2) Jean J.,
violinist. (3) Hyadnthe, Versailles,
1769 — Paris, 1802 ; prof, and com-
poser ; bro. and teacher of (i).
Jaell (yftl), (i) Alfred, Trieste, March
5, 1832 — Paris, Feb. 27, 1882 ; noted
tourinfif pianist and composer, son of
(2) Eduard J. (d. Vienna, 1849). (3)
Jaell-Trautmann, Marie, b. Stein-
scltz, Alsatia. 1846; wife of (i) ;
pianist, composer and writer.
]9M€ (ySf'-fa), Moritz, b. Posen, Jan.
3, 1835; violinist; pupil of Ries Boh-
mer (harm.), of Maurin and Massard,
Laub, Wuerst and Bussler; c. ope-
ras, etc.
Jahn (yUn), (i) Otto, Kiel, June 16,
1813 — GOttingen, Sept. 9, 1869;
prof, of archaeology, Bonn Univ. ;
wrote a model biog. of Mozart (1856-
59, 4 vols.), etc., also composed. (2)
Wm., Hof, Moravia, Nov. 24,1835 —
Vienna, April 21, 1900 ; 1854 con-
ductor ; dir. ct.-opera, Vienna, etc.
JUhns (yans), Fr. Wm., Beriin, 1809
— 1888 ; singer, composer and vmter.
Jakob (y&'-kSp), Fr. Auff. Lebe-
recht, Kroitzsch, 1803 — Liegnitz,
1884 ; collector.
Jakubowski (y^-oo.b6f'-shkY), Sam-
son, b. Kowno, 180 1 ; Polish com-
poser; inv. and played the xylophone.
James, (i) J., d. 1745 ; Engl, organ-
ist and composer. (2) W. N., Eng.
flutist and writer, 1824.
Janiewiecz (^an'-e-vech), Felix, Wil-
na, 1762 — Edinburgh. 1848 ; violinist
and composer.
Jan (yan), (i) Maistre. Vide cal-
lus, J. (2) K. von, b. Schweinfurt,
1836 ; Dr. phil., Berlin, 1859 ; writer.
Jankd (yang -ko), Paul von, b. Totis,
Hungary, June 2, 1856 ; pupil Poly-
technic, Vienna, and at the Cons,
with ilans Schmitt, Krenn, and
Bruckner; 18S1-82, mathematics at
Berlin Univ., pf. with Ehrlich ; inv.
in 1882 the admirable keyboard
known by his name (v. D. D.) ;
taught in Leipzig Cons. , etc.
Jan(n)akoni (>'&n-ng-kd'-ne). Gius.,
Rome, 1741 — March 16, 18 16 ; emi-
nent church-composer; conductor at
St. Peter's; pupil of Rinaldini and
Carpani.
Jannequin (or Janequin, Jennekin)
(zh^n-k&n), Cfdment, a French (or
Belgian) contrapuntist of the i6th
cent. ; nothing is known of him ex-
cept that he lived to be old and poor ;
c genuine ** programme** music.
Janotha (ya-no'-ta), Nathalie, b.
Warsaw ; pupil of Joachim and Ru-
dorff, Clara Schumann, Brahms, and
Princess Czartoryska, F. Weber
(harm.) and Bargiel ; d^but at the
Gewandhaus, Leipzig, 1874 1 1885,
ct. -pianist to the German Emperor,
574
THE MUSICAL GUIDE
and decorated with many orders;
pub. a trans, with additions of Klec-
zynski's '* Chopin "; c. 'Mz/^ Maria "
(dedicated to Pope Leo), '' Mouh-
tain Scents'* (to Frau Schumann),
gavottes, etc., for piano.
Janowka (yS-nof -ka), Thos. Baltha-
sax, b. Kuttenberg, Bohemia ; or-
ganist and writer at Prague ca. 1660.
Jansa (yan'-sa), Ld., Wildenschwert,
Bohemia, 1794 — Vienna, 1875; vio-
linist, teacher and composer.
Jansen (yan'-z6n), F. Gv., b. Jever,
Hanover, Dec. 15, 1831; pupil of
Coccius and Riccius ; teacher at
G^ittingen ; 1855, organist Verden
Cath.; 1861. Royal Mus. Dir.; com-
poser and writer.
Janssen (yans'-z^n), (i) N. A., Car-
thusian monk ; organist and writer at
Lou vain, 1845. (2) Julius, b. Ven-
lo, Holland, June 4, 1852 ; studied
Cologne Cons.; 1876, cond. Mus.
Soc., Minden; later cond. at Dort-
mund ; 1890. city mus. dir. ; cond.
the ist and 2d Westphalian Mus.
Festivals; pub. songs.
Janssens (y^ns'-z^ns), Jean Fran.
Jos., Antwerp, 1801 — insane, 1835 ;
dram, composer.
Januschowsky (y&n-oo-sh6f'-shkT),
(Frau) Georg^ne von, b. Austria, ca.
1859 ; 1875, soprano in operetta at
Sigmaringen ; 1877, soubrette, Th.
an der Wien, Vienna ; 1879-80, Leip-
zig ; 1880, Germania Th. , New York ;
1892, at Mannheim and Wiesbaden ;
1893-95, prima donna, Imp. Opera,
Vienna ; sang Wagner, etc., as well
as leading soubrette-roles in over 60
comic operas and operettas ; m. Ad.
Neuendorff.
Japha (ya-fa), (i) G. Jos., KOnigs-
berg, 1835— Cologne, 1892 ; violin-
ist. (2) Louise, b. Hamburg, Feb.
2, 1826 : pianist and composer ; pu-
pil of Warendorf (pf.). Gross and
Grund (comp.) and Robt. and Clara
Schumann ; 1858, she m. W. Lang-
hans, with whom she gave v. succ.
concerts ; since 1874, Wiesbaden ;
c an opera, etc.
Jiirnefelt, b. Finland, 1869 ; stod-
ied with Massenet, Paris ; composer.
Jaquet (zh&-ka). Vide buus.
arecki (ya-rets'-ke), Henri, b. Wai^
saw, 1846 ; dir. at Lemberg ; c.
operas, incl. ** IVamia,'' etc.
Jamowic (or Giomovi(c^hi) (var -do-
vek, or j6r-n6-ve'-ke), uiov. M., Pa-
lermo. 1745 — St. Petersburg, Mot.
21, 1804; violinist and composer;
pupil of Sully whose intolerable ec-
centricities and immorality, as well as
virtuosity, he adopted with disastrous
results: J. B. Cramer challenged him,
but he would not tight.
Jar' vis, (i) Stephen, 1834 ? — Londos,
1880; composer. (2) Chas. H.,
Philadelphia, 1837 — 1895 ; pianist
and conductor.
Jay, J., Essex, 1770 — London, 1849;
violinist.
Jean le Coq, or Jehan. Vide gallus,
JOHANNES.
Jedliczka (yat-lech'-ka), Ernest, b.
Poltawa, Russia. June 5, 1855; i»a-
nist ; pupil of Moscow Cons. ; teacher
there till 1888, then teacher Berlin,
Stein Cons.
Jefferies, (i) G., organist to Chas.
I., 1643. Had a son (2) Chris-
topher, organist and compK>ser. (3)
Stephen, 1660 — 17 12 ; EngL organ-
ist and composer.
J6hin (zha-&n), L6on, b. Spa. Bel-
gium, July 17, 1853; violinist; pu-
pil of Leonard, Brussels Cons. ; cond.
at Antwerp and Vauxhall, Brussels:
1879-89, asst.-prof. of theory, Brus-
sels Cons.; since cond. at Monaco;
composer.
J^in (J6hin-Prume) (zha-^h-pram),
Fz. H., Spa, Belgium, Apnl iS.
1839 — Montreal, May 29, 1899 ; one
of the most eminent violinists of Bel-
gian sch. ; composer.
Jelensperg^er (ya' - l$n - shp^rkh - ^r).
Daniel, near MQhlhausen, Alsatia,
1797 — 1 831; writer.
Jeiinek (yd'-lt-ndk), Fz. X., b. Kau-
rins, Bohemia, 181 8— Salzburg. iSto;
oboist and composer.
Jenk'insy (i) J., Maidstone, i59*^
DICTIONARY OF MUSICIANS 575
Kimberley, Norfolk, 1678 ; court-lu-
tist and lyra-violist to Chas. I. and
XL; composed. '*/^ Sonatas for 2
Vlns. and a Base^ Toitk a Thorough
Base for the Organ or Theorbo^* the
first £ngL comp. of the sort ; the
pop. ** The Lady Katherine AudUys
Bells, or The Five BeU Consort:'
etc. (2) David, b. Trecastell, Bre-
con, Jan. I, 1849 ; pupil of Dr. Jos.
Parry; 1878, Mus. Bac. CanUb.;
1885, cond. America ; now prof. Univ.
Coll. of Wales ; c. operetta, 2 ora-
torios, 3 cantatas, A Psalm of Life^
etc.
Jennekia (zhin-ldln). Vide jannb-
QUIN.
Jensen (y*n'-s*n). (i) Ad., Kttnigs-
berg, Jan. 12, 1837 — of consumption,
Baden-Baden, Jan. 23, 1879 • o<^c ^^
the most original and poetical of com-
posers for piano and voice ; his pf .•
pes. have an unexcelled lyricism, al-
most an elocution. Self-taught, but
advised by L. Ehlert and Fr. Mar-
burg; before 20 had c. overtures, a
string-quartet, sonatas and songs.
1856, teacher in Russia ; then studied
with Schumann ; 1857, cond. Posen
City Th.; 1858-60, studied with
Gade ; i860, returned to K5nigs-
berg ; 1866-68, teacher at Tausig's
Sch. in Berlin ; compelled by ill-
health to retire to Dresden, 1870 to
Graz, finally to Baden-Baden. C.
opera ** Turandot''* (finished by
Kienzl) : *' Nonnengesang:* and
•* Brautlied** for solo and chorus with
2 horns, harp and a piano, ^'Jephtha's
Tochter " and * ' Adonis^ Feier;'
^''Donald Caird ist wieder da^^
and other vocal works with orch.;
concert-overture ; ** Geist Itches Ton-
stack "/ •* f/ochzatsmusik:' '' Abend-
musikr '' Ubensbilder:'t''Silhouet-
ten;' and '' Ldndliche Festmusik:'
for pf. (4 hands); and " Innere Stim-
men:' ** Wanderbilder ^^ a sonata ; 6
German Suites, '' Idyllen;' '' Eroti-
kon''* (7 pes.), a scherzo, " fVald-
IdylU:' op. 47, *' Scenes carnava-
lesques^* for pf.-solo; and 160 solo
songs. Biog. by Niggli. (2) Gns-
tav, KOnigsberg, 1843 — Cologne,
1^5 ! pupil of Dehn (comp.) and
Laub and Joachim (Vln.) ; violinist
Kttnigsberg Th.; 1872-75, prof, of
cpt., Cologne Cons.; c. symphony,
etc.
Jcw'itt, R., d. 1675 ; Engl, organist
and composer.
Jimmerthal (yYm'-m«r-t$l), Hn., Ltt-
beck, 1809 — 1886 ; organist, org.-
builder and writer.
Joachim (yo'-a khem), (i) Jos., b.
Kittsee, near Pressburg, June 28,
1831 ; eminent violinist ; studied at
5 with Szervacinski, Pesth, with
whom he appeared in public at 7;
from 1 84 1, at Vienna Cons, with
BOhm ; at 12, played in Leipzig, and
soon after at the Gewandhaus, with
much succ; frequently leader of the
Gewandhaus Orchestra ; 1844, made
his first of many appearances in Lon-
don ; 1849, Concerimeister of the
Weimar orch.; 1854, cond. and solo-
violinist to the King of Hanover;
1863 m. Amalie Weiss (v. infra); 1868
head of the new '* Hochschule fQr
ausQbende Tonkunst," Berlin ; later
artistic dir.; 1895, dir.; 1877, Mus.
Doc. h. r., Cambridge Univ.; has
had many degrees from German Uni-
versities, and various orders of
knighthood ; holds undisputed pre-
eminence as a classicist and solo-per-
former; his famous J. Quartet includes
Dc Ahna, Wirth and Hausmann. He
c. the notable ** Hungarian "concerto,
and 2 others, and famous variations
with orch., also overture to **/^«w-
lef* ; 4 overtures incl. *' Dem Anden-
ken Kleists** ; Hebrew Melodies, for
via. and pf.; Op. 14, ^* Szene der
Marfa " (from Schiller's Demetrius),
for contralto solo with orch.; three
cadenzas to Beethoven's vln. -concer-
to, etc. (2) Amalie (nee Weiss,
rightly, Schneeweiss), Marburg,
Styria, May 10, 1839 — Berlin, Feb.
3, 1899; eminent concert and oper-
atic soprano ; then contralto and
teacher ; wife of above.
576
THE MUSICAL GUIDE
Joao IV. (zhowA), King of Portugal,
Villa-Vicosa, 1604— Lisbon, 1656 ;
theorist and composer.
J5cher (y€kh'-dr), Chr. Gl., Leipzig,
1694 — 1758 ; professor and writer.
Johannes, (i) Cotto. Vide cotto.
(2) Damasce'nos (rightly Jns. Chry-
sorrho'os), of Damascus, ca. 700 —
ca. 760; composer, editor and writer.
(3) De Garlan'dia. Vide ga&lan-
DiA. ^4) De Mu'ris. Vide muris.
(5) Gallus. Vide gallus.
Johns, Clayton, b. New Castle, Del.,
Nov. 24, 1857 ; pupil of J. K. Paine,
and W. H. Sherwood, Boston ; later
with Kiel, Grabow, Raif, and Rum-
mel (pf.) in Berlin ; since lives in
Boston, Mass., as a concert-pianist
and teacher; c. a Berceuse and
Scherzino for string-orch. (played by
Boston Symph. orch.) ; many pop.
song^, etc.
John'son, (i) Edw., English composer,
1594. (2) Robert, Engl. i6th cent,
ecclesiastic and church composer.
(3) Robert, lutenist and prominent
composer, 1573 — 1625.
Jommelli (ydm-mdl'-ll), Niccoi6,
Aversa, near Naples, Sept. 11, 1714
— Naples, Aug. 28, 1774 ; eminent
operatic and church-composer ; pupil
of Canon Mozzillo, Durante, Feo.
Leo, Prato and Mancini. C. ballets
and song^, then dram, cantatas ; at
23 prod, opera *' V Errore Amoroso "
(Naples, 1737), under the name
" Valentino ** ; its succ. relieved his
anxiety and removed his anonymity
and he followed it with other succ.
works in various cities under various
patronage. He was made Dir. of
the Cons, del Ospedaletto, Venice ;
1748-54 asst. Maestro at St. Peter's,
Rome, until 1754 ; cond. to the Duke
of WUrtemberg. Lived in Germany
15 years and made great succ. He
proHted artistically by German influ-
ence, but when the Stuttgart opera
was disbanded and he retired to Italy
his style was too serious and perhaps
his best works ** Armida Abbando-
nata"' (1770), '* Demofoonte'' (1770),
^nd ** Ijflgema in Taurine ^^ (iTJj}y
were failures when prod, at Naples.
The humiliation after such long tri-
umph brought on apoplexy (1773),
from which he recovered only loo^
enough to write a cantata on the
birth of a prince, and his masterpiece,
a ** Miserere." The King of PoitB-
gal commissioned him to write 2
operas and a cantata ; but he did not
live to finish them ; he c o\tr 50
known operas and divertissements,
and equally fine sacred mus., incL 4
oratorios, a magnificat with echo, etc
Jon4s (zhd-n&s), (i) Emile, b. Paris,
March 5, 1827 ; pupil of Carafa at
the Cons. ; from 1847 teacher there
also mus. -dir. Portuguese sytiagogiie.
(2) (hd'-n&s), Alberto, b. Madrid.
June 8, 1868; pf. pupil of Olave and
Mendizabal ; also at the Cons.; at iS
with Gevaert, Brussels Cons.; woo
1st prize for pf., and later a first
prizes in harm. ; debut, Bmssds,
1880 ; 1890, studied St. Petersbcrg
Cons, under Rubinstein's tuition;
since toured Europe and America;
1894 head of the pf.-dep. Univ. of
Michigan ; composer and writer.
Jonci^res (zh6n-sY-&rs), F. Lodger
Victorin de, b. Paris, April 12, 1839;
studied painting, then mus. with El-
wart at the Cons. ; an ardent Wagne-
rian, he left the Cons, because of El-
wart's adverse opinion ; he is pres.
**Soc. des Compositeurs de mo-
sique," Chev. of the Legion of Hon-
our, and oflficer of public instructioD;
since 187 1 critic of La LiberU^ etc. ;
prod. 4 operas, incl. **Z^ CAev^Uer
Jean " (Op.-com., 1885), a symph.
ode, ** La Mer " / a ** Symphonie r§-
manHque'' ; ''Li Tsin/* a Chmoe
theme for soli and orch, etc.
Jones, (i) Robt., Engl, lutenist aod
composer, 1601-16; one of his songs,
*' Farewell deere love** is alluded to
in •* Twelfth Nightr (2) Wm.
('* of Nayland "), Lowick, Northamp-
tonshire, 1726 — Nayland, Suffolk,
1800 ; writer and composer. (3) Jn
1728— London, 1796 ; organist aid
DICTIONARY OF MUSICIANS 577
composer. (4) (Sir) Win., London,
1740— Calcutta, 1794; writer. (5)
Edw. {** Brady Brenin "), Llander-
fcl, Merionethshire, April 18, 1752 —
London, April 18, 1824 ; Welsh
harpist, writer and composer. (6)
Gnffith Rhys (or Caradog:), b.
Trecynon, Wales, Dec. 21, 1834 ;
Welsh conductor; as a vouth cond.
the choir ** Cor Caradog, whence his
sobriquet; 1872-73, cond. the succ.
choir in the Crystsd Palace competi-
tions. (7) Griffith, British writer,
pub. •* A History of the Origin and
Progress of Theoretical and Practi'
col Music,*' 1819. (8) Arthur Bar-
clay, b. London, Dec. 16, 1869; pupil
of Winghara and Banister; and at
Guildhall Sch. .of Mus., won a schol-
arship ; 1889, Associate ; 1892, prof,
of pf.; c. symphony, concert-over-
ture, etc. (9) Sidney, Engl, compos-
er of the succ, operetta ** The Gaiety
Girr (London, 1893); ''An Artis/s
Moder (Daly's Th., London, 1895);
" The Geisha'' (ibid., 1896), etc.
Jor'dan, Jules, b. Willimantic, Conn.,
Nov. 10, 1850 ; studied singing with
Osgood, Boston, Shakespeare, Lon-
don, and Sbriglia, Paris; for 13
years choirm. of Grace Ch., Provi-
dence ; since 1880 cond. Arion
Club; c. comedy-opera ^* Rip Van
WinhW (pub. 1898); canUU with
orch.; songs, etc.
Josefff (yo-z^f'.fl), Rafael, b. Mis-
kolcz, Hungary, July 3, 1853 ; emi-
nent pianist ; pupil of Moscheles,
Leipzig Cons., and Tausig; toured
Europe with succ. ; lived in Vienna ;
for many years at New York; since,
teacher Nat. Cons. ; c pf .-pes.
Josqnin. Vide desprks.
onret (zhoo-ril), (i) Th., Ath, Belgi-
um, 182 1 — Kissingen, 1887; criticand
dram, composer. (2) L6on, b. Ath,
Oct. 17, 1828 ; bro. of above ; pupil
Brussel Cons, and since 1874 vocal
teacher there ; c. 2 operas, cantatas,
etc.
Joumet (zhooZ-na), Marcel, b. Paris,
1S69; bass; pupil of the Cons. ; d^but
17
Th. de la Monnaie, Brussels ; has
sung often at Covent Garden; and
since 1900 at Met. Op., N. Y.
Jousse (zhoos), J., Orleans, France,
1760 — 1837 ; teacher and writer.
Judenkunig^ (yoo' - den - koo - nKkh),
Hans, b. Schwabisch-Gmdnd ; luten-
ist, vioUst and composer at Vienna,
1523.
Jue (zhQ), Edouard, b. Paris, 1794
(?) ; violinist and writer.
Jul(l)ieii (zhQl-yiUi), (i) Marcel Bd.,
Paris. 1708— 1881 ; writer. (2) Jean
Lucien Ad., b. Paris, June i, 1845 ;
son of above ; prominent critic and
writer.- (3) Louis Ant., Sisteron,
- Basses- Alpes, April 23. 18 12— insane,
Paris, March 14, i860 ; pop. con-
ductor and composer of dance music,
etc. (4) Paul, Brest, France, Feb.
12. 1841 — at sea, 1866 ; violinist ;
pupil Paris Cons., took ist prize ;
toured America, 1853-66.
Jumilhac (zhO-mel-y&k), Dom P. Be-
noit de, near Limoges, 161 1 — St.-
Germain-des-Pres, 1682 ; writer.
Junck (yoonk), Benedetto, b. Turin,
Aug. 24, 1852 ; pupil of Bazzini and
Mazzucato ; lives in Milan ; c. string-
quartet, etc.
Jung^mann (yoong'-miin), (i) Albert,
Langensalza, Prussia, 1824 — Pan-
dorf, near Vienna, 1892 ; professor
and composer. (2) Ludwig^ (or
Louis), Weimar, 1832 — 1892; teacher
and composer.
Jttngst (ylnkst), Hugo, b. Dresden,
Feb. 26, 1853 ; studied at Cons, there;
founded the Julius Otto Soc.; and
cond. Male Choral S>oc. ; 1898 made
prof, by King of Saxony ; c. male
choruses.
Junker (yoonk'-Sr), K. L., Ohringen,
ca. 1740 — Kirchberg, 1797 ; writer
and composer.
Jupin (zho-pih), Chas. Fran., Cham-
bery, 1805 — Paris, 1839 ; violinist,
professor, conductor, and dram, com-
poser.
Jiirgenson (yttr-gfin-zon), Peter, b.
Reval, 1836 ; founded mus. -pub.
house, Moscow, 1861.
578
THE MUSICAL GUIDE
K
Kaaa (kan) (*<Alb6st.Kahn ")• H.
▼on, b. Tamopol, Galicia. May 29,
1852 ; pianist ; pupil of Blodek and
Skuhersky, Prague ; since 1890, prof,
at the Cons, there; c. ballets, sym-
phonic poem ** Sakuntala *'/ etc.
Kade (ka -d6). Otto, Dresden, 1825—
Schwerin, 1900; ct.-conductor, writer
and composer.
Kaff'ka (or Kawka) (kSf'-kS), Jn.
Chr., b. Ratisbon, 1759 \ dram, com-
poser.
Kafka (kaf-kS), Jn. Nepomuk, Neu-
stadt, Bohemia, 1819 — Vienna, 1886;
composer.
Kahl (kill). H., Munich, 1840— Ber-
lin, 1892 ; conductor.
Kahlert (k^-l^rt), K. Aug. Timo-
theus, Breslau, 1807 — 1864; writer
and composer.
Kahn (kan), Robt., b. Mannheim,
July 21, 1865 ; pianist ; pupil of
Ernst Frank and V. Lachner, Kiel,
and Jos. Rheinberger (Munich, 1885);
1891 founded Ladies* Choral Union,
Leipzig; 1893 teacher of pf. Berlin
Hochschule fQr Musik ; c. serenade
for orch., etc.
Kahat (kSnt), Chr. Fr., 1823— Leip-
zig, 1897 ; mus. -publisher.
Kaiser (kT'-z«r), (i) K., Leipa, Bohe-
mia, 1837 — Vienna, 1890 ; founded
sch. continued by his son (2) Rudolf.
(3) Fr. Etnil, b. Coburg, Feb. 7,
1850 ; regimental bandm. Prague ;
prod. 5 operas, incl. "' Der Trompeter
von Sdkkingen " (OlmUtz, 1882).
Kajanus (ka-ya'-noos), Robt., con-
temporary cond. Philh. Orch. of Hel-
singfors, Finland.
Kal'beck, Max, b. Breslau, Jan. 4,
1850 : studied Munich Sch. of Mus. ;
1875, writer, critic at Breslau ; now
on the Wiener Montags-Revue^ and
the t^eues Tageblatt,
Kalisch (ka'-llsh), Paul, b. Beriin,
Nov. 6, 1855 ; tenor ; studied with
Leoni ; sang Berlin ct. -opera ; m.
Lilli Lehmann ; sang at Cologne and
6 times in America.
Kalischer (kaMlsh-^r), Alfred, b.
Thorn, March 4, 1842; Dr. Phil..
Leipzig U. ; studied with BQrgetacd
Bohmer ; lives in Beriin, as a wrikT
and teacher ; editor Neue Berliner
Musikteitung ; pub. ^*' Lessing eh
Musikastkettker'' ; ''Musik ttnd
Moral^'* etc.
Kalkbrenner (kjllk'-br^n.ndr),( 1) Chr.,
Minden, Hanover, 1755 — Paris, i8ot;
writer and dram, composer. (2) Fr.
Wm. Michael, b. on a journey from
Cassel to Berlin, 1788— d, of cbokra
Enghien-Ies-Bains, near Paris, Jane
10, 1849; ^^^ ^^^^ pupil of above;
very succ. pianist and teacher : de-
veloped modern octave-playing, kii-
hand technique and pedalling ; viote
valuable ^udes and other comps.;
also studied Paris Cons, and with
dementi and Albrechtsberger. (3)
Arthur, d. near Paris. 1869 ; son of
(2); composer.
Kalliwoda (k&l' - U - vo - da), (i) Jo.
Wenzel, Prague, i8oi — Carlsrahe.
1866 ; pianist, conductor and dratn
composer. (2) Wm., Donaueschio*
gen, 1827 — Carlsruhe, 1893 ; son and
pupil of above; dir., ct -conductor,
pianist and composer.
Kallwitz, or Kaiwitz. Vide calvi-
SIUS.
Kal'tenbom, Fz., violinist, conductor;
member Seidl's and other orchestras
at New York ; asst.-cond. of Scitll
Soc., Brooklyn, N. Y.; 1894 founded
Kaltenbom quartet ; 1899 founded
the succ. K. orchestra, which gi«s
summer concerts in N. Y.
Kamienski (kilmY-dn'.shkT), Mathias,
Odenburg, Hungary, 1734 — Warsaw,
182 1 ; teacher and composer of the
first Polish Opera " The WreUked
Made Happf (1778), etc.
Kammerlander (kfim'-m«r-iant-dr), K.,
Weissenhom. Swabia, 1828 — Angs-
but^, 1892; conductor and composer.
Kandler (k£nt'-l«r), Fz. Sales, Kks.
temeuberg. Lower Austria, 1792—
Baden, 183 1 ; writer.
Kaps (kfips), Ernst, Ddbeln, Saxony,
1826 — Dresden, 1887 ; est. piano
DICTIONARY OF MUSICIANS 579
factory, Dresden, 1859; succeeded
by his sons.
Kapsbers:er (kaps' - b^rkh - ^r), Jn.
Hieronymns von, b. of noble Ger-
nian family, d. Rome, ca. 1650 ;
virtuoso on theorbo, chitarrone, lute,
and trumpet ; notable comp>oser.
Karajan (ka'.r&.yHn), Th. G. Ton,
Vienna, 1810—1873 ; writer.
Karasowski (ka-rS-shof'-shkl), Mo-
ritz, Warsaw, 1823— Dresden, 1892;
'cellist, writer and composer.
Kargfanoff (kar-gSn-yof), Genari,
Kashetin, Caucasus, 1858 — Rostroff-
on-Don, 1890 ; pianist and composer.
Karl, Tom, b. Dublin, Jan. 19, 1846 ;
tenor ; studied with H. Phillips, San-
giovanni and Trivulzi ; sang in Ital-
ian opera for years, went to America
with Parepa-Rosa, then with ** The
Bostonians '* in comic opera many
years ; retired 1896 ; now vocal
teacher N. Y.
Karow (ka'-rof), Karl, Alt-Stettin,
1790 — Bunzlau, Silesia, 1863 ; teach-
er and composer.
Kaskel (k^Ls-kal), Freiherr K. von,
b. Dresden, Oct. 10, 1866 ; studied
law at Leipzig, also mus. in the Cons,
with Reinecke and Jadassohn (1886-
87), and later with WttUner and Jen-
sen, Cologne ; now lives in Dresden ;
c. succ. I -act opera ** Hochteitsmor-
gen " (Hamburg, 1893) ; v. succ.
opera " Sjuui " (Cologne, 18^5), etc.
KiUsmeyer (k^'-m!-«r). Montz, Vi.
enna, 1831 — 1885 ; violinist ; c. 5
string-quartets, some of them hu-
morous.
Kastner (kSst'-nj^r), (i) Jn. G., Strass-
burg, March 9, 18 10 — Paris, Dec. 19,
1867; pupil of Maurer and Romer:
at 10, organist ; at 20, bandm. ; at
25 had prod. 4 operas, and was sent
by the town council to Paris, to study
with Bcrton and Reicha ; 1857,
pub. treatise ** On Instrumentation*^
among others : also methods adopted
at the Paris Cons. ; lived there-
after at Paris as teacher ; wrote
learned essays and an *' EncyclopMie
<U la musiqi4€," C. 3 later operas,
incl. '*Z^ dernier roi de Juda^* his
masterpiece, also 3 symphonies, 5
overtures, lO serenades for wind ;
** Livres-partitions " (symphony-can-
tatas, prefaced by brilliant historical
essays, incl. **Z^j dances des morts**)^
a vol. of 310 pages; "Za harpe
d*Me** {i%^t)\ '' Lesvoixde Paris;'
followed by '* Les cris de Parish'
grande symphonic humoristique voc.
et instr. (1857); *' Les Sir^nes"
etc. Biogr. by Jan (Leipzig, 1886).
(2) G. Fr. Eug^en, Strassburg, 1852
— Bonn, 1882 ; son of above ; inv.
the pyrophone (v. D. D.), and pub.
work on it. (3) Emmerich, b. Vi-
enna, March 29, 1847; editor and
writer.
Kate (kr-t€), Andr6 Ten, Amster-
dam, 1 796-— Haarlem, 1858 ; 'cellist
and dram, composer.
Katzmayr (kats'-mlr), Marie, b. Vi-
enna, March 6, 1869 ; colorature so-
prano; pupil Frau Niklass-Kempner ;
sane in Holland, then at Berlin, etc.
Kauoers (kow'-d^rs), Aibett, critic in
Vienna, and composer of comic opera.
Kauer (kow'-^r), Fd., Klein-Thaya,
Moravia, Jan. 8, 1751 — Vienna,
April 13, 1831; prolific c. of Sin^-
spieU ; organist, conductor, 'cellist ;
c. 2,000 operas and operettas.
Kauffmann (kowf'-man). (i) Ernst
Fr., Ludwigsburg, 1803 — Stuttgart,
1856; pianist and composer. (2) Emil,
b. Ludwigsburg, Nov. 23, 1836; violin-
ist ; son of above ; pupil of Stuttgart
Cons.; since musical dir. Tubingen
Univ.; Dr. phil., 1885. (3) Fritz, b.
Berlin, June 17, 1855 ; a druggist,
Leipzig and Hamburg ; took up mu-
sic, 1878, entered the Akademische
Hochschule at Berlin, won Mendels-
sohn prize for comp. 1881; till 1889,
lived m Berlin as a teacher and cond.
of the **GeseIIschaftsconcerte" at
Magdeburg; 1893, Royal Musik-Di-
rector ; c. comic opera, ''Die llerz-
krankheit*\' symphony, etc.
Kaufmann (kowf'-mSn), (i) G. Fr.,
Ostramondra. Thuringia, 1679— Mer-
seburg, 1735 ; organist, director,
58o
THE MUSICAL GUIDE
writer and composer. (2) Jn. Gf.,
Siegmar, Saxony, 175 1 — Frankfort,
1818 ; maker of musical clocks. (3)
Fr., Dresden, 1785 — 1866; son of
above ; inv. the ** Belloneon," etc.
His son (4) Fr. Theodor, Dresden,
1823 — 1872, developed the ** Orches-
trion.'* (5) Robert, b. Basel, and
later there studied with Rossi, Du-
prez and Stockhausen ; oratorio tenor ;
has sung in many capitals.
Kayser (kl'-z€r), (i) Ph. Chr., Frank-
fort, 1755 — Zurich, 1823 ; pianist.
(2) H. Ernst, Altona, 18 15 — Ham-
burg, 1888, violinist and teacher. (3)
Fr. Emil. Vide kaiser.
Kazynski (k^zen'-shkr), Victor, b.
Wilna, Lithuania, Dec. 18, 18 12 ; pu-
pil of Eisner, Warsaw ; prod. 3 op-
eras ; 1843, cond. Imp. Th. St. Peters-
burg.
Keams (kSmz), Wm. H., Dublin,
1794 — Kennington, 1846 ; violinist
and composer.
Keck Ton Gieng^en (kdk fdn geng'-£n),
Jn., Benedictine monk at Tegemsee,
Upper Bavaria, ca. 1450 ; writer.
(Gerbert.)
Kee'bie, J., Chichester, 1711 — 1786;
organist, teacher and composer.
Kee ley, Mrs. M. A., b. Ipswich, 1805;
English soprano.
Keinspec (or Keinsbeck, Kiln-
speck, and wrohglv Reinspeck)
(kin'-shp^k), Michael, of NUrnberg ;
"pub. one of the first theoretical works
printed at Basel, 1496.
Keiser (kl'-z^r), ]^einhard, Teuchem,
near Weissenfels, Jan. 9, '1674—
Hamburg, Sept. 12, 173*9; ^^^ father
of German opera, the first to employ
popular subjects and to leave the
Italian and French pattern ; also note-
worthy for his instrumentation and
dramatic force ; pupil of his father ; c.
116 operas at Hamburg from 1694;
mgr. the opera there, ct. cond. and
later canon and cantor ; c. also orato-
rios, masses, etc.
Keler Bela (rightly Albert von Ke-
ler) (ka'-15r ba'-la), Bartfcld, Hun-
gary, Feb. 13, 1820 — Wiesbaden,
Nov. 20, 1882; violinist, conductor
and composer.
Keller, (i) Gottfried (called God-
frey), b. in Germany ; teacher and
writer in London, 1707. (2) Maac,
Trostberg, Bavaria, 1770 — ^AltOtting,
1855 ; organist and composer. (3)
K., De»aa, 1784 — Schaffhausen,
1855 ; ct.-fiotist, conductor &nd com-
poser. (4) F. A. £., inv., 1835, the
unsucc. ** pupttre-improvisateur " (v.
D. D.), and pub. a method.
Kerierniann, (i) Berthold, b. Num.
berg, March $, 1853 ; pianist ; pupO
of his parents and of Liszt ; 187S-SZ
Wagner*s secretary ; 1882, teacher
Munich R. Mus. Sch. ; conductor and
ct. -pianist. (2) Chr., Randers, Tm-
land, 1815 — Copenhagen, 1866 ; 'cel-
list and composer.
Kel'ley, Edgar Stillman, b. Sparta,
Wis., Apm, 14, 1857 ; one of the
most original and brilliant of Amer-
ican composers; pupil of F. W.
Merriam, Clarence Eddy, and N.
Ledochowski (Chicago), and 1876-80
of Seifriz (comp.), KrOger and Spei-
del (pf.) and Fr. Finck (orjr.), at
Stuttgart; organist at Oakland and
San Francisco, Cal.; cond. comic
opera, 1890-91 ; teacher pf. , oi^g.,
and comp. in various schools ; lately
N. Y. Coll. of Mus.; critic for the
Examiner^ San Francisco, 1893-95 ;
and essayist for various periodicals ;
since 1896 lecturer on mu^c for tbe
Univ. of New York; 1901-02 at
Yale University; c. '' CuiBver:*
humorous S3nnpn.; Chinese suite,
*' Aladdin" iot orch. ; comic opera,
^' Puritania^* (Boston, 1892); succ.
incid. music to Macbeth and to Bern
Hur^ both for chorus and orch.;
string-quartet, op. i (MS.) ; " Wed-
ding'OcU" for tenor solo, msUe chorus
and orcK (MS.) ; 6 songs, ** Phages
of Love" \ notable songs, *' Eld^
rado " and ** Israfel" and others.
Kel'lie, Lawrence, b. London, Apifl
3, 1862 ; tenor and composer ; stud-
ied at R. A. M. and with Randeg^er;
debut Covent Garden, 1886.
DICTIONARY OF MUSICIANS 581
Kell'neTy (i) David, dir. German ch.
and Th. at Stockholm, 1732. (2)
Jn. Peter, Grafenroda, Thuringia,
1705 — 1788 ; organist and composer.
(3) Jn. Chp., Grafenroda, 1735 —
Cassel, 1803 ; son of above ; ct -or-
ganist and dram, composer. (4) G.
Chr., d. Sept., 1808; teacher and
writer at Mannheim. (5) Ernst
Aug., Windsor, England, 1792 —
London, 1839 ; probably a grandson
of (3); barytone, oianist and organist.
Keliog^, Clara 'Louise, b. Sumter-
ville, S. C, July, 1842 ; noted so-
prano ; 1856-61, studied in New
York ; d^but Acad, of Mus. (1861) ;
debut, London, at H. M's. Th.
(1867), as Mai^herita, with great
succ; sang in many capitals.
Kel'ly, MicSael, Dublin, 1762— Mar-
gate, 1826 ; tenor and dram, compos-
er ; friend of Mozart ; wrote musical
•• Reminiscences."
Kel'wa^, (i) Thos., d. 1749; Engl,
organist and composer. (2) Joseph,
d, 1782 ; bro. of above ; organist,
harpsichordist, and composer.
Kenil>le, Adelaide, b. 18 14 ; retired
1843 ; daughter of the actor Chas.
Kemble ; operatic singer.
Kemp, (i) J 08., Exeter, 1778 — Lon-
don, 1824 organist and composer.
(2) Robert (called ** Father Kemp"),
WcUfleet, Mass., 1820 — Boston,
1897 ; organised and cond. pop.
•• Old Folks' Concerts " ; wrote auto-
bic^^ntphy.
Kemp'is, Nicholas A., organist and
composer at Brussels, 1644-50.
Kempter, (i) K., Limbach, Bavaria,
1819 — Augsburg, 1871 ; conductor.
(2) Lothar, b. Lauingen, Bavaria,
Feb. 5, 1844; cond., professor, and
dram, composer; son and pupil of
(3) Fr. K. (music-teacher) ; studied
Munich Univ., then with Rhein-
berger; chorus-dir.; since i886 prof.
of mus. theory, Zttrich Mus. Sch.
Ken'dall, J., organist and composer,
London, 1780.
Kenn, P., German horn- virtuoso and
composer ; 1782 at Paris.
Ken'nedy, David, Perth, 1825— 1886;
singer.
Kent, Jas., Winchester, Engl., 1 700—
1776 ; organist and composer.
Kepler (k^-pl^r), Jns., Weil, Wortem-
berg, 1 57 1 — Katisbon, 1630; astron-
omer ; writer.
Kerle (k^rl), Jacques de, b. Ypres,
Flanders, i6th cent ; conductor and
composer.
Kerl(l) (Kherl, Cherl), Jn. Caspar,
Gaimersheim, near Ingolstadt, 1621
— Munich, Feb. 13, 1693 ; organist,
ct. -conductor, teacher, and notable
comjx)ser of the *' Missa nigra " (all
in black notes), etc.
Kes (kas), Willem, b. Dordrecht,
Holland, Feb. 16, 1856 ; violinist ;
pupil of BOhm, etc., then of David,
and, under royal patronage, of Wien-
iawski, and Joachim ; 1876, leader
Park Orch. and Felix Mentis Soc.,
Amsterdam; then cond. ** Society"
concerts, Dordrecht ; 1883-95 cond.
at Amsterdam ; 1895 Glasgow orch, ;
1898 cond. Philh. and dir. Moscow
Cons.
Kes'sel, Fz., th.-cond., 1889, at Frei-
burg-in-the-Breisgau ; c. a symph.
and succ. opera, '* Die SchwesUrn "
(Trier, 1895).
Kess'ier, (i) Fr., preacher and writer.
(2) Fd., Frankfort-on-Main, 1793 —
1856 ; violinist and composer. (3)
rrightly Kotzler) (k^ts'-l^r), Jos.
Chp., Augsburg, 1800 — Vienna,
1872 ; teacher, organist and compos-
er.
Ket'ten, H., Baja, Hungary, 1848 —
Paris, 1883 ; pianist and composer.
Kettenus (k^t-ta-noos) (or kSt-ntls),
Aloys, Verviers, 1823 — London,
1896; violinist and dram, composer.
Ketterer (k^t-tQ-ra), Eugene, Rouen,
1831 — Paris, 1870 ; pianist and com-
poser.
Keurvels (kttr'-v51s), Edw. H. J., b.
Antwerp, 1853 ; pupil of Benoft ;
till 1882, chorusm. Royal Th.; since
cond. Nat. Flemish Th., Antwerp;
c. operas, cantatas, etc.
Kewitsch (Kiewics) (ka'-vttsh or
582
THE MUSICAL GUIDE
ke'.vech). (Karl) Thcodor, b. Po-
silge, W. Prussia, Feb. 3, 1834 ; son
and pupil of an organist; studied
with Maslon ; oboist, then teacher
and organist in different towns ; pen-
sioned 1887, then editor, etc.
Kiel (kel), Fr., Puderbach, near Sie-
gen (Rh. Prussia), Oct. 7, 1821—
Berlin, Sept. 14, 1885 ; notable
teacher and composer of classic sch. ;
self-taught as pianist and composer ;
vln. -pupil of Prince Karl von Wittgen-
stein and later, on stipend from Fr.
Wm. IV., studied with Dehn ; lives
in Berlin ; 1868 *' Royal Prof." ; c.
oratorios, etc
Kiene (ke'-nd). Vide bigot.
Kienle (ken'-l^), Ambrosius, b. Sieg-
maringen, May 8, 1852 ; Benedictine
monk and writer.
Kienzl (kents'-'l), Wm., b. Waizen-
kirchen. Upper Austria, Jan. 17,
1857; pupil of Buwa, Uhl, Remy,
Mortier de Fontain, Jos. Krejci, and
later, Liszt; 1879 Dr. Phil, at Vienna;
1880 lectured at Munich ; 1881-82
toured as pianist; 1883-84 chief cond.
of German Opera, Amsterdam ; 1886
m. the concert -singer Lili Hoke ;
1886-90 dir. Styrian Musikverein at
Graz and cond.; 1890-92, ist cond.
Hamburg Opera ; 1892-93, at Mu-
nich ; 1 899- 1 90 1 at Graz as com-
poser. His first opera ** Urvasi"
(Dresden. 1886) was succ, as was
^'' Heilmar^ der Narr*^ (Munich,
1892), and still more so ** Dtr Evan-
gtUmann** ; c also ^^ Heiltnann the
Fool," ''Don Quichou;' a ** musical
tragi-comedy " ; he finished Jensen's
** Turandoi^' and c. also 90 songs,
etc.
Kiesewetter (ke -z^-v^t-t^r), Rapha-
el G. (Edler von Wiesenbrunn), Hol-
leschau, Moravia, 1773 — Baden, near
Vienna, 1850; important coll. of
mus. MSS. and historian of many ob-
scure periods, etc. : later ennobled.
Kiewics. Vide kewitsch.
Kimball, Josiah, Topsfield, Mass.,
1 76 1 — 1826 ; teacher and composer
of psalm-tunes, etc.
Kind (ktnt), J. F., I^ipzig, 1768-
Dresden, 1843 ; librettist of " Dtr
FreischUttf' afterwards composer.
Kindermann (klnt'-£r-man), (i) Jn.
ErasmnSy b. Numberig, 1616— after
1652 ; organist and composer. (2)
Aug^., Pots4am,i8i7 — Munich, 1891;
barytone. (3) Hedwig^, daughter of
above. Vide reicher, k.
King:, (i) Wm., 1624—1680; Ei^.
organist and composer. (2) RoK^
d. after 171 1; Engl, composer. {3)
Chas., Bury St. Edmunds, 1687—
London, 1748 ; composer. (4) Mat-
thew Peter, London, 1773— 1823;
theorist and dram, composer. (5)
Oliver A., b. London, 1855; pi^i^;
pupil of W. H. Holmes, and Rei-
necke, Leipzig Cons. ; pianist to the
Princess Louise, 1879; toured Can-
ada and New York; 1899 pf.-prof. al
R. A. M.; c. cantatas, 147th Psalm,
with orch. (Chester Festival, 18SS),
a symphony, **A7^A/." (6) Jnlie.
Vide RIVE-KING.
Kink'el, Johanna (n^e Meckel, di-
vorced Matthieux), Bonn, 1810;
London. 1858 ; writer and dram,
composer.
Kipke (kYp'.k«), K., b. Breslau, Nov.
20, 1850; editor.
Kip'per, Hn., b. Coblenz, Aug. 27,
1826 ; pupil of AnschOtz and H.
Dom ; teacher and critic at Cologne;
c. operettas.
Kircher (kerkh'-^r), Athanasint,
Geisa (Buchow ?), near Fulda, 1602 —
Rome, 1680 ; Jesuit archaeologist and
colL of airs, some of them sufiposed
to have curative effects.
Kirchl (kerkh'.'l). Ad., b. Vienna,
Tune 16, 1858 ; choirm. *' Schubert-
bund," Vienna ; c. male choruses,
etc.
Kirchner (kerkh'-n^r), (i) Fz.,b. Pots-
dam, Nov. 3, 1840 ; pianist ; pupil
Kullak's Acad., where he taught
1864-89, then in the Madchenheim
sch., Berlin ; c. pf.-pcs., etc. (2)
Hn., b. Wolfis, Thuringia, Jan. 23,
1861 ; concert-tenor, and composer at
Berlin. (3) Theodor, b. Neuldrcben,
DICTIONARY OF MUSICIANS 583
near Chemnitz, Saxony, Dec. 10,
1824 ; pupil of T. Knorr (pf.), K. F.
Becker (org.), Jn, Schneider, and at
Leifttig Cons.; 1843-62, organist
Winterthur ; 1862-72, teacher Zurich
Mus. Sch., and cond.; 1873-75, dir.
WQrzburg Cons., Leipzig ; 1883,
Dresden ; 1890, Hamburg ; c. 90 pf.-
pcs., etc.
Kirk'maim, (i) Jacob (rightly Kirch-
raann), d. London, 1778 ; founder
(before 1740) of the firm of harpsi-
chord-makers, K. & Son, the " son "
bein? his nephew, (2) Abraham K.
(3) Jan., b. Holland, d. Norwich,
1799; organist and composer, Lon-
don, 1782.
Kirnbers^er (kem'-b«rkh-«r), Jn. Ph.,
Saalfeld, Thuringia, 1721 — Berlin,
1783 ; eminent theorist, conductor
and composer.
Kist (kest), Florent Coraeille (Flo-
rens Cornelius), Amheim, 1796 —
Utrecht, 1863 : horn-player and flut-
ist ; editor, conductor and composer.
Kist'ner, (i) Fr., Leipzig, 1797 — 1844;
pub. His son (2) Jtilias succeeded
him. (3) Cyrill, b. Grossaitingen,
near Augsburg, March 12, 1848 ;
school-teacher; studied with WOll-
ner, Rheinberger, and Fr. Lachner ;
1883 teacher Sondershausen Cons.;
since 1885 lives in Bad Kissingen as
princip>alof a sch., pub. of text-books,
incl. '* A Harmony t based on Wag-
ner t* etc.; c. 2 operas; a succ.
* ' musical comedy " * * Eulenspiegel "
(WUrzburg, 1893) ; etc.
Kitchlner, Wm., London, 1775 —
1827 ; a wealthy physician ; writer
and dram, composer.
Kittel (klt'-tei), Jn. Chr., Erfurt. Feb.
12, 1732 — May 9, 1809; J. S. Bach's
last pupil; organist in Erfurt; famous
but ill-paid virtuoso and teacher.
Kittl (kit'-'l), Jn. Fr., b. Schloss, Wor-
lik, Bohemia, 1806 — Lissa, 1868 ;
conductor and dram, composer.
Kitzier (kXts'-l€r), Otto, b. Dresden,
March 16, 1834 ; pupil of Schneider,
Otto, and Kummer (*ceIlo), later of
Servais and Fetis, Brussels Cons. ;
'cellist in opera-orchs. at Strassburg
and Lyons; cond. at various theatres;
1868 air. Brunn Mus. Soc. and Mus.
Sch., also cond. of the M&merge-
sangverein; pub. orch.-mus., pf.-
DCS etc
Kjcruif (ic'ya'-roolO, Halfdan, Sept,
17, i8i8 — Christiania, Aug. 11, 1868;
teacher and composer ; gave up the-
ology for music ; studied at Leipzig ;
settled in Christiania ; c. songs and
KUtfs^' (Lohse-Klafsky) (klaf-
shkY), Katharina, St. Johann, Hun-
gary, 1855 — Hamburg, 1896 ; sopr. ;
pupil of Mme. Marches! ; sang in
comic opera chorus, later leading
Wagnerian r61es in Europe and Amer-
ica ; m. Otto Lohse.
Klanser (klow'-zCr), (i) K., b. of
Swiss parents, St. Petersburg, Aug.
24, 1823 ; chiefly self-taught ; 1850,
New York ; 1856, Mus.-Dir. Far-
mington Cons.; editor. (2) Julius,
b. New York, July 5, 1854 ; pupil of
Wenzel, Leipzig Cons. ; mus.-teacher,
Milwaukee ; pub. *' The Septonate
and the Centrahzation of the Tonal
System " (1890).
Klauweil (klow'-v«l), (i) Ad., Langen-
salza, Thuringia, 18 18 — Leipzig,
1879 ; teacher, writer, etc (2) Otto,
b. Langchsalza, April 7, 185 1 ;
nephew of above ; pupil of Schulp-
forta, and at Leipzig Cons. ; Dr.
Phil. ; 1875 prof* Cologne Cons. ;
since 1885, dir. Teachers' Seminary ;
writer and dram, composer.
Klee (kla), L., b. Schwerin, April 13,
1846 ; pupil of Th. Kullak, and until
1875, teacher Kullak's Acad., then dir.
of his own sch.; '* Musik-Direktor,"
writer and editor.
Kleebers: (kla-b&r), Clotilde, b. Paris.
June 27, 1866 ; pianist ; pupil of
Mmes. Retz and Massart at the Cons. ,
won ist prize ; d^but, at 12, with
Pasdeloup orch.; toured Europe with
ereatsucc; 1894, Ofiicier de r Acad-
emic.
Kieemann (kli'-mSn), K., b. Rudol-
stadt, Sept. 9, 1842 ; pupil of MUller;
584
THE MUSICAL GUIDE
1878, studied in Italy ; then 2nd
opera cond. and ct. mus.-dir. Des-
sau ; c. 2 symphonies, etc.
Kleffel (kldf -ffil), Arao, b. Possneck.
Thuringia, Sept. 4, 1840; studied
Leipzig Cons. , and with Hauptmann ;
1863-67, dir. Riga Mus. Soc; then
th. cond. in Cologne ; later teacher of
theory, Stern*s Cons. , Berlin ; 1895,
professor; c. opera, Christmas le-
gend, overtures, etc.
Klein (kiln), (i) Jn. Jos., Amstadt,
1740 — Kahla, near Jena, 1823 ; writ-
er. (2) Bd., Cologne, 1793 — Ber-
lin, 1832 ; teacher and composer.
(3) Joseph, 1802 — 62, bro. of above ;
lived as composer in Berlin and Co-
logne. (4) Bruno Oscar, b. Osna-
brUck, Hanover, June 6, 1858 ; son
and pupil of (5) Carl K. (organist
OsnabrtlckCath.); (4) studied at Mun-
ich Cons.; 1878, gave concerts in
America; 1883, New York; 1884, chief
pf. -teacher Convent of the Sacred
Heart ; also, 18^4-94, organist St.
Francis Xavier, and 1887-92, prof,
of cpt. and comp. Nat. Cons. ; 1894-
95 f g^ve concerts in Germany ; prod,
succ. g^. opera, ** Kenilworik "
(Hamburg, 1895), vln.-sonata, etc.
(6) Hermann, b. Norwich, Eng. ;
critic and teacher ; studied law ; 1874
singing with Manuel Garcia ; 188 1-
1901, critic London Sunday Times ;
1887, prof, of singing at Guildhall ;
1896, dir. opera-class (vice Weist
Hill) ; 1902, New York.
Kleinraichci (klin'-mtkh-'l), (t) Her-
mann; (?) 1816— Hamburg, 1894;
bandmaster. (2) Richard, Posen,
Dec. 31, 1846— -Sept, 1901; son and
pupil of above ; studied also at Ham-
burg and at Leipzig Cons. ; teacher,
Hamburg ; T876, Leipzig; 1882, mus.
dir. City Th. ; c. 2 operas ; 2 sym-
phonies ; chamber-music, valuable
etudes, etc. ; m. a dramatic soprano,
(3) Clara Monhaupt.
Klengrel (kl«ng'-ei), (i) Aug. Alex.
(** Kanon-Klengel "), Dresden, 1784
— 1852 ; organist and composer of an
attempt to rival Bach's *• Well-tem-
pered Clavichord." etc. (2) Paul, b.
Leipzig, May 13, 1854; pianist and
violinist; Dr. phil., Leipzig; iSSi-
86, cond., Leipzig, ** Euterpe" cob-
certs ; 1888-93, 2nd ct,-cond., Stutt-
gart; cond. ** Arion," Leipzig; 1898,
New York. (3) Julias, b. Letp^.
Sept. 24, 1859 ; bro. of above ; 'cd-
list, pupil of Emil Hegar Ccello) and
Jadassohn (comp.); ist *celk> in Ge-
wandhaus Orch., and teacher at the
Cons.; composer.
Kliebert (kle'-b^rt), K., b. Pragoe,
Dec. 13, 1840 ; pupil of Rheinb«ger
and WoUner, Munich ; 1876, dir. R.
Sch. of Mus., WOrzbure.
Klinck'erfuss (-foos), Johamia, b.
Hamburg, March 22, 1856 ; pupil of
Beer and Liszt ; notable ct.-piaii-
ist.
Klindworth (kllnt'-v6rt), K., b. Han-
over, Sept. 25, 1830; pianist, emi-
nent teacher and editor; self-tai^t
pianist ; at 6 played in public ; at 17.
cond. of an <^ra-troupe ; 1849,
teacher at Hanover ; 1852, a Jewi^
woman advanced him money to study
with Liszt ; 1854, music-debut, Lon-
don ; Wagfner admired him, and they
became friends. 1854-68, he gave
concerts and lessons, London ; then
pf.-prof. Imp, Cons. Moscow; while
here he compfeted two monument*
al works, his pf.-scores of Wagner*s
** Rin^ des Nibelungenr and a rev.
ed. of Chopin. 1882-92, cond. at
Berlin the Wagnerverein and (with
Joachim and WlUlner) the Philharm.
Concerts. Est. a ** Klavierscfaule **
(Sch. of Pf. -playing), later united
vrith the Scharwenka Cons., 1893,
when he retired to Potsdam ; com-
posed piano-pieces.
Kling, H,, b. Paris, Feb. 17, 1842;
prof. Geneva Cons, and teacher is
city schools ; writer and drauL com-
Doser
Klingenberg (klYng-«n-b«rkb), Fr.
Wm., b. Sulau, Silesia, June 6, 1809;
1840-85, cantor, Peterskirche, Got-
litz ; c. a svmphony, etc.
Klitzsch (iriltsh), K. Emasoel,
DICTIONARY OF MUSICIANS 585
Schonhaide, Saxony, 1812 — Zwickau,
i8Sq ; writer and composer.
Klose (kI6-za), Hyacinthe Eldonore,
Isle of Corfu. 1808— Paris, 1880;
clarinettist and prof., Paris Cons.;
composer.
Klous (kloos), Augusta (stage-name
Dona) ; b. Boston, U. S. A. ; con-
tralto; pupil of Hey, Beriin, 1895,
Vannuccini, Florence, and Bax,
Paris ; debut, Monte Cario, 1899,
taking name ** Doria ** ; has sung at
Brussels and Rouen.
Klotz (klots), family of Bavarian vio-
lin-makers at Mittenwald. The first
(i) JE^dluSy sen., the best; his son
(2) Matthias (ca. 1660 — 96). Mat-
thias's sons were (3) Sebastian and
(4) Joseph, and their sons (5) Georg,
(6) Karl, (7) Michael, and (8) ^^-
dius, Jr.
KliM^dt (klookh^h&rt), Aug. (Fr.
mutin), b. Kttthen, Nov. 30, 1847 ;
pupil of Blassn>ann and Reichcl,
Dresden; ct.-cond.atNeustrelitzand
later at Dessau ; prod. 4 operas, the
notable symphonic poem, *'LfOfwrf";
3 symph. (i. ** IValdweben'*), over-
tures '*/w FrUhUrtg*'; '' Sophonis-
bf,*' '* Sitgesouvtrtarg" and **/>j/-
ouvertUre*'' etc.
Knabe (k*n5'.b€), (i) Wm., Kreuz-
burg, Prussia, 1803 — Baltimore, 1864;
founder of pf. -factory at Baltimore,
Md. ; succeeded by his sons (2) Will-
iam (1841 — 89) and (3) Ernest, and
they by (4) Ernest T. (b. July 5, 1869)
and (5) Wm. (b. March 23, 1872).
Knanth (knowt). Vide franz, robt.
Knecht (knSkht), Justin H., Biberach,
WQrtemberg, Sept. 30, 1752 — Dec. i,
18 1 7; rival of Vogler as organist, and
important theorist, conductor and
composer.
Kneisel (knf-z2l), Fz., b. of German
parents in Roumania, 1865 ; violin-
ist ; pupil of Grtln and Hellmesberg-
cr, Vienna ; Konzertmeister^ Hofburg
Th.-Ch-ch.; thenofBilse'sOrch., Ber-
lin ; since 1885, leader and soloist, Bos-
ton Symphony Orch.; 1887, founded
the *' Kneisel Quartet," which has
played with greatest succ. in Amer-
ica and Europe ; 1902, cond. Worces-
ter (Massachusetts) Festival.
Kniese (kne'-zC), Julius, b. Roda, near
Jena, Dec. 21, 1848 ; pianist and or-
ganist ; pupil of Stade, at Altenburg,
Brendel and C. Riedel, Leipzig ;
1884-89, mus.-dir, at Aix ; 1882,
chonism. at Bayreuth, where he lived ;
1889, dir. Preparatory Sch. for Stage-
Singers; c. opera, ^^ Kdnig Witti-
cAis"; symphonic poem, ^^ Frith"
Jo/r etc.
Kmght (nit), Jos. Philip, Bradford-
on- Avon, 18 12 — Great Yarmouth,
1887 ; organist and composer of
songs incl. ^^ Hocked in the Cradle of
the Deep:'
Knorr (knor), (i) Julins, Leipzig. 1805
— 1861 ; pf.-teacher and deviser of
standard rudimentary exercises ; pub.
** Methods" etc. (2) Ivan, b. Mewe,
West Prussia, Jan. 3, 1853 I studied
Leipzig Cons, with Richter, Rein-
ecke ; 1883, prof, of theory, Hoch
Cons. Frankfort-on-Main ; c, 2 suites,
etc.
Kny'vett, (i) Chas., England, 1752 —
London, 1822 ; tenor and organist.
(2) Chas., 1773 — 1852 ; son of above ;
organist and teacher. (3) Wm.,
1779 — Ryde, 1856 ; bro. of above ;
comjx)ser and conductor.
Kobb6 (kob-ba), Gustav, b. New
York, March 4, 1857 ; studied pf.
and comp. with Adolf Hagen, Wies-
baden ; later with Jos. Slosenthal,
New York ; 1877, g^duated Colum-
bia Coll.; 1879, Sch. of Law ; lives
in Morristown, N. J.; pub. essays in
leading magazines and newspapers ;
also •' Wagner's Life and iVorhs**
(N. Y., 1890), •* The Ring of the Ni"
belung'' (1889), ''Plays for Ama-
teurs (1892), ''My Rosary and
other Poems'' (1896), "New York
and its Environs " (1891) ; teacher ;
pub. a few sones.
Kobelius (ko-ba -lY-oos), Jn. Augus*
tin, Wahlitz, near Halle, 1674— Wei-
senfels, 1731; ct.-cond. and dram,
composer.
586
THE MUSICAL GUIDE
Koch (kokh), (i) H. Chp., Rudolstadt,
1749 — 1 8 16; violinist; writer and
composer. (2) Eduard Emil,
Schloss Solitude, near Stuttgart, 1809
— Stuttgart, 1871; writer. (3) Em-
ma, b. Mayence ; pianist ; pupil of
Liszt, Moskowski, etc.; since 1898,
teacher Stern Cons. (4) Fr., b. Ber-
lin, 1862; pupil of the Hochschule ;
conductor, 'cellist and c. of 2 operas,
''Die Halliger'' and ''Lea'' (Co-
logne, 1896), etc.
Kdchel (k^kh'.'l), L. Ritter von,
Stein-on-Danube, Lower Austria,
1800 — Vienna, 1877 ; writer.
Kocher (kdkh'-£r), Conrad, Ditzingen,
near Stuttgart, 1786 — Stuttgart, 1872 ;
mus. -dir. and dram, composer.
Kocian (ko'-tsl-Cin), Jaroslav, b.
Wildenschwert, Bohemia, Feb. 22,
1S84 ; violinist, son and pupil of a
school-teacher ; studied violin at 3^
years ; at 12, Prague Cons, under
Sevcik (vln.), and Dvordk (comp.) ;
debut, 1901 ; has toured Europe with
much succ; 1902, America.
Koczalski (ko-chal'-shkY), Raoul (Ar-
mand G.), b. Warsaw, Jan. 3, 1885 ;
studied pf. with his mother ; then
with Godowski at Warsaw ; at 4
played in public with great succ. ; at
7, played at Vienna, St. Petersburg,
etc., 600 concerts up to 1892; ct.-
pianist to the Shah of Persia, with
annuity of 3,000 francs ; c. i-act op-
eras, " Ha^ar" "Rymond'" etc.
Koemmenich (k€m'-mS-nTkh), Louis,
b. Elberfeld, Germany, Oct. 4, 1866 ;
pupil of Anton Krause, Barmen and
at Kullak's Acad. 1890, New York,
as conductor and teacher ; since 1894,
cond. Brooklyn Sangerbund ; 1898,
organised an Oratorio Soc. ; c. a can-
tata, male choruses, etc.
Koenen (ka-n^n), Fr., Rheinbach,
near Bonn, 1829 — Cologne, 1887;
conductor and composer.
Kofler (kof'-l^r), Leo, b. Brixen, Aus-
trian Tyrol, March 13, 1837; from
1877, organist and choirm. of St.
Paul's Chapel, New York ; writer
and comDoser.
Kos^el (ko'-g«l), Gv., b. Leipzig, Jaa.
16, 1849 ; pupil of the Cons.; th.-
cond. various cities; 1891— 1902, cond.
Museum Concerts, Frankfort ; editor
and composer.
Kdhler(ka .l€r), (i) Erast, Langenbic
lau, Silesia, 1799 — Breslau, 1847;
organist and composer. (2) (Chr.)
Louis (H.), Brunswick, 1820 —
KOnigsberg, 1886 ; pianist, teacher
and dramatic composer, also notable
critic.
Kohut (ko-hoot'). Ad., b. Mindszem.
Hungary, Nov. 10, 1847 ; lives in
Berlin ; writer.
Kohout (ko-hoot'), Fz., b. Hostiii,
Bohemia, May $, 185S ; pupil of Skn-
hersky, Prague Org.-Sch.; now con-
ductor '* Deutsches Th.** at Prague,
and organist Weinberger synagogue ;
c. V. succ. i-act (German) opera
*' SUlla'* (Prague, 1896), etc
Kolbe (kdr-b^), Oskar, Beriin, 1836-
1^78 ; composer and writer.
Kolff (kolO* J. *An Santen, Rotter-
dam, 1848 — Berlin, 1S96 ; writer.
Kolling (k61'.llng), K. W. P., b.
Hamburg, Feb. 28, 183 1; teacher,
and composer of v. succ. operetta,
" Schmetterlinge'" {\^c^\, Hamburg).
KoUmann (k61 -man), An^. Fr. C
Engelbostcl, Hanover, 1756 — Loo-
don, 1824 ; organist, theorist and
composer.
Kompel (k£m'-p€l), An^., BrQckeoac
1 83 1 — Weimar, 1891; violinist.
K5iiis:8low(ka'-nYkhs-lav), (Oja.Wm.
Cornelius von, Hamburg, 1745—
1833 ; organist and composer. (2)
Otto Fr, von, b. Hamburg. Nov. 13,
1824; pupil of Fr. Pacius and K.
Hafner, and at Leipzig Cons. ; toured
for 12 years ; i8s8--8i, leader Gurze-
nich Orch. , Cologne ; vice-dir. and
vln.-prof . at the (5)ns. ; Royal Prof.;
retired to Bonn.
Koning(k6'-n!ng), David, Rotterdam.
1820 — Amsterdam, 1876 ; pianist,
conductor and composer.
Konradin (kon'-rSt-en), K. FdL, St
Helenenthal, near Baden, 1833 — Vi-
enna, 1884 ; dram, composer.
DICTIONARY OF MUSICIANS 587
Kontski (kdnt'-shke). (i) Antoine de,
b. Cracow, Oct. 27, 1817 ; pianist ;
pupil of Markendorf and Field ;
made v. succ. tours ; teacher, Lon-
don ; lived in Buffalo, N. Y.; at 80
toured round the world ; c. an opera,
an oratorio ; symph. ; very florid and
pop. pf.-pcs., incl. ** Le Rh/eil du
LionJ^ etc. (2) Chas., 1815— Paris,
1867 ; violinist. (3) Apollinaire de,
Warsaw, 1825 — 1879 ; violinist ; bro.
and pupil of (2). (4) Stanislas,
b. Cracow, Oct. 8, 1820; bro. of
above ; vln.-teacher and composer,
Paris.
Kopeckf (k5.p«t'-ske), Ottokar, b.
Chotebor, Bohemia, April 29, 1850 ;
violinist ; pupil of Prague Cons. ;
leader Philh. Orch., cond. ** Shaeffer "
Orch., and teacher in the Cons.,
Hamburg ; now ct.-cond. to King of
Greece.
Kopylow (kd'.pe.loO, Alex, b. St.
Petersburg, 1854; studied in the Imp.
Chapel, where he is now vocal teacn-
er ; c. orch.- and pf.-pcs., etc.
Korbay (kdr'-bii-e), rrands Alex,
b. Pesth, Hungary, May 8, 1846;
tenor ; pupil of Roger, and pf. -pu-
pil of Liszt ; 1865-68, Hunganan
Opera, Pesth ; toured as pianist ;
since 1 871 New York as teacher of
voice and pf.; composer.
Korn, Mrs. Clara A., teacher and
composer ; lives Orange, New Jersey,
U. S. A.
Kdmer (k«r'-n«r), (i) Chr. Gf., Leip-
zig, 1756 — Berlin, 1831 ; composer.
(2) Gotthilf Wm., Teicha, near
Halle, 1809 — Erfurt, 1865 ; pub-
lisher.
Koschat (ko-shSt), Thos., b. Vik-
tring, near Klagenfurt, Au^. 8, 1845;
st\idied science at Vienna ; joined the
ct. -opera chorus, soon became leader;
1874, joined cath.-choir; 1878, the
Hofkapelle. 1871, he beg^n the pub.
of original poems in Carinthian dia-
lect, which he set to music for male
quartets ; these have had gfreat pop-
olarity. 1875, founded the famous
'* Kamthner Quintett '* ; prod. 4-act
** Volksstack mit Gesang," ''Die Ro-
senthaUr Nachtigall^^ and succ.
'* Sing^piel ** Der Bur germeister von
St, Anna *' (Prague, 1893), etc.
Kdselitz (ka'-zd-llts), H., b. Annaberg,
Saxony, 1854 ; pupil of Richter,
Leipzig Cods, and Nietzsche, Basel,
lived in Italy ; under the name
"Peter Cast" prod, opera, ''Die
HHmlicke Ehe'' (Danzig, 1891).
Kosleck (kds'-l^k), Julius, b. Neu-
gard, Pomerania, Dec. 3, 1835 ;
trumpet- and comet-virtuoso ; mem-
ber of the royal band, Berlin; teacher.
Kossak (kos'-siik), Ernst, Marien-
werder, 18 14 — Berlin, 1880; writer.
Kossmaly (kos'-ma-Ie), Karl, (?) 1812
— Stettin, 1893 ; teacher, conductor
and writer.
Kdstlin (k«st'-len), (i) K. Rheinhold,
Urach, WUrtemberg, 1819 — 1894 ;
prof, and writer. (2) H. Ad., b.
Tttbingen, Oct. 4, 1846 ; preacher ;
1875 he united the choirs of three
towns, which became in 1877 the
WUrtemberg Evangelical *' Kirchen-
gesangverein," and which he cond.;
1 89 1, Darmstadt ; writer.
Kotek (ko'-tdk), Jos., Kamenez- Po-
dolsk, Govt, of Moscow, 1855 —
Davos, Switz., 1885 ; violinist, teach-
er and composer ; c. vln.-pcs.
Kothc (ko'-td), (i) Bd., Gr6bnig, Sile-
sia, 1 82 1 — Breslau, 1897 ; teacher
and composer. (2) Aloys, b. GrOb-
nig, 1828 — Breslau, 1868 ; bro. of
above ; teacher and composer. (3)
Wm., b. Gr5bnig, Tan. 8, 1831; bro.
of above ; pupil of R. Orgel-Inst.,
Berlin, since 1871 ; teacher, writer
and composer, Habelschwerdt, Sile-
sia.
Kotthoff (kot'-hoO, Lawrence, b.
Eversberg, Dec. 11, 1862; pupil of
Breslaur, Grunike, and Buchholz,
Berlin ; 1886, St. Louis, U. S. A. ;
critic and teacher.
Kdttlitz (kdt'-lTts), (i) Ad., Trier,
1820 — Siberia, i860 ; dir. and com-
poser. His wife (2) Clothilde (nee
jEUendt), 1822-67, was an excellent
singing-teacher.
588
THE MUSICAL GUIDE
Ko(t)ze'luch (kdt'-zMookh or ko -zh£.
lookh), (i) Jn. A. (rightly Jan An-
tonin). Well warn, Bohemia, 1738 —
Prague, 1814; mus.-dir.; conductor
and dram, composer. (2) Ld. An-
ton, Wellwam, 1752 — Vienna, 1811;
pupil and cousin of above ; conduct-
or, teacher and composer.
Kotzolt (k6t'.ts6lt), H., SchneUewalde,
Upper Silesia, 1814 — Berlin, 188 1 ;
conductor and composer.
Kotzschmar (kotsh'-m^r), Hn., b.
Finsterwalde, Germany, July 4, 1829;
his father taught him various instrs. ;
studied also with his uncle Hayne
and Jul. Otto, I>resden; in the opera-
orch.; 1848, America, with Saxonia
Band ; since 1849 ^^^^^ Portland,
Me.; cond. ** Haydn Assoc.," etc.
Kotzwara (kots-va'-ra), Fz., b.
Prague — suicide, Ireland, 1791; tenor-
player and composer of ** Battle of
Prague** etc.
Kowalski (ko-val'-shkt), H., b. Paris,
1 841 ; pianist and composer ; pupil
of Marmontel (pf.) and Reber
(comp.) ; composer.
Kraft (kraft), (i) Anton, Rokitzan, 1752
— Vienna, 1820 ; 'cellist and compos-
er. (2) Nicolaus, Esterhaz, Hun-
gary, 1778 — Stuttgart, 1853 ; 'cellist
and composer; son and pupil of
above ; became a member of the
famous *' Schuppanzigh Quartett."
(3) Fr., b. Feb. 12, 1807 ; son of
above; for years 'cellist Stuttgart
ct.-orch.
Kr41 (kral), Jn. Nepomuk, (?) 1826—
Tulln, near Vienna, 1895 (?) ; band-
master.
Krantz (krants), Eugen, Dresden,
1844 — 1898 ; pianist and critic,
teacher and composer.
Krausc (krow'-z^). (i) Chr. Gd, Win-
z\%, 1719 — Berlin, 1770; writer. (2)
ICarl Chr. Fr., Eisenberg, Alten-
berg, 1781— Munich, 1832 ; writer.
(3) Theodor, b. Halle, May i, 1833;
rector at Berlin : cond. Seiffert Soc;
R. Mus.-Dir., 1887; composer. (4)
Anton, b. Geitham, Saxony, Nov. 9,
1834 ; at 6 pupil of cantor Dietrich ;
then of Fr. Wieck, Reissiger, asl
Spindler, Dresden, later Ldpi^
Cons., debut, as pianist, GcitloiB,
1846; 1853-59, teacher and coikL
Leipzig Liedertafel ; 1859-97, dir.
Singverein and the ConcertgeseU'
schaft (retired) ; 1877 VsyyiX Mas.-
Dir.; prof.; c. ** Printessin lUeT
" Rttbezahl Legend." (5) (Prof. Dr.)
Eduard» Swinemundc, 1837 — Berlia.
1892 ; pianist, teacher and conxpo%r.
(6) (Dr.) Emil, Schassburg in Trau-
sylvania, 1840 — Hamburg, 1889:
barytone. (7) Emil, b. Hambui]^,
July 30, 1840; pupil of Leipzig
Cons.; since i860, teacher of pf. and
theory at Hamburg; since 1SS5 at
the Cons.; c. an Ave Maria at 6,
etc. (8) Martin, b. Lobstedt, neir
Leipzig, June 17, 1853 ; pianist az»i
teacher ; son and pupil of a cantor,
then studied with Fuchs Boma Teach-
ers* Sem., and at Leipzig Cons. ; toured
Holland and Germany, then had
nervous prostration 2 years ; had the
friendship and advice of Uszt for
years ; 1885, with Siloti and otheis.
founded the Leipzig " Lisztverein;"
1892, professor ; 1901, Munich Coos.
Kraushaar (krows'-har). Otto, Cassd,
18 12 — 1866; writer and composer.
Krauss (krows), (i) Dr. Felix, b.
Vienna, Oct. 3, 1870; bass; pup^of
Stockhausen ; sang Hagen and Cvr-
nemant at Bayreuth, 1899. (2) Ga*
brielle Marie, b. Vienna, March 24.
1842 ; soprano; pupil of Vienna C^
and Marchesi ; 1860-67, Vienna ct
opera ; 1867 Th. des Italiens, Paris ;
1875-86, Gr. Opera, Paris; since then
a teacher at Paris and officier d* Aca-
demic.
Krebs (krSps), (i) Jn. L., Buttelstadt
Thuringfia, 1713 — Altenburg, 1780;
organist and composer. (2) Karl
Aug. (rightly, Bfiedcke, changed
after adoption bv his teacher the
opera-singer J. B. Krebs), NDm-
berg, 1804 — Dresden. 1880; c. ope-
ras. (3) Marie (Frau Brennio^
Dresden, Dec. 5, 185 1 — June aS,
1900; daughter of above, piaais:
DICTIONARY OF MUSICIANS 589
and teacher. (4) K,, b. near Hanse-
bcTig:, WOrtemberg, Feb. 5, 1857;
studied R. Hochschule, Berlin; lives
, in Berlin as critic and writer.
KrelfOMn, Vide kretschmann.
trehbiel (kra'.bel), H. Edw., b. Ann
iAiixM*, Mich., March 10, 1854; prom-
; inent American critic ; studied law at
Cincinnati, but entered journalism;
1874—78, mus.-critic Cincinnati Ga-
zetU ; later editor New York Mus,
HetrUw^ and since then critic of the
Tribufu; pub. many succ. books, incl.
'* Studies in the Wagnerian Drama y'
(1891); ''How to LisUn to Music''
(1896) ; " Annotated Bibliography
of Fine Art;' with R. Sturgis (1897);
'* Afusic and Manners in the i8th
century'' (1898). etc.
Krehl (kriU), Stephen, b. Leipzig, July
5, 1864 ; studied Leipzig Cons, and
I>resden Cons., 1889; teacher of pf.
and theory, Carlsruhe Cons. ; c. Char-
akterstQcke, sonata, etc., for piano.
Kreipl (krf-pl), Jos., i8o5--Vienna,
1866 ; tenor.
Kreialer (kris'-Wr), (i) Jn». Vide e.
T. A. HOFFMANN. (2) Ffitz, b.
Vienna, Feb. 2, 1875 ; violinist; pupil
of Massart and Delibes ; debut
Paris; toured Europe and U. S.;
lives in Vienna.
Kreissle Yon Hellbom (krls'-l£ f5n
h^r-b6rn), H., Vienna, 1803 — 1869 ;
writer ; wrote ** Biog* of Schubert,"
Krej^i (kri'-che), Josef; Milostin,
Bohemia, 1822 — Prague, i88i ; or-
granist and composer.
Krempelsetzer (kW{m'-p*I-z£ts-$r), G.,
Vils&burg, Bavaria, 1827 — 1871 ;
cond. and dram, composer.
Kresnser (kr€m'-z^), ^doard, b. Vi-
enna, April 19, 1838 ; from 1869,
chorusm. the Vienna '* Milnnerge-
sansn^erein '* ; c. operettas, a cantata,
with orch., famous ^^ AUniederldn-
discke Volkslieder^* and other part-
sons^s, etc.
Krenn (kr^n), Fz., Dross, Lower
Austria, i8i6-— St. Andrtl vorm Ha-
^enthal, 1897 ; organist, composer
and conductor.
Kretschmann (or Kre^lman) (krdtch'-
m£n), Theobald, b. Vinos, near
Prague. 1850 ; solo 'cellist, Vienna
ct. -opera.
Kretschmer (kr^tsh'-m^r), (i) Ed-
mund, b. Ostritz, Saxony, Aug. 31,
1830; pupil of Otto and Schneider,
Dresden ; ct. -organist ; founder and
till 1897 cond. the Cacilia Singing-
Soc., etc.; teacher in the R. "Ka-
pellknaben-Institut," where his son
(2) Fz. succeeded him; E. K. c. text
and music of 2 important operas,
''Die Folkunger'' (Dresden, 1874)
and * ' Heinrich der Lowe " (Leipzig,
1877); operetta, ''Der Fliichtling"
(Ulm, 1881); a romantic opera
** Schon Rohtraut" (Dresden, 1887);
*' Ceisterschlacht" (prize, Dresden,
1865) ; 3-part mass for male chorus
(Brussels Acad, prize, 1868) ; an orch.
suite ** Hochzeitsmusik^' etc.
Kretzschmar (kr£tsh'-mar) (Aog.
Ed.), Hermann, b. Olberhau, Sax-
ony, Jan. 19, 1848 ; organist and
conductor; pupil of Otto at the
Kreuzschule, Dresden, and at Leip-
zig Cons.; 1 87 1 Dr. Phil, at Leipzig,
with a thesis on notation prior to
Guido d' Arezzo; then teacher of org.
and harm, at the Cons, and cond.
several societies ; 1887, mus.- dir. of
Leipzig Univ. and cond. *' Paulus."
1888-97, cond. of the '* Riedel-Ver-
ein," retired because of ill-health;
1800, prof., critic, lecturer and
wnter ; c. org. -pes. and part-songs.
Kreub^ (krii-ba), Chas. Fr^d^ric,
Luneville, 1777 — at his villa, near St.
Denis, 1846 ; cond. at Paris Op.
com.; c. ID comic operas.
Kreu(t)zer (kroi'-ts£r). (i) Conradin,
Mosskirch, Baden, Nov. 22, 1780 —
Riga, Dec. 14. 1849 ; pupil of Rie«
gard, Weibrauch and Albrechtsber-
ger ; toured as pianist; ct.-cond. ; c.
30 operas, incl." Das Nachtlage von
Granada" (1834) and "Jerry und
Bdiely^siWX played, etc. His daughter
(2) C&cilie was an operatic singer.
(3) (pron. in France, kriit-zir), Ro-
dolpne, Versailles, Nov. 16, 1766;
590
THE MUSICAL GUIDE
— Geneva, Tan. 6, 1831 ; famous vio-
linist to whom Beethoven dedicated
the ^^ JCreutzer Sonata"; son and
pupil of a German violinist and of
Stawitz ; prof, at the Cons.; ct. -vio-
linist to Napoleon and to Louis
XVI II., 1802-26 ; prod, at Paris
over 40 operas, incl. '* Lodoiskay^
also collaborated with Rode and Bail-
lot in a standard method and c.
famous vln. -etudes, etc. (4) Aug^.,
Versailles, 1781 — Paris, Aug. 31,
1832 ; bro. of above, and 1826, his
successor as vln. -prof, at the Cons. ;
composer. (5) Leon (Chas. Fran.)i
Paris, 1 817 — Vichy, 1868. Son of
(3) ; writer and composer.
Krieg^er (kre'-g«5r), (i) Adam, Drie-
sen, Neumark, 1634 — 1666 ; ct. -or-
ganist and composer. (2) (Jn.) Phil-
lip, NUrnberg, 1649 — Weissenfels,
1725 ; ct. -organist, ct.-cond., and
dram, composer. (3) In., Nttrnberg,
Jan. I, 1652— Zittau, July 18, 1736 ;
famous contrapuntist ; bro. and pupil
of above, and his succ. as ct.-cond.
(4) Fd., b. Waldershof, Franconia,
Jan. 8, 1843; studied Eichstatt Teach-
ers Seminary and Munich Cons. ; from
1867, teacher Normal Sch. at Ratis-
bon ; writer and composer.
Kriesstein (kres'-shtin), Melchior,
printer at Augsburg (1545).
Krigar (kre'-gar), (Julius) H., Berlin.
1819 — 1880 ; pianist, conductor and
composer.
Krisper (kre'-shp^r). Dr. Anton L., b.
Graz, 1882 ; writer.
Krizkowsky (kresh-k6f^shkr;, Paul,
1820 — Brunn, 1885 ; Czech composer.
Kroerer (kra'-g^r), Ernest K., b.
St. Louis, U. S. A., Aug. 10, 1862 ;
at 5 studied pf. and vln. ; lives St.
Louis as teacher ; c. a symph., 5
overtures, a fugue, etc.
Kroll (krol). Fz., Bromberg, 1820—
Berlin, 1877 ; pianist and composer.
Krolop (kro'-lop), Fz., Troja, Bohe-
mia, 1839 — Berlin, 1897 ; bass.
Krommer (krom'-mer), Fz., Kame-
nitz, Moravia, 17(^)0 — Vienna, 1831 ;
violinist, organist and conductor.
Kronach. Vide klitzsch.
Kronke (krdnk-^), Emil, b. I>aii2%.
Nov. 29, 1865 ; pianist ; popO of
Reinecke and Paul, Nicode and Th.
Kirchner, Dresden ; 1886 won pf.-
prize, Dresden Cons.; 1887, diptoma
of honour ; editor of an editioo d
Liszt's complete works ; also coo-
poser.
Krti(c)kl (krQk'-M), Fx., Edispiti, Mo-
ravia, Nov. 10, 1841 — Strassbwg.
Jan. 13, 1899; barytone, teacher aad
composer.
Krug (krookh), (i) Fr., Cassel, 1812—
Carlsruhe, 1892 ; op. bar^one and
dram, composer. (2) Dietrich, Han-
burg, 1821 — 1880; pianist and com-
poser. (3) Arnold, b. Hambuii^,
Oct. 16, 1849 ; son and pcqnl of
above ; studied also with Gurlitt and
Reinecke ; won Mozart schoUrsltip,
1869; studied with Kiel and Ed
Franck, Berlin ; 1872-77, pf.-ieach-
er, Stem Cons.; won Meyerbeer scbol-
arship, and studied in France aod
Italy ; 1885, ct.-cond. at the Ham-
burg Cons.; pub. a symph., symph.
prologue ** 0/^/&." and orch. suite;
choral works, etc. (4) (WenscD
Jos. (called Kru^-Waldsee), b
Waldsec, Upper Swabia, Not. 8.
1858 ; chiefly self-taught until 1873.
then studied vln., pf., singing and
comp. with Faiszt, at Stuttgart
Cons.; 1882-89, cond. at Stuttgart:
1889, chorusm., rous.-dir. Municipal
Th., Hamburg; 1892, th. -cond. vari-
ous cities ; 1889, Munich ; 1900,
NQmberg ; 1901, Magdeburig; c
important concert-cantatas, **" Dtru-
rdschtn;' *» HochzeitslUd:' " Gtiitr
zu Gmund'^ and '" Seebilder'^ ; socc
opera ^* Astorre" (Stuttgart, 1896)^
" secular oratorio " ^^JConig ^aiArr'
etc.
Kriiger (krtt'-gdr). (i) Eduard, Ltoc
burg, 1807 — Gttttingen, 1885 ; proi-
and writer. (2) Wm., Stuttgart
1820 — 1883 ; pianist, teacher aac
editor. (3) Gl., Stuttgart, 1824—
1895 ; bro. of above ; harpist.
Knits (kns), M. H. van, b. Oudc-
DICTIONARY OF MUSICIANS 591
water, Holland, March 8, 1861; pu-
pil of Nikolai at The Hague ; 1884,
organist, teacher and writer, Rotter-
dam ; 1886, founded monthly " Het
Orgel " ; c. an opera '* DeBloan Van
Island ^*^ 3 symph., 8 overtures, etc.
Krajnpholtz (kroomp' -holts), (i) Jn.
Bap., Zlonitz, near Prague, ca. 1745
— Feb. IQ, 1790; harpist and com-
poser; he m. his 16-year old pupil,
FrI. Meyer, a brilliant harpist ; they
gave concerts together, until her elope-
ment, when he drowned himself in
the. Seine. (2) Wenzel, 1750— Vi-
enna, 18 17; bro. of above; violinist
and comp>oser.
Kruse (kroo'-zd), Jn. S., b. Mel-
bourne, Australia, March 31, 1859;
violinist ; pupil of Joachim ; leader
of the Philh. Orch., Berlin; 1892,
leader, Bremen orchestra.
KnbeUk (koo'-b^-Uk), Johann, b.
Michle, near Prague, July 5, 1880 ;
prominent violinist ; son and pupil of
a Bohemian gardener ; pupil for 6
years of Sevcik, Prague Cons. ; studied
later at Vienna ; debut there 1898 ;
then toured Europe, played at Milan,
London, 1900, and 1901 America
with great success ; 1902, London
Philh. Society awarded him its Bee-
thoven medal.
Kncharf (koo'-chlirzh), Jn. Bap.,
Chotecz, Bohemia, 1751 — Prague,
1820 ; organist and conductor.
Kftcken (klk'-'n), Fr. Wm., Bleck-
ede, Hanover, 1810— Schwerin, 1882 ;
composer of operas and pop. songs ;
for some time cond. at Stattgart.
Kacxjmski (koo-chen'-shkY), Paul,
b. 1846; Polish composer; pupil of
von Bttlow ; c. succ. cantata ** Art-
adn€.^*
Kudelski (koo-d^l'-shkY), K. Mat.,
Berlin, 1805 — Baden-Baden, 1877 ;
violinist, composer and conductor.
Kufierath (koof'-fdr-it), (i) Jn. Hn.,
Mtthlheim-on-the-Ruhr, 1797 — Wies-
baden, 1864 ; conductor. (2) Louis,
Mahlheim, 181 1 — ^near Brussels, 1882;
pianist, teacher and composer. (3)
Hnbeit Fd., Mahlheim, June 11,
1818 — Brussels, June 23, 1896 ; noted
pianist ; bro. and pupil of above ;
writerand composer. (4) Maurice, b.
Brussels, Jan. 8, 1852. Son and pu-
pil of (3) ; studied with Servais (p^re
and fils) 'cello ; 1873, editor ''Guide
musicait" later, proprietor; writer
and translator under the name
'* Maurice Reymont."
Ktiffner (k!f'-ndr), Jos., Wtlrzburg.
1776 — 1856 ; dram, composer.
Kugelmann (koo'-gdl-mSn), Hans, d.
Kttnigsberg, 1542 ; trumpeter and
composer.
Kuhe (koo'-e), Wm., b. Prague, Dec.
10, 1823 ; pianist ; pupil of Proksch,
Tomaschek and Thalberg; 1845,
London ; from 1886 prof, the R. A.
M.; composer.
Kuhlau (koo'-low), Fr., Olzen, Han-
over, Sept. II, ■ i786---Copenhagcn,
March 13, (18?). 1832; ct.-flutist,
dram, composer, teacher and com-
poser of imp>ortant technical pf.-pcs.,
etc.
Ktihmstedt (kUm -shta), Fr., Oldis-
leben, Saxe-Weimar, 1809 — Eise-
nach, 1858 ; theorist, composer, writ-
er and teacher.
Kuhnau (koo'-now), Jn., Geysing,
Saxony, April, 1667 (?)— Leipzig,
June 5, 1722 : pupil of Henry, Al-
brici and Edclmjinn ; organist at the
Thomaskirche, Leipzig, and 1700
cantor, before Bach ; pub. the first
sonata for harpsichord, of which he
was a noted player ; also famous Bib-
lical sonatas ; composer and writer.
Ktthner (ka'-n^r), Konrad, b. Markt-
streufdorf, Meiningen, March 2,
185 1 ; pupil Stuttgart Cons. ; lives in
Brunswick as teacher, writer and
composer.
Kulenkampf (koo'-rn-kdmpf), Gus., b.
Bremen, Aug. 11, 1849; concert
pianist and teacher ; pupil of Rein-
thaler, Barth and Bargiel, Berlin
Hochschule , organised the succ.
** Kulenkampscher Frauenchor" ; dir.
Schwantzer Cons, at Berlin for a few
years ; c. succ. comic operas ** Der
Page'' (Bremen, 1890) and ''Der
59^
THE MUSICAL GUIDE
MohrenfUrst " (Magdeburg, 1892) ;
** Die Braut von Cypern " (Schwerin,
1807) ; male choruses, etc.
Kullak (kool'-iak), (I) Thcodor, Kro-
toschin, Posen, Sept. 12, 1818— Ber-
lin, March i, 1882 ; eminent teacher;
Prince Radziwill had him taught by
the pianist Agthe ; at 11 he played at
a ct. -concert ; studied with Dehn,
Czemy, Sechter and Nicolai ; then
teacher to the royal family ; 1846, ct.-
pianist, Berlin ; 1850, founded (with
Julius Stem and Bern. Marx) the
Berlin (later Stem) Cons.; 1855, re-
signed, established his famous "Neue
AkademiederTonkunst ; " 1861, royal
prof. ; wrote standard works, *' Sch.
of Octave-playing*^ *' Seven Studicr
in Octave-playing,'* etc. ; c. a concerto,
sonata and other brilliant pf.-pcs.,
etc., incl. '* Kinder leben.** (2) Ad.,
Meseritz, 1823 — Berlin, 1862 ; bro.
of above ; writer and composer. (3)
Fz.y Berlin, April 12, 1842 ; son and
pupil of (i) ; studied with Wieprecht
and Liszt ; 1867, pf.-teacher and dir.
orch. -class in Acad, of his father, on
whose death he became dir. in 1890 ;
writer ; c. an opera ' * Ines de Castro '*
(Beriin, 1877). etc.
Kummer (koom'-mV), (i) Kaspar,
Erlau, 1795— Coburg, 1870 ; flute-
virtuoso. (2) Fr. Aug., Meiningen,
Aug. 5, 1797 — Dresden, May 22,
1879 ; notable 'cellist and composer
for 'cello ; wrote method. (3) Alex.,
b. Dresden, July 10, 1850; son of
above ; pupil of Leipzig Cons., vln.-
virtuoso ; lives in England.
Kiimmerle (ktm -m£r-l^), Salomon,
Malmsheim, near Stuttgart, 1838 —
Samaden, 1896 ; prof, and compos-
er.
Ktindingcr (kTn'-dfng.«r), (i) G.
Wm., b. Kttnigshofen, Bavaria,
Nov. 28, 1800; 1831 Stadtcantor at
Nordlingen ; 1838, NUmberg ; com-
poser of church music. His 3 sons,
(2) Alex, b. Kitzingen, Feb. 13,
1827 ; ct. -violinist and composer, St.
Petersburg. (3) Kanut, b, Kitzingen,
Nov. XI, 1830; 'cellist, since 1849 in
Munich ct.-orch.; and (4) Roddt b.
Nordlingen, May 2, 1832 ; pianist
pupil of his father and BlomrOder
since 1850 lives in St. Petersbuig
teacher at the court and to the Em-
press ; 1879 P**^^- ^^ ^^ Cons. ; can-
poser.
Kunkel (koonk'-'l), (i) Fx. Jos., Drk-
burg, Hesse, 1804 — Frankfort-oo-
Main, 1880; theorist and composer.
(2) K. Bros., music publishers, Sc
Louis, Mo.
Kuntse (koon'.ts«), K., Trier, 1817—
Delitzsch, Saxony, 1883 ; teacher sad
composer.
Kunz (koonts), Konrad Max, Schwas-
dorf, Bav. Palatinate, 1S12 — Monich,
1875 ; conductor and composer.
Kunzen (koonts'-*n),(i) Jn. Panl, Leis-
nig, Saxony, 1696— Lttbeck, 1770;
organist and composer. (2) Ad. K.,
Wittenberg, 1720 — Lobeck, 1781; or-
c^nist, pianist and composer. (3)
Fr. L. ^milins, Labeck, 1761—
Copenhagen, 1817; ct. -conductor and
composer.
Kupfer-Berger (koop'-rr-Whrkh-'r),
Ludmilla, b. Vienna, 1850; pupa of
the Cons.; d^but Linz-on-I>anabe,
1868, then at the Beriin Ct..oi>era ;
m. the Berlin merchant Kupfer ; later
at Vienna, ct. -opera as alternate with
Matema.
Kurpinski (koor-pYn'-shkl), Karl (Ka-
simir), Luschwitz, Posen, 1785 —
Warsaw, 1857 ; conductor and dram.
composer.
Kurth (koort), (Martin Alex.) Otto,
b. Triebel, Brandenburg, Prussia,
Nov. II, 1846 ; pupil of Haapt
Le^schhorn, and Jul. Schneider, Ber-
lin ; i.ince 187 1, teacher Teachers'
Seminary. LUneburg ; 1885, R. Mns.-
Dir.; c. 3 operas, oratorio, advent
cantata, with orch., symph., etc.
Kus'ser (or Cous ser), Jit. Si^^
mund, Pressburg, ca. 1657 — Dublin,
1727 ; conductor and dram, composer.
Kflster (kts^t^r), Hn., TempGn«
Brandenburg, 181 7 — Herford, West-
phalia, 1878 ; ct-oiganist, theorist
and composer.
v..
DICTIONARY OF MUSICIANS 593
Kwast (kw£st), Jas., b. Nijkerk, Hoi-
land, Nov. 23, 1852 ; pianist : pupil
of his father and Fd. BOhme ; Rei-
necke and Richter, Kullak and
Wuerst, Brassin and Gevaert, Brus-
sels; 1874 teacher Cologne Cons.;
1883, Hoch Cons., Frankfort; com-
poser.
LatMm-e (la-bar), Th., Paris. 1805—
1870 ; harpist and dram, composer.
Labatt (la-bat), Leonard, Stockholm,
1838 — 1897; tenor.
Labitzky (la-blt'-shkt), (i) Jos., SchOn-
feld, near Eger, 1802 — Carlsbad,
188 1 ; violinist. Twosons (2) Aug^.,
b. Petschau, Saxony, Oct. 22, 1832;
pnpil of Prague Cons., of David and
Hauptmann, Leipzig ; 1853, cond.
and composer at Carlsbad. (3) Wm.,
violinist ; lives in Toronto, Canada.
Lablache (la-bl^sh), Luiei, son of
French father and Irish mother,
Naples, Dec. 6, 1794 — ^Jan. 23, 1858;
eminent bass, with powerful and flex-
ible voice with compass (E^ -e') ; pu-
pil of Valesi, pupil Cons, della Pieti ;
debut Naples as buffo ; later in heroic
roles throughout Europe ; wrote
*• Methode de chant."
Labor (la -bor). Josef, b. Horowitz,
Bohemia, June 29, 1842 ; a blind
pianist and organist ; pupil of Sechter
and Pirkjer, Vienna Cons.; chamber-
pianist and teacher of the princess of
Hanover; c. a Paternoster with orch. ;
an Ave Maria in canon-form for
female voices, etc.
Laborde. Vide delaborde.
Lacbaume (IS-shom), Aim6, b. Paris ;
pianist and composer ; came to New
York, 1890 (?) ; lives there as teacher,
accomi^anist, cond. and composer of
pantomimes, incid. mus. , etc.
Lachmnnd (l&kh'-moont), Carl V., b.
Booneville, Mo., U. S. A., 1854; at
13 studied in Cologne with Heller,
Jensen and Seiss ; then Berlin, also 4
3rears with Liszt at Weimar ; c. trio
(played by Berlin Philh. orch.),
38
^^ Japanese'^ overture (perf. by
Thomas and Scidl), etc.; lives in
New York as teacher, conductor and
composer.
Lachner (lakh'-n€r), (i) Theodor, h.
1798; son of a poor organist at Rain,
Upper Bavaria ; organist at Munich.
(2) Thekla, b. 1803; sister of above,
organist at Augsburg. (3) Christi-
ane, b. 1805 ; sister of above ; or-
ganist at Rain. (4) Fz,, Rain, April,
2, 1804 — Munich, Jan. 20, 1890;
half-brother of above; studied with
Eisenhofer (comp.), and with Ett;
1882, organist Protestant Church,
Vienna, and studied with Stadler,
Sechter, and Weigl ; a friend of
Schubert and Beethoven; 1826, cond«
Karthnerthor Th.; 1834, Mannheim;
1836, the production of his D minor
symph. at Munich won him the ap-
pointment of ct.-cond,; from 1852,
was gen. mus. dir.; 1868 retired with
pension in protest against the growing
Wagnerianism at court ; his eight
orch. suites are his best work, show-
ing his contrapuntal g^fts at their
best ; he prod. 4 operas, 2 oratorios,
8 symphs., i.icL the '' Appassionato ^'^
chamber-music, etc. {5) Ig^atz,
Rain, Sept. 11, 1807 — Hanover, Feb.
24, 1895. Bro. of (4) and his successor
as organist, 1825. 2d cond. of court-
opera, later ct. -mus. -dir., Stuttgart ;
1858, ct.-cond., Stockholm ; c. ope-
ras, pop. Singspiele, etc. (6) Vm-
cenz, Rain, July 19, i8ii^Carls-
ruhe, Jan. 22, 1893 ; bro. of above ;
his successor as organist and later
successor of Fz., as ct.-cond.; teach-
er and composer.
Lacknith (Islk'-nlt), L. Wenzel, b.
Prague, 1746 ; horn-player, and de-
ranger of famous works.
Lack (lak), Theodore, b. Quimper,
France, Sept. 3, 1846 ; pupil of Mar-
montel (pf.) and Bazin (harm.) Paris
Cons.; teacher at Paris ; 188 1 officier
of the Academie; officier of public in-
struction ; c. much light and grace-
ful pf. -music.
Lackowitz (lak'-o-vTts), Wm., Treb-
m
THE MUSICAL GUIDE
bin, near Berlin, Jan. 13, 1837; pupil
of Erk, Kuliak, and Dehn ; editor.
Lacombe (la-kdnb), (i) Louis
(Brouillon - Lacombe), Bourges,
France, Nov. 26, 18 18— St. Vaast-la-
Hougue, Sept. 30, 1884; pianist; pupil
of Paris Cons. ; writer and dram, com-
poser. (2) Paul, b. Carcassonne,
Oude, France, July 11, 1837; studied
with Teysseyre, but mainlv self-
taught ; 1880 won the Prix Chartier,
for chamber-mus., in which field he is
most famous ; c also 3 symphs., a
symph. overture, etc.
Lacome (liukdm), Paul (P. J. Jac
Lacome de L'Estalenx), b. Hou-
ga, Gers, France, March 4, 1838 ;
lives since i860, Paris ; essayist and
composer of many light operas, incl.
''*' Jeanne^ Jeannette et Jeanneton^^
(1876); orchestral suites; songs, incl.
*• L'Estudiantina," etc.
La'cy, (i) J., bass, at London, 1818.
His wife (2), Mrs. Bianchi Lacy, was
a soprano. (3) Michael Rophino,
Bilbao. 1795— Pentonville, 1867 ;
English violinist and composer.
Ladeg^ast (la'-d«-gast), Fr., b. Hoch-
hermsdorf, near Leipzig, Aug. 30,
181 8 ; org. -builder.
Ladumer (U-door'-n£r), \%qkz Ant.
Ex., Aldein, Tyrol, 1766— Villain
(Massy), 1839; pianist and compos-
er.
Lafage (la-f&zh), Juste Adrien Le-
noir de, Paris, 1801 — Charenton In-
sane Asylum, 1862 ; singing-teacher,
conductor, composer and writer.
Lafont (la-fon), Chas. Philippe, Paris,
178 1 — near Tarbes, 1839; violinist
and composer.
La Grange (lii griUizh), Mme. Anna
(Caroline) de, b. Paris. July 24,
1825 ; colorature soprano of remark-
able range and flexibility ; pupil of
Bordogni and Lamperti ; d^but 1842,
at Varese ; m. the wealthy Russian
Stankowich, has since lived in Paris as
teacher.
La Harpe (iit-irp^), J. Fran, de, Paris,
1739 — 1803 ; critic.
Lahee', H., b. Chelsea, England, April
II, 1826; pupil of Bennett, Potter
and J. Goss (comp.) ; concert-pian-
ist ; lives in Croydon as teacher ; c.
5 cantatas, etc.
Lahire (Ifi-er). Ph. de, Paris, 1640-
1 7 10; writer.
Laid'law, Anna Robena (Mr.
Thomson), Bretton, Yorkshire, April
30, 18 19 — May, iQOi; successful con-
cert-pianist until her marriage, 1852.
Lais. Vide lays.
Laiarte (la-zh&rt), Th. Ed. Dnfure
de, Bordeaux, 1826 — Paris, 1890;
writer and dram, composer.
Lajeunesse, M. Vide albani.
Lalande (Ift-lilnd), (i) Michel Rich-
ard de, Paris, 1657 — 1726 ; organ-
ist, conductor and composer. (2)
(M6ric-Lalande) Henriette 06-
mentine, Dunkirk, 1798— Paris,
1867 ; brilliant soprano.
Lalo (la-lo), Ed. (V.), Lille, Jan. 27,
1823 — Paris, April 22, 1892 ; violinist
and viola. -virtuoso ; c. 2 vln. -concer-
tos ; ^^Symphonie espa^ncW* ; rhap-
sody for orch. , opera * * Le Roi tf Kj,**
chamber-music, etc.
Lamb, Benj., Engl, organist i8th
cent.
La Mara. Vide lipsius, marik.
Lambert (lan-b&r), (i) Michel, Vi-
vonne, Poitou, 1610 — Paris, 1696;
conductor and composer. (2) Ln-
cien, b. Paris, Jan., 1861 ; pupil of
Paris Cons.; 1883, took Prix Rossiri
w. cantata ** Prcmeth/e Enckaim^" ;
c. lyric dram. *'Z^ Spahi^* (Op.-
com., 1897), overture, etc.
Lambert (lam'-b^rt). (i) Jn. H., Mohl-
hausen, Alsatia, I728---Bcrlin. 1778:
writer. (2) Geo., b. Beverley, 1795 ;
organist there, succeeded by his son
(3) Geo. Jackson in 18 18 ; retiT>ed,
1874. (4) Alex., b. Warsaw, Po-
land, Nov. i, 1862 ; son and pupil di
(5) Henry L. ; (4) studied at Vieniu
Cons. ; graduated at 16 ; studied with
Urban, Berlin ; toured Germany and
Russia ; studied some months at Wet-
mar with Liszt ; 1884, America ;
since 1888, dir. N. Y. Coll. of Mus.;
composer.
DICTIONARY OF MUSICIANS S9S
Lambert! (Um-b^r'-te), Gius., Cuneo,
Itoly, 1820 (?) — Turin, 1894 ; dram,
composer.
Lam'beth, H. A., b. Hardway, near
Gosport, 1822 ; or^nist.
Lambillotte (lan-bl-yot), P^e Louis,
Charleroi, Hainault, 1797 — Vaug^-
rard, 1855 ; organist, conductor and
composer.
Lammers (Um'-m^), Julins, Leip-
zig, 1829 — 1888; composer and teAch-
cr.
Lamond', (i) Fr. A., b. Glasgow, Jan.
28, 1868 ; concert-pianist (pupil of
his bro. (2) David) ; 1882 at Raff
Cons., Frankfort ; later with von
BqIow and Liszt ; debut, Berlin,
1885 ; toured Europe; 1902, America;
c. svmph., overture **/^i#j dem schot-
tisciefi Hochlandey* etc.
Lamothe (Ia-m6t), G., France, 1837—
Courbcvoie, 1894 ; composer.
Lamoureux (l&m-oo-rti'), Chas., Bor-
deaux, Sept. 28, 1834 — Paris, 1900;
eminent conductor ; pupil of Girard,
Paris Cons.; later with Tolbecque,
Lebome and Chauvet ; co-founder of
a soc. for chamber-mus. ; 1872, or-
ganist ** Soci<fte de musique sacr^e ; "
1876, assist. -cond. Paris Opera ;
1878, first cond.; 1872-78, also
assist.-cond. the Cons. Concerts ; re-
signed from the Op^ra, 188 1, and est.
the celebrated ** Concerts Lamou-
reux " (Nouveaux Concerts).
Lampada'rius, (i) Jns., chapel-singer,
St. Sophia, (Constantinople, 14th
cent.; writer. (2) Petrus, b. Tripo-
litza, Morea, ca. 1730 ; composer.
Laamadias (lim-psL'-dY-oos), Wm.
Aa., 18 1 2 — Leipzig, 1892 ; writer.
Laome (lam'-p*), J. F., Saxony, 1703
— Edinburg, 175 1; bassoonist and
operatic composer.
Lamperen (lan'-p«.rSA), Michel
▼an, b. Brussels, Dec. 6, 1826 ; 1859,
libr. Brussels Cons.; composer.
Lampert (l&m'-p^rt), Ernst, Gotha,
1818 — 1879; pianist, violinist, ct.-
conductor and dram, composer.
Lamperti Oam-p^r'-te), rran., Sa-
vona, Italy, March 11, 1813 — Como,
May I, 1892 ; eminent singing-teach-
er ; pupil of Milan Cons, and teacher
there, 1850-76 ; pub. treatises.
Lampug^ani (iSm-poon-yS'-ne), GioY.
Bat., Milan, 1706— ca. 1780; dram,
composer.
Land (lant), Dr. Jan Pieter Nico-
laas. Delft, 1834— Amhem, 1897;
professor ; pub. important results of
research in Arabian and Javanese
mus., etc.
Landg^raf Oslnt'-graQ, J. Fr. Bd.,
Dielsdorf, Weimar, i8i6^Leipzig,
1885; clarinettist.
Landi (lin'-de), Stelano, Rome, ca.
i590--ca. 1655; conductor, com-
poser and singer.
Landino (l&n-de'-nd), Fran, (called
Francesco Cieco "the blind," or
Degli Org^ani), Florence, ca. 1325—
1390 ; notable organist and composer.
Landolfi (l&n-dol -fe) (or Landul'-
phus), (i) Carlo Fdo., 1. Milan,
1750-60 ; maker of 'cellos, etc. (2)
Pietro, instr. -maker at Milan ca.
1760, probably son or bro. of above.
Lang (lang), (i) (Lang:-K6stlin), Jo-
sephine, Munich, 18 15 — Tubingen,
1880 ; composer. (2) Benj. John-
son, b. Salem, Mass., Dec. 28, 1837 ;
prominent pf. -teacher and conductor;
pupil of his father and of F. G. Hill
at Boston, Jaell and Satter, later in
Berlin, and with Liszt ; since 1852,
organist various churches, Boston ;
for over 25 years organist Handel and
Haydn Soc. and cond. since 1895 ;
also cond. the Apollo Club and the
Cecilia, etc.; c. an oratorio ''''David "/
symphs., etc. (3) Marg^aret Ruth-
ven, b. Boston, Nov. 27, 1867 ;
daughter and pupil of above ; studied
also with Schmidt of Boston, Drechs-
ler and Abel (vln.) and Gluth (con-p.)
in Munich ; pub. many origfinal and
important songs and pf.-pcs. (4)
Karl, b. Waiblingen, June 24, i86o ;
tenor at Schwerin ; pupil of Dr.
Gunz.
Langbecker (lang'-b^k-^r), Emanuel
Chr. Gl., Berlin, 1792 — 1843 ; writ-
er.
596
THE MUSICAL GUIDE
Lan^'don, Richard, Exeter, Engl.,
ca. 1729 — 1803 ; organist and com-
poser.
Lang^e (Ung'-^), (i) Otto, Graiidenz,
1815 — Cassel, 1879 ; editor and writ-
er. (2) Gustay, Schwerstedt, near
Erfurt, 1830 — Wemigerode, 1889 :
pianist and composer. (3) Samoel
dc, Rotterdam, Feb. 22, 1840 ; son
and pupil of the organist, (4) Sam-
uel de L. (181 1 — 1884); later stud-
ied with Winterberger, Vienna, and
Damcke and Mikuli, Lemberg; 1863
organist and teacher Rotterdam
Mus. Sch., often touring Europe;
1876 teacher Cologne Cons., also
cond. ; 1885-93, cond. at The Hague,
later teacher and vice-dir. Stuttgart
Cons., and since 1895, cond. ; c.
oratorio ^'^ Moses** (The Hague,
1889), a symph., etc. (5) Daniel
dc, b. Rotterdam, July 11, 1841 ;
bro. of above ; studiea with Ganz
and Servais ('cello), Verhulst and
Damcke (comp.), at Lemberg Cons.
1860-63, then studied pf. with Mme.
Dubois at Paris ; chiefly self-taught
as organist ; 1895, dir. Amsterdam
Cons., and cond.; also critic; c.
opera '' De Vol Van KuiUnburg**;
twosymphs. ; overture, '* Wilkm van
Holland:* etc. (6) Aloysia. Vide
WEBER (4).
Lang^er (ISng'-^r), (i) Hn,, Hocken-
dorf, near Tharandt, Saxony, 1819 —
Dresden, 1889 ; orcginist, conductor
and teacher. (2) rd., b. Leimen,
near Heidelberg, Jan. 21, 1839; 'cel-
list at Mannheim ct.-Th., and later
2nd cond. ; prod, there 5 succ. operas.
(3) Victor, b. Pesth, Oct. 14, 1842 ;
pupil R. Volkmann, and Leipzig
Cons.; lives in Pesth as teacher, th.-
cond. and editor ; pub. under the
name of " Aladar Tisza ** very pop.
songs, etc.
Langert (lang'-^rt), (i) (Jn.) Aug.
(Ad.)» b. Coburg, Nov. 26, 1836 ;
dram, composer; th.-cond. Coburg;
1872, teacher of comp. Geneva Cons.;
1873, ct.-cond., Gotha, reapp>ointed
1893 ; prod. 7 operas.
Lang^hans (Ung'-h^ns), (Fr.) Wa^
Hamburg, 1832 — Berlin, 1892; writer.
Laiig:16 (lan'-la). Honors Fran. IL,
Monaco, 1741 — Villiers-le-Bcl, near
Paris, 1807; mus. -dir., theorist asd
composer.
Lang shaw, (i) J., d. 1798; Engl, or-
ganist. (2) J., London, 1763 ; or-
ganist ; son and successor of above.
Lani^re (Lanier or Lanieri) (Um-jir.
l&n-er. or Un-l-a'-re), (i) Nicholas,
Italy (?), ca. 1588 — London, 1665
(1668?); son of (2) J08., and nepber
of (3) Nicholas. (2) and (3) came to
England, were mus. to Queen Elia-
beth. (i) was ct.-musician to Charles
I. ; a prolific composer and singer
who introduced the recitatrve stvlc
into England.
Lanner (lan'-n£r), (i) Jos. (Fz. K.),
Oberd6bling, near Vienna, 1801—
1843 ; violinist, com]x>ser and cod-
ductor. (2) Aug. (Jos.), 1834 — 1855;
son of above ; violinist, conductor
and dance-composer of prominence.
Lans (Michael), J. A., b. Haarkiou
July 18, 1845 ; a R. C. priest, from
1869 teacher in Voorhout Seniinary ;
from 1887, pastor at Schiedam ; 1876
founded church-mus. periodical, and
1878, the Gregorian Soc. ; c. a mass,
etc.
Lapicida O^-pY-che'-di), Erasmns,
i6th cent, composer.
Laporte (lS.p6rt), Jos. de, Befort.
1713 — Paris, 1779; Jesuit abbe;
writer
Lara (l&'-ri). Isidore de (rightly Co-
hen), b. in Ireland, 1862, of English
father and Portuguese mother; sti^icti
at Milan Cons.; took ist prize for
comp. at age of 17; has written sooj^
and the following operas : **Ztf Lmt
cUlV Asia^* founded on Sir Edwin
Arnold's poem (London, 1892);
*'Amy Robsart" (1893); *' Morns'*
(1897); ''MessaHfu:* Monte Cario
(1890), very successful.
Laroche (l&.r6sh), (i) Jas. (caDcd
" Jemmy "), ca. 1680— singer, Lon-
don. (2) Hermann Angustoritch,
b. St. Petersburg, 1845 ; studied in
DICTIONARY OF MUSICIANS 597
the Cons.; since 1866 teacher of
theory and history at Moscow Cons. ;
writer and composer.
La Rue (U-m), Pierre de (Latinised
Petrus Platensis; also called
Perisone, Pierchon, Pierson,
Pierzon, or Pierazon de la Ruel-
lien), eminent i6th cent. Netherland
contrapuntist and composer ; fellow-
pupil (with Despwes) of Okeghera ;
ct. -singer and favourite of Margaret of
Austria.
Lamette (la-rQ-^t). J. L., Toulouse.
1731 — 1792 ; composer.
La Salette Oa-siUl^t), Joubert de»
Grenoble, 1762 — 1832 ; writer.
Lasner (Us-n£r), (i) Ig^naz, Brosau,
Bohemia, 18 15 — Vienna, 1883; 'cellist.
(2) K., b. Vienna, Sept. 11, 1865 ; son
of above ; 'cellist Laibach Philh.Orch.
Lassalle (l&s-s^), Jean, b. of French
parents, London, 1847 *• studied
Paris Cons.; notable bar)rtone ; d^but,
Brussels, 187 1 ; sang at Paris op^ra,
in America, etc.
Lassen (las'-s^n), Eduard, b. Copen-
hagen, April 13, 1830 ; at 2 was
taken to Brussels and at 12 studied in
the Cons, there ; won first pf.-prize,
1844 ; harm, prize, 1847 ; 2nd prize
in comp. and 185 1 Prix de Rome;
travell^ in Germany and Italy and
made a long stay in Rome; 1858, ct.-
mus.-dir. at Weimar ; Liszt procured
the prod, of his opera *' Landgraf
Ludwig's Brautfahrt" (Weimar,
1857); 1861-95, Liszt's . successor as
ct.-cond. at Weimar; then pensioned;
c. operas *^ Frauenlob" (Weimar,
i860) ; •* i> Captif* (Brussels, 1865;
in German, Weimar, 1868) ; 11 char-
acteristic orch.-pcs. ; Bible-scenes with
orch. ; cantatas, 2 symphs., pop. songs,
ctc-
Lasserre O^s&r), Jules, b. Tarbes,
July 29, 1838 ; pupil Paris Cons. ;
took 1st and 2nd prize as 'cellist;
1869 Engl, composer.
Lasso (l^-so), (i) Orlando di (rightly
Roland de Lattre, Lat. Orlan dus
Las'sus), Mons (Hainault), 1520—
Munich, June 14, 1594; most emi-
nent of Netheriand, and (except Pal-
estrina) of i6th cent., composers and
conductors. C. 2,500 compositions,
many of which are still beautiful to
modem ears, as his melodic suavity
was not smothered by the erudition
which gave him even among contem-
poraries the name *' Prince of Music."
Befriended by various noblemen and
given much Italian travel, he became
1541-48 cond. at S. Giovanni in La-
terano at Rome ; then visited Mons
and ca. 1554, England, settling in
Antwerp the same year ; 1557 joined
on invitation the ct. -chapel of Albert
v., Duke of Bavaria ; from 1562 he
was cond. there, full of honours. His
complete works (in course of pub. by
Breitkopf & H artel) include his fa-
mous *' P salmi Davidis poenitenti-
aUs'^ masses, psalms, and secular
comp>ositions of occasionally humor-
ous vein. Biogr. by Dehn (1837),
Biumkehr (1878), and Sandberger.
(2) Fd. di, d. Munich, Aug. 27, 1609,
eldest son of above ; ct.-cond. (3)
Rudolf di, d. Munich, 1625 ; second
son of (i) ; organist and composer.
(4) Fd. di, d. 1636 ; son of (2) ; con-
ductor and composer.
Latilla (la-tll'-la), Gaetano, Bari,
Naples, 1713 — Naples, 1789; con-
ductor, teacher and composer.
Latrobe, (i) Rev. Chr. L, Fulnes,
Leeds, 1758 — Fairfield, near Liver-
pool, 1836 ; composer. (2) J. Antes,
London, 1792 — Gloucester, 1787; son
of above ; organist and composer.
Lattre, de. Vide lasso.
Laub (lowp), Fd., Prague, 1B32 —
Gries, Tyrol, 1875 ; vln. -virtuoso ;
teacher and composer.
Laubner (lowp'-n£r), Julius, 1896,
cond. Municipal Th.. Stettin, prod,
there succ. i-act opera *' Gunare^
Laurencin (low'-r^n-sen), Graf Fd.
P., Kremsier, Moravia, 1819 — Vien-
na, 1890 ; writer.
Laurens (lo-rans), Edmond, b. Berge-
rac, France, Sept 2, 185 1 ; pupil of
E. Guiraud, Paris Cons. ; c. operas ;
9 suite japonaise, etc.
598
THE MUSICAL GUIDE
Laurent de Rille (l5-r&A da re'-ytt),
Fran. Anatole, b. Orleans, France,
1828; pupil of Comoghio and Elwart;
inspector of vocal instruction, Paris
pub. schools, etc. ; wrote a mus. nov-
el ''Olivier rorph/oniste''; prod,
about 25 operettas, male choruses
(chceurs orpheoniques), etc.
Laurenti (lii-oo-r«n'-te), (i) Bart.
Gir., Bologna, 1644 — 17^6 ; violin-
ist and composer. (2) Gir. Nicold,
b. Bologna, Dec. 26, 1752 ; son of
above ; violinist and composer.
Lauska (1^-oos -k&), Fz. (Seraphinns
Ig^natius), BrUnn, Moravia, 1764
— Berlin, 1825 ; teacher and com-
poser.
Lauterbach (low'-t«r-bllkh), Jn. Chr.,
b. Culmbach, Bavaria, July 24, 1832;
?iupil Wttrzburg Mus. Sen., and of
' etis and de Beriot at Brussels (1850),
won gold medal for vln. -playing,
1851; 1853 Munich Cons.; 1860-77
Dresden Cons. ; 1889, pensioned ;
composer.
Lavall6e (l&.v&l-la), Calixa, Ver-
chores. Canada, 1842 — Boston,
Mass., 1891 ; concert-pianist ; toured
U. S., singing, giving frequent con-
certs of American composers* works,
1886-87 ; c. 2 operas, an oratorio, a
symph., etc.
Lavenn, Louis H., London, 1818 —
Sydney, 1859 1 *cellist and dram,
composer.
Lavigfna (la-ven'-ya), V., Naples,
1777 — Milan, ca. 1837 ; teacher and
dram, composer.
LaTig^ac(U-ven-yilk), Albert, prof, of
harmony, Paris Cons. ; writer ; pub.
a *' Cours compUt th/orique et pra^
tique de dicUe musicaU^* 1882, which
led to the general adoption in mus.
schs. of courses in mus. dictation ;
also ''La must que et les musiciens^^
(Paris, 1895, Engl, ed., 1899), .
Lavig^e (la-ven), (i) Jacques Emile,
Pau, 1782 — 1855 ; tenor. (2) A.
Jos., b. Besan9on, France, March
23, 1816 ; oboist; pupil Paris Cons.;
from 1 841 in Drury Lane Promenade
Concerts, later in Halle's Manchester
orch.; he partially adapted Bdhs's
system to the oboe.
Lavoix (la-vwS). H. M. FrvL,
Paris, 1846 — 1897; writer and coo-
poser.
Law, Andrew, Cheshire, Conn., 174S
— 1 82 1 ; singing-teacher, writer anc
composer of hymn-tunes, etc.
Lawes (16z), (i) Wm., Salisbury, Wih-
shire, 1582 — killed at the siege of
Chester, 1645 ; composer, (s) H.,
Dinton, near Salisbury, Dec., 1595—
London, Oct. 21, 1662 ; bro, of
above ; one of the most original and
important of song-writers, forcsUllins
in his principles those of Franz, etc,
in that he made his music respect tk
poetry he was setting ; Miltou, Hcr-
rick and others accordingly praised
him. Pupil of Copcrario. 1625,
Epistler and Gentleman, Chape!
Royal ; on Charles I.*s execution he
lost his places but re-found them in
the Restoration in 1660; buried h
Cloisters of Westminster Abbey : c
the music to Milton's ** Camus* etc.
Lawrowskaja (or LaTroTskaja (lai-
rof-shka'-ya)), Elizabeth Aodre-
jevna (Princess Zeretelev), b. Kashic,
Russia, Oct 12, 1845 • sopr. ; pupil cf
Fenzi and of Mme. Nissen-Saknuc
St. Petersburg Cons.; d^ut as Or-
pheus, 1867.
LayoKDe (or deU'Alole, AjoUa) 1^
yol', or a-y6'-l*). Fran., Florennac
composer i6th cent.
Lays (rightly Lay) 0«(s)), FrwL,
Gascony, 1758 — Angers, 1831 ; noted
singer and teacher.
Lazare (Ift-zir), Martin, Bnisse:>.
1829 — 1897 ; pianist.
Laz'arus, H., London, 18 15 — iSq5:
clarinettist.
Lazzari (lUd-za-re). (1) SjItio, b.
Bozen, 1858 ; studied with Cesar
Franck, Paris Cons.; lived in Piris
as a teacher ; c. opera * * Arwu^7
pantomimic ballets, etc. (2) Ra^
laele, c. succ. opera ** La C^minsi
d'Egmonf' (Trieste, 1902).
Lazzarini (lad-za-re'-ne), GustavOi
b. Padua, or Verona, 1765 ; singer.
DICTIONARY OF MUSICIANS 599
Leach, Jas., Yorkshire, 1762 — 1797 ;
tenor and coxnposer.
LtB€ (la-ba), (Suil., i6thcent. French
tjrpe-founder.
Le Beau (Iti-bo), Louise Adolpha,
b. Rastatt, Baden, April 25, 1850;
concert-pianist ; pupil of Kalliwoda,
Frau Schumann, Sachs, Rheinberger
and Fr. Lachner ; lives since 1890 in
Berlin; c. choral works ^^ Ifadu-
motk " (1894), etc.
Lebeau (IQ-bo), Fran., b. ti^ge. Aug.
4, 1827 ; pupil of Michelot (pf.) and
Rosselet (harm.) ; Sec. administra-
tion commission Brussels Cons. ; c.
opera ** Esmeralda'^ text by Victor
Hugo (Li^e, 1856).
^eb^gue (iCi-b^g), Nicolas A«, Laon,
1630 — Paris, 1702 ; ct. -organist and
composer.
-ebert (la -WJrt) (rightly Levy), Sicg-
mund, Ludwigsburg. near Stuttgart,
1822 — Stuttgart, 1884; teacher,
writer and comf)oser; co-founder of
Stuttgart Cons. (1856-57).
Lebcuf (iti-biif). Abbe Jean, Auxerre,
1687 — 1760; writer.
Leblanc (m-bmft), Georgrette, b.
Rouen; pupil of Bax ; debut Op. Com.
Paris, 1893, in '' LAttaque de Mou-
A«," 1895, Th. de la Monnaie, Brus-
sels ; then gave song recitals in cos-
tume with much effect.
^ebome (la-bom), (i) Aim^ Am-
broise Simon, Brussels, 1797 — Paris,
1866 ; teacher and writer. (2) (or Lc
Borne), Fd., b. Paris, March 10,
1862 ; pupil of Massenet, Saint^Saens,
and Franck, Paris Cons.; lives in Paris
as critic ; c. pastoral dramas, '' Hed-
da" z, ^mph. l^ende; symphs., etc.
•ebonc (la-book), Chas. Jos., Besan-
9on, 1822 — Hylres, 1893 ; 'cello-virt-
uoso.
•ebnin (l£-broon), (i) L. Aug^.,
Mannheim, 1746 — Berlin, 1790 ;
greatest oboist of the i8th cent. ; com-
poser. (2) (n^e Danzi), Franciska,
Mannheim, 1756 — Berlin, 1791 ; wife
of above ; soprano. Their two
daughters, (3) Sophie and (4) Ro-
sine» were distinguished singers.
Lebrun(ltt-briin),(i) Jean, Lyons, 1759
— suicide, Paris, 1809; horn-virtuoso.
(2) Louis S^bastien, Paris, 1764 —
1829 ; tenor and teacher. (3) Paul
H. Jos., b. Ghent, April 21, 1861 ;
pupil of the Cons, there; 1891 won the
Prix de Rome for composition and the
Belgian Academie ist prize for a
symphony.
Le Carpentier (Itt kir-pant-ya), Ad.
Clair, Paris, 1809 — 1869; pianist
and composer.
Lechner (l^kh'-nSr). Ld., b. The
Etschthal, Switzerland (?)— Stuttgart,
1604 ; ct.-cond. and composer.
L6clair (la-klftr), J. M., Lyons, 1697
— assassinated, Paris, 1764; violin-
ist; c. operas, 48 notable vln. -sona-
tas, etc.; his wife, a singer, engraved
his compositions.
Lederq (iCi-kiar), L.. b. Paris. 1828 ;
wrote under pen name "L. Celler,"
Lecocq (ia-k6k), (Alex.) Chas., b.
Paris, June 3, 1832 ; studied at the
Cons., won ist prize for harm., and
2d prize for fugue ; his first work,
** Le Docteur Miracle ^^ in conjunc-
tion with Bizet (prod., 1857), won a
prize offered by Offenbach for opera
buffa ; smaller succ. culminated in
•* FUur de 77//" (1868) ; followed
by the sensational succ. " Im, Fille de
MntcAngot'' (Brussels, 1872; Paris,
1873), which ran uninterruptedly
over a year ; its succ. was equalled
by •* Girop-Girofla " (1874) ; 1894,
chev. of the Legion of Honour ;
prod, over 40 of)eras-bouffes, comic
operas and operettas, written with
scholarship and brilliant instrumenta-
tion ; sacred and other songs, etc.
Le Couppey (Itt koop'-p€'), F61ix,
Paris, April 14, 1814 — July 5, 1887 ;
prof., pf. -teacher and composer.
Ledebur (la-d€-boor), K. Freiherr
von, b. Schildesche, near Bielefeld,
April 20, 1806 ; Prussian cavalry offi-
cer and lexicographer
Ledent (iCi-dah), F. Et., Li^ge, 1816
— 1886 ; pianist and composer.
Lederer (la'-d€-r^r), Georg, b. Marien-
burg, May 2, 1843 ; notable tenor ;
6oo
THE MUSICAL GUIDE
■n r"
pupil of Mantius and Louise Ress ;
sang in various cities ; 18^1-99, Zu-
rich, then at Riga.
Ledac (la-dak), Alphonse, Nantes,
1804 — Paris, 1868 ; pianist, bassoon-
ist and composer.
Lee (la), (i) G. Alex.» 1802— 185 1 ;
tenor and composer. (2) Sebastian,
Hamburg, 1805 — 1887 ; 'cellist and
composer. (3) Louis, b. Hamburg,
Oct. 19, 18 19; bro. of above; *ceU-
ist ; pupil of J. N. Prell ; at 12 gave
concerts ; 'cellist in the Hamburg
Th.; lived severalyears in Paris; or-
ganist, chamber-mus. soirees, Ham-
burg ; until 1884, teacher in the Cons,
and 1st 'cello ; c symphonies, over-
tures, etc. (4) Maurice, Hamburg,
1 82 1 — London, 1895 ; bro. of above ;
pf. -teacher, and composer. (5) (le)
Geo. Alex., d. 185 1, English mgr.,
tenor and composer.
Leeves, Rev. \Vin., 1748 — Wrighton,
1828; probable composer of ** Auld
Robin Grey,'' etc.
Lef^bure (Iti-fa-bar), L. Fran. H.,
Paris, 1754 — 1840; composer and
writer.
Lef^bure-W^ly (Itt-fa-bUr-va-le), L.
Jas. Alfred, Paris, 1817 — 1869;
noted organist; c. opera, masses,
etc.
Lef^bvre (Itt-f^v'-r) (i) (Le Febvrc),
Jacques (cadled Jacobus Faber),
also Stapulensis, from his birth-
place, Staples, near Amiens (?) —
Nerac, 1537 (47?); writer. (2)
Chas. Edouard, b. Paris, June 19,
1843 ; pupil of Ambr. Thomas, Paris
Cons.; 1870, Grand prix de Rome;
1873, after touring the Orient settled
in Paris; c. succ. opera, ^*Djelma''
(1894) ; •* Zaire " (1887). etc.
Lef^vre (Ift-f^v'-r), J. X., Lausanne,
1763 — Paris, 1829 ; clarinettist, com-
poser and professor.
LefiTler, Adam, 1808— 1857; Engl,
bass.
Lefort (lG-f6r), Jules, 1821— Paris.
1898 ; tenor-barytone. ,
Leg^ouix (lA-gwex), Isidore £d., b.
Paris, A^ril i, 1834 - pupil of Reber
and Thomas at the Cons. ; prod. 4 op-
eras, etc.
Legrenzi (li-gr£n'-tse), Gior., On-
sone, near fergamo, ca. 1625 — Ve-
nice, 1690; organist, conductor and
dram, composer.
Lehmann (la'-man), (i) T. Marie,
(I.) prima donna at Cassel jxuda
Spohr ; (2) Lilli, b. Wtkrzbuig, BUr
15, 1848 ; daughter and pupil of
above ; eminent soprano ; debut a:
Prague as ** First Boy " \n'' £>u Zam-
ber/dU"; 1868. at Danzig, and Leip-
zig, 1870 ; in the same year obtained
a life-engagement at the Royal Open,
Berlin, with the title (1876) of Imp,
Chamber-singer ; she sang " Wof-
linde.'; ** Helmwige " and the " Bird,'
at their first performance, 1876;
1885, broke her contract, and sang is
the U. S., etc. (3) Geo., New Y«k,
July 31, 1865; violinist; popU of
Leipzig Cons, and of Joachim ; voa
the Helbig prize at the Gewand-
haus, 1883 ; 1886-89, leader of the
Cleveland Symph. Orch.; lives vt
New York as soloist and readier;
pub. ** Tru€ PrirutpUs of tkiAriif
Violin-Playing'' (New York, 1899L
(4) Marie (if), b. Hamburg, Mar
15, 1 85 1, daughter and pupil 0^ (i):
at i6 sang in Leipzig City Th,; for
many years, till 1897, Vienna ct.-of)-
era ; lives in Berlin. (5) Lisa (Mrs.
Herbert Bedford), b. in Loodoo;
concert-soprano ; pupil of Randeg^
and Raunkilde at Rome (voice) asi
of Freudenberg (Wiesbaden),
Hamish MacCunn (comp.) ;
Nov. 23, 1885, at a Monday Pa
Concert; 1887, sang at the N ^
Festival ; 1894, m. and retired ;
many song^s incl. the very pop
cycle from Omar Khayyam, ** /«
Persian Garden,'' also " In Mi
riam'' etc.
Leibrock (Up -rok), Jos. Ad.,
wick, 1808 — Berlin, 1886; writer
composer. •
Leidesdorf (I!'.d^^s.d6r0, Max. J
d. Florence, 1840; 1804-27
of the mus.-pttb. firm of
DICTIONARY OF MUSICIANS 601
L., which published Schubert*s
works.
Mghtan (la'-ttin), Sir Wm«, Engl,
composer, 164 1.
*eisinger (ll'-zing-^r), Elisabeth, b.
Stuttgart, May 17, 1864 : sopr. ;
studied at the Cons., and later with
Viardot-Garcia, Paris ; 1884, Berlin
ct -opera.
eite (irt£), Antonio da Siiva,
1787— 1826 ; cond. Oporto Cath.,
and composer.
^tert (ir-tdrt), Jn. G., Dresden, Sept.
29, 1852 — 1901 ; pianist ; pupil of
Kragen and Retchel (pf.) and Kisch-
bieter (harm.) ; d^but Dresden, 1865;
studied with Liszt ; 1879-81 teacher
Horak Mus. Sch., Vienna; composer,
eiteeb. Vide lkutgeb.
e Jetine (Ifl-zhttn), CUndin, Valen-
ciennes, ca. 1530 — 1598 or 1603 ;
French contrapuntist and composer.
eken (Iti-kfi), Guillanme, Belgium,
1869—1884 ; composer whose early
death cut short a promising career ;
c. adagio in C minor for orch. etc.
emaire (or Le Maire) (m-m&r'), (i)
•, French musician, i6th-i7th
cent. ; believed to have advocated the
adoption of a seventh svUable of sol-
misation (v. D. D.). (2) Th^ophile,
b. Essigny-le-Grand, Aisne, March
22, 1820 ; pupil of Paris Cons. ; sing-
ing-teacher and writer. '
t Maistre (m-m^r) (or Le Maitre),
Mattheus, d. 1577; Netherland
x>ntrapuntist ; ct.-conductor and
»mposer.
imiire de Corrtj (liim-y&r dfi kor-
^*). J. Fr. Aug., Rennes, 1770 —
f'aris, 1832; French officer and dram,
©mposer.
mmens (l£m'-m£ns), Jacques Nic-
olas, Zoerle-Parwys, Belgium, 1823
-Castle Linterport, near M alines,
881 ; organist, professor and com-
oser.
moine O^ini-win), (i) Ant. Marcel,
'aris, 1763 — 1817 ; publisher, ct.-
oifd actor and writer. (2) H., Paris,
786 — 1854 ; son of above and his sue-
esBor in business ; writer. (3) Aim^
b. 1795 (?) ; pub. ** M^thode du
M^loplaste " ; teacher.
Lemoyne (liim.w&n) (rightly Moyne)
(mw4n), J. Bap., Eymet, F^rigord,
1 75 1 — Paris, 1796 ; conductor and
dram composer.
Lenaerts (IQ-n&rts), Constant, b.
Antwerp, March 9, 1852 ; pupil of
Benoit ; at 18 dir. Flemish National
Th., now teacher Antwerp Cons.
Lenepveu (ICi-niip-vti), Chas. Fd., b.
Rouen, Nov. 4, 1840 ; studied with
Servais, in 1861 won ist prize at
Caen ; studied with Thomas at the
Cons. , 1865 took Grand prix de Rome,
rt. from Rome ; won a prize with opera
**Z/ Florentin'' (Op.-com., 1874);
prod. g^. opera ** VelUda*^ (Covent
Garden, 1882) ; 1891 harm.-prof. in
the Cons, and 1893 prof, of comp. ;
1896, Academic des Beaux-Arts ; is
Chev. of the Legion of Honour, and
officer of pub. instruction ; c. lyric
drama ''"Jeanne d'Arc'* (Rouen
Cath., 1886); '' Hymne fun^bre et
triomphar (V. Hugo) (Rouen, 1889),
etc.
Len'ton, J., d. after 1711; band-mu-
sician and composer, London.
Lenz (l^nts), wm. von, Russia, 1804
— St. Petersburg, Jan. 31, 1883; pian-
ist : WTOte genial and enthusiastic
studies of musicians, '*^^^M<?*'^w et
ses irois styles " (1852), etc., being the
first so to divide B.'s art.
Leo (la -0), Leonardo, Brindisi, 1694
— Naples, 1746 ; eminent pioneer in
the Neapolitan Sch. and noted teach-
er, conductor and organist ; pupil of
Aless. Scarlatti, Fago, and Pitoni ;
ct. -organist ; c. 60 operas, also re-
ligious mus., inch a noble 8-part
" Miserere^'^ a cappella.
Leonard (la-o-n&r), Hubert, Bellaire,
near Li^e, April 7, 18 19 — Paris.
May 6, 1890 ; eminent violinist; pub.
technical studies.
Leoncavallo (la-on-ka-val'-la), Rug-
g^ero, b. Naples, March 8, 1858 ;
studied Naples Cons., and at 16
made a tour as pianist ; his first
opera *' Tommaso Chatt^tgn" failed
6o2
THE MUSICAL GUIDE
at first but was succ. revived at Rome,
1896 ; a disciple whom Wagner per-
sonally encouraged, he spent 6 years
in researches, resulting in an " his-
toric " trilogy ** Crepusculum "
C* Twilight"), I. Midici, W.Giro.
lamo Savonarola^ III. Cezare Bor^
gia ; toured as pianist through Egypt,
Greece, Turkey, etc.; lived in Paris
some years and had an opera '* Song£
d'une Nuit d'Et/" privately per-
formed, and many songs published ;
he prod. 2-act opera seria " / Pagli-
acci'' (Milan Dal Verme Th., 1892,
in Germany 1893, as ''Der Bajazzo )
of which he wrote the masterfully
constructed libretto as well as the
strenuous music that made it a uni-
versal succ. The first part of the
trilogy, the 4-act **/ Medici" was not
succ. (La Scala, Milan, 1893); the 4-
act opera ** La Bohhme " (Venice)
was a succ. (cf. puccini); and he c.
also a symph. poem, ** Serajitus —
Serafita^' ; c. operas '*Ztf Tosta'*
and '* Trilby''; '' Zaza'* (Antwerp,
1902) succ; in preparation, opera
*• Roland;* libretto by Emperor Wil-
helm II. of Germany.
Leonhard (la-on-h&rt), Julius Emil,
Lauban, 1810 — Dresden, 1883 ; pro-
fessor and composer.
Leoni (la-o -ne), (i) Leone, cond. Vi-
cenza Cath., 1588 — 1623. and com-
poser. (2) Carlo, Italian comp>oser ;
prod. 3-act operetta *"*" Per un
Bacio** (Siena, 1894), and text and
music of succ. comic opera '* Urba-
ne *' (Pienza, 1896). (3) r ranco, prod,
cantata ^^ Sardanapalus** (I^n(?on,
1896) and romantic opera *^* Rip P\tn
mnkle" (London, 1897).
Leonowa (or Leonova) (la-o-no'-va),
Dapya Mikailovna, Russia, 1825 —
St. Petersburg, 1896 ; contralto.
Lerouz (la-roo), X. H. Napol6on, b.
Velletri. Papal States, Oct. 11, 1863;
pupil of Paris Cons., took Grand Prix
de Rome, 1885; c. opera ** Cl/opatre "
(1890), lyric drama "^"^ Evangeline ^^ a
dramatic overture ** Harold,'* and
operas " William Ratcliff" and
•• VEpavo " (not prxxi.) ; '' AstarU'
(Gr. Opera, 1901), ** La Reitu hUn-
ette" (1902), a mass, etc.
Le Roi (Ittr-wfi). Adrien, 17th cent.;
partner of Ballard (q. v.).
Lesage de Rich6e (ia.sizb-d&^
sha), Philipp Fz. ; Imenist isA
composer.
Leschetizky (15-sh«-t!t'-shkO. Theo-
dor, b. Langert, Austrian Polaai.
1830 ; eminent pfs. teacher; sonati
pupil of a prominent teacher io V;-
enna ; studied with Czcrny (p< !
and Sechter (comp.) ; at 15 begw
teaching; 1842 made succ. toms;
1852 teacher in the St Petosborg
Cons.; 1878 toured ; 1880 m. fe
former pupil Annette Essipoff, »»i
settled as a teacher in Vienna; c. socc
opera, ''Die ErsU Palte"{?ni^
1867), etc.
Leslie, (i) H. David, London, 18::
—Wales, 1896 ; 'cellist, cond. and
composer. (2) Ernest, peo-nanie d
Brown, O. B.
Les'sel, Fx., Warsaw, ca. 17S0-
Petrikow, 1839 ; composer.
Less'man (W. J.), Otto, b. Raders-
dorf, near Berlin, Jan. 30, i&Mi
critic and composer; teacher i^
Stern's Cons. ; then at Tausig's Acai
until 1871 ; organised a piano-scLof
his own ; since 1882 proprietor aoi
ed. Allgnt". Afusik-Zeitung.
Le Sueur (Iti-sdr) (or LesneurX ]•*
Fran., Drucat-Plessiel, near K^
ville, France, Jan. 15, 1764— P^rs-
Oct. 6, 1837 ; chiefly self-taug^:
1786 cond. at Notre Dame, Parj.
where he drew crowds and criiin^
by his progammatic mus.: he p-i
pamphlets defending '*draniaticu^i
descriptive " church-mus. ; the oppo-
sition prevailed, howcN'er, and be re-
tired to the country for 4 years ; i7<J3
he prod. succ. opera " Im Caverv!"
followed by others; 1804 Napo!«*
raised him from distress tothepo*
of ct.-cond.
Leuckart (loik'-firt), F. Ernst Chp^i
founded mus. business at Bresii*
1782, bought 1856 by C Sandeis
DICTIONARY OF MUSICIANS 603
Lentgeb (Leitgeb) (I^t'-gip), Josef;
d. Vienna, 181 1 ; hom-player: friend
of Mozart.
Leyasseur (lii-yis-sttr), (i) P. Fran.,
b. Abbeville, France, 1753 ; 'cellist,
Paris Grand Opera ; composer. (2)
J. H., Paris, 1765— (?) ; a cellist.
(3) Rosalie, soprano, Paris Opera,
176&-S5. (4) Nicholas Prosper, b.
in Picardy, March 9, 1781 ; dram.-
bass and professor.
Leveos (Itt-vans), , church-cond.
and mathematician and theorist at
Bordeaux (1743).
Lcr'cridge, Richard, 1670 — 1758 ;
Engl, bass singer.
Levey, Wm. Chas., Dublin. 1837—
London, 1894 ; dram, composer.
Levi (la'-ve), (i) Hermann, b. Gies-
sen, Nov. 7, 1839 ; eminent conduc-
tor; pupil of V. Lachner and of
Leipzig Cons. ; 1859-61, mus.-dir.,
Saarbrucken ; 1861-64, cond. Ger-
man Opera at Rotterdam ; 1864-72,
ct.-cond. at Carlsruhe ; from 1872,
ct.-cond. at Munich ; 1894, Gen. mus.
dir. Munich ; 1896, pensioned. (2)
Levi (or Levy, Lewy). Vide le-
BERT.
Lewandowski (la-van-dof'-shkl),
Louis, Wreschen, Posen, 1823 —
Beriin, 1894; singing- teacher and com-
poser.
-ew'is, Thos. C, org. -builder, Lon-
don, 1861.
^ewy (li'^e),(i) Edoard Constantin,
Saint-Avoid, Moselle, 1796 — Vienna,
1846; hom-virtuoso and prof. (2)
Jos. Rodolphe, Nancy, 1804 — Ober-
Hssnitz, near Dresden, 188 1; bro. and
pupil of above ; hom-virtuoso. (3)
Chas., Lausanne, 1823 — Vienna,
1S83; son of (i) ; pianist and com-
poser. (4) Richard Levy, Vienna,
1827—1883 ; son of (i) : hom-player,
singing-teacher. (5) Vide lebert.
«e]rpad (If-bakh), Ignace, Gambs-
heim, Alsatia. 1817 — Toulouse,
iSoi; jManist, teacher and composer.
*xadoff (or Liadow) (le'-a-d6f), Ana-
tole, b. St. Petersburg, April 29.
1S55; papil Johansen (cpt. and
fug^e) and Rimsky-Korsakov (form
and instr.)at St. P. Cons.; since 1878,
prof, of harmony there ; also at the
Imp. Chapel ; since 1894, cond.
Mus. Soc.; c brilliant and original
pf.-pcs., etc.
Liapunov (or Liapoimow) Oe-£'-poo-
nof), Serg^e Michailovitch, b. Jaro-
slavi, Russia, Nov. 18, 1859 ; pupil,
Klind worth and Pabst (pf.) and Hu-
bert (comp.) Moscow Cons.; sub-dir.
Imp. Choir, St. Petersburg, and a
member of the Imp. Geographical
Soc., which 1893 commissioned him
to collect the folk-songfs of Vologda,
Viatna and Kostroma, which he pub.
1897 ; since 1894, mus.,-master to the
Grand Duke ; pub. concerto, a
symph., etc.
LiDe'lius, incorrect form of Sibelius.
Lich'fild, H., EngL composer, 1614.
Lichner (llkh'-ner), H., Harpersdorf,
Silesia, 1829 — Breslau, 1898; organ-
ist and conductor.
Lichtenbergr (Ukh'-t'n-b^rkh), b. San
Francisco, Cal., Nov. 22, 1861 ; vln.-
virtuoso ; pupil of Beaujardin ; at 8
played in public ; at 12 pupil of Wie-
niawski, and his aide on a U. S.
tour ; studied 6 months with Lambert
in Paris, then studied again with
Wieniawski 3 years ; won first prize of
honour at the ** National concourse ";
toured America and Europe ; mem-
ber of Boston Symph. Orch.; 1899,
vln. prof. Nat. Cons., New York
Lichtenstein (Ilkh'-t'n-shtln), K.
Ang^., Freiherr von, Lahm, Franco-
nia, 1767 — Berlin, 1845 ; c. operas.
Lichtenthal (Ukh'-t'n-tal), Peter,
Pressburg, 1780 — Milan, 1853 ; dram,
composer and writer on mus.
Lie (le). Erica (Mme. Nissen), b.
Kongsvinger, near Christiania, Jan.
17, 1845; pianist, pupil of Kjeralf, and
of Th. Kullak ; teacher at the Kul-
laks* Acad., toured Germany, etc.;
member R. Acad., Stockholm.
Liebau O^'-bow), (i) Julius, b. Lun-
denburg, Feb. 19, 1857; tenor-buffo;
studied with Gansbacher ; won Wag-
ner's praise as '*Mime"; 1882, ct.«
6o4
THE MUSICAL GUIDE
opera, Berlin. (2) Liebau-Globig,
nelene, b. Berlin, March 31, 1866 ;
soprano ; sang '* Yum- Yum " in '*/?^r
Mikado'^ Berlin, 1889 ; since 1898 at
ct. -opera.
Liebe (le'-b^), Ed. L., Magdeburg,
Nov. 19, 1819 — Coire, Switz-, 1900;
pianist, organist and dram, com-
poser.
Liebich (le -blkh), Ernst (Jn. Gott-
lob), Breslau, 1830-^1884; eminent
Liebig (le'itkh), (i) K., Schwedt.
1808 — Berlin, 1872; staff oboist in a
Regt.; 1843, est. Berlin **Sympho-
niekapelle"; i860, R. Mus. Dir.
(2) Julius, 1838 — 1885, son of
above ; cond. at Ems.
Liebling (lep -Itng), (i) Emil, b. Piess,
Silesia, April 12, 1851 ; concert-pian-
ist ; pf. -pupil of Ehrlich and Th.
Kullak, Berlin ; Dachs, Vienna, Liszt
and Dorn ; since 1867, America, and
since 1872, Chicago, as reviewer and
concert-pianist, teacher and writer.
Co-ed. in a '* Dictionary of Terms'*;
pub. pf.-pcs. and songs. (2) d b.
Berlin, Jan. 22, 1865 ; pupil of Th.,
and Fr. Kullak, and Liszt (pf.), H.
Urban and H. Dorn (comp.) ; 1880-
85, teacher in Kullak*s Acad.; 1881-
89 toured Germany and Austria, with
success ; 1890, ct. -pianist to Duke of
Coburg. (3) Leonard, pianist ; stud-
ied in Germany ; also writer and hu-
morist on musical topics.
Lienau (le'-now), Root., b. Neustadt,
Holstein, Dec. 28, 1838; mus.-pub.^
Berlin.
Liliencron (Ic'-ll-^n-kron), Rochus,
Freiherrvon, b. Plon, Holstein, Dec.
8, 1820; prof.; commissioned by the
Historical Commission of Munich to
collect the mediaeval German folk-
songs, and pub. them.
Lillo (lll'-lo), Gius.f Galatina, Lecce,
Italy, 1814 — Naples. 1S63 ; teacher
and dram, composer.
Limnan'der de Nieuwenhove (na'-
v£nho-v(^). Armand Marie Ghis-
lain, Ghent, 18 14 — Moignanville,
1892 ; dram, composer.
Lim'pus, Richard, 1824 — 1875 ; EagL
organist and composer.
Lincke (llnk'-d), Jos., Tracbeobe^.
Silesia, 1783 — Vienna, 1837 ; 'ccUist.
Linc'oln, H. C, 1739 — i*^; «X*
builder, London.
Lind (iTnt), Jenny, Stockholm, Oct. 6,
1820— at^ her villa, Wynds Point,
Malvern Wells, Nov. 2, 1887 ; "The
Swedish Nightingale,** one of tk
most eminent and pop. of sopranos;
had a remarkably sympathetic Toke
of g^eat compass (d -«'", v. Chajt
OF pitch), remarkable ponty,
breath, endurance and flexibilitj;
studied with Berg and Lindblad, at
the court where she made her ^oy
succ. debut, 1838, in '* Z?^ Fra-
sckatz'\' 1841, studied with Manud
Garcia, in Paris, for nine montits;
1842, sang at the Opera, but wasoot
engaged ; 1844, studied German a:
Berlin, and sang with g^reatest sooc
in Germany and Sweden ; 1847, nudt
a furore in London ; 1849, ^ ^^
the operatic stage, and created evta
greater sensations in concert ; 1850-
52, under the management of P. T.
Bamum, she toured the U. S., earn-
ing $120,000; 1852, she m. Otto Gold"
Schmidt in Boston ; lived in Dresdcc;
1856, London, appearing espedaUj
with the Bach Choir which her has-
band cond. Her last pub. appear-
ance was in his oratorio ** AutM*
Dtlsseldorf, 1870. Her private life
was unusually serene, impeccabk,
and generous. Her bust is in West-
minster Abbey. Biogr. by A. J.
Becher (1847).
Lindblad (Itnt'-blat) Ad. Fr., L6f-
vingsborg, near Stockholm, 1801—
1878 ; teacher of Jenny Lind ; c a-
cellent Swedish songs and an opera.
Linden (lTnt'-*n), K. van der, b. Do:-
drecht, April 24, 1839; promiueai
Dutch cond.; pupil of Kwast (pf.)
and F. B5hme (theory) ; 1860 coci
Dordrecht ; later bandm. the NiL
Guard (1875); cond. Netheriand
Musicians* Assoc.; c. cantatas wA
orch., 2 operas, etc.
DICTIONARY OF MUSICIANS 605
Under (nn'-d«r), Gf., b. Ehingen. July
22, 1842 ; pupil Stuttgart Cons. ;
from 1868 teacher there ; 1879 P">-
fcssor; c. 2 operas; overture ** .4us
ncrdischfr Htidenzeit** etc.
Lind'ley, (i) Robert, Rotherham,
Yorkshire. 1777 — London, 1855 ;
'cellist. (2) Wm., 1802 — Manchester,
1869 ; son of above ; 'cellist.
Lindner (l^nt'-n^r), (i) Fr., Licgnitz,
ca. 1540 — Nnmberg ; composer. (2)
, Lobenstein, 1 808— Leipzig,
1867 ; horn-player. (3) Ernst Otto
Timothens, Breslau, 1820— Berlin,
1867 ; conductor and writer. (4)
Aag^., Dessau, 1820 — Hanover, 1878;
'cellist and composer.
Lindpaintner (Unt'-pTnt-n^r), Peter
Jos. von, Coblenz, Dec. 8, 1791 —
Nonnenhom, Aug. 21, 1856 ; emi-
nent conductor, ct. -conductor and
dram, composer.
Lind'say, M. (now Mrs. J. W. Bliss),
English conaposer of pop. songs.
Lin'ley, (i) TTios., Sr.. Bath, 1725—
London, 1795 ; conductor and dram,
composer ; owner with Sheridan of
Drury I^ne Th., 1776; he had 3
daughters and 3 sons. (2) Tbos.,
Jr., Bath, 1756— -drowned at Grims-
thorpe, Lincolnshire, 1778 ; violinist
and composer. (3) Eliza Ann,
1754 — Bristol, 1792 ; brilliant sopra-
no. (4) Mary, d. 1787 ; singer.
(5) Maria, d. Bath, 1784 ; singer.
(6) Ozias, 1765 — 1851 ; organist and
composer. (7) Wm., ca. 1767 — 1835;
composer -and editor. (8) Francis,
Doncaster, 1774 — r8oo ; organist and
composer. (9) G., Leeds, 1798 —
London, 1865 ; writer and dram,
composer.
Linnarz (Itn'-narts), Robt., b. Pots-
dam, Sept. 29, 185 1 ; pupil of Haupt,
Berlin; teacher in Bederkesa semi-
nary ; do. at Alfeld ; wrote methods,
etc.; c. a festival cantata ** All-
DntUchland,^ etc.
Lilttennans OYn'-tafr-mSns), Fran-
Jos., Brussels, 1808— Ixelles, 1895 ;
singing-teacher and composer.
Lipinski (lY-pYn'-shkY), K. Jos., Rad-
zyn, Poland, Nov. 4 (Oct. 30?), 1790
— Urlow, near Lemberg, Dec. 16,
186 1 ; noted violinist and composer ;
pupil of Paganini ; lived in Dresden,
1839-59.
Lipsius (lYp'-sY-oos), Marie, b. Leip-
zig, Dec. 30, 1837 ; wrote under pen-
name '* La Mara."
Lirou (le-roo), J. Fran. Espic,
Chev. de, Paris, 1740— 1806 ; writer
and composer; pub. a ^^ Harmony**
(1785), the first French book to de-
sert Rameau for the modem laws of
tonality.
Lischin (lesh'-Yn), Grig^ry Andree-
▼itch, 1853 — St. Petersburg, June
27, 1888 ; c. operas, incl. ^^ Don C/-
sar de Bazan*
Lissmann (les'-man), (i) H. Fritr,
Berlin, 1847 — Hamburg, 1894 ; bary-
tone ; m. the sopr. (2) Anna
Marie Gutzschbacn.
Listemann (lls'-t^-man), (i) Fritz, b.
Schlotheim, Thuringia, March 25,
1839 ; violinist ; pupil of his uncle
Ullrich, and of David, Leipzig Cons.,
1858, chamber-virtuoso to the Prince
of Rudolstadt ; 1867 lived in New
York ; 1871, ist vin. Thomas Orch.;
from 1878, 1st vln. Philh. Orch. ;
1881-85 Symph. Orch.; since
taught and» toured with ** Liste-
mann Concert Co." ; c. a vln. -con-
certos, etc. (2) Bemhard, b. Schlot-
heim, Aug. 28, 184 1 ; bro. of above ;
pupil of Ullrich, and David, Vieux-
temps and Joachim. 1859-67, ist.
vln. in Rudolstadt ct.-orch.; came to
America with his bro., lived in Bos-
ton ; 1871-74, leader Thomas Orch.;
1874 founded the '* Philharm. Club,"
and toured the country; 1878 founded
Boston Philh.-Orch.; cond. till 1881,
then 4 yrs. leader of the New
•*Symph.-Orch."; founded •* Liste-
mann Quartet " ; 1883 - 93, dir.
of the *' Listemann Concert Co.";
from 1893, prof. Chicago Coll. of
Mus.; pub. a '' Afethodr (3) Paul,
b. Boston, Oct. 24, 1^71 ; son and
pupil of (2) ; studied also with (i)
and was a member of the Quar*
6o6
THE MUSICAL GUIDE
tet and Concert Co., i8go - 93 ;
studied with Brodsky and Hilf, Leip-
zig, and with Joachim, at Berlin;
leader of the Pittsburg (Pa.) Orch. ;
1896, of the '* American Orch.," N.
Y.; since soloist of the ** Redpath
Concert Co." (4) Fz., b. New York,
Dec. 17, 1873 ; bro. of above ; 'cel-
list ; pupil of Fries and Giese at Bos-
ton, of Julius Klengel, Leipzig ; and
Hausmann, Berlin; ist 'cello Pitts-
burg Orch. for a year, since lives in N.
Y. as teacher and concert-performer.
Lisxt (list), Franz (originally Fef-
encz). Raiding, near Odenburg^
Hungary, Oct. 22, 18 11 — Bayreuth,
July 31, 1886; in many ways the
most brilliant of all pianists, and a
composer whose poorest works are
too popular, while he is not granted
the credit due his more solid achieve-
ments ; as great a patron of art, also,
as he was creator. Son and pupil of
an amateur ; at nine played in public,
at Oedenburg, Ries' Ep concerto. A
group of Hungarian counts sub-
scribed a 6 years' annuity of 600 flor-
ins, and the family moved to Vienna,
where L, studied with Czerny (pf.),
and Salieri (theory) for 18 months.
Beethoven hearing .lim play his trio
op. 97, embraced him. At 12 he gave
V. succ. concerts in Vtenna and his
father took him to Paris, where he
was refused as a foreigner because
of Cherubini's objections to *' infant
phenomena ; " hereafter L. was his
own teacher, except in comp. which
he studied with Paer and Reicha. At
14, his i-act operetta, '*/><?« San-
cho " had 5 performances at the Acad,
royale de musique. On his father's
death in 1827 he supported his
mother by teaching, soon becoming
the salon-idol he always remained.
He was strongly influenced by Cho-
pin, von Weber, Paganini and Ber-
lioz. He had a brilliant series of
heart-affairs, beginning with the lit-
erary Countess d'Agoult ('* Daniel
Stern "), with whom he lived ia
Geneva (1835-39). She bore him a
son and three daughters ; Cosiioa.
the youngest, became the wife ot
von Bulow, later of Wagner. 1839,
he successfully undertook to ean bf
concerts money enough for the coi&-
pletion of the Beethoven mooameot
at Bonn. 1849, ct.-cond. at Weiisar,
with royal encouragement to aid mos.
progress. He made himself the
greatest patron among creatiTe art^
aiding Wagner materially by pro-
ductions of his works at Weimar a&d
by pf . - transcriptions, aiding ako
Raff, Schumann, and Berlioz, finally
resigning before the opposition to,
and failure of, an opera by Cornelius
(q. v.). 1859-70, he lived chiefly at
Rome, where in 1866 the Pope, Pios
IX., made him an abbe. 1870 he
was reconciled with the Weinar
Court. 1875 pres. of the new Acad.
of Mus. at Pesth ; he spent hs
last years at Weimar, Pesth. and
Rome, followed by a large retinae of
disciples and pupils whom he taught
free of charge. He died during a
Bayreuth Festival. C. 2 symphs,:
**Z?^j«/^" (after the " Divina Corn-
media " with female chorus) ; *'£wf
Faustsymphonie'' (•'Faust,'' "Grrt-
chen, ** Mephistopheles," with male
chorus) ; Symph. Poems: " Ce f « «
entend sur la montagm" (Victor
Hugo) ; ** Tasso, lamento e trionfo';
• • Les PrHudes " / * * Orpluns " ;
''Prometheus''; ''Mazeppa'^; **/>j/-
kldnge " / •* H^roUe funihrr ;
*• Hun^aria "/ ** HamUr ; '* Hm*-
nenschUuhr; ''Die IdeaW (Schil-
ler) ; and ** Von der Wiege bis utm
Grabe'' (Michael Zichy) ; also Fot
ORCH. ** Zwei Episoden aus Lemm
Faust'* (Der nachtliche Zug, 2 Mc
phisto-wfilzer), etc. For Piaxo
2 concertos ; ** Danse macabre^* with
orch.; "Concerto patk^tique** ; 15
"Rhapsodies hongroises"; " Rk^
sodie espagnole '*/ ** Sonata in B.
Min.'* ; " Fantasia and Fugue e*
B-A-C-H^ ; variations on a theme
from Bach's B-min. mass ; 10 '^" Har-
monies poetiques et riligiensts^;
DICTIONARY OF MUSICIANS 607
'' Ann^s de ptfUrinage"; 3 '' Ap-
^h-
paritions,'' 2 ballades ; 6 ** Consoi
tions"/ 2 el^es; 3 legendes {Si.
Francois U Assise and St, Francois
d€ Faul) ; ;' Uebestrdume'' (Not-
tumos); *^ Etudes d'/x^cution tran-
scendante "y ^* Ab irato, ^tude de per-
fectionnement "/ concert-etudes,
** WakUsrauscfun*' and *"* Gnometi'
rcigen*^ ; '* Technische Studien'* (12
books), etc., and many transcriptions
of symphs., overtures, 50 songs by
Schubert, etc. Vocal comps. : 4
masses, incl. Missa soUnnis (the
*• Graner " Festival Mass) ; requiem ;
3 oratorios, **Z>»> Legende von der
Heiligen Elisabeth;' '* Stanislaus;'
and *' Christus''; Psalms 13th, i8th,
etc., with orch. and other church-
music; 3 cantatas with orch.; male
choruses, 60 songs, etc. Wrote life
of Chopin, of Franz, etc. Complete
ed. of his writings in 6 vols. Biogr.
by L. Ramann, 1880.
Franz Liszt.
By Henry T. Finck.
THERE are two great paradoxes in the career of Liszt. The first is
that just as Rossini, the most popular opera composer of his day,
ceased writing operas thirty-nine years before his death, so Liszt,
the greatest and most adored pianist of all times, ceased playing in public (ex-
cept for an occasional charitable purpose) about the same number of years
before his end came. He had, with his inimitable art, familiarised concert-
goers with nearly all the best compositions for the piano, created by other
roasters. He had transcribed for the same instrument a large number of songs,
operatic melodies and orchestral works (the number of these transcriptions at his
death was 371), thereby vastly increasing their vogue. He also wrote al-
together 160 original compositions for the pianoforte, many of them as new
in form as in substance ; unique among them being the fifteen Hungarian
rhapsodies— ^collections of Magyar melodies with gypsy ornaments, moulded
by him into works of art, after the manner of epic poets. But — and here
lies the second paradox — Liszt, the greatest of all pianists, was not satisfied
with the piano. In many of his pieces for it, he endeavours to impart to it
orchestral power and variety of tonal efiect ; and finally, when he became
conductor at Weimar (1849), ^^ transferred hb attention chiefly to the or-
chestra. ^ Of his thirty-four orchestral works, the most important are the
** Faust ^* and ** Dante ^* symphonies, and thirteen symphonic poems, in
which he deviated from the old symphonic form in a spirit similar to Wag-
ner's operatic reforms — abolishing the mosaic of unconnected movements and
allowing the underlying poetic idea (programme) to shape the form of the
music. Of great importance and beauty also are his sixty songs, which rep-
resent the climax of the tendency to mirror in the music, not only the general
spirit of the poem, but every line and word. The last period of his life was
largely given up to the writmg of sacred compositions. Among these, the
6o8
THE MUSICAL GUIDE
most original in substance is the ** Legend of St. Elizabeth y** the most or^pnl
in form "CbristuSf** in which the last remnants of the opera (the aria ind
recitative) are eliminated from the oratorio, and little remains besides chonises
and instrumental numbers. Liszt's genius in early life was shaped largdjbf
Schubert, Chopin, Berlioz, and Wagner. His own influence on the piani^
and orchestral writers of Germany, France, and Russia, can hardly be otct-
estimated.
Litolff (le'-tolf), H. Chas., London.
Feb. 6, 1818 — Paris, Aug. 5, 1891;
prominent pianist, conductor, pub-
lisher and composer.
Litta (l!t'-ta), Duca Giulo, Visconte
Arese, Milan, 1822 — Vedano. near
Monza, 1891; dram, composer.
Litvinne (let'-vln), Felia, b. Russia ;
soprano ; pupil of Mme. Barth-Ban-
deroli and Maurel ; debut Th. des
Italiens, Paris ; later sang Wagner
at Met. Op., N. Y. ; then in St. Peters-
burg ; sister-in-law of Ed. de Reszk^.
Litzau (let'-tsow), Jns. Barend, Rot-
terdam, 1822 — 1893 ; pianist, organ-
ist and composer.
Liverati (le-v€-ra'-te), Giov., Bologna.
1772 — after 1817; 'noted tenor, con-
ductor and dram, composer.
Lloyd (loid), (i) Edw., b. London,
March 7, 1845 ; noted concert tenor;
choir-boy, Westminster Abbey, with
Jas. Turle, till i860; from 1874,
first tenor, Leeds Festival ; sang at
Cincinnati Festival 1888, and has
toured the U. S.; gave farewell con-
cert, London, igoo. (2) Chas.
Harford, b. Thornbury, Gloucester-
shire, Engl., Oct. 16, 1849; 1891,
Mus. Doc. Oxford; 1876, organist
Gloucester Cath.; 1892 precentor and
mus. -teacher Eton Coll.; founded
Oxford Univ. Mus.-Club ; 1877-80,
cond. Gloucester Festivals ; now Ox-
ford Symph. Concerts ; c. 7 cantatas,
mus. to Alcestis (Oxford, 1887) ; full
cath. service, etc.
Lobe (lo'-b$), Jn. Chr., Weimar, May
30. 1797— Leipzig, July 27, 1881 ;
flutist, via. -player, and dram, com-
poser ; wrote important treatises.
Lobkowitz. Vide caramuel de i.
Lo'ba(or Lopez) (lo-p£s) (orLnpos),
Duarte, Portuguese composo* at
Lisbon, 1600.
Locatel'li, Pictro, Bergamo, 1693—
Amsterdam, 1764 ; vln. -virtuoso, re-
garded as marvellous for his double-
stopping and effects procured b?
changed accordature (v. d. d.) ia
which Paganini imitated him.
Locke, Matthew, Exeter, England,
1632 (33 ?) — London, 1677 ; com-
poser.
Lock'ey, Chas., succ. Engl, tenor;
retired, 1859.
Lo'der, (i) J. Fawcett, 1812— 1853;
violinist and conductor. (2) Edw.
Ja's., Bath, 1813— London, 1865:
dram, composer. (3) J., vioHoi^
d. ca. i86o (?). (4) Wm., 'cellist;
d. ca. i860; bro. of above. {5)
Emily Woodyat, wife of above.
Loeb (lip), Jules, b. Strassburg. 1857:
pupil of Chevillard, Paris Cons., won
1st prize ; solo *cellist at the Opera,
and the Cons. Concerts ; member of
the Marsick Quartet, and the **So-
ci^te f>our instrs. k vent et i cor-
des "
Loeffler (l$f'-ier), Chas. Martin Tor-
nov, b. Mtthlhausen. Alsatia, 1861:
violinist and notable composer ; pupil
of Massart, Leonarti, Joachim and
Guiraud (comp.) ; played in Pasde-
loup's orch.; later in Prince Denriers
orch.; now 2d leader and soloist Bos-
ton (U. S. A.) Symph. Orch.; c,
symph. poem **Ztf mort de Tinta-
giles " (after Maeterlinck), with vide
d'amore obbligato ; suite '* Les Fai-
Ues de t Ukraine'' (after G<^) for
DICTIONARY OF MUSICIANS 609
vln. and orch.; concerto in i move-
ment for orch.; divertimento for vln.
with orch. ; string quartet ; songs
with viola obbL, etc.
Loeillet (Iwa-ya), J. Bap., Ghent-
London, 1728 ; noted virtuoso on
flute and harp ; composer.
Loevfre, Vide l6we.
Logger (lo-jer), Jn. Bd., Cassel,
1777 — Dublin, 1846 ; flutist, writer
and composer; invented the'*chiro-
plast."
Lo^oscino (16-gro-she'-nd), Nicolll,
Naples, ca. 1700 — 1763; professor of
cpt. ; composer ; pupil of Durante ;
1747, prof, of cpt. at Palermo, then
lived in Naples and prod, some 20
light operas ; he was brilliantly suc-
cessful, and was the first to close acts
with an ensemble.
Lohtnann (lo-man), Peter, b.
Schwelm, Westphalia, April 24, 1833 ;
since 1856, lives in Leipzig ; 1858-^1,
writer for Neu^ Zeitschrt/t fUr AIu*
sik ; he believes that the drama
should be of universal appeal without
localism, patriotism or other alleged-
ly narrowing influence ; wrote trea-
tises and several dramas set to music
by Huber, Goebel, etc.
Lohr (lor), Jn., b. Eger, May 8, 1828 ;
org.-virtuoso and teacher ; pupil of
his father, and of Pitsch ; 1858, or-
ganist, Szegedin, Hungary ; lives in
Pesth ; played with succ. in London,
1871.
Ldhr (lar), (i) G. Augustus, Norwich,
Engl., 1821 — Leicester, 1897 ; or-
ganist and conductor. (2) Richard
H., Leicester, Engl., June 13, 1856 ;
studied R. A. M. won two medals ;
organist, London ; since 1882, con-
cert-pianist ; c. oratorios ; wrote
'* Primer 0/ Music t** etc.
Lohse (lo'-z£). Otto, for years cond.
Hamburg City Th.. 1895-96, Dam-
rosch Op. Co., in which the prima
donna was his wife Klafsky (q. v.);
cond. Covent Garden, 1901 ; now
cond. City Th., Strassburg; prod.
socc. opera ** Der Prim Wider
W^«V^" (Cologne. 1898).
?9
Lolli (16r-U), Ant., Bergamo, ca. 1730
('40 ?) — Palermo, 1802 ; violinist and
leader ; composer and writer.
Lomagne, B. de. Vide soubies!
Long'nurst, (i) Wm. H., b. Lam-
beth, Engl., Oct. 6, 1819; chorister
in Canterbury Cath.; later asst.-or-
ganist, master of the choristers and
lay-clerk ; 1873, organist ; 1875,
Mus. Doc. and mus. -lecturer ; c. ora-
torios, cath. service, etc. (2) J.
Alex., 1809 — 1855 ; operatic and
concert-singer ; bro. of above.
Loo'mis, Hanrey Worthing^on, b.
Brooklyn, U. S. A., Feb. 5, 1865 ;
notable composer; pupil of Dvorak
at the National Cons., New York,
1892, winning a 3-years' scholarship;
lives in New York ; c. several excel-
lent pantomimes and notable pro-
gramme music in the form of ** mu-
sical backgrounds " to poems ; original
pf.-pcs. and songs.
Loose'more, (i) H., d. 1667 ; organist
at Cambridge, and composer. (2)
G., son of above; organist. (3) J.,
d. 1681; son of (i), org.-builder.
Lopez. Vide lobo.
Lorenz (lo-rCnts), (i) Fx., Stein, Lower-
Austria, 1805 — Vienna, 1883 ; writer.
(2) Karl Ad., b. Koslin, Pomerania,
Aug. 13, 1837 ; c. quartets, etc., as a
sch.-boy ; studied with Dehn, Kiel
and Gehrig, Berlin, and at Berlin
Univ.; 1861, Dr. Phil.; 1866, Munic-
ipal Dir., Stettin, cond. symph.
Concerts, etc.; teacher in two gym-
nasiums; founded the " Stettin Mu-
sikverein " (for oratorio) ; 1885, pro-
fessor ; c. 2 succ. operas, overtures,
etc. (3) Julius, b. Hanover, Oct,
I, 1862; from 1884, cond. Singaka-
demie, Glogau ; 1895, of the •*Arion,"
New York; c. an opera ''''Die Re-
kruten,'' and overtures.
Lo'ris, Lori'tus. Vide glareanus.
Lortzing (lort'-tstng) (Gv.), Albert,
"Berlin, Oct. 23, 1803 — Jan. 21, 1851;
an actor, son of actors, and m. an
actress, 1823. Had a few lessons
with Rungenhagen ; chiefly self-
taught; i8a6, actor at Dctmold;
6io
THE MUSICAL GUIDE
prod. 2 vaudevilles with succ, ; 1833-
44, tenor at Leipzig th. ; prod. succ.
''Die beiden SchAHen'* ; 1837 and
1839, ** Czar und Zimmerman^*; 4
others followed, then '' Der IVild-
schiitz,** 1842 ; cond. at Leipzig Op.,
then travelled, producing 6 more op-
eras, incl. ''Undine'' (1845); " Der
Waffenschmied" (1846) ; his melo-
dious unction keeps those works men-
tioned still popular, and his " Regina "
was posthumously prod. Berlin, 1899,
with succ; he lived in poverty in
spite of his succ. , and a benefit was
needed for his family after his death ;
c. also an oratorio, etc.; biogr. by
DQringer (Leipzig, 185 1).
Ldschhorn (l«sh'.h6m), Albert, b.
Berlin, June 27, 1819; pupil of L.
Berger, Kollitschg^, Grell and A. W.
Bach at the R. Inst, for Church-mu-
sic ; 185 1, as pf. -teacher there ; 1859,
professor ; noted teacher also ; writer
and composer.
Los' sen, Magda. Vide dulong.
Los'sius, Lucas, d. LUneberg, 1852 ;
writer and composer.
Lott, Edwin M., b. St. Helier, Jersey,
* Jan. 31, 1836 ; at 10 yrs. organist ;
later various London churches ; c.
sacred mus.
Lotti (16t'-te), Ant., Hanover ( ?), ca.
1667 — Venice, Jan. 5, 1740; son of
the ct.-cond. at Hanover ; pupil of
Legrenzi ; at 16 prod, an opera at
Venice ; 1697 organist there ; prod.
20 operas with general succ. ; was
noted as an organist, and more
famed as a composer of church-music.
Lotto (16t'-t6), Isidor, b. Warsaw,
Dec. 2, 1840 ; pupil of M assart (vln.)
and Reber (comp.), Paris Cons. ;
1862, solo-violinist, Weimar ; 1872,
teacher Strassburg Cons., later at
Warsaw Conservatorium.
Lotze (lot'-tsd), Rudolf Hn., Bautzen,
18 1 7 — Berlin, 188 1 ; professor apd
writer.
Louis (loo'-es), Fd., Friedrichsfelde,
near Berlin, 1772 — Saalfeld, 1806 ;
Prince of Russia, nephew of Frede-
rick II. ; composer.
Louli^ (loo-yi), &t., 17th cent. ; nr.
the **chronom^tre " (forerunner d
the metronome) and a ** sonomftre,"
Lovattini (-te'-ne), GioT., ItaL teoc:
in London, 1767.
LoVer, Samuel, Dublin, 1797— Jer-
sey, 1868 ; famous novelxst ; also
composer.
L6w (lav), Jos., Prague, Jan. 33, 1834
— Oct., 1886 ; pianist and compose:
of light pf.-pcs.
Lowe (Id), Edw., Salisbury, EngL.
1610 (-15?) — Oxford, 1682 ; ot^ganist,
professor and composer.
Ldwe (li'-v6) (Jn.) Karl (Gt), Ldbe-
jtln, near Halle, Nov. 30, 1796—
Kiel, April 20, 1869 ; son and pupil
of a cantor ; studied with Tfirk od a
royal stipend ; 1821-66 town mns.-
dir. at Stettin ; toured Europe sing-
ing his own fine " ballades** or dra-
matic solos ; also c. 5 operas, 17
oratorios, etc., wrote a '* Selbst-bio-
graphie (1870)."
Lowthian, Caroline (Mrs. CjvX A.
Prescott), English composei^
Lttbeck (la'-b^k), (i) Vincentins, Psui-
dingbOttel, near Bremen, 1654 — Ham-
burg, Feb. 9, 1740 ; famous organise.
(2) Jn. H., Alphen, Holland. 1799—
The Hagfue, 1865; violinist and cl-
conductor. (3) Ernst, The Hague,
1829 — Paris, 1876 ; son of above ;
pianist. (4) Louis, b. The Hagw,
1838 ; bro. of above ; pupil of Jac-
quard ; 1863-70, *cello- teacher, Leip-
zig Cons. ; then in Frankfort
Lii'benau, L. Vide Jadassohn, s.
Lubrich (loo-brlkh), Fritx, b. Bars-
dorf, July 29, 1862 ; 1890 cantor at
Peilau, Silesia ; editor and ass-
poser.
Lucantoni (loo-kJln-to'-neX Gior., b.
Rieti, Italy, Jan. 18, 1825 ; pupil of
Milan Cons.; 1857 lived in Paris,
then London as vocal teacher ; c an
opera, a symph., etc.
Lu cas, (i) Cnas., Salisbury, i8o&~
London, 1869 ; 'cellist and composer.
(2) Stanley, since 1861 secretary to *
the R. Soc. of Mus.; and i866-«o of
the Philh. Soc. (3) Clarence, b. Can-
DICTIONARY OF MUSICIANS 611
ada, 1866; studied Paris Cons.; c.
opera, '* Anm Hathaway ^^* etc.
Lucca (look'-ka), Pauline, b. Vienna,
April 25, 1841 ; soprano ; studied
with Uschmann and Lewy ; in chorus
Vienna Op.; 1859 ^^^ attention as
First Bridesmaid in ** Der Frei-
scAUtz** engaged at Olmfltz, for
leading roles ; Meyerl)eer chose her
to create •• Selika " in *' LAfricaine''
at Berlin, where she was engaged as
ct. -singer for life ; sang in I^ndon
annually, and broke her Berlin en-
gagement to sing in the United
States for two years ; 1869 m. Baron
von Rhaden (divorced, 1872) ; m. von
Wallhofen in America ; lives in Vi-
enna.
Lncchesma (look-kas'-mS), Maria A.
BC, Ital. mezzo-soprano, London,
1737.
Lfick (Ilk), Stephan, Linz-on-Rhine,
1806 — Trier, 1883 ; reformer in Cath-
olic church-music.
Ludwip: (loot'-vlkh). Otto, Eisfeld,
Thuringia, 1813 — Dresden,*^ 1865 ;
dram, composer.
Lnhrsz (loorsh), K., Schwerin, 1834 —
Berlin, 1882 ; composer.
LuUy (rightly Lulli) (lol-le, or lool'-lt),
(i) J. Bap. 4c> Florence, 1633 —
Paris, March 22, 1687. A Franciscan
monk taught him the violin and gui-
tar. His parents were noble but
poor ; the Chev. de Guise took the
boy in 1646 to France to entertain
MUe. de Montpensier, but he was
set to work in the scullery, where
Count de Nogent heard him play
the vln. and placed him in the
private band. L., however, set to
music a satirical poem on Mile, de
M. and she dismissed him. He stud-
ied the harps, and comp. with Metri,
Roberdet, and Gigault, and became
a member of the King's private or-
cbestra ; 1652, he became head of the
*' 24 violins ' ; he organised a second
group, " Ics petits violons," of 16
instrs. and made it the best orchestra
in France. 1653, ct.-composer and
prod, masques and ballets in which
Louis XIV. took part and LuUy as
** M. Baptiste," danced and acted.
1672, the king held him in such favour
that he gave him letters patent for
an *'Academie royale de musique "
(now the Gr. Opera) ; a rival theatre
was closed by the police (v. campra).
With this opportunity ,(cf. Wagner's
Bayreuth, Theatre) the transplanted
Italian proceeded to found French
opera — idiomatic mus. to texts in the
vernacular, and free of the super-
ornamentation of the Italian Sch. He
held the vogfue till Gluck put him in
eclipse. L. was dir. , stag^-manager,
conductor, and even at times machin-
ist, as well as composer. He was
fortunate in his librettist, Quinault.
He developed the overture, and intro-
duced the brass into the orch. He
was famous for his temper and once
while cond. furiously struck his own
foot with the baton, producing a
fatal abscess. His works, mainly on
classical subjects, include "Z/j Fttes
de r Amour et de Bacchus^*; a pas-
toral pasticcio (1672); '''^ Cadmus et
Hermione "/ '' Alceste''; '* Thtfs/e";
**Z^ Carnaval^^'' opera-ballet ; *^Atys^
/sis, Psyche"; ''BelUrophon'; ''Pro-
serpine ** / ** /> Triomphe de
L Amour''; ''Pers/e'\' ** Phaeton'';
'' Amadis de GauU" ; ''Roland" ;
'' Armide et Renaud" ; ''Acts et
Galat/e" historic pastoral (1686),
etc., also symphs., a mass, etc. (2)
Louis de, Paris, 1664 — after 17 13;
son of above ; dramatic com-
poser.
Lum'bye, Hans Chr., Copenhagen,
1810 — 1874; conductor and compos-
er of pop. dance-mus. His son and
successor (2) G., c. opera ** The
Witch's Flute."
Lnm'ley, Benj., 18 12 — 1875 I London
operatic manager.
Ln'pj. Vide lupus.
Lupi (loo'-pe), Italianised form of
•* Wolf"; frequent i6th cent, surname
worn by Lupus Lupi, Didier, Jo-
hannes (Jean), and Manfred Lupi,
of whom nothing remains except their
6l2
THE MUSICAL GUIDE
works (detached motets for the
greater part). Also see lobo.
l^uporini (loo-po-re'-ne), Gaetano, b.
Lucca, Italy ; pupil of Primo Quilici,
graduating from the Pacini Mus.
Inst.; c. opera ^* Marc^lla^'' succ.
lyric comedy, ** I Dispetii Amorosi''
(Turin, 189^1.); v. succ. opera "^La Col"
lana di Pasqua " (Naples, 1896), etc.
Lupot (iQ-po), (i) Nicolas, Stuttgart,
1758 — Paris, 1824 ; chief of a French
family of vln-makers, incl. his great
grandfather (2) Jean; his grandfather
(3) Laurent (b. 1696), his father
(4) Francois, his bro. (5) Francois
(d. 1837), and his son-in-law, Chas.
Fr. Gand of Gand & Bernardel,
Paris.
Lupus (loo'-poos) (Christian name fre-
quently occurring among i6th cent,
composers). Among those who wore
it are, (i) L. Hellinck, (2) L. Lupi.
Lusci'nius (Latin form of Nachtgall
or Nachtigall (n&kht'-(1)-gal),
*• Nightingale "), Ottomar, Strass-
burg, 1487 — ca. 1536 ; organist, theo-
• rist and composer.
Lussan (dd lOs-sah), Z61ie de, b. New
York, 1863 ; pupil of her mother ; d<?-
but in concert and stage, 1886 ; 1889
Carl Rosa Co. , London ; from 1894,
Met. Op. N. Y., also in Spain, etc.
Lussy (loos' -se), Mathis, b. Stans,
Switz., April 8, 1828; pupil of Bu-
singer and Nageli; pf.-teacher, Paris,
and writer.
Lttstner (llst'-n'r), (i) Igamx P..
Poischwitz, near Jauer, 1792 — Bres-
lau, 1873 ; violin teacher. His five
sons were (2) K., b. Breslau, Nov.
10, 1834 ; pianist and 'cellist ; since
1872 teacher in Wiesbaden. (3) Otto,
Breslau, 1839 — Barmen, 1889 ; town
mus.-dir. at Barmen. (4) Louis, b.
Breslau, June 30, 1840 ; violinist,
and since 1874 cond. at Wiesbaden.
(5) G., b. Berlin, 1887 ; 'cellist; ct.-
cond. at Berlin. (6) Richard, b.
Breslau, Sept. 2, 1854; harpist and
violinist.
Lather (loo'-tdr), Martin, Eisleben,
Nov. 10, 1483 — Feb. 18, 1546; the
great reformer concerned himself ako
with church-mus., issuing *'^ F^rmmU
missiu" (1523), and a new ofder
for the German mass. He wrote the
words of at least 36 chorals, and is
generally believed to have c. 13 cho-
ral-tunes (incl. the famous ** Einfeste
Burg ist unser Goti" and *'^ Jtsaia
den Propheten das gescha "), his meth-
od being to play them on the flute
(which he played well) while his
friends and assistants, the cond. Koo-
rad Rupff and cantor Jn. Waither,
wrote them out.
Ltttschg (lUshkh), Waldemar, b. St.
Petersbur|^, May 16, 1877 ; pianist ;
pupil of his father a prof, at the Cons.
there ; after his father s death he
toured Germany ; lives in Berlin.
Luts (loots), Wm. Meyer, b. Man-
nerstadt, 1829 ; pianist and diam.
composer: from 1848, conductor at
London.
Ltttzel (lut'-ts«l), Jn. H., Iggleheim,
near Speyer, 1823 — Zweibnicken,
1899 \ writer and composer.
Lntzer, Jenny. Vide dingblstkdt.
Lux (looks), Fr., Ruhla, Thuringia,
1820— Mayence, 1895 ; conductor,
organist, pianist and dram, composer.
Luzzi (lood'-ze), Lni^, Olevano di
I^mellina, 1828 — Stradella, 1876 ;
dram, composer.
Lyoff (or Lwoff) (IVoQ, Alex. Ton,
Reval, 1799 — on his estate, Govt, of
Kovno, 1870; violinist and conduc-
tor ; c. the Russian national h3rmn and
4 operas.
Lwowezyk (IVd'-v^-zek), Martin
(Leopolitas), d. 1589, Polish com>
poser.
Lynes (llnz), Frank, b. Cambridge,
Mass., May 16. 1858; pupil N. E.
Cons, and Leipzig Cons.; lives in
Boston as organist, conductor and
composer.
L3rra (le'-rfi), Tustus W., Osnabrttck,
1822 — Gherdcn, 1882 ; composer.
Lysberg (les-b^rkh) (rightly BoryX
Chas. Samuel, Lysberg, near Ge-
neva, 182 1 — Geneva, 1873 '■> pianist
and dram, composer.
DICTIONARY OF MUSICIANS 613
M
Maas (mSs), (i) Jos., Dartford, 1847 —
1886; tenor. (2) Louis (Ph. O.),
Wiesbaden, 1852 — Boston, 1889 ;
pianist, conductor and composer.
iMbellini (m£-b^l-le'-ne), Teodnlo,
Pistoia, Italy, 1817 — Florence, 1897 ;
ct. -conductor and dram. comp>oser.
Mabillon (m&.be-yofi), Jean, St.
Pierremont, 1632 — St. Germain-des-
Pres, 1707 ; writer and editor.
Macbeth', Allan, b. Greenock, Scot-
land, March 13, 1856 ; pupil of Leip-
zig Cons,; organist in Glasgow;
since 1890, principal sch. of mus.,
Glasgow Athenaeum ; c. an operetta,
2 cantatas, chamber-mus. , etc.
Maccherini (mak-k£-re'-ne), Bologna,
1745 — 1825, soprano, wife of An-
sani.
MacCnnn', Hamish, b. Greenock,
Scotland, March 22, 1868 ; notable
British composer ; pupil of Parry, R.
A. M., having won a scholarship for
comp.; at 19, several of his orch.-
pcs. were prod, by Manns ; at 20
commissioned to c. a cantata for the
Glasgow Choral Union ; gave con-
certs at the studio of John Pettie,
whose daughter he m., 1889; 1888-
94, prof, of harm. R. A. M.; 1898,
cond. Carl Rosa Op. Co.; c, operas,
^^Jeanu Deans'^ (Edinburgh, 1894),
*' Diarmid and Ghrin/'' (Co vent
Garden, 1897); 5 cantatas incl. **The
Death of Parry Reed " (male chorus
and orch.), overtures ** Cior Mhor^^
** The Land of the Mountain and the
Flood*'* ballad overture, ** The Dowie
Dem 0* Yarrow*'; ballade, ''The
Ship o' the Fiend"' with orch.; 8th
Psalm with orch., etc.
MacDow'ell, Edw. Alex., New York,
Dec. 18, 1861; eminent American
composer and one of the most orig-
inal and virile of contemf>orary cre-
ators, having pven the sonata a
new enlargement and spontaneity,
and written programme-mus. of espe-
cia' dignity ; pupil of J. Buitrago, P.
Desvemine and Teresa Carreflo, N.
Y.; 1876, Paris Cons.; 1879, with
Heymann (pf.) and Raff (comp.),
Frankfort ; 1881-82, chief pf.-
teacher at Darmstadt Cons. ; at 21,
Raff (who was deeply interested
in his progress) and Liszt pro-
cured the performance of his works
at the annual festival of the ** Allge-
meiner deutscher Musikverein " ; lived
in Wiesbaden ; 1888, Boston ; 1896,
prof, of mus. in Columbia Univ.,
New York; Mus. Doc. h.c,^ Prince-
ton Univ. and 1902, Penn. U.
also ; he gives frequent pf. -recitals,
and has played his concertos with
the Boston Symph. and other
orchs. Orchestral Compositions :
2 poems ''HamUt'' and ** Ophelia'';
symph. poems, ** Lancelot and
Elaine:' ''Lamia'' and "Roland,"
oP' 35. romance for 'cello with orch.;
3 orch. suites incl. " In October" and
"Indian Suite" For piano: 4
sonatas "Tragica," " Eroica'*
{"Flos regum Arthurus")^ "Scan-
dinavian" and "Celtic"; prelude
and fugue, modem suite ; forest
idyls, 3 poems, "Moon-pictures " 6
poems after Heine, 4 "Little Poems"; '
technical exercises (3 books), and 12
virtuoso-studies, etc., and many songs
of great charm and individuality.
Mace, Thos., 1613 — after 1675 1 Engl,
lutenist, inventor and writer.
Macfar'ren, (i) Sir G. Alex., Lon-
don, March 2, 1813 — Oct. 31, 1887 ;
notable English composer and schol-
ar ; son and pupil of the playwright
G. Macfarren ; also studied with Ch.
Lucas and C. Potter, R. A. M.;
1834, prof, there, even after blindness
overtook him ; from 1875 prof, at
Cambridge Univ., Mus. Doc. there
1876; from 1876, also principal of
the R. A. M. ; 1883, knighted ; c. 13
operas, 9 of them prod.; 4 oratorios,
6 cantatas, 8 symphonies, 7 over-
tures, incl. "Chevy Chase :\" Don
Carlos," " HamUt" and ** Festival:'
concertos, sonatas, etc.; wrote text-
books, articles; ed. old texts, etc.;
biog. by Banister (London, '91). (2)
6i4
THE MUSICAL GUIDE
Natalia, b. LQbeck, wife of above ;
contralto, translator and writer. (3)
Walter Cecil, b. London, Aug. 28,
1826 ; bro. and pupil (in corap.) of
(i) ; studied with Turle, Holmes ^f.)
and Potter (comp.) ; from 1846, pf.-
prof. at the R. A. M., of which he is
a Fellow ; 1873-80, cond. Acad. Con-
certs ; dir. and treasurer Philharm.
Soc. ; pianist, lecturer, editor, and
composer of a syraph. , 7 overtures, a
cantata " The Song 0/ the Sunbeam^''*
services, etc.
Machault (or Machau, Machaud,
Machut) (m&-sh5), Guillaume
(Gulielmus) de Mascandio, Ma-
chau in the Champagne (?) ca. 1284 —
1370 ; troubadour ; composer.
Michtig (m^kh'-ttkh), K., Breslau,
1836 — 188 1 ; organist and composer.
Macirone (ma-che-ro'-n^), Clara An-
gela, b. London, Jan. 20, 1821; pi-
anist ; pupil of R. A. M.; later teach-
er there and elsewhere ; c. ** TV
Deum^^ and ^* Jubilate^'* anthem
*' By the Waters of BaMon,'' etc.
Macken'zie, Sir Alex. Campbell, b.
Edinburgh, Aug. 22, 1847 ; notable
British composer ; pupil of Ulrich
(pf.) and Stein (comp.),Sondershausen
Cons. ; at 14 a violinist in the Ducal
Orch.; 1862, won the King's schol-
arship, R. A. M., and studied with
Sainton, Jewson, and Lucas ; from
1865 teacher and cond. Edinburgh ;
1888 of Cambridge ; 1896 of Edin-
burgh U.; 1894 knighted; since 1888,
principal R. A. M. (vice Macfarren);
1892 cond. Philh. Soc; c. op>eras,
'' Colomba'' (Drury Lane, 1883),
** The Troubadour " {ibid, 1886), and
*' //is Majesty^ or the Court of Vin-
golia** (1897; comic), "^Cricket on
thi' //earth'' (MS.): oratorios, " The
Rose of Sharon " (Norwich Festival,
1884). and ** Bethlehem " (1894);
cantatas, Jason (Bristol Festival,
1882), " The Bnder " The Stow of
Sayid'' (Leeds Festival, '86), ''The
New Covenant'' '* The Dream of Ju-
bair ** The Cotter's Saturday iViKhtr
and " Veni^ Creator Sjnritus"j 2
Scottish rhapsodies, a ballad, with
orch., "Ztf be tie dame sans tnerci**;
overtures ** Cervantes*' '* To a c&m-
edy," *' Tempo di ballo;* ** Tv^i/ik
Nighty* ''^ Britannia" \ a vln. -con-
certo, a '* Pibroch " for vln. and
orch.; *^ Scottish Concertos" for pf.,
etc.
Mackintosh (i) J., 1767 — 1840 (?);
bassoonist. (2) Alphonso, son ol
above ; violinist.
McGuck'in, Barton, b. Dublin, July
28, 1852 ; pupil of Turle and Trc-
vulsi ; pop. oratorio and operaitic
tenor.
McLean, Alick, b. Eton, Engl., July
20, 1872 ; c. opera ** Quentin Dur-
war*/ " (London, 1895) ; i-act o{>era
** Petruccio " (Covent Garden, 1895 ;
Moody Manners prize of ;f 100), etc
McMur'die, Jos., London, 1792 —
Merton, Surrey, 1878 ; composer and
director.
Mader(mr-d«r), Raoul(M.),b. Press-
burg, Hungary, June 25, 1856 ; stud-
ied Vienna Cons.; took ist prize for
pf. and comp., and the g^reat silver
medal and the Liszt prize as best
pianist in the Cons. ; 1882-95. ist
** coach" for solo singers, Vienna
ct. -opera, also asst.-cond. From 1S95
cond. Royal Opera, Pesth; c. 2 comic
operas, 4 ballets, incl. '* Die Sirenen^
insel," and *' She " (after Rider Hag-
gard), parody on Mascag^ni's CdvaU
leria Rusticana (Th. an der Wicn,
1892), choruses, songs, etc.
Ma^(g;)ini (mad-je'-ne) (or Ma^rino),
GiOT. Paolo, Botticino - Marino,
Italy, 1580 — Brescia, ca. 163 1 ; vln.-
maker, rivalling Stradivari and Guar-
neri ; his double-basses particularly
good ; label, ** Gio. Paolo Maggioi.
Brescia."
Mag'nus, D6sir6 (rightly Magnns
Deutz), Brussels, 1828 — Paris,
1884 ; teacher, composer and critic.
Mahillon (ma-e-yoh), Chas. Victor,
b. Bnissels, March 10, 1841 ; since
1877 custodian of mus. instrs., Brus-
sels Cons.; editor and writer; man-
ager wind-inst. factory of his father.
DICTIONARY OF MUSICIANS 615
Mahler (miM^r), Gas., b. Kalischt,
Bohemia, July 7, i860 ; studied with
Bruckner at Vienna Cons. ; cond. at
Cassel, 1885-86, Leipzig, 1888-91 ;
dir. Royal Opera, Pesth, 1891-97,
cond. Hamburg City Th.; 1897, ct.-
cond. Vienna Ct.-Opera, later dir. ; c.
opera '' DU drei Pintos'' (after
Weber's sketches) (Leipzig, 1888) ;
<:aQtata ^"^ Das klagetuU Lud^** IsLiry
play, 3 notable symphonies, etc.
Maha (m&'-oo), Stephan, b. Germany,
ct. -singer and composer, 1538.
Maier (mf-«r), (i) Jos. Fr. Bd. Cas-
par, cantor at Schwabish Hall 17 18-
41. (2) Julius Jos., Freiburg,
Baden, i82i-~Munich, 1889 ; teacher
and writer.
Mailhac (mTr.&k), Pauline, b. Vienna,
May 4, 1858 ; pupil of Uffmann, so-
prano at Carlsruhe many years.
Maillart (mT • yir), Louis (called
Aim^), Montpellier, Herault, France,
18 17 — Moulins, Allier, 187 1 ; dram,
composer.
Mailly (ml-ye), Alphonse J. Ernest,
b. Brussels, Nov. 27, 1833 ; pianist,
and organ virtuoso ; pupil of Girsch-
ner, Brussels Cons.; 1861 pf. -teacher
there; 1868 organ-teacher; com-
poser.
Maiiizer(m!n'.ts^r), Abb^ Jos., Trier,
1807 — Manchester, 185 1 ; singing-
teacher, writer and dram. comp>oser.
Biaitland (m&t'-Und) (J. Alex.), Ful-
ler, b. London, April 7, 1856 ; 1882,
M.A. Trinity Coll., Cambridge;
lecturer and critic for various papers,
now of London Times / ed. the Ap-
pendix to Grove's Diet.; pianist at
the Bach choir concerts ; wrote
** Masttrs of German Music " (1894),
and many authoritative works.
Bfajo (m& -yo), Fran, di (called Cic-
cio di Majo), Naples, 1745 (?)—
Rome, 1770; organist and noted
composer of operas and church-mus.
Majorano. Vide caffarrlli.
Marcolm, Alex., British writer, 172 1.
Malder (m£l'-d$r), Pierre van, Brus-
sels, 1724 — 1768 ; violinist and com-
poser.
Malherbe (m^-ilrb), Chas. Th6o-
dore, b. Paris, April 21, 1863 ; at
first a lawyer, then studied with Dan-
hauser, Wormser, and Massenet ;
also pub. some original comps., and
transcriptions ; Danhauser's sec. ;
1896, asst. -archivist, Gr. Op^ra ;
Officer of the Acad, and of Pub. In-
struction ; Chev. of various orders.
Ed., Le Mhustrel^ and is prolific
writer on Wagner, etc.; owns what is
probably the best private coll. of mus.-
autogpraphs in the world ; ed. Ra-
meau's complete works.
Malibran (m&l-l-briUi), (i) M. Feli-
city (n^ Garda), Paris, March 24,
1808 — Manchester, Sept. 23, 1836
(from singing too soon after being
thrown and dragged by a horse). In
some respects the greatest of all
women vocalists ; she had a contralto
voice with an additional soprano reg-
ister and several well - concealed
** head tones ** between ; she impro-
vised frequently on the stage, and
also c. ; at 5 she played a child's
part and one evening broke out sing-
ing the chief r61e to the amusement
of the audience ; at 7 studied with
Pauseron ; at 15 studied with her
father (v. garcia) ; d^but, I^ndon,
1825 ; she had a personality that
compelled extraordinary homage.
She m. Malibran ; when he became
bankrupt she divorced him, and 1836
m. de Beriot, ct. -violinist with whom
she had lived since 1830. (2) Alex.,
Paris, 1823 — 1867; violinist and com-
poser.
MaUinger (m&lMlng-^r), Mathilde
(nee Lichtenegger), b. Agram,
Feb. 17, 1847 ; soprano ; pupil of
Giordigiani and Vogl, Prague Cons.,
and Lewy, Vienna; d^but, Munich*
1866; 1868, created "Eva" in the
Meister singer ; m. Baron von Schim-
melpfennig; since 1890 singing-teach-
er, Prague Cons.
Malten (mal'-t^n), Therese, b. In-
sterburg, East Prussia, June 21, 1855;
soprano ; pupil of Engel (voice), and
Kahle (action), Berlin ; at 18 d^but,
6i6
THE MUSICAL GUIDE
Dresden as Pamina^ and engaged
there for life ; created " Kundry "
(Parsifal) at Bayreuth, 1882 ; 1898,
ct. -chamber singer.
MaUzel(ma'.ts£l), Jn. Nepomuk, Rat-
isbon, 1772— on a voyage, July 31,
1838 ; mus-teacher ; inv. *'^panhar-
monion" (a sort of orchestrion), an
automaton-trumpeter, and an auto-
matic chess-player; while experiment-
ing with his *• chronometer," a sort of
metronome (v. d.d.), he saw Wink-
el's invention, adopted its chief feat-
ures and patented the result as Mael*
zel's metronome (v. d.d.).
Mancinelli (m^n-chY-n^r-lY), Luig^i,
b. Orvieto, Papal States, Feb. 5,
1848 ; intended for commerce, self-
taught on the pf., and ran away from
home ; was brought back, but per-
mitted to study at 14 with Sbolci
(Florence, 'cello) ; at 15, 3rd 'cellist
Pergola Th., earning his living the
next 8 years ; studied with Mabellini
(comp.) ; 1870 in the orchestra of the
opera at Rome ; 1874, 2nd cond. ;
1875, cond. ; 1881, dir. Bologna
Cons., which he made one of the biest
in luly; 1886-88, cond. at Drury
Lane, London ; 1888-95, Royal Th.
Madrid ; since at Covent Garden,
London, and Met. Op., New York ;
in Italy called ** il Wagnerista " for
his advocacy ; c. opera ** Isora di
Provenza " (Bologna, 1884) ; succ,
^^ Ero e Leandro** (Madrid, 1897,
New York, 1899) ; an oratorio, etc. ;
overture and entr'acte-mus. to Cos-
sa's CUopatra,
Mancini (mim-che'-ne), (i) Fran.,
Naples, 1674 — 1739 ; cond. and dram,
composer. (2) Giambattista, As-
coli, 1716— Vienna, 1800; writer.
Mancio (man'-cho), Felice, Turin,
1840 — Vienna, 1897; singer and
publisher.
Mang^eot (m^-zh5), Ed. Jos., Nantes,
France, 1834 — Paris, 1898 ; pf.-
maker and editor ; inv. piano ** &
double clavier renverse."
Mangold (man'-golt), (i) G. M., 1776
— 1835 ; violinist. (2) (Jn.) Wm.»
Darmstadt, 1796 — 1875 ; condactor
and dram, composer. (3) K. (L.
Amand), Darmstadt, 1813 — Ob«si-
dorf, Algau, 1889 ; bro. of abofve ;
dir., conductor and composer. (4)
K. G., 1812 — London, 1887; pianist,
composer and teacher.
Mann, (i) Arthur Henry, b. Nor-
wich, Engl., May 16, 1850; chorister
at the cath. with Dr. Buck ; organist
various churches ; since 1876, King's
Coll.. Cambridge ; 1871, F. C. O.,
1882, Mus. Doc, Oxford; Handel
scholar; with Prout discovered the
original wind-parts of the Messiah ;
ed. the Fitzwilliam Catalogue with
Maitland, etc. ; c. ** Ecce Home^
with orch.; ** 7> Deum,** '' M^vening
Service ^^ for orch., etc. (2) In. Gt
Hendrik, b. The Hague. July 15,
1858 ; pupil R. Sch. of Mus. there ;
bandm., Leyden ; comprser.
Man'ney, Chas. Fonteyn, b. Brook-
lyn, 1872; studied with Wm. Arms
Fisher and J. Wallace Goodrich,
Boston ; composed a cantata, songs,
etc
Manns (milns), Aug. (Fr.), b. Stolsen-
berg, near Stettin, March 21, 1825 ;
noted conductor; son of a glass-
blower, who with his sons formed a
quintet (vlns., 'cello, horn, and flute);
at 15, apprenticed to Urban, of Ei-
bing ; later 1st clar. of a regimental
band, Dantzig ; 1848, at Posen.
Wieprecht got him a place as ist vln.
in Gungrs orch. at Berlin ; 1849-51,
cond. KroU's Garden ; regimental
bandm. Kdnigsberg and Cologne
(1854) ; joined Crystal Palace band,
London as asst.-cond. to Schallen,
who pub. as his own M.'s arrange-
ment of certain quadrilles; where-
upon M. resigned, publicly stating
the reason ; 1859 he succeeded S. ,
he later made the band a full orch.,
giving famous and very popular Sat-
urday Concerts rill 1900, when the
public ceased to support it ; be
has also cond. 7 Triennial HSndel
Festivals, concerts of the Glasgow
Choral Union, 1879-^92, etc
DICTIONARY OF MUSICIANS 617
Mannsfeldt (mans'-f£It), Hn., Erfurt,
1833— ^Ems, 1S92 ; conductor.
Manastiidt (mSn'-sht^t), (i) Fz., b.
Hagen, Westphalia, July 8, 1852 ;
pupil Stem Cons., Berlin; 1874,
cond. at Mayence ; 1876, Berlin
Symph. Orch.; 1879, P^--t. Stem
Cons.; 1893-97, cond. Berlin Philh.;
then returned to Wiesbaclen, where
he had been as conductor and teacher
1883-97. (?) (2) Wm., b. Bielefeld.
May 20, 1837 ; bro. of above ; con-
ductor and stage manager, Berlin
Th.; editor; c. (text and music)
farces and operettas.
Mansfeldt, E. Vide piekson, h. h.
Mantius (mSn'-tsl-oos), Ed., Schwe-
rin, i8o6--Bad Ilmenau, 1874 ; tenor.
Mantovano, Al. Vide ripa.
ManzuoU (man-tsoo-6'-le), Giov., b.
Florence, ca. 1725 ; famous soprano-
musico.
Ma'pleson, Col. Jas. H., London,
May 4, 1830— Nov. 14, 1901 ; fa-
mous impresario; studied R. A. M.,
Ivondon ; a singer, and via. -player
in an orch.; 1861, managed Italian
Opera at the Lyceum ; 1862-68, was
at H. M.*s Th.; 1869, Drury I>ane;
1877, reopened H. M.'s Th. ; g^ve
opera at Acad, of Mus,, New York,
with varying succ. in different seasons.
Mara (ma-ra), Gertrud Elisabeth,
(n^ Schmeling^), Cassel, Feb. 23,
1749 — Rcval, Jan. 20, 1833 ; phe-
nomenal soprano, with compass,
g-e'" (v. PITCH, D.D.), who reached a
high pinnacle of art over difficulties
(ranging from rickets to the Moscow
fire) not surpassed in the wildest fic-
tion ; she m. in 1773, the 'cellist
Mara, divorced him 1799 ; teacher.
Mara, La. Vide upsius, marie.
Marais (md-r£'), (i) Marin, Paris,
March 31, 1656 — Aug. 15, 1728; the
greatest viola-da-gambist of his time ;
c symphonies, etc. (2) Roland,
son of above ; solo gambist ; pub.
pes. for gamba.
Mar'beck, J. (or Merbecke), 1523 —
ca. 158 1 ; Engl, organist and com-
poser.
Marcean (miLr.s5), Jas. Herbert, b.
Napierville, Canada, Oct. 31, 1859;
studied singing with Willard, N.Y.,
and with de Padilla and Ch. Doual-
lier, Paris ; teacher .Mansion Sch.,
Wollaston, Mass.
Marcello (mar-ch^l'-lo), Benedetto,
Venice, Aug. i, i686--Brescia, July
24, 1739 ; noted composer, pupU of
Gasparini and Lotti ; held gov't po-
sitions ; pub. satires, and c. 50 psalms,
etc.
Marchand (m&r-shan), Louis, Lyons,
1669 — in poverty, Paris, 1732 ; an
org.-virtuoso whose fame wilted be-
fore his failure to meet J. S. Bach in
a duel of virtuosity.
Mar' chant, Arthur Wm.,b. London,
Oct. 18, 1850 ; organist in several
English churches ; 1880-82, St.
John's Cath., Denver, Col.; since
1895, organist, Dumfries, Scotland ;
wrote text-books ; c. Psalm 48, with
orch.; '* A Morning Service'^ and an
^^ Evening Service^ ' etc.
Marchesi (mSr-ka'-ze), (i) Luigi
(*• Marchesi'ni "), Milan, 1755— In-
zago, Dec. 14, 1829 ; soprano mu-
sico. (2) Salvatore, Cavaliere De
Castrone (da-kas-tro-n£) (Mar-
chese Delia Rajata), b. Paler-
mo, Jan. 15, 1822 ; studied mus.
with Raimondi, Lamperti and Fon-
tana ; exiled after the Revolution of
1848, and debut as barytone, N. Y.;
then studied with Garcia, London;
a succ. concert-singer ; 1852 m. Ma-
thilde Graumann (v. infra), and
they sang together in opera, later
taught together at Vienna Cons.,
1865-69, Cologne Cons.; 1869-81,
Vienna, since then in Paris ; pub. a
vocal method, translations, etc.; c
songs. (3) Mathilde (n^ Grau«
mann), b. Frankfort-on-M., March
26, 1826 ; famous singing-teacher ;
pupil of Nicolai, Vienna, and Garcia,
Paris ; sang in concert ; wife of above
(q. V.) ; pub. a vocal method, vocal-
ises, and autobiog. '^^ Marchesi and
Music,'' enlarged from ''AusmHnem
l^ben " (Dusseldorf , 1887 ?).
6i8
THE MUSICAL GUIDE
Marchetti (mlir-k£t'-tl), Filippo, Bo-
log^ola, Italy, Feb. 26, 1835 — Rome,
Jan. 18, 1902 ; pupil of Lillo and
Conti, Royal Cons., Naples; at 21
prod. succ. opera, '* Gentile da Vara-
no'' (Turin), ''La DemenW' (1857);
singing-teacher, Rome ; went to Mi-
lan and prod. succ. ** Giulietta e
Romeo'' (1865), and '' Ruy-Blas"
(La Scala, i86g). From 1881, dir.
R. Accad. di Santa Cecilia, Rome ;
prod. 3 other operas, symphonies,
and church-music.
Marchet'tus of Padua (Marchetto
da Padova), lived in Cesena, ca.
1270 — ca. 1320; learned theorist.
(Gerbert.)
March! (mSr -ke), Emilio de, Cheva-
lier (rightly Peano), b. Voghera,
Piedmont, 1866 ; prominent tenor ;
son of Italian general ; entered army
and served with distinction in Africa
as lieutenant, then studied voice with
Landi, Florence ; debut, Milan,
1866, as Alfredo in "'La Traviata " ;
sang with great success throughout
Europe ; 1896-97 and 1901-02 in the
U. S. 1900 created **Cavardossi*'
in Puccini's *' La Tosca,"
Marcolini (-le'-ne), Marietta ; Italian
soprano, 1805-18 ; created Rossini
rdles.
Mar6chal (m^r-a-shSl), H. Chas., b.
Paris, Jan. 22, 1842 ; pupil of Cons.,
1870, won Grand prix de Rome ;
prod, i-act op.-com. " Les Amoureux
de Cathirine" (Op. -Com.. 1876); also
3-act op.-com. **Za Traverne des
Trabans" (ibid./8i) ; " D/idamie"
(Gr. Op^ra. '93) ; "CaUndaV (Rouen,
*94); c. sacred drama *'Z^ MiracU
de Nairn '* ('91), etc.
Marek', Louis, Galicia, 1837 — Lem-
berg (?); pianist, pupil of Liszt.
Marenco (mji-r^n'-ko), Romualdo, b.
Novi Ligure, Italy, Marqh i, 1841;
violinist ; then 2d bassoon, Doria Th.,
Genoa, where he prod, a ballet ;
studied cpt. with Fenaroli and Mat-
tel ; 1873, dir. of ballet at La Scala,
Milan ; has prod. 4 operas, and over
20 ballets.
Marenzio (ma-r^n'-tsY-o), Lnca, Coc-
caglio, near Brescia, ca. I550--("of
love disprized") Rome, Aug. 22,
1599 ; famous composer of madrigals,
also of motets, etc.
Mares (ma -r^h), John A., Chotebor,
Bohemia, 17 19 — St. Petersburg, 1794;
invented the Russian *' hunting-honi
mus.," each horn sounding one tone.
Maretzek (ma-r^'-shdk), Max,
Brunn, Moravia, June 28, 1S21—
Pleasant Plains, Staten Island, N. Y.,
May 14, 1897; well-known impresa-
rio ; also dram, composer and teacher.
Mariani (ma-rl-a'-ne), Ang^lo, Raven-
na, Oct. II, 1822 — Genoa, June 13,
1873 ; famous conductor.
Marimon (m&-re-m6n), Marie, b.
Li^e, 1839; pupil of Duprcz; de-
but, 1857; soprano.
Marin (md-r^A), M. Martin llai^
celle de, b. Bayonne, France, Sept
8, 1769 ; harpist and composer.
Marini (ma-re'-ne), (i) Biagio, Bres-
cia— Padua, ca. 1660; violinist and
composer. (2) Carlo A., b. Bciga-
mo : violinist and composer, 1696.
Mario (ma'-rT-o), Giuseppe, Conte di
Candia, Cagliari, Sardinia, Oct 17,
1810 — Rome, Dec. 11, 1883; emi-
nent tenor ; pupil of Bordogni and
Poncharde ; debut, Paris Opera,
1838 ; toured Europe and America
with greatest success ; m. Giulia Grisi.
Ma'rius, clavecin-maker, Paris, iTth
cent.
Mark, Paula, b. ca. 1870; soprano;
pupil Vienna Cons., debut, I^p-
zig, 1890 ; in 1897 m. the physician,
Neusser (who had cured her of a
throat trouble), and retired from the
stage.
Markull (mar-kool'), Fr. Wm., Reich-
enbach, near Elbing, 18 16 — Danzig,
1887 ; pianist, critic and dram, com-
poser.
Markwort (mark'-v6rt), Jn. Chr.,
Riesling, near Brunswick, 1778—
Bessungen, 1866 ; tenor and writer.
Marmontel (mSr-m6n-tdl), Ant
Fran., Clermont-Ferrand, Puy-d^
Dome, July 18, i8i6--Paris, Jan. I7r
DICTIONARY OF MUSICIANS 619
1898; pupil Paris Cons., 1848; pf.-
teacher there, noted for famous pu-
pils ; writer of historic and didactic
treatises ; composer.
Mar 117, Elsa ; contralto ; pupil of
Marchesi ; at 8 sang in concert, later
in opera ; 1900 in New York.
Marpurg (mar'-poorkh), (i) Fr. Wm.,
Seehausen, Altmark, Oct. i, 1718 —
Berlin, May 22, 1795 ; important
theorist ; wrote treatises of g^eat his-
toric and theoretic value, much trans-
lated. (2) Fr., Paderbom, 1825 —
Wiesbaden, 1884 ; great-grandson of
above ; violinist, pianist, cond. and
dram, composer.
Marschner (marsh' -nSr), (i) H. (Au-
rast), Zittau, Saxony, Aug. 16, 1795
(not 1796) — Hanover, Dec. 14, 1861;
eminent opera-composer of Weber's
school but great modernity, and re-
markable brilliance of instrumenta-
tion ; studied piano from age of 6 ;
sang as a boy, then pupil of Bergt
(org.); studied law Leipzig U. 18 13,
then turned to mus. entirely ; pupil
of Schicht ; the Graf von Amadee be-
came his patron, and he went to Vi-
enna ; later taught at Pressburg ; c. 3
operas, the last prod. 1820 at Dres-
den by C. M. von Weber ; 1823, he
became co.-dir. of opera there with
von W. and Morlacchi ; 1826, cond.
Leipzig Th. and prod. '' Der I'am-
//r" (1823) and '' Der Tempter und
diejudin ;'* both widely succ. and still
heard , 1831-59, ct.-cond. Hanover,
when he was pensioned ; while ct.-
cond. he prod. **//ans Herling " (Ber-
lin, i833),also very succ. and still alive;
he prod. 8 other operas ; c. incidental
music, choruses, etc. (2) Fz,, b.
Leitmeritz, Bohemia, March 26, 1855;
pupil Prague Cons., and Bruckner,
Vienna; since 1886, teacher Female
Teachers' Seminary, Vienna ; pub. a
treatise on piano- touch.
Marsli, J., Dorking, 1750— 1828; com-
poser and violinist.
liar' shall, Wm., Oxford, 1806 —
Handsworth, 1875 ; organist, writer
and editor.
Marsick (milr-sYk), Martin P. Jos., b.
Jupille, near Li^c, Belgium, March
9, 1848 ; prominent violinist ; pupil
of Desir^ Haynberg, Li^e Cons. ; at
12 organist of the cath., and a vocal-
ist ; pupil of Leonard, Brussels
Cons., later of Massenet at Paris
Cons, (taking ist vln. prize) ; and of
Joachim at Berlin ; debut, Paris,
1873 ; toured Europe and (1895-96)
U. S.; 1892, vln.-prof., Paris Cons.;
c. 3 vln. -concertos, etc.
Mar'ston, George W., Sandwich,
Mass., U. S. A., 1840— Feb., 1901 ;
studied with Tufts at Portland ; 1.
Boston as teacher and composer of
pop. songs and pf.-pcs.
Marteau (mir-to), H., b. Rheims;
excellent violinist ; pupil Paris Cons.;
1892, took 1st prize ; toured U. S.,
1893, 1898 ; Russia, 1899 ; then
compelled to spend a year in the
French armv ; founded *' Marteau
Prize for vln. -sonata c. by a na-
tive-bom American " ; 1900 toured
America.
Martelli, E. Vide cottrau, t.
Martin (m&r-t&n), (i) Jn. Blais^,
Paris, 1769 — 1837; barytone. (2)
P. Alex, d. Paris, Dec, 1879 \ ^^g.-
builder, and inv. of the "percussion"
action in the harmonium. (3) (mar'-
tln), Jonathan, 1715 — London,i737;
organist and composer. (4) G. Wm.,
1828 — Wandsworth, i88i ; Engl,
composer, editor and publisher. (5)
Sir Geor(re Clement, b. Lamboume,
Berks, Sept. 11, 1844; oi^anist vari-
ous churches ; teacher in R. Coll. of
Mus. ; c. anthems ; knighted, Easter,
1889.
Martin 7 Solar (mar-ten'-e-so-lSr'),
Vicente, Valencia, Spain, 1754 — St.
Petersburg, May, 18 10; organist at
Alicante ; prod, operas in Italy in
succ. rivalry with Cimarosa and Pai-
siello and in Vienna with Mozart; his
best work was " La Cosa Rara'*
1785 ; 1788-1801, dir. Italian Op. at
St. Petersburg ; then teacher ; c. 10
operas, ballets, etc.
620
THE MUSICAL GUIDE
Martines (mar-te'-n^s) (or Martinez)
(mar-te'-n5th), Marianne' di, Vienna,
1744 — 1812; singer, pianist and com-
poser.
Martini (mar-te'-ne), (i) Giambat-
tista (or Giov. Bat.) (known as
Padre M.), Bologna, April 25, 1706
— Aug. 3, 1784; son and pupil of a
violinist ((2) Antonio Maria M.), he
studied with Predieri and Riccieri
Zanotti and Perti ; took orders 1729;
cond. from 1725 at church of San
Francisco, Bologna ; as a composer
of church-mus. , a theorist and teacher
he won European fame ; he also pub.
a history of ancient mus., and trea-
tises. (3) (rightly Schwarzendorf)
(shvarts'-Sn-dorf), Jean Paul Egide,
Freistadt, Palatinate, 1741 — Paris,
1816 ; dram, composer.
Martucci (mar-toot' -che), Gius., b.
Capua, Jan. 6, 1856 ; son and pupil
of a trumpet-player ; de'but as pianist
Naples, 1867; studied at the Cons.;
1874, prof, there ; cond. the orch.
and concerts estab. by Prince d'Ar-
dore, and dir. of the Societi del Quar-
tetto ; from 1875, toured with succ.
as pianist ; 1886-1902, dir. Bologna
Cons.; 1902, Naples; c. symph., pf.-
concerto, etc.
Martj (mir-te), G. Eugene, b. Paris,
May 16, i860 ; studied at the Cons.
1882 ; won the Grand Prix de Rome
with cantata " ^dVM "/ since 1894,
prof, for ensemble singing there ;
1895-96, chorusm. and cond. of the
Concerts de I'Opera ; 1901, dir. con-
certs of the Cons. ; c. several suites
for orch., pantomime, *' Le Due cU
Ferrare^^^ 3-act opera (1896), etc.
Marx (marx), Ad. Bd., Halle, May
I5» 1799 — Berlin, May 17, 1866;
eminent theorist ; founded with
Schlesineer, ** Berliner allgemeine
musikahsehe Zeitung " / editor, prof,
and mus.-dir., 1832; c. opera;
wrote V. succ. and important treatises.
Marzsen (marx'-z^n), Eduard, Nien^
stadten, near Altona, 1806 — Altona,
1887 (8?) ; organist and teacher.
Marzials (mfir tst-als'), Theodor, b.
Brussels, Dec. 21, 1850 ; pupil of M.
L. Lawson, London ; studied later
in Paris and Milan ; since 1870, siqit
mus.-dept. British Museum ; bary-
tone and composer of pop. songs.
Marzo (mar'-tso). Ed., b. Naples; pa-
pil of Nacciarone, Miceli and Pappa-
lardo ; 1867, New York, as boy-
pianist ; became opera and concert-
cond., and accompanist to Cark>tta
Patti, Sarasate, etc.; organist at St.
Agnes' Church, N. Y.; later at All
Saints ; 1884, knighted by the King
of Italy ; 1892, member of the R.
Acad, of S. Cecilia ; 1. N. Y. and
teaches singing ; pub. 6 masses (3
with orch.), etc.
Mascag^i (mas-k&n'-ye), Pietro, b.
Leghorn, Dec. 7, 1863. Son of a
baker who wished him to study law ;
he secretly studied the piano, later at
Soffredini's Mus.-Sch.; studied pf.,
harm., cpt., and comp.; his father,
finding him out, locked him in the
house, whence he was rescued at
14 by an uncle ; upon the ancle's
death he was befriended by Count
Florestan, while studjring with Pon-
chielli and Saladino, at Milan Coos.
He was cond. of various small troupe^
finally cond. of the mus.-soc. at Cerig-
nola ; he won the prize offered by tbe
mus. -pub. Sonzogno, for a i-act
opera, with ** Cavalleria Rusticanc^
which had a sensational succ. (O^
tanzi Th., Rome, 1890) and has been
universally performed ; while fiercely
assailed by the critics it has produced
a school of short operas showing a
tendency to excessive realism and
strenuousness, yet offering a much-
needed relief from the eternal classic,
mythologic or costume-play plots and
bringing serious opera as close home
to real life as comic opera; 1895,
dir. of the Rossini Cons, at Pc-
•saro. M.'s later operas have not
fared so well as his '* CavalUria Rus-
tic ana'' ; they include: '* VAmict
Fritz'' (Rome and Berlin, 1891),
''I Rantzau" (Florence, 1892), fairiy
Slice. ; *• Guglielmo RatcUg" (Milan,
DICTIONARY OF MUSICIANS 621
La Scala. 1895), '' Sihano" (ibid..
1895) ; i-act *' bozzetto " ** Zanetto'*
(Pesaro, 1896) ; and the fairly succ.
'Wris" (Rome, 1898; revised La
Scala, Milan, 1899); ** Lf Afaschere "
simultaneously prod, without succ.
in 6 cities in Italy, Jan., 1901, thus
killing six opportunities with one
stone ; he c. also (previously to Cav.
Rust.) 2-act opera ** // Filanda,*'
and Schiller's ** Hymn to Joy "/ also
a ^' //ymn in Honor 0/ Admiral
Dewey, U. 5. /V." (July, 1899), etc.
1902, toured America with his own
opera-troupe.
Maschek (mi-shak'), (i) Vincenz,
Zwikovecz, Bohemia, 1755 — Prague,
183 1 ; pf. and harmonica-virtuoso ;
organist and dram, composer. (2)
Paul, 1761 — Vienna, 1826 ; bro. of
above ; pianist.
Masetti (ma-s£t'-te), Umberto, b.
Bologna, Feb. 18, 1869 ; studied at
the Cons., and since 1895 prof, of
singing there ; member of the R.
Phil. Acad.; c. the succ. " Vindice**
(Bologna, 1891) ; a requiem with
orch., etc.
Masini (ma-se'-ne), Fran., Florence,
1804 — in extreme poverty, Paris,
T863 ; c. songs.
Mason, (i) Rev. Wm., Hull, Engl.,
1725 — Aston, 1797 : writer and com-
poser. (2) Lowell, Boston, Mass.,
Jan. 24, 1792— Orange, N. J., Aug.
II, 1872 ; pioneer in American comp).
and teaching ; c. v. succ. and remu-
nerative colls., principally of sacred
music. (3) Wm., Boston, Mass., Jan.
24, 1829; prominent Am'^rican teacher
and technician; son of above; studied
with Henry Schmidt (pf.) in Boston ;
at 17, debut as pianist there ; 1849,
studied with Moscheles, Hauptmann
and Richter, at Leipzig ; with Drey-
schock at Prague ; and Liszt, at Wei-
mar ; he played in Weimar Prague,
and Frankfort, London, and 1854-55
in American cities ; since 1855 lives
in New York as teacher ; 1872, M us.
Doc. k, c,y Yale ; pub. the important
and influential ** Touch and Tech-
nics a Method for Artistic Piano*
playing''; ''A Method for the Pf,"*
with E. S. Hoadley (1867) } ** Sys-
tem for Beginners (1871} ; ^^ Ma-
son's Pf-Technics'' (1878); and
** Memoirs'' (New York, 1901); c. a
serenata for 'cello and many pf.-pcs.
in classical form. (4) Luther Whit-
ing, Turner, Maine, 1828 — Buckfield,
Maine, 1896 ; devised the v. succ.
** National System " of mus. -charts
and books ; wrote ** Die neue Ge-
sangschule.**
Massa (mas'-sil), Nicol6, Calice, Li-
gure, Italy, 1854 — Genoa, 1894; c,
operas.
Massaini (m^sil-e'-ne), Tibnrzio, b.
Cremona, i6th cent. ; Augustine
monk ; cond. and composer.
Massart (m&s-s&r'), (i) Lambert Jos.,
Li^c. July 19, 18 II — Paris, Feb. 13.
1892 ; violinist and prof. Paris Cons.
(2) Lonise Aglae (nee Masson),
Paris, 1827 — 1887; wife of above;
pianist and, 1875, teacher at the
Cons.
Mass6 (m&s-sa), Felix M. (called
Victor), Lorient, Mar. 7, 1822 — Paris,
July 5, 1884 ; pupil Paris Cons. ; won
Grand prix de Rome, prof, of cpt.
there 1872 ; c. 18 operas, 13 prod.,
incl. the still succ. "Z^j noces de
Jeannetle " (Op. Com. 1853).
Massenet (m^na), Jules (Emile
Fr.), b. Montreaux, near St. fitienne,
France, May 12, 1842 ; eminent
French opera - composer ; pupil of
Laurent (pf.), Reber (harm.), Savard
and Ambr. Thomas (comp.) at the
Cons. ; took first prizes for piano and
fugue ; 1863, the Grand prix de Rome
with cantata ** David Rittio 'V 1878-
96 prof, of comp. at the Cons. ;
1878, member of the Academie, Com-
mander of the Legion of Honour. C.
operas, almost all of them succ. and
constantly in the repertory of the
Paris Opera and Op. Com., i-act
comic opera ** La Grand Tanta "
(1867); the operas, ** Don C/sar de
Bazan'' (1^-72); '* Le Roi de Lahore"
(1877); ''H/roiade" (1884); " ^<f.
622
THE MUSICAL GUIDE
fum Lescaut*^ (one of the greatest
successes in the history of the Op.-
Com.), '' LeCid** (1885); fairy-opera
(1889) '' Esclarmonde'' ; '' Le Mag(f''
(1891); '' Werthtr'' (1892); lyric
comedy, ^'Thais'* (1894); i-actcom.-
op. ** Le Portrait de Manon " (1894);
lyric episode, '*Ztf JVavarraise"
(London, 1894 ; Paris, 1895) ; *' Sa-
pho'' (Op. -Com., 1897); '' Cendril.
Ion'' (Op.-Com., 1899): also 4-act
drama '' Maru-MagdeUine'" (Odeon
Th., 1873); '' kve;' a mystery, 1875;
oratorio, *' Z^i Viirge*' 1880: conte
lyrique ** Griseldis** (Op. - Com.,
1901) ; opera, ** Le Jongleur de
N6tre-Dame '* (Monte Carlo, 1902) ;
orch. suites; overtures incl. *^ Ph^'
dre " / pf .-pes. , songs, etc.
Massol (m^-sdl), J. £tieiine A.
Lod^ve, Herault, 1802 — Paris, 1887;
tenor.
Mas' son, Elizabeth, 1806 — 1865 ;
English mezzo-soprano ; teacher, and
composer.
Masutto (ma-soot'-to), (i) Giov., Tre-
viso, 1830 — ^Venice, 1894; critic, and
writer. (2) Renzo, b. Treviso, April
25, 1858 ; son of above ; bandm.
27th Italian Infantry regiment ; con-
cert-pianist, violinist and dram, com-
poser.
Maszkowskj (mash-kof'-shkt), Ra-
phael, b. Lemberg, 1838 ; pupil of
the Vienna and Leipzig Cons. ; 1885,
cond. at Schaffhausen ; 1889, mus.-
dir. Coblenz ; 1890 cond. of Orch.
Soc. Breslau.
Materaa (ma-t^r'-na), Atnalie, b. St.
Georgen, Styria, July 10, 1847; noted
soprano ; daughter of a sch. -master ;
sang in church and concert at Graz ;
debut 1865 in opera as soubrette ; m.
an actor, K. Friedrich, and sang with
him in operetta at the Carl Th. , Vien-
na ; 1869-96 prima donna, Vienna,
ct.-opera ; toured America later ; she
created *' Brtinnhilde," at Bayreuth,
1876. and '^Kundry" in '' Parsi^
fai:' 1882.
Math'er, (r) Wm , 1756 — 1808 ; or-
ganist St. Paul's, London. (2) Sam-
uel, 1783—1824 ; organist and coo-
poser.
Mathews, Wm. Smyth Babcock,
b. New London, N. H., May 8, 1837;
prominent teacher and writer ; studkSd
at New London ; later at Lowell and
Boston ; 1860-63, pf. -teacher Macon,
Ga.; 1 867-93, organist Chicago; 1868-
72, ed. '^^ Musical Inde^dtnt;"
1878-86, critic of Chicago ** Times,^
*' Morning News^' and ** Tribune;''
1 89 1, founded and since ed. the mag-
azine * ' Music ; " pub. many books of
educational value.
Mathias (mii-te'-as), George (Am£-
d6e St. Clair), b. Paris, Oct. 14,
1826 ; pupil of Kalkbrenner and
Chopin (pf.) and of Paris Cons. ; 186a,
pianist and prof, there; c. syinpb.,
overtures, etc.
Mathieu (m^t-yti), (i) Adolphe Chas.
Ghislain, b. Mons, Belgium. June
22, 1840; custodian of MSS., Bnis-
sels Library ; writer. (2) £mile
(Louis v.), b. of Belgian parents,
Lille, Prance, Oct. 18, 1844 ; studied
Louvain Mus. Sch. and Brussels
Cons.; won ist harm, prize, and ist
pf. prize, 1869, and 1871, won 2nd
Grand prix de Rome ; 1867-73, prof,
pf. and harm., Louvain Mus. Sch.;
1881-98, dir. Louvain Mus-Sch.;
since 1898, dir. R. Cons, at Ghent;
c. 7 operas, mostly comic, a ballet, 4
cantatas and 2 children's cantatas, 3
(text and music) *' Pohmcs Ij^qucs et
symphoniquesy" 3 symph. poems, etc
Mattel (mat-ta'-e), (i) Abbate Stan-
islao, Bologna, 1750— 1825 ; profes-
sor, conductor and writer. (2) Tito,
b. Campobasso, near Naples, May
24, 1841; pianist to the King of Italy;
pupil at II and later ** Professore."
Accad. di Santa Cecilia, Rome; re-
ceived a gold medal from Pius IX. ;
toured Europe ; 1865, cond. at H.
M.'s Th., London ; c. 3 operas incL
''Maria, di Gand" (H. M's
Th., 1880) ; ballet, pop. sones, etc
Matteis (mat-ta'-es), (i) Nicola, Ital-
ian violinist, 1672, London. (2) Ni-
cola, d. 1749, son of above; teacher.
DICTIONARY OF MUSICIANS 623
Matthfti (m&t-Ul'-^), H. Aug., Dres-
den, 178 1 — Leipzig, 1835 ; violinist
and composer.
Mat(t)heson (mat'-t^-z5n), Jn., Ham-
burg, Sept. 28, 1681 — April 17, 1764;
an ** admirable Crichton *' of music ;
a singer, composer and player on the
org. and harps. ; operatic tenor ; im-
portant in the development of the
church cantata afterward advanced
by Bach ; the first to introduce women
into church-service; pub. valuable
and controversial and progressive
treatises.
Matthias (or Mattheus), Le Mai-
tre. Vide le maistre.
Matthienx, Jna. Vide kinkel.
Matthison-Hansen (mat'-tY-zon-han'-
z€n), (i) Hans, Flensburg, Den-
mark, 1807 — Roeskilde, i8go; organ-
ist and composer. (2) Godfreoi b.
Roeskilde, Nov. 30, 1832 ; son of
above ; 1859, organist German Frie-
drichskirche, Copenhagen ; 1862,
won the Ancker scholarship, and
studied at Leipzig; 1867, organist at
St. John's and organ-teacher Copen-
hagen Cons.; from 1877, asst.-organ-
ist to his father ; later organist of
Trinity Ch.; c. vln. sonata, 'cello
sonata, etc.
Mattiolo (mSt-tY-o'-lo), Lino, b. Par-
ma, Italv, 1853 ; graduated from the
Cons, with high honours ; 'cellist and
singing-teacher at Cincinnati, U. S.
A.; c. songp.
Ifanrel (mo-r«l), Victor, b. Mar-
seilles, June 17, 1848 ; eminent bary-
tone; studied Marseilles and with
Vauthrot at the Paris Cons. , gaining
1st prizes in singing and opera ; de-
but, 1869 (?), at the Gr. Opera as ** de
Nevers" in ** Les Huguenots'* ; 1870,
sang at La Scala, Milan, then in
New York, Eg^t, Russia with Patti,
London, etc.; 1883, co-director Th.
Italien, Paris, without succ. ; has sung
in all the capitals as the supreme dra-
matic artist of his ojjeratic generation;
his splendid impersonation and vocal
art carrying conviction after his voice
lost its youth; he created "I ago"
in Verdi's ** OUlh,'' 1887, and has
stamped *' Don Giovanni" and other
roles with his own personality as a
criterion.
Maurer (mow'-r*r), L. Wm., Pots-
dam, Feb. 8, 1789 — St. Petersburg,
Oct. 25, 1878 ; distinguished violinist
and dram, composer.
Maurin (mo-r^n), Jean Pierre, Avi-
gnon, 1822 — Paris, 1894; violinist
and teacher.
May, (i) Edw. Collctt, Greenwich,
1S06— London, 1887; vocal teacher
and writer. (2) Florence, pianist,
London ; daughter of above.
Mav'brick, Michael (pseud. Ste-
phen Adams), b. Liverpool, 1844;
opera and concert barytone ; pupil of
Best (org.) and of Leipzig Cons.;
vocal pupil of Nava, Milan ; 1884,
toured the U. S. and Canada; c.
popular songs, including *' Nancy
Mayer (mi'-€r), (i) Chas., Kttnigsberg,
1799 — Dresden, 1862 ; pianist and
composer. (2) Emilie, b. Fried-
land, Mecklenburg, May 14, 1821;
pupil of Lttwe, Marx and Wieprecht;
lives in Berlin ; c. 7 symphonies, 12
overtures, an op)eretta, ** Die Fisch-
erin^'' etc. (3) V^m. (pseud. W.
A. Remy), Prague, 183 1 — Graz,
1898 ; excellent teacher of cpt. and
comp.; composer. (4) Vide mayer.
(5) iCarl, b. Sondershausen, March
22, 1852 ; concert barytone ; pupil of
GOtze ; lives in Schwerin.
Mayerhoflf (mi'-^r-hof), Fz., b. Chem-
nitz, Jan. 17, 1864 ; pupil Leipzig
Cons. ; theatre-cond. various cities ;
from 1885, Chemnitz ; 1888, cantor
Petrikirche, and cond. Mus. Soc; c.
sacred choruses, etc,
Mayerl (or Maierl) (mi'-eri), Anton
von, Botzen (?) — Innsbruck, 1839;
pupil of Ladumer and Ett ; c. a Sta-
bat Mater, etc.
Maylath (ml'-lat), H., b. Vienna, Dec.
4. 1833; pupil of his father (pf.):
toured, 1865; lived in Russia till
1867 ; then New York ; teacher and
composer.
624
THE MUSICAL GUIDE
Maj'nard, Walter. Vide bkale,
TH. W.
Mayr (or Majer) (mir), (Jn.) Simon,
Mandorf» i^avaria, June 14, 1763—
blind, Bergamo, Dec. 2, 1845; fa-
mous teacher and dram, composer;
pupil of Lenzi and Bertoni ; lived in
Venice as church-composer ; 1794
prod. V. succ. opera **Saffo" followed
by 70 more ; 1802, cond. Santa Maria
Maggiore, Bergamo, and 1805, dir.
Mus. Inst.; wrote a life of Havdn,
treatises and verse ; he is said to have
been the first to use the orchestral
crescendo in Italy ; biog^. by Albor-
ghetti and Galli (Bergamo, 1875).
Mayrberger (mlr'-b^rkh-er), K., Vien-
na, 1828 — Pressburg, 1881 ; conduct-
or and dram, composer.
Mayseder (ml'-za-d^r), Jos., Vienna,
Oct. 26, 1789 — Nov. 21, 1863; emi-
nent violinist, teacher and composer ;
2nd vln. of famous ** Schuppanzigh
Quartet."
Mazas (m&-zds), Jacques F6r6ol,
Beziers, France, 1782 — 1849 ; violin-
ist, writer and dram, composer.
Mazzinghi (mad-zen'-gl), Jos., of
noble Corsican family, I^ndon, 1765
— Bath, 1844 ; organist, teacher and
dram, composer.
Mazzocchi (mad-z6k'-kT), Dom.,
Civit4 Castellana, Rome, ca. 1590—
ca. 1650 ; composer.
Mazzucato (mad-zoo-kat'-to), Alber-
to, Udine, 1813 — Milan, 1877 ; vio-
linist, teacher, editor and composer.
Mead, Olive, b. Cambridge, Mass.,
Nov. 22, 1874 ; concert-violinist ;
pupil of J. Eichberg and Fr. Knei-
sel.
Mear(e)s, Richard, d. London, ca.
1743 ; son and successor of instru-
ment-maker and publisher.
Mederitsch (ma'-dd-rltsh), Jn. (called
Gallus), b. Nimburg, Bohemia, ca.
1765 — after 1830, Lemberg; pianist
and composer.
Meerens (ma-rans), Chas., b. Bruges,
Dec. 16, 183 1 ; 'cellist and acousti-
cian.
Meerts (mftrts), Lambert (Jot.)| Brus-
sels, 1800— 1863 ; violinist, professor
and composer.
Mees (maz), Arthur, b. Columbus,
Ohio, Feb. 13, 1850 ; pupil of Th.
Kullak (pf .), Weitzm.inn (theory), and
H. Dom (cond.), Berlin ; cond. Cin-
cinnati May Festival Chorus ; asst.-
cond. various societies in New York,
Albany, etc.; 1896, asst.-cond. Thom-
as Orch., Chicago ; since 1901, cond
Mendelssohn Glee Club, New York ;
writes analytical programmes, and c
pf. -studies ; pub. *' Choirs and Cho-
ral Music J* 1901.
Mehlig (ma'-lTkh), Anna, b. Stuttgart,
June II, 1843 ; pianist, pupil of Le-
bert and Liszt; m. Antwerp mer-
chant Falk.
Mehrkens (roar'-k£ns), Fr. Ad., b.
Neuenkirchen, near Ottemdorf-oo-
£lbe, April 22, 1840 ; pupil, Leipzig
Cons.; lives in Hamburg as pianist,
teacher and conductor; from 1871,
cond. of the Bach-Gesellschaft ; c. a
symph., a Te Demn, etc.
Mehui (ma-Ql), Etienne Nicolas,
(Henri), Givet, Ardennes, June 22,
1763 — of consumption, Paris, Oct.
18, 1817; one of the great masters of
French opera, a student of orch.
effects, and a special master of the
overture ; son of a cook ; pupil of an
old blind organist ; at 10, studied
with Wm. Hauser ; at 14, his asst. ;
1778, taught in Paris and studied
with Edelmann (pf. and comp.);
Gluck*s advice and assistance turned
him to dram, comp., after a succ.
cantata with orch. (1782). He c. 3
operas, never prod., and now lost, a
4th was accepted but not perfoimed
until after the succ. of the CMp.-com.
'^ Euphrcsyne et Coradin" (Th. Ita-
lien, 1790) ; 15 other op>eras followed
with general succ. incl. ** Strai^tdce'^
(1792),** jU Congrh dis Rois " (1793)
with ti collaborators; 1705, inspect-
or of the new Cons., and a member
of the Academie; 1797, ^^ Le Jrune
Henri " was hissed off as irreverent
toward Henri IV., though the fine
overture had been demanded thrt*
DICTIONARY OF MUSICIANS 625
times; the opera buffa ^* Virata, ou
VemporW'' (1801) made great succ.
and lightened the quality of later op-
eras ; his best work was ^^ Joseph "
(1807) ; for four years he wrote only
ballets ; he left 6 unprod. operas incf.
'* VaUntim <U Milan," completed by
Daussoigne-Mehul, and prod. 1822 ;
he c. also inferior symphs. and pf-
sonatas, and very pop. choruses
'^Ckantdu d^art;' ''C.dt victoire,''
" Chant d£ retour^'' etc. Biogr. by
Vicillard, 1859, and A. Pougin,
18S9.
Meibom (mi'-b6m) (or Meibo'mius),
Marcus, Tdnning, Schleswig, 1626
(?) — Utrecht, 17 11; theorist aod col-
lector ; his great work is a valuable
historical coll. of old composes.
Meifred (m«-fra), Jos. J. P. Etnile,
Colmars, Basses- Alps, 1791 — Paris,
1867 ; hom-\'irtuoso, professor and
writer.
Meiland (ml' -Ian t), Jakob, Senf ten-
berg. Upper Lusatia, 1542 — Celle,
1577 ; important contrapuntist.
Memardus (ml-nar'-doos), L. Sieg-
fried, Hooksiel, Oldenburg, 1827 —
Bielefeld, 1896 ; writer and dram,
composer.
Meiners (rai'-ndrs), Giov. Bat., Milan,
1826 — Cortenova, Como, 1897 ; con-
ductor and dram, composer.
Meissen (mis'-s£n), H. von (called
Frauenlob, *' woman-praise**); 14th
cent. German singer, poet, and re-
puted founder of the Meistersinger
(v. D. D.) at Mainz, 131 1.
Meister (ml'-sht^r), K. Severin, Ko-
nigstcin (Taunus), 1818 — Montabaur,
(Westerwald), 1881 ; teacher and
mus. director.
Mel (m$l), Rinaldo del, Flemish
musician, i6th cent.
Mela (ma-la), (i) del M. Vide del
MELA. (2) Vincenzo, Verona, 182 1
— Cologna, Vaneta, 1897 ; dram,
composer.
Melani(ma-lll'-ne), Amelia, b. Pistoia,
1876 ; soprano ; pupil of Galetti ;
debut, Florence, 1896 (?) ; has sung
dsewhere with success.
40
Melba (m^l'-b^), Nellie (righUy Mit-
chell, ** Melba" being a stage-name
from her birthplace), b. Melbourne,
Australia, 1865 ; one of the chief
colorature-sopranos of her time, with
a voice of great range, purity and
flexibility ; pupil of Mme. Marches! ;
debut Th. de la Monnaie, Brussels,
1887, as **Gilda*' in '^ RigoUtto'';
has sung in Europe and America with
greatest succ. in both opera and con-
cert.
Melcer (mei'-ts^r), H. von, b. Warsaw,
Oct. 25, 1869; pianist and composer ;
1895 won Rubinstein prize with Con-
certstUck for pf. and orch.
Melchior (mdl'-kl-6r), Edw. A., b.
Rotterdam, Nov. 6, i860 ; teacher
and lexicographer.
Melchiori (mfil-kl-o'-re), Ant., Parma,
1827 — Milan, 1897 ; violinist and
composer.
Melgunow (m$r-goo-n&f),Julius von,
b. Kostroma, Russia, 1846 ; pupil of
Henselt and the Rubinsteins ; also
of Moscow Cons, and R. Westphal,
whose system he adapted to Bach's ;
pub. a coll. of folk-songs.
Mell, Davis, English violinist and
composer, 1657.
Melone. Vide bottrigarl
Meluzzi (ma-lood'-ze), Salvatore,
Rome, July 22, 1813 — April 17, 1897;
eminent organist, composer and con-
ductor.
Membr6e (man-bra), Edmond, Valen-
ciennes, 1820— Chateau Damont, near
Paris, 1882 ; dram, composer.
Mendel (m^n'-ddl), Hn.,'Hatte, 1834
— Berlin, 1876 ; writer and lexicogra-
pher.
Mendelssohn, (i) (Jakob Ludwig)
Felix (rightly Mendelssohn-Bar-
tholdy) (mSn'-d'l-zon-bar-tol'-de),
Hamburg, Feb. 3, 1809 — Leipzig,
Nov. 4, 1847 ; eminent composer of
remarkably early maturity. Great-
grandson of a Jewish sch.-master,
Mendel, who adopted Christianity
and had his children reared in the
Christian faith ; grandson of the
prominent philosopher Moses ; son of
the banker Abraham M. Pf. -pupil
of his mother, Lea Salomon-Bar-
tholdy, as was also his elder sister
Fanny (v. hensel). The family-life
of the Mendelssohns is almost unique
in history for its happiness and mutual
devotion. M. studied also with L.
Berger, Zelter (theory), Hennings
(vln.) and ' Mme. Bigot (pf .). At lo
he entered the Singakademie, as an
alto ; the same year his setting of the
19th Psalm was performed by the
Akademie. Every Sunday a small
orch. performed at his father's house,
and his comps. were heard here early
and often ; he usually cond. these
concerts even as a child. 1825 his
father took him to Paris to consult
Cherubini, who offered to teach him,
but the father preferred to have him
at home. At 12 he began the series
of 44 vols. , in which he kept copies of
his comps. This year he c. bet. 50
and 60 pes., incl. a cantata, a mus.
comedy, a pf.-trio, 2 pf. -sonatas, a
vln. -sonata, songs, etc. At 9 he had
played the pf. in public ; at 12 he
was a notable improviser (while play-
ing a Bach- fugue at Goethe's request
he extemporised the Development
which he had suddenly forgotten).
At 17 he c. the remarkably original,
beautiful and (in advance) Wagnerian
overture to '' A Afidsummer Night* s
Dream,'' and the superb octet for
strings (op. 20). This same year he
matriculated at Berlin Univ. with a
translation of Terence, said to be
the first German attempt to render
Terence in his own metres. He
also painted, and was proficient in
gymnastics and billiards. At 18
he prod, the succ. opera ** Die Hock-
zeit des Camacho" at the Berlin
Opera, in which he used the leit-
motif (v. D. D.). At 20 he com-
pelled and conducted the first per-
formance since the composer's death
of the Bach '* Passion according to St.
Matthew " at the Singakademie. This
was the first step in the gpreat crusade
he waged, taking Bach out of obso-
lescence into the pre-eminence be
now keeps. 1830, M. declined the
chair of mus. at the Berlin Umv.
The year before he had made the
first of nine voyages to England,
where he has stood next to Handel in
popularity and influence. He cond.
his symph. in C minor, at the London
Philh., which gave him his first offi-
cial recognition as a composer. The
same year he was invited (in vain) to
c. a festival hymn for the anniversaiy
of the emancipation of the natives of
Ceylon, and in his letters (in which his
sunny nature finds free play) be re-
ferred to himself as "Composer to
the^Island of Ceylon." He appeared
also with brilliant succ. as pianist and
organist. He now travelled in Scot-
land, Switzerland, and elsewhere, and
returning to London, conducted the
*• Hebrides ** overture, played his
G min. concerto and B min. Capric-
cio brillant, and pub. his first 6
* ' Song^ without Words " (c. in Ven-
ice, 1830). His race and his amazing
energy and succ. made him much op-
position at Berlin, and he was re-
fused the conductorship of the Sing-
akademie in 1833, although he bad
arranged a series of concerts for the
benefit of the Orch. Pension Fund.
1833, he cond. the Lower Rhine
Mus. Festival at D(lsseldorf, and be-
came Town Mus. Dir. of the di.-
mus., the opera, and two singing-so-
cieties, for a salary of 600 Thaler
(about $450). 1835, he became cond.
of the Gewandhaus Orch., Leipzig,
which (with Fd. David as leader) he
raised to the highest efficiency ; the
Univ. made him, in 1836, Dr. PhiL,
h. c. ; 1836, he cond. his oratorio
''Paulus,'* the Lower Rhine Festival,
Dttsseldorf, in 1837 also at the Bir-
mingham Festival. 1837, he m.
Cecile Charlotte Sophie Jeanrenand
of Frankfort, daughter of a French
Protestant clergyman. She bore him
five children, Karl, Marie, Paul, Fe-
lix, and " Lili" (Elisabeth). In 1841
Friedrich Wilhelm IV. invited him to
DICTIONARY OF MUSICIANS 627
take charge of the grand orch. and
choral concerts at Berlin. The hostil-
ity to him was however so general
that he wished to resign, but at the
King's request organised the cath.
mus., later famous as the ** Dom-
chor " (cath. choir). He was made
R. Gen. Mus. Dir. With Schumann,
Hauptmann, David, Becker, and
Pohlenz, in the faculty, he organised
the since famous Conservatorium of
Mus. at Leipzig (since 1876 the ** R.
Cons."); he again cond. the Gcwand-
haus Concerts. 1845 he cond. " Eli'
jak " at Birmingham. He resigned the
Gewandhaus conductorship to Gade,
and the plano-dept. to Moscheles,
whom he invited from London. Upoa
hearing the news of the sudden death
of his idolised sister, Fanny Hensel,
he fell insensible and lived only 6
months.
M. was kept from opera by inabil-
ity to 6nd a satisfactory libretto.
Besides ** Die Hockzeit des Camacko"
he left an unfinished opera ** Lorelei"
an operetta '* Son and Stranger^"
and 5 small unpub. operas. He c.
3 oratorios, **/'a«/« J '* (St. Paul),
" iP/itf J " (Elijah), and '' Christus''
(unfinished), the symph. cantata
*' Lobgesangf" op. 52 ; the ballade,
with orch. '* Die ersU Walpurgis-
nachty" op. 60; 2 '* Festgesdnge^*'
*"* An die KUnstler '* (for male chorus
and brass), and ** Zur S&cularfeier
der Buchdruckerkunst" {^* Gutenberg
Cantata"), with orch.; mus. to the
plays '^Antigone*' (op. 55), " Atha-
A>"(op. 74), '' (Edipus in Colonos''
(op. 93), and *'^ Midsummer
Night's Dream " (op. 61) ; c. also
vocal works with orch., hymn, ** Tu
es /'^'/r«J," Psalms 114, 115, and 95,
prayer ** Verleih* uns Friedeny" and
sopr. concert-aria **^Infelice" (op.
94).
4 Symphonies, in C min.; A
min. (or *' Scotch''); A (or ''Ital-
ian"); D (or '' ReformaHon'').
Overtures, '' Sommermuhts^
traum" (**A Midsummer Night's
Dream "), op. 21; ** Hebrides ;'
''Die FingalshohU" (or " Flngal's
Cave"), op. 26; " Meerstille und
glUckliche y77/4r/"('*Calm Sea and
Prosperous Voyage"), "Die Schdne
Melusine" (" The lovely Melusine")
(op. 32), "Ruy Bias" (op. 95).
" 7Vw»»/^/ " overture, and an over-
ture for wind-band (op. 24) ; c. also
andante, scherzo, capriccio, and
fugue, for string-orch. (op. 8i), funer-
al march (op. 103), and march (op.
108) ; 2 pf. -concertos, in G min. and
D min. ; capriccio brillant ; rondo
brillant, and serenade and allegro
giojoso, for pf. with orch.; vln.-con-
certo in E min. (op. 64) ; a string
octet, quartets, 2 quintets, a pf. -sex-
tet, 7 string-quartets, 3 pf. -quartets,
2 pf. -trios, 2 trios for clar., basset
horn, and pf.; 2 'cello-sonatas, a so-
nata forvln., variations concertantes
(op. 17) and "Lied ohne fVorte"
(op. 109), for 'cello with pf., relig-
ious and secular choruses, 13 vocal
duets, and 83 songs. For piano — 3
sonatas ; capriccio ; CharakterstOcke;
rondo capriccioso ; 4 fantasias, incl.
** The Last Rose of Summer";
" Lieder ohne Worte " (" Songs with-
out Words ") in 8 books ; *' Sonate
icossaise" 6 preludes and fugues,
** Variations sirieuses" etc.; 6 Kin-
derstttcke, 3 preludes and 3 studies,
op. 104; "- Albumblatt" " Perpetu-
um mobile" etc. 4-hand variations ;
4-hand allegro brillant ; duo con-
certant (with Moscheles), for 2 pfs.
on the march - theme in Weber's
'• Preciosa" For organ, 3 preludes
and fugues ; 6 sonatas, op. 65 ; prel-
udes in C min.
Biogr. by his eldest son Karl
(1871) ; by Hiller (1874) ; S. Hensel
(1879) ; Eckardt (1888) : an extended
article by Grove (in his Dictionary),
etc. Numerous editions of his letters
are published. See also next page.
(2) Arnold, b. Ratibor, Dec. 26.
1855 ; grand-nephew of above ; stud-
ied with Haupt, Kiel, Grell, Tau-
bert; organist and teacher in the
628 THE MUSICAL GUIDE
Univ. at Bonn; then teacher at Co- City Th., 1894), and '*/>^ BSren-
logne Cons.; then at Darmstadt pro- hauler y* ** Der Hagesiolz ** for choms
fcssor. C. operas '* ^/«" (Cologne and orch.
Mendelssohn.
By Vernon Blackburn.
FEUX MENDELSSOHN BARTHOLDY almost rivaUcd Mozan
in the precocity of his genius. Music came to him, as it were,
straight out of the skies. He played with it fix>m boyhood , and at
the age of nineteen wrote his greatest work. I refer, of course, to the over-
ture to "^ Midsummer Night* s Dream,** It would be difficult to say
exactly whence Mendelssohn derived the leading motives of his musical ten-
dency. Mozart, of course, did much for him, but he was a brilliant, though,
I should imagine, a superficial, student of the great John Sebastian and of the
train of German and Austrian composers, including Haydn, which succeeded
the period of that great master, Beethoven, with whom, of course, he was
intimate from his childhood. One remembers the story of his playing one
of the symphonies to Goethe ; but I doubt if Beethoven had a very serious
influence over this gay, companionable, brilliant musician to whom music
was not so much a spiritual as a pantheistic influence. ^[The external world
to him flred his brain, and his delicate genius responded to the influence.
His personality was neither commonplace nor profoundly interesting. There
is a certain class of German youth which makes a point of exuberance, of
high spirits and somewhat boisterous assertiveness of the bright side of lift.
Such a temperament is usually accompanied by a certain shallowness of spirit,
and by a certain naif outlook which is just a trifle irritating to the serious
man. ^His place in the art of music has not, I should imagine, been quite
definitely settled even at this day. While Su* George Grove would place
him among the archangels of musical creation, there are others who prefer to
rank him as quite in the front rank of the second class. On the whole, my
judgment ranges with the latter, although there are times, of course, when he
strayed into the really great things of his art, as for example in the ** fVatch-
marit** from the *' Hymn of Praise,** or " How Lovely are the Messengers,**
from **St, Paul,** There will be none, however, I imagine, not even Sir
George Grove himself, to rank Mendelssohn with Mozart, John Sebastian
Bach, and Handel, and that alone may be taken as a test as to whether he
really may be placed among the great gods. ^If I were asked to assign his
position, in the flash of a phrase, I should call him the Ganymede, the cup-
bearer of Jupiter's table. He was in the company of the gods, and he served
them, he pleased them well ; and his dwelling-place was in the palace of
DICTIONARY OF MUSICIANS 629
Jove ; but he was not of royal rank, though he wore the livery of the great
kings of art. And his influence has been confined chiefly to the more elegant
song- writers of the time, to the composers of graceful and forgotten oratorios,
and to the brilliant comic opera record of Sir Arthur Sullivan. And this,
though Mendelssohn, after arriving at man's estate, never wrote a note that
indicates him as possessing one flash of genuine humour. The disdple has
here indeed outstripped the master.
Mendfes (man-dfe). Catulle, b. Bor.
deaux. May 22, 1841. Poet; libret-
tist of pop. poems and operettas.
Mental (man-g&l), Martin Jos.,
Ghent, 1784 — 185 1 ; horn-virtuoso
and dram, composer.
Mengelbere (meng'-*l-b^rkh), Wm.
Jos., b. Utrecht, May 28, 1870;
pupil of Umland, Hoi, Wurff, and
Petre at Amsterdam, then at Cologne
Cons., 1891, dir. at Lucerne, 1895,
Amsterdam ; at 8 began to compose.
Menge^^ein (mdng'-d-vTn), K., b.
Zaunroda, Thuringia, Sept 9, 1852 ;
from 1881-86, teacher at Freuden-
berg's Cons. Wiesbaden ; co-founder
of a Cons, at Berlin, 1886 ; c. orato-
rio, festival cantata, operetta, over-
ture ** Dornrdsckefty* etc.
Mengozzi (m€n-g6d'-ze), Bdc, Flor-
ence, 1758 — Paris, March, 1800;
tenor, writer and comjxjser of 13 op-
eras.
Menter (m5n'-t^r), (i) Jos., Deuten-
kofen, Bavaria, 1808 — Munich, 1856;
•cellist. (2) (Menter-Popper) So-
phie, b. Munich, July 29, 1848;
daughter of above; eminent pianist;
pupil of Sch5nchen, Lebertand Niest;
debut, 1863; in 1867, studied with
Tausig; 1869, with Liszt; 1872, m.
the 'cellist Popper (divorced 1886) ;
ct.-pianist to the Emperor of Austria;
1878-87, prof, St. Petersburg Cons. ;
lives at her country-seat. Castle Itter,
in the Tyrol.
Merbecke» J. Vide marbeck.
Mercadante (m^r-kS-dan'-t^), Fran.
Saverio, Altamura, Sept. 17. 1795 —
Naples, Dec. 17, 1870 ; pupil of Zip-
g^relli and in 1840 his successor as
dir. of Naples Cons.; in 1819 prod,
an opera with great succ. and fol-
lowed it with 60 others, incl. ** EKsa
e Claudia " (Naples, 1866), ** // Giu-
ramento " (Milan, 1837) ; he lived in
various cities ; 1833 cond. at Novara
Cath.; 1862 he went blind ; hec. also
2 symphonies, 4 funeral symphonies,
20 masses, etc.
Mercadier (m^r-kid-ya), J. Bap.» Bel-
esta, Ari^ge, France, April 18, 1750
— Foix, Jan. 14, 1815 ; theorist.
Merck, Louis, Landau, 1832 — Brus-
sels, April 15, 1000 ; horn-virtuoso.
Mercy (or Merci), Louis, Engl, virt-
uoso on the beak-flute, 1735 ; com-
poser.
M6reauz (ma-ro), (i) J. Nicolas
Am6d6e Lefroid dc, Paris, 1745 —
1797 ; organist and dram, composer.
(2) Jos. N. L. de, b. Paris, 1767 ;
son of above ; organist, and pianist.
(3) J. A. L. de, Paris, 1803 — Rouen»
1874 ; son of above ; pianist, com-
poser and writer.
Merian (ma'-rl-an), Hans, d. Leipzig,
1902 ; writer.
M^ric (ma-rTk). Vide lalande.
Muriel (ma-rt-51), Paul, Mondoubleau,
18 18 — Toulouse, 1897 ; violinist,
cond. and dram, composer ; dir. Tou-
louse Cons.
Merighi (ma-re -ge), Antonia, Italian
contralto profondo in Handel's oi>
eras, London, 1729-38.
Merk (mirk), Jos., Vienna, 1795 —
Ober-DObling, 1852 ; violinist and
composer.
Merkel (m&r -k^l), (i) GusUv (Ad.),
Oberoderwitz, Saxony, Nov. 12, 1827
— Dresden, Oct. 30, 1885 ; org. and
630
THE MUSICAL GUIDE
composer. (2) K. L.» wrote treatises
on throat, etc. •
Merklia (m&r'-klen), Jo8.» b. Oberhau-
sen, Baden, Jan. 17, 1819 ; org.-
builder at Brussels ; son of an org.-
builder ; took his brother - in - law,
F. Schatze, into partnership, as
*' Merklin-SchlUze," 1858 ; in 1855,
est. a branch in Paris.
Mersenne (m^r-s^n'), Marie, Oize
(Maine), France, Sept. 8, 1588 —
Paris, Sept. i, 1648 ; writer of mus.
treatises.
Mertens (mar'-t^ns), Jos., Antwerp,
Feb. 17, 1834 — Brussels, July, 1901;
1st vln. at the opera there and teach-
er at the Cons.; 1878-79, cond.
Flemish Opera, Brussels ; later, dir.
at Royal Th., The Hague; prod.
succ. Flemish and French operettas
and operas, incl. *' De Zwarie Kapi-
iein " (The Hague, 1877).
Mcrtke (m«rt'-kd), Ed., Riga, 1833—
Cologne, 1895 ; pianist, violinist,
composer and collector.
Mertz (marts), Jos. K., Pressburg,
Hungary, 1806— -Vienna, 1856 ; gui-
tar-virtuoso.
Merula (ma-roo'-la), Tarquinlo, b.
Bergamo ; violinist and composer,
1623-40.
Menilo (raa-roo'-lo) (rightly Mcrlotti),
CUudio (called <' Da Coreegio"),
Coreggio, April 8, 1533 — Parma,
May 4, 1604 ; eminent organist,
dram, composer and famous teacher ;
pupil of Menon and G. Donati ; he
was a leader of the Venetian sch. and
bordered on the new tonality.
Merz (marts), K., Bensheim, near
Frankfort-on-Main, 1836 — Wooster,
Ohio, 1890 ; teacher and writer.
Mes8ager(mds-sa-zha), Andr6(Chas.
Prosper), b. Montlucon, Allier,
France, Dec. 30, 1853 ; pupil of Nie-
dermeyer School and of Saint-Saens ;
1874, organist of the choir, St. Sul-
pice; cond. at Brussels; organist at St.
Paul-Saint-Louis ; Paris, cond, at
Sainte Marie des Batignolles ; 1898,
cond. Op. Com. ; Chev. of the Legion
of Honour ; 1901, mus. -dir. (^vent
Garden, I^ndon ; completed Benu-
cat's unfinished score, *^ Franfms Us
Bos BUus " (Folics - Dramatiques,
1883), following it with about 20
other comic operettas, and operas,
incl. the succ. '* Le Chevalier d'Har-
mentor (Op. -Com., 1896); "/^
Basoche'' (Op. -Com., 1890. Bremeo,
1892, as Z7v€i Konige) ; m. Hope
Temple (q. v.),
Messerschmidt - Griinner (m^'-s^-
shmtt-grln'-n^r) (Frau), Vienna, ca.
1847 — 1895 ; founded at Vienna the
first ** Ladies' Orchestra."
Mestrino (mas-tre'-nd), Niccold, Mil-
an, 1748 — Paris, 1790; violinist, con-
ductor, and composer.
Metastasio (ma-tas-ta'-zY-o) (rightly
Trapassi, but changed to Bfl., 1
pun. on T. to please his patron Grari-
na), P. Ant. Dom. Bonaventura,
Rome, Jan. 3, 1698 — Vienna, April
12, 1782 ; poet and dramatist ; wrote
librettos set to mus. by Gluck and
Mozart.
Methfessel (mat'-f^s^l), (i) Albert
Gl., Stadtilm, Thuringia, 1785—
Heckcnbcck, 1869 ; dram, composer.
(2) Fr., Stadtilm, 1771—1807 ; bro.
of above ; composer. (3) Ernst,
MUlhausen, 1802 — Berne, 1878, rel-
ative of above ; conductor. (4)
Ernst M., 181 1 — 1886, conductor.
M6tra(ma-tra), (Jules Louis) OUvier,
Rheims, 1830 — Paris, 1889 ; violinist
and double-bass player, conductor
and dram, composer.
Mettenleiter (m«t'-ten-ll-t«r), (i) Jn.
G., studied Ulrich, near Ulm, 18 12—
Ratisbon, 1858; organist and compos-
er. (2) Dominicus, Tannenhausen,
WQrtemberg. 1822— Ratisbon. 1868;
brother of above; writer and compos-
er. (3) Bemhard, cousin of above ;
composer at Kempten, Bavaria.
Metzdorff (m^ts'-ddrQ, Richard, b.
Danzig, June 28, 1844 ; pupil of Fl.
Geyer, Dehn, and Kiel, Berlin ; cond.
at various cities ; c. opera ** Rosa"
munde " (Weimar, 1875); succ.** H^»
bart und Signe " (Weimar, 1893) ; c
also 3 symph. incl. ** Tragic " y ove^
DICTIONARY OF MUSICIANS 631
turc ** King Lear " / " Frau Alice;*
ballade, with orch., etc.
Metzler (mets'-ldr). (i) & Co., Lon-
don, mus.-pubs., founded by Valen-
tine M., 1790. (2) Metsler-Ldwy
(m*ts'-l«r-la -ve), Panline, b. The-
resienstadt, 1850 (?) ; contralto ; 1875-
87, Leipzig City Th.; 1881, m, the
pf. -teacher, (3) r d M,
MearSj de. Vide muris, db.
Menrsius (mCir'-sl-oos), Jns., Looz-
duinen, near The Hague, 1579 —
Denmark, 1639 ; prof, and writer.
Meusel (moi'-z£l), Jn. G., Eyrichshol,
1743 — Erlangen, 1820; writer and
editor.
Meyer (mi'-^r), (i) Joachim, Perle-
berg, Brandenbui^, 1661 — G5ttingcn,
1732 ; prof, and writer. (2) Ld. von
(called " De Meyer"), Baden, near
Vienna, 18 16 — Dresden, 1883 ; pia-
nist and composer. (3) Julins £d.,
Altenburg, Germany, 1822 — Brook-
lyn, U. S. A., 1899; vocal-teacher,
from 1852, at Brooklyn. (4) Jenney,
Berlin, 1834 — 1894; concert-singer;
1865 teacher, 1888 proprietress Stem
Cons. Berlin. (5) Felix, b. Berlin,
Feb. 5. 1850; son of (6) Bernard
(mus. -director) ; pupil of David ; vio-
linist in ct. chapel, Berlin. (7) Wal-
demar, b. Berlin, Feb. 4, 1853 ; vio-
linist, pupil of Joachim ; 1873-81,
member of the Berlin ct. orch. (8)
GustaT, b. Kdnigsberg, Prussia,
June 14, 1859; pupil of Leipzig
Cons. ; cond. various cities ; 1895,
Leipzig City Th.; c. 4-act farce, bal-
let-pantomime, etc.
Meyerbeer (ml'-£r-b^r), Giacoipo
(rightl)r Jakob Liebmann Beer;
by adding the name ** Meyer" he se-
cured a large inheritance from a
wealthy relative ; he then Italianised
'*Jacob •• as *'Giacomo"), Berlin, Sept.
5. 1791 (94?) — Paris, May 2, 1864;
son of a Jewish banker : a precocious
and remarkable pianist ; pupil of
Lauska and Clementi ; at 7 played in
imblic ; studied with Zelter, Anselm,
Weber; 18 10, was invited by Abbe
Vogler to live in his house as a son
and pupil ; did so for 2 years, one of
his fellow-pupils being his devoted
friend C. M. von Weber. Here he
c. an oratorio and 2 operas ^' Jeph-
thas Gelabde" (Ct.-Op., Munich,
1813) and *'AbimiUk*' (Munich,
18 1 3), the first a failure, the latter
accepted for Vienna, whither he went
and made a great succ. as pianist
though his opera was not a succ. In
his discouragement Salieri told him
he needed only to understand the
voice, and advised an Italian jour-
ney. He went to Venice in 18 15
and, carried away with Rossini's
vogue, c. 6 Italian operas which had
succ, especially ** IlCrociato in EgiU
to" (Venice, 1824). While writing
this last he went to Berlin hoping to
prod. 3-act German opera, *' Das
BrandenbUrger Thor*\* though he
found no hearing, Weber begged him
not to give himself up to Italian in-
fluences. In the 6 years of silence
that followed, occurred his marriage,
his father's death, and the death of
his two children. In 1826, he went to
Paris to live, and made a profound
and exhaustive study of French op-
era from Lully down, forming his
third style, in which ace. to Mendel
** he united to the flowing melody of
the Italians and the solid harmony of
the Germans the pathetic declama-
tion and the varied, piquant rhythm
of the French." He made a coali-
tion with the sophisticated librettist,
Scribe, and his first French opera,
*' Robert U DiabU" (Gr. Opera,
1831), was an enormous succ, finan-
cially establishing the Opera itself,
though M. had had to pay the man-
ager Veron a large sum to secure its
production. I^ss pop. succ at first,
but more critical favour attended
'' Les Huguenots" {1S36); its prod,
at Berlin, 1842, led KingFr. Wm. IV.
to call him there as Gen. Mus.-Dir.
His opera " Das Feldlager in Schle-
sien" (1843), had only mod. succ.
until Jenny Lind sang it in 1844.
1847, he visited Vienna and London;
632
THE MUSICAL GUIDE
returning to Berlin he prod. Wagner's
new work ^*Rienzt'\' later he ob-
Uined ** The Flying Dutchman"
performance, after its rejection else-
where. The extent to which he be-
friended Wagpfier is matter of bitter
controversy, some claiming that he
gave only formal assistance while
Wagner was obscure, and fought him
with underhanded methods and a
** press-bureau," when Wagner at-
tained power. At any rate Wagner
despised and publicly assailed the
music of Meverbeer. Yet, wheth-
er or no Wagner borrowed money
from M., he certainly borrowed num-
berless points of artistic construction
from him. In 1849, *' Z> ProphHe "
(finished 1843) was prod, at the Paris
Gr. Op^ra (1849) followed by the
successes ^*^ V i,toiU du Nord** (Op.-
Com., 1854), some of.it taken from his
** Das Feldlager in SchUsien " ; and
*^ Dinorah^ ou le Pardon d€ Ploer-
mer (Op. Com., 1859). '' VA/ri-
caine *' (worked on with constant and
characteristic changes from 1838) was
prod, at the Paris Gr. Opera, 1865, a
year after his death. M. left by will
10,000 thaler ($7,500) for the founda-
tion of a Meytfbeer Scholarships for
which only Germans under 28, and
pupils of the Berlin *' Hochschule,"
the Stem Cons., and the Cologne
Cons., are eligible. Competitors
must submit a vocal fugue a 8 (for
double chorus), an overture for full
orch., and a dram, cantata J j, with
orch. (text of cantata, and text and
theme of fugue being given). Tbe
fund g^ves six months in Italy, six m
Paris, and six more in Vienna, Mo-
nich and Dresden together. M. c
also incid. music to ** Struensee'^ (the
tragedy by his brother, Michael Bfer
Berlin, 1846), choruses to itschylus'
'' Eumenidcs'* ; festival-play ^* Dcs
Naffest von Ferrara "/ monodrama
*' Thcve lindens Licbe," for sopr. solo,
chorus with clar. obbligato (Vienna,
1813); cantatas, "" Gutenberg*" zjA
*' Afaria und ihr Genius** {(or iht
silver wedding of Prince and Princess
Carl of Prussia); ** Der Genius der
Musik am Grabe Beethoven "/ sere-
nade ' ''Brautgeleite aus der HeimoA "
(for the wedding of Princess Louise c^
Prussia) ; ode to Rauch (the sculptor),
with orch.; 7 sacred odes a capfelU;
Fesihymnus (for the King 01 Prus-
sia's silver wedding) ; 3 ** Fackel-
tanze,'* for wind-band, also scored
for orch. (for the weddings of the
King of Bavaria, and the Princesses
Charlotte and Anna of Prussia);
grand march for the Schiller Ccniei-
ary (1859) ; overture in march-fonc
(for opening of Ix>ndon ExhilritioQ,
1862) ; coronation march for King
Wilhelm L (1863); church-rausic ;
pf.-pcs., etc. Biog. by A. de La-
salle (1864); H. Blaze dc Bniy
(1865); Ella (186S); H. Mendei
(1868), and J. Schucht, 1869.
Meyerbeer.
By Irbnaeus Prime-Stevenson.
WITHIN a decade or so, especially since the Wagnerian measuring-
rule was applied right and left, up and down, to almost all tk
lyric drama, more in enthusiasm than in good judgment, ttt3
also since opera-making has come to be talked of as a sort of crict
science — Meyerbeer has been ungraciously handled by a certain school d
criticism. This school is rich in Podsnaps. If we can believe these arti-
tcri and observers, Meyerbeer was a feeble charlatan in French opera, or ij;
DICTIONARY OF MUSICIANS 633
any kind of opera, a vulgar and bawdy melodist and a commonplace orches-
trator. Moreover, we must, by such critics, believe that the public as well
as the cridcs have so thoroughly ** found him out," that the popular interest in
his works is over ; that ** The Huguenots ^^^ " U Africaine^^^ and ** Le Pro-
fheti'*^ are works that bore everybody of true musical intelligence — ** the souls
of them fumed forth, the hearts of them torn out." ^Unfortunately for
these undisceming prophets, their premises are obviously wrong, and their
results are short-sighted. Meyerbeer b a composer full of faults. His
inconsistencies are a continual irriudon. His shortcomings are plain to
the ear. His superficial, emodonal side, too, is indispuuble. He was
never sure of himself, or rarely so ; and that is fatal often to artisdc strength.
But when all is counted against him, Meyerbeer is still a great composer,^ an
operadc master to be reckoned with for a long operadc dme to come ; and
as for the world in general it is iu from setting him aside when his best
scores are the question. ^Hb splendid subtler mastery of true dramanc effect
is, after all, as emphadc as his cheaper method of making a point. He does
not, alas ! sustain his melodies. He does not work out g<X)d themes as
they deserve, over and over. He rives-out, he resorts to noise and clap-
trap. His favourite rhythm )i^^ 1 is tedious. ^But notwithstanding all,
he is a genius in dramatic, pathedc melody. He is constandy able to
move us legitimately by his beautiful art as an orchestral colourist. He
writes for the operadc actor as a singer, perfectly and consistendy, as well
as &r the operadc artist as a declaimer. He b a king at great musical
phrases, words and music so linked that we cannot think of them as not
together. And as a merely French composer Meyerbeer is of the first
nnk. A sincere and learned musician himself, especially influenced by
the greatest and even severest German and Italian musicians, he is dbdnctly
a descendant in artbdc speech of no less than Gluck. One often finds
a Gluck-like nobility of phrase in Meyerbeer's dialogue, a Gluck-like out-
start of melody, to atone for all that is savoury of Offenbach or worse. ^As
^ for Meyerbeer's influence on not only the French opera but in fiir wider range,
that b tmdeniable. French opera since his day has never set his monidons
aside, from Halevy to Reyer : and Wagner (heredcalas it sounds to say so)
never quite drew away from the French principles in dramatic opera that he
often most repudbted— exacdy as he repudiates his eternal pracdcal debts to
- Meyerbeer for no vague kindness. ^Meyerbeer is the Scott, the Jokai, of
> opera, forever. Just as we forgive technical error or error of sentiment in both
f here and there, so must we forgive Meyerbeer : and in admiring his best
-. scenes much indeed b to be forgot ! ^Personally, he was a large-souled and a
.good man as well as a man of finest culdvation and polish. His charides
^v\were numberless and hb large bequests have contmued them. Take lum
634
THE MUSICAL GUIDE
«1I in ally he is a creator and an inflaencer of, we may say, permancDt
dignity and honour in the general gallery of the really great, not merely the
pseudo-great, operatic sovereigns.
Meyer-Helmund (mi'-^r-hei-moont),
Erik, b. St. Petersburg, April 13
(25 new style), 1861 ; pupil of his father
and of Kiel and Stockhausen ; prod.
3 comic operas, incl. the ^ucc. *' Der
Liebeskampf (Dresden, 1892) ; succ.
ballet '* RUbtzahr (or " Der Berg-
get St**) (Leipzig, 1893) ; i-act bur-
lesque " Tischka** (Riga, 1894) ; and
pop. songs.
Meyer-Lutz (ml' -fir-loots), Wm., b.
MOnnerstadt, near Kissingen, 1829;
pupil of Eisenhofer and Keller,
vVttrzburg ; 1848, in England, organ-
ist at Birmingjiam, then Leeds, later
St. George's R. C. Ch. , London ;
1869, cond. at Gaiety Th.; c. 8 op-
eras, masses, etc.
Meyer-Olbersleben (mT'-fir-6r-bfirs-
la-bfin). Max, b. Olbersleben, near
Weimar, April 5, 1850 ; pupil of his
father, of ^flUller-IIartung and Liszt,
on whose recommendation he was
given a stipend by the Duke, and
studied with Rheinberger and Wttll-
ner ; 1877, teacher of cpt., and comp.
R. Cons, of Mus., WUrzburg ; 1879,
cond. the '' Licdertafer ; 1885,
** Royal Prof." ; 1896. dir. ''Deutsche
er Sdngerbund** and co-dir. the Fifth
National Sdnger/est, Stuttgart ; c.
succ. romantic opera * * Cldre Detiin "
(WUrzburg, 1896), and a comic op-
era ''^ Der Ilauben JCrieg" (Munich
Opera); overtures, ''' Feierklange**
and ** Festouvertiire^* ; fine choruses ;
chamber-mus. , etc.
M^zeray (maz-rfi'), L. Chas. Lazare
Costard de, Brunswick, 18 10 — As-
ni^res, near Paris, April, 1887; bary-
tone and dram, composer.
Miceli (me-cha-le), Giorgio, Reg-
gio di Calabria, 1836 — Naples, 1895 ;
c. 6 operas, 2 biblical operas, etc.
Michaelis (me-kha'-a-les),(i) Chr. Fr.,
Leipzig, 1770 — 1834; writer. (2)
Gustav, Ballenstedt, 1828 — Berlin,
1887 ; cond. and composer. (3)
Theodor, Ballenstedt. 1831— Ham-
burg, 1887 ; bro. of above ; organist.
Micheli (me-ka'-le), Romano, Rome,
ca. 1575 — ca. 16O0 ; conductor, writer
and composer of notable canons, etc.
Mickwitz (mik'-vYts). Har&ld ▼on, b.
Helsingfors, May 22, 1859; pianist;
pupil of Brassin and Rimsky-Korsa-
kov, St. Petersburg Cons., and of
Leschetizky, Vienna ; 1886, pf..fm>f.
Carlsruhe Cons. ; 1893, Wiest^en
Cons. ; composer.
Mieriwinski (mirzh-vln'-shkl), La-
dislas, b. Warsaw, Oct. 21, 1850;
untrained tenor of short-lived fame.
Mihalovich (me-ha'-lo-vlch), Edmnxid
▼on, b. Fericsancze, Slavonia, Sept.
13, 1842 ; pupil of Hauptmann and
von Bulow ; dir. R. Acad, of Mns.,
Pesth ; c romantic opera ^'^ Hagharth
und 5/]^//^'^ (Dresden, 1882); succ.
opera " ToUr (Pesth, 1893); bal-
lads for full orch. {''Das Ceister-
schiff;* ''Hero und Uand^r^ "X*
ronde du sabbat;* "Die Nixe\ a
svmph., etc.
Miksch (meksh), Jn. Aloys, Georg-
enthal, Bohemia, 1765 — Dresden,
1845 ; barytone and celebrated
teacher.
Mikuli (me'-koo-le), Karl, Czemowiu.
Bukowina, 1 82 1 — Lemberg, 1 897 ;
pupil of Chopin and ed. of standard
edition of his works ; composer.
Milanollo (mMiin-6r-l6), (i) Teresa,
b. Savigliano. near Turin, Aug. 2S,
1827 ; at 4 hearing a vln. at church
she became so frantic for one that
she was given lessons ; studied with
Ferrero, Gebbaro, and Mora, at Tu-
rin, and played in public at 6 ; after-
wards touring with great succ. till in
1857 she m. military engineer. Par-
mentier ; lived in Toulouse. Her
DICTIONARY OF MUSICIANS 635
companion on her tours was her sis-
ter (2) Maria, 1832— (of consump-
tion) Paris, 184S. Also a violin-
ist.
Bftilchmeyer (mYlkh'-ml-^r), Ph. Ja-
kob, Frankfort - on - Main, 1750 —
Strassburig, 1813, pf.-teacher ; inv. a
3-manual pf.; composer.
MUde (mer-d£), (i) Hans Feodor
▼on, b. Petronek, near Vienna, April
13, 1821 ; pupil of Hauser and Man-
uel Garcia ; created ** Telramund " in
Loktngrin^ Weimar, 1850 ; life-mem-
ber of the Weimar cf. -opera. (2)
Rosa (n^ A^^he), b. Weimar,
June 25, 1827 ; wife of above ; cre-
ated ** Elsa," sang at Weimar till
1876. {3) Fx. von, b. Weimar,
March 4, 1855 ;' son and pupil of (i)
and (2) ; barytone, since 1878 at Han-
over ct.-th. (4) Rudolf von, b. Wei-
mar, Nov. 29, 1859 ; son and pupil
of (i) and (2) ; barytone ; debut 1883
at the ct.-th. and sang there till 1886,
then in the New York Opera till 1888 ;
teacher Stem Cons, till 1894, then
sang at Dessau ct.-opera ; 1897 sang
•• Gunther '* at Bayreuth.
Milder-Hauptmann (mel'-ddr-howpt'-
miUi), Pauline Anna, Constantino-
ple, 1785 — Berlin, 1838; soprano;
Beethoven wrote the role of ** Fide-
lio " for her.
Mildner (melt'-n^r). Moritz, Tumitz,
Bohemia, 1812 — Prague, 1865 ; vln.-
teacbcr.
MUilotU (me-le-lot'-te), (i) Leopoldo,
b. Ravenna, Aug. 6, 1835 ; studied
at Rome and lives there as singing-
teacher ; pub. songrs and writes. His
brother (2) Giuseppe, 1833 — 1883,
prod. 2 operettas.
Millard', Harrison, b. Boston, Mass.,
Nov. 27, 1830; studied in Italy;
«tenor concert-singer; toured Great
Britain ; lived in New York from 1856,
as singer and teacher ; c. an opera,
grand mass; and many pop. songs,
incl. *• WaiHngr
BAil'ler, Edw., Norwich, 1735 — Don-
caster, 1807 ; organist, composer, and
writer.
Milleville (mTl-l^-vTl'-l*), (i) Fran., b.
Ferrara, ca. 1565 ; conductor and
composer ; son and pupil of (2) Ales-
sandro M., organist, and composer
to the Ducal Court.
Mil'lico, Giuseppe, b. Modena, 1739;
male soprano, and dram, composer.
Milldcker (mYl'-l^k-dr), K., b. Vienna,
March 29, 1842; pupil of the Cons.;
1864, th.-cond. at Graz ; 1866, Har-
monie-Th., in Vienna ; from 1869,
Th. an der Wien ; c. many graceful
and succ. oi>erettas, and comic op-
eras, incl. 2 prod, at 23, ** Der
todte Gasr and ** DieMden Binder "
(Pesth, 1865); ** Das verwUnsehene
Schloss^' (1878), with songs in Upper
Austrian dialect; the widely pop.
''Der Bettelstudenr (Dec. 6, 1881 ;
in Italian as '* // Guitarrera** in
English " The Beggar Student ") ;
**/>/> sieben Schwaben'* (1887, in
Engl. "The 7 Swabians*'); ''Der
arme Jonathan" (1890, in Engl.
"Poor Jonathan**); "Das Sonn-
tagskind'' (1892) ; " NordUeht "
(1897) ; c. also pf.-pcs.
Mills, (i) Sebastian Bach, Cirences-
ter, England, March i, 1838 — Wies-
baden, Dec. 21, 1898 ; orjninist ; pf.-
teacher. New York. (2) watkin, b.
Painswich, Engl., ca. 1861 ; oratorio
and concert basso cantante, range
E&-/' (v. PITCH, D.D.) ; pupil of Ed-
win Holland at the R. A. M., and of
F. Blasco, Milan ; of Sir J. Bamby,
Randegger, and Blume ; debut, Crys-
tal Palace, 1884 ; in America, 1894-
95.
Milon (me-16n). Vide trial.
Milton, J., d. 1646(7 ?) ; father of the
English poet ; a scrivener in London,
and an excellent musician and com-
poser.
Mmg^otti (men-got'-tY), Reg^na (nee
Valentini) ; b. Naples, 1728 ; so-
prano.
Mmoja (me-n5'-ya), Ambrosio, Ospe-
daletto, 1752 — Milan, 1825 ; singing-
teacher and composer.
Miranda (me-rand), Hippolyte, b.
Lvons, May 4, 1862 ; pupil of Du-
636
THE MUSICAL GUIDE
bois and Guiraud, Paris Cons. ; 1886-
90, prof. Geneva Cons.; 1890, Sec-
Gen. Gr. Th., Lyons, and prof, of
mus. history, Lyons Cons.; critic ;
organist at the synagogue ; c. v. succ.
ballet, " Ufu FiU Directcire*' (Ly-
ons, 1895); overtures, ^^ Rodogune^^'
''Frithjofr '' MacbetK '' Promd^
thee;' and " Za mori de Roland,*' etc.
Minis (me'-roos), b. Kiagenfurt, 1856;
studied in Italy ; barytone and com-
poser ; since 1801, lives in Vienna.
M117 (mc'-re), Karel» Ghent, 1823 —
1889 ; professor and dram, composer.
Missa (mts' - s&), Edmond Jean
Louis, b. Kheims, June 12, 1861 ;
pupil of Massenet, Paris Cons. ; won
Prix Cressent ; lives in Paris, as
teacher ; c. an op. -com., *^/uge et
Par/j^*' (Op. -Com., 1886), followed
by others, also pantomimes, revieus,
Ninon deLenclos^ lyric episode (1895),
etc.
Mitterwurzer (mlt' - tfir - voor - ts^r),
Anton, Sterzing, Tyrol, 18 18 — Dob-
ling, near Vienna, 1872 ; barytone.
Mizler (mYts'-l£r), Lorenz Cnp. (en-
nobled as M. von Kolof), Heiden-
heim, WUrtemberg, 171 1 — Warsaw,
1778 ; writer, editor and composer.
Mlynarski (mMe-nar'-shkY), Emil, b.
Poland, 1850 ; violinist ; dir. opera,
Warsaw.
Modernus (m5-der'-noos). Jacobus
(rightly Jacqne Modeme ; called
Grand Jacques, or J. M. de Pin-
guento, because of his stoutness);
cond. at Notre Dame, Lyons; pub.
and composer, 1732-58.
Moffat,. Alfred E., b. Edinburgh,
Dec. 4, 1866 ; pupil of L. Bussler,
Berlin ; c. cantatas.
Mohr (mor), Hn., Nieustadt, 1830 —
Philadelphia, i8g6 ; composer.
Mdhring (ma -ring), Fd., Alt-Ruppin,
18 16 — Wiesbaden, 1887 ; organist,
teacher f and dram, composer.
Moir, Frank Lewis, b. Market Har-
borough. Engl., April 22, 1852 ;
studied painting at S. Kensington,
also mus.; won scholarship Nat.
Training Sch. (1876); c. a comic
opera, church - services, madrigal
*' When at Chloe's Eyes J Geu"
(Madr. Soc. prize, 188 1), many pop.
songs, etc.
Mol, de. Vide demol.
Molique (mdUk), Wm. Bd., Nfkn.
berg, Oct. 7, 1802 — Cannstadt, May
ID, 1869 ; eminent violinist ; son and
pupil of a town-musician ; studied
with Rovelli on royal stipend ; 1820,
successor of R. as leader of Munich
orch. ; studied with Spohr ; 1826,
*• Musik-direktor" at Stuttgart; 1849-
66, London ; also toured with great
succ; c. an oratorio, 6 famous vin.-
concertos, etc.
Mollenhaner (mdl'-l^n-how-^), tiiree
brothers, b. at Erfurt, (i) Fr., 1818—
1 901 ; violinist and tomposer. (2) H.,
1825 ; 'cellist. (3) Ed., A[mt1 12
1827; violinist; pupil of Ernst, and of
Spohr ; 1853, New York, founded a
vln.-sch.; one of the orig[inators ol
the ** Conservatory System** in
America ; c. 2 operas ; 3 symphonies,
incl. the ** Passion " string-quartets,
vin.-pcs., etc. (4) Emil, b. Brook-
lyn, U. S. A., 1855 ; son of (i) ; vio-
linist at 9, then with Boston Symph.
Orch., now cond. Boston Haodd
and Haydn Societies.
MoUer (or Mdller) (m61'.l^, or mfl-
ler), Joachim. Vide burgk.
M0II07', Jas. Lyman, b. Corookxe,
Ireland, 1837 ; c. operettas ; pub.
Irish melodies with new accompani-
ments and c. pop. songs.
Momieny (md-m^iK^.ye), Jerome Jos.
de, Pbilippeville, 1762 — ? ; organist.
theorist and dram, composer.
Momolet'to. Vide albbrtini, m.
Monasterio (mQ-nas-ta-ry-5), Gesft,
b. Potes, Spain, March 21, 1836;
violinist ; d^but at 9, then pupil of
De B^riot, Brussels Cons.; made y.
succ. tours; 1861 founded Quartet
Soc., Madrid; ct. -violinist, pro!., and
(1894) dir. Madrid Cons.; c pop.
vln.-pcs.
Monbelli (mon-b^l'-Ie), Marie, b.
Cadiz, Feb. 13, 1843 ; soprano ; po-
pil of Mme. Garcia, Paris.
DICTIONARY OF MUSICIANS 637
lioodooiriUe (mdft-ddo-ve'-yfl), J.
Jos. Cassanea de (de IL being his
wife's maideii nameX Narfooone,
1711 — BeUerille, near Paris, 1772 ;
violinist, conductor and dram, com-
poser.
Moninszko (mo-nl-oosfa'-ko), Stani*-
law, Ubiel, Lithuania, Maj 5, 1813
— Warsaw, June 4, 1872; pupil of
Freyer and^ungenhagen ; L Berlin,
then at Wima ; c 15 notable Polish
operas, also masses, songs, etc.; or-
ganist, director, professor. Biogr. by
A. Walicld (Warsaw, 1873).
Monk, (i) Edwin G., b. Frome,
Engl., December 13, 18 19; pupil of
G. A. Macfarren ; Mus. Doc Oxon,
1856; 1859-83, organist York Minster;
ed. chond books, etc.; c. 2 odes,
unison service, etc. (2) Wm. H.,
London, 1823 — Stoke Newington,
London, 1889 ; organist, professor of
vocal mus. ;* eiditor.
Monpon (m6n-poo) (Fran. L.) Hip.,
Paris, 1804 — Orleans, 184 1 ; c. of
light operas and songs.
Monro', H., b. Lincoln, 1774; Engl,
organist and composer.
Monsig^nj (mdn-sen-ye), P. Alex.,
Fauqaembergue, near St-Omer, Oct.
I7» 1729 — Paris, Jan. 14, 1817 ; ill-
trained but melodious French comic
opera writer of noble birth but left
poor on his father's death ; became a
derk, later steward to the Duke of
Orleans ; he had studied the vln. as
a child and now studied harm, for 5
months with Gianotti ; at 30 prod,
a succ. i-act op., followed by 12
others, the last, ** F^lix, oh T enfant
trouv/** (1777), the greatest succ. of
all ; immediately m., ceased to write;
his stewardship and his royalties had
brought him riches, which the Revo-
lution swept away; he was given a
pension of 2,400 francs (9480) a
year by the Op. Com.; 1800-02, in-
spector at the Cons. ; 18 13, member
of the Acad.; 18 16, L^on of Hon-
our. Biogr. by Alexandre (1819),
and Hedouin, 1820.
Montmnbry (mdA-to-bre), Achilte F^
Niorte, Nov. 12, 1816— Angers, 1898;
tenor.
Monte (mon'-td), Filippo (or Philip*
pns de) (Philippe de Mons) (dO*
mons), probablv at Mons (ot Ma-
lines), 1521 — ^\'ienna, July 4, 1603 ;
conductor and celebnited 00tmM»$er.
Mont6cUir (m6n-ta.kttr), Blichel
Pignolet de, Chaumont, 1666 —
Saint - Denis, n. Paris, Sept., 1737 ;
double-bass player; dram, composer
and writer of methods.
Montererde (m6n-ta-v^r'.dd) (he
sipped his name, MonteTerdi),CliLii-
dio (Giov. AI), Cremona (bapt..
May 15), 1567 — Venice, Nov. 29,
1643 ; eminent composer ; when
young, via. -player in the orch . of Duke
Gonzaga, Mantua, and studied cpt.
with Ingeg^eri. At 17 and at 20
pub. Canzonette k 3, and madrigals,
m which appeared (among many un-
intentional or unbeautiful effects) the
harmonic innovations for which he is
famous and which led Rockstro to
call him '' not only the greatest mu-
sician of his own age, but* the in-
ventor of a system of harmony which
has remained in uninterrupted use to
the present day.** His progressions
include the unprepared entrance of
dissonances, the dominant seventh
and the ninth (v. D. D., chord, pro-
gression, SUSPENSION, PREPARA-
TION, etc.). He was bitterly assailed
in pamphlets, (Mirticularly by Artuso,
and he replied in kind. The outcome
was his complete triumph and the es-
tablishment of the new school of
song and accomp^animent. His vic-
tory, while salutary for art in general
and dramatic song in particular, was
too complete ; for the bigoted defend-
ers of polyphonic music dragged
down with them in their ruin the
splendid edifice of church-mus. built
to periection by Palestrina and
others. 1603, M. became his teach-
er's successor as Maestro to the
Duke and c. for the wedding of the
Duke's son to Margherita of Savcj
m
638
THE MUSICAL GUIDE
the opera **i4rfVi«»^," in which Ari-
adne's grrief moved the audience to
tears. In 160S he prod, his opera
*' Or/eo " with the unheard-of orches-
tra of 36 pieces (Riemann states that
*' Arianne^^ was the 2d work and
Orfeo the first). Or/to was published
in 1609 and in 161 5, and the score
shows great modernity, Rockstro
comparing its preludes with one bass-
note sustained throughout to the In-
troduction to '* Das Rheingold^'^ and
its continual recitative also to that of
Wagner.
In 1 60S appeared his mythological
spectacle ** Ballo ddlU Ingrate."
Vespers and motets (pub. 1610) gave
him such fame that he was in 161 3
made Maestro di Cappella at San
Marco, Venice, at the unprecedented
salary of 300 ducats (the usual salary
had been 200), but it was raised to
500 in 1616, and a house and travel-
ling expenses given him. 1621, his
very romantic Requiem was given with
effect. In 1624, he introduced the
theii startling novelty of an instru-
mental'tremolo (which the musicians
at first refused to play) into his
Dramatic Interlude; **// Combat-
timento di Tancredi e Clorinda*\'
1627 he c. 5 dramatic episodes incl.
** Bradamante " and " Dido^ forthe
court at Parma ; 1630, opera ** Pro-
serpine Rapita "/ in 1637 in the first
opera-house opened at Venice, the
Teatro di S. Cassia no, operas having
hitherto been performed at the pal-
aces of the nobility (v. peri), M.
prod, the operas *"* Adorn'* (Venice,
1639) ; *' Z/ Nozze di Eneta con La-
vinia " (1641). " // Ritorno di UUsse
in Patria " (1641), and *' V Incorona-
zione di Poppea " (1642). He earned
the title of *' the father of the art of
instrumentation " ; was the most pop-
ular and influential composer of his
time.
In 1663 he joined the priesthood
and is heard of no more. C. masses,
psalms, hymns, magpdificats, motets,
madrigals, etc*
Monticelli (mdn-tl-ch^r-le), Angelo
Maria, Milan, 1710— Drnden, 1764.
soprano musico.
Montig^y-R^mauiy (mon-ten-ye-ri-
mo-re), Caroline, b. Pamiers, Jan.2T,
1843 ; sister and pupil of Mme. Am-
broise Thomas ; studied at the Coos,
and took 3 prizes : one of the best
French pianists of her time ; 1866, m.
Leon M., a journalist.
Moore, (i) Thos., Dublii, i779---near
Devizes, 1852 ; famous poet ; pianist
and singer. (2) Homer, b. America ;
teacher at St. Louis, Mo.; prod,
there 1902, opera ** The Puritans y
Moorehead, J., b. Ireland— d. 1S04.
composer.
Mooser (md'-z£r), Aloys, Fribourg,
1770 — 1829; Swiss org.-buildcr.
Morales (mo-r&l'-as) (Cnstofero),
Cristofano, b. Sevilla ; entered the
Papal chapel ca. 1540; eminent
Spanish contrapuntist and composer.
Moralt (mo'-ralt), the name of four
brothers famous at Munich as a quar-
tet, (i) Jos., Schwetzing^n, neai
Mannheim, 1775 — Munich, 1828;
ist violinist. (2) Jn. Bpt., Mann-
heim, 1777 — Munich, 1825 ; 2d vio-
linist ; composer. (3) Philipp, Mu-
nich, 1780---1829; 'cellist. (4) G.,
Munich, 1781 — 18 18 ; via. -player.
Moran-Olden (rightly F. Tappen-
hom) (mo'-ran-dl'-d^n), Fannj, b.
Oldenburg, Sept. 28. 1855 ; pupil of
Haas and G6tze ; debut as " Famiy
Olden" at the Gewandhaus, 1877;
1878, leading sopr., Frankfort ; 1888-
89, New York ; m. in 1879 the tenor
IC. Moran ; 1897, m. Bertram, ct-
singer at Munich.
Morel (mo-r£l), Aug^ste Fran., Mar-
seilles, i8oq-— Paris, 1881; dir. of the
Marseilles Cons, and dram, compos-
er.
Morelli (mo-r^I'-le), (i) Giacomo,
Venice, 1745 — 1819; librarian, San
Marco. (2) Giov., Italian bass, in
London, 1787.
Morelot (m6r-15), Stephen, b. Dijon,
Jan. 12, 1820 ; from 1845. co-ed.
** Revtu de la Musique*'; 1^47, seoi
DICTIONARY OF MUSICIANS 639
by the Ministry of Pub. Instruction
to study church-mus. in Italy ; wrote
a work on plain-chaut, an attempt to
revive ancient harmonisation, etc.
BAorret'ti, Giov., Naples, 1807 — Ceg-
lie, near Naples, 1884 ; cond. and
dram, composer.
BAor'gJUi, (i) G. Washboume, Glou-
cester, Engl. , 1822 — Tacoma, U. S.
A., 1892; organist and conductor.
(2) J. Paul, Oberlin. Ohio, 1841—
Oakland, Cal., 1879; organist and
composer.
Bdori (mo -re), (i) Nicolas, London,
1793 — 1839; violinist. (2) Frank,
d. Aug., 1873 ; son of above; com-
poser.
Moriaoi (mo-rl-a-ne). Napoleon,
Florence, 1806— 1878 ; tenor.
Morichelli (mo-il-k^r-le), Anna Bo-
sello, Reggio, 1760 ; violinist ; after
1704, opera-singer.
Morja, pen-name of Moriz Jaffe
(q. v.).
Morlacchi (mor-lak'-ke), Fran., Peru-
gia, June 14, 1784 — InnsbrUck. Oct.
28, 1841; pupil of ZingarelU, Padre
Martini, etc., from 18 10 coud. of Ital-
ian opera, Dresden ; c. many succ.
operas, also church-music, incl. Tuba
Minim, inspired by Michelangelo's
*^ Last Judgment *\' biog. by Count
Rossi-Scotti (1870).
Mor'ley, (i) Thos., 1557 — 1604; pu-
pil of Byrd ; 1588, Mus. Bac, Ox-
ford ; 1592, Gentleman of the Chapel
Royal ; also Epistler and Gospeller ;
c. the only contemporary Shakespear-
ean song extant, *' // IVas a Lover
and His Lass" from **^j You Like
It" pub. 1600 in one of his very
numerous colls.; he wrote the first
English treatise on mus. (1597) still
valuable, and ed. (1599) a curious
treatise on ensemble playing ; some of
his madrigals and melodious ballets
are still heard. (2) Wm., d. 1731 ;
Mus. Bac. Oxford, 1713 ; 1715, Gent,
of the Chapel Royal ; c. one of the ear-
liest known double-chants, songs, etc.
Mom'ing^on, Garret Colley Welles-
ley, Earl of ; Dangan, Ireland, 1735
— 1 781; father of the Duke of Wel-
lington ; prof, of music at Dublin U.
and composer.
Morse, Cnas. H., b. Bradford, Mass.,
Jan. 5, 1853 ; 1873, graduate New
Engl. Cons.; studied with Perabo,
and Baermann, 1879; 1873, teacher N.
E. Cons.; 1875-84, Mus. Dir. Wel-
lesley Coll.; from 1891, organist
Plymouth Church, Brooklyn ; pub.
collections of organ-pieces and com-
posed.
Mortier de Fontaine (m6rt-ya dii
fdh-tdn), H. Louis Stanislas, Wis-
niewiec, Russia, 18 16 — London,
1883 ; pianist.
Mortimer, Peter, Putenham, Surrey,
1750 — Dresden, 1828 ; a Moravian
brother ; writer.
Mosca (mos'-ka), (1) Giuseppe, Na-
ples, 1772 — Messina, 1839 ; conduc-
tor and dram, composer. (2) Luig^,
Naples, 1775 — 1824 ; bro. of above ;
prof, of singing.
Moscheles (m6'-sh£-l£s), Ignaz,
Prague, May 30, 1794 — Leipzig,
March 10, 1870; son of a Jewish mer-
chant ; at 10 pupil of Dionys Weber,
Prague Cons.; at 14 played publicly
a concerto of his own ; studied with
Albrechtsberger and Salieri while
earning his living as a pianist and
teacher ; at 20 was chosen to prepare
the pf. -score of ""* Fideiio" under
Beethoven's supervision ; as a pianist
a succ. rival of Hummel and Meyer-
beer ; he could not comprehend or
play Chopin or Liszt, but had large
influence on subsequent technic ;
after tours, he lived in London 1821-
46, when Mendelssohn, who had
been his pupil, persuaded him to join
the newly founded Leipzig Cons., of
which he became one of the pillars ;
c. 8 pf. -concertos, incl. ^ fantas-
tique" ^^ path^tique" and *' pastor^
ar; ''Sonata" and '' Sonate sym-
phonique" for pf. 4 hands, and
'* Sonate caracteristique" ** Sonate
m/lancolique" and many standard
studies ; biog. (1872) by his wife
Charlotte (nee Embden).
640
THE MUSICAL GUIDE
Mosel (m5'.z«l), Ignas Fs., Edler
Ton, Vienna, 1772— 1844; conduc-
tor, writer and dram, composer.
Mosenthal (md'-zdn-ttil), Jos., Cassel,
Nov. 30, 1834 — New York, Jan. 6,
1896; from 1867, cond. Mendelssohn
Glee Club, New York, also violinist,
organist and composer.
Moser (mo'-z^r), (i) K., Berlin, 1774 —
185 1 ; violinist and conductor. (2)
Au^., Berlin, 1825 — (while touring
America) 1859 ; son of above ; com-
poser and violinist.
Mosewius (mo-za'-vl-oos), Jn. Tlu,
KOnigsbcrg, 1788 — Schaffhausen,
1858 ; opera-singer and writer.
Moson'yi (rightly Michael Brandt),
Boldog-Aszony, Hungary, 18 14 —
Pesth, 1870 ; pf.-teacher and com-
poser.
Mos'sel, Jan., b. Rotterdam, April 22,
1870 ; 'cellist ; pupil of KOhler and
Eberle ; 1886 toured ; since 1888 lives
in Amsterdam as soloist and teacher
in the Cons.
Moszkwa (m6shk'-v£). Prince de la
(Jos. NapoUon Ney), Paris, 1803
— St. Germain-en- Laye, 1857 ; eldest
son of Marshal Ney ; a senator. Brig-
adier Gen. under Napoleon III., also
a finished musician ; cond. and dram,
composer.
Moszkowtki (m6sh.k6r-shkY), (i)
Moritz, b. Breslau, Aug. 23, 1854;
son of a wealthy Polish gentleman;
pupil of Dresden Cons., Stem and
Kullak Cons. ; teacher Stern Cons, for
years ; later debut with succ. as pi-
anist, Berlin, 1873 ; until 1897 Ber-
lin then Paris, as a composer, prod,
succ. opera, ** Boabdil der Mauren-
konig^'* (Berlin, 1882); symph. poem
*' Jeanne tTArc " y *• Phantastischer
Zug " for orch. ; 2 orchestral suites and
a vln. -concerto ; c. many pop. pf.-
pcs., incl. '* Aus. alUn Herren L&n-
der,"' and '' Spanische Tdnzey (2)
Alex., b. Pilica, Poland, Jan. 15,
185 1 ; bro. of above; critic, editor
and writer at Berlin.
Mottl (mot'-'l), (I) Felix, b. Unter-St.
Veit, near Vienna, Aug. 24, 1856 ;
prominent conductor ; as a boy-so-
prano, entered LOwenberg^ ** Kon-
vikt.*' then studied at the Viemu
Cons., graduating with high honours ;
cond. ue Academical Wagnervereiii
for some time ; t88o, ct.-cond. at
Carlsruhe, also, until 1892, cond.
Philh. Concerts; 1893 the Grand
Duke app. him Gen. Mus. Dir.; i8d6,
cond. -in-chief, Bayreuth ; invited to
be ct.-cond. but he declined ; 1898
declined a similar call to Munich;
?'ives succ. concerts London and
aris; 1892, he m. (2) Henriette
Standhartner (b. Vienna, Dec. 6,
1866, now ct. opera singer at Weimar
and Carlsruhe). He c. succ. operas,
** Agnes Bernauer " (Weimar, 1880);
and the i-act '' FUrst und SSnger'*
(Carlsruhe, 1893), prod, also a ** Fest-
spicl," ^^ Eberstein" songs, etc.
Moun'sey, (i) Ann Shephard, b.
London, 181 1 ; composer, teacher,
and oiiganist. (2) Elizabeth, b. Lon-
don, 1819 ; organist, pianist, guitar-
player and composer.
Mount-Edg^'cumbe, Richard, Earl
of, 1764 — Richmond, Surrey, 1839;
wrote ** Reminisf/bnces of an Am-
ateur** ; c. opera ** Zenobta**
Monret (moo-ri), J. Jos., Avignon,
1682 — insane asylum, Charenton,
1738 ; conductor and composer.
Moussorg^ky. Vide mussorgski.
Mouton (moo-ton) (Jean de HoUin*
l^ue (6r-iang) (called " Mouton 1).
Holling(?), near Metz—St. Wuentin,
Oct. 30, 1522 ; important contrapun-
tist.
Moozin (moo-zilft), P. Nicolas (called
Edonard), b. Metz, July 13, 1822 ;
studied at Metz branch of the Paris
Cons. ; 1842, teacher there, 1854,
dir. ; 187 1 , teacher at the Paris Cons.;
writer; c. 2 operas, symphs., etc.
Mozart (m5'-tsirt) (originally Mot-
zert), (i) (Jn. G.) Ld., Augsbuig,
1719 — Salzburg, 1787; father of W.
A. M.; dram composer. (2) (Maria)
Anna (called «< Nannerl'Of Salz-
burg, 175 1 — 1829; daughter and pu-
pil of above ; pianist ; c. oig. pes.
DICTIONARY OF MUSICIANS 641
(3) Wol^ang Amadens (bap-
tiaed Jns. Chrysostomas Wou-
nngns Theophilus), Salzbarg,
Jan. 27, 175^ Vienna, Dec. 5, 1791 ;
son of (rfPSnid bro. of (2) ; one of
the major divinities of music. Of un-
rivalled precocity in performance,
composition, and acoustic sensitive-
ness ; at 3 his talent and his discov-
ery of thirds (v. d.d.). led his father
to teach him. He bqg^n at once to
compose little minuets which his fath-
er and later he himself noted down.
He and his sister made a joint d^but
at Munich, when he was barely 6,
though he had appeared as a per-
former 4 months before in a comedy
at the Univ. at Salzburg. He ap-
peared the same year in Vienna, fas-
cinating the court. He now learned
the vln. and org. without instruction.
At 7 he was in Paris, where his first
works were pub.. *' // SonaUs pour U
€laveciny The next year he was in
London, delighting royalty, winning
the honest praise of musicians and
coming victoriously out of remark-
able tests of his ability as sight-read-
er and improviser. During his fath-
er's illness, while silence was required,
he c. his first symph. Here his 6
sonatas for vln. and harps, were
pub. and his first symph. performed
frequently. He won the friendship
of J. Chr. Bach, and was given sing-
ing lessons by Manzuoli. Before
leaving England he wrote a motet to
English words in commemoration of
a visit to the British Museum. The
family stopped at various cities on
the way home, the children playing
at courts with constant succ. , a con-
cert being given at Amsterdam in
1766, at which all the instrumental
music was M.'s. At Biberuch he
competed as organist without result
against a boy 2 years older, Sixtus
Bachmann. Ketuming to Salzburg,
in 1766, M. was set to studying Fux,
etc. 1767 he c. an oratorio, 1768, an
opera, ** La Finta Semplice^** at the
Emperor's request. Its production
41
was postponed by the now jealous
musicians till 1769. Meanwhile a
German opera '* BasHen und BasH-
enne " had been performed, and M.
made his d^but as cond. in 1768 ^ged
12), with his solemn mass. The Arch-
bishop made him Konzertmeister,
with salary, but his father wished him
to enjoy study in Italy. His concerts
were sensations, the Pope gave him
the order of the Golden Spur (also
given to Gluck), and at his father's
behest he signed a few compositions
by his new title Signor Cavaliere
Amadeo, but soon dropped this.
After tests he was elected a member
of the Accademia Filarmonica of Bo-
logna. At 14 he gave a concert at
Mantua in which according to the
programme he promises to play *'a
Symphony of his own composition ;
a Clavichordrconcerto, which will be
handed to him, and which he will im-
mediately play at sight ; a Sonata
handed him in like manner, which he
will provide with variations, and after-
wards repeat in another key ; an
Aria, the words for which will be
handed to him, and which he will im-
mediately set to music and sing him-
self, accompanying himself on the
clavichord ; a Sonata for clavi-
chord on a subject given him by the
leader of the violins ; a Strict Fugue
on a theme to be selected, which he
will improvise on the clavichord ; a
trio, in which he will execute a violin-
part alV improvviso ; and finally, the
latest Symphony composed by him-
self." In Rome, after twice hearing
AUegfri's famous ^' Afistrere,*' long
kept secret, he correctly wrote out the
entire score from memory. At Milan
he prod. 3-act opera seria *' Miiridate^
re di Ponto " (1770), which had 20 con-
secutive performances under his di-
rection. 1 77 1, he brought out a
dramatic serenade, '' Ascanio in
Alba,'* for the wedding of Archduke
Ferdinand. 1772 his friendly protec-
tor, the Archbishop of Salzburg, died ;
bis successor, Hieronymous, Count oC
642
THE MUSICAL GUIDE
Colloredo, treated M. with the great-
est inappreciation, compelling him to
sit with the servants (though M. was
frequently entertained at the houses
of the nobility with great distinction);
and when M. demanded his discharge
in 1 78 1, he had him kicked out by a
servant. It was for his installation
that M. had c. the dramatic 'V/
So^no di Scipione'* (1775), "" Lucio
Silla " (1772). and " U Finta Giar-
dinieray prod, at Milan, under his
own direction. 1775 » ^^t,tr '* // Re
Pastore''* at Salzburg during Arch-
duke Maximilian's visit. 1778 he went
with his mother to Paris, where he
won little attention in the struggle
between Gluck and Piccini. At length
after his mother's death he returned
to Salzburg as Konzertmeister, and
ct. -organist ; but settled in Vienna,
after prod, the opera ' ' Idomeneo "
(Munich, Jan., 1781). On commis-
sion for the Emperor he wrote {^^Bei-
monte und Constance, oder) Die Ent-
fUhrung aus dent Serat/" prod, with
great succ, despite the machinations
of the theatrical clique, 1782 ; a
month later he m. Constance Weber
(the sister of Aloysia, whom he had
loved in Mannheim). She bore him
six children, four sons and two daugh-
ters The small receipts for compo-
sitions and concerts were quickly
spent 0:1 luxuries beyond their means,
and as neither was a good manager
of resources, many hardships fol-
lowed. After two unfinished operas
he prod, a mus. comedy, *' Der
Schauspieldirector ** (Schftnbrunn,
1786). May I, in Vienna, his opera
buffa *• Le Nozze di Figaro " (" Mar-
riage of Figaro ") was rescued from
intrigues into a very great succ. The
then famous librettist Da Ponte next
wrote the book for *' Don Giovanni''^
(Don Juan), which made a very great
succ. at Prague (1787), and led the
Emp>eror to appoint M. "chamber
composer," at 3oo gulden ($400) a year
(Gluck, just deceased, had 2,000 guld-
en). 1 789 he accompanied Prince Karl
Lichnowski to Berlin, playing for the
Dresden court, and at the Thonuas-
kirche, Leipzig. King Fr. Wm. II,,
hearing him at Potsdam, offered him
the post of ist Royal cond. with
3,000 thaler ($2,250) a year, bat
M. would not abandon his ** good
Kaiser;" still Fr. Wm. II. ordered
three quartets, for which he paid well.
Hearing this, the Emperor ordered
the opera buffa ** Cos) fan Tutte""
(Vienna, 1790). Soon after its produc-
tion the Emperor died ; his successor
Ld. II. cared little for M., leaving
him in greatest hardship. His de-
voted friend Jos. Haydn now went to
London. M. made a tour, pawning
his plate to pay the expenses. For
the coronation of Leopold IT., as
King of Bohemia, at Prague, he was
invited to write the festival opera
*' La CUmenza di Tiio,"" perfonncd
1791. He returned to Vienna and c.
'' Die Zauberjlote*' ('* Magic Flute,"
Vienna, Sept. 30, 1791). a work in
which are exploited the allegories of
the Masonry of which M. was a mem-
ber. It made a decided succ. He
was, however, growing weaker and
suffering from fainting fits, claiming
that he had been p>oisoned. A mys-
terious stranger had commissioned
him to write a requiem, and M. be-
gan it with a superstitious dread that
the messenger had come from the
other world to announce his death.
It has since been learned that he was
Leutgeb, the steward of Count von
Walsegg, who gave the work out as
his own, not, however, destroying the
MS. The work was not quite com-
pleted by Mozart, who had his pupil
SQssmaycr fill out the incomplete
portions. Mozart died of malignant
typhus. A violent rain-storm coming
up in the midst of the funeral, the party
turned back leaving the bodv to be
interred in some spot, never after dis*
covered, in the ground allotted to
paupers in the St. Mary cemetery.
The profits of a Mus, Festival given
by the Frankfort ** LiederkiLtt,-
DICTIONARY OF MUSICIANS 643
June 25. 1838, were devoted to found-
ing a Mozart Scholarship, the interest
amounting in 1896 to 1500 marks,
applied quadrennially to the aid of
talented young composers of limited
means. At Salzburg the Mozarteum^
a municipal musical institute founded
in his memory, consists of an orch. soc.
pledged to perform his church-music
in the 14 churches of the town, to
g^ve 12 concerts yearly, and to sus-
tain a mus.-sch. in which the musicians
of the orch. give instruction.
A complete ed. of M/s works pub.
by Breitkopf & Hartel (1876-86), con-
tains muchchurch-mus. inc. 15 masses,
cantatas '''^ Davidde penitente** (ma-
sonic), *'^ Afaurerfreudg'* s^nd ^*^KUin€
Freimaurrercantaley'' etc. ; stage-
works, besides those mentioned, ** Die
Schuldigkeit des ersten Gebots " (only
partially his own), ** Apollo et Hyacin-
thus " (Latin comedy with mus.) ;
•* Zaidi " (unfinished) ; *' Thames,
Konig in AegypUn" (choruses and
entr'actes ; Berlin, 1786) ; ** Ido^
meneo, re di Creta, ossia Ilia ed Ida-
fnanie.'* Orch. Works: 4isymph.;
2 symph. movements ; 31 divcrti-
menti, serenades, and cassations ; 9
marches ; 25 dances, ** Masonic Fu-
neral- Music'' ;''A Musical Jest " for
string-orch. and 2 horns; a sonata
for bassoon and 'cello ; phantasie for
Glockenspiel ; andante for barrel-or-
gan, etc.; 6 vln. -concertos, bassoon-
concerto, a concerto for flute and
harp, 2 flute-concertos, horn-concer-
tos, a clarinet-concerto, 25 pf.-con-
certos, a double concerto for 2 pfs., a
triple concert for 3 pfs. Chambkr-
M usic : 7 string-quintets ; 26 string-
quartets ; '* Nachtmusik " for string-
quintet ; 42 vln. -sonatas, etc. Pf.-
Music : for 4 hands ; 5 sonatas, and
an andante with variations ; for 2
pfs., a fugue, and a sonata ; 17 solo
sonatas ; a fantasie and fugue ; 3
fantasias ; 36 cadenzas to pf. -con-
certos ; rondos, etc.; 17 organ sona-
tas, etc. Vocal Music : 27 arias, and
I rondo for sopr. with orch. ; German
war-song ; a comic duet ; 34 songs ;
a song with chorus and org. ; a 3-part
chorus with org. ; a comic terzet with
pf . ; 20 canons.
The best of many biographies
is by Otto Jahn (1856-59, 4 vol-
umes in English, London, 1882),
etc.
His letters have aJso been published
and translated in two voliunes. One
of his two overtures was found at the
Paris Cons. looi. Six unpublished
sonatas were found in Buckingham
Palace, 1902.
Mozart.
By Vernon Blackburn.
JOHN CHRYSOSTOM WOLFGANG AMADEUS MOZART,
the son of a tolerably good musician, by name Leopold, from his ear-
liest years displayed the most extraordinary sense of musical precocity.
At the age of three years he was able to pick out harmonies on the
harpsichord ; by the time he was seven, he had already burdened his young
soul with the responsibility of various compositions which are more interesting
than such compositions might be expected to be. The darling of courts in his
childhood (for his father took him early on his travels for purposes of exhibi-
tion as a musical prodigy), the intensely industrious youth, the creator of a
dramatic art in music, separate and by itself in the world, the greatest master
644 THE MUSICAL GUIDE
of melody that this earth has ever seen, the writer of inimmeraUe symplianieiy
innumerable songs, innumerable sonatas, the possessor of a mancal mcmorj
luch as had never been conferred on the son of man be^ire, he vras the biill-
iant artist of high spirits, the man who lived life to the very last drop of the
glass. ^In a word, a genius, m art and in living, of the h^hest flower. He
went down to hb grave before hejuos-j^^^mg^^^^gB, buried no man
knows where, deserted of fiiends, deserted even in his last journey to iIk
Vienna cemetery by his wife ; abjectly poor, yntk not a soul to weep for
him, not a soul to care what became of these sacred relics. Here wst, in-
deed, a combination of glory and the darkest tragedy which can scarcely be
feund outnde the Attic drama. ^ Vet, from the critical point of view, it can
scarcely be said that Mozart was in any sense a revolutionary ; he w«s the
f^lorious link which combincd^the "^"^^^ of the last century with the muac of
this. The strictest formalist, the impeccable master of counterp<nnt, die
respecter in every way of traditions, you can see him, as it were, on the
tiptoe of the future, bearing on his brilliant soul, and bearing it lightly, all the
burdens of the past. ^But it is as a "^'^n* ftf ftpc" ^^'^^ ^** ^"^^ '* ^^^^ ^ ^*^
longest, for it is here that he brought the brilliant qualities of the consummate
musician to combine with the scarcely less brilliant qualities of the dramatist.
Many men who might have written music equaUy noteworthy could not have
touched the dramatic significance of it. "Dca Giovanni,^* that glory of our
blood and state, \*Le Nozze di Figaro*^ ** Cost Fan Tutte** **DUZduher-
ftdte* ' these remain as noble a testimony of hb great genius in the musico-
dramatic world as the centuries are likely to bring forth. Then consider the
G minor symphony — so different in quality from the quality of Beethoven at
his best, and therefore not comparable to the great nine, but in its way the
very flower of musical genius. Then again, such work as he brought into
the .^^[^^^i^zELdeclares him to be, as a master of the emotions, of supernatural
terror, unsurpassed ; I wou d almost say unsurpassable. In a word, here
was the golden child of music, adding to the simplicity of his childishness the
complex wisdom of the serpent. ^[^^^^ Mozart ! Yet, wha is ordinaiy man
that he should say <<poor" of such an immortal creature? Poor au it seems
to us, yet it is not likely that he would have given up one golden moment of
his glorious inspiration in exchange for the comforts of a Sultan. He was an
artist, every inch of him.
(4) Wolfeang Amadeus, Vien- Muck (mook), K., b. Darmstadt, Oct,
na, July 26, 1791 — Carlsbad, July 23, 1859; Dr. Philh., Leipzig; pupQ of
30, 1844; son of above; pianist, Leipzig Cons., cond. at various cities;
teacher and composer of pf.-concer- since 1892, ct.-cond. Royal Op., Ber*
tos, sonatas, etc. lin.
DICTIONARY OF MUSICIANS 645
Mn'die, Thos. Molleaon, Chelsea,
1809— London, 1876; teacher, or-
ganist and composer.
Mnffat (moof.f&t), (i) G.» b. Passau,
1704 ; organist, conductor and com-
poser. (2) Aug. GL, 1683 — ^Vienna,
1770 ; son of above ; organist and
composer.
Mfihlddrfer (mQl'-dM-^r), (i) Wm.,
1803 — Mannheim, 1897 ; ct. -inspector
of theatres, Mannheim. (2) Wm. K. ,
b. Graz, Stjnria, March 6, 1837 ; son
of above ; studied at Linz-on- Dan-
ube and Mannheim; actor; 1855, th.-
cond., Ulm; 1867-81, 2d cond. at
Cologne ; c. 4 operas, incl. success-
ful ^Wolanthe" (Cologne, 1890), over-
tures, etc.
liflhlleld (mQl .f«It), Richard, b.
Salzangen, Feb. 28, 1856; clarinet-
tist for whom Brahms c. a trio and
' sonata; studied with BOchner at
Meintng^n, where he lived since 1873,
also 1875-96, 1st clarinet at Bay-
renth.
MfilUiiig (mQ'-Ung), Aug.» Raguhne,
1786 — Magdeburg, 1847; organist
and composer.
Mahlberger-Leisinger (Il'zYng.«r),
Elizabeth, b. Stuttgart, May 17,
1863 ; colorature-soprano ; studied
with Viardot-Garcia : debut, R. op-
era, Berlin ; sang in Paris, 1887.
MttUer (mQl'-l^r), (I) Chr., org.-buUder
at Amsterdam, ca. 1720-70. (2)
Wm. Chr., Wassungen, Meiningen,
1752 — Bremen, 1831; mus. director
and writer. (3) Aug. Eberhard,
Nordheim, Hanover, 1767 — Weimar,
1817; son and pupil of an organist ;
organist, ct. -conductor and dram,
composer. (4) Wenzel, Tyrnau,
Moravia, 1767 — Baden, near Vienna,
1835 ; conductor and composer of
200 operas. (5) Fr., Orlamunde,
1786— Rudolstadt, 1871; clarinettist,
conductor and composer. (6) Ivan
(Iwan), Reval, i786^Backeburg,
1854; inv. of the clarinet with 13
keys, and altclarinet ; finally ct.-mus.
{7) Peter, Kesselstadt ; Hanau, 1791
— Langen, 1877; c. operas, and fa-
mous '* JugendlUder'^ etc. (8) Two
famous German ouartet parties, (a)
The bros. K. Fr. (1797 — 1873),
Th. H. Gu«. (1799— 185O, Aug.
Th. (1802 — 1875), and Fz. Fd.
G. (1808— 1855), sons of (9) Aegi-
dius Chp. M. (d. 184 1, Hofmus.
to Duke of Brunswick), all b. Bruns-
wick, and in the orch. there — K.
as Konzertmeister, Th. ist 'cello,
Gv. symph.-director, and G. con-
ductor, (b) The four sons of the
Karl Fr. above, who organised 1855
a ct.-quartet. Hugo, 2d vln. (1832
—1886); Bd., b. Feb. 24, 1825,
viola ;• Wm., b. June i, 1834, 'cello;
Karl, jr., b. April 14, 1829, ist vln.
Since 1823 this last lives in Stutt-
gart and Hamburg ; m. Elvina Bei^-
haus and took name MttUer-Berg^
bans, under which he has c. a symph.,
etc. (10) (Rightly Schmidt) Ad.
Sr., Tolna, Hungary, i8oi — Vienna,
1886 ; singer, conductor and dram,
composer. (11) Ad., Jr., Vienna
1839 — 1901, son of above ; 1875,
cond, German opera at Rotterdam ;-
prod. 4 operas and 5 operettas, inel.
the succ. " Der Blondin von Namur"
(Vienna, 1898). (12) Jns., Coblenz,
1 801 — Berlin, 1858 ; writer. (13)
Fz. K. Fr., Weimar, 1806— 1876;
one of the first to recognise Wagner ;
pub. treatises on his work. (14)
Aug., 1 8 10 — 1867; eminent double-
bass. (15) K., Weissensee, near
Erfurt, 1818 — Frankfort, 1894; con-
ductor and composer. (16) Bd.,
Sonneberg, 1824— Meiningen, 1883 ;
cantor. (17) K. Chr., b. Saxe-
Meiningen, July 3, 183 1; pupil of
F. W. and H. Pfeiffer (pf. and org.),
Andreas Zollner (comp.) 1854, New
York ; since 1879, prof, of harm. N.
Y. Coll. of Mus.; translator, etc.
(18) Richard, b. Leipzig, Feb. 25,
1830 ; pupil of Zollner, Hauptmann
and Reitz; until 1893, cond.
**Arion," then the ♦•Hellas," and the
" Liedertafel ; " teacher singing, Ni-
kolai Gymnasium ; c. motets, etc.
(19) Jos., 1839 — Berlin, 1880 ; writer.
646
THE MUSICAL GUIDE
(20) Wm., b. Hanover, Feb. 4,
1845 ; tenor at the ct. -opera, Berlin.
(21) Hans, Cologne, 1854— Berlin.
1897; prof, and writer. (22) Gus-
tav. Vide brah-mullrr.
Miil ler-Harmng, K. (Wm.), b. SuU
za, May 19, 1834 ; pupil of Kuhm-
stedt, Eisenach ; mus.-dir. and teach-
er at the Seminary; 1864, prof.;
1869, opera-cond. Weimar; 1872,
founder and dir. Or. Ducal **Or-
chester-und-Musikschule ; " wrote a
system of music theory (vol. i. ** Har-
monieUhre " appeared in 1879) ; com-
poser.
Miiller-Reuter (roi-t^r), Theodor,
b. Dresden, Sept. i, 1858 ; pupil of
Fr. and Alwin Wieck (pf.) ; J. Otto
and Meinardus (comp.) ; and the
Hoch Cons., Frankfort ; 1879-87,
teacher Strassburg Cons.; 1887,
cond. at Dresden ; 1892, teacher in
the Cons.; c. 2 operas, Paternoster,
with orch ; * ^ Hackelberend *s Fumral"
for chorus and orchestra (1902),
etc.
Mttller von der Werra (rightly Fr.
Konrad Miiller), Ummerstadt,
Meiningen, 1823 — Leipzig, 1881 ;
popular poet and ed., founded
** Deutscher SSngerbund."
MUnchhoflf (mlnsh'-hof), Mary, b.
Omaha, U.S.A.; colorature soprano ;
studied in Germany 1897 ; sang in
Austria, etc.; 1902, U.S.A.
Munck, de. Vide demunck.
Munzinger (moonts'-Yng-£r), Edgar,
b. Olten, Switz., Aug. 3, 1847; stud-
ied Leipzig Cons, and with Kiel and
Ehrlich, Berlin, where he is pf. -teach-
er, and 1893-98 dir. Eickelberg Cons.;
c. 3 symphonies: No. i **/« der
Nacht," No. 3 *' Nero" an opera, 2
symphonic poems, etc.
Muris (da mu'-res), Jns. de (or de
Mears) (dtl miirs), eminent theorist ;
wrote treatise ** Sptculum Afusicae"
(probably ca. 1325) (Coussemaker).
Mur8chhauser(moorsh'-how-adr), Fz.
X. Anton, Zabern, near Strassburg,
ca. 1670 — Munich, 1724 ; conductor
and theorist.
Murska (moor -shkS), lima di, Croa-
tia, 1836 — Munich, Jan. 16, 1889;
famous dramatic soprano, with re-
markable compass of nearly 3 octaves.
Musard (mQ-zftr), (i) Philippe, Paris.
1793 — 1859 1 C' pop- dances. (2)
Alfred, 1828 — 188 1 ; orch.-coiKi.,
and composer ; son of above.
Musin (moo-zen), Bonaventnra.
Vide FURLANETTO.
Mnsin (mt)-z&d), Ovide, b. Nandrin,
n. Li^e, Sept. 22, 1854 ; violinst ;
pupil of Li^e Cons.; at 11 took isi
vln.-prize ; studied then at Paris
Cons.; at 14 won the gold medal for
solo and quartet playing ; taught a
year at the Cons, then toured Europe
with great succ.; later organised a
concert-troupe and toured America,
then the' world ; 1897, returned to
Li^e as vln. -teacher at the Cons.;
18^, vln.-professor.
Musiol (moo'-zY-ol), Robt. Paul Jn.,
b. Breslau, Jan. 14, 1846; from 1873-
91 teacher and cantor at Rohrsdorf,
Posen ; pub. mus. lexicons ; c. part-
songs, etc.
Mussorpki (moos-sorg'-shkY), Mo-
dest Petrovitch, Toropetz, Russia,
March 28, 1839 — St. Petersburg,
March 28, 188 1 ; army officer, then
pupil of Balakirev; c, operas, ^'^ Boris
Godunof (Imp. Opera. St P., 1874)1
'* Chovanstchina" (1893); c. pf.-
pcs., etc.
Mustel (mQs-tdl), Victor, b. Havre,
181 5 ; mfr. and improver of the har-
monium.
Mtizio (moo'-tsY-o), Emanuele, b.
Zibello, near Parma, Aug. 25, 1825;
pupil of Provesi and VeiSi, and (for
pf.) of Verdi's first wife. Margheriu
Barezzi ; 1852, cond. It. Opera,
Brussels; later, London, New York
(Acad, of Mus.) ; 1875 noted singing
teacher, Paris ; c. 4 operas, etc
Myrzwinski (mersh-vin -shkT), ;
tenor in Paris.
Mysliweczek (me-sle'-va-ch«k), Jos.
(called " II Boemo/* or ** Venatori-
ni"), near Prague, March 9, i737-~
Rome, Feb. 4, 1781 ; prod, about 50
r
DICTIONARY OF MUSICIANS 647
pop. operas in Italy; c. symphs., pf.-
sonatas praised by Mozart, etc.
N
Naaff (n&O, Anton E. Augr., b. Wet-
tentrebelitzsch, Bohemia, Nov. 28,
T850; mus. editor and poet at Vi-
enna.
Nachbaur (nakh'-bowr), Fz,, Schloss
Giessen, near Friedrichshafen, March
25, 1835 — Munich, March 21, 1902 ;
pupil of Pischek ; sang at theatres in
Prague and other cities ; 1866-90,
'* Kammersftnger,** Munich.
NAchez (n^'-ch^s) (Tivadar (Theo-
dor) Naschitz (nll'-shYts)), b. Pesth,
May I, 1859 ; vln. -virtuoso ; pupil of
Sabatil, Joachim and Leonard ;
toured the continent ; lived in Paris
and (1889) London; c. 2 concertos for
vln., 2 Hungarian Rhapsodies, requi-
. em mass, with orch., etc.
Nadand (n&-do), Gt., Roubaix, France,
Feb. 20, 1820 — Paris, 1893 ; cele-
brated poet, composer of chansons ;
also c 3 operettas.
Nadermann (na-d£r-miin), Francois
Jos., Paris, 1773— 1835 ; harpist,
teacher and composer. (2) H., b.
1780; bro. of above and his asst.-
harpist in the King*s music, and asst.-
professor.
Nag^el (n&' - g^l), (i) Julius, Gotha.
1837 — St. Petersburg, 1892 ; 'cellist,
teacher and composer. (2) Dr. Wil-
libald, German writer ; pub. " Gf~
schichU der Musik in England^''
(1897).
Niisreli (na-gSl-e), Jn. Hans G.,
Wetzikon, near ZUrich, 1773 — 1836 ;
mus.-publisher, writer and composer.
Nanller (nS'-gYl - l«r), Matth&us,
Monster, Tyrol, 18 15 — InnsbrAck,
1874; conductor and dram, composer.
Naldi (nal'-de), (i) Giuseppe, Bologna,
1770 — Paris, ca. 1820 ; actor, singer,
pianist, 'cellist and composer. (2)
daughter of above singer ;
debut, 18 19 ; retired, 1824 ; m. Conte
li Sparre.
Nal'son, Rev. Valentine, d. 1722;
Engl, composer.
Nanini (nii-ne'-ne) (incorrectly Nani-
no), (i) GioT. M., Vallerano, Italy,
ca. 1540 — Rome, March 11, 1607 ;
noted Italian composer; pupil of
Goudimel ; cond. at Vallerano,
'57i~75. at Santa Maria Magg^ore,
Rome (vice Palestrina); 1575 founded
a pub. mus.-sch. in which Palestrina
was one of the teachers ; 1577, papal
singer ; 1604 cond. Sistine Chapel ;
his 6-part motet " Hodie nobis caUh-
rum rex " is still sung there every
Christmas morning. (2) GioT. Ber-
nardino, Vallerano, ca. 1560— Rome,
1624; younger bro. (Riemann says
nephew) and pupil of above ; con-
ductor and notable composer.
Nantier - Didi6e (nafit-ya ded-ya),
Constance Betsy R., He de la Re-
union, 1831 — Madrid, 1867 ; v. succ.
mezzo-soprano.
Napo'l^on, Arthur, b. Oporto, March
6, 1843; pianist and cond.; at 9
made a sensation at the courts of
Lisbon, London (1852), and Berlin
1854), then studied with Halle, at
Manchester ; toured Europe, and N.
and S. America. 1868 (1871?) settled
in Rio de Janeiro as mus.-seller, etc.
Nipraynik (Niprawnik), (nii-praf.
nek) £duard, b. Bejst, near KOnig-
g^tz, Aug. 24, 1839 ; pupil Prague
Org.-Sch.; from 1856 teacher Maydl
Inst, for Mus., Prague; 1861, cond.
to Prince Yussupoff at St. Peters-
burg ; then organist and 2nd cond.
Russian Opera ; from 1869 ist cond.;
1870-82, cond. the Mus. Soc.; c. 4
operas, incl. the succ. ^^ Dubroffsky*
(St. P., 1895); symph. poem *' Tht
Demon" overtures, incl. ** Viasta "
(i86t), etc.
Nardini (nar-de'-ne), Pietro, Fibiana,
Tuscany, 1722 — Florence, May 7,
1793 ; noted violinist ; pupil of Tar-
tini ; ct. -musician at Stuttgart and
Florence ; composer.
Nares (narz), Jas., Stan well, Middle-
sex, 1715 — London, Feb. 10, 1783;
organist and composer.
648
THE MUSICAL GUIDE
Naret-Koningr (nS'-ret-kd-nlng), Jn.
Jos. D., b. Amsterdam, Feb. 25,
1838 ; violinist ; pupil of David,
Leipzig : from 1878 leader City Th.,
Frankfort ; pub. songs, etc.
Nasolini (na-so-le'-ne), SebastUnOy
Piacenza, ca. i768--(?); prod. 30
operas in Italy.
Natale (nil-t&'-l£), Fompeo, choir-
singer and composer at S. Maria
Maggiore, Rome, 1662.
Nathan, Isaac, Canterbury, 1792 —
Sydney, Australia, 1864 ; writer.
Natorp (na-torp), Bd. Chr. L.,
Werden-on-Ruhr, Nov. 12, 1774 —
MUnster, Feb. 8, 1846 ; reformer of
church and sch.-mus. ; writer.
Nau (na'-oo), Mana Dolores Bene-
dicta Josefina, b. of Spanish par-
ents, New York, March 18. 1818;
soprano ; pupil of Mme. Damoreau-
Cinti, Paris Cons., taking ist prize in
1834 ; debut at the CWra, 1836 ;
sang minor roles there 6 years, etc. ;
1844-48 and 1851-53, leading roles,
singing in other cities ; retired, 1856.
Naubert (now'-b^rt), Fr. Aug^.,
Schkeuditz, Saxony, 1839 — Neubran-
denburg, 1897 ; organist and singing-
teacher.
Naudin (n£'-oo-den), Emilio, b. Par-
ma, Oct. 23, 1823 ; tenor ; pupil of
Panizza, Milan ; d^but, Cremona.
Meyerbeer in his will requested him
to create the role of "Vasco" in
*• VAfricaipu" (1865), which he did.
Naue (now'-d), Jn. Fr., Halle, 1787 —
1868 ; organist and composer.
Nauenburg (now'-^n-boorkh), Gv., b.
Halle, May 20, 1803 ; barytone and
singing-teacher ; writer and com-
poser.
Naumann (now'-msln^, (i) Jn. Gl.
(Italianised as Giov. Amadeo),
Blase witz, near Dresden, April 17,
1741 — Dresden, Oct. 23, 1801; pupil
of Tartini and Padre Martini ; 1764,
ct.-cond., Dresden; 1776, cond.;
prod. 23 of>eras and excellent church-
music. (2) Emil, Berlin, Sept. 8,
1827 — Dresden, June 23, 1888 ;
grandson of above ; court church
mus.-dir., Berlin ; c. an opera, a fa-
mous oratorio ** Ckristus der Frii-
densbote "y pub. many valuable txkr
tises. (3) iC. Ernst, b. Frdbeig.
Saxony, Aug. 15, 1832 ; grandson of
(i), studied with Hauptmann,Rkfat£r,
Wenzel and Langer, Leipzig (1850),
Dr. Philh. at the Univ., 1858; stod-
ied with Joh. Schneider (oig.) in
Dresden ; mus.-dir. and organist,
Jena; prof., 1877; pub. many valu-
able revisions of classical works, for
the Bach-Gesellschaf t ; c. the fast so-
nata for via., much chamber-mas.,etc
Nava (n&'-v§), (i) Ant. Maria, Italy.
1775 — 1826; t^icher and composer
for guitar. (2) Gaetano, Milan,
1802 — 1875 ; son and pupil of above;
prof, at the Cons, and composer.
Navdl (na-\'al'), Fz., b. Laibach, Aus-
tria, Oct 20, 1865 ; tenor at Vienna ;
pupil of Gansbacher.
NawratU (nsUvra'-tel), K., b. Vienna,
Oct. 7, 1836; pupil of Notteboliai
(cpt.) ; excellent teacher ; pub. Ps^
XXX with orch., an overture, cham-
ber mus., etc.
Nay'lor, (i) J., b. Sunningly, near
Leeds, 1838 — at sea, 1807 ; organist
and composer. (2) Sidney, Loo-
don, 1 84 1 — 1893 ; organist. •
Neate (net), Chas., London, 1784^
Brighton, 1877; pianist, ^cellistand
composer.
Nebe (na'-b«), Karl, bass ; pnpU of
Jahn at Wiesbaden ; 1890, at Carls-
ruhe; sang '^Alberich" and "Beck-
messer" at Bayreuth and London;
1900, Berlin.
Ned'bal, Oscar, b. Tabor, Bohemia,
March 25, 1874; via. -player in the
** Bohemian " string-quartet ; studied
Prague Cons. (comp. with Dvofak);
c. a scherzo-caprice for orch., etc
Neeb (nap), H., Lich, Upper Hesse,
1807 — Frankfort, 1878 ; conductor
and dram, composer.
Needier, H., London, 1685— 1760;
pianist, violinist and composer.
Neefe (n&'-f«), Chr. GL, Chemnitc,
1748 — Dessau, 1798 ; mus,-director
and conductor.
DICTIONARY OF MUSICIANS 649
Nef (a^, (Dr.) K«, Swiss writer ; pub.
a treatise on the amateur musical as-
sociations of the 17th and i8th cen-
turies.
Nefi^ Fritz, notable composer, lives at
Munich ; c. ** Chorus of the Dead "
with orch. (1902), etc.
Nehrlich (nar'-llkh), Chr. Gf., Ruh-
land. Upper Lusatia, 1802 — Berlin,
1868 ; teacher and writer.
Neidhardt (nit'-hart), Jtf. G., d. Ko-
nigsberg, 1739 ; writer.
Neidlinger (nit'-llng-£r), Wm. Ha-
rold^ b. Brooklyn, N. Y., July 20.
1863 ; pupil of Dudley Buck and
Mailer; teacher of singing in Paris,
then Chicago; c. a mass, etc., pop.
songs and valuable books of mus.
for children.
Neithardt (nlt'-h^), Aug. H.,
Schleiz, 1793 — Beriin, 1861; oboist,
teacher of singling, conductor and
dram, composer.
Neitxel (nit -ts^l). Otto, b. Falken-
buTg, Pomerania, July 6, 1852 ; pu-
pil of Kullak's Acad , Berlin ; Dr.
Philh., 1875, at the Univ.; toured as
pianist; 1879-81, teacher Moscow
Cons.; then Cologne Cons.; since
1887, also critic ; prod. 3 operas :
** Angela " (Halle. 1887), text and mu-
sic of, ''Dido*' (Weimar, 1888) and
**/>«' AUe Dessauer'' (Wiesbaden,
1889).
Nel'U, Romilda, b. Italy. i882(?);
colorature and operatic soprano ; pu-
pil of Galletti.
Nen'na, Pomponio, b. Bari, Naples ;
pub. madrigals, 1585 — 163 1.
Ncri (na -re), Filippo, Florence, July
21, 1 5 15— Rome, May 26, 1595 ;
preacher in the oratory (It. oratorio^
of San Girolamo. From the music c.
for illustrations by Animuccia and
Palestrina arose the term '* oratorio."
Nernda (ni-roo'-da), (i) Jakob, d.
1732; violinist. (2) Jn. Chrysos-
tom, Rossiez. 1705 — 1763 ; violinist ;
son of above. (3) Jn. Baptist G.,
Dresden. 1707 — 1780; composer, son
of Jakob. (4) (Normann-Neruda)
(or Lady HaU^) Wilma Maria
Fran., b. Brttnn, March 39. 1839;
noted violinist (daughter of (5) Josdf^
an organist) ; she studied with Jansa ;
at 7 played in public at Vienna with
her sister (6) Amalie (a pianist) ;
then toured Germany with her
father, sister and bro. (7) Fz. (a *ceU
list) ; 1864, in Paris, she m. L. Nor-
mann ; since 1869 has played annu-
ally in London ; she m. Halle (q.v.),
1888, and toured Australia with him,
1890-91; 1899, America.
Ness'ler, Victor E., Baldenheim. Al-
satia, Jan. 28, 1841 — Strassburg, May
28, 1890 ; studied with Th. Stem at
Strassburg; 1864, prod. succ. opera.
*' FUureiU''; studied in Leipzig, be-
came cond. of the ** SSngerkreis"
and chorusm. City Th., where he
prod, with general succ. 4 operettas
and 4 operas, incl. two still pop. ''Dtr
Rattenfunger von Hameln'' (1879).
'' Dgr Trompeter von S&kkingen'"
(1884) ; c. also ** Der filumen Racht,"'
ballade, with orch.; pop. and comic
songs, etc.
Nesvad'ba, Jos., Vyskef, Bohemia.
1824 — Darmstadt, 1876 ; conductor
and dram, composer.
Neivera (ndsh-va'-ri), Jos., b. Pros-
koles, Bohemia, Oct. 24. 1842 ; now
cond. OlmtUz Cath.; c. succ. opera
*'* Perdita " (Prague, 1897) ; masses.
De Profundis, with orch., etc.
Netzer (ndt'-ts^r), Jos., Imst. Tyrol,
1808 — Graz, 1864 ; teacher, con-
ductor and dram, composer.
Neubauer (na'-oo-bow-dr), Fz. Chr.,
Horzin, Bohemia, 1760— -BOckeburg.
1795 ; violinist, conductor and com-
poser.
Neuendorff (noi'-^n-d6r0. Ad., Ham-
burg, June 13, 1843 — New York.
Dec. 4. 1897 ; at 12 taken to Ameri*
ca : pianist, concert-violinist, promio
nent conductor and composer of comic
operas.
Neukomm (noi'-kom), Sigismund,
Ritter von, Salzburg, 1778 — Paris,
1858 ; organist, conductor and con^
poser.
Neumann (noi'-miin), Angelo, b. Vi«
650
THE MUSICAL GUIDE
enna, Aug. 18, 1838 ; studied sing-
ing with Stilke-Sessi, debut as lyric
tenor, 1859; 1862-76, Vienna ct.-
opera ; 1876-82, Leipzig opera ; as
manager of a travelling company
prod. Wagner operas ; 1882-85, man-
ager Bremen opera ; then German
opera, Prague.
Neumark(noi'*mark), G., Langensalza,
162 1 — Weimar, 168 1 ; composer,
Neusiedler (noi'-zet-l£r) (or Newsid-
ler), (i) Hans, b. Pressburg, NOm-
bcrgr. 1563 ; lute-maker. (2) (or
Neysidler) Melchior, d. NUmberg,
1590 ; lutenist and composer at Augs-
burg ; 2 books of lute mus. (Venice,
1566), etc.
Nevada (n^v^-di) (rightly Wizon),
Emma, b. Austen, Nevada, U. S.A.,
1862 ; eminent colorature-soprano ;
pupil of Marches! in Vienna ; d^but
London, 1880; sang in various Italian
cities ; 1883 and 1898 Paris, Op.-
Com. ; 1885 sang Opera Festival
Chicago, and again in 1889 ; 1898,
Op.-Com., Paris; 1885 m. Dr. Ray-
mond Palmer; sang *'Mignon" a
whole year in Paris; 1900 America.
Nevin (niv'-Tn), (i) Ethelbert (Wood-
bridge), Edgeworth, Penn., Nov.
25, 1862 — New Haven, Conn., Feb.
17, 1901 ; prominent American com-
r'T ; pupil of von der Heide and
GUnther (pf.) at Pittsburg; of
von Btthme (voice), at Dresden, 1877-
78 ; of Pearce (N. Y.), B. J. Lang
and Stephen A. Emery (Boston) ;
von BQlow, Klindworth, and K. Bial,
Berlin ; lived in Florence, Venice,
Paris, and New York as teacher and
composer ; after 1900 at Sewickley,
near Pittsburg, Pa.; c. a pf. -suite ;
song-cycles '*In Arcady," and a
posthumous *' The Quest of Heart's
Desire " ; highly artistic piano pieces
and many song albums of well-de-
served popularity. His songs are
genuinely lyrical, with an exuberance
of musical passion, and accompani-
ments full of colour, individuality and
novelty. (2) Arthur, b. Sewickley,
Pa., 1871 ; bro. of above ; from 1891
studied Boston, then at Beriin witb
Boise and Klindworth ; lives in New
York ; c. songs, etc.
New' man, Ernest, b. Liverpool, Nor.
30, 1868 ; prominent critic ; studied
for the Indian Civil Service, bat bis
health broke down from over-study .
engaged in business in Liveqwd
where he has since lived ; in iSSS
wrote ** GlucJk ami the Opera^ \ wlndi
was published in 1895 \ ^" A StudfpJ
Wofrner " 1899, Has contributed no-
meroos scholarly essays on musical
and other topics to various magazises.
Newsidler, Neysidler. Vide keu*
SIEDLBR.
Ney. Vide moszkva.
Niccold de Malta. Vide isquako.
Nichelmann (nlkh'-^l-man), Chp.,
Treuenbrietzen, Brandenburg, 1717
— Berlin, 1762 ; cembalist and writer.
NichoU (nTk'-61), Horace Wadham,
b. Tipton, near Birmingham, Eofi..
March 17, 1848 ; notable contempo-
rary contrapuntist ; son and pupfl of
a musician John N.; studied with
Samuel Prince ; 1867-70 organist at
Dudley ; 1871 organist at ^ttsboi^,
Pa.. U. S. A.; 1878 editor New York.
1888-95 prof, at Farmington, Conn.:
contributed to various periodicals;
pub. a book on harmony ; his most
notable compositions are his I2 sfm-
phonic preludes and fugues for organ,
displaying his remarkable contrapon-
tal ability (i in quadruple cpt, i io
triple, 4 in double) ; he c. also a
suite for full orch. (op. 3) ; a cycle of
4 oratorios with orch. ; symph. poem
** Tartarus^*; 2 symphonies ; a psy-
chic sketch ** Hamlet^* etc.
Nich'olson, Chas., Liverpool, 1795-'
London, 1837 ; flutist and composer.
Nick'lass-Kempt'ner, Selma, b.
Breslau, April 2, 1849 \ noted cok)Ta-
ture soprano and teaciier ; studied at
Stem Cons.; debut, 1867; sang in
Rotterdam 10 yrs. ; then teacher
Vienna Cons.; 1893, Berlin *' Profts-
sort a.
Nicod6 (ne'.k6<l&), Jean Louis, h
Jerczikt near Posen, Aug. 12. i8(i :
■b
DICTIONARY OF MUSICIANS 651
popil of his father and the organist
Hartkas, and at Kullak's Acad. ; lives
in Berlin as a pianist and teachet,;
1878-85 pf.-teacher Dfesden Cons.;
1897, cond. Leipzig *' Riedel Verein";
c. symph. poem ^^ Maria Stuart";
•' FaschingsHlder;' ** Sinfonische
VariaHonen^'^ op. 27; ** Das Meer"
S3rmph. ode, for full orch.; " Erbar-
men," hymn for alto with orch., etc.
NicoUi (ne'-ko-ll), (i) Otto, KOnigs.
berg, June 9, 18 10 — of apoplexy,
Benin, May 11, 1849 ; son and pupil
of a singing-teacher ; studied with
Zelter and Klein, later with Baini at
Rome, where he was organist at the
embassy chapel ; 1837 - 38 theatre-
cofid. at Vienna ; again in Rome ;
1841-47 ct.-cond. at Vienna and
founded the Phil., 1842 ; 1847 cond.
of the opera and cath. -choir, Berlin ;
prod. 5 V. succ. operas, inch ** //
7V«t//(iru? " (Turin, 1840; known in
Germany as ** Der Templer^" based
on Scott's **Ivankoe**) ; and the unct-
uous and still popular opera ** Die
lustigen Weiber von Winascr" based
on and known in English as *' The
Merry Wives of Windsor " (Berlin,
1849); he c. also a symph., etc.; biog.
by Mendel (Berlin, 1868); his diary
(•*Tagebacher ") was pub. Leipzig,
1893. (2) Wm. Fr. Gerard, Ley-
den, Nov. 20, 1829 — The Hague,
April 25, 1896; professor; notable
conductor and composer.
Niccolini (nek-k5-le -ne), (i) Giusep-
pe, Piacenza, Jan. 29, 1762 — Dec.
18, 1842 ; conductor and operatic
composer. (2) (Rightly Ernest
Nicnolas) Tours, France, Feb. 23,
1834 — Pau, Jan. 19, 1898 , tenor ;
1886 m. Adelina Patti.
Nic'olson, Richard, d. 1639 ; Engl,
organist.
Niecks (neks), Frederick (Friede-
rich), b. Dnsseldorf, March 3, 1845 ;
lecturer, critic, etc.; pupil of Lang-
hans, GrQnewald, and Auer (vln.) ;
debut at 12 ; 1868, organist, Dum-
fries, Scotland, and viola-player in a
quartet with A. C. Mackenzie ; stud-
ied in Leipzig Univ. (1877), ^"^^
travelled Italy; critic, London; 1891,
Ried Prof, of Mus., Edinburgh Univ.;
pub. notable biog. of ** Frederic
Chopin as a Man and a Musician "
(1888); a ''Diet, of Mus. Terms;'
etc.
Nieden, Zur. Vide zur nieden.
Niedermeyer (ne'-ddr-ml-£r), Louis,
Nyon, Switzerland, 1802 — Paris,
1861 ; dramatic composer and theo-
rist.
Niedt (net), Fr. Erhardt, d. Copen-
hagen, 1717 ; writer.
Niemann (ne'-mftn), (i) Albert, b.
Erxleben, near Magdeburg, Jan. 15,
1831 ; 1849, without study sang in
minor roles at Dessau ; then studied
with F. Schneider, and the bar.
Nusch ; sang at Hanover, then stud-
ied with Duprez, Paris; 1860-^,
dram, tenor, Hanover, since at the
ct -opera, Berlin ; Wagner chose him
to create ** Tannhauser " (Paris,
1861), and •' Siegmund " (Bayreuth,
1876) ; retired 1889. (2) Rudolf
(Fr.), Wesselburen, Holstein, 1838 —
Wiesbaden, 1898 ; pianist and com-
poser.
Nietzsche (net'-sh^, Fr., Rocken,
near Lutzen, Oct. 15, 1844 — (insane)
Aug., 1900; prof, at Basel Univ.;
• notable, if eccentric, philosopher ; as
a partisan of Wagner he pub. * * Die
Geburt der Tragodie aus dent Geiste
der Musik;' ''Richard Wagner in
Bayreuth''; while "Der Fall Wag-
ner;"* and ** Nietzsche contra Wag-
ner'* attack Wagfner as violently as
he once praised him ; his philosophi-
cal work ** Also sprach Zarathustra "
provides the title of R. Strauss'
symph. poem.
Nire" (n^g'gle), Arnold, b. Aarburg,
Switzerland, Dec. 20, 1843 ; since
1875 sec. to the Aarau town council;
writer.
Nikisch (n!k'-!sh), Arthur, b. Szent,
Miklos, Hungary, Oct. I2, 1855 ;
eminent conductor ; son of the
head-bookkeeper to Prince Lichten-
stein; pupil of Dessoflf (comp.) and
652
THE MUSICAL GUIDE
Hellmesberger (vln.), Vienna Cons.,
^raduating^ at 19 with prizes for vln. ,
and for a string-sextet ; violinist in
the ct.-orch. ; then 2nd cond. Leipzig
• Th. ; 1882-89, ist. cond.; 1889-93,
cond. Symph. Orch., Boston (U. S.
A.) ; 1893-95, dir. Royal Opera,
Pesth, and cond. Philh. Concerts ;
since 1895 cond. Gewandhaus Con-
certs, Leipzig (vice Reinecke), also
Phil, concerts, Berlin ; he conducts
usually without score; 1902, dir.
Leipzig Cons.
Nikita (nt-ke'-til) (stage-name of
Louisa Marg^et Nicholson), b.
Philadelphia, Aug. 18, 1872 ; colora-
ture-soprano ; pupil of M. l-e Roy,
Washington ; sang in various cities,
with an opera-troupe, then studied
with Maurice Strakosch, Paris ; sang
\sk concerts with much succ; 1894,
prima donna soprano, Paris Opera.
Nikom'achus (called Gerasenus), b.
Gerasa, Syria ; Greek writer on mus.,
2nd century, A.D.
Nilsson (nels'-sop), Christine, b. on
the estate Sjoabel, near Wexio,
Sweden, Aug. 20, 1843 ; eminent so-
prano, compass 2^ octaves (g-d") ;
pupil of Baroness Leuhausen and
F. Berwald, Stockholm ; later, in
Paris, of Wartel ; debut, 1864, Th.-
Lyrique, Paris, engaged for 3 years •
there ; 1868-70, Opera ; toured
America and Europe ; 1872, she m.
Auguste Rouzaud (d. 1882) ; 1887,
m. Count Casa di Miranda.
Nini (ne'-ne). Ales., Fano, Romagna,
1805 — Bergamo, 1880; cond. and
dram, composer.
Nisard (ne-zir), Theodore (pen-name
of Abb^ Th^odule Eleazar X.
Norman), b. Quaregnon, near Mons,
Jan. 27, 1812 ; chorister at Cambrai ;
studied in Douay ; 1839, dir. En-
ghien Gymnasium, and 1842, 2d cA^/
de chant and organist St. -Germain,
Paris; then confined himself to writ-
ing valuable treatises on plain-chant,
etc.
Nissen (nTs'-s^n), (i) G. Nicolaus
▼on, Hardebsleben, Denmark, 1761
— Salzburg, March 24, 1826; oom-
cillor of State ; m. the widow of Mo-
zart, 1809, and aided her in preparxo;
his biog. (1^8). (2) (NisMo-Sslo-
man) Henriette, Gothenborg, Sue-
den, March 12, 1819 — Harzbuif.
Aug. 27, 1879; great singer aad
teacher ; pupil of Chopin and Ma-
nuel Garcia ; d^but Paris, 1843;
1850, m. Siegfried Saloman, from
1859 teacher St. Petersbuig Cons.
(3) Erica. Vide lie.
Nivers (ne-v&rs), Guillanme Gabriel,
Melun, 1617 — after 1701; organist,
singer and composer.
Nix'on, (i) H. G., Winchester, 1796-
1849 » organist and composer. (2)
Jas. Cassana, 1S23 — 1842; rioEn-
1st ; son of above. (3) H. Cotter,
b. London, 1842 ; organist and coib-
poser at St. Leonard's.
N6b (nap), Victorine. Vide stoltz,
Nohl (n5I), (K. Fr.) L., Iserlohn,
1 83 1— Heidelberg, 1885 ; 1880. pro-
fessor and writer; wrote biogs. <^
Beethoven, Mozart, etc, and pub-
lished nuiny colls, of the letters of
composers.
Nohr (nor), Chr. Fr., Langensalza,
Thuringia, 1800— Meingen, 1875 ;
violinist and dram, composer.
Norblin (n6r-bl&n), (i) Louis Pierre
Martin, Warsaw, 1781 — Chiteau
Conantre, Marng, 1854 ; 'cellist and
professor. (2) Emile, i8ai — 1880;
son of above ; 'cellist.
Nor'dica, Lillian (stage-name of
Mrs. Lillian Norton (Gower)
Doeme), b. FarmingtOn, Me., 1859;
pupil of John O'Neill and of N. £.
Cons., Boston; concert-debut, Bos-
ton, 1876 ; 1878, toured Europe with
Gilmore's Band ; studied opera with
San Giovanni, Milan; debut ai
Brescia, 1880; 1881, Gr. Op^
Paris ; 1882, m. Frederick A. Gower;
1885, he made a balloon ascensioD
and never returned ; she retired till
1887, then sang Covent Garden, Lon-
don, 1893 ; since then has sung reg-
ularly in U. S., England, etc; 1894
chosen to sing ** Elsa" at Bayreuth:
DICTIONARY OF MUSICIANS 653
1896, m. Zoltan F. Doeme, Hunga-
riaa singer.
Norman. Vide nisard.
Nor'iiuui(n), L., Stockholm, 1831 —
1884 ; conductor, professor and com-
poser. Vide NKRUDA.
Nor'riSy (i) Wm., d. ca. 1710; Eng-
lish composer. (2) Thos., ca. 1745-
1790 ; English male soprano, oreanist
and composer. (3) Homer A., b.
Wayne, Maine, U. S. A.; notable
theorist ; studied with Marston; Hale,
Chadwick and Emery, Boston ; lives
there as teacher; also studied 4
years in Paris with Dubois, Godard,
G^out and Guilmant ; c. overture
^^Zoroaster'' cantata ''NaitC' and
songs; pub. '* Harmony" and
** Counterpoint ** on French basis.
Northy (i) Francis, Lord Guilford,
Rougham, Norfolk, ca. 1640^1685 ;
amateur musician and writer. (2)
Hon. Roger, Rougham Lane, 1650
— 1733 ; bro. of above ; writer.
Noszkowsld (ndsh.k6r.shkl), Sigis-
mimd (Zygitmunt ▼on), b. Warsaw,
May 2, 1846 ; pupil of Warsaw Mus.
Inst.; inv. a mus. -notation for the
blind, and was sent by the Mus. Soc
to study with Kiel and Raif, Berlin ;
1876. cond.; 1881, dir. of the Mus.
Soc., Warsaw, and (1888^ prof, at the
Cons.; prod. succ. opera *'ZfVfa'*
(Lembei^, 1898) ; c. symph., over-
turc **/3Sj Meerauge" etc
Notxler (n6sh'.l€r), K. Ednard, b.
Reichenbach, Saxony, March 26,
1863 ; pupil of Leipzig Cons.; 1888-
93f organist Frauenkirche, Bremen ;
since 1887. cond. Male Choral Union;
also (since 1893) organist Bremen
Cath., and since 1896, cond. Neue
Singakademie ; c. symph., " Lust-
spiel-Ouvertttre," etc.
Notker (ndt'-k^) (Called Balbnlus,
'*the stammerer'*), 840— 912, monk
at St. Gallen ; important writer and
composer of sequences. (V. D. D.)
Notot (nfi-t5), Jos., b. Arras, Pas de
Calais. 1755 ; d. in England ; pupil
of Leclerc, Paris, noteworthy organ-
ist there and at Arras ; c. important
symphonies, pf.-concertos, sonatas,
etc.
Nottebohm (n6t'-t£-bdm), Martin
Gt., Ludenscheid, Westphalia, 1817
— Graz, 1882; teacher and writer
chiefly of valuable Beethoven works
and discoveries ; also composer.
Nonrrit (noor-re), (i) Lonis, Mont-
pellier, 1780 — Bninoy, 1831 ; leading
tenor Gr. Opera, Paris. (2) Ad.,
Paris, 1802 — suicide, Naples, 1839 ;
eminent tenor ; son and successor
(1825) of above ; pupil of Garcia and
teacher at the Cons. ; also composer.
Novello (nd-v^l'-lo), (i) Vincent, Lon-
don, Sept. 6, 1 78 1 — Nice, Oct. 9,
1861 ; son of Italian father and Eng-
lish mother ; founded, 181 1, the pub.
firm Novello & Co. (now Novel-
lo, Ewer & Co., London) ; no-
table organist, pianist and com-
poser. (2) Mary Sibilla, London,
1809 — Genoa, 1898 ; daughter of
above ; m. Cowden Clarke ; transl.
treatises into English ; wrote Shake-
speare Concordance, etc. (3) Jos.
Alfred, London, 18I0— Genoa, July
17, 1896; son of (i) ; bass sinzer
and organist. (4) Clara Anasta-
sia, b. London, June 19, 1818 ; 4th
daughter of (i) ; pupil Paris Cons.,
succ. operatic debut Padua, 1841,
but made her best succ. in oratorio ;
1843. m. Count Gigliucci ; retired
i860.
Noverre (nd-vftr), J. G., Paris, April
29, 1727 — St. Germain, Nov. 19,
1 8 10; solo-dancer at Berlin; ballet-
master at the Op.-Com., Paris; inv.
the dramatic ballet.
Nowakowski (no-va-k6f'-shkI), Joxef^
Mniszck, 1805 — Warsaw, 1865 ; pf.-
teacher, professor and composer.
Nowowiejski (no-vo-ve'-shkl), Felix,
b. Poland ; 1902, won Berlin Meyer-
beer prize with oratorio *' Die RUck-
kehr des verhrenen Sohnes,''
Nuceus. Vide gaucquier.
Nux (nttx), Paul V6ronge de la, b.
Fontainebleau, June 29, 1853 ; pupil
of F. Bazin, Paris Cons.; took 2d
Grand prix, 1876; prod. succ. 2-act
554
THE MUSICAL GUIDE
grand opera ** Zaire"' (OpA^. 1889;
Stuttgart, 1895); c. music-drama
'' LcSdacides:' etc
0
Oakeley (ok -ll), Sir Herbert Stan-
ley, b. Ealing, Middlesex, July 22,
1830 ; while at Oxford, studied with
Elvey (harm.), later at Leipzig Cons.,
with Schneider, Dresden, and Brei-
denstein, Bonn.; 1865-91, Ried
Prof, of Mus., Edinburgh Univ.,
developing the annual Ried Concerts
into a 3-days' Festival ; his org. -reci-
tals had a large influence ; knighted
1876; Mus. Doc., CanUb., 1871;
Oxon., Dublin, 1887; 1892, Emeritus
Professor ; composer to the Queen in
Scotland, and since 1887, Pres.,
Cheltenham Mus. Festival ; pub. a
cantata '^Jubilee Lyric,"" *' SuiU in
the OUen StyU;" '' Pastorale ^ Festi-
val March, and a Funeral March (op.
23) fororch.; pf.-sonaU. etc.
Oberthiir (o'-bfir-tOr), K., Munich,
18 19 — London,' 1895 ; harpist, teach-
er and dramatic comFK>ser.
Obin (o-b^n), Louis H., Ascq., near
Lille, 1820— Paris, 1895 ; basso can-
tante.
O'Car'olan, Tnrloug^h, Newton,
Mcath, 1670— Roscommon, 1738 ;
Irish harpist.
Ochs (okhs), (i) Traug^ott, b. Alten-
feld, Schwerin-Sondershausen, Oct.
19. 1854 ; pupil of Stade, Erdmanns-
dorfer, Kiel, and the R. Inst, for
Church-mus. ; 1899, artistic dir. Mus.-
Union and the Mus.-Sch., Brttnn ; c.
** Deutsches Aufgebot"" for male cho-
rus and orch. ; requiem, etc. (2)
Siegfried, b. Frankfort-on-Main,
April 19, 1858 ; studied R. Hoch-
schule far Musik, Berlin, later with
Kiel and Urban, and von BQlow,
who brought into publicity a small
choral union, the ** Philharmonischer
Cher," of which he was cond., and
which is now the largest singing-so-
ciety in Berlin ; he is also a singing-
teacher and writer, 190 1, Munich ; c.
succ. comic opera (text and miBk)
**/ot Namen des Gesetses " (Hambacg,
1888) ; 2 operettas ; etc
Ochsenknhn (5kh'-zan-koon), Sebas-
tian, d. Heidelbeig, Au^. 2, 1574;
lutenist and composer.
Ockenheiin« Vide okeghem.
Odenwald (0 -d^n-vilt), RoM. TL,
b. Frankenthal, near Gera, May 3.
1838 ; since 1882 teacher Hamba^
and cond. a succ. church-choir; c
Psalms and part-songs.
O'dingrton, Walter de (**Mofik of
Evesham *'), b. Odington, Oloooescer-
shire ; d. ca. 1316 ; important tbeocist.
(Coussemaker.)
O'do de Clogny (dtt klfln'-ye) (Saim),
became in 927 abbot of Clu^^y , where
he d. 942 ; writer. (Gcrbcrt.)
Oegiin (akh'-lenX Erhard, i6th cenu
German printer of Augsburig^, the 6ist '
to print hgured mus. with ^mes.
OeUchUl«:d (il'-shl&-g€l), Aftred, b.
Anscha, Bohemia, Feb. 25, 1847;
Prague Org.-Sch.; th.-cond. at Ham-
burg, etc., and Karltheater, Viensa ;
later bandm. Klagenfurt; c operet-
tas ''Prim und Maurer^' (Klagen-
furt, 1884); succ. ''Die RmmhritUr*
(Vienna, 1888) ; succ Der- Land-
streicker (Magdeburg, 1893).
Oelsner (£is'-n£r), (Fr.) Bniiio, b.
Neudorf, near Annaberg^ Saxony,
July 29, 1861 ; pupil of Leipzis^ Coos. :
solo-vla., ct.-orch. Darmstadt ; stud-
ied with de Haan (comp.) ; since
1882, vin. -teacher Darmstadt Cons.,
with title Grand Ducal Chamber-
mus.; prod, at Darmstadt i-act op-
eras, incl. succ. '' Der Brawetgung'*
(1894); also a cantata with orch., etc
Oesten (&'-sht«n), Theodor» Berlin,
1813 — 1870 ; pianist and composer.
Oesterle (as-t^r'-li), Otto, St. Louis.
Mo., 1861 — Darien, Conn., 1894;
1st flute Thomas Orch., the Philh. of
New York and Brooklyn, and Scidl
Orch.; teacher the Nat. Cons., N. Y,
Osterlein (a'-sht^r-lin), Nikolans,
1840— Vienna, 1898; maker of the
coll. known as the ** Wagner Mm-
seum"
DICTIONARY OF MUSICIANS 655
Dettinc^en (^t'-tlne-^n), Arthur Joa-
chim Yon, b. Dorpat, March 28«
1836 ; 1866, prof, of physics in ordi-
nary there ; pres. of the Dorpat Mus.
Soc., and cond. an amateur orch.;
theorist.
Offeabach (df-f^n-bSkh), Jacques,
Cologne, June 21, 18 19 — Paris, Oct.
5, 1880; eminent writer of light op-
era ; studied *cello at the Cons., then
joined Op. -Com. orch., Paris; c.
chansonnettes (parodying La Fon-
taine), played the *cello in concerts,
and c. *cello-pcs.; 1849, cond. Th.-
Fran9ais, prod, unsucc. i-act oper-
etta **Pepiio'' (Op.-Com., 1853);
others followed till 1855-66 he had a
theatre for his own work ; 1872-76,
manager Th. de la Gait^ ; 1877,
toured America with little succ. de-
scribed in his ** NoUs (Tun musicien
en T^cyage'' (1877); his 102 stage-
works include the ballet-pantomime
**/^ Papiilon** and the v. succ.
operas, ''Orph/e aux Enfers'' 1858 ;
•'Ztf Be2U H/ane,'' 1864; '' Barbe-
BUu'* and ''La Vie Parisienne:'
1866 ; ** La Grande Duehesse de G/-
rolstein,'' 1S67; ''Madame Favart,"'
1879.
Oginski (d-fi^en'-shkT), (i) Prince Mi-
chael Cllophas, Guron, near War^
saw, 1765 — Florence, 1833 ; com-
poser. (2) Michael Casimir, War-
saw, 1731 — 1803; uncle of above;
said to have inv. the pedals of the
harp.
O'keehem (or Okekem, Okenghem,
Ockegheim, Ock'enheim), Jean de
(or Joannes), probably Termonde,
East Flanders, ca. i430^Tours (?),
1495 — 1 513; eminent contrapuntist ;
the founder of the Second (or New)
Netherland Sch. Chorister, Antwerp
cathedral ; studied with Dufay ; 1454,
ct.-cond. and composer to Charles
VII. at Paris; 1467, royal cond. to
Louis XL; toured Spain and Fland-
ers on stipend ; c masses, motets,
canons, etc.
O'Leary (6-ia'-rt), (i) Arthur, b. n.
Killamey, Ireland, 1834 ; pianist and
composer. (2) Rosetta, wife of
above ; composer.
Olib'rio, Flavio Aniclo. Vide j. f.
AGRICOLA.
Oriphant, Thos., Condie, Perthshire,
1799 — London, 1873 \ theorist and
collector.
Olitz'ka, Rosa, b. Beriin, Sept. 6,
1873 ; contralto ; studied with Artot
and Hey ; sang at BrQnn, Hamburg,
then Covent Garden and New York
opera ; then in Russia, etc.
Ol'iver, H. Kemble, Beverley, Mass.,
1800 — Boston, 1885 ; boy soprano ;
organist, mus. dir. and composer.
Olsen (ol'-z^n), Ole, b. Hammerfest,
Norway, July 4, 185 1 ; c. symph.
poem " Asgaardsreien^^ 1891, etc.
Ondriczek (6n'-drY-ch«k), Fz., b.
Prague, April 29, 1859 ; violinist ;
pupil of his father, and at 14 member
of his small orch. for dance mus.;
then studied Prague Cons, and with
Massart, Paris Cons., took first prize
for vln. -playing ; toured Europe and
America ; lives in Boston.
Ons'low, G., Clermont-Ferrand,
France, 1784 — 1852 ; grandson of the
first Lord Onslow; amateur 'cellist
and pianist ; prod. 4 succ. comic op-
eras ; 34 string-quintets ; 36 quar-
tets ; and other chamber-music.
Opelt (o-p$lt), Fr. Wm., Rochlitz,
Saxony, 1794 — Dresden, 1863; writer.
Ordenstein (6r'-d^n-shtTn), H., b.
Worms, Jan. 7, 1856 ; pianist ; pupil
of Leipzig Cons. , also in Paris ; 1879-
81, teacher at Carisruhe ; 1881-82, at
Kullak's Acad., Berlin ; 1884, founded
Carisruhe Cons.; made prof, by
Grand Duke of Baden.
Orefice, dell*. Vide dell* orefice.
Orgeni (6r-ga'-ne) (Oreenyi) (6r-gan'-
ye), Anna Maria Aglaia, b. Tis-
menice, Galicia, Dec. 17, 1843 ;
colorature soprano ; pupil of Mme.
Viardot-Garcia ; debut, 1865, Berlin
Opera ; 1886, teacher Dresden Cons.
Orlando, or Orlandus. Vide lasso.
Orlow (6r'-l6f), Count Gregor Vladi^
mir, 1777 — St. Petersburg, 1826,
writer.
656
THE MUSICAL GUIDE
Ornlthopar'cns (Greek form of Vogel-
SAQ^) (fo'-gdl-z&ng), Andreas, b.
Meiningen ; early i6th cent, theorist.
Orpheus (orf'-yoos), mythical Greek
singer; son of Apollo, and best of
singers to the lyre, 1350 B. c.
Or'ridge, Ellen Amelia, London,
1856 — Guernsey, 1883 ; contralto.
Ortigue (6r-teg), Jos. Louis de^ Ca-
villon Vaucluse, 1802 — Paris, 1866;
writer.
Orto (dr'-to), Giov. de (Italian form of
Jean Dujardin) (dU-zhftr'^IUi); Lat.
inised as de Hor'to (called ^* Mar^
briano*'); contrapuntist and com-
poser 15th and i6th centuries.
Os'bome, (i) G. Alex., Limerick,
Ireland, 1806— London, 1893 ; com-
poser. (2) (rightly Eisbein (Is'-bin)).
Adrienne, b. Buffalo, N. Y.; pupil
of Auguste G<)tze and Max Stage-
mann in Leipzig ; dram, soprano ;
now at Leipzig City Th. ; has sung
at the Gewandhaus.
Os'g^ood, Geo. Laurie, b. Chelsea,
Mass., April 3, 1844; graduated
Harvard, 1886 ; dir. of the Glee Club,
and the orch. there ; studied singing
with Sieber and Haupt, and German
song and chorals with R. Franz;
studied with the elder Lamperti in
Italy 3 years ; made a succ. tour of
Germany ; then, under Thomas, of
America ; since 1872, lived Boston as
vocal-teacher and conductor ; pub.
** Guide in the Art of Singing'' (8
editions): c. anthems, etc.
Osiander (5'.ze-ant-dr), Lucas, NUm-
berg, 1534 — Stuttgart, 1604; writer
and composer.
Othmayer (ot'-mT>dr), Kaspar, Am-
t>erg, 15 1 5 — Nttrnberg, 1553 ; com-
poser.
Otho. Vide odo.
Ott(o) (or Ottl), Hans, ca. 1533—
1550; pub. in Nttrnberg.
Ottani (6t-ta'-ne), Abbate Bernardi-
no, Bologna, 1735 — Turin, 1827 ;
dram, composer.
Otto (6t'-t6). (i) Vide OTT. (2)
(Ernst) Julius, Kttnigstein, Saxony,
Sept. I, 1804— Dresden, March 5,
1877 ; notable composer of cydes for
male chorus, songs, .operas, etc (5)
Fz., KOnigstein, Saxony, 1809—
Mayence, 1841; c. pop. songs^ (4)
Rudolph K. Jnlinsy b. Berlin, April
27, 1829; solo boy-soprano at the
Domcbor, Berlin ; from 1848, tenor
there; 1852, teacher singing Stem
Cons.; 1873 at R. Hochschuk fir
Musik.
Otto-AlTsleben (6t'.to-dir.sla4)fo),
Melitta (nee AlTsleben), Dresden,
1842 — 1893 ; soprano ; married, 1866.
Oudin (oo-d&fi), Enigtee (E^
ranee). New York, 1858 — Loodoa,
1894; barytone, pianist and oon-
poser.
Oudrid J S^^ura (oo^redh' e si-goo'-
rft), CristoCal, Badajoz. i829~Mad-
rid, March 15, 1877; conductor and
dram, composer.
Oulibichet Vide uubishev.
Oury. Vide bellkville-oury.
Ouse'ley, Sir Fr. Arthur Gore, Loo-
don, Aug. 12, 1825 — Hereford, April
6, 1889; notable theorist and cooi-
poser; pianist and ori^nist remark-
able for fugal improvisation ; wrote
important treatises, etc.; c an open
at 8 ; M. A. Oxford, 1840, Mus. Doc
there, 1854; also from Durham and
Cambridge, 1862 ; from i8ss Prof, of
Music at Oxford, vice Sir H. R.
Bishop; c. 2 oratorios incl. **i/!t-
gar.
Overend, Mamxaduke, d. 1790:
Engl, organist and composer of ser-
vices, 70 anthems, 18 organ preludes
and fugues, etc.; biog. by Joyce
(London, 1896}.
Owst, Wilberloss G., b. London,
June 13, 1861; pupil of Eaton Fan-
mg and H. Gadsby, and of Stuttgart
Cons., 1893-95 ; organist, Baltimore,
U. S. A.; pub. Communion Service,
anthems, etc.
Pabst (pSpst), (i) Auff., Elberfeki,
May 30, 1811— -Riga, July 21, 1885;
director and composer of opens.
DICTIONARY OF MUSICIANS 657
(2) Louis, b. KOnigsberg, J[uly 18,
1846 ; son of above ; pianist and
composer. From 1899, head pf.-
teacher Moscow Philh. Sch. (3)
Paiil» KOnigsberg, 1854 — Moscow,
1897; son of (i); pf.-prof.; direc-
tor.
Pacchiarotti (pftk-kY-ft.r6t'.te), Ga»-
paro, Fabriano, Ancona, 1744 — Pad-
ua, Oct. 28, 1821; one of the great-
est and most succ. of i8th cent, sing-
ers ; soprano-musico.
Pachelbel (pftkh'-«l-b«l), (i) J., Nam-
berg, Sept. i. 1653 — March 3, 1706;
or^. -virtuoso and composer. (3)
Wm. Hieronymus, b. Erfurt, 1685 ;
son of above ; organist and com-
poser.
Pacher (pikh'-«r). Jos. Adalbert,
]!>aubrawitz, Moravia, 18 16 — Gmun-
den, 187 1 ; composer.
Pachtnann (pakh -m&n), Vladimir de,
b. Odessa, July 27, 1848: noUble
pianist especially devoted to Chopin's
mus. ; son and pupil of a prof, at Vi-
enna Univ. ; a good violinist ; studied
also with Dacl^, Vienna Cons. ; 1869
toured Russia with a great succ. that
has followed him throughout Europe
and America ; in Denmark he re-
ceived the Order of the Danebrog
from the King ; since 1896, lives in
Berlin.
Pachulski (pfi-khool'-shkl), Henry, b.
Poland, Oct. 4, 1859 ; pupil Warsaw
Cons., now prof. Moscow Cons.; c.
pf.-pcs., etc.
Pac(c)iiii (pft-chr-ne), (i) Andrea, b.
Italy, ca. 1700 ; male contralto. (3)
A. Fran. Gaetano Saverio, Na-
ples. 1778 — Paris, 1866; singing-
teacher, conductor and composer of
comic operas. (3) Giov., Qatania,
Feb. 17, 1796 — Pescia, Dec. 6. 1867;
son of a tenor ; pupil of Marchesi,
Padre Mattel and Furlanetto ; 18 13-
35, prod. 40 operas, the last failing,
be established a sch. at Viareg^o,
later Lucca, wrote treatises, etc.;
1840, the succ. of •* Saffo " set him to
work again, and he turned out 40
more operas, also oratorios, a sympb.
4a
''Dante,'* etc. (4) Emilio, i8io—
Neuilly, near Paris, Dec. 2, 1898^;
bro. of above ; librettist of " // Tro*
vatore,' etc.
Padus (pa'-tsl-oos), Fr., Hambui^,
March 19, 1809 — Helsingfors, Jan. 9,
1891 ; violinbt ; c. the Finnish Na-
tional Hymn, operas, etc.
Paderewski (p^d-d-rdf-shkl). Ignace
Jan, b. Podolia, Poland, Nov. 6,
1859; eminent pianist and composer ;
pupil of Raguski (harm, and cpt)
Warsaw Cons. , of Urban and Wuerst,
Berlin ; of Leschetitzky, Vienna.
1878-83, pf. -teacher; Warsaw Cons.;
has toured Europe and America with
unprecedented succ. financially and
with high artistic triumph. His first
wife, who died young, bore him a
son. 1899, m. Mme. Gorski. 1896
he set aside $10,000 as the Paderew-
ski fund, the interest to be devoted to
triennial prizes **to composers of
American birth without distinction as
to age or religion ; '* 1. $500 for best
orchestral work in symph. form ; 2.
$300 for best comp. for solo instr.
with orch. ; 3. $200 for best chamber-
music work. Lives in Paris and Switz-
erland ; c. succ. opera ** Manru " (Ct.-
Th., Dresden, 1901); Polish fantasia
for pf. with orch. op. 19, ''Ugende No,
^,'* for pf. op. 20, and many original
and brilliant pf.-pcs. incl. *' Chants du
voyagfur,** a vln. sonata ; vars. and
fugue on original theme ; op. 14,
''Humoresques <U concert for pf.**
(Book I ; Menuety Sarabande, Co*
price; Book ^, Burlesque, Inter*
mezso polacco, Cracovienne fantas*
tique) ; ''Dans le d/sert^ toccata";
V. pop. Minuet (op. i); songs, etc.
Padula 7 Ramos (pS-del'-yft € rft'-
mos), b. Murcia, Spain, 1842 ; pupil
of Mabellini, Florence ; barytone at
Messina, Turin, eta, St. Petersburg,
Vienna and Berlin ; 1869, m. Desiree
Artot.
PaiSr (p&'-ir), Ferdinando, Parma,
June I, 1771 — Paris, May 3, 1839.
1807, ct-cond. to Napoleon and
cond. Op.-Com; 1812, oond. Th—
658
THE MUSICAL GUIDE
Italien (vice Spontini); violinist and
c. 43 operas.
Paesiello. Vide paisiello.
Paganini (pag-i-ne'-ne), Niccold,
Genoa, Oct. 27, 1782 — Nice. May 27.
1840; the pre-eminent violin-virtu-
oso. Studied with G. Servetto and
G. Dosta ; at 8 he c. a vln.-sonata ;
at 9 he played in public with greatest
succ; from 1795 he studied with Ghi-
retti and Aless. Rolla (though P.
denied this), at Parma. 1798, he ran
away from his severe father after a
concert at Lucca, and played at Pisa
and other plaees. At 15 he was a
passionate gambler, and very dissi-
pated. Fits of gambling alternated
with periods when he practised 10
hours a day, the result being a ruined
constitution. He pawned his violin
to pay a gambling debt, but a M.
Levron presented him with a Joseph
Guamerius, which P. willed to Ge-
noa. In 1804 he went home, and
practised till 1805, when he had ex-
traordinary succ. making a sensation
by brilliant performances on the G
string alone ; soon ct. - soloist at
Lucca ; then to 1827 he toured Italy,
crushing all rivalry with an extraordi-
nary technic ; 1827, Pope Leo XII.
conferred on him the Order of the
Golden Spur ; he played at Vienna,
receiving from the municipality the
great gold medal of St. Salvator;
from the Emperor the honorary title
of ct.-virtuoso. 1829, Berlin ; 1831,
Paris; 1831, London. 1833-34,
Paris ; then retired to his villa at Par-
ma. He lost 50,000 francs on a
scheme to establish a gambling house
with concert- annex at Paris, the gam-
bling-license being refused. Though
his earnings were enormous, he was
not generous except spasmodically ;
he gave Berlioz $4,000 as a compli-
ment for his ** Symphonie Fantas^
tique'' (B. had writtten ''Harold in
/Aj/^" for P. *8 Stradivari viola). He
m. the singer An tenia Bianchi, and
he left his son Achille $400,000 (;f 80,-
000). He died of phthisis of the lar-
ynx. His technic was never ecpialied,
and it provoked superstitioos dread
among his auditors, his ghoulish ap-
pearance aiding the impresson. He
was sometimes the charlatan and
some of his effects were doe to ^k*
cial tunings (scordatures), but fas
virtuosity has never been rivalled.
C. 24 caprices for violin-solo : of
which pf.-transcriptions were made
by Schumann and Liszt ; 12 sooatas
for violin and guitar (op. 2) ; do (op.
3) \ 3 %^^ quartetti ; concerto in Eb
(solo part in D, for a vln. toned a
semitone high) ; concerto in B min.;
''La CampafuUa,'' with Rondo i la
clochette (op. 7) ; variations on many
themes, '' U Stregkt;' '* Godsavtikt
Kingr ''The Carnival of Venice^
etc; concert Allegro *' Afota per-
peiuo^ (op. 12); a sonata with ac-
comp. of vin., *ceIlo or pf., and stodies,
etc. Biog. by Fetis (Paris, 185 1 ; Engi
London, 1852) ; A. Niggli (1SS2) ;
O. Bruni (Florence, 1873).
P*8f«» (i) J'» England, ca. 1750 — Loo-
don, 1812 ; tenor. (2) Nathan Cltf-
ford| b. San Francisco, Oct. 26,
1866 ; pupil of £. S. Kelley ; at 21
c. an opera (prod, at San FranciscoV
incid. mus. for ''Moonlight Blossom "
(London, 1898), using Japanese
themes ; c. also an opera ** Viuirrst"
a ** Caprice " developing one S>meas>
ure theme through 5 movements of
an orch. suite; a "Village Smie"
for orch., etc.
Paine (pan), J. Knowles, b. Portland.
Me., Jan. 9, 1839; ^^^ ^^^ Amer-
ican composer of importance ; pupil
of Kotzschmar, at Portland, Hanpc
(cpt.), Fischer (singing), and Wie-
precht (instr.), Berlin ; gave org.-
concerts in Berlin and American
cities, then lived in Boston as organ-
ist West Church ; 1862, teacher ol
mus. Harvard Univ., and oi^nist ^t
Appleton Chapel, Cambridge ; since
1876, prof, of mus. and organist at
Harvard ; c. an opera (text and mos.)
"A%ara'\- oratorio " St. Pgter,^
Centennial Hymn^^ with orch, (to
«»,
DICTIONARY OF MUSICIANS 659
open the Philadelphia Exposition,
1876) ; ** Columbus March and
Hymn " (to open the Columbian Ex-
position, Chicago, 1893) ; mus. to
Sophokles' ''(Edipus Tyr annus'' for
male voices and orch. (prod, at Har-
vard, t88i) ; 3 cantatas with orch.
•' 7 he Realm of Fancy,'' *' The Na-
tivity^' ** Song of Promise," 2symphs.
op. 23, in C min., and op. 34 in A
(" Spring symph.") ; 2symph. poems,
*• The Tempest" and ''An Island
Fantasy" \ overture to ''As You
Like It " ; Domine Salvum with orch. ;
mass, with orch.; chamber-mus. , vln.-
sonata etc
Paisiello (pS-e-sY-^lMo) (or Paesiello)
(pa-a-sl-fil'-lo), Taranto, Italy, May
9, 1741 — Naples, June 3, 1816. At
5 studied at Jesuit sch. in Taranto
with a priest Resta; later studied
with Durante, Cotumacci and Abos,
Cons, di S. Onof no, at Naples ;
teacher there, 1759-61. He c.
masses, etc., till a comic intermezzo
(Cons. Theatre, 1763) won him a
commission to c. an opera for the
Marsigli Th., at Bologna, where his
comic opera ** La Pupilla^ ossio il
Mondo alia Roves cia" was prod.
1764. (Grove calls this work 2 op-
eras.) In 12 years he prod. 50 operas
mainly succ, though in rivalry with
Piccinni and Cimarosa ; these include
** // Marchese di Tulipano" (Rome,
1766); "VIdolo Cinese" (Naples.
1767) and "La Serva Padrona"
(Naples, 1769). He was notable also
for his jealousy and devotion to in-
trigue. 1776-84, St. Petersburg, with
a splendid salary and on invitation
from Empress Catherine. Here he
prod. 1776 *' // Bar bier e di Sivig-
Ha" gaining such succ. that the later
and hotter opera by Rossini was re-
ceived as a sacrilege with great hos-
tility at first ; on his return from
Russia he prod, at Vienna one of his
best works, " II Re Teodoro" and 12
symph. for Joseph II. 1784-99,
cond. to Ferdinand IV. of Naples ;
and prod, various works incL
" L'Olimpiade" (1786) and "Nina,
o la Pazza per A more" (1789), *' La
Molinara " and ** Izingariin Fiera."
During the revolution 1 799-1 801, he
won the favour of the Republican
govt., also regained the favour of
royalty at the Restoration, till Napo-
leon who had always admired him
called him to Paris, 1802-03, as cond.
Here P. lived in magnificence, lord-
ing it over Cherubini and Mehul.
1803-15, he was in Naples again as
ct.-cond. In 18 15, on the return of
Ferdinand IV., he was reduced to a
small salary ; soon his wife died, and
he shortly after. A composer of great
prolificity, melodic g^ace and sim-
plicity, his works are rarely heard
now. He c. 100 operas, a Passion
oratorio (Warsaw, 1784) ; 3 solemn
masses, Te Deum for double chorus
and 2 orch.; requiem with orch.
(performed at his own funeral) ; 30
masses with orch., 40 motets, 12
symphs., and other things in pro-
portion. Biog. by Le Seuer (18 16),
Quatrem^re de Quincy (18 17), Schiz-
zi (Milan, 1833), Villarosa (Naples,
1840).
Pais (pjl'-ex), Jacob, Augsburg, 1550
— after 1590 ; organist and composer.
Paladilhe (p&l-^-del), £mile, b.
June 3, 1844; studied with Mar-
montel (pf.). Benott (org.) and Hale-
vy (cpt.), Paris Cons.; won ist prize
for pf. and org., 1857; i860. Grand
prix de Rome, with the cantata '* Le
Czar Ivan IV" (Op^ra, i860); from
Rome, he sent an Italian opera buffa,
an overture and a symph.; 1872, prod,
the i-act comic opera "Le Passant**
(Op. -Com.) followed by 5 operas incL
the still pop. *• Patrie^' (Opera, 1886;
1889, Hamburg, as ** Vaterland" ;
1895, Milan, as " P atria") \ and c.
also 2 masses, a symph., etc.
Palestrina (pa-lds-tre'-na) (rightly
Giovanni Pierluig^ Sante, called
da Palestrina, from his birthplace),
Palestrina, near Rome, probably 15 14
or 151 5 (some say 1528 or 9) — Rome,
Feb. 2, 1594. One of the most revered
66o
THE MUSICAL GUIDE
names in music; he was b. of poor par-
ents, little is known of his early life ;
he is said to have earned his living
first as a church-singer; probably
studied in Goudimers sch., 1540, and
iwis, 1544-51, organist at Palestrina,
then magister pueronim (master of
the boys), in the Cappella Giula, with
title ** maestro della cappella della Ba-
silica Vaticana. ** He dedicated a book
of masses to Pope Julius III., who,
Jan., 1554, admitted him to the Pon-
tifical Chapel as a singer, against the
rules, P. having a wife and no voice.
July 30. 1555, Paul IV. dismissed
him with a pension of 6 scudi per
month. This blow affected him so
deeply (he had 4 children to support)
that he suffered nervous prostration.
On Oct. I, however, the Pope ap-
pointed him cond. at the Lateran.
1560, he prod, his famous ** Jmpro'
peria " (v. D. D.) for Holy Week,
with such succ, that the Pope se-
cured them for the Sistine Chapel,
where they have been performed on
every Good Friday since. 1561, he
took the better-salaried post of cond.
at Santa Maria Maggiore. The
Pope was determined to rid church-
mus. of its astonishing secular quali-
ties : first, the use of street-ballads,
even when indecent, as canti fer-
mi, many of the choir actually sing-
ing the words ; and second, the riot-
ous counterpoint with which the
sacred texts and the secular tunes
were overrun. The Council of Trent
and a committee of 8 cardinals, con-
sidering the matter seriously, decided
not to revolutionise church-music en-
tirely, and in 1564 commissioned Pal-
estrina, by this time famous, to write
a mass which should reform, without
uprooting, ecclesiastical polyphony.
He wrote three, all noble, the third,
the ^'' Missa papa Afarcelli^** win-
ning the most profound praise. He
was called "the saviour of music,"
and appointed composer to the Pon-
tifical Chapel. 1 571, he became and
remained till death maestro of St.
Peter*s. He also composed for the
** Congregazione del Oratorio" (▼.
NERi) ; taught in Nanini's sch., asi
was from 1581 maestro concertatOR
to Prince Buoncompagni. Pope Six-
tus V. wished to appoint him maettro
of the Sistine Chapel, but the singes
refused to serve under a layman. He
was, however, commissioned to ^^
vise the Roman Gradual and Anti-
phonal, by Pope Gregory XIII.; he
pub. the ** Directorium chori " (1582),
the offices of Holy Week (1587), and
the Prafatioms (1588), but on the
death of his pupil and assist. Giudetti.
he was compelled to leave the vod
unfinished. A complete ed. of his
works is pub. by Breitkopf and Har-
tel : Vols, i.-vii. contain 262 mo-
tets ; Vol. viii., 45 hymns ; Vol. ix.,
68 offertories; Vols, x.-xxiv., 92
Masses; Vol. xxv., 9 Lamentatiaos
each in various arrangrements in 3, 4,
5, 6, or 8 parts ; Vol. xxvL, 17 Lita-
nies, Motets and Psalms in 3-12
parts; Vol. xxvii., 35 Magnificats:
Vol. xxviii., about 90 Italian (secu-
lar) Madrigsds ; Vol. xxix., 56 Church-
Madrigals (Latin); Vol. xxx. (from
colls, of i6th-i7th cent.), 12 Can-
. tiones sacrse, 12 Cant, profans^ ai»i
14 Cant, sacrse ; Vol. xxxi. (frooi
archives of the Pontifical Chapel,
etc.), 56 miscellaneous numbers, maoj
doubtful, incl. 11, ** Esercizi sopra b
scala'* ; Vol. xxxiL, 60 miscellaneous
comp. incl. 8 Ricercari, Responses,
Antiphones, etc.; Vol. xxxiii., Docn-
nients. Index, Bibliography, etc
Among his best masses are *"y£tfnu
Christi munera** *^*^ Dies suncHJu^
tus^^ *• O sacrum convivium," in 8
parts ; ** Assumpta est Maria in <«-
lum;' '' DiUxi quaniam;* '' Ecee^
Joannes:' ''Papa MarcelU'' in 6
parts ; '' Tu es Petrus " in 6 partsj
these, the Motet ** Exaudi Domine*
3 Lsunentations, also selected Ma-
drigals, Canzonets, etc., are pub. sa>-
arately. Biog. by Baini (Rome,i828j ;
A. Bartolini (Rome, 1870); Baum-
ker (1877) ; Cametti (Milan, 1895).
DICTIONARY OF MUSICIANS 661
Palestrina.
By W, J. Henderson.
PALESTRINA'S work in musical history was bringing order out of
chaos in church-masic, and setting the model for the loftiest purity of
,style. The music of the Church had become too complex through
le extreme development of rigidly canonic writing. Palestrina, following
le lead of some of his predecessors, who had begun to write in free counter-
ointy showed how this new style could be made to yield the finest possible
esults in the compondon of music £>r the mass, and other parts of the
Coman ritual. By adhering to the ecclesiastical scales and avoiding chro-
oatic progressions^ by clmging to purely religious thought and excluding any-
hing like passion, Palestrina produced works which have remained to this day
he perfect model of church-muuc. ^ The contrapuntal skill in his writing
s jnasteriy, but it never parades itself. Its most beaudfiil effects are produced
mth apparent spontaneity, and frequent chord harmonies of enchanting love-
iness seem to be acddental. The Roman school of church-composers was
founded by Palestrina, and his influence is even yet percepdble in the music of
^e Holy Qty. He has universally been accorded the position of the greatest
^f all church-composers.
Pair ff. Count Fd. von Erddd, Vien-
na, 1774-1840; amateur musician
and operatic manager.
Paliavicini (pil-l&-ve-che'-ni), (i) (or
PallaTidno) Benedetto, Cremona
— Mantua (?), after 1616 ; conductor
and composer. (2) Carlo, Brescia,
1630— Dnesden, 1688 ; conductor and
dram, composer.
PaUo'ni, Gaetano, b. Camerino, Italy.
Aug. 4, 1831; pupil of Cellini, Fer-
mo ; otganist there, 1854 ; studied
with Mabellini, Florence, where he
Ihred as a singing-teacher and com-
poser.
Palme (p2l'.mQ, Rudolph, b. Barby-
on-Elbe, Oct. 23, 1834 ; pupil of A.
G. Ritter; organist; R. Mus. Dir.
and organist at Magdeburg ; c. con-
cert-fantadas with male chorus, so-
natas, etc. , for org.
Palm'er, Horatio Richmond, b. Sher-
burne, N. Y., April 26, 1834 ; pupil
of his father and sister, and studied in
New York, Berlin and Florence ; at
18, began composing ; at 20 chorus-
cond.; 1857, teacher at Rushford
Acad. ; after the Civil War. Chicago;
ed. ** Concordia"/ cond. various so-
cieties from 1873, cond. New Church
Choral Union, giving concerts, some-
times with 4,000 singers ; since 1877,
Dean of the Chautauqua Sch. of Mus. ;
Mus. Doc. (Chicagro Univ. and Alfred
Univ.); pub. colls, and treatises.
Paloschi (pa.l6s'.k€), Giov., 1824—
1892, member of the Milan firm of
Ricordi.
Palot'ta, Matteo, Palermo, 1680^
Vienna, 1758 ; ct.-composer and
writer.
Paminger (pa'-mlng-^r) (or Pammi-
rerus, Panni'gems), Leonhardt,
Aschau, Upper Alsatia, 1484 — Pas-
sau, 1567; composer.
Pan, one of the Greek gods ; said to be
inventor of the pipe.
Pan'ny, Jos., Kolmiuberg, Lower
662
THE MUSICAL GUIDE
Austria, 1794 — Mayence, 1838; vio-
linist, teacher and composer.
Panofka, H., Breslau, i8o7^Flo.
rence, 1887 ; violinist, writer and
composer.
Panseron (pan-sfi-ron), Aug* Ifa-
thien, Paris, 1796 — 1859; writer of
vocal methods, etudes, etc.; com-
poser.
Paolncci (pa-d-loot'-che), Gin., Siena,
1727 — 1777; conductor, theorist and
composer.
Panth^s (pSA-t6s'\ Marie, b. of
French parents, at Odessa ; pupil of
Fissot, Paris Cons., taking ist prize
at 14.
Panzner (pants' -n£r), K., b. Teplitz,
Bohemia, March 2, 1866 ; pupil of
Nicode and Draeseke ; cond. at Son-
dershausen th.; 2 years later at £U
berfeld ; 1893 ; ist cond. Leipzig
city th.; 1899, cond. Philh. concerts,
Bremen.
Pape (pa -p«), Jiu H., Sarstedt, near
Hanover, July i, 1789 — Paris, Feb.
2, 1875 ; distinguished maker and
improver of the piano ; he inv. a
transposing piano, introd. padded
hammers, etc.
Papier (pa-pcr), (i) Lonis, Leipzig,
1829 — 1878 ; organist, singing-teach-
er and composer. (2) Rosa, b.
Baden, near Vienna, 1858 ; mezzo-
soprano ; Imp. Op., Vienna; 1881,
m. Dr. Hans Paumgartner.
Papillon de la Fert6 (piL-pe-yofi dii
la f«r-ta'), (1) guillotined, Paris.
1793. 1777, Intendant of the ** Menus
plajsirs," of Louis XVI.; Inspector
" Ecole royale de chant"; dir. of
Opera. (2) His son was, 18 14, Mus.
Intendant-in-chief.
Papini (pa-pe'-ne), Gnido, b. Cama-
giore, near Florence, Aug. i, 1847 ;
violinist ; pupil of Giorgetti ; d^but at
13 ; toured Europe ; composer.
Papperitz (pap'-p«-rets), Benj. Robt.,
b. Pima, Saxony, Dec. 4, 1826 ; pu-
pil of Hauptmann, Richter and Mo-
scheles, Leipzig Cons., 185 1; teach-
er of harm, and opt. there ; from
1868-69, also organist of Nikolai-
kircfae there; 1882. R. Prof.; coe-
poser.
Paqne (p&k), GniL, Brussels, 1825—
London, 1876; 'cello-virtuoso amf
teacher.
Paradies (or Paradisi) (pS-ri-de'-^,
or de'-sc), P. Dom., Naples, 1710-
Venice. 1792; pupil of Poipaa;
harps. -player and teacher, also dnm.
composer.
Panufis (p6-rS-des'), Maria Tbere-
sia ▼on, Vienna, May 15, 1759-
Feb. I, 1824 ; a skilful blind oipn-
ist and pianist for whom Mcaait
wrote a concerto ; daughter of as
Imperial Councillor; teacher of pf.
and voice ; c. an opera.
Parent (pi-rin), Charlotte Frances
Hortense, b. London, March n,
1837; pianist; pupil of Mme. Far-
renc, Paris Cons.; founded "£co!e
preparatoire au professorat," Paris;
wrote apf. -method (1872), etc.
Parepa-Kosa (pa-ra'-|^-rd'-za) (o«
Parepa de Boyescn), Enphrosjse,
Edinburgh, May 7, 1836 — IjOwIoo.
Jan. 21, 1874; daughter and pap^
of Elizabeth Seguin, a singer; emi-
nent soprano in opera and oratorio :
her strong and sympathetic voice had
a compass of 2^ octaves reachii^ to
d'" (v. PITCH, D.D.) ; debut at 16,
Malta ; 1865 m. Carl Rosa ; loured
Europe and America.
Par'ish-Al'Tars, Elias, Teignrooath,
Engl., Feb. 28. 18 10— Vienna, Jan.
25, 1849 * ^^ Jewish descent ; noted
harp- virtuoso and composer.
Parisini (pfi-ri-se'-ne). r ederico, Bo-
logna, 1825 — Jan. 4, 1891 ; theorisi
and dram, composer.
Parke, (i) J.. 1745— 1829; En^J. obo-
ist and composer. (2) Wm. Tbos.,
London, 1762 — 1847 ; bro. of aboTe;
oboist, composer and writer. (3)
Maria Hester, 1775 — 1822 ; daugb-
terof (i), singer, composer and writer.
Park'er, (i) Jas. Cutler Dunn, b.
Boston, Mass., June 2, 1828; studied
Leipzig Cons.; lives in Boston and
Brookline ; 1862, organist ** Parter
Club," vocal soc.; 1864-91, organist
DICTIONARY OF MUSICIANS 663
Trinity Ch., and for years organist
Hluidel and Haydn Soc; prof. Bos-
ton Univ. Coll. of Mus., and Exam-
iner N. E. Cons. ; writer and transl.;
c. ** Redemption Hymn " (1877) ; can-
tata ''The Blind King'' (1886);
•* Si, John," with orch. ; oratorio,
** The Life of Man"; church-ser-
vices, etc. (2) H., b. London, Aug.
4, 1845 ; pupil of Leipzig Cons., and
of Lefort, Paris ; singing-teacher and
cond. London ; wrote treatise ** The
Voice "; c. comic opera ** Migno-
miU " (London, 1889) ; "^Jerusa-
lem" for bass-solo and chorus (Albert
Hall, 1884); gavottes, etc., for orch.;
pf.-pcs. (3) Horatio Wm., b. Au-
bumdale, Mass., Sept. 15, 1863;
prominent American composer ; pupil
of his mother, later of Emery (theo-
ry). J. Orth (pf.), and Chad wick
(comp.), Boston ; organist Dedham
and Boston; studied 1882-85 with
Rheinberger (org. and comp.) and L.
Abel (cond.), Munich ; organist and
prof, of mus. St. Paul's Sch.; Gar-
den City, New York ; 1886, organist
St. Andrew's, Harlem; 1888, Ch.
of the Holy Trinity, N. Y.; since
i8q4, prof, of mus., Yale Univ.;
1899, cond. his notable oratorio
*'^ I/ora Novissima" at Worcester
(Engl.) Festival with great succ.
(first given at Worcester (U. S. A.)
Festival, 1893). Pub. coll. of org.-
pcs.; c. oratorios, " Hora Novissi-
ma " (1893), and '* St. Christopher"
(1896); cantatas "King Trojan"
(Munich, 1885), ** The Holy Child:'
'• The Kobold" and " Harold Har-
fager" prize-cantata, ** Dream
King" (1893); symph. in C; con-
cert-overture; heroic-overture " Reg-
ulus ",' overture to ' * Count Robert of
Paris" " Cohal Afahr," for bar.-
solo and orch. (1893); "Commence-
ment Ode" Yale Univ. (1895) ; Mc-
Cag^ prize chorus a cappella (1898) ;
">f Northern Ballad^* for orch.
(1809), etc.
Park inson, Elizabeth, b. Missouri ;
pupil of Mrs. Lawton, Kansas City,
and Miolan Carvalho and de la Nux,
Paris; debut as '*Dinorah," 1896;
engaged at Opera Comique, 1887;
has sung there since and elsewhere.
Par'ratt, Sir Walter, b. Huddersfield,
Feb. 10, 1841 ; at 7 sang in church ;
at 10 knew Bach's ** Well-tempered
Clavichord" \iy heart; at 11, organ-
ist Armitage Bridge; 1872 Magdalen
Coll., Oxford; 1882, St. George's
Chapel, Windsor; Mus. Bac. Oxon.,
1873; 1883, organ-prof. R. C. M. ;
knighted 1892; 1893, Master of Mus.
in Ordinary to the Queen ; wrote ar-
ticles; c. mus. to "Agamemnon"
and "Orestes" "Elegy to Patro-
clus" (1883), anthems, org. -and pf.-
pcs., etc.
Par'ry, (i) J., Ruabon, N. Wales—
Wynnstay, Oct. 7. 1782; Welsh bard,
harper, and composer. (2) J. (called
** Bardd Alaw," i. e., master of song),
Denbigh, Feb. 18, 1776 — London,
April 8, 185 1 ; clarinettist ; cond. of
the Eisteddfod for years; critic, teach-
er and composer in London ; pub.
colls., etc. (3) J. Orlando, London,
i8i<>— E. Molesey, 1879; son of
above ; pianist, harpist, singer and
composer. (4) Jos., b. Merthyr
Tydvil, Wales, May 21, 1841 ; the
son of a labourer ; at 10 worked in a
puddling-fumace ; 1854 emigrated to
America with his family, but returned
to Britain, won Eisteddfod prizes for
songs, 1868 studied R. A. M. on a
fund especially raised by Brinley
Richards ; 1871, Mus. Bac. Cambr. ;
prof, of music, Univ. Col., Aberyst-
with; 1878, Mus. Doc.; 1888, Mus.
Lecturer at Cardiff ; also Fellow R.
A. M. C. 4 operas, cantatas ** The
Prodigal Son, " Nebuchadnezzar"
and •* Cambria "; " Druids' Chorus";
an orchestral ballade, overtures, etc.
(5) Sir Chas. Hubert Hastings, b.
Bournemouth, England, Feb. 27,
1848 ; eminent English composer ;
from 1861, while at Eton, pupil of
G. Elvy (comp.), was pianist, organ-
ist, singer, and composer at the con-
certs of the Musical Soc. At iS,
664
THE MUSICAL GUIDE
while still at Eton, he took " Mus.
Bac. " at Oxford, wrote a cantata,
" O Lard, Thou hast cast us out'';
1867, Exeter Coll., Oxford; founded
•* Univ. Mus. Club'* ; 1874, M. A. ;
studied with Bennett and Macfarren,
and Dannreuther (pf.)t &nd Pierson,
Stuttgart. At 26 prod. ** Inter metto
rfligioso,** for strings (Gloucester
Festival) ; 1883, Choragus of Ox-
ford and Mus. Doc. Cantab.; do.
Oxon, 1884, do. Dublin, 1891 ; 1894
dir. R. C. M.; 1898, knighted; 1902
made a baronet ; active as lecturer
and writer of essays and books incl.
the notable ** Evolution of the Art
of Music *Xi896). C. also 4 sjrmphs.;
symph vars. ; overtures, ** 7<» an
Unwritten Tragedy'' and " Guillem
de Cabestanh "; oratorios ** Judith,"
'Job;' ''King Saul"; mus. to
Aristophanes* ''Birds" (1883), and
" Frogs " (1802) ; and to ** Hypatia "
{1893) ; the following were prod, at
prominent festivals : scenes from
Shelley's ** Prometheus Unbound"
with orch. (Gloucester festival, 1880);
•* The Glories of our Blood and
StaU"; " Suite moderne" " Ode on
St. Cecilia's Day," " L'AlUgro ed II
Penseroso" " De profundis" with 3
choirs and orch. ; chamber-mus. ; vln.-
and pf. -sonatas, songs, etc. ; ** Invoca-
tion to Music " ; Magnificat, in Latin.
Par' sons, (i) Robt., Exeter, 1563 —
drowned Newark, 1569 (-70?); com-
poser. (2) J., d. 1623 ; probably son
of above ; organist and composer.
(3) Sir Wm., 1746 — 18 17 ; master of
King's Band and teacher. (4) Albert
Ross, b. Sandusky, O., Sept 16,
1847 ; noteworthy American teacher;
pupil of F. K. Ritter, N. Y., and at
Leipzig Cons. ; later of Tausig, Kul-
lak, Weitzmann and Wttrst, Berlin ;
1 87 1, New York ; organist since
1885, Fifth Av. Presb. Ch.; translat-
or, editor, and writer of various
works ; c. vocal quartets, songs, etc.
(5) E. A., pianist ; from 1894 organ-
ist, Ch. of the Divine Paternity, N,
Y.; c. pf. -concerto, etc.
Pasch (p&sh), Oskar, b. Frankfoit-<»-
Oder, March 28, 1844 ; pupil of R.
Inst, for Church-mus. and the Acad,
for Comp., Berlin ; 1874, ^"^>b tbe
Michael Beer prize ; wrote Psalm 130
with orch.; 1884, Royal Mos. Dir..
organist and singing-teacher at Ber-
lin ; c a symph., oratorios, etc.
Pascncci (pas-koot'-che), Gior. Ce>
sare, b. Rome, Feb. 28. 1841; c
comic operas and operettas in Roota
dialect, 2 oratorios, etc.
Pasdelonp (p2-dfi-loop), Jilet
£tieiine, Paris, Sept. 15, i8i9^F(»-
tainebleau, Aug. 13, 1887; emineDi
cond.; pianist; pupil Paris Coos.,
1847-50; pf.-teacher, and 1855-68,
teacher of ensemble there; 1851,
cond. famous concerts (known from
1 86 1 as ** concerts populaires **); t.
succ. till 1884, when they fell before
the popularity of Coloone and La-
moureux ; a benefit festival brought
him 100,000 francs ($20,000).
Pash'aloff, Victor Nikandrovitck,
Saratoff, Russia, 1841 — Kasan, 1885;
composer.
Pas'more, H. Bickford, b. Jacksoo,
Wis., June 27, 1857; pupil of J. P.
Morgan (org. and harm.), of Jadas-
sohn, Reinecke (pf.)> Frau Unger^
Haupt (voice), Leipzig and of W.
Shakespeare and R. H. Cummings,
London ; lives in San Francisco as
organist and prof, of singing; c
** Conclave " march, overture for orch.
"Miles Standish" masses, etc,
Pasquali (pSs-kwS'-le), Nicold, b.
Italy — Edinbui^h, 1757; writer and
composer.
Pasqn6 (p^ka), Ernst, Cologne,
1821 — Alsbach, 1892; barytone; di-
rector and writer.
Pasquini (pSs-kwe'-ne), Bdo., Mass&
di Valdinevole, Tuscany, Dec 8,
1637 — Rome, Nov. 22, 1710; Aoted
organist at San Maria Maggiore ; pu-
pil of Vittori and Cesti ; teacher and
composer of 2 operas, an oratorio,
etc.
Pasta (p&s'-t&) (n^ Negri), (i) Gn-
ditta, Como, April 9, 1798— viUt os
DICTIONARY OF MUSICIANS 665
Lake Como, April i, 1865 ; a noted
Jewish singer ; pupil of Asioli ; d^
but, 1815, but had no succ; studied
with Sca{^, and reappeared with
fipreatest succ. Her powerful voice
(range a-d'", v. pitch, D. D.) had
always some irregularities, but her
dramatic power was great and she
invented embellishments with much
skill ; m. the tenor (2) Pasta, be-
fore 1816 ; she created ** La Son-
nambula " and '* Norma " and earned
a fortune.
Paston (pgs-too), Etienne J. Bapt.,
Vigan, France, 1784 — Temes, near
Pari&, 185 1 ; singing-prof, and writer.
Pa't^y Janet Monach (n<^ Why-
tock)y London, 1842 — Sheffield, 1894;
alto.
Pa'ton, Mary Ann (Mrs. Wood),
Edinburgh, 1802 — Bucliffe Hall, near
Wakefield, T864 ; prominent soprano ;
m. tenor Jos. Wood, 1831.
Patti (pat'-te), (i) Carlotta, Florence,
1840 — Paris, June 27, 1889 ; eminent
concert colorature-soprano ; pupil of
her father, (2) Salvatore P., a tenor,
and her mother, (3) Caterina (nee
Chiesa), a soprano. (4) Adelina
(Adela Juana Maria), b. JViadrid,
Feb. 10, 1843 ! one of the most emi-
nent colorature-singers in history ;
sister of (i), and like her a pupil of
her parents ; sang in public as a mere
child ; then studied with Max Stra-
kosch (husband of her sister Amelia);
d^ut, at 16, New York, Nov. 24,
1859, ^ *' Lucia** (under the stage-
nartie '*the little Florinda"); 1861.
Lbndon, Covent Garden ; 1862,
Paris Th. Italien ; 1868, m. the Mar-
quis de Caux. After making the
wioHd her own, she now sing^ only in-
frequently in concerts, and lived till
recently at her villa Craig y Nos, in
Wales. 1886, m. and toured with
the tenor Nicolini (d. 1898); 1899,
m. a Swedish nobleman, Baron Ce-
defstrOm. (3) Carlo, Madrid, 1842
—St. Louis, Mo., March, 1873; bro.
of above; violinist.
Pat'tison, T. Nelson, b. Niagara
Falls, N. v., Oct. 22, 1845 ; pianist ;
pupil of Liszt, Thalberg, Henselt
and von BUlow (pf.), and Haupt
(harm.) ; toured U. S. as pianist with
Parepa Rosa, etc.; c. symph. for
orch. and military band " Niagara *V
concert overture, etc.
Patzold (pat'-tsoit), Hn., Neudorf,
Silesia, 1822 — Kttnigsberg, 1861 ;
conductor and composer.
Pauer (pow'-«r), (i) Ernst, b. Vienna,
Dec. 21, 1826 ; noted pianist; son of
a prominent Lutheran clergyman ;
pupil of Th. Dirza, W. A. Mozart,
Jr. (pf.), and Sechter (comp.), later
of Fr. Lachner, Munich ; 1847-51,
dir. mus. societies at Mayence ; 185 1,
London; 1859, prof, at the R. A.
M.; in 1861, gave historical perform-
ances of clavecin and pf.-mus.;
1866, pianist to Austrian Court;
1867, prof, at the Nat. Training Sch.;
1883, R. C. M.; since 1870. lecturer;
toured U. S.; ed. the classics; pub.
mus. primers, colls, of old clavier-
works, and many didactic works ; c.
a quintet, vln. arrangements of
symphs., etc. (2) Max., b. Lon-
don, Oct. 31, 1866 ; son and pupil of
above ; then studied with Lachner,
Carlsruhe ; 1887, pf.-prof. Cologne
Cons.; 1893, chamber-virtuoso to the
Grand Duke of Hesse; since 1897,
prof. Stuttgart Cons.; 1898, msule
prof, by the King of WUrtemberg;
pub. pf. -pieces.
Paul (powl), Oscar, Freiwaldau, 1836
— Leipzig, 1898 ; professor and theo-
rist.
Paumann (pow'-m&n), Konrad, b.
(blind) Nttmberg, ca. 1410 — Munich,
Jan. 25, 1473; c.- the oldest extant
book of org.-j)cs.
Paumgartner (powm'-gartn^r). Dr.
Hans, 1844 — Vienna, May 23, 1893;
pianist ; critic and composer.
Paur (powr), (1) Emil, b. Czemowitz,
Bukovina, Aug. 29, 1855; noted con-
ductor ; pupil of his father ; at 8 he
{)layed vln. and pf. in public ; stud-
ed with Dessoff (comp.) and Hell*
666
THE MUSICAL GUIDE
mesbei^er (vln.) Vienna Cons, (fel-
low pupil with Nikisch and Mottl) ;
graduated with first prizes; 1870,
first vln. and assist. -soloist in ct. -op-
era orch.; 1876, cond. at Cassel ;
later KOni^b^ ; 1880, ist ct.-cond.
Mannheim ; 1891, cond. Leipzig City
Th.; 1893-98, cond. Boston (U. S.
A.) symph. Orch. (vice Nikisch);
1898, New York Philh. Concerts
(vice SeidI); 1899, dir. of the Nat.
Cons., N. Y. (vice DvoHk); 1900,
cond. German opera of the Met. Op. ;
c a vln.-concerto, string-quartet, vln.-
sonata, pf.-pcs., songs. (2) Maria
(n^ Burger), Gengenbach, Black
Forest, 1802 — New York, 1899; wife
of above ; pianist ; pupil Stuttgart
Cons. , Leschetizky and Essipoff , Vi-
enna.
Pauwels (pow'-v^ls), Jean En^bert,
Brussels, 1768 — 1804; violinist, con-
ductor and dram, composer.
Pavesi (pal-va'-se), Stefiano, Crema,
1779 — 1850 ; dram, composer.
Paz' ton, Stephen, d. 1787; EngL
composer.
Payer (pl-dr), Hieronymns, Meidling,
near Vienna, 1787 — Wiedburg, near
Vienna, 1845 ; conductor and dram,
composer.
Peace, Albert Lister, b. Hudders-
field, Engl.. Jan. 26, 1844; promi-
nent organist ; pupil of Horn and
Parratt ; 1875, Mus. Doc. Oxon ;
1873, organist Glasgow cath.; 1897,
of St. George's Hall, Liverpool (vice
Best); c. Psalm 138 with orch., org.-
music.
Pearce, (i) Stephen Austen, Lon-
don, Nov. 7, 1836 — April 9, 1900 ;
pupil of J. L. Hopkins ; Mus. Doc.
Oxford, 1864, same year U. S. and
Canada; then organist 2 London
churches; 1872, vocal-teacher, Co-
lumbia CoU., N. Y.. and lecturer
Pea body Inst, and Johns Hopkins
Univ., Baltimore ; 1879-85, organist
Collegiate Church, N. Y. ; writer and
composer of a 3-act opera, a children's
opera, an oratorio and a church-can-
tata in strict fugal style (prod, at Ox-
ford), overture, etc. (2) Cbas. Wbl,
b. Salisbury, England, Dec. 5, 1856:
pupil of Ayluard, Hoyte, Read ajid
Pront ; 1881. Mus. Bac. 1884 Mas.
Doc., Cambridge. From 187 1 or-
ganist various London churches. iSS:
Prof, of Trinity College ; co-editar,
organist and choir-master; wrote
various text-books, and c. an oraio-
rio.
Pear'sall, Robt. Lncas De, Clifton.
Engl., 1795 — Schloss Wartensec.
Lake of Constance, 1856 ; writer and
composer.
Pearson. Vide pierson.
Peaae (pez), Alfired Hnmpliries,
Cleveland, U. S. A., 1838— St, Louis.
1882 ; pianist and composer.
Pedrell (pa'-dhr«l), Felipe, b. Spaia.
ca. 1835 ; lives in Madrid ; 1S94,
prof, of Mus. History and .^flstfaetics,
Royal Cons., Madrid ; editor, critic,
lexicographer and writer ; c. 3 op^
ras, symphonic ^^Scem^** a mass, etc
Pedrotti {pa-dr6t'-te), Carlo, Verona,
Nov. 12, 1817 — suicide, Oct. 16,
1893 ; conductor and composer of 16
operas, etc.
Pelle^^rini (p^l-la-grc'-ne), (i) Felke,
Tunn, 1774 — Paris, 1832; basso-
buffo and composer. (2) GfoUo,
Milan, 1806 — Munich, 1858 ; basso-
serio.
Pelletan (p«l-taA), Fanny, Paris (?),
1830— 1876 ; singer and writer.
Pembaur (pam'-bowr), Jos., b. Inns-
bruck, May 23, 1848 ; studied Vi-
enna Cons., later at Munich R. Sch.
of Mus.; since 1875 <^>r. and bead-
master, Innsbruck Mtis. Sdi.; prod,
v. succ. opera ** ZigeuntrUien '
(1898), choral works with orch. ;
symph. " Im Tyrol^'' etc.
Pefia y Goni (pan'-yS e go'-ne). Anto-
nio, San Sebastian, Spain, 1846—
Madrid, 1896 ; critic and composer.
Pen'field, Smith Newell, b. Oberiin.
Ohio, April 4, 1837 ; pupil of Jas,
Flint, New York, and of Leipzig
Cons. ; also studied in Paris; founded
Savannah (Ga.) Cons., and Motart
Club; also **Arion*' Cons., Brook-
DICTIONARY OF MUSICIANS 667
lyn, N. Y.; since 1882, lives in New
York ; organist Broadway Taber-
nacle ; 18^ Mus. Doc Univ. of the
City of N. Y.; 1885, pres. of the
M. T. N. A.; c. psalm 18, with
orch.; overture, etc.
Pen'na, Lorenzo, Bologna, 1613 —
Imola, 1693 ; conductor and compos-
er.
Pentenrieder (p^n'-t^n-re-ddr), Fz.
X-, Kaufoeuren, Bavaria, 18 13 —
Munich, 1867 ; organist and dram.
composer.
Pepnscli (pa'-poosh), John Chr. (Jn.
<^hp.)> Berlin, 1667 — London, July
20, 1752 ; violinist, composer and
writer; pupil of Klingenberg and
Grosse ; held a ]x>sition at the Prus-
sian Court, but 1697 seeing the king
kill an officer Avithout trial he went
to London. 1710 founded the fa-
mous ** Academy of Antient Music ; "
1712 organist and composer to Duke
of Chandos (succeeded by Handel),
dir. Lincoln Inn's Theatre, for which
he c. 4 masques, the music to the-
enormously pop. ** Beggar's Opera ^^^
etc.; 1730 m. de T^pire, the singer.
Pentbo (pa'-ri-bo), (Jn.) Ernst, b.
Wiesbaden, Germany, Nov. 14,
1845 ; at 7 brought to New York ;
pupil of his father ; then of Mosche-
fes and Wenzel (pf.)t Papperitz,
Richter, and Hauptmann (harm.),
and Reinecke (comp.), Leipzig Cons. ;
returned to America, 1865; succ. con-
cert-pianist ; lives in Boston as teach-
er and pianist ; c. arrangements, etc.
Pcr'cy, J., d. 1797 ; Engl, composer
of ballads, incl. '' Wapping Old
Stair sr
(pi-ra'-dra), (i) Marcos
>, Ctminha, Portugal — Lisbon,
Jan. 7, 1655 ; c. a mass, etc. (2) Do-
mingos Nnfies, Lisbon — Camarate,
near Lisbon, 1729 ; cond. and com-
poser.
Perepelltzin (pl-r^-p^-let'-shen), Po-
fycarp de, Odessa, Dec. 14^ 1818 ;
Russian colonel ; pupil of Lipinski
(vln.) : writer and composer.
Perez (pa'-r€th), Daviae, of Spanish
parents, Naples, 1711 — Lisbon, 1778;
cond. at Palermo Cath.; 1752, ct.-
cond. , Lisbon ; rival of Jomelli as c.
of operas, incl. ^^ Demo/aonU"; c,
also notable church-mus.
Pcrfall (p*r'-fai), K., Freiherr ant, b.
Munich, Jan. 29, 1824 ; studied mus.
with Hauptmann, Leipzig; 1854-64
founded and cond. tne still succ.
•'Oratorio Soc." ; in 1864, Intendant
ct.-mus. ; 1867-1893, Intendant Ct.-
Th.; writer and composer of 4 op-
eras, 3 fairy cantatas, etc.
Pergcr (p^r'-g^r), Richard ▼on, b. Vi-
enna, Jan. 10, 1854; pupil of Brahms ;
1890-95, dir. and cond. Rotterdam
Cons.; 1895, cond. ** Gesellschafts-
concerte," Vienna ; prod, (text and
mus.) succ. comic opera ** Der
Richter von Granada ' (Cologne,
1889), a vaudeville, vln. -concerto, etc.
Pergolesi (p*r-go-la'-se), GioT. Bat,
Jesi, Papal States, Jan. 4, 17 10 — (of
consumption) Pozzuoli, near Naples,
March 16, 1736; eminent composer.
At 16 entered the Cons, dei Poveri
di Gesu Cristo, Naples, and studied
with de Matteis (vln.), Greco (cpt.).
Durante, and Feo (cpt.). He speed-
ily won attention by novel harmonies
and threw off contrapuntal shackles
early. His last student-work, the
biblical drama *' San Guglielmo
D' Aquitania ** (prod, with comic
intermezzi at the convent of S. Ag-
nello Maggiore, Naples, 1731) sho¥^
the beginnings of vivid and original
fancy. He prod, at Naples in 1731,
the excellent and novel opera *' SaU
lustia^'' and the intermezzo '* Amor
Fa t Uomo Cieco^'' which had no
succ, while the opera seria**^iW-
mero** was a distinct failure. But he
found a patron in the Prince of Stig-
liano, for whom he wrote 30 terzets
for vln. with bass ; he was commis-
sioned to compose a solemn mass for
Naples, which was performed after
the earthquake of 1731, as a votive
offering to the patron saint of the
city. It brought him immediate
fame. After four stage-works, prod.
668
THE MUSICAL GUIDE
in 1732 the intermezzo **Z<z S^rva
Padrotta" (Naples, 1733); won him
note as a dramatic composer and has
served as a model of comic operas
since ; it has only 2 characters and
the accompaniment is a string-quar-
tet with occasional support of horns.
His subsequent 6 operas were re-
ceived without interest (except for
the intermezzo to '* Adriano " first
given as ** Z/w>//« e Tracollo^* and
later as *' La C<mtadina Asiuta),''*
though after his death they were re-
vived with immense enthusiasm, and
their harmonic novelty, sweetness,
delicacy and melodic charm were
recognised, * * La Strva Padrona **
and " // Maestro di Musica** be-
coming standards in France. Of the
failure of '' rOlimpiade^*' v. DUNI.
Irregular habits due to regular dis-
appointments undermined Pergolesi*s
constitution, and he died of con-
sumption at the baths of Pozzuoli,
finishing five days before his death
his masterpiece, the celebrated *' Sta-
bat Mater'''' for soprano and alto
with string orch. and org. He c.
also 3 masses with orch. ; Dixit for
double chorus and orch.; a Kj-rie
cum gloria ; a Miserere, and a Lau-
date with orch., etc.; an oratorio,
** La NaHvith;' a cantata ** Orfeo''
for solo voice and orch. ; a cantata,
*• Giasofu'"\ 6 cantatas with string-
accomp. ; 30 trios, etc. Biog. by Bla-
sis (18 17) ; Viliarosa (183 1).
Peri (pa -re), (i) Jacopo (called '*I1
Zazzerino," i.e., the longj-haired),
Florence, ca. 1560— ca. 1630; of
noble birth; pupil of Malvezzi;
court-cond. at 3 successive courts ;
an enthusiast in everything classic,
he haunted the salons of Count Bar-
di and Corsi, where he joined the at-
tempt at revival of Greek musical rec-
itative, with Caccini and Corsi ; he
set to mus, Rinuccini's text of *' Daf'
ne **/ this was doubtless the first op-
era ever written ; its effort at repro-
ducing the supposed manner of
iEschylos, Sophokles, etc. , was called
ti
stile rapprescntativo " ; the
was given only once, and privatdj at
Bardi's house, but it won Peri a coib-
mission to set Rinuccini's text **Em-
ridice '* for the wedding of Maria ^
Medici and Henry IV. of Frasce
(1600) ; an ed. of his works was pcb.
1603, incl. madrigals, etc <2)
Achille, Reggio d* Emilia, Italy,
1812 — 1880; conductor and diass-
composer.
Perisme. Vide la ruk.
Perkins, (i) Wm. Oscar. Stock-
bridge, Vt., May 23, 1 831 — ^Boston,
1902 ; pupil of Wethcrbee, BostXA,
and of G. Perini, Milan ; 1879, ^^"^^
Doc, Hamilton Coll.; lives in Boston
as teacher and composer. (2) H.
Southwick, b. Stockbridge, Vl,
March 20, 1833; brow of aboive;
graduate, 1861, Boston Mus. Scfa.;
1890, founded Chicago Nat. Coll. of
Mus.; cond. many festivals and con-
ventions ; 1875, studied with Wartel
at Paris and Vannuccini, Florence;
ed. colls, and composed. (3) Jnlim
Edson, Stockbridge, 1845 — Man-
chester, Engl., 1875; l>ro- of above;
bass; 1874, m. Marie Roze (later
Mrs. Mapleson).
Peme (pirn), Fran. L., Paris, 1772 —
May 26, 1832 ; pupil of Abb^ d'Hao-
dimont (harm, and cpt.); 1792, cho-
rus-singer at the Op^ra ; 1799, donb-
le-bass player in the orch.; iSoi,
prod, a grand festival mass ; the next
year he c a triple fugue to be sung
backwards on reversing the page;
181 1, prof. harm, at the Cons.; 1816,
Inspector Gen.; 1819, libr.; 1822,
retired to an estate near Laon ; he
returned to Paris a few weeks before
he died ; he was indefarigable in re-
search, and an authority on Greek
notation, the troubadours, etc. ; writer
and composer.
Perosi (pl-ro -se), Don Lorenso, b.
Tortona, Italy, Dec. 23, 1872 ; a
young priest and organist who has
attracted much attention by bis sa-
cred mus., though critics are divided
as to its value ; it aims to use mod* 1
DICTIONARY OF MUSICIANS 669
em resources and ancient principles ;
pupil of Saladino, Milan Cons. ; 1S94,
of Haberl's Domchorschule, Ratis-
Ixm ; 1895, cond. at Imola ; from
1897, at San Marco, Venice ; bis sa-
cred trilogy •* Za Passione di Crista "
(a, ** La Cena del Signcre"; b,
'^ UOranone al Monte''; c, **Ztf
MortedelRedentori\ Milan, 1897, at
the Ital. Congress for Sacred Mus.,
created a sensation, and has been
-widely performed ; 1898, Pope Leo
XIII. made him honorary maestro of
the Papal Choir ; c. also 15 masses ;
c. also oratorios, **Z<i Trans figu-
razione del Nostra Signore Gesii
Crisio'' (1898), '' La Risurreziane di
Lazaro** (Venice, July 27, 1898, in
La Fenice Th., by special permission),
"// NataU del Redeniore'' (Como,
189^) ; '* Mos> " (Rome. 1902).
Peroti'nus, Magnus, Magister ; 12th
cent, composer ; conductor at Notre-
Dame, Paris. (Coussemaker.)
Perotti (pa-r6t'-te), GioT. A^., Ver-
celli, 1700 — ^Venice, 1855 ; writer and
composer.
Pcrrin (p«r-rft6), Pierre (called tabb^,
though never ordained), Lyons, ca.
i62CH-Paris, 1675 ; librettist of the
first French operas.
Perron (p€r'-r6n), Karl, b. Franken-
thal, June 3, 1858 ; barytone ; stud-
ied with Hey and Hasselbeck and
Stockhausen ; concert-d^but, 1880 ;
1884-91, Leipzig City th.; then at
Dresden ct. -opera.
Per'ry, (1) G., Norwich, 1793 — Lon-
don, 1862 ; director and composer.
(2) Edw, Baxter, b. Haverhill,
Mass., Feb. 14, 1855 ; pianist ; blind
from an early age ; pupil of J. W.
Ilill, Boston ; later of Kullak, Clara
Schumann, Pruckner and Liszt \
played before the German Emperor ;
in 10 years he gave 1,200 concerts in
Amenca; originated the **lecture-re-
ciUl"; c. fantasia '' Loreley^' ** The
Lost Island^*' etc., for piano.
Persian! (p6r-s!-jl'-ne), (i) (n^e Tac-
chinardi) (tak-W-nfir'-de), Fanny,
Rome, Oct. 4, 1812— Passy, near
Paris, May 3, 1867; daughter and pu-
pil of the tenor-singer Nicoli T.;
one of the most noted and succ. colo-
rature-sopranos of the century ; lack
ing in appearance and possessed of a
faulty voice, she compelled homage
by her perfect technic ; in 1830 she m.
(2) Giuseppe Persiani^i8o4 — 1869),
a composer of operas.
Persuis (p^r-swes), Louis Luc Loi-
seau de, Meu, 1769 — Paris, 1819;
violinist, conductor, prof, and comp.
Perti (p€r'-te), Jacopo A., Bologna,
June 6, 166 1 — April 10, 1756; one of
the chief 17th cent, composers of op-
eras ; pupil of Padre Franceschini ;
at 19 prod, a mass; church*conductor
and composer of oratorios, etc., also
21 operas.
Pescetti (pa-sh«t'-te), Giov. Bat., Ve-
nice, 1704. — (probably) 1766 ; organ-
ist and dram, composer.
Peschka-Leutner (p^h'-ka-loit'-n^r),
Minna, Vienna, 1839 — Wiesbaden,
1890; soprano.
Pessard (p^s-sir), Emile Louis For-
tune, b. Montmatre, Seine, May
28, 1843; pupil of Paris Cons.; won
1st harm, prize ; 1866, Grand Prix de
Rome, with cantata ** DaliW (Op^ra,
1867) ; 1878-80, inspector of sing^g,
Paris schools ; 188 1, prof, of luirm.
at the Cons. ; dir. of mus. instrucdon
in the Legion of Honour ; since
1895, critic ; prod. 10 comic operas
and operettas, incl. ** Le Capitaine
Fracasse" (Th. Lyr., 1878); c. also
masses, etc.
Pes'ter-Pros'ky, (i) Bertha, b. Frank-
fort-on-Main, March, 1866 ; soprano
there, then Berlin in operetta; studied
with Frau Dreyschock and reappeared
as dramatic soprano ; 1894 m. the
harpist (2) Reinhold Pester and
toured with him ; 1899 ^t Cologne
City Theatre,
Peters (pa'-t«rs). (1) Carl Fr., Leipzig
pub. hrm, founded 18 14 by C. F.
Peters ; 1893, a large library was
opened to the public as the '* feiblio-
thek Peters." (2) Max Abraham, is,
since 1863, sole proprietor
670
THE MUSICAL GUIDE
Petersen (pa'-t€r-z«n). (i) Peter
NikoUus, Bederkesa, 1761 — Ham-
burg, 1830; player on, improver of,
and composer for, the flute. (2)
Margarete, b. Amager, near Copen-
hagen, Oct. I, 1869; alto: pupil of
Geistingers and Sch3rtte ; toured and
lives in Copenhagen.
Petersilea (pa'.t«r-se'.UU&), Carlyle,
b. Boston, Mass., Jan. 18, 1844;
pianist and teacher; pupil of his
father* and at Leipzig Cons., winning
the Helbig prize Tor pf. -playing;
toured Germany with succ. ; lives in
Boston ; est. 1871 ** The Petersilea
Acad, of Mus." ; 1886, teacher New
£ngl. Cons.; 1884 studied with Liszt
at Weimar, and gave a concert at the
Singakademie, Berlin ; pub. pf.-
studies.
Petit, Adrien. Vide coclicus.
Petrejas (pa-tra'-yoos), Jus., Langen-
dorf, Franconia — NUmberg, 1550;
mus. -printer.
Petrella (pa-trfil'-la), Errico, Paler-
mo, Dec. 10, 1813 — in poverty,
Genoa, April 7, 1S77 ; v. succ.
Italian composer of operas, rivalling
Verdi's popularity, *' Marco Visconti'^
and **Ztf Contessa cTAmalfi^* most
succ; pupil of Saverio del Giudice
(vln.) and Naples Conservatorium.
Petri (pa -tre), (i) Jn. Samuel, Sorau,
1738 — Bautzen, j8o8 ; cantor and
writer. (2) H., b. Zeyst, near
Utrecht, April 5, 1856 ; violinist ;
pupil of David ; 1882 - 89 leader
Gewandhaus Orch. with Brodsky,
then leader Dresden Ct.-orch. ; com-
poser.
Petriai (pa-trc -ne), F«., Berlin, 1744
— Paris, 1819 ; harpist and theorist.
Petrucci (pa-troot'-che), OttaTiano
dei, Fossombrone, June 18, 1466
— May 7, 1539 « ^*^v- of mus.-print
ing with movable types ; in 1498
received from the Council of the Re-
public of Venice a 20 years' monopoly
of mus.-printing by his method ;
1 51 1-23 at Fossombrone with a 15
years' privilege for the Papal States ;
his method, which required 2 impres-
sions, one of the lines, one of t^
notes, was beautifully managed and
specimens are valuable ; he pahL
many of the most important coofs.
of his time and of previous coi^ios-
ers.
Petms de Cmse (Pierre de b
Croix) (pa-troos dii krOz or pl-4r dft
la krwa), of Amiens; a I3tli ccst
writer. (Coussemaker.)
Pe'trus Platen' sis. Vide la kus.
PeUchke (p^tsh'-kd). Dr. Hn. Theo-
bald, Bautzen, 1806 — Leipz^. 18S8;
director and composer.
Petsch'nikoff, Alex., b. Jeletz, Rus-
sia, Feb. 8, 1873 ; violinist ; papd
Moscow Cons.; at 10 entered Mos-
cow Cons, and took prize ; toured
Europe with great succ., 1895-96;
America, 1899 ; lives in Berlin.
Pet'tit, Walter, b. London, Mardi
14, 1836; pupil R. A.M.; 'cellist,
Philh. orch. and in the court band.
Petzmayer (p«tsh'-ml-«r), Jn,, b. Vi-
enna, 1803 ; zither virtuoso.
Petsold (p^t'-tsolt). (i) Chr., Kooig.
stein, 1677 — Dresden, 1733 ; ct.-or-
ganist and composer. (2) (or Petz-
old), Wm. Leberecht, b. Licht-
enhain. Saxony, 1784 ; piano-maker.
(3) Eug^en K., Ronneburg, Alten-
burg. 1813 — 2^fingen, Switz., 1889;
director and organist.
Pevemag^ (ptt-v^r-nizh), Andr6 (or
Andreas), Courtray, Belgium, 1543
— Antwerp, 1591 ; choirm. Notre-
Dame and composer.
Pesel (pa'-ts^l) (Pexe'lins Jn«), town-
musician at Bautzen and Leipzig;
writer and composer 1674.
Pesze (p^'-z«). Ales., b. Milan.
1835 ; 'cellist ; in London from 1857;
pupil Merighi.
Pfeiffer (pfif'-f«r), K., 1833 (?)-Vi-
enna, 1897 ; dram, composer. (2)
(pfef-fa), Jean Georges, b. Ver-
sailles, Dec. 12, 1835 \ pianist ; pupil
of Maleden and Damcke ; 1862 de-
but ; won Prix Chartier for chamber-
mus. ; critic ; member of the firm of
Pleyel, Wolff et Cie., Paris; c a
symph., a symph. poem, Jttmne
DICTIONARY OF MUSICIANS 671
iTArc""; pf. concertos, 3 operettas,
oratorio ** Hagar,*^ etc,
Pfeil (pfll), H., b. Leipzig, Dec. 18,
1835 ; since 1862, ed. ** Sdnj^erhalW
(the oi^n of the Sangerbund) ; c.
male choruses.
Pfitxner (pflts'-n^r), Hans Ehrich, b.
Moscow, May 5, 1869 ; pupil of
Hoch Cons., Frankfort; 1892-93,
teacher of pf. and theory, Coblenz
Cons.; 1894-95, asst.-cond. City
Th., Mayence; and prod, his succ.
mus. drama " Der arme Heinrich "
(Mayence, 1895) ; also incid. mus. to
Ibsen's '* Festival on Solhaug'" ;
1897-98, teacher in Stem Cons., Ber-
lin ; c. scherzo for orch.; ballad
*' Htrr Oluff*' for bar. and orch.
(Crcfeld, 1902) ; pf.-trio, etc.
Pnog^haupt (pfiookh'.howpt), (i)
Robt., Berlin, 1833 — Aix-la-Cha-
pelle, 1 87 1 ; pianist and composer.
(2) Sophie (nee Stschepin), Dan-
abuig, Russia, 1837 — Aix-la-Chapelle,
1S67 ; pianist.
Pfohl (pf6l), Fd., b. Elbogen, Bohe-
mia, Oct. 12, 1863 ; critic ; studied
mus. at Leipzig (1885) ; c. an orch.
suite, etc.
Pfiuidt (pfoont), Erast Gotthold
Benj., Dommitzsch, near Torgau,
1806-— Leipzig, 1871 ; tympanist ;
inv. the "machine-head ;'* wrote
method for kettle-drum.
Phal^se (fi-ia), P. (Petrus Phale-
titts), b. Louvain, ca. 1510 ; 1545, est.
a mus. -publishing business ; 1579 re-
moved to Antwerp, as ** Pierre Phal-
ise ct Jean Bellire."
Phelps, Ellsworth C, b. Middle-
town, Conn., Aug. 11, 1827 ; self-
taught ; at 19 organist ; from 1857,
Brooklyn ; teacher in pub. schools
for 30 years ; c 2 comic operas ;
symphs. *^ Iliaiifatha" and *' Eman'
ciffation ; " 4 symphonic poems ;
Psalm 145, with orch., etc.
Philidor (rightly D&nican) (fc-lY-dor
or di-nl-k^). A famous French
family called usually Danican-Phll-
idor, the name Philidor being taken
from a remark of the King comparing
Jean D. with his favourite oboist
Philidor. There seem to have l)een
two named Michel, (i) the first,
b. Dauphine — d. Paris, ca. 1650, the
oboist whom the King praised ; the
other (2) Michel, d. 1659, ct.-mus.
(3) Jean, d. Paris, Sept 8, 1679, in
the Kinfi['s military band. (4) An-
dr^ D.-P. (ralne), b.Aug. 11,1730;
cromome-player, an<^composer. He
had 16 children. (5) Jacques (le
cadet), Paris, 1657 — ^Versailles, 1708 ;
bro. of (4), oboist, etc., favourite of
Louis XIV.; c. military music, etc.;
he had 12 children, four of whom
were musicians, the best known being
(6) Pierre, 168 1 — 1731; flutist; c.
suites, etc., for flutes. (7) Anne,
Paris, 168 1 — 1728 ; eldest son of
(4) ; flute-player, and conductor ; be-
fore he was 20, prod, operas at court.
(8) Michel, b. Versailles, 1682, 2nd
son of (4); a drummer. (9) Fran.,
Versailles, 1689 — 1717(18 ?), 3rd son
of (4); oboist and bass-violist ; c. flute-
pcs. (10) Fran. Andr6, Dreux,
Sept. 7, 1726 — London, Aug. 31,
1795 ; last and greatest of the family,
the youngest son of (4) ; remarkable
chess-player of European fame ; mu-
sical pupil of Campra. At 30 he sud-
denly began to prod, operas with
zreat succ, his best works being the
following (among 25 notable for orch.
and harm, brilliance): *'Z/ DiabU h
quatre** (Op.-Com., 1756) ; **Z/
Mar/chai'' (1761), performed over
200 times \ *' Le Sorcier" and " Tom
Jones'* (only 8 weeks apart, in 1704 ;
the latter containing the then novelty
of an unaccompanied quartet); the
grand opera, his best work, * * Erne-
linde" 1767 (revised, I769,as ** Sando-
mir"). Biog. by Allen (Philadelphia,
1863). He had four sons all ct. mus. :
(11) Pierre, Paris, 1681 — i74o(?) ;
oboist, flutist and violist ; c. suites and
prod, a pastorale at court. (12)
Jacques, 1686— 1725, oboist. (13)
Francois, 1695 — 1726, oboist. (14)
Nicolas, 1699 — 1769; played the
serpent, etc.
672
THE MUSICAL GUIDE
Phil'ipp, Itidor (Edmond), b. Pesth.
Sq)t. 2, 1863 ; pianist ; a naturalised
French citizen ; came to Paris as a
child ; at 16 pupil of Georges Ma-
thias, at the Cons. ; won ist. pf. -prize,
in 1883 ; studied with Saint-Sadns,
Stephen Heller, and Hitter ; played
with succ. in European cities ; est.
concerts (with Loeb and Berthelier),
producing modem French chamber-
comps.; reorganised the " Soci^te des
instr. k vent " ; cofounder and pres.
of the ** Soc. d'Art " ; pub. a ** SmU
fantastique^'* a ** River ie m/laftco^
liquet** a ** S^r/nade humoristique**
for orch., etc.
Philippe, (i) de Caserte. Vide ca-
SBRTA. (2) de Mons. Vide montk.
(3) de Vitry. Vide vitry.
Philipps, (I) Peters (or Petrut
Philip'pas, Pietro Filip'po), Eng-
land, ca. 1560— April, 1625 ; organist
and composer. (2) Arthur, b. 1605,
organist at Oxford, prof., and com-
poser. (3) Henry, Bristol, 1801 —
Dalston, 1876; bass-barytone. (4)
Wm. Lovell, Bristol, 1816 — 1860;
'cellist and composer. (5) Adelaide,
Stratford-on-Avon, 1833 — Carlsbad,
X8S2 ; noted contralto, taken to
America as a child ; pupil of Garcia ;
d<^but, Milan, 1854.
Philomath' es, W^enzeslaus (called
**de Novadomo," because born at
Neuhaus, Bohemia), pub., 15 12,
a treatise.
Philp (flip), Elizabeth, Falmouth,
1827 — London, Nov. 26, 1885 ; sing-
er and writer.
Philpot, Stephen Rowland, living
Engl, composer ; pupil of Macfarren,
R. A. M., c operas (not prod.), etc.
Piatti (pe-at'.te), (i) Carlo Alfredo,
Bergamo, Jan. 8, 1822 — Bergamo,
July 19, 1901 ; 'cello- virtuoso (son
of a violinist, (2) Antonio P., d.
Feb. 27, 1878) ; pupil of his g^nd-
uncle, Zanetti, and of Merighi, Milan
Cons.; d^but, Milan, 1838; at 7 had
played in an orch., 1849, ist 'cello
It. opera, London ; from 1859 at
Monday and Saturday Pop. Concerts
of chamber-mus. ; pub. a method for
'cello, 2 'cello-concertos, vocal mss.
with 'cello obbli^to, etc.
Piccinni (or Piccmi or Picutni) (pR-
ch1n'-ne), (i) NicoU, Ban, Jan. i6>
1728 — Passy, near Paris, May 7,
1800; operadc composer, famoss
as a rival of Gluck. Son of a ras-
sician who opposed his tastes. The
Bishop of Bari recognising his taknt
and irrepressible passion for raosic
overcame opposidon, and at 14 he
entered the Cons, di San Onofrio,
Naples, remaining for 12 years, as
favourite pupil of Leo and Durante.
He entered into competition with dK
popular Logroscino, and pnxL the
V. succ. opera-buffa ** Le D^ntu Dis-
pettose** (1754), followed by (1755)
*• Gehtia per Gelosia " and **// Cmri-
oso del suo propria Danno " / wlach
had the unprecedented run of four
years, ** AUssandro mile ImdU *
(Rome, 1738), and " Cecckina Zittl-
la^ 0 La Buona FigUwola " (Rocne.
1760), the most success, work of its
kind in Europe, though written in 3
weeks, were hailed as masterworfcs.
His new dramatic fervour and his ex-
tended duets and varied finales gave
him such prestige that he is said to
have c. 133 dramatic works, ind. " //
Re Pastore "(1760) ; ** VOUmpiadi -
(1761) previously though less sncc,
set by Pergolesi, Galuppi and Jooiel-
li; revised 1771 ; **^^/imV^**(i764);
^'Le Cecchina Maretaia*' (1765);
** Didont abbandonaia *\\lti) ; ** Am^
tigone** (177 1). i773f the Roman
public favoured his pupil Anfossi, and
hissed one of P.*8 operas, which pros-
trated him with gjief ; on recovering
he regained favour with * / Viaggi-
atari," In response to flattering m-
vitations in 1776 he removed with his
familv to Paris, spent a whole year
leammg the tongue and vrriting his
first French opera, ** Roland** {Opk^^
'^n^)^ which had a succ. said to be
due largely to the necessity the anti-
Gluck faction was under to find a ri-
val. The war betwen the ** GhidE-
DICTIONARY OF MUSICIANS 673
ists** and *' Piccinists*' was violent
and incessant, though P. regretted
his position and made a vain effort
after Cluck's death, to raise a fund
for annual concerts in his memory.
He had succ. with the following
French operas, * * Le fat m^rise '
(1779X ''Atys'' (1780), ''Didonr
*' JLe dormeur HfHlU;' and " Le faux
Lard"' (all 3 in 1783). In 1778, as
dir. It. Opera, whose performances
alternated with the French company
at the Opera, he produced his best
Italian works with succ. The man-
ag^ement simultaneously commissioned
both Cluck and P. to set the opera
•* jphigMU en Tauride "y P. had
bis libretto rewritten by Cinguen^,
and his version was delayed till
after Cluck had made a triumph
and left Paris. P.*8 opera, though
usually called a failure, ran 17 nights
in spite of having an intoxicated
prima donna on the first night to start
the joke ** Iphig/nie en Champagne '\
Half a dozen others failed or were
never performed. A new rival, Sac-
chini, now appeared, When this sec-
ond succ. rival died, the large-hearted
Piccinni delivered a glowing funeral-
eulogy over him. 1784, he was Mai-
trc de chant at the new " 6cole roy-
ale de musique et declamation." His
last operatic attempts in French were
unsucc. At the outbreak of the Rev-
olution he lost his positions, and re-
tired to Naples, on a pension. But
his daughter m. a young French rad-
ical, and P., suspected of republican-
ism, was kept a prisoner in his own
house for four years, in extreme pov-
erty. 1798, he returned to France,
was feted at the Cons., presented
with 5»ooo francs and small irregular
pension. He was prostrated for some,
months by paralysis ; a sixth inspec-
torship was created at the Cons, for
him, but he soon fell ill and died.
(2) Lui^, Naples, 1766 — Passy,
July 31, 1827 ; son and pupil of above;
ct.-cond. at Stockholm and dr. com-
poser. (3) Louis Alex., Paris, 1779
43
— 1850 ; grandson and pupil of (i) ;
conductor and dram. -composer.
Piccolomini (pik-ko-lo'-me-ne), Ma-
ria, b. Siena, 1836 ; mezzo-soprano
of ' ' hardly one octave and a half-
compass " (Chorley), but so excellent
an actress, that she became a great
rage ; pupil of Mazzarelli and Rai-
mondi, Florence ; dtfbut there 1852,
with great succ, sang in Italy, I^on-
don, Paris and New York (1858) ;
1863, m. the Marquis Caetani, and
retired from the stage.
Pichel (or Pichl) (pesh'-'l), Wensel,
Bechin, Bohemia, 1741 — Vienna,
1805 j violinist ; c. 700 works.
Picinni Vide piccinni.
Picl (pel), Peter, b. Kessenich, near
Bonn, Aug. 12, 1835 ; from 1868,
teacher Boppard-on-Rhine ; 1887,
R. Mus.-Dir. ; wrote a harm.; c. 8
Magnificats (in the church-modes),
etc.
Pierag^on, or Pierchon. Vide la
RUE.
Piern^ (p'y^r-nal) (H. Constant) Ga-
briel, b. Metz, Aug. 16, 1863 ; pu-
pil of Marmontel, Cesar Franck and
Massenet, Paris Cons.; won ist prize
(1879), ^O' for cpt. and fugue (1881),
do. for organ (1882) and Crand prix
de Rome (1882); 1890, organist Ste.
Clothilde (vice Cesar Franck); 1893,
prod, spectacle *^ Bouton d*4>r'*; op-
era, *V«//7" (1804) ; succ. ''Vend/e''
(Lyons, 1897); a hymn to the Russian
visitors, **Za Fraterneiie^'* 1893,
etc.
Pierre (pt-ir'), Constant, b. Passy,
Aug. 24, 1855; pupil of Paris Cons.;
bassoon-player; assist, sec. at the
Cons.; ed. '^Le Monde musical";
wrote a history of the Op)^ra orches-
tra (for which the ** Soc. des compos-
iteurs ** awarded a prize, 1889), etc.
Pier'son, (i) or Pi^r'zon. Vide la
RUE. (2) (rightly Pearson), Henry
HvLgo (early pen-name '* Edgar
Mansfeldt"), Oxford. 1815— Leip-
zig* 1873 ; prof, of mus. ; prod, m
Germany 4 operas. (3) I*icrson-
Brethol (bra'-to^.Bertha, b. Vienna,
674
THE MUSICAL GUIDE
Jaly 15, 1861; soprano; studied with
Laufer, Varesi and Lamperti ; d^but,
Graz ; toured U. S. 1882-84 ; 1884-
88 in Italy singing Wagner, etc.;
then Berlin 1882 ; retired 1897 ; wife
of (4) Henry, 185 1? — Berlin, Feb.
17. 1902 ; opera-director ; from 1889,
court-dir. at Berlin.
Pieterez (p€'-td-ras), Adrian, b.
Bruges, early 15th cent.; first known
org. -builder in Belgium.
Piston (pt-i-ton), Loyset, French
contrapuntist, I5r3i.
Pig^'gott, (i) Francis, d. 1704 ; Engl,
organist at Oxford ; composer. (2)
Francis, Jr., d. 1736 ; son and succ.
of above.
Pilk'ing^ton, Francis, Engl, lutenist
and composer, 1595-1614.
Pilotti (pe-16t-te), Giuseppe, Bo-
logna, 1784 — 1838 ; son and succ. of
an org. -builder ; professor, writer and
dram, composer.
Pinel'ii, Ettore, b. Rome, Oct. 18,
1843 ; violinist ; pupil of Ramaciotti
and Joachim ; 1S06, founded (with
Sgambati) soc. for classical chamber-
mus.; 1874, the ** Societi Orchestralc
Romana," which he cond. ; since
1877, in the Liceo Musicale ; also
cond. ct. -concerts alternately with
Sgambati; c. overture ** /^apsodia
italiana,'* etc.
Pin'ner, Max, New York, 185 1 — Da-
vos, Switzerland, 1887; pupil Leip-
zig Cons, and of Tausig ; pianist and
teacher.
Pinsuti (pin-soo'-te), Giro, Sinaiunga,
Florence, 1829 — Florence, 1888 ; fa-
mous vocal teacher at the R. A. M.,
London, from 1856; composer of op-
eras and very popular songs.
Pintt, (i) Thos., b. Engl., d. Ireland,
1773 ; remarkable pianist. (2) G.
Fred., Lambeth, 1786— Little Chel-
sea, 1806 ; grandson of above ; vio-
linist, pianist, singer and composer.
Piozzi (pe-6d'-ze), Gabriel, b. Florence;
d. Engl., 1809; teacher and composer;
immortal chiefly for having married
Dr. Samuel Johnson's Mrs. Thrale,
1784.
Pipeg^op (pe'-p5-gr6p) (called
phonus), H., Wemigerode, 1581 —
Quedlinburg, 1655 ; town-cantor and
theorist.
Pipelare (pe-p£-la'-r^), M&tthjeiis.
i6th cent. Belg^n composer.
Pirani (pe-rS'-ne), Eng^enio, b. Bo-
logna, Sept. 8, 1852 ; pianist ; pi^
of Golonelli, Bologna Liceo Musicaic,
and of Th. Kullak (pf.) and Kid
(comp.); 1870-80 in Kullak's Acad.;
lived in Heidelberg till 1895, then
Berlin ; wrote essays ; c symph.
jx)em, ^^ Heidelberg*^ etc.
Pisa (pe'-zS), As^ostino, wrote earliest
known treatise on conducting, etc
(2d ed., Rome, 161 1).
Pisari (pe-sS'-r£), Pasqnale, R<Rne.
1725 — 1778 ; bass-singer and com-
poser, whom Padre Martini called
the *' Palestrina of the i8th cent.**
Pisaroni (pe-sa-ro'-ne), Benedetta
Rosamonda, Piacenza, 1793 — 1872;
high soprano ; after an illness became
a contralto.
Pischek (pe'-sh^k), Jn. Bap.,
Mscheno, Bohemia, 18 14 — Sigma-
ringen, 1873 ; barytone.
Pisendel (pe'-z«nt-«l), Jn. G., Karis-
burg, 1687 — Dresden, 1755 ; violinist
and composer.
Pistocchi (pes-tok'-ke), Fran. Ant.,
Palermo, 1659 — Bologna, after 1717 ;
founder of famous Sch. of Singing at
Bologna ; c. operas.
Pitoni (pe-to-ne), Gins. Ottavio, Ri-
eti, Italy, March 18, 1657 — Rome,
Feb. I, 1743 ; an eminent teacher
and composer ; pupil of Natale and
Froggia ; from 1677 cond. Coll. of
San Marco, Rome ; c a Dixit in 16
parts for 4 choirs, etc.
Pitt' man, Josiah, 1816; organist,
composer, writer and lecturer.
Pittrich (pYt'-trYkh), G. Washinsrton,
b. Dresden, Feb. 22, 1870; studied
Dresden Cons., graduating with high
honours ; from 1890, chonism. Dres-
den ct.-opera, also cond. operas, bal-
lets, etc., and taught chorus-singing
in the Cons.; 1898, cond. Hamburg
opera; 1899, ist cond. Cologne op-
DICTIONARY OF MUSICIANS 675
era ; c. i-act opera ''*^ Marga^* (Dres-
den, Feb. 8, 1894) ; incid. mus., a
clarinet-concerto, etc.
Piutti (pc-oot'-te), (i) K., Elgersburg,
Thuringia, April 30, 1846 — Leipzig,
June 17, 1902; notable organist ; pu-
pil, and from 1875, teacher Leipzig
Cons.; 1880, also organist Thomas-
kirche ; wrote a harm. ; c. 6 f ugal
fantasias, 8 preludes, *^ IVeddinp So-
naia^*^ etc., for organ. (2) Max.,
Luisenhall, near Erfurt, 1852 — Jack-
son, Mich., 1885; brother of above;
writer, teacher and composer.
Pizis (pcx'-es), (i) Fr. Wm., Mann-
heim, 1786 — Prague, 1842 ; violinist
and conductor. (2) Jn. Peter,
Mannheim, 1788 — Baden - Baden,
1874 ; bro. of above ; pianist, teach-
er and dram, composer.
Piszi (pid'-ze), Emilio, b. Verona,
Feb. 2, 1862 ; pupil of Ponchielli and
Bazzini, Milan Cons., graduating
1884 ; took 1st prize Milan, 1885, for
i-act opera *'Z«/ia"/ ist and 2d
prize, Florence, for 2 string quartets ;
prize of 5,000 francs, Bologna, 1889,
for succ. grand opera ^''Cuglielmo
RaUliff'' (Bologna, 1889) ; 1897, dir.
of mus.-sch. at Bergamo and at church
of S. Maria Maggiore ; c. also 2
I-act operas *"* Gabriella^* and '""'Ro-
salba^^ (written for Adelina Patti,
1893-96), etc.
Plaidy (pli'-de), Louis, Huberts-
burg. Saxony, Nov. 28, 18 10 — Grim-
ma, March 3, 1874 ; eminent pf.-
teacher ; pupil of Agthe and Haase ;
at first a violinist ; 1843, invited by
Mendelssohn to teach at the then new
Leipzig Cons., and did so till 1865 ;
wrote text-books.
Plank (plank), Fritz, b. Vienna, Nov.
7, 1848 ; studied with Fr. Schmitt
and Gansbacher ; sang at Carisruhe
and lives there ; sang at Bayreuth
since 1884, *' Hans Sachs," etc.
Pianquette (plan-k^t), (Jean) Robert,
b. Paris, July 31, 1850; studied
comp. with Duprato, Paris Cons., c.
chansons and ^''SaynUes'" for "ca-
f^oncerts " ; prod. succ. i-act op-
eretta ** PailU (TAvoine'' (1874), fol-
lowed by others incl. the still pop.
comic opera, "' Les Cloches de Come-
vilU *' (Folies - Dramatiques, 1877),
given over 400 times, consecutively,
and widely popular elsewhere (known
in Engl, as "Chimes of Normandy*');
later works incl. *^ Mam*zelle Quaf
sous'* (Gait^, 1897) and for London
** TAc Old Guard" (1887), and
''Paul Jones*' (1889).
Piantade (plan-t&d), (i) Chas. H.,
Pontoise, 1764 — Paris, 1839 I prof. of
singing at Paris Cons.; ct.-conductor
and dram, composer. (2) Chas.
Fran., Paris, 1787 — 1870; son of
above ; composer.
Plants (plan-ta), Fran., b. Orthez,
Basses Pyrenees, March 2, 1839 I Pi-
anist ; pupil of Marmontei at Paris
Cons. ; won ist prize after 7 months*
tuition ; pupil of Bazin (harm.) then
self-taught for to years ; reappeared
with succ. ; c. transcriptions.
Plantania (plan-ta'-nt-a), Pictro, b.
Catania, April 5, 1828 ; pupil of P.
Raimondi, at the Cons, there ; 1863,
dir. Palermo Cons.; later cond. Mi-
lan (1888), dir. R. Coll. of Mus. at
Naples ; wrote a treatise on canon
and fugue : c 5 operas ; a symph.
*'Z'/te//a"/ funeral symphony in
memory of Pacini, festival symph.
with choruses to welcome King Hum-
bert in 1878, etc.
Plate! (pia-tdl), Nicolas Jos., Ver-
sailles, 1777 — Brussels, 1835 ; 'cellist;
prof, and comf>oser.
Pla'to, eminent Greek philosopher, 429
— 347 B.C.; formulated in his " 7"/-
maeus** a system of harm., interpret-
ed in Th. H. Martin's '' £tudes sur
Us Timie de Platon'* etc.
Play'ford, (i) John, 1623 — 1693 ;
London mus. -publisher. (2) Henry,
his son and successor, 1657 — 17 10.
Ples'ants, Thos., 1648—1689; or-
ganist at Norwich.
Plcyel (pli'-«l, or pl^'-yfil), (i) Ifi:naz
Jos., Ruppertshal, near Vienna,
une 1, 1757 — at his estate near Paris,
Nov. 14, 1831 ; pianist, ct. cond.;
676
THE MUSICAL GUIDE
founded, I797,at Paris a piano factory
still known as Pleyel, Wolff & Co.; c.
29 symphs., sonatas, etc. (2) Ca-
mille, Strassburg, 1788 — Paris, 1855;
son, pupil and successor of above ; a
pianist and composer; his successor
in business was August Wolff. (3)
Marie F^licit^ Denise, Paris,
181 1 — St.-Josse-ten-Noode, 1875 ;
wife of (2) ; pianist and teacher.
Plttddemann (plat'-d^-m^), Martin,
Kolbcrg, 1854— Berlin. 1897 ; con-
ductor and singing teacher, writer
and composer.
Plutarch (PlnUr'chos) (ploo'-tark),
Chaeronea, Boeotia, ca. 50 a.d. —
I2Q (131 ?) ; the Greek biographer ;
wrote treatises ** £>^ musica" con-
taining important data.
Poenitz (pa -nTtsh), Fz., b. Bischofs-
werda, Aug. 17, 1850; harpist;
studied with Weitzmann, Berlin ;
since 16 at the ct. opera ; composer.
Pohl (pol), (i) K. ¥d., Darmstadt,
1819— Vienna, 1887 ; writer. (2)
Richard, Leipzig. 1826 — Baden-
Baden, 1896 ; ed. and writer (pen-
name '^Hant"). (3) Bd. Vide
POLLINI.
Pohlenz (p6'-l«nts), Chr. Aug., Saal-
gast, Niederlausitz, 1799 — Leipzig,
1843 '* organist, conductor and com-
poser.
Poise (pwiz), Jn. Alex. Fd., Ntmes.
1828 — Paris, 1892 ; dram, composer.
Poisot (pwa.z5), Chas. Smile, b.
Dijon, France, July 8, 1822; pianist;
pupil of Paris Cons.; co.-founder
" Soc. des Compositeurs"; founder
and dir. Dijon Cons., also from 1872
cond. Soc. for Sacred and Classic^
Mus. ; dram, composer and writer.
Poiszl (poish'-'l), Jn. Nepomuk,
Freiherr von, Haukenzell, Bavaria,
17S3 — Munich, 1865 ; dram, com-
poser.
Pdlchau (p«r-khow), G., Cremon,
Livonia, 1773 — Berlin, 1836; libra-
rian and collector.
Pole, Wm., b. Birmingham, Engl.,
April 22, 1814 ; Mus. Doc. Oxon.,
1864 ; 1876-90, examiner in Mus.
London Univ. ; writer ; c Psalm 100
in cantata-form, etc
Polidoro (p6-ll-d6'-ro), (i) Giosef^e,
d. Naples, 1873; singing - teadir,
Naples Cons. (2) r ederico, b.
Naples, Oct 20, 1845 : son and po-
pil of above ; studied with Lillo,
Conti and d*Arienzo, essapst and
historian under pen-name •* Acoti."
Polko (p6r.kd) (n^ Vos:el), tUat,
Wackerbarthsruhe, near Dresden,
1826 — Munich, 1899; mezzo-soprano
and writer of romantic musical es-
says.
Pollarolo (pol-lS-ro'-lo). (i) Cario
Fran., Brescia, 1653 — Venice, 1722 :
organist and dram, composer. (2)
Ant., Venice, 1680— 1750; son and
successor of above, and dram, com-
poser.
PoUedro (pol-la'-dro), Gior. Bat,
Piovi, n. Turin, 1781 — 1853 I violin-
ist, cond. and composer.
Pollini (p61-lc'-ne), (i) Fran., Laiboch,
Camiola, 1763 — Milan, Sept. 17,
1846 ; pianist and pf.-prof., 1809, Mi-
lan Cons. ; perhaps the first to write
pf. -music on 3 staves. (2) Ed. (rightly
Pohl), Cologne, Dec. 18, 1838—
Hamburg, Nov. 27, 1897 ; tenor,
later barytone ; but more famous as
manager: his second wife was Bianca
Bianchi. (3) Cesare, Cavaliere de,
b. Padua, July 13, 1858 ; studied
with Bazzini, Milan ; 1883-85 dir, of
a Cons, at Padua ; resigned to write
and compose.
Pollitzer (pdl'-llts-^r). Ad., b. Pesth,
1832 ; violinist ; pupil of BOhm (vb.)
and Preyer (comp.), Vienna; toured
Europe, then studied with Alard at
Paris; 1851 leader H. M.'s Th.,
London ; later New Philh. Soc ;
prof, of vln., London Acad, of Mus.;
since 1890, director.
Polonini (p5-lo-ne'-nY), (i) Entimio,
Italian bass ; debut, London, 1847.
(2) Aless., d. 1880 ; son of above ;
barytone.
Ponchard (pon-shiLr), (i) L. Ant
£l6onore, Paris, 1787 — 1866; tenor
and prof, at the Cons. (2) Chas.,
DICTIONARY OF MUSICIANS 677
Paris, 1824 — 1 891 ; son of above ;
teacher at the Cons.
Ponchielli (p6n-kl-^l'-le), Amilcare,
Paderno Fasolaro, Cremona, Aug.
31, 1834 — Milan. Jan. 16, 1886; op-
era composer; pupil Milan Cons. ;
or^^anist, then bandmaster, i88i;cond.
Piacenza Cath. from 1856; c. 10 op-
eras, incl. ^^ La Giaconday* widely
popular ; 1902 his son discovered a
MS. opera *•/ Mori di VaUnta"
(composed, 1878-79).
Poniatawski (p6-nl-i.t6f'.shkl). Jozef
(Michal Xawery Franciszek
Jan), Prince of Monte Rotondo,
Rome, 1816 — Chiselhurst, Engl..
1873 ; tenor and dram, composer.
Pdnitz (pa'.nlts). Fz.» b. Bischofs-
werda, W. Prussia, Aug. 17, 1850 ;
pupil of L. Grimm ; from 1866,
harpist Berlin royal orch.; 1891
** chamber- virtuoso ; " c. opera ** CU-
op4itra^^ etc.
Pons (p5ns), Jos6, Gerona, Catalonia,
I768--Valentia. 1818 ; composer.
Ponte, Lorenzo da. Vide da ponte.
Pont^oulant (p6n-ta-koo-lan), L.
Ad. le Donlcet, Marquis de, Paris,
1794 — Bois Colombe, near Paris,
1882 ; writer.
Pontog^lio (p6n-t5r-y5), Cipriano,
Grumello- del -Piano, Italy, 1831 —
Milan, 1892 ; dir. ; c. operas.
Poole, Elizabeth, b. London, April
5, 1820 ; mezzo-soprano and violin-
ist.
Pm>per (p6p'-pir), David, b. Prague,
June 18, 1845 ; prominent *cellist ;
pupil of Goltermann, Prague Cons.;
a member of Prince von Hechingen's
orch., at L5wenburg ; since 1863 has
toured Europe with greatest succ. ;
1868-73, 1st cello, Vienna ct.-orch.;
1872 m. Sophie Menter (divorced,
1886) ; c. excellent and pop. 'cello-
pcs., a concerto, etc.
Porges (p6r'-g6s), H., b. Prague,
Nov. 25, 1837 ; pupil of Mttller (pf.),
Rummel (harm.) and Zwonar (cpt.) ;
1863 co.-ed. *' Neu€ jUitschrift fur
Musik *V friend and champion of
Wagner; lived in Vienna; 1867 was
called to Munich by King Ludwig
II.; pf. -teacher R. Sch. of Mus. and
since 1871 R. Musikdirector ; writer
and composer.
Por'pora, Niccold A. (wrote his name
** Niccoli," printed it as here),
Naples, Aug. 19, 1686 — 1766 (or 67);
emment vocal teacher at London,
1729-36 ; ct.-conductor ; as dram,
composer, rival of Handel, c. about
50 operas.
Porporino (-rc'-no). Vide ubkrti.
Porta (p6r'.ta), (i) Padre Costanzo,
Cremona, ca. 1530 — Padua, 1601 ;
writer and composer. (2) Fran,
della, Milan, ca. 1590 — 1666 ; com-
poser. (3) GioT., Venice, ca. 1690 —
Munich, 1755 ; ct.-cond. and dram,
composer.
Por'ter, (i) Walter, d. London, 1659;
tenor and composer. (2) Samuel,
Norwich, 1733 — 18 10 ; organist and
composer. (3) Frank Addison,
b. Dixmont, Maine, Sept. 3, 1859 \
gpraduate, N. E. Cons., Boston, later
piano prof, there ; studied later at
Leipzig; since 1892 also supt. Nor-
mal Course for pf . ; pub. a pf .-meth-
od, etc. ; c. prelude and fugue, etc.
Port'mann, (i) Richard, organist
Westminster Abbey, 1633, etc. (2)
Jn. Gl., Oberlichtenau, Saxony, 1739
— Darmstadt, Sept. 27, 1798 ; singer
and theorist.
Portugal (Portogallo) (por-ttt-eftl' or
p6r-t6-gar-lo), i.e., '*The Portu-
guese*'), Marcos A. (ace. to Vascon-
cellos, rightly ** Portugal da Fon-
seca," not M. A. Simlo as in F^tis),
Lisbon, March 24, 1762— of apoplexy,
Rio de Janeiro, Feb. 7, 1830; the
most emment of Portuguese compos-
ers ; studied Italy and prod. 3 operas
there ; 1790 ct.-cond. Lisbon, also
theatre cond. and produced 20 operas ;
18 10 followed the court to Rio and
prod, operas ; 18 13 dir. of a Cons,
at Vera Cruz.
Pothier (pot-ya), Dom Jos., b. Bouze-
mount, near Saint-Di^ Dec. 7, 1835 ;
1866, prof, of theology Solesmes
monastery ; writer and theorist.
678
THE MUSICAL GUIDE
Pott, Augfust, b. Nordheim, Hanover,
Nov; 7, 1806 ; violinist and composer;
pupil of Spohr.
Potter, Philip Cipriani Hambly,
London, Oct. 2, 1792 — Sept. 26,
187 1 ; pianist, writer and composer.
Pou^in, Fran. Aug^. Arthur (Pa-
roisse), b. Chiteauroux, Indre,
France, Aug. 6, 1834 ; pupil Paris
Cons.; 1856-59, asst.-cond. Folies-
Nouvelles ; till 1863, violinist at Op.-
Com., then important critic, essayist
and biogfrapher ; ed. the supplement
to **/^!Wj"(i878).
Powell, Walter, (i) Oxford, 1607—
1744 ; counter-tenor. (2) Maud, b.
Illinois, 1868 ; first notable American
woman violinist ; pupil of Lewis,
later in Paris and of Schradieck,
Leipzig, and of Joachim ; has toured
widely with success Europe and
* America.
Pradher (rightly Pradferc) (prild-a, or
prfi-d&r'), Louis Barth^lemy, Paris,
1781 — Gray, Haute-Saone, 1843;
noted teacher at the Cons, and the
court ; pianist, and dram, composer.
PriLg^er <pra'-g<5r), (i) H. Aloys P.,
Amsterdam, 1783 — Magdeburg, 1854;
violinist and conductor. {2) Fd.
Chr. Wm., Leipzig, Jan. 22, 18 15 —
London, Sept. i, 1891 ; son and pu-
pil of above ; 'cellist, later pianist
and writer; c. symph. p>oem ** Aiy>
and Love, Battle ami Victory^** ovtv-
tmt'' Abellino:' etc.
Pr&torius (pra - to' - r t- 00s) (Latin-
ised form of Schulz(e)), (i) Gott-
schalk, Salzwedel, 1528 — Witten-
berg, 1573; writer. (2) Chp., b.
Silesia(?) ; pub. a funeral song on
Melanchthon (1560). (3) Hieron-
ymus, Hamburg, 1560-— 1629 ; son
of an organist ; organist ; c. church-
mus., etc., with his son (4) Jakob,
d. 165 1 ; organist. (5) Bartholo-
maus, composer, Berlin, 16 16. (6)
(or Praetorius), Michael, Kreuz-
berg, Thuringia, Feb. 15, 1571(72) —
Wolfenbttttel, Feb. 15, 1621 ; conduc-
tor and ct. -organist. Eminent as a
composer of church- and dance-mus. ;
wrote valuable historical ** Sjmtagma
musicum.**
Pratt, (i) J.J Cambridge, EngL, 1772—
1855 ; oi^nist and composer, (z)
Chas. E., Hartford, Conn., 1841—
New York, 1902 ; pianist, cond. aad
composer. (3) Silas Gamaliel, b.
Addison, Vt., Aug. 4, 1846; Promi-
nent American composer for orch.;
at 12 thrown on his own resources,
became a clerk in mus.-houses ; stod-
ied with Bendel, and KuUak (pf.),
Wuerst and Kiel (comp.) ; 1871 or-
ganised Apollo Club, Chicago ; 1875,
returned to Berlin, and studied vidi
H. Dom ; prod. *' Anniversary
Overture" there 1876; 1877. Chica-
go ; gave symph. concerts, 1878, and
prod, his opera '"'' Zenobia*^ 1882:
1885, gave concerts of his ovo
comp. Crystal Palace, London ; since
1890, pf.-prof. N. "V. MetropoUtaa
Cons.;c. lyric opera ** Lncille" (Ob-
cago, 1887) ; ** The Last Jnta^ can-
tata with orch. which ran for three
weeks ; 2 symphs. (No. 2 the notable
''Prodigal Son''); *' Magdalen&s
Lament * (based on Murillo's picture)
for orch.; an excellent symph. suite,
** The Tempest'* ; a grotesque suite
•* The Brownies''; cantata "(V
lumbus'' etc.
Prat'ten, (i) Robt. Sidney, Bristol,
1824 — Rams^te, 1868; flutist and
composer. (2) Fr. S., d. 1873 ; bro.
of above ; contrabassist.
Predieri (pra-dY-a'-re), (i) Gutcomo
Cesare, d. after 1711 ; from i6g6
cond. at Bologna Cath. ; c. orato-
rios, motets, etc. (2) Lnca Ant., Bo-
logna, 1688 — 1769; ct.-cond. and
dram, composer.
Preindl (print' '1), Jos., Marbach. Low-
er Austria, 1756 — Vienna, 1823;
conductor, writer and collector.
Preitz (prits), Fx., b. Zerbst, Aug.
12, 1856 ; concert-organist ; pupil of
Leipzig Cons. , singing-teacher, Zerfost
Gymnasium, and cantor at the ct»
church ; pub. a requiem, etc.
Prell (prei), (i)Jn. Nicolaus, Ham-
burg, 1773 — 1849 ; 'cellist and teacher.
DICTIONARY OF MUSICIANS 679
(2) An^. Chr., b. Hamburg, Aue. i,
1805 ; son and pupil of above ; from
1822, 2nd *cello at Meinin|;en ; from
1825 1st *ceUo, Hamburg^ ; pensioned
1869.
Prelleor (pr«l'-lilr). Peter, d. before
1758; EngL organist, writer and
composer.
Pren'tice, Thos. Ridley, Paslow
Hall, Ongar, Essex, 1842 — Hamp-
stead, 1895 ; teacher, pianist and
writer.
Pres'sel, Gr Ad., Tubingen, 1827 —
Berlin, 1800; dram, composer.
Pres'ser, 'Theodore, b. Pittsburg,
Pa., July 3, 1848 ; Philadelphia pub-
lisher ; 1883, founded and has since
ed. '* The Etude'* transl. text-books,
etc.; c. instructive pf. -pes., etc.
Pr^ost (pra-vd), ^ug^ene Prosper,
Paris, Aug. 23, 1809 — New Orleans,
Aug. 30, 1872 ; conductor and sing'
ing-teacher; prod, operas in Pans
and New Orleans.
Prerosti (pra-vds'-te), Franches-
china, b. Livomo, 1865 ; her mother
was English ; she studied with Ron-
coni at Milan and d^but at La Scala ;
toured widely ; from 1890 in Germany
winning especial succ. in ** Za Tra-
viatar
Prtjtr (prf-^r), (i) G£, Hausbrunn,
Lower Austria, May 15, 1809 — Vien-
na, 1901 ; organist ; pupil of Sechter ;
1838, prof, of harm, and cpt. at the
Cons. : 1844-48, dir. ; 1844, also
vice ct.-cond. ; 1846, ct.-organist ;
1853, con. at St. Stephen's; 1876,
pensioned as '' Vice-Hofkapellmeis-
ter"; prod. 3 operas, masses, etc. (2)
Wm. Thierry, b. Manchester, Engl.,
July 2, 1841 ; studied Bonn Univ. ;
1869-94 prof, of physiology, Jena ;
acoustician.
Prilipp (pre'-lYp), Camille, mus. sell-
er at Paris; c. 400 pf.-pcs., some
very pop. under pen-name C. *' Schu-
bert.
Prill (prtl), K., b. Berlin, Oct. 22,
1864 ; son and pupil of a mus.-
dir., and pupil of Helmich, Wirth,
and Joachim (at the Hochschule);
violinist; 1883-85 leader Bilse's
orch.; 1885 at Magdeburg; from
1 89 1, of the Gewandhaus Orch.,
Leipzig; later at NQmberg; 1901,
at Schwerin (vice Zumpe).
Prime-SteTenson (originally Steven-
son), Edw. Irenaeus, b. Madison,
N. J.; prominent writer and critic ;
grad. Freehold Inst., N. J., 1881
book reviewer and critic N. Y. *' /«-
dependent^'; also from 1895 of
^^ Harper's Weekly"*; 1899. because
of an inheritance added ** Prime " to
his name and lives abroad, chiefly at
Vienna ; writer of mus. novels, *'^
Matter of Temperament** *' Sylvester
Sand**; also " PVAite CoeAades,**etc„
and a coll. of sketches, ** Some Men
and Women ^ and Music.**
Pring^, (i) Jacob C, Lewisham, Eng.,
1 77 1 — 1799 ; organist and composer.
His 2 brothers were (2) Jos., Ken-
sington, 1776 — Bangor, 1842; organ-
ist, writer and composer. (3) Isaac,
Kensington, 1777 — Oct 18, 1799 ;
organist.
Printz (prints), W. Caspar, Wald-
thum. Upper Palatinate, 1641 — So-
rau, 1717 ; cantor and theorist.
Proch (prokh), H., Bfthmisch-Leipa,
June 22, 1809 — Vienna, Dec. 18,
1878 ; noted vocal teacher and con-
ductor ; c. comic opera and famous
vocal variations.
Prochaska (pr5-khlls'.k&), Ludwig^,
Prague, 1835 (?)— July 18, 1888;
singling teacher and composer of pop.
Bohemian dances and songs.
Proksch (proksh), (i) Josef, Reichen-
berg, Bohemia, 1794 — Prague, 1864;
pianist, writer and composer; founded
a pf. -school ; his children and suc-
cessors were (2) Theodor, 1843 —
1876 ; and (3) Marie.
Prony (pro-nc), Gaspard ClaiTe
Fran VL, Riche, Baron de, Chame-
lot, France, 1755 — Paris, 1839 ;
harpist and writer.
Proske (pr6sh'-k«), K., Grdbnig, Up-
per Silesia, 1794 — Ratisbon, 1861 ;
canon, conductor, publisher, editor
and composer.
Front (prowt), (i) Ebenezer» b.
Oundie, Northamptonshire, March
If 1835 ; prominent theorist and com-
poser. Save for a few piano lessons
as a boy, and with Chas. Salaman,
wholly self - taught. B.A. London
Univ., 1854 ; 1859 ^^>^^ ^P music ;
1861-73, organist Union Chapel, Is-
lington ; 1861-85, pf.-prof. at the
Crystal Palace Sch. of Art ; from
1876 prof, of harm, and comp. at the
Nat. Training Sch.; 1879, ^^ ^^^ ^'
A. M. (vice A. Sullivan), also cond.
1876-90. the Hackney Choral Assoc.;
1874 Critic on the " Acad." ; 1879,
on the ** Athenaeum." Contributed
53 articles to Grove's '* Dictionary.**
1894, prof, of mus., Dublin Univ.;
1895, Mus. Doc. A. c. Dublin and
Edinburg Univ. Has pub. many
valuable and original treatises, incl.
^^ Harmony** (1889, 10 editions);
^'^ Counterpoint^ Strict and Free**
(1890); "Double Counterpoint and
Canon ** (1891) ; *' Fugue ** (1891) ;
•* Fugal Analysis** (1892) ; *' Musi-
cal Form •' (1893); ** Applied Forms **
(1895); '' TAe Orchestra** (1898-
1900) ; c. 4 symphs. , 2 overtures,
** Tivel/tA Night '^ and '^ Rokeby ;**
suite de ballet for orch. ; suite in D ;
cantatas ; a Mag^iBcat, Evening
Service, Psalm 126 (St. Paul's, 1891) ;
Psalm 100 " The Song of Judith **
(Norwich. 1867), ''Freedom"^* (1885),
all with orch., 2 organ-concertos, 2
Srize pf.-quartets, etc. (2) Louis
kethoTea, b. London, Sept. 14,
1864 ; son of above ; from 1888,
prof, of harm. Crystal Palace Sch. of
Art ; pub treatises ; c. Psalm ^3.
Pmckaer (prook'-n5r), (i) Dionys,
Munich, May 12, 1834 — Heidelberg,
Dec. I, 1896; pianist and teacher.
(2) Caroline, b. Vienna. Nov. 4,
1832 ; succ. operatic soprano ; 1855,
suddenly lost her voice ; 1870 opened
a Sch. of Opera; pub. a vocal treatise
(1872) for which she was made Prof.
Pmdent (pru-dafi) (Bennie-Prudeat),
Emile, Angouleme, 1817 — Paris,
1863 ; pianist and composer.
Pmme (prOm), (i) Fran. Hobeft,
Stavelot, near Liige, 1 8 16 — 1840;
ct.-prof. and composer. (2) Fs. H.,
nephew of the abK:>ve. Vide jehk-
PRUME.
Prumier (prOm-ya), (i) Aat., Paris,
1794 — 1868 ; harpist ; prof, at the
Cons., and composer. (2) Aflge
Conrad, 1821 (?)— Paris, 1884 ; sm.
pupil and successor of above.
Psellos (psdl'-los), Michael, theorist
at Constantinople, ca. 1050.
Ptolemy (tdl'-a-me), Clandias, tk
celebrated astronomer in the 3nd
century ; wrote treatise on mus.
Puccini (poot-che -ne), (i) Giacomo,
b. Italy, 1712 ; pupil of Padre Mar-
tini ; organist ; c. church-music. (2)
Antonio, b. 1747 ; son of above; c
church-music and (ace. to Fetis) ope-
ras ; m. di capp. to Republic of Sah
Lucca ; his son and successor (3) Do-
menico, 1771 — 1815 ; c. church-misic
and many comic operas ; his son (4)
Michele, 18 12 — 1864 ; pupil of Mer-
cadante ; lived at San Lucca as
church and opera-composer ; his soo
(5) Giacomo, b. Lucca, luly, 1858;
pupil of Angeloni at Lucca ; then of
A. PonchieUi, Milan Cons.,gradaat-
ing with a ^^ Capriccio sinfonmr
1893, prof, of comp. there; prod, i-act
opera *Z^ Ff//*" (Milan 1884); ex-
tended later to 2-acts and prod, at
La Scala ; succ. '* Edgar ** (La Scala,
Milan, 1889) ; succ. lyric drama
'' Manon Lescaui** (Turin, 1863);
widely popular opera seria '^^ La Sc-
heme** (Turin, 1896); succ. *'Zj
Tosca ** (London, Covent Gardeo-
1900) ; •* Madame Butterfly:*
Pucitta (poo-chlt-tfi), V., CiviUtcc-
chia, 1778 — Milan, 1861 : cembalist
and dram, composer.
Puchat (poo'-khSt), Max, b Bre^a.
1859 ; pianist, pupil of Kiel, at Ber-
lin ; 1884, Mendelssohn prize ; c
symph. poems *^*^ Euphorion ** (1888).
and •* Tragddie eines KUmtlen"
(1894) ; overture ; a pf. -concerto, etc
Puchtler (pookh'-tl«r), Wm. IL,
Holzkirchen, Franconia, 1848 — ^Nice,
DICTIONARY OF MUSICIANS 681
1881 ; teacher, conductor and com-
poser.
Pador (poo' -dor), (i) Jn, Fr., Dc-
litzsch. Saxony, 1835 — Dresden,
1887 ; from 1850 proprietor Dresden
Cons. (2) Dr. H., b. ca. i860 ; son
and successor of above in the Cons.,
which he sold 1890 to E. Krantz;
wrote many essays.
Pueate (poo-dn'-t£), Giuseppe del,
Naples, April, 1845 — Philadelphia,
U. S. A., May 25, igoo ; operatic
barytone and teacher.
Puret (pa-zha), Paul Chas. M., b.
Nantes, June 25, 1848 ; pupil of
Paris Cons., took Grand Prix de
Rome ; prod, comic opera **Z^ Sig-
nal** (Op. Com., 1880) ; mod. succ.
opera *'*' Beaucoup dt Bruit Pour
Rien " (** Much Ado about Nothing'')
(ibid., 1899) ; incid. mus. to '* Loren-
taccio'' etc.
Pngnani (poon-ya'-ne), Gaetano, Tu-
rin, Nov. 27, 173 1— July 15, 1798 ;
famous violinist, dram. comp)oser
and conductor.
Pttgni (poon'-ye), Cesare, Milan,
1805 — St. Petersburg, 1870; dram,
composer.
Pngno (pQn-yd). Raoul, b. Montrouge,
Seine, France, June 23, 1852 ; prom-
inent pianist; st. Paris Cons.; 1866
took 1st pf.-prize, 1867, ist. harm.-
prize ; 1809, ist org. -prize ; organist
and cond. Paris ; from 1896; prof, of
piano at the Cons. 1897-98, toured
U. S. with succ. ; Officer of the Aca-
demic ; prod, an oratorio, *' La Re-
turrection de Lazare " (1879) I comic
opera ^' Nifutta"* (1882); 2 operas
bouffes; 3 i-act vaudev. -operettas
** La Petite Poucette " (1891 ; Beriin,
1893, as •• Der Talisman ") ; pan-
tomime, etc.; 1902 toured U. S.
s^ain with increased success.
Pufiti (poo-le'-te), Leto, Florence,
1818 — 1875 \ composer.
Pnnto, G. Vide stich.
Pnppo (poop'-p5), Gius., Lucca, June
12, 1749 — in poverty, Florence, April
19, 1827 ; an eccentric violinist, con-
ductor and composer.
PurccU (pttr'-s«l), (i) H., d. London.
1664 ; gentleman of the Chapel
Royal, and Master of the Choristers
at Westminster Abbey. (2) Hemy
(called "the younger*'), London,
1658— of consumption, Dean's Yard,
Westminster, Nov. 21, 1695 ; son of
above. Most eminent of strictly Eng-
lish composers. Chorister Chapel
Royal, and studied with Cooke, Hum-
frey, and Dr. Blow ; at 18 c. mus.
for Dryden's tragedy, *' Aurunguebe^'
and Shad well's comedy ^"^ Epsom
Wells "/ pub. a song ; at 19 an over-
ture, etc., to Aphra Behn's tragedy,
'"'^ Abdelator** ^nA an elegy on Mat-
thew Locke ; at 20 c. music to Shad-
well's version of ' ' Timon of Athens'* ;
1680, mcid. mus., and a short opera
** Dido and ^neas " written to order
for Josias Priest for his "boarding
sch. for young gentlewomen ** ; c.
also the " Ode or Welcome Song for
his Royal Highness " Duke of York,
and "J4 song to Welcome home His
Majesty from Windsor" From
1680 organist Westminster Abbey,
where he is buried. 1682, organ-
ist Chapel Royal ; 1683, composer-in-
ordinary to the King. His first pub.
chamber-mus. is dated the year 1683.
He c. ''Odes'' to King Charles
1684, and to King James in 1685, 28
in all. He c. mus. for 35 dram,
works of the time. 1695 he pub. his
first real opera, '' DiocLesian." The
Purcell Society (organised, 1876)
has issued many of his works and
g^ven frequent performances of them
in London. The Mus. Antiq. Soc.
has pub. others ; his widow pub. in
1697 ''A Collection of Ayres Com-
posed for the Theatre and upon other
Occasions" \ also songs for 1-3 voices,
from his theatrical works and odes ;
and the ** Orpheus Brittanicus" in 2
parts (Part i, 1698, Part ii, 1702).
Playford's * Theatre of Musick"
(1687), and other colls, contain many
of his works; ** PurcelCs Sacred
Music " is pub. in 6 vols. (Novello).
(3) Edw., 1689 — 1740; son of above;
682 THE MUSICAL GUIDE
oi^nist and composer. (4) Daniel, his bro. as dram, composer ; c. iDCii
London^ 1660 — Dec. 12, 1718 ; bro. mus. to ten dramas; odes, ind. fs-
of above; 1688, organist; 1695, succ. neral ode for his brother, etc
Purcell.
By John F. Runciman.
MODERN English musicians scarce count, and by their achievemeiBs
up to the present can scarce hope to count, in the history oftbe
world's music. When, however, the world was younger utd
the English race was fresher, things went differently. Before the rest of
Europe had produced anything worth long consideration to-day, the EngM
had brought forth a strong race of musicians ; and while the rest of Europe
was striving hard to catch up with the English, the English school was resdi-
ing a magnificent culmination in Purcell. Many influences went to the shap-
ing of him. Behind was the contrapuntal English school, of which Tallisaod
Byrde were exemplars ; more immediately behind was Pelham Humphries,
who brought to England all that France knew ; and it is as good as cenm
that he knew what the Italians, with Correlli at their head, had accomplished.
That is to say, he must have learned how to handle many parts in a ch(»i2S
or orchestral movement ; learned how to write recitadve and expressive song ;
learned what could be done in the way of chamber-music ; and such orches-
tral colouring as was possible at that day . ^ To these acquired masteries he
brought a native ear ^r miraculous colour in music — as witness his Tempest
music, written for the worst hbretto that the world has not Ibtened to; 1
glorious invention of expressive or picturesque melody, though chiefly pictu-
resque ; a fine instinct for the dramadc, and for expressing it in muse ; and
the most noble sense of the splendid effects to be gained by throwing about
masses of vocal tone in the manner afterwards appropriated and made entirdy
his own by Handel. ^ Those who have studied Purcell' s scores will be s$-
tonished by the extent to which Handel took his themes and modes of using
them. In that lies his sole contribudon to what must be called the "prog-
ress" of music. Later English composers, to their shame, and certainly to
their utter confusion, copied Handel instead of developing on Purcell' s lines.
They profited nothing ; and Purcell remains as the last of the tribe of d»c
genuinely creative English musicians. He was determined to excel in evcrr-
thing he touched ; and he excelled in everything. His forms are at once
broad and flexible ; his harmonies are as daring as Sebasdan Bach's ; his
themes have a great dignity and vigour ; and on everything he wrote there rests
an early morning freshness. No music has preserved its freshness better ; the
dew is still on it. ^ Born just before the Restoradon, he felt to the full
DICTIONARY OF MUSICIANS 683
the anti-Puritan reaction ; he shared in the revival of the sheer joy of being
alive ; and his music is filled with a cheerful health such as one finds in no
music written since his day. But he experienced the deeper emotions ; and
one may find in his works profound utterances of grief and sorrow, of the
mystery and terror of all life. He was entirely pagan, and wrote no real re-
ligious music — religious as we use the word when we speak of Sweelinck,
Palestrina, or Byrde. But power is there, and delicacy, and marvellous
beauty ; and above all that external freshness and picturesque quality
ifvhich g^ve his music the character that stamps and marks it off* as his
own.
Pntea'nus, Ericius (Latinised form of
H. Van de Puttc) (poof -te) (Galli-
cised to Dupuy), Venloo, Holland,
1574— Louvain, 1646 ; professor and
writer.
Pye, Kellow J., Exeter, Feb. 9, 18 12
— Ezmouth, Sept. 22, 1901; pianist
and coinposer.
Pyne(pin), (i) Geo., 1790— 1877. Engl,
male alto. (2) Jas. Kendrick, d.
1857; Engl, tenor. (3) Louisa
Fanny, b. England, 1832 ; soprano,
daughter of (2) ; pupil of Sir G.
Smart; debut, Boulogne, 1849; '^^8,
m. Frank Bodda, a barytone.
Pjthag^'oras, Samos, Greece, ca. 582,
B. c. — Metapontum, ca. 500 b. c;
famous philosopher and mathemati-
cian ; developed an elaborate sys-
tem of musical ratios.
Qnadri (kwt'-dre), Dom., Vicenza,
1801 — Milan, 1843 I teacher and
theorist.
Quadrio (kwil'-drl-o), Fran. Saverio,
Ponte. Valtellina, 1695 — Milan, 1756;
theorist.
Qnagliati (kwal-ya'-te), Paolo, d.
Rome, ca. 1660; cembalist ; c. one
of the earliest mus. dramas (161 1).
Qnandt (kvant), Chr. Fr., Herrnhut,
Saxony, 1766— rNiesky, near GOrlitz,
Jan. 30, 1806 ; writer.
Quantz (kvints), Jn. Joachim, Ober-
scheden, Hanover, 1697 — Potsdam,
1773 ; noted flutist ; in v. the second
key and sliding top for tuning the
flute ; taught Frederick the Great ; c.
500 flute pes.
Quaranta (kw£-ran'-t^), Fran., Na-
ples, 1848 — Milan, 1897 ; singing-
teacher and dram. comp)Oser.
Quarenghi (kwii-ran'-ge), Gug^lielmo,
Casalmaggiore, 1826 — Milan, 1882 ;
'cellist, professor, conductor and
dram, composer.
Quarles (kwarls), Chas., d. 1727; or-
ganist at York Minster and com-
poser.
Quatrem^re de Quincev (k&t-rA-m&r'-
dO-k&h-se), Ant. Chrysostome,
Paris, 1755 — 1849 ; writer.
Quef (k^f), Ch., French organist ; 1900,
choir-org. at La Trinijte, Paris ; 1902,
organist (vice Guilmant).
Queisser (kv!s'-s5r), Carl T., Doben,
n. Leipsic, 1800 — 1846; noted trom-
bonist.
Quercu (kv^r'-koo), Simon de (Latin-
ised from Van Eycken or Du
Chesne), b. in Brabant ; theorist and
ct. -chapel -singer, Milan, ca. 1500.
Quidant (ke-dah), Alfred (rightly Jos.),
Lyons, France, 1815— Paris, 1893;
pianist.
Quinault (ke-no), (i) Philippe, Paris,
1635— 1688 : Lully's librettist. (2)
' J. Bap. Maurice, d. Gien, 1744;
singer, actor and composer of ballets,
etc.
684
THE MUSICAL GUIDE
R
Ra(a)ff (raf)» Holzcm, 1714— Munich,
1797; tenor.
Rachmaninoff (rslkh-mS'-ne-ndf ), Ser-
rei VassilieTitch, b. Novgorod,
Russia, 1873 ; pianist and comp)oser ;
pupil of Siloti (pf.) and Arcnsky
(theory), Moscow Cons.; 1891, took
gprcat gold medal ; c. succ. i-act op-
era **AUko"' (Moscow, 1893), pf.-
conccrto ; a popular ** Prelude*^ and
other notable pf. -pieces.
Radecke (rsi'-d^k-^), (i) Rudolf, Ditt.
mannsdorf, Silesia, 1829 — Berlin,
1893 ; conductor, teacher and com-
poser. (2) (Albert Martin), Rob-
ert, b. Dittmannsdorf, Oct. 31, 1830;
bro. of above ; pupil of Leipzig Cons. ;
ist vln. in (>ewandhaus ; then pianist
and organist, Berlin ; later mus.-dir.
ct.-th.; 1871-84, ct.-cond.; 1883-88,
artistic dir. Stem Cons.; 1892, dir.
R. Inst, for Church-mus. , Berlin ; c.
i-act '' Lieder spiel,'* ''Die Monk-
guter** (Berlin, 1874); a symph., 3
overtures, etc. (3) Ernst, b. Ber-
lin, Dec. 8, 1866 ; son of above ; Dr.
Phil, at Berlin U., 1891; 1893, town
mus*-director and teacher, Winterthur,
Switzerland. (4) Luise, b. Celle,
Hanover, June 27, 1847; soprano ;
pupil of Marchesi ; debut, 1867, Co-
logne ; 1876, m. Baron von Brum-
mer.
Radoux (r^-doo), Jean Theodore,
b. Li^ge, Nov. 9, 1835.; pupil at the
Cons.; 1856, teacher of bassoon
there ; 1859, won Prix de Rome with
cantata '''' Le J uif Errant'*^ ; studied
with Halevy, Paris; 1872, dir. Li^gc
Cons.; put), biog. of Vieuxtemps
(1891); prod. 2 comic operas, orato-
rio ''Cain'' (1877), cantata '^ La
Fille de Jephtf' with orch., 2 symph.
tone-pictures, symph. overture, Tc
Deum, etc.
Radziwill (rat'-tse-vll), Prince Anton
H.,Wilna, 1775 — Berlin, 1833; sing-
er and composer ; patron of Beet-
hoven and Chopin.
Raff (rap, (I) Vide raaf. (2) Jot.
Toachim, Lachen, Lake of Zandi,
May 27, 1822 — Frankfort-on-Main,
June 25, 1882 ; eminent composer,
particulariy in the field of pt'ogram-
matic romanticism. Son of an organ*
ist ; too poor to attend a Umv. 1^
became a sch. -teacher ; was self-
taught in comp. and vln.; 1843 be
sent some comps. to Mendelssoha,
who recommended them to a publisb-
er. R. accompanied Liszt on a cos-
cert-tour as far as Cologne (1846),
where he lived for a time, writing re-
views ; later von Bulow played bis
''ConcertstUck"; his opera ** Xfmg
Alfred" was accepted at the ct-tb..
but forestalled by the RevolatioQ oC
1848 ; it was prod, in revised format
Weimar by Liszt. He pub. (1854)
a pamphlet **/>fV Wagntrfragey
1854, m. the actress Doris Geiuist
and obtained vogue at Wie^^dea as
a pf. -teacher. 1863, his first Sjrmph.,
^*^ An das Vaterlandy' won the prize
of the Viennese " Gesellschaft der
Musikfreunde ; " 1870, his comic op-
era ''Dame Kobold^* was prod, at
Weimar. 1877, dir. Hoch Cons, at
Frankfort. He was a very proIi6c
and uneven composer. The Raff
Memorial Soc. pub. at Fimakfort
(1886), a complete list of his works
which incl. 11 symphs.: No. i, "An
das Vaterland ; famous No. 3, in
F, ^'Im fVaUe" (1869); No. 5, op.
177 in E, the noted "jJn4^<'\' No. -6,
op. 189 in D min., ** Geledl, gnestrebt-
gelitten^ gestritten-gestorben, umvf^r-
ben"; No. 7, op. 201 in BI>, "' Inden
Alpen"; No. 8, op. 205, A, '^ FrUk-
lingskldnge" : No. 9, op. 208. E
min., **/»! Sommer**; No. 11. o|k
214, A min,, ''Der Winter'* (post-
humous); a sinfonietta ; 4 suites.
No. 2, "In ungarischer Weise* ;
No. 3, " Italienisch'' ; No. 4, ''Thu-
ringer''; 9 overtures, the "Jubeh-
Fest-" and " Concert ^ ouvertMre** ;
" Festouverture*' for wind; " Eim
feste Burg," "Romeo and JuHet^
"Othello:^ "Macbeth;' and " Tki
DICTIONARY OF MUSICIANS 685
Tempest ; " f cstiyal cantata * * Deutsch-
lands AufersiekuHg** ; Deprofundis
in 8 parts, op. 141; **/m JCakn"
and ^"^Der Tanx''^; for mixed chorus
'' MorgenHed'* and '' Einer EnU
schla/enen'' ; ''Die Tagesteiten'* ;
•* I>ie Jagerbraui und die liirtin,** 2
scenes for solo voice ; all with orch ;
the oratorio ** Weltende^ Gerichty
Neue fVe/t*' (Revelations) (Leeds,
1882); ''Die Sterne** and " Dcrn-
roschen " (MS.) ; 4 unperformed op-
eras, * 'Die EifersiUktigen " (text and
music); "Die Parole, " Benedeito
Marcello " and * * Samson **; mus# to
Genast's "Bernard von Weimar**
(1858); " Ode aupriniemps** lor pf.
and orch. ; "La fite d* Amour ** suite
for vln. with orch. ; 2 *cello-conccrtos ;
much chamber-mus. , incl. op. 192 (3
nos., •* Suite altercr Form," *' Die
schOne MQllerin,** ** Suite in canon-
form *0; 5 vln. sonatas; 'cello-sona-
ta ; 2 pf.-sonatas, suites, sonatinas ;
'" Homage aun^o-romantisme** "Mes»
sagers du printemps,** "Chant d'On^
dine*^ (arpeggio tremolo etude), Un-
garische Rhapsodic, Spanische Rhap-
sodic, 2 etudes melcdique, op. 130
(**Cavatina,*' and the famous ** La
Fileuse '*), many paraphrases ; manv
songs, incl. 2 cycles, ** Maria Stuart *
and *' Blondel de Nesle ** \ 30 male
quartets, etc.
Rf^humti (rSg-gY-&n'-te), Ippolito,
Viareggio, near Pisa, 1866— 1894 ;
violinist.
Raif (r!0, Oscar, The Hague, 1847—
Berlin, 1899; pianist, teacher and
composer.
Raillard (ri-yir). Abb« F., b. Mon-
tormentier, France, 1804 ; teacher of
science.
Raimondi (r^-e-mdn'-de), (i) Ignazio,
Naples, 1733 — 1802 ; violinist and
composer. (2) P., Rome, Dec. 20,
1786 — Oct. 30, 1853 ; extraordinary
contrapuntist, rivalling the ancient
masters in ingenuity ; prof, of cpt.,
and cond. at St. Peter*s ; prod. 54
operatic works and 21 ballets, 4
masses w. orch. and 5 oratorios, be-
sides the monumental trilogy ** Giu-
seppe ** (Joseph) consisting of 3 ora-
torios ("Potifar;* "Giuseppe:*
" Giaeohbe**), performed at Rome,
1852 separately, then all at once by
400 musicians, producing such frantic
excitement that the composer fainted
away ; he c. also an opera buffa and
an opera seria performable together;
4 four-voiced fugues which could be
combined into one fugue i /6, etc.,
incl. a fugue for 64 parts in 16 choirs;
he wrote essays explaining his meth-
ods.
Rain'forth, Elizabeth, 1814—- Red-
land, Bristol, 1877, Engl, soprano.
Ramann (ra-man), Lina, b. Main-
stockheim, near Kitzingen, June 24,
1833 ; pupil of Franz and Frau Bren-
del, Leipzig ; 1858, founded a mus.-
seminary for female teachers, 1865, a
mus.-sch. at NOmberg ; pub. trea-
tises and composed.
Rameau (ril-mo), (i) J. Philippe, Di-
jon, Sept. 25, 1683— of typhoid, Paris,
Sept. 12, 1764 ; eminent as theorist,
composer and organist At 7 he
could play at sight on the clavecin
any music gfiven him ; from 10 to 14
he attended the Jesuit Coll. at Dijon;
but taking no interest in anvthing but
music was dismissed and left to study
music by himself. He was sent to
Italy, 1 701, to break off a love affair,
but did not care to study there, and
joined a travelling French opera-
troupe as violinist. Later he became
organist at two churches in Paris,
1717. He studied org. with Louis
Marchand, who found his pupil a
rival, and in a competition favoured
his competitor, Daquin, as organist
of St. Paul's ; R. went as organist to
Lille, later to Clermont (where lived
his brother (2) Claude, a clever or-
ganist, and his father (3) Jean Fran.,
a gifted but dissipated organist and
poet). After 4 years he returned
to Paris, and pub. a treatise on harm,
which attracted some attention. He
became oiganist Sainte-Croix-de-la-
Bretonnerie ; and c. songs and
686
THE MUSICAL GUIDE
dances for pieces by Piron, at the
Op.-Com.; 1726, he pub. his epoch-
making **iVi?«vi«« syst^me de mu-
sique thSorique^^^ based on his own
studies of the monochord (v. D. D.) ;
in this work among many things in-
consistent, involved and arbitrary
(and later modified or discarded) was
much of remarkable even sensational,
novelty, such as the discovery of the
law of chord-inversion. He founded
his system on (i) chord-building by
thirds ; (2) the classiBcation of chords
and their inversions to one head each,
thus reducing the consonant and dis-
sonant combinations to a fixed num-
ber of root-chords ; (3) a fundamental
bass (** basse fondamentale, " not our
thorough-bass), an imaginary series
of root-tones forming the real bases
of all the chord - progpressions of a
composition. His theories provoked
much criticism, but soon won him pu-
pils from far and wide and the pre-
eminence as theorist that he enjoyed
as organist. He followed his nrst
theoretic treatises with 5 other trea-
tises. He now obtained the libretto
** Samson " from Voltaire (whom he
strikingly resembled in appearance)
but the work was rejected on account
of its biblical subject. " Hippolyteet
Aricie" libretto by Abbe Pelegrin,
was prixi. at the Opera, 1733, wiUi so
little succ. that he was about to re-
nounce the stage, but his friends pre-
vailed and he prod., 1735, the succ.
ballet-opera ^^ Les Indes Galanies^*
and at the age of 54 his masterpiece
** Castor </ Pollux t''"' a great succ. as
were most of his later works for 23
years, '' Les FiUs d'H/b^" (1739),
*• Dardanus " (1739), *' ^^ Princesse
de Navarre'' *' Les Files de Polhym-
nie;' and •*/> TempU de la Gloire"
(l745)» ** -^J P^lfs ^^ F Hymen et de
t Amour ^ ou les Dieux d'Egypte*'
(1747), ''Zais'' (1748), ''PygmalU
on"' (1748), '" PlaUe ou Junon ja-
louse," *' Nets " and *' Zoroastre " (the
** Samson" music with another li-
bretto) (1749), ** Aeanlhe et C^hise"
''La Guirlande:' and "Ztf N^s^
sance dVsiris" (1751X "' Dapkms
et EgU:' ** LyHs et D^Ue " and " //
Petour d'Astr/e" (1753), '' Amaer/-
on" ''Les Surprises de VAm^ur,"
and "Les Sybarites" (1757). *'Z«
Paladins " (1760). He c also others
not prod. His mus. is full of rich-
ness, novelty and truth, though be
wrote only fairly for the voice. He
said himself that were he younger he
would revolutionise his style along
the lines of Pergolesi. 1745 the Kiig
^nade him chamber-composer. His
patent of nobility was registered, just
before his death. He c. also many
books of mus. for clavecin, etc; oif
these a complete ed. is pub. by S^in-
grfiber. Biog. by du Charger (1761).
Nisard (1867), Grique (1876).
Ramm (ram), Fr., b. Mannheim, 1744;
eminent oboist.
Ramsey, Robt., organist and com-
poser at Cambridgre, 1628-44.
Randall, (i) J., 1715—1799; fflng«r»
professor at Cambridge and compos-
er. (2) Richard, 1736 — 1828 ; tenor
in Handel's oratorios.
Randegger (ran'-d^d-j^r), Alberto, b.
Trieste. April 13, 1832 ; pupil of La-
font (pf.), and Ricci (comp.) ; at ao
prod. 2 ballets and an opera, " H
Lazzarone" in collab. with 3 others,
at Trieste ; then th.-cond. at Fiunie,
Zara, Sinigagli, Brescia and Venice,
where he prcxl. grrand opera ** Bianca
Capello " (1854) ; ca. 1854, London,
as a singing. teacher ; t868 prof, of
singing, K. A. M. ; later dir. and a
member of the Committee of Manage-
ment ; also prof, of singing R. CM.;
1857 cond. It Opera, St. James's Th.:
1879-85, Carl Rosa company ; and
from 1 88 1, the Norwich Triennial
Festival. Wrote "Primer on sing-
ing" C. comic op>era ** The Pival
Beauties " (London, 1864) ; the 150th
Psalm with orch. and org. (Boston
Jubilee, 1872) ; dram. cantaU " /W-
dolin" (1873, Birmingham) ; 2 dram,
scenes '* Medea " (Leipzig, 1869) and
" Saffo" (London, 1875); cantata.
DICTIONARY OF MUSICIANS 687
•• lVerik^r's Shadow'* (Norwich,
1903), etc.
Randhkrliiiger (rant-h&rt'-Ing-^r),
Benedikt, Ruprechtshofen, I^wer
Austria, 1802 — Vienna, 1894 ; at lo
soprano ; conductor and composer
of over 600 works.
Rans'ford, Edwin, Gloucestershire,
1805 — London, 1S76 ; barytone.
Raonl dc Coucy. Vide coucy.
Rappoldi (rap-pSr^e), (i) Ednard,
b. Vienna, Feb. 21, 1839 ; pupil at the
Cons.; 1854-61, violinist ct. -opera ;
then leader at Rotterdam, then teach-
er Hochschule, Berlin ; then leader
opera-orch., Dresden, and since 1S93
head vln. -teacher at the Cons.; c.
chamber-rous., etc. (2) Laura Rap-
poldi-Kahrer (ka-rdr), b. Mistel-
bach, near Vienna, Jan. 14, 1853 ;
wife of above ; pianist ; pupil of
Vienna Cons, and of Liszt.
Rastrelli (ras-trdl'-le), (i) Jos., Dres-
den, 1799 — 1843 ; ct. -conductor and
draoL composer ; son and pupil of
(2) Vincenzo, 1760— 1839.
Ras(o)umoTski (ra-zoo-mof'-shlcY),
Count (from 181 5 Prince) Andrei
Kyrilloritch, Nov. 2, 1752 — Sept.
23, 1836 ; Russian ambassador at
Vienna, 1793- 1809 ; to whom Bee-
thoven dedicated the 3 quartets, op.
59-
Ratez (r&Hfe), Emile P., b.Besan9on,
Nov. 5, 1851 ; pupil of Bazin and
Massenet at Paris Cons.; via.- play-
er, Op.-Com.; chorusm. under Colon-
ne ; 1891, dir. the Lille branch of the
Paris Cons.; prod. 2 operas ^^ Ruse
iT Amour " (Besan9on, 1886), and
succ. '' Lyd/ric*' {IaW^, 1895): c. a
symph. poem with soli and chorus,
*• Sc^ms h/roi^ufs^'^ etc.
Rath^ber (rat -gi-b^r), Va]entin,ca.
i6qo — after 1744, Benedictine monk
at Banz, Franconia ; composer.
Ratsenberg^er (rat'-s^-b^kh-^r), Th. ,
Grossbreitcnbach, Thuringia, 1840-^
Wiesbaden, 1879 ; teacher and comp.
Ranchenecker (row'-khd-ndk-er), 6.
Wm., b. Munich, March 8, 1844;
pupO of Th. Lachner, Baumgartncr
and Jos. Walter (vln.) ; dir. Avignon
Cons.; then 1873, mus.-dir. at Win-
terthur; 1874, prod, prize cantata,
** Niklaus von der FlUe " (Zurich
Music Festival) ; for one year cond.
Berlin Philh. Concerts ; 1889, mus.
dir. at Elberfeld, where he prod.
3 succ. operas, **Z)jV Utztat Tage
von TAuU" (1889), ** /ngo^' (1893),
and *^Sanna*' (i-act, 1893); c. also
** /r Florentin^^ (not prod.); a
symph., etc.
Rauscher (row'-sh£r). Max, b. Wett-
stetten, Bavaria, Jan. 20, i860;
1884, took holy orders; from 1885,
cond. Ratisbon Cath.
Ranzzini (ra-ood-ze'-n$), (i) Venan-
zio, Rome, 1747 — Bath, En?l., 18 10;
tenor and dram, composer. (2) Mat-
teo, d. 1791; bro. of above; dram,
composer.
Ra venscroft, (i) Thos., 1582 (?>—
London, 1635 (?) ; prominent early
English composer and writer. (2)
John, d. 1740 ; violinist, London.
Ravera (ra-va'-ra), Niccold Teresio,
b. Alessandria. Italy, Feb. 24, 1851;
pupil Milan Cons.; won first prizes
for pf.. organ and comp.; now cond.
Th.-Lyrique de la Galerie-Vivienne,
Paris ; c. 4 operas.
RaTina (ra-ve'-nS), J. H., b. Bordeaux,
May 20, 1818 ; pianist ; pupil of
Zimmermann (pf.) and Laurent
(theory) at Paris Cons., won first
pf. -prize, 1834 ; ist harm. -prize,
1836 ; asst. -teacher there till 1837,
and also studied with Reicha and Le-
bome ; made tours; 1861, chev. of
the Legion of Honour ; c. a concerto,
etc.
Raw'lings, (i) Thos., 1703— 1767;
Engl, organist. (2) Robt., 1742 —
1814 ; son of above ; violinist. (3)
Thos. A., 1775 ; violinist, teacher
and composer. Son of (2).
Raymond (r^'-mdn), G. M., Cham-
bery, 1769 — 1839 ; acoustician.
Rea (ra), Wm., b. I^ndon, March 25,
1827; articled pupil of Josiah Pitt-
mann ; at 16, organist ; studied with
Stemdale Bennett (pf., comp. and
688
THE MUSICAL GUIDE
instr.), then at Leipzig and Pra^e ;
returned to London, and gave cham-
ber-concerts ; 1856, founded the Poly-
hymnian Choir ; organist at various
churches; since 1878, at St. Hilda's,
South Shields ; c. anthems, etc.
Rea4, Daniel, Rehoboth, Mass.,
1757 — New Haven, Conn., 1836;
mus. -teacher and comp>oser.
Reading^ (r£d'-Ing), (i) John, 1645 —
Winchester, Engl., 1692; organist and
composer of '* Dulce domum," etc.
(2) John, 1677— London, Sept. 2,
1764 ; son of above ; organist and
composer; the '^ Portuguese Hymn "
'' Adeste Fideles,** is credited to him.
S) John, 1674 — 1720; organist.
) , singer at Drury Lane,
1^5- (5) Rev. John, Prebendary of
Canterbury Cath. ; pub. **w4 Semion^
concerning Church Afusick " (1663).
Reay (ri), Samuel, b. Hexham, Engl.,
March 17, 1822 ; a pupil of Hen-
shaw and Stimpson ; 1841, organist
St. Andrew's, Newcastle ; since song-
schoolmaster, Newark Parish Ch.
and cond. Philh. Soc. ; c. Psalm 102,
with string-orch.; Communion Ser-
vice etc
Rebel (rii-b^l), (i) J. Ferry, Paris,
1669— 1747 ; conductor and com-
poser. (2) Fran., Paris. 1701 —
1755 ; violinist and dram, composer.
Rebello (ri-b^l'-ia), Jo2o Louren^o
(JoSo Soares), Caminha, 160^
San Amaro, Nov. 16, 1661, eminent
Portuguese composer.
Reber (rQ-ba), Napoleon H., Muhl-
hausen, Alsatia, Oct. 21, 1807 — Paris,
Nov. 24, 1880; 1851, prof, of comp.,
Paris Cons.; pub. one of the best
French harm, treatises (1862); c.
comic oi>eras, etc.
Rebicek (ra'-bt-ts€k). Josef; b.
Prague, Feb. 7, 1844 ; violinist ; pu-
pil Prague Cons.; 1861, Weimar ct.-
orch.; 1863, leader royal th., Wies-
baden; 1875, R. Mus.-Dir.; 1882,
leader and op.-dir. Imp. Th. War-
saw; 1891, cond. Nat. Th., Pesth;
1893, at Wiesbaden ; 1897, cond.,
Berlin Philh. Orch.
Rebline (rap'-lYng), Gt., b. Bari^.
Magdeburg, July 10, 1821; popil 0^
Fr. Schneider at Dessan ; i6$6, R.
Mus.-Dir.; 1858, organist Joinmis-
kirche ; 1846, founded, and cood. s
church choral soc.; 1897, c. PsaiiDS,
*'a cappella,** 'cello-sonata, eta (3)
Fr., b. Barby, Aug. 14, 1835 ; pift
of Leipzig Cons, and of Gou (sins*
ing); 1865-78, tenor at various ihea-
tres ; from 1877, singing-teacher Leip-
zig Cons.
Reckendoif (r£k'-«n.ddrO. Alms, b.
Trebitsch, Moravia, June 10, 1841;
studied Leipzig Cons.; since 1877,
teacher of pf. and theoiy there;
composer.
Redan, K. Vide c. convrrsb.
Redeker(ra'.d«k-^r). LoniaeDoretU
Auguste, b. Duingen, Hanom.
Jan. 19, 1853 ; contralto ; studied
Leipzig Cons. ; debut, Bremen, 1873.
Red'tord, J., organist and composer
St. Paul Cath., 1491-1547.
Red'head, Richard, Harrow. Engl.
1820— Mav, 1901 ; studied at Mag-
dalen Coll., Oxford ; organist of ^
Mary Magdalene's Ch., Loodoo;
ed. colls.; c. masses, etc.
Ree (ra), Anton, Aarfaus, Juthmd
i82(>— Copenhagen, 1886 ; piaoisi,
teacher and writer.
Reed, (i) Thos. German, Bristol, 1817
— Upper East Sheen. Surrey, 1888;
Pianist and singer. In 1844 he m. (3i
^risdlla Horton (1818— 1895). ^
fine actress and contralto. Their
entertainments were continued b^
their son (3) Alfred Germaa (d.
London, March 10, 1895). (4)Robt
Hopk6, and (5) Wm., bros. of (i):
'cellists.
Reeve, Wm., London, 1757— 1815
c. operettas.
Reeves, (i) (Jo^^^^ Sims, Woolwich.
Sept 26, ^8i8 (ace. to Gnrre.
Shooters Hill, Oct. 21, 1822)— Loo-
don, Oct. 25, 1900; noted tenor ; «
14 organist of North Cray Ch-
learned the vln., 'cello, oboe and bas-
soon ; and studied with J. B. Cramer
^f.) and W. H. Callcott (bann.);
DICTIONARY OF MUSICIANS 689
d^but as barytone, 1839; studied
with Hobbs and Cooke, and sang
minor tenor parts at Drury Lane;
then studied with Bordogni, Paris,
and Mazzucato, Milan, sang at La
Scala, 1846, Drury Lane, 1847, with
great succ; debut in Italian opera,
1848, at H. M.'s Th., also in orato-
rio at the Worcester and Norwich
Festivals, the same year ; retired in
189 1 « but on account of reverses, re-
appeared in 1893 ; and 1896. made
succ tour of South Africa; pub,** Li/e
and Recollections'* (London, 1888);
he m., 1850, (2) Emma Lucombe,
opera and concert soprano. (3)
Herbert, his son and pupil . studied
at Milan ; concert-debut, 1880.
Regan, Amuu Vide schimon-regan.
Reger (r&'-gir). Max, b. Brand, Ba-
varia, March 19, 1873 ; pupil of
Lindner and H. Riemann ; c. *cello-
sonata etc
Regibo (r&'-zhe-bo). Abel B. M., b.
Renaix, Belgrium, April 6, 1835 ; or-
ganist, pianist, and composer.
Regino (r&-je'-nd) (Pmmlensis), d.
915 ; Abbot of Prum monastery, near
Trier, 802 ; writer. (Gerbert.)
R^gis (ra -zhes), Jns., Belgian cptist.;
contemporary of Okeghem.
Regnal, Fr. Vide fr. d*erlanger.
Regnart (or Regnard) (rdkh'-n§rt), (r)
Jacob, Netherlands, 1540— Prague,
ca. 1600 ; imp. vice-cond. ; popular
composer. His brothers (2) rz,^ (3)
K., and (4) Pascasius, also c. songs.
Regondi (ra-gon'-de), Giulio, Geneva,
1822 — Engl., 1872 ; gfuitar, and con-
certina-virtuoso ; composer.
Rehbaum (ra'-bowm), Theobald, b.
Berlin. Aug. 7, 1835; pupil of H.
Ries (vln.) and Kiel (comp.). 1. Wies-
baden ; c. 7 operas incl. '* Turan*
<*>/" (Berlin, 1888), etc.
Rehberg (ra'.b*rkh). (i) Willy, b.
Morges, Switz., Sept. 2, 1863 ; pian-
ist ; son and pupil of (2) Fr. R. (a
mus. -teacher) ; later studied at Zurich
Mus.-Sch. and Leipzig Cons.; pf.-
teacher there till i^\ 1888-90,
cond. at Altenburg - since 1890, head
44
pf -teachei Geneva Cons.; since 1802,
also cond. Geneva Municipal Oreo.;
c. vln.-sonata, pf.-sonata, etc.
Rehfeld (ra'.f^lt), Fabian, b. Tuchd,
W. Prussia, Jan. 23, 1842 ; violinist ;
Supil of Zimmermann and Griinwald,
»erhn , 1868, royal chamber-mus.;
1873, leader ct.-orch.
Reicha (rf -khS), (i) (rightly Rejcha,
ra'-kha), J08., Pragfue, 1746— Bonn,
1795; 'cellis*:, violinist, and cond. at
Bonn. (:) Anton (Jos.), Prague,
Feb. 27, 1770 — Paris, May 28, 1836;
nephew and pupil of above ; flutist,
v]a.-player, and teacher. Notable in
his day as a theorist and an ingenious
and original contrapuntist ; c. an op-
era, etc.
Reichardt (ri'-khUrt), (i) Jn. Fr.,
Kdnigsberg, Nov. 25, 1752 — Giebich-
enstein near Halle, June 27, 1814 ;
cond., editor and dram, composer;
pupil of Richter and Veichtner ; 1775,
ct.-cond. to Frederick the Great,
later to Fr. Wm. II. and III., then
to Jerome Bonaparte ; he prod, many
German and Italian op>eras and influ-
ential Singspiele ; also c 7 symphs. , a
eission, etc., and notable songs. (2)
uise, Berlin, 1788 — Hamburg,
1826 ; daughter of above ; singing-
teacher. (3) Gv., Schmarsow, near
Demmin, 1797 — Berlin, 1884 ; con-
ductor ; c. pop. songs. (4) Alex.,
Packs, Hungary, 1825 — Boulogne-
sur-Mer, 1885 ; tenor.
Reichel (ri'-kh^l), (i) Ad. H. Jn., b.
Tursznitz, W. Prussia, 1816 ; pupil of
Dehn and L. Berger ; Berlin ; pf.-
teacher, Paris; 1857-67, taught comp.
at Dresden (ions.; 1867, municipal
mus.-dir. Berne, Switz. ; c. pf.-con-
certos, etc. (2) Fr., Oberoderwitz,
Lusatia, 1833— Dresden, 1889; can-
tor and org.-comp)oser.
Reicher-Kindermann (ri'-kh^r-kln'-
d^r-man). (i) Hedwig, Munich, 1853
— Trieste, 1883 ; soprano ; daughter
of the barytone, A. Kindermann ; m.
(2) Reicher, an opera singer.
Reichert (d'-kh^rt), Mathieu Andr6,
b. Maestricht, 1830 ; flute-virtuoso ;
690
THE MUSICAL GUIDE
pupil Brussels Cons. , took ist prize
in 1847; toured Europe and Ameri-
ca ; composer.
Reichmaim (rikh'-man), Th., b. Ros-
tock, March 18, 1849 * barytone ;
pupil of Mantius, Elsler, Ress and
Lamperti ; i882--89, ct. -opera Vi-
enna; 1882, created ** Amfortas" in
'* Parsifal,"' Bayreuth ; 1889-90,
New York ; then Vienna.
Reld (red)« General John, Straloch»
Perthshire, I72i(?) — London, 1807 ; a
musical amateur, founded a chair of
mus. Edinburgh Univ.
ReijoTaan (or Reynwaen) (r^n'-van),
lean Verschuere, LL.D.; Middle-
burg, Holland, 1743 — Flushing, May
12, 1809 ; organist and composer.
Reimann (r!-miin), (i) Mathien
(Matthias Reymannus), LOwen-
berg, 1544— 1597; composer. (2)
Ig^naz, Albendorf, Silesia, 1820—
Rengersdorf, 1885 ; composer. (3)
H., b. Rengensdorf, March 14, 1850 ;
son and pupil of (2) ; since 1887
asst-libr., R. Library, Berlin; or-
ganist to the Philh. Soc. ; teacher of
organ and theory, Scharwenka-Klind-
worth Cons., and (since 1895) organ-
ist at the Gnadenkirche ; prominent
critic and writer ; c. sonatas and
studies for org^n.
Reinagle (ri'-na-g£l), (i) Jos., b. Lon-
don ; son of a German mus., horn-
player and comp)oser, 1785. (2) Hiig^h,
d. young at Lisbon ; bro. of above ;
^cellist. (3) Alex. R., Brighton, 1799
— Kidlington, near Oxford, 1877; or-
ganist and composer ; son of (i).
Reinecke (ri'-n^k-d), (i) Ld. K.,
Dessau, 1774 — GUsten, 1820 ; leader
and dram, composer. (2) K. (H.
Carsten), b. Altona, June 23, 1824;
noteworthy pianist and teacher ; son
and pupil of a music-teacher; at 11,
played in public ; at 19 toured Den-
mark and Sweden ; at Leipzig ad-
vised by Mendelssohn and Schu-
mann ; ct. -pianist at Copenhagen ;
185 1 teacher Cologne Cons.; 1854-
59 mus.-dir. Barmen ; 1859-60 mus.-
dir. and cond. Singakademie, Bres-
lau ; 1860-95 cond. GewancihaGs
Concerts, Leipzig ; also prof, of pf -
playing and free comp., Lcipe^
Cons. ; 1897 * * Studiendirektor " there;
Dr. Phil, h, r., Leipzig Univ.; Rojal
Professor; toured almost annoally
with great succ, c. 2 masses, 3
symphs., 5 overtures *" Dawu AV-
bold;' '' Aiadin:' '' Friedetufeier:
'* FestouvertUre " ** /» mrm^riam*^
(of David) , '' ZenoHa,'' introd. and
fugue with chorus and orch ; f oneial
march for Emperor William I.; ooo-
certos for vln., cello and harp.; prod,
grand opera ^^ Kdnig Mam/red^
(Wiesbaden, 1867) ; 3 comic opens :
fairy opera ^* Die TevfeUktn amf
der Himmelswiese'* (Glarus, 1899);
mus. to Schiller's ** 7V//"y oratorio
'' Belsazar'\' 2 canUUs "^ BaJkom
Jari;' and ''Die Flucki msci
jEgypten^'* with orch.; 5 fairy canu-
tas, 4 concertos, many sonatas ; **^atx
der Jugendzeit" op. 106; "AV«j
Notenbuch fur KUine LeuU*" opt
107 ; concert-arias, 20 canons for 3
female voices, and excellent soi^
for children.
Reiner (il'-n£r), (i) Jacob, Altdod.
Wttrtemberg, ca. 1560 — 1606; com-
poser. (2) Ambrosins, Altdorf-Wein-
garten, 1604 — 1762 ; ct.-conductor ;
son of above.
Reinhard (iln'-h£rt), B. Fran., Soass-
burg, mus. -printer, 1800 ; the first to
scereotyp>e music plates.
Reinhold (rin'-hdlt), (i) Thos., Dres-
den, 169a— Soho, 175 1 ; singer. (2)
Chas. Fred., 1737 — Somers Towt.
1815 ; Engl, bass and organist. (3)
Hugo, b. Vienna, March 3, 1854;
composer.
Reinholdt (iln'-hdlt), Th. Christ-
lieb, d. Dresden, March 24, 1755 ;
cantor, teacher and composer.
Reinke(n) (rin'-k^n) (or Reinicke),
Jn. Adam, Deventer, Holland, Apr^
27, 1623 — Hambui^t Nov. 24, 172a ;
noted organist and composer.
Reinsdorf (rins'.d6r0« Otto, KOselitz,
1848 — Berlin, 1890 ; editor.
Reinthaler (rin'-til-^r), K. (Maitni),
DICTIONARY OF MUSICIANS 691
Erfurt, 1832 — Bremen, 1896: sing-
ixig^.teacher, orgsinist, conductor and
dram, composer.
Reisenauer (if-z^now-^r), Alfred, b.
Kdnigsberg, Nov. i, 1863; pianist;
pupil of L. Kohler and Liszt ; debut,
1 83 1, Rome, with Liszt; toured,
composer.
Reiser (rf'-z^r). Aug. Fr., b. Gammer,
tingren, WQrtemberg, Jan. 19. 1840 ;
1880-86. ed Cologne ** Nttu Mu-
sikx£ituHg*\ c a svmphs., choruses,
vaxA*^"^ Barharossa* for double ch.,
etc.
Relset. Vide db grandval.
Reiss (rfs),(i) K. H. Ad«, b Frankfort-
on- Main, April 24, 1829; pupil of
Hauptmann, Leipzig; chorus-master
and cond. various theatres; 1854,
1st cond. Mayence; 1856, 2cL, later
1st cond. at Cassel (vice Spohr).
1881-86, ct.-th., Wiesbaden; prod,
opera. ^'Otto der SchUtz'' (Mayence,
1856). (2) Albert, b. Berlin ; Wag-
nerian tenor ; studied law, then be-
came an actor, discovered by PoUini;
pupil of Liebau and Stolzenberg;
d^but in opera at Konigsberg, later
at Posen and Wiesbaden ; famous as
**Mune " and ** David." 1002-3. N. Y.
Reissig^er (ris'-slkh-^r), (i) Chr. Gl.,
c. 1790; oomp. (2) K. GL, Belzig, near
Wittenberg, Jan. 31. 1798— Dresden.
Nov. 7, 1859 ; son of above ; pupil
of Schicht and Winter; singer, pi-
anist and teacher; 1826, on invita-
tion, organised at The Hague the still
socc. (3)ns.; ct-cond. Dresden (vice
Weber); c. 8 operas, 10 masses. (3)
Fr. Aug., Belzig, 1809 — Frederiks-
hald, 1883 ; bro. of above ; military
bandm.; composer.
Reissmann (ils'-man), Aug^., b.
Frankenstein, Silesia, Nov. 14, 1825;
studied there and at Breslau ; 1863-
80, lectured at Stem Cons., Berlin ;
then lived in Leipzig (Dr. Phil.,
1875), Wiesbaden and Berlin ; writer
of important historical works, and
lexicographer; c. 3 operas, 2 dram,
scenes, an oratorio, etc.
Reiter (rl'-t^r). Ernst, Wertheim.
Baden, 1814 — Basel, 1875; vln.-prof.
and dram, composer.
Relfe (r«10, (i) Lnpton, d. 1803; for
50 years organist Greenwich Hospi-
ul. (2) JcMin, Greenwich, 1763 —
London, ca. 1837; son of above;
noted teacher ; theorist
RellsUb (r«l'.shtap). (i) Jn. K. Fr.,
Berlin. 1759 — 18 13 ; son and suc-
cessor of owner of a printing-estab-
lishment; critic, teacher, and com-
poser. (2) (H. Fr.) L., Berlin, 1799
— 1860; the noted novelist, son of
above ; wrote biog., libretti and criti-
cisms which got him twice impris-
oned ; c. part-songs. (3) Karoline,
b. 1793 (or *94) ; sister of above;
singer of unusual compass.
Remeajri (r$m' - an - ye), Ednard,
Heves, Hungary, 1830 — onthestagfe,
of apoplexy. San Francisco, Cal.,
May 15, 1898 ; noted violinist ; pu-
pil of Bdhm, Vienna Cons.; banished
for his part in Hungarian Revolu-
tion : toured America ; 1854. solo
violinist to Queen Victoria ; i860,
pardoned by Austrian Emperor and
made ct. -violinist ; toured widely,
1866 round the world ; c. a vln.-con-
certo, transcriptions, etc
Remi d*Auxerre (r&-me do-s&r) (Re-
migius Altisiodorensis), monk at
Rheims. 893 ; writer.
Remmers (r£m'-m£rs). Jn., Jever.
1805 — The Hague. Jan. 28, 1847;
violinist.
Rem'mert, Martha, b. Gross-Schwe-
rin, near Glogau, Sept. 13, 1854 ; pi-
anist ; pupil of Kullak. Tausig and
Liszt ; lives in Berlin.
R^musat (R^muzat) (r§l-raQ.zS), (i)
Jean, Bordeaux, 18 15 — Shanghai,
1880; flute- virtuoso ; writer and com-
poser. (2) Bd. Martin, b. Bor-
deaux. 1822 ; bro. of above ; flutist.
Remy, W. A. Vide mayer, wm.
R^nard (ra-nilr), Marie, b. Graz, Jan
18,1864 ; soprano ; debut. Graz, 1882;
1885-88, Berlin ct.-opera ; then Vi-
enna ct. -opera.
Renaud (rtt-no), (i) Albert, b. Paris,
1855 ; pupil of Franck and Delibes ;
692
THE MUSICAL GUIDE
org;anist St. Fran9ois-XAvier ; critic,
''La Patrie''; c. 4-act *'f^rie."
*' Aladin^' (1891) ; op^a comique
"^ la Houtarde'* ('91); operetta
••Z^ SoUil de Afinuir (1898) ; bal-
lets, etc. (2) Maurice, b. Bordeaux,
1862 ; notable bass ; pupil of Paris
Cons.; 1883-90, at R. Opera, Bnis<
sels; 1890-91. Op.-Com., Paris; from
1891-1902, Gr. Op^ra; equally fine in
comic and serious works ; has a rep-
ertory of 50 operas.
Rendaiio (r£n-da'-no), Alfonso, Caro-
lei, Calabria, April 5, 1853 ; pianist ;
pupil of Naples Cons., Thalberg^ <«nd
Leipzig Cons. (1871); toured ; c.
piano-pcs.
Ren'ner, Josef, Schmatzhausen, Ba-
varia, 1832 — Ratisbon, 1895 ; editor.
Reszk6. Vide de reszk6.
R^ty (ra-te), Chas., ca. 1826— Paris,
1895 ; under the pseud. "Chas. Dar-
cours," critic for twenty-five years.
Reubke (roip'-ke),(i) Ad., Halberstadt,
1805 — 1875 ; org.-builder at Hausen-
dorf, near Quedlinburg. (2) Emil,
Hausneindorif, 1836 — 1885 ; son and
successor of above. (3) Julius R.,
Hausneindorf, 1834— Pillnitz, 1858 ;
bro. of above ; pianist and composer.
(4) Otto R., b. Nov. 2, 1842 ; bro.
of above ; pupil of von BUlow and
Marx ; mus. -teacher and conductor,
Halle ; 1892, mus.-dir. at the Uni*
versity.
Reuling (roi'-ltng), (L.) Wm., Darm-
stadt, 1802 — Munich, 1879; con-
ductor and dram, composer.
Reuss (rois), (i) Eduard, b. New York,
Sept. 16, 1851; pupil of Ed. Krttger
and of Liszt ; 1880. teacher at Carls-
ruhe. His wife, (2) Reuss-Belce
(-bdl'-ts^) Louise, b. Vienna ; sopra-
no ; pupil of G&nsbacher ; debut as
*' Elsa,'* Carlsruhe, 1884 ; later at
Wiesbaden, and Bayreuth as one of
the *'Noms" and **Walkare" for
years ; 1900 sang Wagner in Spain,
iQOi, Met. Op., N. Y. (3) H.
XXIV., Prince of Reuss- K5stritz ;
b, Trel)schen, Brandenburg, Dec. 8,
1855 » pupil of Herzogenberg and
Rust, Leipzig ; c. 2 symphs., a mass,
etc.
Reuter (roi'-t£r), Florizel (known as
" Florujel ") ; b. 1890 (?) ; boy vio-
linist ; pupil of Bendix, Chicago, and
of Marteau, in Europe ; has toured
America with popular success.
Reutter (roit'-tdr), (i) G. (Scmor),
Vienna, 1656 — Aug., 1738 ; theorb-
ist, ct.-organist and conductor. (2)
(Jn. Adam), G. (Junior), Vienna,
1708 — 1772; son and (1738) succes-
sor of above as ct.-conductor ; c
opera, etc.
Rey (r^), (i) J. Bap., Lauzerte, 1734
— Paris, 1 8 10; conductor, professor
of harm, and dram, composer. (2)
L. Chas. Jos., bro. of above ; for
40 years 'cellist, Gr. Op^. (3) J.
Bap. (IL), b. Tarascon, ca. 1760;
from 1795 till 1822, 'cellist. Or
Opera, and theorist. (4) V. F. S., b.
Lyons, ca. 1762 ; theorist (5) Vide
REYER
Reyer (r«-ya) (rightly Rey), L. ^ti-
enne Ernest, b. Marseilles, Dec i,
1823 ; prominent French composer ;
studied as a child in the free muDk-
ipal sch. of mus. ; while in the Govt
financial bureau at Algiers, c a sol-
emn mass and pub songs ; the Revo-
lution of 1848 deprived him of his
position and he retired to Paris,
where he studied with his aunt, Mme.
Farrenc ; librarian at Opera (vice
Berlioz) ; 1876, Academic ; critic
''Journal des D^baW ; 1862, Cbev.
of the Legion of Honour; 1886.
Officier. Prod, a svmph. ode with
choruses " U S^lam'' (Th. Italien
1850); i-act comedy-opera "' MaS-
tre Wolfram " (Th.-Lyrique, 1854),.
a ballet-pantomime * * Saamntala "
(Opera, 1858) ; comedy-opera '* L*
Status'" (Th.-Lyr., 1 861, revived aw
the Opera 1878 without succ.);unsucc,
opera *' ErostraW (Baden-Baden.
1862); the still pop. opera ** Sij^urd"
(Brussels, 1884), and '* SalammSS**
(Brussels, 1890). C. a cantaU " Kif-
/i?iW" (1859); a h>Tnn, " L Unien
des Arts'' (1862), a dram, scene.
DICTIONARY OF MUSICIANS 693
•*Zif Mad^Uine au Desert'^ (1874);
male choruses; also some church-
mus. Pub. a volume of essays, 1875.
Rezoicek (r€z'.nl-ts«k). Emil Nico-
lans, Freiherr Ton, b. Vienna, May
4, 1861 ; sttidied Leipzig Cons.; th.-
condoctor various cities ; 1896, ist
cond. ct-th., Mannheim; prod, at
Prague operas ** Die Jungfrau von
OrUans *' (1887)/* Satanella " (1888).
'^ Ewurick Fortunar (1889). comic
opera (text and music), ""^ Donna
Diana " (1894), all very succ. ; Volks-
oper, '• TiU EulenspiegeV' (Berlin.
1903). C. also a requiem (1894), a
symph. suite, etc.
Rliaw(Rhaii)(row),G., Eisfeld, Fran-
conia, 1488 — Wittenberg, 1548; mus.-
printer and composer.
Rneiiiberfi^er (rin'-berkh-«r), Jos,
(Gabriel), Vaduz, Lichtenstein,
March 17, 1837— (of nerve and lung
troubles) Munich, Nov. 25, 1902 ;
eminent teacher and composer. At
5 played the piano ; at 7 a good or-
ganist ; studied R. Sch. of Mus.,
Munich; 1859, teacher of theory
there ; also organist at the ct.-
chtux:h of St. Michael, and cond.
Oratorio Soc. 1865-67, ** Repetitor "
ct -opera ; Royal Prof, and Inspector
of the Sch. of Mus. ; from 1877 ct.-cond.
Royal Chapel-Choir ; m. Franziska
▼on Hoffnas, a poetess (1822 — 1892);
prod, romantic opera ** Diey Raben **
(Munich, 1869) ; comic opera " Des
Tkarmers TdchterUin'' (Munich,
1873) ; ** Christophorus,'* a mass for
double choir (dedicated to Leo XIII.);
mass, with orch. ; requiem for soldiers
of the Franco- Prussian war ; 2 Sta-
bat Maters; 4 cantatas with OTch.;
2 choral ballades; ''Florentine**
symph.; symph. tone-picture ** fVal-
ienstetn** ; a symphonic fantasia; 3
overtures ••Z>^»f^/W«j,"'* The Tarn-
ing of the Shrew:' ** Triumph''; 2
organ - (^ncertos ; pf . - concertos ,
chamber-music ; vln. -sonatas ; pf.*
sonatas (** symphonique"; op. 47 ;
"romantic," op. 184), etc., notably
18 important oig.-sonatas ; left un-
finished mass in A minor (finished by
his pupil L. A. Coeme).
Riccati (rYk-ka'-t^), Connt Giordan
QOy b. Castelfranco, 1709 — Treviso,
1790; theorist.
Ricci (rit'-che), (i) Lnig^, Naples,
1805 — insane, in asylum, Prague,
1859 ; conductor and dram, com-
poser ; m. (2) Lidia Stoltz, who
bore him two children, of whom (3)
Adelaide sang at Th. des It., Paris,
1867, and died soon after. (4) Fed-
erico, Naples, 1809 — Comegliano,
1877 ; bro. of (i) and collaborator in
4 of his operas ; also c. others.
Riccius (rek'-tsY-oos), (i) Aug^. Fd.,
Bemstadt, Saxony, 1819 — Carlsbad,
1886; conductor, critic, singing-teach-
er and com|x>ser. (2) IC. Aug.,
Bemstadt, July 26, 1830— Dresden,
July 8, 1893; nephew of above ; con-
ductor, violinist and composer of
comic operas, etc.
Rice, Feaelon B., Green, Ohio, Jan.
2, 1841 — Oberlin. Ohio, Oct. 26, 1901;
studied Boston, Mass., later Leipzig ;
for 3 years organist, Boston; from
187 1, dir. Oberiin (Ohio) Cons, of
Mus.; Mus. Doc. Hillsdale (Mich.)
Coll.
Rich'ards, (H.) Brinley, Carmarthen,
Wales, Nov. 13, 1817 — London,
May I, 1885 ; pop. composer and
pianist.
Rich'ardson, (i) Vaag^han, d. 1729 ;
organist and composer, London. (2)
Jos., 1814 — 1862 ; flutist and com-
poser, London.
Richault (re-sh5), (i) Chas. Simon,
Chartres, 1780 — Paris, 1866; mus.-
gublisher, succeeded bv his sons (2)
ruillaume Simon (1806 — 1877)
and (3) L6on (1839— 1895).
Riche, A. Lc. Vide divitis.
Richter (rTkh'-t«r), (i) Fz. X., Hole-
schau, Moravia, 1709 — 1789; cond.,
writer and composer. (2) Jn. Chr.
Chp., Neustadt-am-Kulm, 1727 —
Schwarzenbach - on - Saale, 1779 ;
Father of Jean Paul R.; organist.
(3) Ernst H. Ld., ThierRArten,
Prussian Silesia, 1805 — Stelnau-oa-
694
THE MUSICAL GUIDE
Oder, 1876 ; notable teacher ; c. an
opera, etc. (4) Ernst Fr. (Edu-
ard), Gross SchOnau, Saxony, Oct.
24, 1808— Leipzig, April 9, 1879;
eminent theorist ; pupil of Weinlig,
and self-taught ; 1843 teacher at
Leipzig Cons, newly founded ; 1843-
47, conductor Singakademie ; or-
ganist various churches , 1863 mus.-
dir. Nikolaikirche ; 1868 mus.-dir.
and cantor Thomaskirche ; Prof.;
wrote a standard * *'Lehrbuch eUr Har-
monie** (1853), and ^^ Lehrbuch der
^uge "/ c. an oratorio, masses, etc.
(5) Alfred, b. Leipzig, April i, 1846 ;
son of above ; teacher at the Cons.,
1872-83 ; then lived in London ; 1897,
Leipzig ; pub. supplement to his
father's *' Harmonie, and ** /Contra-
punkt 'V also ** Das K lavier spiel fUr
Musikstuditrende^* (Leipzig, 1898).
(6) Hans, b. Raab, Hungary, April
4, 1843; eminent conductor; son of the
cond.of the local cath. ; his mother was
a prominent sopr. and later a distin-
guished teacher ; choirboy in the ct.-
chapel, Vienna ; studied with Sech-
ter (piano-playing), and Kleinecke
(the French horn), at the Cons. ; horn-
player in KSmethor Th. orch.; then
with Wagner, 1866-67 '^^ Lucerne,
making a fair copy of the ' ' Meister-
singer*'' score. On W.'s recommen-
dation, 1867, chorusm., Munich
Opera. 1868-69 ct.-cond. under von
Bulow. Cond. first performance of
** Lohengrin^' (Brussels, 1870); again
at Lucerne with Wagner, making fair
copy of the score of the '* Nibelungen
Ring'' ; 1871-75, cond., Pesth Na-
tional Th.; then cond. of the Imp.
Opera, Vienna ; 1893, ist cond. ;
since 1875 also cond. ** Gesellsehaft
der Musikfreunde " excepting 1882-
83. Selected by Wagner to cond.
the ''Ring des Niebelungen" (Bay-
reuth, 1876), and alternate cond.
with Wagner at the Wagner Concerts,
Albert Hall, London, 1877 ; chief-
cond. Bayreuth Festivals, and since
1879. annually cond. Philh. concerts at
London. Cond. several Lower Rhe-
nish Festivals and (since 1885} tbe
Birmii^ham Festivals. In 18S5,
Mus. Doc. A. e,, Oxford Uoiv. la
1898 the freedom of the city of Vi-
enna was g^ven him.
Ricieri (re-cha -r«), Gicnr. A., Venice,
1679 — Bologna, 1746; male soprano
and composer.
Ricordi (re-kor'-de), (i) Gior., Milan,
1785 — 1853 ; founder of the mns.-
publishing firm in Milan ; violinist
and conductor ; succeeded by his son
(2) Tito (1811—1888); the present
head is (3) Giulio (b. Milan, Dec. 19,
1840); also ed. of the '*Ga%eiia Mm-
sicaUJ**
Riechers (rd'-kh€rs), Ang^., Hanover.
i836^Berlin, 1893 ; maker and re-
pairer of vlns. ; writer.
Riedel (re'-d'l) (i) Karl, Kronenbeig,
Oct. 6, 1827 — Leipzig, June 3, 1888 ;
pupil Leipzig Cons.; 1S54, founded
the noted social society Riedelve-
rein ; pres. Wagnerverein, etc ;
pub. colls. (2) Hn., b. Burg, near
Magdeburg, Jan. 2, 1847; pupil Vi-
enna Cons.; ct.-cond. Brunswick;
composer. (3) Farchtegott Enut
Au^., b. Chemnitz, May 22, 1855 ;
pupil Leipzig Cons.; from 1890,
town cantor, Piauen, Saxony^ ako
cond.; c. cantatas, etc.
Riedt (ret), Fr. Wm., Berlin, 1712—
1784; flute-virtuoso; writer and com-
poser.
Riehl (rel), Wm. H. von, Biebrich,
1823 — Munich, 1897; director, writer
and composer.
Riem (rem), Fr. Wm.. Kolleda, The-
ringia, 1779— Bremen, 1857; organ-
ist, conductor and composer.
Riemann (re'-man), (i) Jaicob, at Cas-
sel i8th cent.; ct.-ccmposer. (2)
Aur., Blankenham, Thuringia, 1772
— Weimar, 1826 ; ist violinist ct-
orch. (3) Hugo, b. Grossmefalra,
near Sondershausen, July 18, 1849;
notable theorist. Son of a fanner
who taught him the rudiments of
mus., and who had prod, an opera
and choral pes. at Sondershausen,
but opposed his son*s mus. ambi-
DICTIONARY OF MUSICIANS 695
tions; the youth, however, studied
theory with Frankenberger, and piano
with Barthel and Ratzenberg^er, at
Sondershausen. Studied law, then
philosophy and history, at Berlin and
Tubingen ; after serving in the cam-
paign of 1870 — 71, entered Leipzig
Cons.; 1873, I^r. Phil. GOttingen;
wrote dissertation ** Musikalische
Logik^^; until 1878, a cond. and
teacher at Bielefeld, then lecturer
Leipzig Univ.; 1880-81, teacher of
mus. at Bromberg; then till i8qo,
Hamburg Cons., then the Wiesbaden
Cons. ; 1895, lecturer at Leipzig
Univ. ; m. in 1876. Notable at times
under pseud. " Hug^bert Ries "
as an essayist, writer of theoretical
treatises of much originality, also an
important historian and lexicographer;
mus.-ed. of Meyer's ''^ /Conversations-
itxikon** and ed. a valuable '''' Mu-
sik'Lexikon"" (1882; Engl. ed. 1893);
c. chamber-mus. , vln. -sonata, etc.
Riemenschneider (re'-m^n-shnl-d^r),
G.y b. Stralsund, April i, 1848; pu-
pil of Haupt and Kiel ; th.-cond. LO-
beck (1875) and Danzig; later cond.
Breslau concert-orch. ; c. operas
'' Mondeszauber'' (Danzig, 1887),
and *''DU Eisjungfrau** (symphonic
picture), ^''jMlinacht^** etc.
Riepel (rc'-p^l), Jos.» Horschlag, Up-
per Austria, 1708— Ratisbon, 1782 ;
chamber-musician, theorist and com-
poser.
Ries (res), (i) Jn., Benzheim, 1723—
1786(7); ct. -trumpeter and violinist
to the Elector of Bonn; also con-
ductor. (2) Aane Maria, daughter
of above ; ct.-soprano, Bonn, 1764-
1794; OL a violinist Fd. Drewer.
(3) F«. (der alter), Bonn, 1755—
Bremen, 1846 ; bro. of above ; lead-
er, later ct-mus. dir., Bonn. (4)
Fd., Bonn. Nov. 29, 1784— Frank-
fort-on-Main, Jan. 13, 1838 ; noted
pianist ; pupil of Beethoven (of whom
he wrote a valuable sketch) and Al-
brechtsberger ; toured , 181 3-24,
London ; m. an English woman ;
from 1830, 1. Frankfort as cond. ; c. 8
operas, 6 symphs., etc. (5) Peter
Jos., 1790 — London, 1882 ; bro. of
above ; Royal Prussian Prof. (6)
Hubert, Bonn, April i, 1802 — Ber-
lin, Sept. 14, 1886 ; bro. of at>ove ;
violinist, teacher and composer of
valuable method, studies, etc., for vln.
(7) Louis, b. Berlin, Jan. 30, 1830;
son of (6), vln.-teacher, London. (8)
Ad., b. Berlin, Dec. 20, 1837; bro.
of above ; pf. -teacher,' London ; com-
poser. (9) Fz., b. Berlin, April 7,
1846 ; son and pupil of (6); studied
with Massart at Paris Cons, and with
Kiel (comp.) ; concert- violinist till
1875 when he retired because of ner-
vousness, and entered mus.-publishing
(Ries & Erler, Berlin) ; c. excellent
orch. and chamber-mus., etc. (10)
Hug^bert. Vide hugo riemann.
Rieter-Biedermann (re'-t^r-be'-d^r-
man), J. Melchior, 181 1 — Winter-
thur, Switz., 1876; founded pub.-
house, 1849; 1862, branch at Leipzig.
Rietz (rets), (i) Jn. Fr. R., d. Berlin,
1828 ; via .-player, royal chamber-
mus. (2) Edukrd, Berlin, 1802 —
1832 ; son of above ; violinist and
tenor; founded the Berlin Philh.
Soc., 1826; was its cond. till death.
(3) Julias, Berlin, Dec. 28, 18 12 —
Dresden, Sept. 12, 1877; son of (i) ;
'cellist and cond. ; pupil of Schmidt,
Romberg and Cianz ; 1834, asst.-
cond. to Mendelssohn, Dasseldorf op-
era ; 1835, his successor ; 1847, cond.
Singakademie, Leipzig, later also
cond. Gewandhaus and prof, of comp.
at the Cons. ; i86o, ct.-cond. at Dres-
den ; later dir. of the Cons. ; editor
of scores ; c. 4 operas, 3 symphs.,
various overtures, masses, etc.
Rig;a (re'-g&), Frantz (Francois),
Liige, 183 1 — Schaerbeek, near Brus-
sels, 1892 ; conductor and composer
of male choruses, etc.
Rig^'by, Geo. Vernon, b. Birming-
ham (?), Jan. 21, 1840; notable oper-
atic and concert tenor ; toured Engl.,
Ger. and Italy.
Rig^hini (re-ge -nS), V., Bologna. Jan.
22, 1756— Aug. 19, 18 12 ; tenor,
696
THE MUSICAL GUIDE
singing-teacher and court-cond. at
Mayence, later Berlin ; c. 20 operas,
etc., incl. vocalises.
Rille. Vide laurent de rille.
RimtMiult (rlm'-bdit), (i) Stephen
Francis, organist and composer,
1773 — 1837. (2) Edw. Fran., Lon-
don, June 13, 1816 — Sept. 26, 1876;
son and pupil of above ; organist and
noted lecturer, editor, essayist and
writer of numerous valuable historical
works based on research.
Rimsky-Korsakov (rtm'-shkT-kdr'-sS-
k60, Nikolaa Andrejevitch, b.
Tikhvin, Novgorod, May 21 (new
style), 1844; notable Russian com-
poser; studied at the Naval Inst.,
Petersburg ; also took pf. -lessons ;
1861, took up mus. as a profession
after study with Balakirev; at 21 prod,
his first symph.; 1871, prof, of comp.
and instr. at Petersb. Cons., also
1873-84 inspector of Marine Bands ;
1874-87, dir. Free Sch. of Mus., and
until 1881, cond. there ; 1883, asst.
cond. (to Balakirev) of the Imp.
Orch.; from 1886, cond. Russian
Symph. Concerts ; 1889, cond. 2
Russian concerts at Uie Trocadero,
Paris. He orchestrated the posthu-
mous operas : Dargomyzsky's ''Ct^iw-
modorty^* Mussorgsky's *' IChovanst-
chyna" and fi)rodin*s '^^ Prince
Igor^^ ; pub. coll. of Russian songs
and a harmony. C. operas ^'^ Psko-
vitjanka'' ('*The Giri from Pskov")
(St. Petersburg, Imp. Th. 1873) ; ''A
MayNigkr (do. 1880); " Snegoroich-
ka'^ C*The Snowy Princess") (do.
1882); ''Mozart und SalierV (Mos-
cow); opera ballet *' Mlada " (Peters-
burg, 1892); opera ''Christmas Eve "
(1S95) ; 3 symphs. incl. **Antar**
(1881), sinfonietta; *' Russian '* over-
ture ; Servian fantasia , mus. tableau
*' Sadko'' (1876) : pf. concerto, etc. ;
opera ** Zarskaja Newjesta " (1901).
Rinaldi (re-nal'-de), Giov., Reggiolo,
Italy, 1840 — Genoa, 1895 ; pianist.
Rinck (nfnk), Jn. Chr. H., Elgersburg,
Thuringia, Feb. 18, 1770— Darm-
stadt, Aug. 7, 1S46 famous organ-
ist, writer and composer; papQ of
Kittel, etc.; town organist Gicsen,
then, 1805, at Darmstadt, where be
also taught in the seminary ; 18 13
ct. -organist there ; autobio^. (Bres-
lau, 1833).
Rins^el, Federico. Vide f. d*ekla3s-
GER.
Rins:ler (rYng'l£r), Ednard, b. Nam-
berg, Jan. 8, 1838 ; pupil of Uoit
mann; but did not adopt mus. till 30,
then studied with Grobe, and Dupont
at NUmberg ; cond. the ** Singrcr-
ein " ; from 1883 choir-dir. in the
synagogue, and from 1890, cond. the
excellent **Verein fllr klassiscbes
Chorgesang " ; singing-teacher and
critic; c. succ. ** Volksoper"' *'.£/-
pelein von Gailigen " (Nttrnberg, 189^
grand opera ** Frithjof*'' songfs, etc
Rinucdni (re-noot-che -ne), Ottavio,
Florence, 1562 — 1621 ; the librettist
of the first opera ever perfonned,
Peri (q. v.)and Caccini's " Z)ki/«^ "
(1594), also of Peri's "iE'irrt^fi^"
(1600), and Monteverde's " Aria$ma
a Nasso " (1608).
Riotte (rt-6t), Phillip J., St. Mendel,
Treves, Aug., 1776 — 1856; conduct-
or and dram, composer.
Ripa (re'-pa), Alberto de (called Al-
berto MantOTano), b. Mantua — d.
ca. 1580 ; lutist and composer.
Rischbieter (rYsh'-be-tdr), Wm. Ai-
berty b. Brunswick, 1S34 ; pupil of
Hauptmann, theory ; violinist in
Leipzig and other cities ; from 1862
teacher harm, and cpt., Dresden
Cons., pub. treatises, etc.: c. symph.,
overtures, etc.
Risler (res -Idr), Edooard, b. Baden-
Baden, Feb. 23. 1873 ; notable pia-
nist ; pupil of Diemer and d* Albert,
Stavenhagen, etc. ; lives in Paris*
Ristori (res- to' -re), GioT. Alberto,
Bologna, 1692 — Dresden, Feb. 7,
1753 ; organist and conductor ; c. 3
of the earliest comic operas, also
church-music.
Rit'ter, (i) G. Wenzel» Mannheim.
April 7. T748 — Berlin, June 16, 1808;
bassoonist, Berlin ct.-orch.; con^xM-
DICTIONARY OF MUSICIANS 697
er. (2) An^. Gt, Erfurt, Aug. 25,
181 1 — Magdeburg, Aug. 26, 1885;
organ-virtuoso, editor and composer.
(3) Alex, Narva (or Reval), Russia,
June 27 (new style), 1833 — Munich,
April 12, 1896 ; violinist ; c, succ.
operettas, etc. (4) Fr6d6ric Louis,
Strassburg, June 22, 1834 — Antwerp,
July 22, 1891 ; prof, of mus. and
conductor at Loraine ; 1856, Cincin-
nati (U. S. A.), organist Philh. orch.
and Cecilia Soc.; 1861 New York,
cond. the Arion ; 1867 prof. Vassar
Col.; wrote "* Music in England^'*
and ** Music in America^' (both N.
Y., 1883); and other historical
works ; c. 5 symphs., etc (5) (Ray-
mond-Ritter), ranny, b. Philadel-
phia, 1840 ; wife of above ; writer
and translator. (6) (rightly Bennet)
Theodore, near Paris, 1841 — Paris,
1886 ; pianist and composer. (7)
Hermann, b. Wismar, Sept. 16,
1849 ; violinist ; studied Berlin with
Joachim, etc. ; invented and played a
viola alta ; for 20 yrs. teacher at
WQrzburg. (8) Josef, b. Salzburg,
Oct. 3, 1859 ; barytone at Vienna. (9)
Ritter-Gotxe (g«t.'ts£), Mane, b.
Berlin. Nov. 2, 1865; mezzo-sopr.;
pupil of Jenny Meyer and Levysohn ;
d^but R. Opera, Berlin ; later Ham-
burg for 4 years; sang at Met. Op.
and in concert U. S. A. 1890-02 ;
Aen Berlin R. Opera.
Riy^Kins: (re'-va-ktng), Julie, b.
Cincinnati, Ohio, Oct. 31, 1857 ;
noteworthy pianist ; toured the world
with g^reat succ; c. pop. pf.-pcs.
Rivifere (rev-yftr), Jules, i8ogr— Paris,
Dec. 26, 1900 ; conductor.
Rob'inson, (i) J., 1682 — 1762 ; Eng-
lish organist and composer. (2) Ann
(gee Turner), d. 1741 ; singer ; wife
o^bove. (3) Anastasia, 1750; Engl.
Ager; m. Earl of Peterborough.
(tfhMarg^et, sister of (i) ; singer
ihTHanders oratorios. (5) Francis,
p^fessor at Dublin, 18 10. His four
spns were (6) Francis, tenor ; (7)
Vt^DL, bass ; (8) J., tenor and organ-
^ *i (9) Jo**9 b* Aug., 18 16 ; famous
>
cond. and composer ; his wife, (10)
Fanny Arthur, 1831 — 1879, ^"^^ *
singer and composer.
Rob'erts, J. Varley, b. Stanningly,
near Leeds, Sept. 25, 1841 ; organist
and composer; from 1868 at Halifax;
1876 Mus. Doc. Oxford ; c. cantata
''Jonah" etc.
Robjohn, Wm. Jos., b. Tavistock,
Devon, Nov. 3, 1843 ; self-taught
mus. ; at 14 went to America ; has
been organist various churches ; c.
various operettas, etc.; wrote imder
pen-name Caryl Florio.
Robyn (ro'-bin), (i) Alfred G., b. St.
Louis, Mo., April 29, i860 ; son of
(2) Wm. R. (who organised the first
symph. orch. west of Pittsburgh) ; at
10 A. succeeded his father as organist
at St. John's Church ; at 16 solo-pianist
with Emma Abbott's Co. ; prod, comic
opera '' Jacinia'' (1894) ; c. pf. -con-
certo, etc., also very pop. songs (incL
'* Answer**)^ etc.
Rochlitz (r6kh'-llts), Jn. Fr., Leipzig,
Feb. 12, 1769 — Dec. 16, 1842 ; com-
poser, editor and prominent writer of
essays, bioe. and librettos.
Rock, Michael, d. March, 1809;
English organist and composer.
Rockel (r£k'-^l), (i) Jos. Aug:.,
Neumburg-vorm-Wald, Upper Pala-
tine, 1783— Anhalt-C6then, 1870 ;
singer, prof, and operatic dir. at Aix;
1829-32, of a German co. at Paris ;
1832, London. (2) Aug;. Gratz,
1814 — Buda-Pesth, 1876 ; joint-con-
ductor at Dresden opera (with Wag-
ner) ; 1848, abandoned mus. for poli-
tics. (3) Edw., b. Treves, Nov. 20^
18 16 ; pupil of his uncle, J. N. Hum-
mel ; toured as pianist ; from 1848
lived Bath, Eng. ; c. pf.-pcs. (4)
Jos. (Ld.), b. London, April 11,
1838 ; bro. of above ; pupil of Eisen-
hofer, G5tze, and of his father and
bro. Eduard (pf.) ; lives in Bristol, as
teacher and pianist ; c. cantatas,
pf.-pcs., p)op. songs, etc.
Rock stro (rightly Rackstraw), Wm.
Smyth, North Cheam, Surrey, Jan.
5, 1823— London, July 2, 1895 ; no*
X
698
THE MUSICAL GUIDE
table historian ; pupil Leipzig Cons. ;
{)ianist and teacher, London; 1891,
ecturer R. A, M. and R. C. M.;
wrote treatises, biog. and * * General
History of Music '^ {i^9>t)\ c. over-
ture, canUta '* The Good Shepherd"
etc.
Roda (r5'-di), Fd. ▼on, Rudolsudt,
1815 — near Kriwitz, 1876; mus.-dir.
and composer.
Rode (r6d), (Jacques) P. (J©«-)f Bor-
deaux, Feb. 16, 1774 — Chateau-
Bourbon, near Damazon, Nov. 25,
1830 ; notable violinist ; pupil of Fau-
vel and Viotti ; d^but, Paris, 1790 ;
toured ; prof, at the Cons.; 1800, so-
loist to Napoleon, later to the Czar ;
c. 13 concertos, famous ^des, etc.;
wrote a method (with Baillot & Kreut-
zer).
Rode (r6'-d6), (i) Jn. Gt, Kirch-
scheidungen, Feb. 25, 1797 — Pots-
dam, Jan. , 1857 ; horn-virtuoso ; c.
tone-pictures, etc. (2) Th., Pots-
dam, 1821 — Berlin, 1883 ; son of
above ; singing-teacher and writer.
R5der (ra'-ddr), (i) Jn. Michael, d.
ca. 1740: Berlin org.-builder. (2)
Fnictuo'sus, Simmershausen, March
5, 1747 — Naples, 1789 ; notable or-
ganist. (3) G. v., Rammungen,
Franconia, 1780— AltOtting, Bavaria,
1848 ; ct.-cond. and composer. (4)
Carl Gl.y St5tteritz, near Leipzig,
18 la — Gohlis, 1883; 1846, found^
the largest mus. and engraving estab-
lishment in the world ; in 1872, his
sons-in-law, C. L. H. Wolf and C. E,
M. Rentsch, became partners. (5)
Martin, Berlin, April 7, 1851 — B<»s-
ton, Mass., June 7, 1895 ; pupil R.
Hochschule ; conductor and teacher
of singing in various cities, incl. Dub-
lin and Boston ; critic and writer un-
der pseud. '*Raro Miedtner";
wrote essays, librettos, etc. ; c. 3 op-
eras, a symph., 2 symph. poems, etc.
Rodio (ro-dl-o). Rocco, b. Calabria,
ca. 1530; famous Neapolitan con-
trapuntist and theorist.
Rodolphe (ro-dolf) (or Rudolph),
Jean Jos., Strassburg, Oct. 14, i73fo
— Paris, Aug. 18, 1812; hom-TtrtiK
oso and violinist ; pub. treatises ;
prod, operas.
Rogel (rd'-h^l), Jos6, b. Orihuela, A&
cante, Dec. 24, 1829 ; conductor and
composer of 61 zarzuelas, etc.
Rog^er (ro-zha), G^e. Hip., La Cb»-
pelle St. -Denis, near Paris, Dec. 17,
1815 — Paris, Sept. 12, 1879; noted
tenor; cxe2iteA''Le Propk^U'*; 1868,
prof, of singing at the Cons. (3)
Victor, b. Montoellier, France, Jiily
21, 1854; pupil Ecole Nicdermeyer;
critic of **/^ France"; prod, aboat
20 operettas, etc., incl. ** La Petiit
Tdchi' (1898); sncc^'PouU Blanche'
51899); and succ ^^ Mile. Georges*
1900).
Roeers (rii'-)«rs), (i) Benj., Windsor,
1 014 — Oxford, 1698 ; organist at
Dublin; later at Windsor; c. the
hymn sung annually at 5 A.M., May
I, on the top of Magdalen tower,
Oxford. (2) John, d. Aldersgate.
ca. 1663 ; lutenist to Chas. II. (3)
Sir John Leman, 1780— 1847; com-
poser; pres. Madrigal Soc. (4)
Clara Kathleen (nee Bamett), b.
Cheltenham, Engl., Jan. r^, 1844;
daughter and pupil of John Bamett ;
pupil of Leipzig Cons. ; studied also
singing with G6tze and Sangiovanni,
at MiUn ; d^but Turin, 1863 (under
name "Clara Doria'*); sang in
Italy, then in London concerts;
1871, America with Parepa-Rosa Co.;
1872-73, also with Maretzek Cow;
since then lived in Boston as singer
and teacher ; 1878, m. a Boston law-
yer, Henry M. R.; pub. *• The Phi-
losophy of Singing*' (New Yofk,
1893) ; c. songs, sonata for pf. and
vln., etc (5) Rolalid, b. West
Bromwich, Staffordshire, Nov. 17,
1847; at II, organist at St. Peter's
there; 1 871-91, oiganist a Bangor
Cath. and cond. of the Penrhjn sumI
Arvonic Choirs; teacher in Wales:
1875, Mus. Doc. Oxford : c. canta-
tas * 'Prayer and Praise '* (with orch.>,
^' The Garden'* (prize, Llandudno,
1896); and '' PloraM'*; Psalmiao,
DICTIONARY OF MUSICIANS 699
for soli, chorus and strings; asymph.,
etc (6) James H., b. Fair Haven,
Conn., U. S. A., 1857; at 18 studied
in Berlin with L^schom, Haupt, Ehr-
lich and Rohde, and at Paris with
Firsot, Guilmant and Widor ; lives in
Cleveland, Ohio, as organist, pianist
and composer of notable songs. (7)
Dedla, b. Denver, Colorado, ca.
1869 ; soprano ; pupil of Mmc. de la
Grange and Leon Jancey (French
diction) ; debut, St. Petersburg ; has
sung at La Scala, Milan, in Rouma-
nia, Turkey, etc.
Rognone (ron-yd'-n^, (i) Riccardo,
a Milanese violinist. His son (2)
Frmn., pub. a vln. method, 1614,
etc.
Rohde (r5'-dQ. Ednard, Halle^n.
Saale, 1828— Berlin, March 25, 1883 ;
writer of pf.-method ; singing teacher
and composer.
Rohleder (r6'-la-d«r), (i) Jn., pastor at
Friedland, Pomerania ; pub. a trea-
tise, 1792. (2) Fr. Trauj^tt, Pas-
tor at Lahn, Silesia ; pub. articles on
church-mus. (1829-^).
Rokitanskj (ro-kl-t&i'shkY), Victor,
Freiherr von, Vienna, 1836 — 1896 ;
pub. treatises on siiiginz.
Rolandt (rd'-lslnt), Hedwig^ (sUge-
name of Hedwig Wachutta), b.
Graz, Sept. 2, 1858 ; soprano ; pu-
pil of Frau WeiiUich-Tipka, Graz;
debut, Wiesbaden, 1877; 1883, m.
the merchant Karl Schaaf .
Rol'la, Ales., Pavia, April 22, 1757
— Milan, Sept. 15, 1841 ; violinist .
and teacher; prof, of vln. and via.:
Paganini was his pupil.
Rolle {r6VA€), Jn, H., Quedlinburg.
Dec 23, 1718-— Magdeburg, Dec. 29,
1785 ; son and successor of the town
mus.-<lir. of Magdeburg ; 1741-46,
via. -player, Berlin ct.-orch.; c. 4
Passions, 20 oratorios, etc.
Rdllig (rdl'.likh). K. Ld., Vienna.
1 761 — March 4, 1804; harmonica-
plaver ; inv. of the ** Orphika " and
*• Xanorphika - (v. D. D.) ; wrote
treatises on them ; c. comic opera.
Romaniello (ro-mSn-X-^'-ld), (i) Lui-
fi, b. Naples, Dec. 29, i860 ; pian-
ist ; pupil of his father, his broth-
er (2) Vincenzo, and at Naples
Cons.; graduating with highest hon-
ours; Sir, of the pf.-dept. there,
later member of the Soc. del Quar-
tetto, also pianist Femi Quartet ; in-
structor in the R. ** Educandato di
San Marsellino *' and critic ; Chev. of
the Italian Crown ; has made tours
and pub. a pf.-method (prize at Na-
ples, 1886) ; c. 3 operas, symphonic
poems •* Corsair " and " Man/red,"
2 symphs., etc.
Romamna. Vide albertini, g.
Romanlni (r5-m&-n6'-ne), Romano, b.
Parma, 1864; pupil of Mandovani
(vln.) and Dacci (comp.)at the Cons.;
1st vln. Teatro Regio ; then cond.
concert and theatre-orch. at Savigli-
ano ; 1890, prof, of vln. ; since 1897,
director *' Instituto Venturi,*' Bre-
scia; c. succ opera **Ai Campo**
(Brescia, 1895), symph., etc.
Romano, (i) Alessandro (q. v.). (2)
Giolio. Vide caccini.
Romberg (rdm'-b^rkh), (i) Anton (a)
and (2) H., two brothers, lived in
Berlin, 1792. (3) Anton (b), West-
phalia, 1745 — 1812 (1742 — 1814,
ace. to Riemann) ; bassoonist (4)
Gerhard H., b. 1748; clarinettist
and mus.-dir. at MUnster. (5) Bd.,
Dincklage, near Monster, Nov. 11,
1767— Hamburg, Aug. 13, 1841; the
head of the German sch. of 'cellists ;
prof.; ct.-cond., 1815-19 ; c many
operas, incid. mus.; 9 excellent con-
certos. (6) Andreas (Jakob),
Vechta, near MUnster, 1767 — Gotha,
1821 ; vln. -virtuoso ; son of (7) Ger-
hard H., b. 1748 ; dir. and clarinet-
tist. (8) Cyprian, Hamburg, 1807
— 1865 ; son of (6) and pupil of (5),
*cellist and composer. (9) Anton (c),
b, 1777; bassoonist ; son of (3). (10)
Therese, b. 178 1; pianist; sister of
(6).
Ro'mer, Emma, 1814 — Margate, 1868:
Engl soprano.
Ronchetti - Monte^ti (ron-k^t'-te
mon-ti-ve'-te), Steiuio, Asti, 18 14—
'•t'.
700
THE MUSICAL GUIDE
Casale Monferrato, 1882; pupil of
B. Neri, Milan ; 1850, prof, of comp.
at the Cons.; 1877, dir. ; c. an opera,
a motet, etc.
Ronconi (r6n-k5'-ne), (i) Dom., Len-
dinara, Rovigo, July ii, 1772 — Mi-
lan, April 13, 1839 ; singer and fa-
mous vocal-teacher ; tenor ; 1809,
dir. of the ct. -opera, Vienna ; 1819-
29 ; singing-master to the princess,
Munich ; 1829, founded a singing-
sch. at Milan ; pub. vocal exercises.
(2) Giorgio, Milan, 1810— 1890;
son of above ; barytone ; 1863, teach-
er at Cordova, Spain ; from 1867,
New York ; composer. (3) Felice,
Venice, 181 1 — St. Petersburg, 1875 ;
singing-teacher and writer. (4) Se-
bastiano, b. Venice, 18 14; barytone,
violinist and teacher, Milan.
Rone (rong), Wm. Fd., d. Beriin ;
said to Imve been living in 182 1,
aged 100 ; chamber-musician of Prus-
sia; mus. -teacher, writer and com-
poser.
Rdnisch (ra'-nlsh), K., Goldberg, Sile-
sia, 18 14 — Blasewitz, 1894; piano-
manufacturer at Dresden.
R5nts:en (r^nt'-g^n), (i) Engelbert,
Deventer, Holland, 1829 — Leipzig,
1897 ; violinist. (2) Julius, b. Leip-
zig, May 9, 1855 ; pianist ; son of
alx)ve ; pupil of Hauptmann and E. F.
Richter, Plaidy, Reinecke and Fr.
Lachner ; at 10 began to c; at 17
pub. a vln. -sonata ; de'but as pianist,
1878; teacher mus.-sch., Amster-
dam ; 1886-98, cond. to the Soc. for ^
the Promotion of Mus., also Felix
Meritis Soc.; co-founder (1885) of
the Cons. ; c. ' * Toskanische Rispetti"
an operetta for voices and pf.; a pf.-
concerto, etc.
Rooke, Wra, M., Dublin, 1794 — Lon-
don, 1847 ; teacher, pianist, violinist
and dram, composer.
Root, (i) G. Ed. Fr., Sheffield, Mass.,
Aug. 30, 1820 — Barley's Island, Aug.
6, 1895 ; teacher of singing and con-
ductor ; pupil of Webb, Boston ;
studied Paris, 1850 ; c. '"Battle-cry
of Freedom^^ '* Tramps Tramps
Tramp;' ''Just before UU Bcttk,
Mother,'' etc. (2) Fr. Woodmaa,
b. Boston, Mass., June 13, 1846;
son and pupil of above ; pupil of
Blodgett and Mason, New York ; or-
ganist ; 1869-70, studied in Euit^ ;
later lecturer, writer and teacher cf
large vocal classes.
R007, van. Vide van rooy.
Roquet (ro-ka). Ant. Ernst, Nantes,
1827 — Paris, 1894 ; amateur, who on-
der pen-name " Ernest Thoman"
(twi-n&n) pub. valuable hbtorial
works based on research.
Rore (rd'-r£), Clpriano de, Mechfia.
1516— Parma. 1565 ; eminent com-
poser of Venetian sch. ; pupil of WS-
laert, 1550, and his successor, 1563;
ct. -conductor.
Rorich (ro'-rtkh), Carl, b. Nftraberg.
Feb. 27, 1869 ; pupil of R, Scb. of
Mus., WUrzburg; from 1892, teacher
Gr. Ducal Sch. of Mus., Weimar; c
an overture '* Mdrcken,'* . tk, suite
•* Waldleben:' etc.
Ro'sa, (i) Salvato're, Aranella, Na-
ples, 16 1 5 — {Lome, 1673; famoos
painter and poet ; wrote a satire 00
mus., etc.; composer. (2) Cari
(rightly Carl Rose), Hamburg, 1842
— ^Paris, 1889 ; violinist ; 1867, hl
Parepa-Rosa, and with her organised
an English opera-company ; toured
with great frequency, especially ai
head of an Engl, opera syndicate.
Ros6 (ro -za), Arnold Josef^ b. Jassv,
Oct. 24, 1863 ; pupil of Heissler, Vi-
enna Cons. ; ist vln. Rose Quartet :
since 1881, soloist, Vienna ct.-orch..
and since 1888, leader Bayreuth Fes-
tivals.
Roseingraye (roz'-ln-grav), Thes.,
Dublin — London, 1750; 12 yean
organist at St. George's, Hanotef
Square ; composer and writer.
Rosel (ro'-z«l), Rudolf Arthor, b.
MQnchenbemsdorf, Gera, Aug. 23,
1859; pupil of Weimar Mus.-SdL.
later of Thomson ; 1877-79, ist vie
various cities ; from 1888 in the Wei-
mar ct.-orch.; also teacher at Mus.-
Sch.; c. fairly succ. "lyric stag^
DICTIONARY OF MUSICIANS 701
play" " ^a&wayl " (Weimar, 1895) ,
symph. poem ** FrUhHngsstHrnu" a
nottumo for horn with orch., a not-
tnmo for oboe with orch. , etc.
Rosellen (ro-z^-lan), H., Paris, 181 1
— 1876 ; pf.-teacher, writer and com-
poser.
Rosenhain (rd'-z^n-hm), (i) Jacob
(Jacques), Mannheim, 18 13 — Baden-
Baden, 1894 ; pianist and dram, com-
poser. (2) Eduard, Mannheim,
1818 — Frankfort, 1861; bro. of above;
pianist, teacher and composer.
Rosenmfiller (ro-zto-mll-l^r), Jn.,
1615 — WolfenbQttel, 1682; mus.-di-
rector and composer.
Rosenthal (ro-z£n-tal), Moriz, b.
Lemberg, 1862 ; brilliant pianist ; at
8 his ability enlisted the aid of Miku-
K ; at 10, pupil of R. Joseflfy ; at 14,
gave a concert Vienna ; Royal Pian-
ist; 1876-86, pupil of Liszt; from
1887, toured America and Europe ;
1896--97, tour of U. S. interrupted
by illness; pub. (with L. Schytte)
*• Technical Studies for the Highest
Degree of Development^
Roses (ro -z^), Jose, Barcelona, 1791
— 1856; organist, composer and
teacher.
Rosetti (r6-s«t'-te), Fran. Ant.
(Fz. Anton Rdssler, r^l£r), Leit-
meritz. Bohemia, 1750— Ludwigslust,
1702 , ct -conductor and composer.
Rdsler (ras'-16r), Gt., 18 19 — Dresden,
1882 ; teacher and dram, composer ;
prod. succ. opera (Dessau).
Ross, J., b. Newcastle-on-Tyne. 1764,
organist and composer.
Rossaro (r6s-s2l'-rd), Carlo, Crescen-
tino, VerccUi, 1828— Turin, 1878,
pianist and dram, composer.
Ros'setor, Phillip, EngL lutenist and
composer, 1616.
Rossi (ros' se). (i) Giov. Bat., Gen-
oese monk ; theorist, ca. 161 8. (2)
Abbste Fran., b. Bari, Italy, ca.
1645 , canon and dram, composer.
(3) Gaetano, Verona 1780— -1855 ;
librettist. (4) Lnig^ Felice, Bran-
dizzo. Piedmont. 1804 — Turin, 1863 ,
essayist and translator. (5) Lauro,
Macerata, 1812 — Cremona, 1885;
wrote a harmony and c operas. (6)
Gioy. Gaetano, Borgo, S. Donino,
Parma, 1828 — Genoa, 1886; c. 4
operas.
Rossini (r6s-sa'.nS), Gioacchino A.,
Pesaro, Feb. 29, 1792 — Ruelle, near
Paris, Nov. 13, 1868; eminent Italian
opera-composer. His father was in-
spector of slaughter-houses and also
horn - player in strolling troupes in
which the mother (a baker's daugh-
ter) yiSiS prima donna buffa. Left in
charge of a pork-butcher, R. picked
up some knowledge of the harpsichord
from a teacher, Prinetti ; 1802 stud-
ied with Angelo Tesci ; this began
his tuition ; he made rapid progress,
and sang in church, and afterwards
joined his parents as a singer, horn-
player and accompanist in the theatre.
At 14 he studied comp. with Padre
Mattel, and 'cello with Cavedagni at
the Bologna Liceo. At 15 he prod,
a cantata *' // Pianto d* Armenia per
la Morte d'Orfeo,^^ which won a
prize. Mattel soon told him that,
though he had not enough cpt. to
write church-mus., he knew enough
to write operas, and he ceased to
study. At 17 he prod, a succ. i-act
opera buffa ' Im Cambiale di Matrix
monio^' (Venice, 18 10); next year, a
succ. 2-act opera buffa *^ VEquivoco
Stravagante^ ' Bologna. He received
various commissions, writing 5 operas
during 1812. 1813, his ''Tancredi'*
(Fenice Th., Venice) was an im-
mense succ. and *' Vltaliana in Al-
geria'* an opera buffa (San Benedetto
Th.), was also succ. Two failures
followed with disheartening effect,
but '' Elisabetta'* (its libretto curi-
ously anticipating Scott's ** KeniU
worth'''') was a succ. (Naples, 1813),
and in it he dropped recitativo secco,
A failure followed and on the first
night of the next work the public re-
sentment at his daring to set to mus.
the text of one of Paisiello's operas
led to its being hissed. This work
^^ Almaviva^* (Rome, 18 16) was
702
THE MUSICAL GUIDE
better received the second night and
gradually est. itself in its sul^equent
fame under the title ** 11 Barbiere di
Seviglia'"; 1815-23 he was under
contract to write two operas yearly
for Barbaja, manager of La Scala at
Milan, the Italian opera, Vienna, and
Neapolitan theatres. His salary was
12,000 lire (about $2,400). During
these 8 years he c 20 operas, travel-
ling from town to town and working
under highest pressure. 182 1 he m.
Isabella Colbran (d. 1845), who had
sung in his operas. The ill-succ. of
his most carefully written ** Sfmiram-
iiW (Venice, 1823) and an ofifer
from Benelli, amgr., led him to Lon-
don where he was lionised and in 5
months earned £7,000, For 18
months he was mgr. of the Th. Ital-
ien at Paris, and prod, several operas
with artistic, but not financial succ.
He was however ** Premier composi-
teur du roi" and '* Inspector-general
du chant en France," sinecures with
a salary of 20,000 francs ($4,000).
He lost these in the Revolution of
1830, but afterwards on going to law
received a pension of 6,000 francs.
At the Gr. Opera he prod, with socc
revisions in French, of earlier ItaliaB
succs. 1829 he gave there his grcaik
succ. masterpiece '* CugHelme TeUr
At the age of 37, having prod, under
his direction Meyerbeer's first opera
and having heard ** Lfs Hugveneur
R. foreswore opera and never vxote
again anything more dramatic thanfais
famous *' Stabat Mater** (1832), not
performed entire till 1842; *" Fetiie
messe soUnnttU** w\\h orch.; a can-
tata for the Exposition of 1867 ; and
pf.-pcs. with burlesque names. He
retired to Bolog^na and Florence, re-
turning to Paris in 1855. 1847 be m.
Oljrmpe Pelissier. He c. 35 operas,
16 cantatas, canzonets and aiias,
* ' Gorgheggi e solfeggi per soprano per
rendere la voce agile ^^^ ** CMan£ des
Titans *' for 4 basses with orch. ;
** Tantum ergo** for 3 male voices
with orch.; *' Quoniam *' for solo bass
with orch.; ** O salutaris** for solo
quartet, etc. Biog. by Stendhal
(1823), Azvedo (1865), H. S. Ed-
wards (London, 1869), Zanolini
(1875), Struth (Leipzig), Dr. A. Ko-
hut (Leipzig, 1892).
Rossini.
By Irenaeus Prime-Stevenson.
IT is like a page of goldenest sunshine in the volume of masictl
to review the brief, brilliant, artistic story of Rossini's activity or to
glance at his long and happy life. Almost from the first came to him
fame, fortune, and opportunity for that amazing fecundity of mind which was
so curiously sorted with his indolence of body. Few men of genius have
lived and worked and rivalled and succeeded, of whom so little is current
that is ungracious or discreditable. ^As to Rossini's place in art, albdt a
huge fraction of his operas are empty to our ears, and bore us with their
flowery ornamentation and feeble dramatic substructure, we have no right to
predict that thorough neglect will soon deliver to darkness and dust such
scores as ** U Italiana in Algeri,** ** II Barbiere di Seviglia^*^ ** OugB-
iimo Tell,** — and possibly ** Semir amide ** ; for the world will have lo«
Joo completely a natural irresistible feeling for melody, for restrained elegance
DICTIONARY OF MUSICIANS 703
of orchestral diction, and above all for the perfect expression of true comedy
in music. Only in one other master, Mozart, to whom Rossini felt that he
owed so much, and to whom he declared himself so fur inferior, do we meet
equal sincerity, taste, and eloquence as prolifically put into operatic song and
orchestration. ^ And as to ** TV//," with that noble and serious work, a
striking variant from the old Italianistic Rossini, a work by a mature and
serious-minded composer of the first order, all the great and the little musical
world will long have to reckon. ^ The great influences on Rossini were
two : Mozart, whose greatest successor in Italian operadc comedy Rossini
certainly is ; and a mixture of French form and French dramatic spirit with
German importance in every detail of the orchestra. ^ It cannot be said
that Rossini founded a school. He ** said it all himself," as the phrase goes ;
and his imitators either gave over copying (often with most happy and sig-
nificant advantages to great individualities for themselves, as in the instances
of Meyerbeer and Donizetti and Verdi), or else they were not of substance
in their efforts to eclipse the dazzling master of Pesaro. His effect upon the
whole operadc public of Europe was for a dme almost demoralising, paralys-
ing to all other music. ^Immediately after the striking renunciadon of his
career, at only tlurty-seven years of age, came the Wagner movement, which
is showing not unwelcome signs of sluggishness and eventual disappearance.
Rossler, F. A. Vide rosetti, p. a.
Rest (rost), (i) Nicolas, pastor at
Kosmenz, Altenburg ; composer,
1583-1614. (2) Fr. Wm. Ehren-
med, Bautzen, 1768 — Leipzig, 1835;
writer.
Roth (rot), (i) Ph., Tamowitz, Sile-
sia, 1853— Berlin, 1898 ; 'cellist. (2)
Bertrand, b. Degersheim, St. Gal-
len, Feb. 12, 1855 ; pianist ; pupil of
Leipzig Cons, and Liszt ; teacher
Hoch Cons., Frankfort, co-founder.
Raff Cons., 1882 ; 1885-90, Dresden
Cons.; then opened a private mus.-
sch. there.
Rothmtthl (rot'-mttl), Nikolaus, b.
Warsaw. March 24, 1857: tenor; pu-
pil of G5nsbacher; debut, Dresden
ct.-thcatrc, then Berlin, etc.; toured
widely, incl. America ; then at Stutt-
gart ct. -opera.
Roth-Ronay (rdt-ro'-nli-e), Kalman,
b. Veszprein, Hungary, July 20, 1869;
notable violinist ; pupil Grttn, Vien-
na Cons., took ist prize gold medal
for vln.; studied comp. at Leipzig
Cons., then with Joachim, Berlin.
1893-94, leader Covent Garden ;
toured Europe ; decorated by King
of Hungary, King of Servia, Prince
of Bulgaria and the Sultan ; pub. a
few songs ; c. also sonatas for vln.
and piano, etc.
Rotoh (r5-to -le), Au^usto, b. Rome,
Jan. 7, 1847; pupil of Lucchesi ;
founded and cond. "Society corale
de' concerti sagri," 1876, singing-
master to Princess Margherita ; 1878,
maestro, Capella reale del Sudario ;
1885, invited to Boston, Mass., as
teacher in the N. E. Cons.; Chev. of
the Ital. Crown, etc. C. mass for the
funeral of Victor Emmanuel, 1878;
** Saimo eUgiaco,'' with orch. (1878),
etc.
Rot'tenberg (-b«rkh). Dr. Ludwig:, b.
Czemowicz, Oct. 11, 1864; studied
vln. and piano with Fuchs, and theo-
ry with Mandyczewski ; debut as
pianist; 1888, director; 1891, cond.
704
THE MUSICAL GUIDE
at Brunn, then ist opera cond. at
Frankfort.
Rotter (r6t'-t«r). L., Vienna, 1810—
1895 '* pianist, conductor, theorist and
composer.
Rottmanner (rot'-m^n-n^r), Ed., Mu-
nich, 1809 — Speyer, 1843 ; organist.
Rougret de Tlsle (roo-zha dii-lel),
Claude Jos., Lons-ie-Saulnier, Jura,
May 10, 1760 — Choisy-le-Roy, June
27, 1836; composer of the *' Mar-
sei//aisf,'* military engineer, poet, li-
brettist, violinist and singer ; wrote
**La Marseillaise,^'' picking out the
air on his vln.; he called it ''^ Chant
de Guerre,^' but it grew popular first
in Marseilles, and was brought to
Paris by Marseillaise volunteers in
1792 ; R. was imprisoned for refus-
ing to take an oath against the crown,
but was released, and lived in Paris
in great poverty.
Rousseau (roos-so), (i) Jean Jacques,
Geneva, June 28, 17 12 — Ermenon-
ville, near Paris, July 3, 1778. The
great writer; mainly self-taught in
mus , but aiming to reform nota-
tion by the substitution of numerals
for letters and note-heads, read before
the Academie, 1742, a " Dissertation
sur la musique moderne** (1743);
his opera, '*Les Muses Galantes^^haA
one private representation (1745); his
revision of the intermezzo " La Reine
de Navarre " (by Voltaire and Ra-
meau) was a failure ; but his opera
*'/^ Devin du Village'' (Gr. Opera,
1752) was succ. for 60 years. He
wrote mus. articles for the ''Efuyclo-
pedie,** which were roughly handled
by Rameau and others, but revised
and re-pub. as '* Dictionnaire de mu-
sique'' (1768). In 1752 he partici-
pated in the "Guerre des Bouffons,"
between the partisans of French and
Italian opera, R. siding with the
Italianists and declaring that a
French national music was impossible
and undesirable ; for which the mem-
bers of the opera burned him in
effigy. '' Pygmalion" (ly-j'i) was v.
succ. being a novelty — a melodrama.
all the dialogue spoken, the orch.
furnishing interludes and backg^and.
Six new arias for ** Le Devin du Vil-
lage y' and a coll. of 100 romances
and duets "^ Les eonsolations dts mi-
th'es de ma tne" (iySi), and frag-
ments of an opera, **^ Dapkrtis et
Chlo^'' were pub. (1780). (2)Jeaii,
violinist in Paris ; pub. valuable text-
books (1678-87) ; composer. (3)
Samuel Alex., b. Neuvemaiscm,
Aisne, June ii, 1853; pupil of Paris
Cons., 1878, won the Prix Cresscnt.
and 2d Grand Prix de Rome ; prod,
i-act comedy-opera ** I>utmcrak^
(Op.-Com., 1879) ; 1891, won the
Prize of the City of Paris, \irith open
** Merowig^*; 1892, ist concL TTl
Lyrique; 1898, pitxl. fairly succ
lyric drama ''La Cloche dm ^Aim*\
c. also a solemn mass, etc
Roussier (roos-sl-a). Abbe P. Jos.,
Marseilles, 17 16 — Ecouis, Normandy,
ca. i7po; canon and theorist.
Rovel'li, (i) Giu., Bergamo, 1753—
Parma, 1806; *cellist. (2) P., Ber-
gamo, 1793 — 1838 ; nephew of above;
violinist and composer.
Royet'ta, Gioy., d. Venice, i663 ; pu-
pil of ^ionteverde, and his successor
(i6d4) at San Marco ; c. operas, etc.
Row'Dotham, John F., b. Edinboigh.
April 18, 1854 ; studied Oxford.
Berlin, Paris, Vienna, I>resdeo :
wrote numerous histories of mus.,
biogs., etc.
Roze (roz). Abbe Nicolas, Bourg-
Neuf, near Chilons, 1745 — St.- Mau-
de, near Paris, 18 19 ; composer and
writer.
RozkoSny (rdz'-kosh-ne), Josef Rich-
ard, b. Prague, Sept. 21, 1833;
pianist ; pupil of Jiranek, Tomascbek
and Kittl ; toured, then lived in
Prague ; prod, there 9 Bohemian op-
eras : c. sdso overtures. 2 masses, etc
Rubini (roo-be'-ne), Giov. Bat., Ro-
mano, Bergamo, April 7, 1795 — *^
his castle, near Romano, March 2.
1854 ; famous tenor, said to have
been the Brst to use the vibrato and
the sob, both since abused ; his range
DICTIONARY OF MUSICIANS 705
was from £-b' (with a falsetto regis-
ter to f. V. PITCH, D.D.); Bellini
wrote many operas for him ; toured
with Liszt, earning by one concert
over $10,000 ; had one of the largest
fortunes ever amassed by a sinc^er.
Rubinstein (roo'-bYn-shtin). (i) Anton
Greg^ororitch, of Jewish parents,
Wechwotynecz, Bessarabia, Nov. 30,
1830— Peterhof, near St. Petersburg,
Nov. 20, 1894; one of the greatest
of the wprld*s pianists. Early taken
to Moscow, where his father est. a
pencil factory, he was at first a pupil
of his mother ; at 7, of Alex. Vil-
loing, who was his only pf. -teacher.
At 9 he made a tour with Villoing as
far as Paris, where, in 1840, he played
before Chopin and Liszt, who ad-
vised him to study in Germany. He
toured further and returned to Mos-
cow in 1843. His brother, Nikolai
(v. below), was also musical, and
in 1844 both were taken to Berlin,
where Anton studied comp. with
Dehn. Returning to Russia after a
tour through Hungary, with the flut-
ist Heindl, he lived in Petersburg
under the patronage of the Grand
Duchess Helen ; he prod. 2 Russian
operas ; 1854-58, with the assistance
of Count Wielhorski and the Grand
Duchess, he made a wide tour, finding
himself now well known as com]x>ser
and pianist ; 1858, ct.-pianist and
cond. of ct. - concerts, Petersbura; ;
1859, dir. Russian Mus. Soc.; 1802,
founded the Imp. Cons, at Peters-
burg, and was its dir. until 1867 ;
1865, he m. Vera Tchekuanoff.
1867-70, he toured Europe, with
greatest imaginable succ; 1872-73,
he gave in America 215 concerts, from
which he earned $40,000 (;f 8,000) ;
but he could never be induced to
cross the ocean again, though offered
$125,000 (;f25,ooo) for fifty con-
certs. 1887-91, again dir. Petersburg
Cons., then lived in Berlin ; 1891, in
Dresden. The Czar bestowed on
him the Order of Vladimir, carrying
with it nobility, and the title ot Imp.
45
Russian State Councillor ; he was an
officer of the Legion of Honour, a
Knight of the Prussian Ordre pour le
merite, etc. He instituted the Rubin-
stein prizes of 5,000 francs each for
pf. -playing and composition open
every 5 years to men between 20 and
26 of any nationality.
He wrote his " Memoirs^''* also
'* Die Musik und ihre Meister**
(1892), '♦ Gedankenkorr (1892).
As a pianist R. is second only to
Liszt, whom he perhaps excelled in
fire and leonine breadth. He was,
however, frequently inaccurate in his
performance. He chiefly wished to
be remembered as a composer and
placed g^eat hope in the creation of
what he called '* Sacred Opera '* (ora-
torio to be enacted with costume and
scenery). In this *' new form" he c.
*• The Tower of Babel ^^ " Paradise
Lostr ''Moses:' '' Christusr Be-
sides the noteworthy operas ' ' Nero "
(Hamburg,i879),*' The Demon'* (Rus.
sian. P., 1875), 2ind ^^ Die Mak^
kabHer " (German, Berlin, 1875), he c.
1 1 other operas, a ballet " La Vigne "
{Die Rebe)^ and 2 cantatas with orch.
C. also 6 symphs. (incl. the famous
*' Ocean^' op. 42, in C, in 7 move-
ments) ; op. 95, in D min. ('* Dra-
matic ) ; op. 107, in G min. (in
memory of Gr. Duch. Helen).
*• Character - pictures ** " Faust,'*
''Ivan /y.:* and ''Don Quixote";
3 concert-overtures, incl. op. 43
(•' Triomphale'\ and op. 116 \"An-
thony and Cleopatra ") ; a Suite in 6
movements, op. 1 19 (his last work) ;
symph poem'*/^ Russie,'; 5 pf.-
concertos ; fantasia eroica with orch.;
vln. -concerto ; romance and caprice
for vln. with orch.; 2 'cello-concertos;
vln.-sonatas ; vln. -sonata (arr. for
vln. by David), etc. For piano
SOLO : suite ; 4 sonatas, 6 preludes,
6 etudes, 5 barcarolles ; * ' Kamenoi'
Ostrow"' (*' Isle of Kamenoi'' in the
Neva, a series of 24 '* pictures") ;
" Soirdes de St. P.," " Miscellanies:*
" Le Bai:' 10 pes. op. 14; "Album
7o6
THE MUSICAL GUIDE
de Peter hof" etc. For pf. 4 hands,
sonata, ** Bal Costum/" 6 Charakt-
erbilder, fantasia for 2 pfs. ; over 100
songs, 18 duets, choruses, etc.
Autobiog. ''Memoirs'' (St. P.
1889 ; Leipzig, 1893). Biogr. by
MacArthur (I^ndon, 1889).
(2) Nikolai, Moscow, June 2,
1835 — (of consumption), Paris, March
23, 188 1 ; bro. of above, who declared
N. to be the betier pianist of the two;
founder Moscow Mus. Soc.; dir.
Moscow Cons, from its foundation.
1864; c. pf.-pcs. etc. (3) Jo«., Staro-
Constantinow, Russia, Feb. 8, 1847 —
(suicide) Lucerne, Sept. 15, 1884;
pianist for rehearsals at Bayreuth ;
composer. (4) Jacques, Russia,
1S74 — Paris, 1902 ; son of (i).
Rubner (roop'-n^r), Cornelius, b. Co-
penhagen, Oct. 26, 1853; pianist;
pupil of Gade and Reinecke ; 1892,
cond. Carlsruhe Philh. Soc; c. a
symph. poem ; '* FestouvertUre^*' etc.
Ruckers (rook'-$rs), family of clavecin-
makers at Antwerp, superior to all
others, (i) Hans (Senior), d. ca.
1640 ; father of (2) Fx., b. 1776. (3)
Hans (Junior), b. 1578. (4) An-
dries (senior), b. 1579. (S) Anton,
b. 1581 ; the last mfr. was (6) An*
dries (Junior), 1607-67.
Rucsicska. Vide ruzicka.
Rudersdorfif (roo'-d$rs-d6rf), Her-
mine, Ivanowsky, Ukraine, Dec.
12, 1822 — Boston, Mass., Feb. 26,
1882 ; noted soprano and teacher.
Rudolph, Jn. j. R., Arch-duke of
Austria, Florence, 1788 — Baden,
Vienna, 183 1 ; pianist and comp>oser;
pupil and intimate friend of Bee-
thoven.
RudorfF (roo'-d6r0, Ernst Fr. K., b.
Berlin, Jan. 18, 1840 ; pupil of Bar-
giel (pf.), and Leipzig Cons.; pri-
vate pupil of Hauptmann and Rei-
necke ; 1865, pf. -teacher, Cologne
Cons.; 1867 founded the Bach-verein;
1869 head pf. -teacher Berlin Hoch-
schule ; 1880-90 cond. Stem Gesang*
verein ; c. 2 symphs., 2 overtures,
etc.
Ruegger (rQg'-g^), Elsa, b. Lu-
cerne, Dec. 6, 1881 ; *cellist ; studkd
with Jacot>s and Anna Campowski ai
the Cons, there, taking ist prize at
13 ; began touring widely America
and Europe.
Rilfer (rti'-far), (i) Ph. (Barth^^
my), b. Li^e, June 7, 1844 ; son of
a German organist. (2) Philipp R.,
pupil of Li^e Cons.: 1S69-71, mos.-
dir. at Essen ; pf. -teacher Stem's
Cons., KuUak's Cons., and ixcsn
188 1 Scharwenka*s, Beriin , c <^-
ras ''Merlin'' (Berlin. 1887): succ
" Ingo" (Berlin, 1896); S]rmph. in
F. ; 3 overtures, etc.
Ruffo (roof'-fo), v., b. Verona; maes-
tro of the Cath.; composer (1550-
88).
Rufinatscha (roo'-fY-nSt-shS), Js.,
Tyrol, 1812 — Vienna, May 25, 1893;
composer.
Rug^geri (Rug^eri) (rood-ji'-re). a
Cremonian family of vln. -makers, (i)
. Fran., flourished, 1668 — 1720. (2)
Giov. Bat. (1700— 1725), and (3)
P. (1700— 1720), probably his sons.
(4) Guido and (5) V., both of Cre-
mona in 1 8th cent. R. violins re-
semble Amatis. (6) Giov. M., Ve-
netian composer ; prod, operas there
1696 — 1712.
Rttgfii (rood'-je), Fran., Naples, 1767
— 1845 ; conductor, professor and
dram, composer.
Rtthlmann (rQl'-mSn), (Ad.) Julius,
Dresden, 1817 (16?) — 1877; court-
trombonist ; professor, writer and
composer.
Rum'tord, R. Kennedy, b. Londoo,
Sept. 2, 1871 ; concert barytone:
studied in Frankfort, Berlin aaJ
Paris ; m. Clara Butt, 1900.
Rummel (room'-mdl). (i) Chr, (Fz. L.
Fr. Alex.), Brichsenstadt, Bavaria.
1787 — Wiesbaden, 1849 ; clarinettist
and composer. (2) Josephine, Mas-
yares, Sjjain, 1812 — Wiesbaden, 1877;
daughter of above; ct.-pianist. (3)
Jos., W^iesbaden, 1818 — London.
1880 ; son and pupil of (i) ; ct.-pias*
ist and composer. (4) '^ ' '^-
DICTIONARY OF MUSICIANS 707
Wiesbaden, 1821 — Brossels, 1873; ct.-
singer; sister of above; m. Peter
Schott, the pub. (5) Aug^., Wies-
baden, 1824 — London, 1886; pian-
fet. (6) Fz., London, Jan. 11, 1853
— May, 1901 ; pianist ; son of (3) ;
pupil oif Brassiu, Brussels Cons., win-
ning 1st prize, 1872 ; 1877-78, toured
Holland with Ole Bull; toured Amer-
ica 3 times; teacher Stem's Cons.,
then Kullak's, Berlin; 1897 '* Profess-
or *' from the Duke of Anhalt
Ran'ciinaii, John F., b. England,
1866 ; prominent critic. Educated
at the science school (now Rutherford
College), Newcastle-on-Tyne ; or-
ganist from childhood; 1887, took
position in London ; from 1894 musi-
cal critic ** Saturday Review ; later,
until 1898 also acting editor and man-
ag^g director ; also editor of the quar-
terly ** The Chord;' and of the ** Mu^
siciaH*s Library"; for some vears
correspondent Boston ** Musical Rec-
ord*^' 1901, of New York ** Musical
Courier''* ; some of his essays were
published as " Old Scores and New
Readings'^ (1899) ; has also written a
biog^phical study of Purcell.
Rang^ (roongk), Henrik, Copenhagen,
1807 — 187 1 ; conductor and dram,
composer.
Rangenhagen (roong' - £n - hii - g^n),
K. Fr., Berlin, 1778 — 1851; Profess-
or, conductor and dramatic compos-
er.
Rupff. Vide luther, m.
Rns'sell, (i) Wm., London, 1777 —
1813; pianist. (2) Henry, Sheer-
hess, 1813 — London, Dec. 6, 1900;
V. pop. Engl, song-composer. (3)
Louis Arthnr, b. Newark, N. J.,
Feb. 34, 1854 ; pupil of S. P. War-
ren, G. F. Bristow, and C C. Mul-
ler. New York; also studied, London,
1878-95; organist and choirm., New-
ark ; since 1879, cond. Schubert
Vocal Soc.; since 1885, Easton (Pa.)
Choral Soc.; 1885, founded the New-
ark Coll. of Mus. , of which he is dir.
and teacher; 1893, organised Newark
Symph. Orch.; wrote various books ;
c. cantata with orch., " A Pastoral
■Rhapsody" etc.
Rust (roost), (i) Fr. Wm., Wttrlitz,
near Dessau, July 6, 1739 — Dessau,
Feb. 28, 1796; violinist; bro. and pupil
of an amateur violinist in J. S. Bach's
orch. at Leipzig ; ct.-mus. director;
c. stage pieces, etc. (2) Wm. K.,
1787 — 1855 ; son of above ; pupil of.
TQrk ; organist and composer. (3)
Wm., Dessau, Aug. 15, 1822 —
• Leipzig, May 2, 1892 , nephew of
above ; composer ; notable organist
and teacher; cond. Berlin Bach-
Verein and editor of Bach's text.
RuU. (roo'-tS), Michele, Caseru, 1827
— Naples, Jan. 24, 1896; theorist
and dram, composer.
Ruthardt (root'-hart), (i) Fr., 1800—
1862 ; oboist and composer. (2)
Julius, b. Stuttgart, Dec. 13, 1841 ;
son of above; violinist, th. -conductor
since 1885 at Bremen ; c. incid. mus.
songs. (3) Ad., b. Stuttgart, Feb.
9, 1849 ; bro. of above ; pupil of the
Cons.; 1868-85, teacher m"" Geneva,
then Leipzig Cons.; writer and com-
poser.
Ruzicka (Rucsicska, Rutschitsch-
ka, etc.) (root-shetsh'-ka), Wenzel,
Jaumentz, Moravia, 1758— Vienna,
1823 ; bandm. and dram, composer
and ct.-organist ; Schubert was his
pupil.
Ryan, (i) Michael Desmond, Kil-
kenny, i8i6 — London, 1868 ; from
1836 critic and librettist in London.
(2) Thos., b. Ireland, 1827; at 17
went to the U. S.; studied Boston,
1849 ; co-founder *' Mendelssohn
Quintet Club," with which he toured
America ; clarinet and via. -virtuoso ;
c. quintets, quartets, songs, etc.;
wrote ''* Recollections of an old Mu^
sician " (New York, 1890).
Ryba (re'-ba), Jakob Jan., Przestitz,
Bohemia, 1765 — Roczmittal, 1815 ; c.
6 comic operas, etc.
Ryder, Thos. Philander, b. Cohas-
set, Mass., June 29, 1836; pupil of
Gv. Salter ; organist Tremont
Temple, Boston ; c. pf. -pieces.
7o8
THE MUSICAL GUIDE
Saar (zUr), (Louis) Victor Fz., b.
Rotterdam, Dec. lo, 1868 ; studied
with Rheinberger and Abel, Munich
Cons. ; then with Brahms ; 1891 took
the Mendelssohn composition prize
for a pf.-suite and songs ; 1892-95,
opera-accompanist, New York ; 1896-
98, teacher, comp. and cpt., National
Cons., N. Y.; 1898, Coll. of Mus.;
critic and composer for piano.
Sabbatini (sab-bS-te'-ne), (i) Gale-
azzo, b. Pesaro ; ct. -maestro and
composer (1627-39). (2) Luigfi A.,
Albano Liziale, Rome, 1739 — Padua,
1809 ; maestro, writer and composer.
Sacchi (sak'-ke), Don Giovenale, Bar-
fio, Como, 1726 — Milan, 1789; writer.
Sacchini (sak-ke'-ne), A. M. Gaspa-
ro, Pozzuoli, near Naples, June 23,
1734 — Paris, Oct. 8, 1786 ; eminent
Neapolitan opera composer, son of a
poor fisher. Discovered and taught by
Durante and others; 1756, prod. succ.
intermezzo *' Fra Donata^'* followed
byothersin Neapolitan dialect ; 1762-
66, at Rome in a keen rivalry with
Piccini ; 1772-82, London, succ. as
composer but not as financier. Fled
from creditors to Paris where he had
succ. and prod, many works, inch
** (Edipe h Colone,^'' his best work.
He c. over 60 operas, 6 oratorios, etc.
Sachs (zakhs), (i) Hans, N Urn berg,
Nov. 5, 1494— Jan. 19, 1576; a
cobbler ; chief of the Meistersinger
(v. D.D.) and hero of Wagner's opera
of that name ; he wrote over 4,000
poems, 1, 700 tales and 200 dramatic
poems ; also c. melodies. (2) Julius,
Waldhof, Meiningen, 1830 — Frank-
fort-on-Main. 1888 ; pianist. (3)
Melchior Ernst, b. Mittelsinn,
Lower Franconia, Feb. 28, 1843 ;
pupil Munich Cons, and of Rhein-
berger; 1868-72, cond. **Lieder-
kranz " ; 187 1 , teacher of harm. Sch.
of Mus.; founded and still cond.
*' TonkQnstlerverein " concerts ; c
opera, ballade with orch., etc.
Sachse-Hofmeister (zakhs- « - hof '.
ml-shtir), Anna, b. GompoUs-
kirchen, near Vienna, July 26, 1852 ;
soprano.
Saf fieddin', Abdolmumin, Ben F^
chir el Ormeve el Bagdadi, dikf
Arabic and Persian theorist of the
13th and 14th cents., author of the
standard work ** Shereffie.^
Saf onoff, W^ b. Istchory, CancasSs
Feb. 6 (new style), 1852 ; puptl of
Leschetizki and Zaremba ; then of
Brassin, Petersburg Cons., takx^
gold medal, 1881-85, teacher there ;
1885, Moscow; 1889, dir. of the Cons.
there, and since 1890 conductor.
Sigh (sftkh), Jos., b. Pcsth, Mardi 13,
1852; Hungarian lexicographer; 1885,
founder and editor of mus.* paper
** Zenelafr
Sagitta'nns. Vide schutz.
Sahla (zr-la), Richard, b. Graz, Sept
. I7» 1855 : violinist ; pupil of Datm].
Leipzig Cons.; debut, Gewandhans,
1873 ; 1888, ct.-cond. BOckebuig;
founded an oratorio-soc. there ; c. a
Roumanian Rhapsody, etc.
Saint- Amans (sftn.t&-min)« I^ Jes.,
Marseilles, 1749 — Paris, i8ao ; con-
ductor at Brussels and drun. coca-
poser.
Saint Anbin (s&6.t6-bftA)« (i) Jeume
Charlotte (nee Schroeder), Paris.
1764 — 1850; notable operatic singvr.
Her three children : (2) Jean Denis,
Lyons, 1783 — Paris, 1810 ; viotinst
and composer. (3) C6cile, b. Lyons,
1785 ; retired. i8ao ; sin^r. Ui
Alexandrine, b. Paris, 1793: re-
tired, 18 12 ; sister of above ; singer
of great promise.
Saint-Georges (s^-zhdrzh), (i) ,
Chev. dc, Guadeloupe, 1745 — ft^
1799 (or 1801) ; mulatto violinist and
composer. (2) Jnles H. Venwy,
Manjuis dc, Parisu 1801 — 1875 i ^
brettist of man^ works, e^>ecialty a
collaboration with Hal^vy.
Saint.Hubert7(sin.tQ.b«r.te), Aatct-
nette C^cile Clavel (called St.*Hi-
bcrty, rightly Clavcl), Toul, ca. 175*.
— London, 18 12. noted soprano, Gr.
Opera, Paris. I777-^ ; 1790V m, tk
DICTIONARY OF MUSICIANS 709
Count d*£ntraigiies ; they were assas-
sinated at their country seat» near
London, 1812 (probably from political
motives).
Saint-Lambert (9&fi.UUi-b&r). Michel
de, Parisian harpsichord - teacher ;
wrote methods (1680-1700).
Saint-Lnbiii (s&n.la.bli6), L^on de,
Turin, 1805 — Berlin, 1850; violinist
and dram, composer.
Sainton (s&n-t66), (i) Prosper (Ph.
Catherine), Toulouse, 18 13 — Lon-
don, 1890; violinist and composer.
(2) Sainton-Dolbj, Charlotte He-
len (nee Dolby), London, 1821 —
1885 • contralto-singer.
Saint-SaSns fs&fi-san), Chas. Ca^-
mille, b. Paris, Oct. 9, 1835 ; emi-
nent French composer. Began to
study the piano before 3 ; at 5 played
a Gr^ry opera from the score ; at 7
entered the Cons., pupil of Stamaty
(pf.), Maleden and Halevy (comp.),
and Benoist (org.); ist org.-pnze,
185 1 ; at 16, prod, a symph.; 1853,
OTj^nist Saint-Mery; 1858, the Ma-
deleine; also till 1870 pf.-teacher
Nicdermeyer Sch.; made frequent
tours. He is a writer of unusual gifts.
1894, Commander of the Legion of
Honour. C. operas: i-act '*Za Prin-
cessejawie'^ {Op,'Com.^ 1872); '*L<
Timbre d" Argent,"' 4.acts (Th.-Lyr.,
1877) ; the very succ. '* Samson et
I>alila" (Weimar, 1877, often sung
as an oratorio) ; ** Proserpine " (Op.-
Com., 1887); ''Ascamo" (Op^ra,
1890) ; comic ** PArvne*' (Op.-Com..
1893) ; ** Parisatis (Beziers, 1002) ;
wrote the last 2 acts of Guiraud s un-
finished *'Pr/d/gonde'' (Op<?ra, 1895).
C. ballets, music to '* Antigone'' (Com-
^die-Fran^ise) ; and Gallet's ** D/Ja-
nire" (Beziers, i8q8, with orch. of
250, chorus of 200, and ballet of 60
in open air). C. also a Christmas
oratorio; the ** Biblical opera" ''Le
I?//uge'\' 2 masses; ode ''La Lyre
et la Harpe"'' (Birmingham Fest.,
1879); 'La joia aragonese** for
orch.; 5 pf. -concertos ; 3 vln. -con-
certos; *cello-concerto ; cantata **/>j
Noces de Prom/th/e*' (1867); Psalm
19, with orch. (London, 1885) ; 5
symphs., 4 symphonic poems, " Le
rouet dOmphaU;' ** Phaeton:'
"Danse macabre ^^ ** La jeunesse
dHercule "; 2 orch. suites, the first
" Atf/rienne,** etc.
Sala (sii'-la), Nicola, near Benevento,
Italy, 1701 — Naples, 1800; Maestro,
theorist and dram, composer.
Sal'aman, Chas. Kensin^oo, Lon-
don, March 3, 1814 — July, 1901;
pianist ; pupil of Rimbault and Chas.
Neate ; debut 1828, then studied with
H. Herz, Paris; 1831, teacher in
London ; 1840, founded a choral soc. ;
1858, founded the Mus. Soc. of Lon-
don; also the Mus. Assoc., 1874;
critic and essayist ; c. orch. pes., etc
Sal'blinger (Salminger) (zal'-mlng-
£r), Sig^smund, monk, at Augsburg;
composer, 154^.
Saldoni (sal-d5 -ne), Don Baltasar,
Barcelona, 1807 — 1890 ; organist,
singing-teacher, writer and dram,
composer.
Sale (sal), (i) Fran., Belgian ct.-
tenor and composer, 1589. (2) (sal),
John, London, 1758 — 1827; bass,
conductor and composer. (3) John
B., Windsor, 1779 — 1856 ; organist,
bass, teacher and composer ; son of
above. (4) Geo. Chas., Windsor,
1796 — 1869 ; organist ; son of (2).
Sal^za (sill-a-za), Albert, b. Bruges,
Beam, 1867; notable tenor ; pupil
Paris Cons.; 1st prize in singing, 2d.
in opera ; debut Op.-Com., 18S8 ;
1889-91, at Nice ; from 1892, en-
gaged at the Op«ra, Paris; 1898,
Met. Op., New York.
Salieri (sal-!-a'-re), (i) Ant., Legnago,
Verona, Aug. 19, 1750 — Vienna, May
7 (12 ?), 1825 ; noted operatic com-
poser and organist ; pupil of his
brother (2) Francesco (violinist) and
of Simoni, Pascetti and Pacini ;
taken to Vienna by Gassman ; his suc-
cessor as ct. -composer and cond. of
Italian opera ; he prod, many operas
there, then one at Paris under Gluck*s
name, G. kindly confessing the ruse
7IO
THE MUSICAL GUIDE
when the opera was a succ. ; 1788, ct.-
cond. Vienna ; was a rival of Mozart
and unjustly accused of poisoning
him * c. 40 operas, 12 oratorios, etc.
Salimbeni (sal-Ym-br-ne), Felice,
Milan, ca. 1712 — Laibach, 1751; so-
prano-musico.
Salinas (sd-le'-n^), Fran., Burgos,
Spain, ca. 1512 — 1590; professor.
Sallantin (s&UlaA-tUn), A., Paris, 1754
— after 1813 ; oboe- virtuoso, teacher
and composer.
Salminger. Vide salblinger.
Salmon (s&m'-iin), Eliza, Oxford,
1787 — Chelsea, 1849; soprano.
Said, Gaspare da. Vide gasparo.
Saloman (za'-lo-mSn), Siegfried,
Tondem, Schleswig, 18 18 — Stock-
holm, 1899 ; violinist, lecturer and
dram, composer.
Salom^ (s&l-5-ma), Th. C^sar, Paris,
1834 — St. -Germain, 1896 ; composer
and organist.
Salomon (za'-lo-mdn), (i) Jn. Peter,
Bonn, Jan., 1745 — London, Nov.
28, 1815 ; vln.-virtuoso ; from 1781,
London ; 1786, organised famous
Salomon concerts for which Havdn,
whom he brought over, c. special
works. (2) Moritz, mus.-dir. at
Wemigerode, Harz ; pub. a treatise
against Natorp, 1820, and mus.
novels. (3) M., Besan9on, 1786 —
183 1 ; guitar-player; composer, inv.
the *'harpolyre." (4) Hector, b.
Strassburg, May 29, 1838 ; pupil of
Jonas and Marmontel (pf.)« Bazin
(harm.) and Hal^vy (comp.); in 1870,
2d chorusm., later chef de chanty Gr.
Op^ra ; c. operas, etc.
Salter (sol'-tfir), Sumner, b. Buriing-
ton, Iowa, June 24, 1856 ; studied at
Amherst Coll. and music in Boston ;
organist and mus.-dir., N. V.; ed.
** The Musician^'* ; c. church-mus.
Salvayre (sdl-v^r) (Genrais Bd.),
Gaston, b. Toulouse, June 24, 1847;
studied at the cath.-mattrise, then at
Toulouse Cons.; later Paris Cons.,
taking the Grand prix de Rome,
1872, with cantata '* Cahpso'"; 1877,
chorusm. at the Opera- Populaire ;
1894 in Servia ; later critic of " Gil
Bias''; Chev. of the Legion of
Honour; c. operas **Z^ Sravo*
(1877), ''Richard 11/.'' (Peteis-
burg, 1883), '' Egmcnr' (Op.-Com.,
1886), ''La Dame de Montsoream^
(Op<5ra, 1888), etc.; c. also Biblical
svmph., "La Resurrection^'' 113th
rsalm with orch., etc.
Samara (sa-mil'-r£), Spiro, b. Corf&,
1861; pupil of Enrico Stancamptano
in Athens ; later of Delibes, Paris
Cons.; prod. v. succ. opera, *• Fhrm
Mirabilis" (Milan. 1886) ; "Me^*
(Rome, 1888); '^ IMmella" (Milan,
1891); "La MarHre" (Naples,
1894 ; Paris, 1898) ; ** La Furia Ih-
mata'' (MUan, 1895); " Hist^re
d^ amour " (Paris, 1902).
Sammartinl (silm-mSr-te'-ne), (i)
Pietro, ct.-mus. at Florence, etc
(1635-44). (2) Giov. Bat., MihLn^
ca. 1705 — ca. 1775 ; OTganist, con-
ductor and composer. (3) Gin., d.
London, 1740 ; oboist ; bra of above.
Samuel (sam-w£l). Ad., Li^, 1824—
Ghent, 1898; theorist and dram.
composer.
Sanctis, de. Vide de Sanctis.
Sandberger (zftnt'-b«rkh.€r). Ad., b.
Wttrzburg, Dec. 19, 1864 ; studied at
the R. Sch. of Mus. there, and at
Munich, also with Spitta ; 1887, Dr.
Phil.; mus. libr., Munich Library,
and lecturer at the Univ.; 1898 prof.
of mus. at Prague Univ. ; ed. Orlando
di Lasso's complete works ; wrote
biog., hist., essays, etc.; c. v. succ
opera ** Ludwig der Springer'* (Co-
burg, 189^), overture, etc.
Sanders, Cf. Vide lkcjckart.
San'derson, (i) Jas., Workingtoo.
Durham, 1769? — ca. 1841 ; violinist,
teacher and composer. (2) LiUiafi,
b. Sheboygan, Wis., U. S. A., Oct.
13, 1867 ; concert mezzo-soprano :
pupil of Stockhausen, Frankfort-on-
Main; d^but Berlin, 1890; toured
Europe ; m. Fz. Rummel ; lives in
Berlin. (3) Sibyl, b. Sacramento,
Cal., 1865 ; soprano, opera-singer;
pupil of de la Grange and Massenet ;
DICTIONARY OF MUSICIANS ?»»
SQCC debm. Op. -Com., 1889; sang
there for years ; 1898 in New York
Met. Op., and variously in Europe.
SandonL Vide cuzzonl
Sandow (zdn'-dd), (i) Eugen, b. Ber-
lin, Sept II, 1856; viounist; pupil
Rohne, W. MQller, and K. Hoch-
schule ; from 1870 court chamber-
mus. His wife (2) Adelina (n^
Herms), b. Friesack, Oct. 14, 1862 ;
singer and teacher.
Sasi(K (ziUit), Max van de, Rotter-
dam, Oct. 18, 1863; pianist; pupil
of his father and Liszt ; toured
Europe; 1889, pf.-teacher Stem
Cons., Berlin.
Sandys (s&nds), Wm., 1793 — 1874;
English writer on music.
SAns^er-Sethe (zdng'-^r-za-t£), Irina,
b. Brussels, April 28, 1876 ; notable
violinist ; daughter of Dutch father
and German mother ; began violin at
c ; pupil of her mother, of Joachim,
Wilhelmj, and Ysaye, took ist prize
at the Cons. ; debut London, 1895 ;
toured Europe with great success ; m.
Dr. S&nger^ 1807, and lives in Berlin.
Sangiovanm (s&i-j5-v&n'-ne). A.,
fiergamo, 1831 — Milan, 1892; prof.
of sin^ng.
Santini (sUn-te'-ne), Abbate Fortu-
nate, Rome, 1778 — ?; colL a no-
table mus.-librarv.
Sant'ley, (i) Cnas.» b. Liverpool,
Feb. 28, 1834; noted operatic and
concert barytone; pupil Nava, Mi-
Urn ; Garcia, London ; d^but, 1857 ;
won pre-eminence in England at
festivals, etc. ; operatic debut, Co-
vent Garden, 1859; 1875 with Carl
Rosa Co. ; 187 1 and 1891, America ;
retired 1900; also a painter; c. a
mass with orch. ; a berceuse for orch.
(1890) ; songs (pub. under the pseud.
" Ralph Betterton '*), etc. His wife,
(2) Gertrude Kemble (Charles
Kemble's granddaughter) (d. 1882).
was a soprano ; their daughter (3)
Bdith was a successful soprano, till
her marriage in 1884 with the Hon.
R. H. Lyttleton.
Santncci (san-toot'-che), Marco,
Camajore, 1762 — Lucca, 1843; con-
ductor and composer.
Sapell'nikoff, Wassily, b. Odessa,
Oct. 21, 1868 ; pianist ; pupil of Fz.
Kessler, and then (with a stipend from
the city of Odessa) of L. Brassin and
Sophie Menter, Petersburg Cons.;
1888, d^but Hamburg ; toured.
Saran (z&'-r&n), Aug:. (Fr.), b. Alten-
plathow, Province of Saxony, Feb.
28, 1836; pupil of Fr. Ehrhch and
of R. Franz; teacher, army-chap-
lain (1873) ; 1885 cond. of a church-
choral soc. at Bromberg ; writer and
composer.
Sarasate (sft-r&-s&'.t£), Pablo (Mar-
tin Meliton Sarasate y Nava»-
cuez) de» b. Pamplona, Spain,
March 10, 1844 ; eminent violinist ;
at ID played before the Queen, who
presented him with a Stradivari;
after succ. concerts in Spain he stud-
ied with Alard (vln.) and Reber
(comp.). Paris Cons., taking ist vln.-
prize 1857, and a premier accessit,
1859, in harm.; he has made very
wide and very succ. tours ; 1889,
America. For him Lalo c. his ist
vln. -concerto and the*'S3rmph. es-
pagnole " ; Bruch, his 2nd concerto
and the Scotch Fantasia ; A. C.
Mackenzie, the ** Pibroch '• Suite. S.
has pub. ** Zigeunerweisin** for vln.*
and orch.; '* Spanische Tdnze** tor
vln. and pf., fantasias, etc.
Sarmiento (s^-ml-^n'-to), Salratore,
Palermo, 18 17 — Naples, 1869 ; con-
ductor and dram, composer.
Saro (sa'-ro), J. H., Jessem, Saxony,
1827 — Berlin, 1891 ; bandmaster and
writer.
Sarrette (s&r-r£t), Bd., Bordeaux,
1765 — Paris, 1858 ; founder and di-
rector till 1814 of the Paris Cons,
which he gradually developed from
a sch. started by the band of the
Paris National Guard.
Sarri (sar'-re), Dom., Trani, Naples,
1678-— after 1741 ; conductor and
dram, composer.
Sarti (silr-te), Giuseppe (called U
Domenichino) (el d^m^n-X-ke'-n5),
712
THE MUSICAL GUIDE
Faenza, Dec. i, 1729 — (of gout) Ber-
lin, July 28, 1802 ; pupil of eitherVal-
lotti or Padre Martini ; 1 748-50 organ-
ist Faenza Cath. ; 1751 he prod, at
Faenza, succ. o\itT2i*^ Potnpeoin Arme-
#«Vi." followed by**// He Pastore''
(Venice, 1753) and others so succ.
that at 24 he was called to Copen-
hagen as dir. Italian opera and court-
cond.; he was summarily dismissed
for political reasons; 1775-99, dir.
Cons, deir Ospedaletto, Venice ; in
competition (with I'aisiello and others)
he won the position of cond. at Milan
Cath.; he prod, from 1776-84, 15
operas ; he also prod, grand canta-
tas and several masses, etc. Cathe-
rine II. invited him to Petersburg.
As he passed Vienna, he was received
by the Emperor, and met Mozart,
complaining, however, of the ** bar-
barisms" in M.'s quartets and find-
ing 19 mortal errors in 36 bars. Lived
at Petersburg 18 years, excepting
a brief periwl of disgrace, due to
Todi, during which exile he founded
a fine sch. at Ukraine. 1793 he was
restored to the Empress* favour, and
placed at the head of a Cons. He
raised the Italian opera to high effi-
ciency, inv. a very accurate machine
for counting vibrations and was en-
nobled in 1795. In a Te Deum (on
the taking of Otchakow by Potemkin)
the music was reinforced by fire-
works and cannon. He set the li-
bretto '* Hega " by the Empress. He
c. 40 operas, masses, some still per-
formed, etc.
Saxtorio (sJlr-to'-r!-6), A., Venice, ca.
1620 — ca. 168 1 ; conductor and dram,
composer.
Sass (s^s) (at first sang under the name
Sax), Marie Constance, b. Ghent,
Jan. 26, 1838 ; a chansonette-singer
in a Paris cafe, found and taught by
Mme. Ugalde ; debut Th.-Lyrique,
1850, as soprano, 1860-71, at the
Opera, then in Italy ; 1864, m.
Castelmary, divorced 1867.
Satter (zat -tdr), Gustay, b. Vienna,
Feb. 12, 1832 ; pianist ; studied Vi-
enna and Paris ; 1854-60 toured die
U. S. and Brazil; returned to Paris,
where Berlioz warmly praised his
compositions ; lived in various citks ;
c. opera ** OZun/^,** overtures ** Z^r-
Uir 'Wulius Cesar:' ''An dU
Freude, * 2 symphs., a symf^. toee^
picture ** Washington^*^ etc
Sattler (zStM^r), H.» Qoedfinboif.
18 1 1 — Brunswick, 1891; writer aod
composer.
Sauer (zow'-«r), (i) Win., b. Fried-
land, Mecklenburg, 183 1 ; of^.-
builder from 1857 at Frankfort-ca-
Oder. (2) Vide lkidesi>oef. (3)
Emil, b. Hamburg, Oct. 8, 1862;
notable pianist ; pupil of his mother,
of N. Rubinstein at Moscow, 188 1,
and of Liszt at Weimar ; from 18S2
toured Europe and 1898-99 U.S.vitb
grreat succ. ; 1901, head of pf.-dqx.
Vienna Cons.; c. suite modeme, ^'Am
Uchten Tagen" 2 piano concertos,
concert-^tude, etc.
Saurel (si'-oo-r^l), Emma, b. Paler-
mo, 1850 ; opera - singer ; d^bot,
Pisa ; has toured widely.
Sanret (s6-r&). Emile, b. Dun-le-Roi,
Cher, France, May 22, 1852; notable
violinist ; pupil of Paris Cons, and of
de Beriot, Brussels Cons. ; at 8 began
succ. European tours ; America 1872,
and frequently since ; 1880-81, t.
Kullak's Acad., Berlin; lived in
Berlin till 1890, then prof. R. A. M.,
London ; wrote *' Gradus ad Panms-
sum du t^iSiwfj/^** (Leipzig, 1894);
c 2 vln.-concertos, etc.
Sauter (zow'-tdr), Sererin S.» Ger-
many, 1822 — St. Louis. Mo., Marcb
24, 1901; cond.; came to America as
refugee, 1848.
Sanvenr (s5-vilr'). Jos., La Fl^clie.
1653 — Paris, 1 7 16 ; a deaf-mute, who
learned to speak at 7, and became a
notable investigator in acoustics
(which word in fact he invented) ; be
was the first to calculate absolute ri-
bration- numbers, and to explain over-
tones; pub. many treatises (1700-13).
Sauzay (s5-z«'), Chas.) Eiu^ie,
Paris, July 14, 1809— 1901 ; viofanist
DICTIONARY OF MUSICIANS 713
pupil of Vidal; later of Baillot at the
Cons. ; won ist and 2nd vln. -prize, and
prize for fugue ; 2nd vln. and after-
wards via. in Baillot's quartet, and m.
B.'s daughter (a pianist); 1840 solo vio-
linist to Louis Philippe ; later leader
of 2nd vlns. Napoleon III.'s orch.;
i860 vln.-prof. at the Cons.; pub. a
treatise; c. a string-trio, ** Etudes
karmoniques*^ etc.
Savard (sJUv&r), M. Gabriel Aug.,
Paris, 18 14 — 1 88 1 ; prof, of harm.
and thorough-bass at the Cons. ; pub.
treatises.
Savart (sa-vftr), F., Meziires, 1791 —
Paris, 1841 ; acoustician.
Savile (s&v'-ll), Jeremj, English com-
poser, 1653.
Sax (sibc), (i) Chas. Jos., Dinant-sur-
Meuse, Belgrium, 1791 — Paris, 1865 ;
studied flute and clarinet, Brussels
Cons.; from 18 15 managed an instr.-
factory at Brussels, making a spe-
cialty of brass instrs. ; he made many
improvements ; 1853 he joined his
son Ad. in Paris. (2) (Ant. Jos).
Adolphe, Dinant, Nov. 6, 18 14 —
Paris, Feb. 9, 1894 ; son of above ;
eminent maker and inv. of instrs. ; he
inv. the family of instrs. called the
saxophone (v. d. d.) ; in Paris he con-
tinued to make improvements invent-
ing the saxhorns, saxotromba, etc.;
1857 teacher of the saxophone, Paris
Cons, and pub. a saxophone method;
he had much litigation over the prior-
ity of his inventions, but always won.
(3) Alphonse, bro. and co-worker of
above. (4) Marie. Vide sass.
Sbolci (s*b6r-che), Jcfte, Florence,
1833 — 1895 ; 'cellist and teacher.
Scacchi (sk^k'-ke). Marco, b. Rome ;
ct.-€onductor 1618-48 ; writer and
composer.
Scalchi (skil'-ke), Sofia, b. Turin,
Nov. 29, 1850 ; alto or mezzo-sopra-
no of unusual range f-b" (v. pitch
D. D.) ; pupil of Boccabadati ; debut
Mantua (1866); she has sung through-
out Europe, often in North and South
America with much succ; 1875 m.
Signor Lolli.
ScaletU (sk£-l«t'-t£), Orasio, Crema
— Padua, 1630 ; conductor and com-
poser.
Scandel'li, Ant., Brescia, 1517 — Dres-
den, 1580 ; conductor and composer.
Scaria (ska'-rY-a), Emil, Graz, 1840 —
Blasewitz, 1886 ; bass ; created
**Wotan" at Bayreuth, 1876 and
'* Gumemanz'* (Parsi/al)^ 1882.
Scarlatti (skar-lat'-te), (i) Alessan-
dro, Trapani, Sicily, 1659 — Naples,
1725 ; founder of the ** Neapolitan
Sch." ; noted teacher and an impor-
tant innovator in opera (he prod, over
115) ; in 1680 he is first heard of as
conducting his own opera ; he intro-
duced the innovation of the orchestral
ritornello, and a partial recitativio
obbligato (v. D.D.); 1684 court-cond. ;
1703, 2nd cond. S. Maria Maggiore,
Rome; 1707-O9, ist. cond.; teach-
er at 3 conservatories, San Onofrio ;
de* Poveri di Gesu Christi, and the
Loreto. (2) Domenico (Girolamo),
Naples, 1683 (5?) — 1757 ; son and
pupil of above ; studied also with
Gasparini ; eminent virtuoso and
compo'ser for harpsichord ; founded
modem pf.-technic ; devised many
now familiar feats ; the first to com-
pose in free style without contra-
puntal elaboration and mass ; in a
competition with H^del he proved
himself equal as a harpsichordist, but
confessed himself hopelessly defeated
as an organist ; he was thereafter a
good friend, almost an idolater, cross-
ing himself when he mentioned Han-
del ; 1 71 5-19 he was maestro at St
Peter's, 1720 at London; 1720 court-
cembalist Lisbon ; his gambling left
his family destitute ; from 1 7 10 he prod,
operas, incl. the first setting of ^*' Ant'
leto" (171s). (3) Giuseppe, Naples,
1712 — Vienna, 1777; grandson of (i);
dram, composer. (4) Fran., c. a
melodrama in MS. at Rome. (5)
Pietro, c. opera '* Ciiiarro" with
intermezzi bv Hasse.
Schaab (shap\ Robt., Rotha, near
Leipzig, 1817—1887; organist and
composer.
7H
THE MUSICAL GUIDE
SrhThner (shakh'-n^). Rudolf Jos.,
Munich, 1821— ReicheniiaU, 1896 ;
pianist, teacher and composer.
Schaclit (shSidit). Matthias H., Vi-
boTg, Jutland, 1660— Kierteminde,
1700; lexicogjapber.
Schack (Cziak) (shik or chak), Ben-
edikdt, Mirowitz, Bohemia, 1758 —
Munich, 1826 ; tenor and dram, com-
poser.
Schad (sbat), Jos., b. Steinach, Bava-
ria, 1812 — Bordeaux, 1879; pianist
and composer.
Schade (shi^$), (i) (Schadaas)
Abraham, pub. a valuable coll. of
384 motets (1611-16). (2) Carl,
singing-teacher and writer (1828-31).
Sch&ffer (shdf-fdr), (i) Ang., Rhein-
berg, 1814 — Berlin, 1879; dram,
composer. (2) Jnlins, b. Crevese,
Altmark, Sept. 28, 1823 ; studied
with Dehn, Berlin ; 1855 mus. dir. to
the Grand Duke at Schwerin ; found-
ed and conducted the ** Schlosskirch-
enchor;** i860 mus.-dir. at the
Univ. and cond. Singakademie, Brcs-
Uu; 1871, **R. Mus.-Dir."; 1878
prof.; Dr. Phil. A. c. (Brcslau), 1872 ;
wrote defence of his friend Franz'
accompaniments to Bach and Han-
del ; composer.
Schafhautl (shaf'-hi-tl), K. Fz. Emil
▼on, Ingolstadt.i8o3--Munich, 1890;
professor and theorist
Schalk (shal'k), Josef, b. Vienna and
studied at the Cons. ; notable cond.,
first at Graz, then ist cond. at the
Prague Opera and Philh. concerts ;
since 1899 1st cond. ct. -opera, Ber-
lin; 1898 at Covent Garden, 1899
gave the complete Wagner Ring-
cycle in New York.
Scharfe (shir'-f^), , Grimma. Sax-
ony, 1835— -Dresden, 1892; barytone,
teacher and composer.
Scharfenbersr (shar'-fen-Wfrkh), Wm.,
Cassel, Germany, 18 19 — Quogue,
N. Y., 1895; pianist, teacher and
editor.
Schamack (shar'-nSk), Luise, b.
Oldenburg, ca. i860 ; mezzo-soprano ;
popil oC TOO Denuuk, fiaabc:;^
Coos.; debut, Weimar.
Sduuweaka (sfaar-vte'-ka>, (i) tL.
Plulipp, b. Samtcr, Posor, Y€b. 16.
1847; popfl of W first and KoSaks
Acad., Beriin, also of H, Dora;
1870, teacher of theory and conp. £
the Acad.; 1880 founded ivi& hs
bro. Xarcr) the ** Scharvnka Coas.':
1891, accompanied his bro. to Xer
VcMk; returned, 1892, as co-dk. d
the Cons.^ later, 1S93, merged is the
Klindworth Cons.; he is also acaiica*
turist and illustrated a satire byAkx.
Moskowski (Berlin, 18S1) ; 190s.
R. Professor; c. "^ Herkst/eUr"^ asd
'* SaJhmlaJa,'" for soli, cboms aad
orch., 2 symphs.,"yfriW<.f^iir Smiii^
and ''ScrctuuU"* for orch., festival
overture. Trio in G, op. 112, etc (2)
(Fz.) Xaver, b. Samtcr, Jan. 6,
1850 ; bro. of abore ; distingu6bcd
pianist and composer; popil of Ksl-
lak and WOrst. Kullak's Acad.; iS6£.
teacher there ; at 19 gave public con-
cert at the Singakademie, with sdoc :
for 10 years he gave annually 3 chant-
ber-concerts there (with Sauret and
H. Grtknfeld) ; cond. of sabscr^>ttoa
concerts; 1874, toured Europe and
America ; 1880, co-founder the ** Ber-
lin Scharw. Cons.," dir. till 1S91,
then founded a Cons, in New Voii :
1898, Berlin, as dir. Klindw(»th-
Scharwenka Cons.; ct. -pianist to the
Emperor of Austria, ** Prof." from
the King of Prussia ; c. succ open
^'MataswiMtha*' (Weimar, 1896);
symph., 3 pf. -concertos, etc.
Schanensee (show'-^-za), (Fx. Jm.
Leonti) Meyer von, Lucerne, 1720
— after 1790; organist and dram,
composer.
Schebek (sha'-b«k). Edmund, Petcrs-
dorf, Moravia, 18 19 — Prague, 1895;
amateur authority on vln.-constnic-
tion, etc«
Schebest (sha'-b^), Agnes, Vienna,
1813 — Stuttgart, 1869; mezzo-so-
prano.
Scheduler -Waafl:en (sh^k'-n^r-vi'-
g^n), Nanette, Munich, i8o6~i86o ;
DICTIONARY OF MUSICIANS 7»5
noted soprano ; 1832, m. Waagen, a
painter.
Scheibe (shI'-M), (i) Jn., d. Leipzig.
1748 ; celebrated org. -builder. (2)
Jn. Ad., Iveipzig, 1708 — Copen-
hagen, 1776 ; son of above ; organ-
ist, editor and composer.
Scheibler (shf-bl^r), Jn. H., Montjoie,
near Aix-Ia-Chapelle, 1777— Crefeld,
1838 : acoustician and inventor.
Scheidemann (sh!'.d£-mto), (i) Hein-
rich, Hiunburg, ca. 1 596—1663 ; or-
ganist ; pupil and successor of his
father (2) Hans S., organist Kathe-
rinenkirche.
Scheidemantel (shI -d^-man-t<l), K.,
b. Weimar, Jan. 21, 1859; pupil of
Bodo Borchers; sang at the ct.-th.,
1878—86 ; pupil of Stockhausen ;
1885, ** Kammersftnger" ; since
1886, Dresden ct.-opera ; 1886, sang
** Amfortas" in '* Parsifar at Bay-
reuth.
Scheidt (shit), Samuel, Halle-on-
Saale, 1587 — 1654 ; famous organist
and composer ; pupil of Sweelinck ;
organist of Moritzkirche and ct.-con-
ductor ; c. notable chorals, etc.
Schein (shin), Jn. Hermann, GrOn-
hain. Saxony, 1586 — Leipzig, 1630;
soprano ; ct. -conductor and com-
poser.
Schelble (sh^l'-bM), Jn. Nepomnk,
Hafingen, Black Forest, 1789 —
Frankfort-on-Main, 1837 ; notable
cond. and singing-teacher ; tenor ; c.
operas, etc.
Schelle (shdl'-l^), (i) Jn., Geisingen,
Saxony, 1648 — Leipzig, 1701; can-
tor Thomaskirche. (2) K. Ed.,
Biesenthal, near Berlin, 18 16 — Vien-
na, 1882 ; critic, lecturer and writer.
Scheller (shdl -Idr), Jacob, b. Schettal,
Bohemia, 1759 ; vln. -virtuoso.
Schelper (sh£l'-p^r). Otto, b. Rostock,
April 10, 1844 ; an actor, later bary-
tone in opera, at Bremen ; 1872-76,
Cologne, then sang leading roles,
Leipzig City Theatre.
Schenck (shdnk), (i) Jean (Johann),
gamba-player and dram, composer,
1688-93, Amsterdam. (2) Jn.,
Wiener-Neustadt, Lower Austria,
1761 (1753 ?) — Vienna, 1836 ; c. op-
erettas. (3) Hugo, 1852 (?) — Vien-
na, 1896 ; conductor and composer.
Scherer (sh&'-r^r), Sebastian Anton,
organist at Ulm Minster and com-
poser, 1664.
Scherzer (sh^r'-tsfir), Orto, Ansbach,
182 1 — Stuttgart, 1886; violinist and
organist.
Schetky (sh^t'-ke), Chp., Darmstadt,
1740— Edinburgh, 1773 ; 'cellist and
composer.
Schicht (shikht), Jn. Gf., Reichenau,
Saxony, 1753 — Leipzig, 1823 ; pupil
of an uncle (org. and pf.) ; pianist,
conductor and writer ; c. 4 oratorios,
chorals, etc.
Schick (shik) (nee Hamel), Marga^
rcte Luise, Mayence, 1773 — Berlin,
1809 ; soprano ; pupil of Steffani and
Righini ; debut, Mayence, 1791; from
1794, Royal Opera, Berlin.
Schiedermajer (she'-d£r-ml-^r), Jos.
Bd., d. Linz-on-Danube, Jan. 8,
1840 ; cath.-organist ; wrote a text-
book on chorals and a vln.-method ;
c. symphs., sacred mus., org. -pes., etc.
Schiedmajer (shet'-ml-£r) & Sdhne,
Stuttgart firm of piano-makers,
founded in Erlangen, 1781. (i) Jn«
D., removed to Stuttgart 1806. The
present head is (2) Ad. (b. 1847),
a ^jeat-grandson of (i).
Schikaneder (she'-k&-na-d£r), Eman-
uel Jn., Ratisbon, 1751 — Vienna,
1812, the librettist of Mozart's ''Zau-
berflSte'" in which he created ** Papa-
geno"; a manager, actor and singer.
Schildt (shYlt), Melchior, Hanover (?),
1592 — 1667 ; organist.
Schiller (shll'-l^r), Madeline, b. Lon-
don, Engl. ; pianist and teacher ; a
pupil of Isaacs, Benedict and Hall^,
but mainly self-taught ; d^but, Ge-
wandhaus, with g^eat succ, repeated
in London ; toured Australia ; m. M.
E. Bennett of Boston, Mass., where
she lived several years making many
tours, incl. Australia and Europe;
later lived in New York.
Schilling (shil-ling), Gt., Schwiegers-
7i6
THE MUSICAL GUIDE
hattsen, near Hanover, 1803 — Ne-
braska, U. S. A., 1881; wrote text-
books and treatises, etc.
Schil'lin^^ Max, b. Daren, April 19,
1868 ; notable composer ; studied
with Brambach and von KOnigslOw ;
1892, stage-manager at Bayreuth ;
1890 while studying law, at Munich,
c. the opera ^" IngueUU"' (prod, by
Mottl, Carlsruhe, 1S94) ; played in
many other cities ; c. also opera
**Z>^r^rt>r/fl;^"(Schwerin, 1901); 2
symph. tSLntasxsis"" A/e^rgTuss," 1895,
and ** Seemorgen^'' etc
Schimon (she-mdn). Ad., Vienna,
1820 — Leipzig, 1887 ; singing-teach-
er, accompanist and dram, com-
poser, etc.; 1872, m. the soprano (2)
Aniui Regan, Bohemia, 1842 — Mu-
nich, 1902 ; pupil of Manuel Garcia
and Stockhausen ; sang in Italy and
Germany ; court-singer in Russia ;
1874, teacher of singing Leipzig
Cons. ; 1877-86, R. Ssch. of Mus.,
Munich; again at Leipzig Cons.;
also after death of her husband,
singing-teacher at Munich.
Schindelmeisser (sh1n'-d£l-m!s-s^r),
L., Kftnigsberg, 181 1 — Darmstadt,
1864 ; ct. -conductor and dram, com-
poser.
Schindler (shlnt'-I£r). Anton, Medl,
Moravia, 1796 — Bockenheim, near
Frankfort, 1864 ; violinist and con-
ductor ; friend and biographer of
Beethoven.
Shintl5ckcr (shtnt'-iek-^r), (i) Phil-
ipp, Mons, Hainault, 1753 — Vienna,
1827; 'cellist. (2) Wolfgang, b.
Vienna, 1789 ; 'cellist and composer ;
nephew and pupil of above.
Schira (she'-ra), Fran., Malta, 1809
— London, 1883; professor, conduct-
or and dram, composer.
Schirmacher (sher'-m£ikh-$r), Dora,
b. Liverpool, Sept. i, 1862 ; pianist ;
pupil of Wenzel and Reinecke, Leip-
zig Cons., winning Mendelssohn
prize ; d^but Gewandhaus, 1877 ; c.
a suite, sonata, etc.
Schirmer (sher'-m^r), (i) Gustay,
KOnigsee, Saxony, 1829 — Einsbach,
Thuringia, 1893 ; son and
of court piano-makos at
haosen ; 1837 came to N<
founded pub. firm. Beer & Schtmcr,
1866 S. obtained the entire
since known as G.
1893 incorporated onder
of (2) Rudolf E. and (3)
sons of above.
Sdiladebach (shla -d^-b&kh). Joins,
d. Kiel, 1872 ; wrote treatise on tlw
voice.
Schlager (shla'-gdr), Hans, Fas-
Idrchen, Upper Austria, 1830— Salz-
burg, 1885 ; condnctor and dram.
composer.
Schlecht (shl^dit), Rainumd, £idi>
stadt, 181 1 — 1891 ; priest and writer.
Schleinits (shT-nlts), H. Conrrnd,
Zecbanitz, Saxony, 1807 — T^riprig.
1881 ; dir. Leipzig Cons, (vice Men-
delssohn).
Schlesinger (shla -zlng-^), two mos.-
pub. firms, (a) at Berlin, founded
1810 by (i) Ad. Martin, from 1858
managed by his son (2) Hesiiri^
(d. 1879) ; since 1864 under R« Lie-
nau. (b)at Paris, founded 1854 by
(3) Morits Ad., son of (i) : onder
Ix>uis Brandus in 1846. (4) Sebas-
tian Benson, b. Hamburg, Sept.
24, 1837 ; at 13 went to U. S. ; stud-
ied at Boston with Otto Dresel ; for
17 years Imp. German Consul at
Boston ; now lives in Paris ; pob.
many pop. songs and piano-pieces.
Schletterer (shia'-t«r-«r), Haas
Michel, Ansbach, 1824 — Augsburg,
1893; mus. -dir., writer and composer.
Schlick (shlYk), (i) Arnold, ct.-organ-
ist to the Elector Palatine, and coo-
poser, 15 1 1. (2) Jn. Konrad, Mon-
ster (?), Westphalia, 1759 — Gotha,
1825 ; 'cellist and composer.
SchUmbach (shlVm'-b2kh), G. Chr.
Fr., b. Ohrdrof, Thuringia, 17^;
organist, writer on org.-building, etc
Schldsser <shl^'-s«r), (i) Louis,
Darmstadt, 1800— 1886 ; ct. -condnct-
or and dram, composer. (2) (K.
Wm.) Ad., b. Darmstadt, Feb. i,
1830; son and pupil of above; pianist;
DICTIONARY OF MUSICIANS ixj
d^bat Frankfort, 1847 ; toured; from
1854, teacher in London ; c. pf.-
otuutet and trio, etc
Sulottmann (shlot'-miUi), Louis, b.
Berlin, Nov. 12, 1826 ; concert-
pianist, pupil of Taubert and Dehn ;
Hved in Berlin as teacher ; 1875, R.
Mus.-Dir.; c overture to ''''Romeo
and JuUet,"' '' Traiurniarsch"' for
orch., etc.
Schmedes (shma'-dfe), Erik, b. Co-
penhagen, 1868 ; pianist ; then stud-
ied singling with KotjimUhl ; sang as
barvtone in various theatres ; studied
witn Iffert and, 1898, sang tenor roles
at Vienna ; 1899 ** Siegfried " and
•• Parsifal " at Bayreuth.
Schmeil (shmll), , teacher at
Mag^deburg, inv. **notograph."
Schiiielxer(shm£r-ts£r).Jn.H., Prague,
1655 — d. after 1695 at Vienna ; ct.-
cond. and composer.
Sclimid(t) (shmit), (i) Bd., organist at
Strassbui|^, 1560. He was succeeded
by (2) Bd. Schmid, the younger.
(3) Anton, Pihl, Bohemia, 1787 —
1857 ; mus. libr. Vienna Library ;
writer.
Schmidt (shmit), (i) Jn. Phil. Samuel,
KOnigsberg, 1779 — Berlin, 1853 ;
Govt, official, critic, writer and dram,
composer. (2) Jos., BOckeburg, 1795
— ifes ; violimst, ct. -conductor and
composer. (3) Hermann, Berlin,
1810 — 1845 ; ballet-conductor and
ct.-composer; c. operetta. (4) Gus-
tav, Weimar, 18 16 — Darmstadt,
1882 ; ct.-conductor and dram, com-
poser. (5) Arthur P., b. Altona,
Ger., April i, 1846; est. mus. -pub.
business, Boston and Leipzig, 1876.
Schmitt (shmtt), (i) Jos., 1764—
Frankfort-on-Main, 18 18 ; writer,
violinist and composer. (2) Niko-
lans, b. Germany ; bassoonist and
composer; from 1779, chef de mu-
statu of the French Guards at Paris.
(3) AI078, Erienbach, Bavaria, 1788
^-Frankfort-on-Main, 1866 ; eminent
teacher, pianist, writer and dram,
composer. (4) Jacob (Jacques),
Obernbuig, Bavaria, 1803 — Ham>
burg, 1853 ; bro. and pupil of above ;
wrote a method and c. (5) (G.)
Aloys, Hanover, Feb. 2, 1827 — Dres-
den, Oct., 1902; pianist and cond.;
son and pupil of (3); pupil VoU-
weiler (theory), Heidelberg ; toured ;
then th.-cond. at Aix-la-Chapelle,
etc.; 1857-92, ct. -cond. at Schwerin ;
from 1893^ dir. ''Dreyssig'sche Sing-
akademie," Dresden. He c. 3 op-
eras, incl. ''Trilby'' (Frankfort,
1845) ; incid. music ; overtures, etc.
He arranged the fragments of Mo-
zart's C minor mass into a complete
work ; died of an apoplectic stroke
while conducting his own ** In Mem'
oriam.'* (6) Hans, b. Koben, Bo-
hemia, Jan. 14, 1835 ; piano-teach-
er and oboist ; pf. -pupil of Dachs,
Vienna Cons., taking the silver medal;
later, teacher there ; wrote a vocal
method ; c. important instructive
pes., etc.
Schmdlzer (shm^l'-ts^r), Jakob Ed.,
Graz, 18 1 2 — 1886; teacher and com-
poser.
Schnabel (shna -b^l), (i) Jos. Ig:nas,
Naumburg, Silesia, 1767 — Breslau,
183 1 ; conductor and composer. (2)
Michael, Naumburg, 1775 — Breslau,
1842 ; bro. of above ; founded at
Breslau (18 14) a piano factory, car-
ried on by his son (3) K. (1809—
188 1) ; pianist and composer.
Schnecker (shn£k'-^r), reter Aug.,
b. in Hessen- Darmstadt, 1850 ; pupil
of Oscar Paul, Leipzig ; came to
America ; lives in New York as
teacher and organist ; pub. collec-
tions; c. pf.-pcs. and much pop.
church-mus.
Schneegass (shna-gas) (Sneg^-
sius), Cyriak, Busdileben, near Go-
tha, 1546 — 1597 ; theorist and com-
poser.
SchneeYoigt (shna-foikht), Georg,
b. Wiborg, Nov. 8, 1872 ; Finnish
'cellist ; studied with Schr6der,
Klengel and Jacobs; lives in Hel-
singfors as teacher in the Cons., etc.
Schneider (shnl'-d^r), (i) Jn., Lauder,
near Coburg, 1702 — Leipzig, ca.
7i8
THE MUSICAL GUIDE
1775 : famous improviser and organ-
ist. (2) G. Abraham, Darmstadt,
1770 — Berlin, 1839 ; horn-virtuoso ;
conductor, composer of masses, etc.
(3) Louis, Berlin, 1805 — Potsdam.
1878 ; son of (2): writer. (4) (Jn. G.)
Wm., Rathenow, Prussia, 178 1 —
Berlin, 181 1 ; pianist, teacher, com-
poser and writer. (5) Wm., Neu-
dorf. Saxony, 1783 — Merseburg,
1843 ; organist and writer. (6) Jn.
Gottlob, 1753 — Gemsdorf, 1840 ;
organist. (7) (Jn. Chr.) Fr., Alt-
Waltersdorf, Saxony, Jan. 3, 1786 —
Dessau, Nov. 23, 1853 ; son and pu-
pil of (6) ; at 10 c. a symphony ; 1821
ct. -conductor at Dessau ; wrote text-
books and c. 15 oratorios, inch fa-
mous " Z?aj Weltgericht^^ ; biog. by
F. Kempe. (8) Jn. (Gottlob), Alt-
Gersdori, Oct. 28, 1789 — Dresden,
April 13, 1864 ; bro. of above ; emi-
nent organist and teacher. As a boy
a soprano of remarkable range (to f '
ace. to Riemann, v. pitch, D.D.);
later, tenor ; 1825 ct.-organist, Dres-
den, also conductor ; made tours ; c.
fugues, etc., for organ. (9) Jn. Gott-
lieb, Alt-Gersdorf, 1797 — Hirsch-
berg, 1856 ; bro. of above ; organ-
ist. (10) Theodor, b. Dessau, May
14, 1827 ; son and pupil of (7) ; pupil
of Drechsler fcello) ; 1845, 'cellist,
Dessau ct.-orch.; 1854 cantor and
choir-dir. court and city churches ;
1860-96 cantor and mus.-dir. Jakobi-
kirche, Chemnitz; also cond. (11)
(Jn.) Julius, Beriin, 1805— 1885 ;
pianist, organist and mus. -director ;
and c. operas ; son of (12) Jn. S.,
pf.-mfr. at Berlin. (13) K., Streh-
len, 1822 — Cologne, 1882 ; tenor.
(14) K. Ernst, Aschersleben, 18 19 —
Dresden, 1893 ; writer.
Schnitger (shnlt'-g«r), (i) Arp., Gods-
warden, Oldenburg, 1648— -Neuen-
felde, ca. 1720 ; org.-builder. His
son, (2) Fz. Caspar (d. 1729), and
an elder bro. , worked at Zwolle, Hol-
land.
Schnorr von Karolsfeld (shn6r f5n
ka -r6ls-f«lt), (i) L., Munich, 1836—
Dresden, 1865 ; noted tenor ; cretfec
Wagner's "Tristan"; c. cipem ai
Munich (1865). his wife, (2) Ifahn-
na (nee Garrigiies), creathig '* Isoi-
de'*; she took a fatal chill oo tfeis
occasion.
Schnyder Ton Wartensee (shoe-dfr
fon var'-tfti-zS), X., Lucerne, 1786—
Frankfort-on-Main, 1868 : teacher,
writer and composer.
Schoberlechner (shd'-b^-l^b-airl
Fz., Vienna, 1797 — Berlin, 1843:
pianist, conductor and dram, com-
poser.
Schdberlein (shU'-b^r-Iin), L., Kobs-
berg, Bavaria, 1813 — G0ttii^nen.i8Si;
writer.
Schobert. Vide schubart (3).
Schoenefeld (sha-'n€-f«flt), H., b. Mil-
waukee, Wis., Oct. 4, 1857; son and
pupil of a musician ; later studied
Leipzig Cons. ; winning a prize for 2
chorus with orch. performed at the
Gewandhaus ; then studied with E.
Lassen (comp.), Weimar ; toured
Germany as a pianist ; from 1879,
Chicago, as pianist and teacher, also
cond. the *' Germania Minnerdtor."
C. '* The Three Indians'* ode with
orch.; 2 symphs. (** Rural ^^ ** S^rimg-
time ") .• 2 overtures, ** In the Stmmy
South " (a notable work based on
Ethiopian themes) and *^ The Amer-
ican Flag"; vln. -sonata (Henri Mar-
teau prize, 1899), pf.-pcs., etc
Schoffer (sh«r-f«r), Peter (the yoong-
er), mus. -printer at Mayence ami
Strassburg, 1530-39.
Schoelcher (shdl-^iar), Victor, Paris.
1804 — 1893 ; writer, statesman and
biographer of Htodel.
Schoitz (shdlts), Hn., b. Breslao,
June 9, 1845 ; pianist and teacher ;
?upil of Brosig, of C« Riedel and
laidy at Leipzig, and v. BQlow, and
Rheinberger, R. Sch. of Mus., Mu-
nich ; 1870-75, teacher there ; then
in Dresden ; 1880 *' R. Saxon cham-
ber-virtuoso " ; ed. Chopin's works ;
c. pf. -concerto, sonata, etc
Scholz (sholts), (i) F., important com-
poser of Russian music, taught comp
DICTIONARY OF MUSICIANS 719
Moscow, 183a (2) Bd. E.> b. May-
ence, March 30, 1835 ; pupil of Ernst
Pauer, Mayencc, and of Dehn, Ber-
lin ; 1856 teacher R. Sch. of Mus.,
Munich; 1859-65, ct. -conductor Han-
over Th.; 1871-78, cond. Breslau
Orch. Soc.; 1883, dir. of the Hoch
Cons. , Frankfort (vice Raflf) ; Dr.
Phil. A. c, (Breslau Univ.), ** Royal
Prussian Professor," etc.; pub. es-
says * * Wohin treiben wir ? " (Frank-
fort, ^897) ; prod. 5 operas incl. succ,
" Jftgo'' (Frankfort, 1898). C. ''Das
Si^gesfesC' and ''Das Lied von der
Glo^ke " for soli, chorus and orch. ;
S3rmph. poem*'if/aA'«<-^»w'V symph.
overtures ** Iphigenia " and ** Im
J^rei^n^'* etc.
Schdn (shan), Moritz, Kronau, Mo-
ravia, 1808 — Breslau, 1885 ; violin-
ist, conductor and writer.
Sch&nberger (shan'-b^rkh-£r), Benno,
b. Vienna, Sept. 12, 1863 ; pianist ;
pupil of Vienna Cons., studied also
'vrith Liszt ; toured ; 1885 teacheV,
Vienna ; later in Sweden (1886), then
I^ondon ; 1894 toured America; c. 3
pf. -sonatas, 3 rhapsodies, etc.
Scbondorf (shdn'-d6rf), Jns., b. Ro-
bel, Mecklenburg, 1833 * pupil of
.Stem-Kullak Cons., Berlin; since
1864 organist Pfarrkirche, Gttstrow ;
ang^ng-teacher Cath. Sch., and con-
ductor ; c. '* Vaterldndische Ge-
sSnge** " Kaiser hymne^^ etc.
Schonfeld (shan'-f£lt), Hermann, b.
Breslau, Jan. 31, 1829 ; cantor and
R. Mus.-Dir. there ; c. cantatas, a
symph.; 3 overtures, etc.
Schdrg (sh€rkh). Fz., b. Munich, Nov.
15, 1871 ; violinist; pupil of Ysaye ;
toured ; lives in Brussels.
Schott (shot), (i) Bd., d. 1817; found-
ed (Mayence, 1773) the mus.-pub.
firm of B. Schott, carried on by his
sons (2) Andreas (1781 — 1840) and
(3) Jm Jos. (1782— 1855), under the
firm-name of *' B. Schott's S6hne ;
the present manager at Mayence and
the London branch are Fz. von Land-
wehr and Dr. L. Strecker. (4) An-
ton, b. Schloss Staufeneck, Swabian
Alp, June 25, 1846; tenor; 1865-71
an artillery officer in the French cam-
paign ; then studied with Frau Sche-
best-Strauss ; 1871, Munich opera ;
1872-75 Berlin opera ; leading tenor
at Schwerin and Hanover, made
concert-tours ; 1882 in Italy with
Neumann's Wagner troupe.
Schradi(e)ck (shrS'-dek), Henry, b.
Hamburg, April 29, 1846 ; noted
violinist ; pupil of his father and of
Leonard, Brussels Cons., David,
Leipzig; 1864-68 teacher Moscow
Cons., then leader Philh. Concerts,
Hamburg ; 1874-82, co-leader, Ge-
wandhaus Orch. and theatre-orch.,
Leipzig, also teacher for a time at the
Cons. 1883-89, prof. oiF vln., Cin-
cinnati Cons., U. S. A.; returned to
Germany as leader of the Hamburg
Philh. Soc.; afterward head vln.-
prof. Nat. Cons., N. Y., and later
Broad St. Cons. , Philadelphia ; pub.
excellent technical studies for vln.
Schramm (shram), Melchior, German
organist and contrapuntist, 1595.
Schreck (shr^k), Gnstav, b. Zeulen-
roda, Sept. 8, 1849 \ pupil of Leipzig
Cons.; 1885 teacher of theory and
comp., Leipzig Cons.; 1892, mus.-
dir. and cantor, and cond. of the
** Thomanerchor" ; prod, concert-
cantatas, oratorio, ** Christus der
Auferstandene " (Gewandhaus, 1892),
church-music, etc.
Schrems (shrams), Jos., Warmen-
steinach, Upper Palatinate, 1815 —
Ratisbon, 1872 ; conductor, editor
and teacher.
Schroder (shra -d^r), (i) Hermann, b.
Quedlinburg, July 28, 1843 ; violin-
ist, writer and composer ; pupil of A.
Ritter, Magdeburg; from 1885,
teacher R. Inst, for Church-mus.,
Berlin, and at a mus.-sch. of his
own. (2) Karl, b. Quedlinburg.
Dec. 18, 1848 ; bro. of above ; 'cel-
list and composer ; pupil of Drechs-
ler, Dessau and Kiel, Berlin ; at 14,
ist 'cello ct.-orch. at Sondershausen,
and teacher in the Cons.; 1873, 'cel-
lo, Brunswick ct.-orch.; 1874, solo
720
THE MUSICAL GUIDE
'cellist Gewandhaus Orch., and th.-
orch., Leipzig, also teacher at the
Cons., and made tours ; 1881, ct-
cond., Sondershausen ; cond. German
Opera at Amsterdam; until 1888,
Berlin ct.-opera ; till 1890, the Ham-
burg Opera ; returned to Sonders-
hausen as ct.-cond. and dir. '^ FQrst-
liches Conservatorium ; " wrote 'cello-
method, catechism on conducting and
the 'cello. C. succ. opera **Asp<isia **
(Sondershausen, 1802) ; a succ. i-act
opera " Der Asket (Leipzig, 1893) ;
succ. operetta **il/flAi/i7" (Bunzlau,
1887) ; 1871. founded the ** Schroder
Ouartett," with his brothers (i)
Hemuum (3) Fz. and (4) Alwin,
b. Neuhaldensleben (Magdeburg),
June 15, 1855; pupil of his fa-
ther and brother Hermann, also of
Andre (pf.), and De Ahna (vln.), W.
Tappert (theory) ; self-taught as a
'cellist, as which he has won his
fame; 1875, ist *cello in Liebig's
"Concert-Orchester," later under
Fliege and Laube (Hamburg) ; 1880,
Leipzig, as asst. of (i), whom he suc-
ceeded, 1 88 1, in the Gewandhaus,
theatre and Cons.; 1886, Boston, as
first 'cellist Symph. Orch.; member
of the *' Kneisel Quartet." (5) Kon-
rad (Gv. Fd.), b. Marienwenler, W.
Prussia, July 7, 1850; pupil of Kul-
lak's Acad., Berlin, also of O. Kolbe
(comp.); teacher in the Acad.;
pf. - teacher, Berlin. C. the first
** Low German " opera (after Fritz
Renter), the v. succ. i-act comic op-
era *' Du droggst de Pann weg "
(Schirenn, 1897); pub. 50 songs. (6)
Fr., d. 1818; barytone, the first to
sing Mozart's ^' Don Giovanni'* in
German.
Schrdder - Devricnt (shra - d«r - da'-
f rt-fint), Wilhelmine, Hamburg, 1804
— Coburg, i860; eminent soprano;
daughter of (6) above, and of a cele-
brated actress, Antoinette Sophie
Btlrger Devrient (divorced 1828, af-
ter bearing him 4 children; married
twice afterward) ; pupil of Mazatti ;
d<$but, Vienna, 1821 ; m. the actor
Karl D. ; she created the idle ol ^ Ado.
ano Colonna'' in the *^^JtUmti^ of
Wagner, whose style she deeplj ai-
fected.
Schrdder-HaitfitingL Vide haiit-
STANGL.
Schrdter (shra'-tdr), (i) Leoohafd,
Torgao, ca. 1540 — Magdebnrg, aftff
1^80; eminent contrapontist. (2)
Chp. Gl.y Hohenstdn, Saxony, 1699-—
Nordhausen, 1782 ; noted ocgamst ;
claimed in a pamphlet (1763) to hate
invented, 17 17, the pianoforte, bat
was forestalled by Cristofori ; com-
poser. (3) Corona (Elisabeth Wil-
nelmiiie), Guben, 1751 — Ilmenaa,
x8o2 ; celebrated soprano ; pupfl of
her father, (4) Joh. Fr. S.. duua-
ber-singer. (5) Joh. Samnei, War-
saw, 1750 — London, 1788, soo of
(4) ; pianist. (6) Joh. H. (b. War-
saw, 1762), son of (4) ; vioUiiisL
Schnbart (shoo'-bSrt), (i) (Cfar. Fr.)
Daniel, Sontheim, Swabia, 1739—
Stuttgart, 1 701 ; poet ; oigaiiist ud
composer. (2) L., son of above;
editor of his father's ** Ideen tu eimr
yEstJuHk der Tonkunsr (1806).
(3) (also Schoberty or Choheit
(sho'-b5rt) ( \ first name un-
known), StrassbuTg, 1720 — Paris,
1768; a relative of above; organist
at Versailles ; 1760, chamber-mus. to
Prince de Conti ; very pop. pianist
and composer.
Schubert (shoo'-b*rt), (i) Jos,, Warns.
dorf, Bohemia, 1757 — Dresden, 1812;
violinist, and dram, composer. (3)
Jn. Fr., Rudolstadt, 1770— Cologne,
181 1 ; violinist, writer and composer.
(3) Fd., Lichtenthal, near Yienna,
1794 — ^Vienna, 1859; cWcr bro. of
the great composer (4) and passaon-
ately devoted to him ; dir. Normal
Sch., Vienna; c. church-mi^, a ^^
quiem for his brother, etc.
(4) Franz (Peter), Lichtenthal,
near Vienna, fan. 31, 1797 — of ty-
phus, Vienna, Nov. 19, 1828 ; one of
the most eminent of the world's coo-
posers. One of the 14 children of a
schoolmaster at Lichtenthal, who
DICTIONARY OF MUSICIANS 721
taught him the vln. ; also studied with
Holzer there ; at 10, first soprano in
the chnrch-choir, and c. songs and
little instrumental pes. 1808, a sing-
er in the Vienna court choir, and also
in the ** Convict" (the training-sch.
for the court singers). He played in
the sch.-orchestra, finally as first
vln. , and studied theory with Rucziz-
ka and Salieri. His earliest extant
composition is a 4-hand fantasia of
12 movements written when he was
13. He had a frenzy for writing, and
a fellow-pupil, Spaun, generously fur-
nished him with mus.-paper, a luxury
k>eyond the means of Schubert. At
15 he had written much, incl. an
overture ; at 16 he c. his first symph. ;
18 13, his voice broke and he left the
'* Convict," where the unrestrained
license allowed him in his composi-
tions accounts for the crudeness of
some of his early works and the faults
of form that always characterised
him, as well as for his immediate and
profound individuality ; at 17 he c.
his first mass. In order to escape
military conscription he studied a few
months at the Normal Sch. and took
the post of elementary teacher in his
father's sch. He taught there until
18 16, spending his leisure in studying
with Salien, and in comp. particularly
of songs, of which he wrote as many
as 8 in one day — 144 in his i8th year
(18 15), including **Z>^ Erlkonig^' ;
18 14-16, he also c. 2 operettas, 3
Singspiele and 3 incomplete stage-
pieces, 4 masses. 18 16, he applied,
without succ. , for the directorship of
the new State mus.-sch. at Lay bach
(salary $100 (;^20) a year). From
1 8 17 he lived in Vienna, except two
summers (18 18 and 1824), spent at
Zelesz, Hungary, as teacher in Count
Esterh4zy's mmily. How S. existed
is a matter of mystery, except for the
help of such friends as Fz. von Scho-
ber, who aided him with the utmost
generosity. The famous tenor Mi-
chael Vogl, popularised his songs.
By his 2 1st year (18 18) S. had c. six
46
of his sytnphs. and a great mass of
work. His mus. farce '* Die Zwil-
lingsbriider " was prod. (K&mthner-
thor Th., 1820, but ran only six
nights). 1821, after he had written
over 600 compositions, hys^^Erlkd^
nig ** was sung at a public concert of
the ** Musikverein " and elsewhere,
with a wide sale that attended most
of his subsequent publication of songs
and pf.-pcs.; though he was sadly
underpaid by his publishers, some-
times receiving only a gulden (20
cents, less than a shilling for them.
In 1822 he declined the post of organ-
ist at the court chapel ; but could
never obtain a salaried position,
though many efforts were made. At
31 he gave his first concert of his own
works, with good succ. (1828). In
1822, he had finished a grand opera
*' Alfonso und Estrella;' the libretto
bad, the scoring too difficult for the
musicians at Graz, where it was put
in rehearsal; it was withdrawn, not
to be prod, till 1854 under Liszt and
in 188 1 when Jn. Fuchs rewrote the
libretto and prod, it at Carlsruhe
with g^eat succ. In 1825 a work,
^^ Hosamumie^'* W2& prod, at the Th.
an-der-Wien, with applause for the
music, but it was withdrawn after a
second performance. Other works of
his had not even productions, his
stubborn refusal to alter a note pre-
venting the profitable performance of
dram, scene^, etc. His health finallv
broke under the strain of composi-
tion all day on a little food and rev-
elry till late at night. He died of
t}'phus and was buried, at his own
request, in the **Ostfriedhof " at
Wahring, near Beethoven.
A complete critical edition of his
works is pub. by Breitkopf & H artel.
These inch, besides those mentioned,
an opera **y<^r<M/** (unfinished), 3-
act operettas '' Der Teufeh Lust"
schloss"' and '' Der Spifgilriiter";
Singspiele: ^' Der Vierjdhrige
Posten," ''Fernando'*; '' Claudine
von Villabella" (unfinished); ''Die
722
THE MUSICAL GUIDE
Freunde von Salamanca " and ** Der
Minmsdnger*^ ; all written 1814 —
1816 ; none performed ; 3-act melo-
drama, **/?/> Zauberharfe'* (Aug.
19, 1820); 3-act opera, ** Sakaniala"
(not finished or performed) ; i-act opK
eretta, **/>i> Verschworentn^ odtr
derhausHche /Crieg" (Vienna. 1861);
3-act opera, *" Fierabras** (Vienna,
1861) ; ** Die Burgschaft'' 3-act op-
era (c. 1816; prod, by Fz. Lachner,
Pesth, 1827); unprod. operas *^ Dcr
Graf von Gleichen "(1827) and ''Die
Sahbergwerki* ; 6 masses; ''Deutsche
Afesse*'; unfinished oratorio ^^ Latc^
rus,'' 2 " Tantumergo"' (with orch.);
2 ** Stabat Mater, etc. Choral
Works with Orch., or Instrs.:
"Miriams Siegesgesang** ; prayer,
"Vor der Scklacht''; hymn. " Jlerr
unser Gott,** " Hymne an den Heili-
gen Geist,** ** Morgengesang im
Walde;' " Nachtgesang im IVatde"
and " NachthclUr " Schlachtlied;'
"Glaube, I/offnung und Liebe^'* sev-
eral cantatas and part-songs. Orch.
AND Chamber- M us. : 10 symphs.,
No. 8 the ** unfinished" in B min., 7
overtures (Nos. 2 and 5 *' in the Ital-
ian style ") ; vln.-concerto ; rondo for
vln. with orch.; octet; pf. -quintet
( * ' Forellcnquintet, *' with double-bass) ;
string-quintet with 2 'celli ; 20 string-
quartets ; 2 pf. -trios ; 2 string-trios ;
rondo brilliant, phantasie in C.
ta, 3 sonatinas, nocturne for *oeOo
and pf.; introd. and rars. for flute
and pf.; 17 pf. -sonatas (incL opi 7§,
fantasia). 3 grand sonatas, postliQ-
mous ; 8 impromptus, 6 momeets
musicals; many variations, maar
waltzes, incl. ** Valses sentimtniaUs'
"Homage aux belles Vi^nm^ses^
" Valses nobUs:' 12" GrStM^rWaher,"
" IVanderer-Fantasie** ; FOE PF., 4
HANDS : 2 sonatas, ** Divertissememlk
fhongroise;' "Grand rondo, "* "^•irt
amiti/,^* rondo in D, ** LebensstMrwu"
fugue, polonaises, variations, waltzes.
4 Landler ; marches, incL " Traixr-
marsch" and *'hcroique."
Songs with piano : " Erlkdmg'
op. I ; ** Gretcken am, Spinnraii^
op. 2; " HcidenrosUin,*^ op. 3;
"Der Wanderer " and "Der dm nw
cUm Himmel bist^'** op. 4 ; Suleika
songs, Mig^n's songs, 2 song cvcks
by Wilhelm Mttller, " Di€ S^kim
Mallcrin*' and "Die WimUrreise:'
containing 20 and 24 numbers; 7
songs from ** Fraulein vcm See"*
(Scott's "Lady of the Lake '*), 9 swigs
from "Ossian''\' 6 songs by Heine in
the ** Schwanengesang^** etc.
Biog. by von Hellbom (Vienna,
1861, 1865); Reissman (Beriin, 1S73);
A. Niggli (1880) ; Barbedette (Paris,
1866); Max Friediander.
Schubert.
By H. a. Scott.
FRANZ SCHUBERT was very nearly the greatest of all composcn.
If he had lived longer, been more carefully trained when young,
and received greater appreciation in his lifetime — three very reason-
able *' might-have-beens " — who shall set limits to the heights which he
might have won ? He died at thirty-one. If others of the masters had been
cut oW at this age what treasures the world would have lost ! — ^in the case,
say of Handel y every one of his oratorios ; in that of Beethoven, his seven
greatest symphonies ; in that of Wi^gner, all his operas after ** Tannhduser*^
and " Lohengrin ^^ ; in that of Brahms, the " German Requiem " and iD
DICTIONARY OF MUSICIANS 723
bis symphonies. ^ It does not follow that Schubert would necessarily have
developed in any like manner. But, at least, there are reasons for thinking
that he might have done so. We know that in the last year of his life he
contemplated taking lessons in counterpoint, that on his death-bed he spoke
of ^' entirely new harmonies and rhythms" running through his head, and
that he had the loftiest of ambitions. As it was, and taking his works as
they stand, certain weaknesses distinguish them which there is no overlooking.
That fabulous fertility which could beget six of the '* Winterreise^^ songs at
a single sitting, three of the pianoforte sonatas in as many weeks, and eight
operas in a year, was not counterbalanced by a like faculty in the matter of
self-criticism and concentradon. Too many of his bigger works lack form
and proportion. He did not trouble sufficiently to work out and make the
most of the inspired thoughts which came to him in such unparalleled abun-
dance. He was a stupendous genius, it might almost be said, with an infi-
nite capacity for not taking pains — whose ** profuse strains of unpremeditated
art * ' were at once too profuse and too unpremeditated. ^ But even so only
one or two of the very greatest names can stand before his in music's history.
He occupies a posidon only one degree short of the very highest. In the
actual quality of his inspiration indeed perhaps there is not one who could be
ranked before him. No composer in the whole history of music was more
wondrously endowed by nature, whether one considers either the surpassing
beauty of his ideas or the profusion of their supply. ^ In Schubert's music
at its best there is a haunting and unutterable loveliness, an exquisite blending
of tenderness, sweetness, and purity, with strength, nobility, and grandeur,
to which, for the true Schuberdan, there is perhaps no equivalent in the works
of all the other masters put together. An.d this applies, it should be said,
not less to his instrumental pieces than to his songs. ^ The nodon that
Schubert is great only in his songs is one of those stock judgments which, once
accepted, it seems almost impossible to eradicate. In point of ^ct nothing could
be wider of the mark than this belief. Schubert left imperishable works in
nearly every branch of music. His songs comprise no doubt his most char-
acterisric and disdncdve achievements, inasmuch as nothing like them had
ever been so much as attempted before. But, so fiu- as concerns the specific
quality of their music, they were equalled, if not surpassed, by such works
as the symphonies, his chamber compositions, and those exquisite one-move-
ment pieces for the pianoforte, the *' Impromptus** and ** Moments Musicals t**
which in their way, be it said, were only a degree less epoch-making than
the songs. ^ What then is the distinctive place in music of this divinely-
^ed tone-poet ? His distinction is twofold : he created the song as we
know it, and more than any other composer he influenced the development
of the romantic movement. As the greatest of all song- writers, Schubert's
724 THE MUSICAL GUIDE
pochion b astorecL It teems safe to say that hk noblest acLktciuepts under
this head will never be surpassed. The Schubert song, of which the text
throughout b mirrored in the accompaniment, in which trtrj bmr of the
music b conditioned by the words, thoughts, ancf dramatic or emocioDa!
content of the poem illustrated, was a distinctive creation m its waj^ noc one
whit less wondesful than, say, the Beethoven symphony or die Wmgpmam
music-dranuu Such songs as " Drr Er/kdwig,** «* Du jmmge Nmme/*
" Der Tod und das Madcben^^^ " Der Atlas^^^ " Der D^ffilgam^er^^* or
** Grupfe aus dem Tartarus,** to name but half-a-dozen almost at random fron
hb more descriptive examples, were a totally new thing in music, eke influ-
ence of which upon all succeeding composers, not only of songs but of every
kind of dramatic or illustrative music, not excluding opera, it w^ookl bi^
hard to over-esteem. ^ And more remarkable still perhaps b the fiurt that
this superb emotional and dramatic expressiveness was attained without the
smallest sacrifice of qnalides specifically musical — nay, took shape in imuic
of the greatest beauty, richness, variety and charm, as music alone and with-
out reference to the text. Schubert's creation of the song in truth partakes
almost of the miraculous, for he not only invented an absolutdy new kind of
song, but developed iu utmost possibilities, one might almost say, at a blow
— ^in a word did this new thing at the first time of asking and did it supremely
well. ^ Schubert's influence as song- writer it would be hardly possible to
exaggerate. It was truly not a reform which he introduced but a revY>li]tion.
As to hb influence on the composers of the romantic school one has only to
consider in general the whole character of hb music with its all -pervading
poetry, and emotional expressiveness, and in particular such works as those
already named, hb "Impromptus** and ** Moments Musicals** to ^t, to
realise the character of the connecdon. Here also, in these last-named
works, he did that which no one before him had attempted, inventing new
forms for the expression of moods too delicate, too indmate, and too personal
for treatment in the larger movements of establbhed type, and once again left
behind him creations of an entirely novel kind, which later composers have
striven in vain to improve upon. ^Perhaps in the whole range of pianoforte
music there are no passages more ravbhingly beaudfiil — more enchanting to
the ear, regarded from the purely sensuous standpoint — than some co be found
in these inspired works. Had Schubert left nothing furtner than thb slender
volume of ** Impromptus** and " Moments Musicals** for the pianoforte hb
name would live forever in the records of the art. .^ If Schubert's essays in
the larger forms — the symphony and the sonata — are to a certain extent
impaired by the qualities alluded to, this is by no means to deny their enor-
mous significance and importance. Schubert in these larger works may have
been dififlise at times, may not aiways have developed to the fiill the won-
DICTIONARY OF MUSICIANS 725
drous ideas which came to him in such abundance, his works may somedmes
lack proportion ; but what qualities are theirs by way of comparison ! — what
wealth of melody ! what intoxicating harmonies ! what irresistible rhythms !
what magical modulations ! Recall such creations as the C major and the
B nunor symphonies, the quintet in C major, the D minor, A minor, and G
major quartets, and the sonatas in A minor, B flat, and G among his larger
piano works, and of what account seem the dry-as-dusts' and analysts' strict-
ures in the face of such imperishable compositions as these ? Nor should it
be overlooked that in these larger works also, Schubert's methods, if he kept
within the recognised forms, were all his own, and as such were full of
influence upon his successors. Apart from such technical matters as his
harmonies, modulations, instrumentation, and the like, under all of which
heads he made striking advances, he breathed into these established forms also
a spirit of romance, a yearning^ wistful, personal note of lyric tenderness
and fervour, whereby they are distinguished from all earlier compositions
of their kind. ^Well might it be said by Grove of Schubert that ** there
never has been one like him and there never will be another " ; by Uszt
that he was '* le musicien le plus poete que jamais " ; and by the inscription
on his tomb that ** Die Tonkunst begrub hier einen reichen Besitz aber noch
viel schonere Hoffiiungen."
(5) Fz. Anton, 1768 — 1824 ; vio-
linist ; R. Konzertmeister^ (6) Fz.,
Dresden, 1808 — 1878 ; son and pupil
of (5) ; violinist, Konzertmeister R.
orch. and composer. (7) Maschin-
ka, wife of (6) and daughter of G.
A. Schneider, 18 15 — Dre^en, 1882 ;
soprano. (8) Georg^ne, Dresden,
1840 — Potsdam, 1878 ; daughter and
pupil of (7) ; pupil also of Jenny Lind
and Garcia ; san^ in many European
cities. (9) Louis, Dessau, 1828 —
Dresden, 1884 ; violinist ; singing-
teacher and composer. (10) Oskar,
b. Berlin, Oct. 11, 1849 ; clarinettist ;
in America 2 years ; since at Berlin.
(11) Camilla, pen-name of Camille
Prilipp.
Schuberth (shoo'-b^rt), (i) GotUob,
Karsdorf, 1778 — Hamburg, 1846 ;
oboist and clarinettist. (2) Julius
(Fd. G.), Magdeburg, 1804 — Leip-
zig, 1875 ; son of above; founded firm
of *• J. Schuberth & Co.," Hamburg,
1826; Leipzig branch, 1832; New
York, 1850. His brother (3) Fr.
Wm. (b. 18 1 7), took the Hamburg
house, 1853 (under firm-name ** Fritz
Schuberth"); 1872, at Weimar
founded the mus.-library " Liszt -
Schuberth Stiftung " ; 189 1 succeeded
by Felix Siegel ; New York branch
now owned by J. H. F. Meyer. (4)
L., Magdeburg, 1806 — St. Petersburg,
1850 ; son and pupil of (i) and von
Weber ; at 16 dir. Stadt Th. at Mag-
deburg; conductor Oldenburg, 1845;
cond. CJerman opera, St. Petersbure;
c. operas, symphs., etc. (5) Iw.,
Magdeburg, 1811 — Zurich, 1863;
bro. of above ; noted 'cellist ; pupil
of Hesse and Dotzauer ; toured
widely ; soloist to the Czar; ct.-cond.,
dir. at the U.; c. 2 'cello-concertos.
Schubig^er (shoo'-b!kh-^r), Anselm,
Uznach, Canton of St. Gallen, 1815
— 1888 ; important writer.
Schuch (shookh), (i) Ernst Ton, b.
Graz, Styria, Nov. 23, 1847 ; pupil of
£. Stoltz and O. Dessof! ; 1872, cond.
Pollinrs It. Op.; from 1873 ct.-cond.
Dresden, then R. Ct.-Councillor and
Gen. - Mus. - Dir. (2) Clementine
Proska, b. Vienna,. Feb. 12, 1853;
wife of above ; 1S73, colorature-sopr.,
Dresden ct -theatre.
Schucht (shookht), Jean F., Holz-
thalleben, Thuringia, 1832 — Leipzig,
1894 ; critic and comix)ser.
Schttcker (shlk'-Sr), Edmund, b. Vi-
enna, ca. 1856 ; harpnst ; pupil of
Zamara, Vienna Cons.; 1884, teacher
Leipzig Cons., and harpist Gewand-
haus Orch.; 1890, ct. -harpist to Duke
of Saxe-Altenburg ; 1891, Chicago
Orchestra.
Schulhoff (shoor-h6f), Julius, Prague,
1825 — Berlin, 1898 ; notable pianist ;
pupil of Kisch, Tedesco and Toma-
schek ; debut, Dresden, 1842 ; lived in
Paris as teacher, then Dresden and
Berlin ; c. pf.-pcs., etc.
Schultesiu9 (shool-ta-zY-oos), Jn.
Paul, Fechheim, Saxe-Coburg, 1748
— Leghorn, 1816 ; theorist and com-
poser.
Schultheiss (shoolt'-hls), Benedict,
d. 1693 ; organist and composer,
NOrnberg.
Schultz (shoolts), Edwin, b. Danzig,
April 30, 1827 ; barytone ; pupil of
Brandstatter, Berlin ; singing-teacher
there ; also cond. the ** Monstre Con-
certe" pven 1864 — 71, for the ben-
efit of wounded soldiers ; in 1880
the Prussian Ministry of War com-
missioned him to compile songs ; c.
7 prize male choruses, etc.
Schultze (shooIt'-ts«), (i) Jn., organ-
ist and composer, Dannenberg,
Brunswick, 1612. (2) Chp., cantor,
etc., Delitzsch, Saxony (1647 — 1668).
(3) Dr. Wm. H., Celle, Hanover,
1827— Syracuse, N. ¥., 1888 ; violin-
ist and professor. (4) Ad., b. Schwe-
rin, Nov. 3, 1853 ; pianist ; pupil of
Kullak*s Acad. , Berlin ; teacher
there; 1886-90 ct.-cond., Sonders-
hausen and dir. of the Cons. ; later in
Berlin ; c. a pf. -concerto, etc.
Schuls (shoolts), (i). Vide pratori-
us. (2) Jn. Abraham Peter, Ltlne-
burg, March 30(31 ?).I747 — Schwfdt
June 10, 1800; important predec»-
sor of Schubert as a song-writcf;
pupil of Kimberger, Berlin; teadxr
there. 1780, ct.-cond. at Rliei^>e^:
1787-94, ct.-cond. Copenhagen; aad
theorist ; c. operas, oratorios, etc
(3) Jn. Ph. Chr., Langensaha, TI».
ringia, 1773 — Leipzig. 1827; coaL
and composer. (4) R., Subrector at
Fdrstenwalde ; wrote pop. tcrt-
books, 1812 and 1816. (5) Otto K.
Fr. Wm., b. Gortz, Brandenboz^.
March 25, 1805 ; pupil of Klein aod
Zelter, Berlin ; organist at Prenz-
lau; R. Mus. -Dir.; pub. methods
and c sacred music, etc (6) Ad.,
Berlin, 1817— 1884; violinist md
composer. (7) Fd., Kossar, 1821—
Berlin, 1897 ; 1856 conductor, mus.-
dir., singing-teacher and composer.
(8) An^st, b. Brunswick, June 15,
1837 ; violinist ; pupil of Zinkeisea.
Leibrock, and Joachim ; leader of
the Ducal Orch. there ; c. pop. male
Quartets.
Schulz-Benthen (shoolts-boi'-t&i}, H.,
b. Beuthen, Upper Silesia, June
19, 1838; pupil of Leipzig Cons.,
and of Riedel ; since 188 1, pf. -teach-
er, Dresden Cons.; c. 3 operas, 6
^mphonies, " HaydUy^ *• FrllkHngs-
feierr E^, '' Schdn EHMaheOT
''^Reformations,*^ (with oigas);
** Kdnig Lear,'' and a ''Kinder-Shir
fonie"; symph. poem, ** Die Tcdten-
inseV; 3 overtures, incl. 'Wndian-
ischer Kriegstant'* ; cantatas with
orch., '" Befreiungsgesang der Ver-
bannten Israels^*' and ** Harold^ re-
quiem and Psalms 42, 43, and 125
with orch. Psalm 13 a ca^pella male
choruses, etc.
Schulz-Schwerin (shoolts-shvi' -ren),
K., Schwerin, Jan. 3, 1845 ; pianist ;
pupil of Stem Cons., Berlin ; ct-
pianist to Grand Duke of Meckfen-
bufg; since 1885 lived in Beriin;
c. a symph., overtures '* Torqm*tt
Tasso, *• Die Braut von Messina^"
and *• TriompkaW ; Sanctus. Bene-
dictus« etc., with orch., etc.
DICTIONARY OF MUSICIANS ^^^
(shoolts'^). (i) Jn. Fr., MU-
l>itz, Thuringia, 1793 — Paulinzelle,
1858 ; org.-builder with his sons at
MOhlhausen. (2) Ad., b. Mannhagen,
nea.r Molln, April 13, 1835 ; concert-
bass ; pupil of Carl Voigt, Hamburg,
and, Ckircia, London ; head-prof, of
sin^^ng R. Hochschule, Berlin.
krhmnacher (shoo'-m&kh-£r), (Peter)
P&nl (H.), Mayencc, 1848 — 1891 ;
conductor, critic, teacher and com-
>chqfn«nn (shoo'-m^), (i) Robert
(Alex.), Zwickau, Saxony, June 8,
18 10 — insane, Endenich, near Bonn,
July 29, 1856 ; one of the most in-
dividual and eminent of composers.
Youngest son of a book-seller (of lit-
erary taste and author of a biog.
gallery to which R. contributed at 14).
Pupil of a local organist, Kuntzsch
(pf .), who prophesied immortality for
him ; at 6 he began to compose, at
II, untaught, he c for chorus and
orch. At 17 he set poems of his own
to mus. 1820-28, attended Zwickau
Gjrmnasium; then matriculated at
Leipzig Univ. to study law and phi-
losophy. 1829 Heidelberg, where he
also studied mus. , practising the piano
7 hours a day ; played once in public
with great succ. 1830. Leipzig,
where he lived with Friedrich Wieck,
with whom he studied the piano ; he
also studied comp. with H. Dom.
In tiying to acquire independence of
the nngers by suspending the fourth
finger of the right hand in a sling
while practising with the others he
crippled this finger and foiled his am-
bition to be the chief virtuoso of his
time. He now made comp. his first
ambition. In 1833, his first symph.
was performed with little succ, the
first movement having been played in
public by Wieck's 13-year old daugh-
ter, Clara, with whom S. fell in love.
The father liked S. as a son, but not
as a son-in-law, and put every ob-
stacle in his way, until in 1840, after a
year's law-suit, the father was forced
to consent and the two lovers, both
now distinguished, were united in one
of the happiest marriao^ known in
art ; she giving his work publicity in
her very popular concerts ; he de-
voted to her and dedicating much of
his best work to her. 1834 he found-
ed the ** Neue Zeitschrift fttr Musik,"
and was its editor till 1844. His
essays and criticisms (signed Flores-
TAN, EUSEBIUS, MeISTER RARO, 2,
12, 22, ETC., Jeanquirit, etc.) are
among the noblest works in the his-
tory of criticism, particularly in the
matter of recognising new genius and
heralding it fearlessly and fervently.
(Chopin, Berlioz, and Brahms, profit-
ed by this quality. Of Wagner he
did not altogether approve.) In his
writings he constructed an imaginary
band of ardent young Davids attack-
ing the Goliath of Philistinism. He
called this group the ** DavidsbOnd-
ler." His pen-name *' Eusebius,"
represents the vehement side of his
nature, ** Florestan," the gentle
and poetic side. His paper had
some succ, which was not bettered
by a removal to Vienna, 1838-39, and
a return to Leipzig. 1840, Dr. Phil.,
Tena. 1840 was mainly devoted to
his important song-composition; 1841
to symph. work ; 1842 to chamber-
mus., incl. his pf. -quintet (op. 44)
which gave him European fame.
1843 was choral, ** Das Parodies und
Peri " (from Moore's ** Lalla Rookh").
having a g^eat succ. ; he also began
his choric mus. for ** Faust J*^ The
same year, on the invitation of his
warm personal friend Mendelssohn,
he became teacher of pf. and comp.,
and of playing from score at the
newly founded Leipzig Cons.; 1844,
after going with his wife on a con-
cert-tour to Russia, he removed to
Dresden and resigned the editorship
of the ''Neue Zeitschrifr ; lived at
Dresden until 1850 teaching and com-
posing such works as the great C-
major svmph, 1846, and the opera
'' Gencv'eva'' (1848; prod. 1850
without succ; its exclusion of recita«
728
THE MUSICAL GUIDE
tive displeasing the public). 1847
cond. of the ** Liedertafel" ; 1848
organised the ** Chorgesangverein."
1850, DOsseldorf as town mus.-dir.
(vice Fd. Hiller). 1853, signs of in-
sanity, first noted in 1833 and more
in 1845, compelled him to retire. 1854
he threw himself into the Rhine,
whence he was rescued by some
boatmen ; he was then taken to an
asylum at Endenich near Bonn,where
he remained in acute melancholia,
varied by intervals of complete lucid-
ity, when he composed as before. A
complete ed. of his comps. is edited
by Clara Schumann and publ. by
Breitkopf & H artel. It includes, be-
sides the works mentioned, mus. to
Byron's ''Manfred:' Goethe's
•* Faust;' cantatas, *' Der Rose Pit-
gerfahrt;* with orch. ; ** Adventlied;*
for sopr., chorus and orch.; '' Ab-
schiedslied;* chorus with wood-wind
or pf.; requiem for ''Mignon*';
'' NachtUed^ for chorus and orch.;
ballades ''Der Kdnigssohn" '' Des
Sanger's Fluch" (op. 139), ** Vom
Pagen und der Kdnigstochter" ''Das
Clack von Edenhali;* and " New
jahr sited"; Missa sacra, and requiem
mass, with orch.; 4 symphs. (No. 3,
op. 97, in Eh the '* Rheinische;* or
** Cologne r symph.) ; ** OuveriUre^
Scherzo un4 Finale ," op. 52 ; 4 con-
cert overtures * * Die Braut von Mes"
sina^" " FestouvertUre;* "Julius
Ojflr"and "Hermann una Doro'
thea "/ pf .-concerto ; ConcertstQck,
and concert-allegro, *cello-concerto ;
fantasia for vln. with orch. , etc.
Much remarkable chamber music :
incl. pf. -quintet in Eb op. 44 ; 3 pf.-
trios, etc. ; 6 org. -studies in canon-
form, '•S>Wjs»/«/i^r</<f» Pedal-fluger-,
6 org. -fugles on B-A-C-H, op. 60.
For pf. : Op. i, Variations on
A-B-E-G-G (the name of a yoi^
woman) ; op. 2 *' Papillons " ; op. 3,
** Studies after Pctganinfs Caprices";
op. 5, "Impromptus on themu ky G.
iVieck"; op. 6. " Davids^mmdJer-
tdnze" ; op. 9, " Cametval** ; op. 10,
** Studies on PaganiniLS Caprices":
op. 15, thirteen ** Kinderscen^* ; op.
16, "Kreisleriana*'; op. 21, **A'ff&l-
letten" (4 books), 3 sonatas (Nc
3 ** Concert sans orchestre *^, aad
3 sonatas for the young ; 0|i. 23
** NofhtstiUki" ; op. 26 " Fasckh^y
schwank aus Wien**; op. 68, "Al-
bum far die Jugend^' a canon on
•* An Alexis.'* FOR PF. 4 hands: Op.
66, " Bilder aus Osten^" after Rftck-
ert, 12 ** ClavierstUcke fur kleine umi
grosse Kinder"; op. 109, *' B^
scenen," Many choruses a ca^peBi;
many songs and duets, incl. ten ^-
niscke LiebesHeder^ with 4-hand ac-
comp., op. 138 ; Liederkreis (Hetse),
song-cycle, op. 24, and Laederkrecs
(12 poems by Eichendorff), op. 39;
** Myrthen" op. 25 ; Lieder und (k-
sange, 5 sets; 12 poems (Kdrner),
op* 35 ; 6 poems (RQckert), in collab-
oration with his wife, op. 37;
** Frauenliebe und Leben^** op. 42 ;
" DichterUebe," op. 48; " Liederal-
bum fUr die Jugend,** op. 79 ; 6
songs from Byron's ** Hebrew Meh-
dies" op. 95 (with pf. or harp) ; muc
Lieder und Gesange from '* Wilkehm
Meister" op. 98a, etc.
His writings are pub. in 4 vob.,
- 1854 ; 4 vols, in English, London,
1875 ; and his letters ed. by his wife
(1885) and ^i886) by Jansen.
Biogr. by von Wasiclewski (1858),
Reissmann (1865), Ambros (i860),
L. Mesnard (Paris, 1876), H. Rd-
mann (1887), H. Erler (1887), S.
Bagge (1879), Waldersee (1880), «nd
by Ph. Spitta (1882).
DICTIONARY OF MUSICIANS 7^9
Schumann.
By Richard Aldrich.
SCHUMANN'S music &lls into three groups or periods as easily as
Beethoven's. There is first, the product of his early , exuberant
style, those wonderfiil series of short piano pieces, slight in form, but
KMLiing into imaginative power; saying little, but vaguely hinting at much. The
lecond period is one of more self-centred acdvity, of greater poise, of more
conaervadve methods ; his ideal had expanded, and was leading him to com-
pose in a larger mould, with a broader sweep of imaginadon, and with a
g;reater regard for form as itself an element of beauty. And, in his last period,
we must group those of his works that show the fiuling powers, the exhausted
imagination of an intellect already overshadowed by its approaching doom.
^ Schumann's begmnings in music were as nearly the spontaneous outpour-
ings of himself as can well be thought of. It is difficult to derive the sources
of even his first attempts fi'om the music of his predecessors. He smdied
some of Hummel 's works, and greatly admired Moscheles, and, the critics
say, that the ** Abegg^* variadons. Opus i, are in the Hummel- Moscheles
style. He was devoted to Schubert firom his early years, and played his litde
piano pieces, especially the dances, with great love ; perhaps the traces of this
may be found in the PapUlons^ Opus 2, But even here, the influence, if there
be any, related more to the concise and sentendous form, the poetic content,
than to the fibre of the music itself. It is not the kind of resemblance that
yoo will find to Mozart and Haydn all through the earliest works of Beetho-
ven. Bach, too, formed a part of young Schumann's musical daily bread ;
We may perhaps discern that influence in the instinctive feeling for contra-
puntal movement — ^though of a very free, and, as it were, untechnical sort —
in those earliest piano pieces ; but here again comparison of the specifically
musical style reveids nothing. ^There b one influence^ however, that cannot be
overlooked in computing the forces bearing on Schumann's formadve period ;
that is Jean Paul Richter. All readers of Schumann's letters know how steeped
he was in the spirit of this singular German fantastic, this overwrought romandc
symbolist, a story-teller, philosopher, and poet in one. He was all in all to
Schumann ; not only the young man's literary style — he was already a copi-
otur writer — but his very ideals in music, were moulded on Jean Paul's, and
thlHdy overlaid with his mannerisms. For, in these early years of Schumann's
lif^, music and poetry seem to meet on common ground, and to take their
in^mise from one and the same staning-point. In Jean Paul, all that charm-
ing crew of *♦ Daviditesm^* with **FIcrestaH^* Mid **Eusebius** as their lore-
730 THE MUSICAL GUIDE
front, have thdr prototypes ; and their appearance in the early Zeitschr^
articles is no more characteristic of this influence than their appearance in the
**CarnevaP^ and the **DavidsbundUrtanzeJ*^ ^ With his attainment ot
his heart's desire in his marriage with Clara Wieck, in 1840, there seems to
have come a mellowing^ a ripening force in Schumann's musical inspiratkm —
if you will, a conservative force that led him to see the significance and value
of those musical forms to which he had at first been indifi^erent. Some of his
ardent companions in the revolutionary parties of the earlier years saw in thii
a backsliding from his professions. But the fact that he parted company wkb
** Florestan " and ** Eusebius,** and erased their names fix>m the reissoes d
musical works once signed by them, can be for us naught but an indicatioo ot
intellectual growth. We enjoy those romantic and engaging figures, bat we
see greater things than they were concerned with in the symphonies, the
piano-quintette, the string-quartettes, the piano-concerto, the third pan oi
** Faust,** and *« Paradise and the Peri,** ^ The contributions of Schu-
mann to the development of the art are imporunt and pennanent. What he
did to develop the expressive power of the pianoforte is all his own. He
wrote for the instrument in a new way, calling for new and elaborate advances
in technique — ^not the brilliant finger-dexterity of Chopin and Liszt, but a
deeper underlying potency of expression through interlacing parts, skilfiillT
disposed harmonies, the inner voices of chords, and through new demands as
to variety of tone quality, contrasts of colour and the enrichment of the whole
through pedal effects. It has been called a crabbed style, but it is no kss
idiomatic of the piano than the more open and brilliant maimer that was
developed at the same period by the virtuoso-school of pianoforte-playing and
composition. ^Schumann's use of short pieces, in connected series, as an ex-
position of what is really a single poedc idea running through them all, is his
own creation, and one that succeeding composers have made the most o£
So is his idealised form of programme- music — music, that is, expressing some
definite, concrete, external idea. But his wise judgment on music of this
kind must always be kept in mind, that it must always be beautiful and mtel-
ligible as music without the need of explanation through titles, in which he stw
only an aid or stimulus to the hearer's imagmation. Space is lacking to dis-
cuss his later experiments in modifying or developing the clasucal or sonati
form to increase its unity and its emotional potency, such as are to be fbond
in the D-minor and C-major symphonies, and the piano-quintette. Sdiii-
mann added something peculiarly his own to the Ued, in his enhancement of
the accompaniment's significance, increasing its power of expression in co-
operation, sometimes almost on equal terms with the voice, and, in manj
instances, giving its ritoumelles or instrumental postludes an independent ebh-
oradon and meaning of their own. ^ Schumann came of a well-to-do
DICTIONARY OF MUSICIANS 731
family, and his early genenu education and sociai surroundings had been &r
beyond those of most musicians. The hict that he was not only well read,
but a writer himself of peculiar charm and individuality, a critic of quickening
insight and generous discernment, reacted, as it needs must, on his music.
Tliough he was, early in his youth, of a lively character, he was always dis^
posed toward moodiness ; and by the time he reached manhood he had fallen
into a state of remarkable taciturnity and introspection. Wrapped in his own
tHoughts, he would, when in the company of friends or fellow-musicians, sit
silent hour after hour, with his head leaning on his hand, often with an indp-
ient smile upon his face, and with his lips pursed, as though to whistle.
His letters show him to have been of a sweet and affectionate nature toward
his &mily and intimates ; kindly and generous in his esdmate and treatment
of others, yet roused to anger by a wrong, and capable of deep and glowing
resentment. ^ Schumann's place in modern music was slowly won, both
in his native land and elsewhere, but there is little sign yet, of its being shaken.
His symphonies suffer unduly, through their unskilAil orchestradon, in the
esdmadon of a generadon to whom fine feeling for orchestral colour is essential,
but the magnificent elegance of the two great overtures (to ** Maa/reJ'* and
*' Genoveva^^) is little discounted in this way ; the string-quartettes and the
piano-quintette and quartette seem to lose none of their beauty as they recede in
historical perspective ; the piano concertos, and a great number of the songs are
heard repeatedly, every year, with unremitted joy. Hh solo piano-pieces
appeal less and less to the taste of the latter-day piano- virtuoso who cannot utilise
music calling so little for nimbleness of finger and brilliancy of effect ; but it
is impossible to deny that these pieces are sdll competent, as few others are,
to serve deep and sincere music lovers *'for the enjoyment of god at home."
Schumann will always have a commanding hold, a commanding place in the
nineteenth century, the centiwy of evoludon, the century that struck off" the
academic bonds from art. In the noble band of romandc adventurers into
new and unexplored realms of music, Schumann was a leader, but he never
failed m his bold and chivalrous championship of the recntude of his art.
(2) Clara (Josephine), n^ Wieck,
Leipzig, Sept. 13, 18 19 — Frankfort-
on-^fain, May 20, 1896 ; eminent
pianist ; wife of above (q. v.). She
played in public at 9; at 11 at the
Gewandbaus ; toured from 1832 ;
Vienna (1S36) received the title of
Imp. Chamber-virtuoso. On Sept. 12,
1840, m. Schumann (q. v.). After he
died she went with her children to
Berlin ; 1863 to Wiesbaden, resum-
ing her public career as a concert-
pianist ; 1878-92 pf. -teacher Hoch
Cons., Frankfort. Besides editing
Schumann's works, his early letters
and finger-exercises from Czerny,
she c. pf.-concerto, preludes and
fugles, pf.-trio, Vars. on a theme
by Schumann, many songs, incl. 3
in Schumann's op. 37 (Nos. 2, 4,
and 11). Biog. by Litzmann, 1902.
(3) Gcorg (Aifrea), b. KOnigstein,
732
THE MUSICAL GUIDE
Saxony, Oct. 25, 1866 ; pianist , son
and pupil of the city mus.-dir., pupil
of his grandfather, a cantor, and of
K. A. Fischer, B. Rollfuss, and Fr.
Baumfelder, Dresden, then of Leip-
zig Cons., where he c. 2 symphs., a
serenade for orch., a pf. -quintet, a
vln. -sonata, etc., taking the Bee-
thoven prize, 1887 ; lived 2 years in
Berlin; 1892-96, cond. at Danzig, since
then Bremen Philh. Orch. and cho-
rus; c. also choral work, ** Amor und
Psycht^'' (Leipzig, 1888), orch.-suite
** Zur ICarnevalszeit" etc.
Schumann-Heink (shoo'-msln • hTnk),
Ernestine (nee Rdssler), b. Lieben,
near Prague. June 15, 1861 ; contral-
to ; pupil of Marietta von Lcclair,
Graz ; debut Dresden, 1878, in ** //
Trovatore ;" sang there 4 years ; 1883
Hamburg City Th.; 1896, sang
** Erda," ** Waltraute," and the First
Norn at Bayreuth ; m. Herr Heink,
1883; m. Paul Schumann, 1893 ; from
1898, in America with Met. Op.
troupe.
Schund (shoont), Joachim, org. -build-
er, Leipzig, 1356.
Schunke (shoonk'-£), (i) K., Magde-
burg, 1801 — suicide, Paris, 1839 ;
pianist ; son and pupil of a horn-virt-
uoso. (2) Michael S., composer. (3)
L., Cassel. 18 10 — Leipzig, 1834 ;
pianist and composer; pupil of his
father, the horn-virtuoso. (4) Gott-
fried S.
Schuppanzich (shoop'-pftn-ts!kh), Ig-
naz, Vienna, 1776 — 1830 ; violinist,
conductor and teacher.
Schlirer (shu'-r^r), Jn. G., Raudnitz,
Bohemia, ca. 1732 — Dresden, 1786 ;
dram, composer.
Schurig: (shoo'-r!kh), (Volkmar) Ju-
lius (Wm.), Aue, Saxony, 1802 —
Dresden, 1899 ; composer and teach-
er.
Schuster (shoo'-shtiJr), Jos,, Dresden,
1748 — 1812; ct. -conductor ; c. pop.
operas, symphs., etc.
Schiitt (shftt), Eduard, b. Peters-
burg, Oct. 22, 1856 ; pianist ; pupil
of Petersen and Stein, Petersb. Cons.;
studied at Leipzig Cons. ; now coiiL
Akademischer Wagnerverein^Viciua:
c. fairly succ. comic opera ** Sipur
Formica " (Vienna, 189a) ; c pf-
concerto, etc.
Schatz (shQts), (Safitta'rins) R,
*' The father of German mnsic''
Kttstritz, Saxony, Oct. 8, 1585 — Drcs-
den, Nov. 6, 1672 ; in 1607 entered
Marburg Univ. to study law, bc
1609, was sent to Venice by Laod-
g^ve Moritz of Hesse-Cassel to stndr
with Giov. Gabrieli; 1612 retmied to
Cassel as ct. -organist ; 16 15 cood. Go
the Elector of Saxony at Dresdea;
he frequently revisited Italy, wfaence
he brought much to modify and es-
large German mus. ; also made kmf
visits to Copenhagen as ct.-coid.
1627, on royal invitation for the wed-
ding of Princess Sophie of SaxoDy,be
c. the first German opera, the UKh^
being a transl. from the **/>•/«''
of Peri (q. V.) ; this work is lost, as is
also the ballet, ** Orpheus und Emry-
dice^^ 1638, for the wedding of Jn.
Georg II. of Saxony. Cari Riedel
revived interest in S. by pub. and
producing *' Die 7 Worte ChrUH sm
KreuM,** and a ** Passicm^^ A cooi-
plete ed. of S's works is pub. bf
Breitkopf and Hartel in 16 voU.; thej
include sacred and secular mus. oif
g^reat historical importance as the
predecessor whom Hindel and Bach
rather developed than discarded ; be
was bom just a hundred years be-
fore them and shows great dramatic
force and truth in his choral woii,
combining with the old polypboak
structure a modem fire that makes
many of his works still beaudfuL
Biog. by Ph. Spitta, and Fr. Spitu
(1886).
Schwab (shvfip), Fran. M. L., Strass-
burg, 1829---1882 ; conductor and
dram, composer.
Schwalm (shvalm), (i) Robt., b. Er-
furt, Dec. 6, 1845 ; pupil of Vf^ng-
haupt and Leipzig Cons.; cood. at
KOnigsberg ; c. opera, male chonses
with orch. , oratorio, etc. (2) OKar,
DICTIONARY OF MUSICIANS 733
Erfort, Sept« ii, 1856; pupil of Leip-
zig Cons.; 1886-88, proprietor of
lCahn*s pub. -house in Leipzig ; also
critic for the ** Tageblati" etc.; c. an
overture ; pf.-pcs., etc.
^diny'ler, Wm., b. St. Louis, U. S.
A., May 4, 1855 ; lives there as ama-
teur composer, largely self-taught ; c.
excellent songs, notably to Stephen
Crane's ** Bia^k Rider s^
^dtwanbergf (shvan'-b^kh), Jn. Gf.,
WolfcnbOttel, 1740 — Brunswick,
1804 ; ct. -conductor and dram, com-
poser.
Schwantzer (shvSn'-ts^r), Hugo,
Oberlogau, 1829 — Berlin, 1886; or-
ganist, teacher and composer.
Schwarbrook (shvir'-brook), Thos.,
Ger. org.-builder in England, 1733-
1752.
Sdiwarz (shv^brts), (i) Ands. GL,
Leipzig, 1743 — Berlin, 1804; bassoon-
ist in London. (2) Chp. Gl.» b.
1768 ; son of above ; bassoonist. (3)
Wm., Stuttgart, 1825— Berlin, 1878;
singer and teacher. (4) Max, b.
Hanover, Dec. I, 1856; son of above;
pupil of Bendel, BOlow, and Liszt ;
pianist ; 1880-83, teacher Koch
Cons., Frankfort ; then co-founder,
after RafiTs death, of the Raff
Cons.; since 1885 its dir. (5) Bi-
anca. Vide bianchi. (6) Wenzel,
b. Brunnersdorf, Feb. 3, 1830 ; pu-
pil Prague Cons. ; from 1864 lived in
Vienna, proprietor of a mus.-insti-
tute; writer.
Schwedler (shvat'-l^r), (Otto) Maxi-
milian, b. Hirschberg, Silesia, March
31, 1853 ; flutist; pupU of Fr. Meinel,
Dresden ; in Leipzig municipal and
Gewandhaus Orcn.; since 1895, ist
flute; inv. the '* Schwedler flute";
wrote a pamphlet on it and c. tran-
scriptions, etc.
Scbweitzer (shvit'-ts^r), , Coburg,
1737 — Gotha, 1787 ; conductor and
composer.
Schweizer (shvlt'-ts«r). Otto, b. Zu-
rich, May 26, 1846 ; pianist ; pupil
of Moscheles and Wenzel, Leipzig
Cons. ; since 1870 Edinburgh, also
pf. -teacher at Athenaeum Sch., Glas-
gow ; c. 2 pf. -suites, etc.
Schwencke (shv£nk'-«), (i) Jn. Gl.,
1744 — 1823; bassoonist. (2) Chr.
Fr. Gl., Wachenhausen, Harz, 1767
— Hamburg, 1822 ; son of above ;
cantor and mus.-dir. (3) Jn. Fr.,
Hamburg, 1792 — 1852 ; son and pu-
pil of (2) ; composer. (4) K., Ham-
burg, 1797 — ?; pianist; son of (2).
(5) Fr. Gl., Hamburg, 1823 — 1896 ;
virtuoso on the pf . and organ ; com-
poser.
Schytte (shet'-ta), L. (Th.), b. Aar-
hus, Jutland, April 28, 1850 ; dn^-
gist, then studied with Ree, Neupert,
Gebauer, Gade, Taubert, and Liszt
(comp.); 1887-88 teacher HorAk*s
Institute, Vienna ; lived in Vienna as
concert-pianist and teacher ; c. 2
comic operas ; pf. -concerto ; panto-
mimes for 4 hands, sonata, etc.
Scontrino (skdn-tre'-no), A., b. Tra-
pani, 185 1 ; pupil of Plantania, Pa-
lermo ; lived 4n Milan as teacher ;
since 1897 prof, of cpt. at Florence
Cons.; c. 5 operas, incl. succ. i-act
'' Gringoire'' (1890), and ''La Cor-
iigiana '* (Milan, 1896); c. ''Sinf(mia
marinaresca *' (Naples, 1897).
Scot' son Clark, the Rev., London,
Nov. 16, 1840— 1883 ; pupil of his
mother (a pupil of Chopin) ; then
at Paris ; at 14 organist ; studied
with J. Hopkins and at R. A. M.; after
serving as organist various places, he
studied at Leipzig and Stuttgart ;
1873, returned to London as teacher,
organist and composer of many pop.
works.
Scott, John, England, ca. 1776^
Jamaica, 18 15.
Scotto (sk6t'-t5), (i) Ottayiano, and
his son (2) Girolamo, mus.-printers
at Venice, 1536-39, and 1539-73. re-
spectively ; the latter was also a com-
poser.
Scriabine (skre'-£-be-n£), Alex, b.
Moscow, Jan. 6 (new style), 1872 ;
brilliant pianist ; pupil of Safonoff
(pf.) and Tanejev (comp.) at the
Cons.; toured Europe from 1895 ; c.
734-
THE MUSICAL GUIDE
sonata, prelude and nocturne for left
hand alone ; pf. -impromptus, pre-
hides, etc.
Scribe (skreb), Enetoe, Paris, 1791 —
1861 ; most prolific of French drama-
tists, and wrote over 100 librettos,
incl. ** Fra ZHavolo," ** Prophiu;'
''LAfricainer
Scuden (skoo-d&'-re), SalTatore, h.
Terranova, Italy, Jan. 3, 1845 ; c.
pop. songs.
Scudo (skoo'-dd), Paolo, Venice, 1806
— insane, Blois, 1864 ; writer.
Sebald (za'-b^t), (i) Frau yon (nee
Schwadke) ; contralto, Berlin,
1 791 ; her daughters (2) Amalie,
soprano ; for some time the object of
Beethoven's affections; (3) Au^ste,
sister of above ; also soprano.
Sebastiani (sa-bas-tl-^'-ne), Jn., b.
Weimar, 1622 ; conductor and com-
V poser.
Sebor (sha'-bdr), K. (Karel), b. Bran-
deis, Bohemia, July 18 (Aug. 13?),
1^43 ; pupil Prague Cons, and of
Kittl; 1864-67, cond. Nat. Opera ;
from 1871 military bandm., Vienna;
prod, at Prague 5 Czech op>eras ; c.
symphs., overtures, etc.
Scchter (zakh'-t€r), Simon, Friedberg,
Bohemia, Oct. 11, 1788 — Vienna,
Sept. 10, 1867 ; eminent contrapunt-
ist and teacher, ct. -organist, prof, of
harm. ; wrote valuable treatises ; c.
burlesque opera *' ^/* Nitch-Hasch"
Sedlmair (zat'1-mlr), Sofia Offeney,
b. Hanover, Jan. 25, 1863 ; soprano
in various cities. ^
Seeling; (za'-lYng), Hans (Hanus),
Prague 1828 — 1862 ; piano-virtuoso
and composer. y
Seger(t) (za -gdrt), Jos., Repin, Bo-
hemia, 1 7 16 — Prague, 1782 ; organist
and composer.
Seg:hers (sG-girs'), Fran. J. Bap.,
Brussels, 1801 — Margency, near
Paris, 188 1 ; violinist and conductor.
Segond (sti-gdfi), L. A., a physician
at Paris ; studied singing with Man-
uel Garcia, and wrote ** Hygiene du
chanteur " (1846), etc.
Segouro'la, Andres Perello de, b.
Spain ; studied law Madrid Usir.;
practised a year at Barcelona ; tia
took up singing with success.
Seenin (s^-wYn), (i) Albert Edv.
S., London, 1809 — New York, 1852;
bass. (2) Eli^bethy his sister,
mother of Parepa Rosa. (3) Asa
Childe, wife of (i); operatic sing-
er ; debut, 1828 ; retired and fired
New York, 1880. (4) Wm. H., iSu
— 1850 ; bro. of (i) ; bass.
Seibert (zf-b^rt), Lonis, b. Oeebeif,
near Wiesbaden, May 22, 1833 \ V^-'
teacher Wiesbaden Cons.; c diam-
ber-mus., etc.
Seidel (zl'-ddl), (i) Fr. L., Tienen-
brietzen, Brandenburg. 1765 — Ctax-
lottenburg, 1831 ; organist and dram,
composer. (2) Jn. Jnlins, Breslao,
1810— 1856 ; organist and writer.
Seidl (zTt'-'l), (i) Anton, Pesth. May
7, 1850— New York, March 28, i8gS;
eminent cond., particularly of Wag-
nerian mus.; pupil Leipzig Cons.;
1870 chorusm. Vienna opera ; 1872-
79, assisted Wagner in score of ** A'i-
belungen Hing'*; 1879-83 cond. for
Neumann*s Wagner- troupe ; 1883-85
cond. Bremen opera (m. there the
soprano (2) Fri. Krauss) ; 1885-91
Met. Op., N. Y., also from 1895-97
cond. N. Y. Philh. Orch.; 1886 and
1897 cond. at Bayreuth ; 1897 cood.
Covent Garden, London. (3) Ar-
thur, b. Munich, June 8, 1863; papU
R. Sch. of Mus. at Ratisbon and of
Paul, Stade, Spitta, and Bellermann;
Dr. Phil., Leipzig, 1887 ; lives in
Dresden ; writer.
Seilert (zl'-f^rt), Uso, b. RomhiW,
Thuringia, Feb. 9, 1852 ; pupil of
Dresden Cons.; teacher there and or-
ganist; wrote pf. -method, pf.^KS.,
etc.
Sei£riz (zl'-frYts), Max, Rottweil,
Wttrtemberg, 1827— Stuttgart, 1885 ;
violinist, ct.-cond. and composer.
Seller (zl'-l^r), Jos., Logde, near Pyr-
mont, 1823 — 1877; organist, writer
and composer.
Seiss (zTs), Isidor (Wm.), b. Dresden,
Dec. 23, 1840; pianist; pupfl of
DICTIONARY OF MUSICIANS 735
Leipzig Cons.; since 1871 pf. -teacher
Cologne Cons.; 1878 Prof.; con-
ductor Musikalische Gesellschaft ; c.
studies in bravura, etc.
(zits), (i) Robt., Leipzig, 1837—
1889 ; mus.-publisher and editor. (2)
Fr. (Fritz), b. GOnthersleben, Go-
tha, June I3, 1848 ; violinist ; pupil
of Uhlrich ; since 1884 leader Dessau
ct.-orch.
S^jan (sa-zhaA), Nicolas, Paris, 1745
— 1819 ; famous organist ; 1772,
Notre Dame; 1783. St. Sulpice ; 1783,
royal chapel ; teacher and composer.
Sekels (za -k£ls), Bd., pupil, now t. of
comp. Hoch Cons. , Frankfort ; c.
songs.
Sel'by, Bertram Luard, b. Kent,
En^l., Feb. 12, 1853 ; organist,
Salisbury Cath.; then of St. Barna-
bas, London ; c. 2 operas ; a i-act
operetta (** duologue '*), successful
*• Weather or No^' (London, 1896),
Berlin as " Z>aj Wetter kduschen,''
1896; org-sonatas, etc.
Seligmann (za'-Ukh-man), Hippolyte
Prosper, Paris, 18 17 — Monte Carlo,
1882 ; 'cellist and composer.
Selle (z«l'-l«), Thos., Zorbig, Saxony,
1599 — Hamburg, 1663 ; cantor and
composer.
Sellner (z^l'-n^r), Jos., Landau, Ba-
vana, 1787 — Vienna, 1843 ; oboe-
virtuoso, teacher, writer and compos-
er.
Sembrich (z£m'-brYkh), Marcella
(rightly Praxede Marcelline Ko-
dumska, Sembrich being her moth-
er's maiden name), b. Wisnewszyk,
Galicia, Feb. 15, 1858 ; eminent col-
orature soprano ; pupil (later the
wife) of Wm. Stengel (piano), Lem-
berg Cons.; studied with Epstein at
Vienna, and singing with Victor Ro-
kitansky, and with G. B. Lamperti,
Jr., at Milan; d^but, May, 1877, at
Athens ; studied German opera at
Berlin with Lewy; sang for 18 months
Dresden ct.-th.; from June, 1880,
London, and, 1883-84, toured Eu-
rope and America ; 1884, studied
with Francesco Lamperti, Sr.; from
1898 has sung at Met. Op. and in
concert in America with greatest
succ.; 1900, managed her own opera
CO. in Germany.
Sttmet (stt-ma), Th^phile (Aim6
Emile), Lille, 1824-- Corbeil, near
Paris, 1888 ; drummer and dram,
composer.
Seiiiler(zgm'-l£r), Fs. X., 177a — 1859;
vla.-soloist in Berlin.
Senesino (san-^-se'-n5), Bernard!
Francesco (called the Sienese), Siena,
i68o — ca. 1750; male contralto or
mezzo-sopr. ; sang in Handel's operas
till 1729, where he quarrelled with
H. and went over to Bononcini; made
a fortune and returned to Siena.
Senff(z£nf), Bartholf, Friedrichshall,
near Coburg, 18 18-— Leipzig, 1895 ;
founder Leipzig mus.-pub. house
(1850), also editor.
Sen(Ofl (z^nfl) (or Senfel), L., Basel-
Augst, 1492 — Munich, ca. 1555;
eminent contrapuntist, ct.-cond. and
composer.
Senkrah(zan'-kra)(rightIyHark'ness),
Arma Leorette, New York, 1864
— suicide, Weimar, Aug. 4, 1900; vio-
linist ; pupil of Amo Hilf , Leipzig ;
Wieniawski, and Massart, Paris
Cons. ; toured with succ.
Serafino (sd-ri-fe'-nd), (i ) Santo, vln.-
maker at Venice, 1730-45 ; his label
is ** Sanctus Seraphin Utinensis fecit
Venetiis, Anno, 17 — ". (2) GregfO-
rio, his nephew, also was a vln.-
maker, label '* Georg^us Seraphin
Sancti nepos fecit Venetiis, 17 — ,
Serassi (si^rfts'-se), Italian familv of
org.-builders at Bergamo. The K>un-
der (i) Giuseppe (tV vecchio), Gor-
dano, 1694 — Cfrema, 1760. His son
(2) Andrea Luigi, 1725— 1799. (3)
Giuseppe (iV giovani)^ Bergamo,
1 7 50 — 1 8 1 7 ; succeeded by his sons (4)
Carlo and (5) Giuseppe.
Seringa (za'-ring), Fr. wm., Fttrsten-
walde, near Frankfort-on-Oder, Nov.
26, 1822 — 1901; from 1871 teacher at
Strassburg, where he or^nised a Ge-
sangverein ; pub. treatises, also an
oratorio, male choruses, etc;
736
THE MUSICAL GUIDE
Sermisy (s^me^), Claode de
(called Clkudin, not Claodin Le-
jeiiAe), ca. 1530^60 ; French ct.-cond.
and composer.
SeroT (or Sierofi; Syeroff (s*ya-r60);
Alex. NikolajeTitchy Petersburg,
May II, 1820— Feb. I (new style),
1871 ; important Russian composer
and critic ; a lawyer, studied cello
with Karl Schuberth ; 1863 prod,
grand opera (text and mus.) ^ Ju-
dith" and the Czar g^nted him a
pension ; he was a lecturer on mus.
at Moscow and Petersb. Universities
and wrote his own librettos ; 1865
prod. **^ Jiogmda" with succ.; laid
aside 2 unfinished operas to finish
•* Wratyiasiela'* but died before it
was done. Soloviev finished it and
it was prod, with succ.
Serpette (s£r-p£t), (H. Chas. A.)
Gkston, b. Nantes, Nov. 4, 1846 ;
pupil of Thomas, Paris Cons.; 1871,
taking ist Grand prix de Rome,
wrote cantata ''*' Jeanne d*Arc**; 1874,
prod, opera-bouffe **Ztf Branche
Cass/e^^ (Bouffes-Parisiens), followed
by 30 other light works.
Serrao (s«r-ra'^). Paolo, b. Filadelfia.
Catanzaro, in 1830; pupil of Naples
Cons.; political troubles prevented
the prod, of his opera ^^Vlmpos-
tore in 1852, and another in 1857,
but he prod. '' PerroUsi'* and "Ztf
Duchessa di Guisa^ (1865), and **//
Figliuol prodigo'^ (1868) ; c also an
oratorio, a requiem, a funeral symph.
(for Mercadante), etc.
Senrais (s£r-v2), (i) Adrien Fran.,
Hal, near Brussels, 1807 — 1866 ; emi-
nent *cellist and teacher ; pupil of his
father and of Platel ; debut Paris,
1834 ; 1848, Prof. Brussels Cons, and
soloist to the King; toured widelv;
c. 3 concertos for 'cello, etc. (2)
Jos., Hal, 1850 — 1885 ; son and pu-
pil of above ; 'cellist and prof. Brus-
sels Cons.
Sestini (s^t£'-ne), Gioranna, prima
buff a in London, 1783.
Sercik (s^v'-tsYk), Pan; nouble Bo-
hemian violin teacher.
Ser'eniy Thos. H., London, 1801—
Wandsworth, 1881; condoctor, pub-
lisher and dram, coinposer.
Sew'ard, Theodore r reliiisliiiysea,
d. New York, Oct. 30, 1902 ; teach-
er, ed. and composer of slave songs
and *' spirituals."
Sejdelmann (zf-d^l-min), Fx.» Dres-
den, 1748 — 1806; cembalist, con-
ductor and dram, composer.
Seyfiarth (zif'-f&rt), Ernst Hn., b.
Crefeld, 1859; pupil of Cologitf
Cons, and of Kiel ; from 1892. con-
ductor Neuer Singverein, Stuttgart;
c. dram, scene " Tkusnelda;" *' Trom-
erfeitr beim Tode einer Jungfra*^
symph., sonatas, MS. opera *' Tit
Bells o/Plurs" etc.
Seyfried (zi'-fret), Ignaz X. Rittcr
▼on, Vienna, 1776— 1841; conductor,
writer and dram, composer.
Seygard (sa'-gard), CamiUe» b. Eog^
land ; went early to Russia ; pupil of
her father and of Marches!; d^Mit,
1888, Covent Garden as **Zeriina";
sang at Opera Comique, later in Am-
sterdam; has sung in concert and
opera in Europe, and since 1896 in
America.
Snmbati (sgftm-bsL'-te), Gioranni, b.
Rome, May 18, 1843 \ important pi-
anist and conductor ; pupil of Alde-
g^, Barbieri and Natalucci, later of
Liszt ; at 6 played in public, sang m
Church and cond. small orchestras;
later he toured Italy and Germany ;
1877, head-teacher Accad. di S. Ce-
cilia, Rome ; 1896, founded ** Nnova
Societi Musicale Romana *' ; admirer
and friend of Wagner; c. leqmem
with orch. (1896), 3 symi^is., over-
tures, pf. -concerto, an octet, 2 pf.-
quintets, a string-quartet (op. 17) and
piano pes. , etc.
Shakespeare, Wnu« b. Croydoo,
Engl., June 16, 1849; choir-boy; at
13 organist ; pupil of Moliqne (oomp.);
1866, won King's scholarship R. A
M., and studied there with Bennett;
187 1, took Mendelssohn Scholarship
for pf. -playing and comp.; studied
with Reinecke, Leipzig ; 1872, singing
DICTIONARY OF MUSICIANS 737
at Milan; from 1875, concert and ora-
torio-singer ; 1878, prof, of singing,
R. A. M.; in 1880, 1886, cond. of
the concerts there ; resigned ; has
won high reputation as a singing-
teacher; c. overtures, a symph., pf.-
concerto, etc.
Sharpe, Herbert Francis, b. Hali-
fax, Yorkshire, March I, 1 861 ;
Queen's Scholar, Nat. Training Sch.,
Lx>ndon ; gave pf. -concerts ; 1884,
prof. R. C. M.; 1890, examiner;
wrote '' Piano f or U ScL'' (with Stan-
ley Lucas) ; c. comic opera, etc.
Shaw, (i) Oliver, b. Middleboro\
Mass., d. 1848; a blind singing-
teacher and public singer. (2)
Mary, London, 1814 — Suffolk, 1876,
contralto and teacher.
Shed'lock, John South, b. Reading,
En^., 1843; graduate, London,
Univ., 1864; pupil of E. LUbeck
(pf .) and Lalo (comp.), Paris ; teach-
er and concert-pianist, London, 1879;
critic for the ^^Athenaum '*/ also lect-
ured at the R. A. M.; pub. articles,
•• The Pianoforte Sonata^ Its Origin
and Development** (London, 1895);
editor and translator ; c. string-quar-
tet, etc.
Shel'ley, Harry Rowe, b. New
Haven, Conn., June 8, 1858; pupil
of Stoeckel at Yale, Dudley Buck,
Vogrich and DvoMk (New York) ;
organist various churches, also teach-
er of theory and comp. Metropolitan
College, N. Y.; c. ** The Inheritance
Dimne** sacred cantata, 2 symphs.
(the first E[>, performed, N. Y., 1897),
vln.-concerto (1891), cantata *' Vexil-
la Regis** (N. Y., 1894), and suite
^^ Baden-Baden" etc., for orch.;
church-mus., pf. and org.-pcs. and
songs, many very pop.
Shep>u-d, (i) Thos. Griffin, b. Madi-
son, Conn., April 23, 1848 ; pupil of
G. W. and J. P. Morgan ; organist
various churches in New Haven ; in-
structor, Yale Glee Club and cond.
Oratorio Soc, also dir. Apollo Club
(male voices) ; teacher and critic ; c.
comic opera, Christmas cantata, etc.
47
(2) Frank Hartson, b. Bethel,
Conn., Sept. 20, 1863 ; pupil of
Thayer, Boston ; organist various
towns ; 1886-90, studied Leipzig,
1888, organist English Chapel there ;
1891, est. a sch. at Orange, N. J.;
organist there ; writer of text-books
and treatises.
Sher'ringrton, Jose., b. Rotterdam,
Oct. 27, 1850; sister of Mme. Lem-
mens - Sherrington ; concert - soprano
with remarkable range (a-e'").
Sher'wood, (i) Edg^ar Harmon, b.
Lyons, N.Y., Jan. 29, 1845 ; pianist ;
served in the Union Army 1862-65,
and then took up mus. ; lives in Roch-
ester, N. Y., as pianist, teacher and
composer. (2) Wm. Hall, b. Lyons,
N. v., Jan. 31, 1854; noteworthy
pianist and teacher, bro. of (i) ; son
and pupil of Rev. L. H. Sherwood,
founder of Lyons Mus. Acad.; pupil
also of Heimberger, Pychowski and
Wm. Mason ; studied 5 years un-
der Th. KuUak, Weitzmann, Wuerst
and Deppe (Berlin), Richter (Leip-
zig), K. Doppler and Scotson Clark
(Stuttgart) and Liszt (Weimar); d^-
but with succ, Berlin ; returned 1876
to the U.S., and has toured with great
succ; teacher N. E. Cons., Boston,
later, New York ; 1889, Chicago, as
head of the pf, -section of the Cons. ;
1897, founded ** Sherwood Piano
Sch."; 1887 he m. his pupil, Es-
tella F. Adams, also pianist; pub.
pf.-pcs. (3) Percy, b. of English
parents, Dresden, May 23, 1866 ; pu-
pil of Hermann Scholtz (pf.) ; later
of Dresden Cons. ; concert-pianist and
teacher, Dresden Cons.; c. pf.-pcs.
Shield, Wm., Whickham, Durham,
1748 — London, 1829; violinist, writer
and composer.
Shin'ner, Emily, Cheltenham, July 7,
1862 — Aug., 1901; concert violinist,
England. 1889, m. Capt. Liddell;
founded S. Quartet (female).
Shore, (i) Matthias, d. 1700, Eng-
lish ct.-trumpeter ; reputed inventor
of the tuning-fork. (2) Wm., d.
1707, son and snccessor of above.
738
THE MUSICAL GUIDE
(3) CUttheriiie» ca. 1668 — ca. 1730;
sister of atx>ve ; stage-singer, 1693,
m. Collcy Gibber. (4) Jolm, 1660—
1 750 ; bro. and successor of (2).
Shodi. Vide bro ad wood.
Shnt'tleworth, Obadiah, d. ca. 1735;
English organist and violinist.
Sibeuns (sc-ba'-ll-oos), Jean, b. Ta-
vastehus, Finland, Dec 8, 1865 ;
studied Mus. Inst. Helsingfors; and
with Becker and Goldmark ; since
1893, teacher theory, Mus. Inst, and
the Orch. Sch., Helsingfors ; c. The
first Finnish opera ** Tormssa Olija
Impi ** (Helsingfors, 1896) ; also for
orch. ** The Snwn of Tuerula " and
** Limmin Kainen.
Siboni (se-bo'-ne), (i) Gin., Forli,
1780 — Copenhagen, 1839; tenor. {2)
Erik (Anton Waldemar), Copen-
hagen, 1828 — 1892; pianist, organ-
ist, teacher and dram, composer. (3)
Johanna Frederika (nee Cnill), b.
Kostock, Jan. 30, 1839 ; pianist ;
pupil of Moscheles ; 1866 m. above.
Sicard (se-k&r), Michel de, b. of
French parents, Odessa, 1868 ; vio-
linist, pupil of Cons, at Kiev ; debut
at 9; 1884, pupil Paris Cons.; 1886,
1st. vln-prize, then pupil of Joachim
(vln.), and Bargiel (comp.) ; has
tour^ Europe.
Sieber (zc'-b^), Fd., Vienna, 1822 —
Berlin, 1895; famous singing-teacher.
Siegcl (ze-g«l), (i) E. F. W., d.
1869 ; founded, 1846, mus.-pub. firm
at Leipzig, now owned by R. Linne-
mann. (2) F. Vide schuberth, j.
Siehr (zer), Gv., 1847 — Munich, 1896;
bass ; created *' Hagen," Bayreuth,
1876.
Sieveking (ze'-v£-kYng), Martinus, b.
Amsterdam, March 24, 1867; notable
pianist ; pupil of his father, of J.
R&ntgen, Leipzig Cons., and Coenen
(harm.) ; 1890 played in London ;
made v. succ. tours ; 1895 Boston ;
1896-97 American tour ; c. a suite
(played by Lamoureux, Paris), etc.
Sitace (se-fa'-ch^) (rightly Grossi),
Gioy. Fran., robl^d and mur-
dered in NorUiero Italy, ca. 1699;
soprano-mosico ; ca. 1675
Papal ChapeL
Siirlucelli (se-gl-cha'-Ic). tmaatj of
violinists, (i) Filippo, San Cesski,
Modcna, 1686 — Modcna, 1773 ;
violinist. (2) Gin.* Moden&, 1757^
1826 ; son of above ; vioHnisr. (5)
Carlo, Modena, 1772 — 1806 ; son of
(2), also attached to comt. (4) A.,
Modena, 1802 — 1883; son of (3};
eminent violinist and conductor. (5)
v., b. Cento, July 30, 1830 ; son and
pupil of (4); pupil <^ HeILtDe^>eTgcr,
Mayseder, and 1849 solo-violinist and
2nd ct.-cond. Modena ; since 1855,
teacher Paris ; c. vln.-fantasias, etc
Sigisnumdi (se-jis-mon'-de), GfB.,
Naples, 1739 — 1826; singing-teacfca
and dram, composer.
Silas (se'-Us), Ednard, b. AnstetdaB.
Aug. 22, 1827 ; pianist ; debat Am*
steniam, 1837; pupil of Ndicr» Kalk-
brenner, etc.; later of Benoist and
Halevy, Paris Cons.; winnii^ ist
prize for org. plajring, 1849, ui com-
petition with Saint-Saens and Cohen;
since 1890 lives in England as or-
ganist ; 1866 Assemblee gcnenUe des
Catholiques en Belgique awarded him
1st prize (gold medal and 1,000
francs) for a mass; later prof, of
harm. Guildhall Sch. and the Loodoo
Acad, of Mus.; c. oratorio *Wc€uk"
(Norwich Fest., 1863), Kyrie Eleisoo,
with orch., 3 symphs., 3 overtmes,
etc.
Silbennann (zel'-b^r-man), (i) Aadie-
as, Klein-Bobritzsch, Saxony, 1678
— Strassburg, 1734 ; oi^g.-bmUler at
Strassburg. (2) Gfl, Klein-Bo-
britzsch, 1683 — Dresden, 1753; bro. of
above and his apprentice; the first Ger-
man to manufacture pianofortes, but
preceded by Cristofori ; inv. cemUl
d' amour (v. D.D.). (3) Jn. Andre-
as, Strassburg, 1 7 12 — 1783 ; son of
(i); org. -builder. (4) Jn. Daniel,
17 1 7— Leipzig, 1766; son of (i), suc-
cessor of (2). (5) Jn. H., Strassburg,
1727 — 1799 ; son of (i) ; pf. -maker.
(6) Jn, Fr., 1762 — 1817 ; son of (5X
otg.-builder, otganist and oompoacr.
DICTIONARY OF MUSICIANS 739
(ztt'-kh«r), Fr., Schnaith,
"WOrtemberg, 1789 — Tubingen, i860;
noted song-composer ; pupil of his
father and of Auberlen ; teacher at
Stuttgart, 1817; mus.-dir. at Tubin-
gen Univ. ; pub. a text-book and
collected and c. chorals, etc.
»iloa (se'-15-a), Giulio, pupil of Acad.
of St. Cecilia^ Rome ; c. *' Carmen
S^culare '* for soli, chorus and orch.
(1902).
>iloti (se'-io-te), Alex., b. Charkov,
Russia, Oct. 10, 1863 ; pianist ; pupil
of Zwereff and of N. Rubinstein and
Tchaikovsky, Moscow Cons. ; win-
ning a gold medal ; d^but, Moscow,
1880 ; studied with Liszt 3 years ;
1887-90, prof. Moscow Cons.; since
in Paris ; has made v. succ. tours
1898-90, America ; c. pf. -pieces.
SilTa (zel'-vS), (i) Andreas de, i6th
cent, contrapuntist ; c. motets, etc.
(3) David Poll de» St. Esprit, near
Bayonne, 1834 — Clermont, Oise,
1875 ; blind ; pupil of his mother
who c. operas, oratorios, etc. ; wrote
out his comp. bv dictation.
Silver (sel-var), Chas., Paris, April 16.
1868 ; pupil of Dubois and Massenet
at the Cons.; won Grand prix de
Rome with cantata ** L* Interdit" ; c.
operetta, elegiac poem " Rats " ; 4-
act fairy opera *^ La Belle au Bois
Dormant^^ (Paris, 1895), oratorio
" TobU:' etc.
Simandl (ze'-milnt*l), Fz., ist double-
bass Vienna court orch. ; since 1869
teacher at the Cons.; pub. method
for contra-bass.
Simlo. Vide Portugal.
Simon (ze'-mdn). (i) Jn. Kaspar, Can-
tor and organist at Nordlingen, 1750-
54 ; composer. (2) Chr., Schem-
berg, 1809 — Sondershausen, 1872 ;
double-bass.
Simon (se'-md6), (i) Jean Henri, Ant-
werp, 1783 — 1861 ; violinist. (2)
Siinon - Girard, Julie Josephine
Caroline (n^e Girard), b. Paris,
1859 \ pupil o^ Cons. ; d^but 1877,
creating Offenbach's ' * Colinette. "
1878, *' Mme. Favart,* and many
other r61es ; m. Simon ; later m.
Hugenette.
Simons-Candeille. Vide candeille.
Simp' son (or Sympson), (i) Chp.,
d. London, ca. 1677 ; player on the
viola da gamba ; pub. text-books.
(2) Thos., b. England ; from ca.
161 5, violinist in Germany; composer.
Sim'rock, (i) Nicolaus, b. Bonn,
1755 ; founded there 1790 mus.-pub.
house; 1805 Berlin branch founded
by his son (2) Peter Jos.j since 1870
in Berlin under (3), Frit«, 1841 —
Lausanne, Sept.» 1901.
Sina (se-n^), Louis, 1778— Boulogne,
1859 ; violinist.
Sinclair (slnk'-l«r), J., near Edin-
burgh, 1790 — Margate, 1857; tenor.
Sinding (zInt'-Yng), Chr., b. Kong-
bery, Norway, Jan. 11, 1856; notable
composer ; pupil of Reinecke. Leip-
zig Cons. , later with Royal Scholar-
ship, studied at Dresden, Munich,
and Berlin ; I. Christiania as organist
and teacher; c. symph., 2 vln.-sona-
tas, chamber-mus., a pf.-conce^to,pf.-
pcs., and songs.
Singel^e (s&nzh-U), J. Bap., Biussels,
18 12 — Ostend, 1875 ; violinist and
composer.
Singer (ztng'-«r), (i) Peter, Hafelgehr
(Lechthal), 1810 — Salzburg, 1882;
monk ; inv. (1839) the " Pansym-
phonikon " (v. D. D.) ; composer. (2)
kdmund, b. Totis, Hungary, Oct.
14, 1831 ; violinist; pupil of Ellinger,
at Pesth, then of Kohne; toured, then
studied with Jos. B^^hm, Vienna, and
at Paris Cons.; 1853-61 leader at
Weimar; then leader at Stuttgart,
and prof, at the Cons. (3) Otto,
Sora, Saxony, 1833 — New York, 1894.;
pianist, conductor, teacher and com-
poser. (4) Otto, Jr., b. Dresden,
Sept. 14, 1863 ; violinist ; studied in
Paris, in Berlin under Kiel, and ia
Munich under Rheinberger; 1890
teacher in Cologne Cons., and con-
ductor ; since 1892 lives in Leipzig ;
c. vln.- ConcertstUck, etc.
Sinn (zYn), Chp. Albert, wrote trea-
tise on ** Temperament^' \'iVi.
740
THE MUSICAL GUIDE
Sir'meii (STrmeii), (i) Lois^i, violin-
ist and cond. at Bergamo ; his wife,
(2) Maddalena LomtMurdini de, b.
Venice, 1735 — d. towards end of
cent.; prominent violinist; pupil of
Tartini ; later sins^er and composer.
Sistermanns (zlst >^r-m§ns), Antony
b. Herzogenbosch, Holland, Aug. 5,
1867; bass ; pupil of Stockhausen ;
1S99, sang *' Pogner '* at Bayreuth ;
lives in Frankfort.
Sitt (tit), Hans, b. Prague, Sept. 21,
1850; violinist ; studied Prague Cons.;
1867, leader tbeatre-orch., Breslau ;
1869, cond. there, later in Prague,
etc.; 1883, teacher of vln. Leipzig
Cons, and vla.-playerBrodsky Quartet;
cond. of various societies ; c. 3 vln.-
concertos, a via. -concerto, a 'cello-
concerto, etc.
Sittard (sU-tilr), Josef, b. Aix-la-Cha-
pelle, June 4, 1846 ; pupil, Stuttgart
Cons., later teacher of singing and
pf . there ; lecturer on mus. ; since
1885, critic ; 1 89 1, prof. ; writer and
composer.
Sivon (se-vo'-re), Ernesto Camillo,
b. Genoa, 1815 — 1894; famous vio-
linist and composer ; d^but at 6 ; pu-
pil of Costa and Paganini ; toured
widely.
Sjdirren (shakh'-r«n), (Jn. Gy.) Emil,
b. Stockholm, 1853 ; pupil of the
Cons, there ; later of Kiel (cpt) and
Haupt (oig. at Berlin) ; since 1890,
organist Johankirke, Stockholm; c.
sonatas, etc.
Skronp (or Skraup) (shkroop or
shkra-oop), (i) Fz. (Frantisek),
Vosic, Bohemia, 1801 — Rotterdam,
1862 ; conductor and dram, compos-
er. (2) Jan Nepomuk, Vosic, 181 1
— Prague, 1892 ; bro. of above ; con-
ductor, singing-teacher, writer and
dram, composer.
Skuherskt (skoo'-h«r-shke), Fz.
(Frantiftek) Sdenko, Opocno, Bo-
hemia, 1830 — Budweis, 1892; or-
ganist, conductor, theorist and com-
SW^ (sU'-tyn), Ilja Hitch, b. Bel-
gorod, Russia, July 7, 1845 ; pupil
St. Petersburg Cons, and of Tlu Kd-
lak and Wuerst, Berlin ; dir. Chaz-
kow section. Imp. Russian Mql
Soc.
Slaughter (slot'-^r), A. Walter, cbo-
rister at St. Andrew*s, WcUs ^,
London ; pupil of A. Cellier aad
Jacobi ; cond. Drury Lane and Sl
Jameses Th.; prod, comic operas
(1890), and a succ. mus.-coiDedT
*• r^ FrtncA Maid** (1897), etc
SlaTik (sla'-vek), Jos., Jtnce, Bobe-
mia, 1806— Pesth, 1833 ; vioUnisL
Sliyinski (sU-ven'-shkl), Jos. tob, b.
Warsaw, Dec. 15, 1865; pianist;
pupil of Strobl, Leschetizky and An-
ton Rubinstein ; debut, 1890 ; Amer-
ica, 1893 ; toured ^th Leipz^ PhiSL
orch. ; lives Paris.
Slo'per (Edw. Hu^^), Lindsay, L(»-
don, 1826— 1887; pianist, teacher,
writer and composer.
Small'wood, Wm., b. Kendal, Engl,
1 83 1 — 1897; organist; writer aad
composer.
Smaregflia (sma-ral'-yi). A., b. Poia,
Istria, May 5, 1854 ; studied Viemn
and at the Milan Cons. , jgradoatXEi|r
with a symph. work ** £Uan^ra ";
prod. 6 operas, incl. ** J^rrnasa"
(Milan, 1879), '* Bianca da CervU^
(MiUn, La Scala, 1882). *'// Vassal
lo di Stigeth " (Vienna, 1889, as ^'Dtr
Vasall wm Stigeth^' New York,
1890), and **Zfl Falena*' (Venice,
1897.
Smart, (i) Sir G. (Thos.), Loodoo.
1776— 1867; noted conductor; pupil
of Dupuis and Arnold ; knighted,
181 1 ; cond. Phil. Soc., 1813-44.
(2) Henry, Dublin, 1778— 1823;
bro. of above ; violinist ; leader Dm-
ry Lane, i8ia-2i ; piano-ma nnfar-
turer. (3) Henry, London, Oct, 26,
18 1 3 — (blind) July 6, 1879 \ son ami
pupil of (2); studied with Keams;
organist in London from 1836 ; c ao
opera '^ Bertha*^ (185 5); many canta-
tas, etc.
Smetana (sma'-ta-na), Fr. (Bedridi),
Leitomischl, Bohemia, 1824—- insane,
Prague, 1884 ^ noted composer aad
DICTIONARY OF MUSICIANS 74»
|Manist ; pupil of Proksch and Liszt ;
1848, organised a sch. at Prague;
1866-74, cond. Nat. Theatre Prague.
Deafness caused bis resignation and
Che eternal ringing of one note in his
head brought on insanity. He made
this note the motif of a prophetic
composition. C. a string-quartet, 7
operas, incl. ^^Prodand neveita**
C* The Bartered Bride'\ 1866; 9
symph. poems, incl. a cycle of 6
'^Md Vlasr (''My Country''),
symph. of ** Triumph,'' etc.
Smetn'eri^elly Wm., pianist^ organist,
writer and composer, London, 1794.
Smith, Xi) Bd. (Bd. Schmidt) (called
•'Father Smith"), Germany, ca.
1630 — London, 1708 ; ct org. -build-
er. (2) Robt., Cambridge, i68^| —
1768 ; acoustician. (3) J. Chris-
topher (Johann Chr. Schmidt),
Ai^bach, 1712 — Bath, 1795 I dram,
composer. (4) Johann Stafford,
Gloucester, Engl., ca. 1750— Lon-
don, 1836 ; oivanist and composer.
(5) Edw. woodjey, 1775— 1849,
^-vicar at Windsor. (6) Geo.
Townshend, Windsor, 181 3 — Here-
ford, 1877: son of above ; composer.
(7) Montem, bro. of above ; singer.
(8) Samaely b. Eton, 1821; bro. of
above; organist. (9) John, Cam-
bridge, 1795 — 1861; composer and
prof. (10) Robt. Archibald, Read-
ing, 1780-— 1829; composer and vio-
linist. (11) Alice Mary (Mrs. Mead-
ows White), London, 1839 — 1884;
composer. (12) Sydney, Dorchest-
er, Engl., 1839-^London, 1889 ; pi-
anist, teacher, writer, etc. (13) Wil-
son 0., b. Elyria, Ohio, Aug. 19,
1855 ; notable composer ; pupil of
Otto Singer, at Cincinnati ; at Ber-
lin, 1880-82, of Kiel, the Sctiarwen-
kas, Neumann, Moszkowski and
Raif ; since 1882, lives in Cleveland
as teacher of pf., voice and comp.;
pub. numerous graceful pf.-pcs. and
songs, also ** Octave Studies" and
other valuable technical works. (14)
Gerrit, b. Hagerstown, Maryland
Dec II, 1859; graduate (M. A. and
Mus. Doc.) Hobart College, Geneva,
N. Y.; pupil of Stuttgart Cons.; then
of S. P. Warren, New York ; organ-
ist, Buffalo ; also studied with Eu-
gene Thayer (org.), and W. H.
Sherwood (pf.), and one year in Ber-
lin with Haupt and Rohde ; then
organist, Albany ; since 1885, at the
South Ch., N. Y.; music-prof.; prof.
Union Theol. Seminary ; c. cantata
''King David'' choruses, graceful
pf.-pcs. and songs.
Smohan (shm5'-lY-&n), Arthur, b.
Riga, Dec. 3, 1856 ; pupil of Munich
Cons.; cond. at various theatres;
teacher, Wiesbaden; 1890, teacher
Carlsruhe Cons. ; and critic ; compos-
er.
Smyth, Ethel, b. England ; c. text
and music of opera ** The Forest"
{Der PVaid), prod. Beriin, 1902, and
London, 1902.
Snel (sn^I), Jos. Fran., Brussels, 1793
— Koekelberg, near Brussels, 1861;
violinist, conductor and dram, com-
poser.
Snetzler (shn^ts'-l^r), John, Passau,
1710 — London, end of i8th cent.;
org.-builder, England.
Snow, (i) Moses, d. 1702 ; member
of the Chapel Royal. (2) Valen-
tine, d. 1772 ; English trumpeter in
Handers works.
Soares, Joao. Vide rebello.
So'binof; , favourite Russian
tenor at Petersburg.
SoboleTsky (so-bo-Wf'-shkt),
prof, at St. Petersburg ; ed. Russian
folk-songs (1895).
Sodermann (sa'-d£r-m£n), August
Johan, Stockholm, 1832 — 1876 ;
theatre-conductor there ; pupil of
Hauptmann and Richter ; c. Swedish
operetta, a notable mass with orch.,
etc.
Soffredini (s6f-fr^-de'.ne), Alfredo,
from 1896, ed.-in-chief, Milan "Gat^
zetta Musicale" : prod, (text and
mus.) 2-act children s opera *' II Pic*
colo Haydn " (Pa via, 1895), ^^^'
SokoloT (s5'-ko-ldf), Nicholas, b.
Petersburg, 1858 ; pupil at the Cons.;
742
THE MUSICAL GUIDE
taught hann. in the Imp. Chapel ; c.
an elegy (op. 4), and intermezzo for
orch., etc.
Soldat (zdl'-dit), Marie (Frau Soldat^
Ro^er), (b. Graz. March 25. 1864;
violinist ; pupil of Pleiner and Pott,
and of Joachim, 1889 ; m. Herr
Roger (Vienna).
S0U6 (sol.yi) (rightly Sotilier), (i) J.
P., Nimes, 1755— Paris, 1812 ; bary-
tone ; c. comic operas, many pop.
(2) Chas., son of above ; conductor ;
prod, a comic opera (Nice. 1877).
Solle (z6l'-l6), Fr., Zeulenroda, Thu-
ringia, 1806 — 1884 ; cantor and
writer.
Soloriev (or Solowiew) (so'-lo-vcQ.
Nicolai Feopometoritch, b. Petro-
savodsk, Russia, April 27 (Mav 9),
1846 ; pupil of N. J. Zaremba (theo-
ry), Imp. Cons, at Petersburg ;
since 1874 prof, there ; also critic,
editor and Councillor of State ; c.
comic opera " Vakukt^ The Smith ^*
(Petersb., 1875), and grand opera
''Cordelia'* (Petersb., 1883, in Ger-
man, Prague, 1890) ; finished Seroff*s
opera ** The Demon's Power'*; c.
symph. picture, " Russia and the
Mongols (Moscow, 1882); prize
chorus *' Prayer for Russia " (Imp.
Russ. Mus. Soc., 1876), cantata
** The Death of Samson " (1870).
Som'erset, Lord H. (Richard Chas.)*
b. Dec. 7, 1849 ; amateur composer.
Somervell, Arthur, b. Windermere,
Engl.; pupil Berlin Hochschule and
of Stanford and Parry, R.C.M.; c.
mass, with orch. (Bach Choir, 1891),
*'A Song of Praise " {iSgj), '* The
Forsaken Merman'' (Leeds Fest.,
1895), ** The Power of Sound"
(1895), elegy for alto with orch.,
suite for small orch. **/« Arcady,"
song cycle on Tennyson's ''Maude"
etc.
Somis (so'-mes), GioT. Bat., Pied-
mont, 1676 — Turin, 1763 ; violinist,
teacher and conductor.
Sommer (zdm'-mdr), (i) Dr. Hans
(rightly Hans Fr. Aug. Zincke)
(tsInk'-5), b. Brunswick, July 20, 1837;
pupil of Meres and J. O. GfimiB :
graduate, later prof, at GOCtiofca
Univ.; from 1888 lived in VTeimar:
c. succ opera ** Lorelei " (Bnmsvicfc,
1891), i-act "BMknenspUir " Smim
Foix" (Munich. 1894), i-ju:t "Zte-
Metrman^ (Weimar, 1806). '' Rmit-
tahl" (1902). (2) KarC sngcr at
ct.-opera, Vienna.
Sonnleitner (zon'-Kt-ner), (i) Ch^ S,
Szegedin, 1734 — ^Vienna, 1786; dean
of jurisprudence, Vienna ; composer.
(2) Jos., Vienna, 1765 — 1835 ; soa of
above ; 1^27, discovered the famoos
9th cent. Antipbonary of St. GaOca
in neume-notation. (3) L4» tob,
Vienna, 1797 — 1873; nephcv of
above ; devoted friend of Scjiobert.
Sontagr (z6n'.takh), Henriette (Gcr-
tmde Walporgis), Cobleoz, Jan.
3, 1804— of cholera, Mexico, jfmie
17, 1854 ; famous colorature-sopn-
no, her voice taking e'" easily; dai^h-
ter of two actors; operatic singer;
1823 created von Weber's *' Emry-
ant he."
Sontheim (z6n'-tim), H., b. Bebes-
hauseUf Feb. 3, 1820 ; notable tenor;
debut Carlsruhe, 1839; ^^T^t pc>^
sioned.
Sor (rightly Sors) (s6r), Fdo., Barce-
lona, 1778 — Paris, 1839; guitar-virt-
uoso and dram, composer.
Sorge (zdr'-g«), G. Ands., MeUen-
bach, Schwarzburg, 1703 — Loben-
stein, 1778 ; famous organist and
theorist ; ct. -organist and composer.
Soriano, (i) Fran. Vide suriano. (2)
Soriano - Fuertes (sd-r1-4i'.ad-foo-
£r'-tfe), Don Mariano, Murcia, 1817
— Madrid, 1880 ; son and pupil of the
dir. royal chamber-mus. (1841) ; prod,
several zarzuelas, aiming to estab.
national opera ; conductor and writer
of historical works.
Sormann (zor'-m&n), Alfired (Richard
Gotthilf ), b. Danzig, May 16, 1861,
pianist ; pupil of R. Hochschule,
Berlin, and of Liszt; d^but 1886;
1889, ct.-pianist to Grand Duke of
Mecklenburg-Strelitz ; c. coooerto^
etc
DICTIONARY OF MUSICIANS 743
3oiibies (soo-bl-^), Albert, b. Paris,
Biay 10, 1846; mus.-historioerapher
and critic ; a lawyer, then pupil of Sa-
vard and Bazin (hlrm. and comp.) at
the Cons.; 1874 he revived the fa-
mous ** Almanack dfs spectacles ^
j4lm. Duchesne**; for this the Aca-
<lemie, 1893, awarded him the Prix
Voirac; 1876, critic for**Z/ Sair^*
under name ** B, <k Lomagne";
officer of public instruction, and Le-
gion of Honour, also of the Russian
order Stanislas; writer of valuable
liistorical works, etc.
Sonbre (soobr), Etienne Jos., Li^e,
18 1 3 — 187 1 ; director and dram. comp.
Souhaitty (soo-«t-te'), J. Jac, Fran-
ciscan monk at Paris, the first to use
fibres for popular notation, 1665-78.
Soulier (soo-ya). Vide soLii.
a (soo'-sS), John Philip, b.
Washington, D. C, Nov. 6, 1856;
son of a Spanish trombonist in the
U. S. Marine Corps band. Pupil of
John Esputa and G. F. Benkert
(harm, and comp.) ; at 17 cond. of
travelling theatrical troupes ; 1877,
violinist in Offenbach*s orch. in Amer-
ica ; dir. ** Philadelphia Church-choir
Pinafore Co.**; 1880-92, bandm.
U. S. Marine Corps; resigned and
organised the military band bearing
his own name, which has toured
America and Europe with greatest
succ. ; (iqoo), Paris, Exposition.
Compiled, by Govt, order, " National
Patriotic and Typical Airs ofallCoun-
tries**; wrote mstruction-books for
trumpet and drum, and for vln. C. 7
comic operas incl. v. succ. *' ElCapi-
tan** succ. (text and music) ** The
Bride EUct,** ** The Charlatan,** and
•• Chris and the Wonderful Lamp,**
a symph. poem *' The Chariot Race "
(from ** Ben Hur **) ; 3 suites, *' The
Last Days of Pompeii '* ''Three Quo-
tatums,** and '' Sheridan* s Ride**;
and many immensely succ. marches
popular throughout the world.
^* Washington Post,** ''High School
Cadets,** *' Stars and Strides For-
ever** *' Imperial Edivard, etc.
SoWnsky (sd-vTn'-skY), Albert (CsyH
Wojcch), Ladyzyn, Ukraine, 1803
(1805 ?)— Paris, March 5, 1880 ; pian-
ist, teacher and dram, composer.
Soyer (swa-ya), Berthe, b. Chalon-
sur-Saone, May 12, 1877; contralto ;
pupil of Paris Cons., took ist prize
Paris Cons., 1899; debut same year
at Op^ra as ** Amneris."
Spang^enberg (spfing'-^n-b^rkh), (i)
Jn., Hardeisen, near GOttingen, 1484
— Eisleben, 1550 ; theorist and com-
poser. (2) Cyriak, Nordhausen,
1528 — Strassburg, 1604 ; son of
above ; writer.
Spark, Dr. Wm., Exeter, Engl., Oct.
28, 1823 — Leeds, June 16, 1897 ;
noted organist a£id editor ; wrote au-
tobiography and memoirs; composer.
Spataro (spa-tS'-ro) (or Spat ams,
Spada'ro, Spada'rius), Gior., Bo-
logna, ca. 1460 — 1541 ; conductor
and theorist.
Spazier (shpft-tsSr'), Jn. 01. K., Ber-
lin, 1761 — Leipzig, 1805 ; theorist
and composer.
Speer (shpar), Daniel, cantor at Wai-
blingen, 1692 ; composer.
Speidel (shpl'-ddl), (i) Konrad, d.
Ulm, Jan. 29, 1880 ; singer and con-
ductor. (2) Wm., Ulm, 1826—
Stuttgart, 1899; son of above; pianist,
conductor and composer. (3) Ma-
ria, b. Stuttgart, Oct. 13, 1872 ;
daufi^hter of a^ve ; singer ; pupil of
Pollmi and Nicklass-Kempner.
Spengel (shp^ng'-^l), Julius H., b'.
Hamburg, June 12, 1853 ; pupil of
Cologne Cons, and Berlin Hoch-
schule, taught in Hamburg, and
studied with Gradenerand Armbrust;
1878, cond. Cficilienverein ; singing-
teacher and organist ; c. S3rmph.,
'cello-sonata, etc.
Spen'ser, Willard, b. Cooperstown,
N. Y., July 7, 1856; self-taught;
prod. V. succ. operettas, text and
music, ** TheLittU 7><:(^tf« " (Philadel-
phia, 1886), and "Princess Bonnie,**
Speyer (Speier) (shpl'-^r), Wilhelm,
Frankfort, 1790— 1878 ; violinist and
composer.
744.
THE MUSICAL GUIDE
j^kker (shp&'^r). Max, b. K6nigs.
berg, Prussia, Aug. i6, 1858 ; pupil
of Louis KOhler, then of Leipzig
Cons.; theatre conductor various
cities; 1882-S8, oond. *' Beethoven
Milnnerchor," New York; 1888-95
Dir. Brooklyn Cons.; since teacher
Nat. Cons., New York ; c. orch.
suite, cantata with orch., etc.
Spieling: (shpe'-ring), Theodor, b.
St Loui&i Missouri, 187 1 ; violinist ;
pupil of H. Schradieck, Cincinnati ;
then of Joachim, Berlin; founder and
1st vln. "Spiering Quartet," Chi-
cago.
Spies (shpes), Hennine, Lohnbei^er
Foundry, near Weilburg, 1857 —
Wiesbaden, 1893 ; concert-contralto.
Spiess (shpes), (i) Jn. Martin, organ-
ist and composer (1745-61). (2)
Meinard, Honsolgen, Swabia, 1683
— Yrsee Monastery, 1761 ; prior,
theorist and composer.
Spindler (shplnt'-l^r). Fritz, b. Wttrr-
bach, near Lobenstein, Nov. 24,
181 7 ; pianist ; studied mus. with
Fr. Schneider at Dessau ; from 1 841,
lived in Dresden as teacher; c. 3
sjrmphs., pf. -concerto, v. pop. salon-
pcs., etc.
Spinelli (spI-n^l'-U), Nicol^ b. Tu-
rin, 1865 ; notable neo- Italian; pupil
of Naples Cons.; 1890 took 2nd Son-
zogno prize with i-act opera *'6^
HUa" Mascagni winning ist prize ;
prod. V. succ 3-act lyric drama '* A
' Basso PartQ " (1894, New York,
1899), vide ** Stories of the Operas."
Spin'neT, English family of musicians,
(i) Thos. Edw., b. June 24, 1824 ;
pupil of Sir Henry Bishop ; oi^gan-
ist St. Edmund's, Salisbury, and cond.
Orpheus Soc.; c cantata, church-
mus., etc. (2) Mattie (Mrs. Bees-
ley), dai^hter of above ; pianist ;
Supil of Benedict, Bennett, and von
iQlow; d<fbut, London, 1875; or-
ganist, at Banbury. Her four broth-
ers, (3) Eug^ene, 1845— 1867 ; 1862,
organist, Banbury. (4) Frank, 1850
— 1888 ; organist, conductor and
composer. (5) Walter, 1852 — 1894 ;
organist various cities; c oi]g.-pcs..
etc. (6) Rev. T. Herbert, b. Jai.
I3« 1857 ; pupil of AjTX>ld aod
Bridge; won harm.-prize» Trinity
Coll., London, 1876 ; at 16 oigan-
ist, Salisbury, later at Exeter ColL,
Oxford; F.R.C.O.; 1882, ordained
priest ; 1885, vicar, Burton-on-Tieot ;
composer.
Spiridio (spe-re-dl-5), Bertbold,
monk, organist and composer, Bam-
berg, 1665-91.
Spirid'ion. Vide xyndas.
Spitta (shpYt'-ta), (i) (Julius Aqg.)
Fhilipp, Wechold, near Hoya, Has-
over, Dec. 27, 1841 — Berlin, April 13,
1894; teacher and prof, musiod his-
tory ; wrote many essays and a not-
able life of J. S. Bach (2 vols., 1873-
80), etc (2) Fr., b. Wittingcn, Han-
over, Jan. 10, 1852 ; bro. of above ;
prof, of theology, Strassburg Umr.;
ed. works of SchQtz and pub. valu-
able treatises.
Spof forth, (i) Reginald, Nottingham,
Southwell, 1769 — Kensington, 1827;
c. glees, etc. (2) Samuel, 17S0—
1864 ; bro. of above ; oi^nist and
composer.
Spohr (shp5r), Ludwi^^ (in his auto-
biography he calls Inmself Louis),
Brunswick, April 5, 1784 — Cassel
Nov. 22, 1859 ; eminent violinist and
conductor; notable composer and
teacher. Son of a phvsician who re-
moved to Seesen, 1786 ; pupil of his
mother, and at 5 studi^ with Rie-
menschneider (vln.) and Dufoor;
then with Kunisch, Hartnng and
Maucourt, Brunswick; at 14 be
played a concerto of his own at court
He became a member of the Ducal
Orch.; 1802 pupil of Fz. Eck, whom
he accompanied to St. Petersbuig;
1803, returned to the Ducal Orch. ;
1804 toured with great succ. ; 1805,
leader Duke of Gotha*s orch.; m.
Dorette Scheidler (d. 1834), the haip-
player and toiued with her, 1807 and
1809. 1836 he m. the pianist Mari-
anne Pfeiffer (d. 1892); 1812, after
brilliant concerts at Vienna, leader at
DICTIONARY OF MUSICIANS 745
the Th. an der Wien ; 1815, toured
Italy (placing a concertante of his
own with raganini at Rome) ; 1817^
19, opera-cond. at Frankfort ; prod,
here succ. opera " Faust "y 1820,
visited England with his wife, played
at Philharm. Concerts* and prod,
there two symphs.; introducing into
England the habit of conducting with
a biton. Gave concerts at Paris
with little succ. From 1822 ct.-cond.
at Cassel ; 1857, retired for political
reasons on a reduced pension. Dur*
ing his period as a cond. he prod.
Wagner's *' FliegauU HoUdnder''
(1842), and •• Tannhduser'* {1853),
but could not overcome the oppo-
sition to a production of ^'' Lohen'
grin** He soon recognised Wagner
as the greatest living dramatic com-
poser, but did not care for Beethoven
or Weber. He is among the first of
the second-best composers, his high*
est attainments being the opera* *//j-
sonda" (Cassel, 1823), the oratorio
•' Die LetMten Dinge " (Cassel, 1826 ;
in England as '* The Last fudg'
tfunt'*); the grand symph. **Z?f>
IFeiAe der Tone'* (** The Consecra*
Hon of Tonei* 1832) and the clas-
sic vln.- concertos. His ** Violin^
School** (1831 in 3 parts), is a stand-
ard. He c. II operas in all; dram,
cantata, ** Das Befreite Deutsche
land** J a mass, etc., with orch.; 9
symphs.; No. 4 op. 86 in F (" fVeihe
der Tdne ") ; No. 6 op. 116, G {^'His-
torical**; dedicated to the London
Philh. Soc.); 7 op. 121, C (*' Irdisch-
es und GdttUsehes im Menschen^
leben**) for 2 orchs.; 8 op. 137, G
min. (ded. to the London Philharm.) ;
9 op. 143, B min. (" Die Jahreszeit*
en ), 8 overtures, and 15 vln.-con-
certos; No. 8 (op. 47, in A min.,
**iif modo duna scena cantante**)
••quartet-concerto" for 2 vlns., via.,
and 'cello with orch.; 2 concertantes
for 2 vlns. with orch.; grande polo-
naise for vlns. with orch.; 2 clar.-
concertos ; much chamber - mus.
Atttobiogr. (Cassel* i860, '61, 2 vols.);
Biogr. by Malibran (Frankfort, i860);
by H. M. Schletterer (188 1).
Spontini (sp6n-te-ne), Gasparo
(Luigi Padfico)) Majolati, Ancone,
Nov. 14, 1774 — Jan. 24, 1851; note-
worthy cond. and dram, composer.
Son of poor peasants, who intended
him for the church, he ran away, and
an uncle, at San Vito, provided him
with teaching. At 17 entered the
Cons, della PietA de' Turchini at Na-
ples. 1796, commissioned to write
an opera for the Teatro Argentina at
Rome, its director having heard some
of his church-mus. in Naples, he left
the Cons, without permission and
prod. succ. opera, "/ Puntigli delle
Donne**; Piccinni secured his rein-
statement and gave him valuable ad-
vice. He prod, operas with succ. in
various cities and in Palermo, where
he was cond. to the Neapolitan court
which had fled before the French.
After having produced 16 light Ital-
ian operas, he went to Paris (1803),
where three successive failures and
a study of Mozart*s works, led him.
to change his style. After support-
ing himself as a singing-teacher he
won succ. with his substantial i-act
opera ** Milton** (Th. Feydeau, Nov.
27, 1804); the Empress Josephine, to
whom he had dedicated the score, ap-
pointed him '• chamber-composer.**
He c. a cantata ''*L*eccelsa Gara^
celebrating the victory of Austerlitz.
The Empress's power secured a hear*
ing for lus opera '*Zfl PVi/a/f," which
after three years of delay and polish*
ing, was prod, with greatest succ. 1807;
by a unanimous verdict of the judges,
Mehul, Gossec and Gr<5try, Napo>
icon's prize for the best dram, work
of the decade was awarded to it. It
was followed with equal succ. by the
g^nd opera *'' Fernand Cortez^**
1809. 1810, dir. It. opera; dis-
missed for financial irregularity;
18 14, Louis XVIII. appointed him
ct.-composer. He c. 2 stage-pieces
in glorification of the Restoration.
The opera ** Ofympii** was prod.
746
THE MUSICAL GUIDE
1819 without socc., though when re*
vised and prod. 1826 it prospered.
1820, he became ct.*composer and
gen. mus.-dir. at Berlin ; he prod,
his old operas with succ, and c. the
festival play '' Lalla Rukh"* (1821).
remodelled as '* Nurmahal** (1822) ;
^^ AUidar"* (1825) and *^ AgH€S von
Hohenstaufen^* (1829), none of
which were widely succ. A period of
violent jealousies and quarrels with
the Intendant BrQhl, and virulent in-
trigues, culminated after a score of
stormy years in his being royally rep-
rimanded, and finally driven out of
the theatre by a hostile audience.
He retired in 1841 on full pay. He
went to Paris, then to Italy. 1844
the Pope gave him the rank and title
of ••Conte di Sant* Andrea"; he
was a knight of the Prussian ** Ordre
pour le merite," member of the Ber-
Un Akademie (1839), and Paris Aca*
d^mie, and Dr. Phil., Halle Univ.
Biog. by L. de Lomenie (1841);
Montanari (1851); Raoul-Rochette
(1S82).
Spor'le (rightly Burnett), Nathan J.,
18 12 — 1853 ; English tenor and com-
poser.
Squire, Wm. Henrj, b. Ross, Here-
fordshire, Aug. 8, 187 1 ; 'cellist; son
and pupil of an amateur violinist;
diSbut at 7; won scholarship at the
R. C. M., and studied with Powell
and Parry; second d^but, 1891; c.
•cello-concerto.
SUbile (sta'.be-l£), Annibale, d.
Rome, ca. 1595 ; conductor and
composer.
Stade (shta'-d^, (i) H. Bd., Ettisch-
leben, 18 16 — ^Amstadt, 1882 ; organ-
ist and composer. (2) Fr. Wm., b.
Halle, Aug. 25, 18 17; organist, pu-
pil of Fr. Schneider, Dessau ; mus.-
dir. and Dr. Phil, h, c. Jena Univ.;
1860-1891, ct -organist and cond. at
Altenburg ; c. 2 symphs. ; Festouver-
tUre , musicto*' (?r^J/:^/*; cantatas, with
orch. ; choral works ; vln.-sonata ;
•• KindersonaU " (4 hands), etc. (3)
Dr. Frits (L. Rudolf), b. Sonders-
haosen, Jan. 8. 1844 ; papQ of Ried
and Rjditer, Lctiu%, aiid teadxr
there ; pub. an answer to Hansfick's
" Vom MusikaHsck'Sckam^nr etc
Staden (shta'-dte), (i) Jn., Nttrnbof,
ca- 1579 — 1634; organist and coo-
poser. (2) SigiaomiMl GL, sod and
successor of above; c ** Seelrteir^
the eariiest extant German opera (d.
H. SCHUTZ' opera **£>afm "7-
Stadler (shtfit'-l«r), MaTimiHai,
Melk« Lower Austria, 1748 — ^Vicma,
1833 ; composer and writer.
Stadlmayer (shtit'-l-mf-^r), Jn., Fic»-
sing, Bavaria, 1560 — Innsbruck, after
1646 ; conductor and composer.
Stadtfeldt (shtat'.f«lt), Alex., Wies-
baden, 1826 — Brussels, 1853, dram,
composer.
Stagemann (shta'-g€-min), Ifax, b.
Freienwalde-on-Oder, May 10, 1843;
pupil of Dresden Cons.; tmytooe
and ••chamber-singer" at Hanover;
1877, dir. of K6nigsberg Th.; later,
mana^r Leipzig City Th.
Stag'gins, Nicholas, d. 1705 ; Ei^-
lish composer and professor.
Stagno (stto'-yd), Alberto, Palenno,
1836 — Genoa, 1897 ; tenor.
Stahlknecht (shtil-k'n^ht), two broth-
ers, (i) Ad., Warsaw, 1813 — ^Berim,
1887; violinist and dram, composer.
(2) Julius, Posen, 1817 — Berlin,
1892 ; 'cellist royal orchestra.
Stahmer-Andriessen (shta' -m^-in'*
drcs-ste), Pelagie (now Greef-A.) h.
Vienna, June 20, 1862 ; pupil of tbe
Cons., and of Frau Dreyschock; so-
prano in Neumann's troupe ; 1884-90^
Leipzig town-theatre ; 1890, m. ar^
itect Ende ; later m. Greef.
Stainer (or Steiner) (shtT-n^r). Jakob,
Absam, Tyrol, 162 1 — 1683 ? inventor
and manufacturer of instrs. (2)
Markns, his brother, also vln.- aiMl
via. -maker.
Stainer (st&'-n^), Sir John, London,
June 6, 1840— Verona, April, 1901 ;
chorister at St. Paul's ; studied vitb
Bayley (harm.) and Steggal (qit.)f
and later Cooper (org.) ; 1854-60, or-
ganist various places, then Univ. or
DICTIONARY OF MUSICIANS 747
ST^iiist at Oxford ; (1859) Bac. Mas.,
And (1865) Mus. Doc.; 1866, Exam-
iner for mus. degrees ; 1872--88, or«
g^anist of St. Paul's, resigning on
account of his eyesight ; 1876, prof.
of onr» and harm. Nat. Training
Sch. for Mus. ; 188 1, principal in
Km. C. M.; 1883, again at Oxford;
1SS2, Govt. Inspector of Mus. in
the Training-Sch. ; 1878, Chev. of
the Legion of Honour ; knighted,
x888 ; 1889, prof, of mus. at Oxford
Univ.; pub. treatises and (with Bar-
ret) a ** Diet, of Mus, Terms*' 1875;
c. oratorio ** Gideon^"* cantatas ''^The
JDaugkter of Jairus^* (Wore. Fest.,
1878), ''St, Mary Ma^daUm^
(Gloucester, 1883). and " The Crucu
Jixion ** (London, 1887), 4 services,
etc.
Stair, Martha Greene (*« Patty''),
b. Cleveland, O. ; pianist ; pupil of
F. Bassett, there ; lives there as con-
cert pianist, organist and composer.
Stamaty (stiUmft-ti), Camille M.,
Rome, 181 1 — Paris, 1870; pianist
and composer.
Stamitz (sht&'-mlts), (i) Jn. K.,
Deutsch - Brod. , Bohemia, 1717^
Mannheim, 1761 ; notable violinist
and composer. (2) Anton Thad-
dHoSyDeutsch-Brod., 1721 — Altbunz-
lang, 1768; bro. of above; canon;
'ceUbst, Mannheim. (3) K., Mann-
heim, 1746— Jena, 1801 ; violinist
and viole d'amour- performer, con-
ductor and composer. (4) Anton,
Mannheim, 1753 — Paris,braof above;
yiolinist and composer.
Stanford, Chas. VUliers, b. Dublin,
Sept. 30, 1852 ; pianist and notable
composer ; pupil of Sir Robt. Stew-
art and Arthur O'Leary (comp.), and
Ernst Pauer (pf.), London ; 1870 won
ofgan scholarship at Queen's Coll.,
Ounbridge; 1873-92, organist of
Trinity Coll., Cambridge, also cond.
Univ. Mus. Soc. (till 1893) ; 1875-
76, studied comp. with Reinecke at
Leipzig, and Kiel, Berlin. M.A.,
Canub., 1878; Mus. Doc., Oxford,
1883, Cambridge, x888; 1883, prof.
of comp. and cond., R.C.M.; 1885,
cond. Bach Choir ; 1887, prof, of
Mus. at Cambridge ; 1897, cond.
Leeds Philh. Soc. C. operas,** The
Veiled Prophet of Khorassan "(Han-
over, i88r); ''Savonarola'** (Ham-
burg, 1884) ; •• The Canterbury Pil-
grims *• (London, Covent Gardeni
1884) ; V. succ. •* Shamus O'Brien"
(London, 1896) ; ** Much Ado about
Nothing** (Covent Garden, 1901,
Leipzig, 1902); incid. mus.; orato-
rio, '* The Resurrection " (1875) »
'* The Three Holy Children** (Bir-
mingham, 1885) ; Psalm 96 (1877) ;
"Elegiac Ode** (Norwich, 1884);
"The Revenge** (Leeds, 1886);
"JubiUe Ode*^ (1887), etc. ** The
Bard** (Cardiff, 1895); " Phaudrig
Crochoore " (Norwich, 1896) ; re-
quiem, 3 Morning and Evening
Services; a Communion Service, etc.;
5 symphs. ** Elegiac " in D min.
(No. 3) ** frish^* (No. 4) •* Thro*
Youth to Strife, Thro* Death to-
Life **/ and No. 5 ** L* allegro ed il
penseroso** ; 2 overtures, a pf. -con-
certo ; ** Irish Rhapsody " (1902), etc.
Stan^ (sht^ng -$), Hermann, b. Kiel,
Dec. 19, 1835; pupil of Leipzig Cons.;
organist at Rossal College, Engl.;
since 1878, mus.-dir., and since 1887
prof. Kiel Univ.
Stanhope, Chas., Third Eari of.
1753 — London, 18 16; writer.
Stanley, (i) (Chas.) John, London,
1713 — 1786 ; organist and conduct-
or. (2) Albert Augustus, b. Man-
ville, Rhode Island, May 25, 1851 ;*
studied in Providence, and at Leip-
zig; organist, Providence; 1888,
prof, of mus. Univ. of Michigan. C.
^'The City of Freedom,** ode, with
orch. (Boston, 1883); Psalm 21 (Prov-
idence, 1892), and Commemoration
Ode ** Chorus triumphalis** with
orch ; svmph. ** The Awakening of
the Soul**; symph. poem '* Altis^
etc.
Stans'burg^, Geo. F., Bristol, 1800^
1845 ; pianist; violinist, flutist, singet
and composer.
748
THE MUSICAL GUIDE
Starck, Ing^eborflr. Vide bronsart.
Stark (shtiirk), L., Munich, 1831—
Stuttgart, 1884 ; teacher, editor and
composer.
Starke (shtark'-€), Fr., Elsterwerda,
1774 — DObling, near Vienna, 1835 ;
bandm. , writer and composer.
Stasny (shtSs'-ne), (i) L., Prag^ue,
1823 — Frankfort, 1883 ; conductor
and dram, composer. (2) Vide sti-
ASTNY.
Staudi^ri (shtow'^ekh-n), (i) Josef,
WOllersdorf, Lower Austria, 1807-^
(insane), Michaelbeuemgrund, near
Vienna, 1861 ; bass and ct.-conduct-
or. (2) Josef, b. Vienna, March 18,
1850 ; son of above ; barytone; pupil
of Rokitansky at the Cons. ; chamber-
singer to the Grand Duke at Carls-
ruhe and a member of the ct.-opera.
His wife (3) Gisela, singer ; pupil
of Marchesi, 1899 Wiesbaden ct.-
opera.
Stavenhagen (shtH'-f^n-hS-g^n), (i)
^ Bd., b. Griez, Reuss, Nov. 24, 1862;
pianist ; pupil of Kiel, at the Mei-
sterschiile, and of Rudorff, at the
Hochschule, Berlin ; 1880, won the
Mendelssohn prize for pf.; pupil of
Liszt, 1885 ; toured Europe with
succ. and the U. S. (1894-95) ; 1890,
ct.*pianist and ct.-conductor at Wei-
mar ; Knight of the White Falcon
order ; from 1898 ct.-cond. at Mu-
nich ; c. pf.-pcs. (2) S. Denis Ag-
nes, b. Winsen, Sept. 3, 1862 ; so-
prano ; pupil of Frau Prof. Schultzen
and Frau Jachmann- Wagner ; cham-
ber-singer.
Stcherbatcheff(stch«r'-bat-ch«f), Nic-
olas de, b. Russia, Aug. 24, 1853 ;
prominent figure in the neo- Russian
sch.; c. ^* Deux idylles pour orches*
tre**; ^ Fieries et pantomimes^*
•* Mosaique^ album pittoresque" etc.,
for pf.; songs **.^« soir tombant^**
etc.
Stecker (sht£k'-^r), K., b. Kosmanos,
Bohemia, Jan. 22, 1861 ; pupil of
Prague Org. -Sch.; 1885-89, teacher
of org. there ; then prof, of cpt., and
history at the Cons.; from !888 also
lecturer at the Univ.; pah. treatises;
c. a Missa solemnis, etc.
Ste£Eani (stef-fS'-ne), Abbate A^^osti^
no, Castelfranco, Venetia, 1655—
Frankfort-on-Main, 1730 ; rniinfTr
composer of daring originality asd
great power both in instnmientaticai
and general construction ; ct.- and
chamber-musician and ct. -organist ;
prod. 20 operas.
Steffens (sht^f -f^ns). Jnlins, Staigard,
Pomerania, 1831 — Wiesbaden. 1882:
'cellist and composer.
Steffkins, (i) Theodore, prof. late
and viol, in London, 1673; his brod^
er (2) Dietrich was in the ct.-hnid,
1641 ; (3) Fr., and (4) Chr., sons of
(i) ; violinists.
Stegeall, (i) Chas., London, June 3.
1820; pupil of Bennett, R. A. M.,
185 1; prof, of org. and harm, their;
Mus. Bac. and Mus. Doc., Cambridge;
from 1864, organist Lincoln's hm
Chapel ; wrote method for org.; cd.
colls., and c. Psalms 105, and 33
with orch. ; services, etc. (2) Regi-
nald, b. London, April 7, 1867 ; son
and asst. -organist of above; pupil,
R.A.M.; from 1895, prof, of oig.
there ; c. mass with orch. and oigao,
*^ Festival Evening Sermce*' with
orch., a symph., 3 overtures, etc
Stegmann (stakh'-m£n), K, David,
Dresden, 1751 — Bonn, 1826; tenor,
cond. and dram, composer.
Stegmayer (shtakh'-ml-^), Fd., Vien-
na, 1803 — 1863 ; conductor, singing-
teacher and composer.
Stehle (shta'-l«), Gv. Ed., b. Stein-
hausen, Wtlrtemberg, Feb. 17, 1839;
cond. at St. Gallen Cath.; c. synq)h.
tone-picture ** Saul** for org.
Steibelt (shtl'-bdlt), Danie^ BerKn.
1765 — St. Petersburg, 1823 ; a most
un virtuous virtuoso. Under patron-
age of the Crown Prince, a pupil of
Kimberger; early debut; 1790, fa-
vourite pianist, teacher and com-
poser at Paris ; prod. v. succ. <^)en
*' Rom/o et Juliette^ (t793). He
seems to have suffered from klepto-
mania and general dishonesty, whkfa.
DICTIONARY OF MUSICIANS 749
witli his insolence, snobbery, and his
debts, forced him to leave Paris in
1797* for London, where he was
equally succ.; the "^ Storm Rondo"**
(or the finale of his 3rd concerto
**Z,*OrageyPr/c/d/ d*un rotuUau pas-
toraV*)^ rivalling the notorious *" Bat-
tU of Prttgugy^ by Koczwara. 1799,
he toured Germany, challenging
Beethoven at Vienna with disastrous
results. He carried Haydn*s '^'^ Crea-
tion** back to Paris and prod, it,
1800, with gpreat succ, with himself as
cembalist ; but had to leave Paris
again, remaining in London, until
1805, when he revisited Paris for 3
years ; 1808 toured and settled in
Petersburg ; 18 10, Imp. ct. - cond.
and cond. of French Opera ; here
pfxxl. 2 new operas, as well as earlier
ones. In spite of his odious personal-
ity, his virtuosity was remarkable,
and his compositions show much orig-
inality in modulation and scoring.
He wrote a pop. pf. -method ; c. 6
operas, 5 ballets, and much piano-
mus., including 50 etudes, many
programme - pes. of extraordinary
vogue.
Stein (shtin), (i) Jn. Andreas, Heide-
sheim, Palatinate, 1728 — Augsburg,
1792; inv. ** German (Viennese) pf.-
action"; organist and famous jpf.-
maker. Succeeded by son (2) Mat-
thjias Andreas (Augsburg, 1776 —
Vienna, 1842), who 1802 set up for
himself in Vienna. (3) Maria Anna
(or Nanette Streicner), Augsburg,
1769 — Vienna, 1835 ; daughter of (i);
a devoted friend of Beethoven ; also
a manager of the pf. -factory. Her
son (4) Jn. Bapt. (b. Vienna, 1795),
was her successor. (5) Fr., Augs-
burg, 1 78 1 — (of consumption) Vienna,
1808 ; bro. of above ; prominent pi-
anist. (6) Karoline (nee Haar),
pianist and teacher. (7) K. An*
dreas, Vienna, 1797 — 1863 ; son and
successor of (2) ; pupil of F5rster,
ct.-pf. -maker and composer. (8)
Eduard, Kleinschirma, Saxony, 18 18
— Sondershausen, 1^64 ; ct. - con-
ductor and composer. (9) Theodor,
b. Altona, 18 19; pianist; d^but at
12 ; since 1872, pf.-prof. Petersburg
Cons. (10) Gertrude May, b. Al-
bany, U.S.A.; pupil C. A. White ;
1 89 1, toured with the Juch Opera
Co. ; prominent American contralto ;
1901 m. L. A. Bailey.
Steinbach (shtln'-bakh), (i) Emil, b.
Lengenrieden, Baden, Nov. 14, 1849;
pupil Leipzig Cons.; 1877, cond.
Mayence town-orch ; c orch. and
chamber-mus. , etc. (2) Frits, b.
GrOnsfeld, Baden, June 17, 1855*,
bro. and pupil of above ; also pupil
Leipzig Cons. ; won Mozart Scholar-
ship; 1880-86, 2nd cond. at Ma-
yence ; since 1886 ct.-cond. Meining-
en ; pub. a septet, 'cello-sonata,
songs.
Steindel (shtln'-d«l), (i) Bruno, b.
Zwickau, Saxony, ca. 1864 \ ist 'cel-
lo, Berlin Philh. ; later in the Chicago
Orch. (2) Bruno, b. MQnchen-
Gladbach, Germany, 1890; pianist;
son and pupil of mus.-dir. in that
town ; played in public at 6 ; has
played since in Germany and Lon-
don.
Steiner. Vide stainer.
SteingrHber (shtln'-grap-^r), Theo-
dor, b. Neustadt-on-the-Orla, Jan.
25, 1830; founder of Hanover mus.-
pub. firm ; since 1890 in Leipzig ;
wrote a pf .-method tmclcr the pseud.
** Gustav Damm."
Stein'wayft Sons, firm of pf. -makers,
New York and Hamburg ; founded
by (i^ H. En^^elhard Steinwegf
(shtln -vakh), Wolfshagen, Harz,
1797 — New York, 1871 ; journeyman
org.-builder, Seesen, ca. 1820 ; he
worked at night on his first piano,
which combined the good points of
Old English and recent German
instrs. ; it made immediate succ. ; after
the Revolution of 1848, he emigrated
to New York in 1850 with four sons,
(2) Chas., Seesen, 1829— 1865. (3)
H., Seesen, 1829— New York, 1865.
(4) Wm., Seesen, 1836 — New York,
1896; (5) Albert, Seesen, 184c
750
THE MUSICAL GUIDE
New York, 1877 ; leaving the busi-
ness in charge of (6) Theodor (See-
sen, 1825 — Brunswick, 1889). ^^-
ther and sons worked in different
factories till 1853, when they com-
bined as Steinway & Sons. In 1865
Theodor, who had moved to Bruns-
wick, sold the business to the firm
Grotrian, Helferich & Schulz, Theo-
dor Steinwegs Nachfolger (i. e. " suc-
cessors") (v. STEiNWEG), and be-
came a partner in the N. Y. firm,
now the largest of its kind in the
world.
Steinwegf, Original form of "Stein-
way " (q. V. No. 6).
Stelzner (sht£lts'-n^r), Dr. Alfred, b.
Wiesbaden ; lives in Dresden ; inv.
the violotta and cellone, etc. (v.
D.D.) ; they were used in the orch. of
his fairy opera ^^ RUbetahV^ (Dres-
den, 1902). '^Hewas diffident as a
performer, but his compositions for
the 'cello must render his name im-
mortal, for though the list of his
works only amount to 13, the origi-
nality and purity of them entitle him
to rank among the very first writers.
He is often called the Beethoven of the
violoncello, nor can that be consid-
ered too high praise" (George Her-
bert).
Stephens, (i) Dr. John, d. 1780 ; or-
ganist Sal^bury Cath.; composer.
(2) Catherine, London, 1791(94?)
— 1882 ; oi>era and concert-soprano.
(3) Cha4i. Edw., London, 1821 —
1892 ; nephew of above ; pianist ;
teacher, organist and composer.
Sterkel (sht«r'-k«l), Abbe Jn. F«. X.,
WUrzburg, 1750— Mayence, 1817 ;
conductor, organist and composer.
Sterling, (i) Antoinette, b. Ster-
lingville, N. Y., Jan. 23, 1850; con-
cert and oratono contralto, range
e flat—/' (v. PITCH, D. D.) ; pupil
of Mme. Marchesi, Viardot-Garcia
and Manuel Garcia ; sang for a time
in Henry Ward Beecher's Ch., at
Brooklyn ; from 1873, London ; 1875,
m. John MacKinlay. (2) Win-
throp S., b. Cincinnati, 1859; pupil
of ColL of Mus. and Lci|>zig Cons.,
also under R. Hoffman (comp.) aad
Frau Unger-Haupt (voice), later ia
London under Turpin, Behnke and
Shakespeare ; organist West Loodoo
Tabernacle ; from 1887, prof. Cta-
cinnati Coll. of Mus.
Stern (sht^m), (i) G. Fr. Th^ophile,
Strassbufg, 1803 — 1886; oigaimt
and composer. (2) Jnlius, Bresias,
1820 — Berlin, 1883 ; cond., tcadier
and composer. (3) Maremrethe
(nee Herr), b. Dresden, Nor. 25,
1857 ; pianist ; pupil of Karl Kngeo,
Liszt and Frau Schumann ; 1881, she
m. the poet Dr. Adolph Stem. Dre-
den. (4) Leo, b. Brighton. Ei^,
1870 ; 'cellist ; pupil of Piatti and of
Klengel and Davidoff, Leipzig ; fim
tour, 1888 (with Piatti); made socc
tours in France ; 1897, America ; c
'cello pieces, etc.
Steraberg^ (st^m'-b^rkh), Constantifl
(IvanoTitch), Edler yon, b. St
Petersburg, July 9, 1852; ptanis:;
pupil of Leipzig Cons., Berlin Aka-
demie, and of Liszt ; conductor va-
rious churches; from 1877, toored
widely; 1880, United States; from
1890, dir. '*Stembeiig Sch. of Mos.,"
Philadelphia; c. 2 pf. -trios, ** Danses
cosaques" for vln., 'cello-fantasia,
etc.
SteVens, (i) Richard J. Sasmiel,
London, 1757 — 1837; omnist, com-
poser and prof. (2) Kitty. Vkk
STEPHENS (2).
SteVenson, (i) Sir J. Andrew, Dub-
lin, ca. 1762 — 1833; Mus. Doc; c
Irish operas ; son of (2) John (\v>-
linist in the State-Band at Dublin).
(3) E. Irenaeus. Vide prime-stev.
ENSON.
Stew'arty Sir Robt. Prescott, Dub-
lin, 1825 — 1894; organist, professor,
conductorvand composer.
Stiastnr (Stastn^) (shtVast'-ne). (1)
Bd. Wen«el, Prague, 1760 — 1835;
'cellist, professor and composer. (2)
F«. Jn., Prague, 1764 — Mannheim,
ca. 1820; bro. and pupil of above,
'cello-virtuosojmd composer.
DICTIONARY OF MUSICIANS 751
>ticli (stikh), Jan V4clay (or Jn.
Wenxel) (Italianised as " GioTan-
oi Pnnto "), Zchuzicz, Bohemia, 1748
— Prague, 1803 ; eminent horn-virtu-
oso, writer and composer.
>tielil (shtai), (I) H. (Fz. Daniel),
Lttbeck, 1829 — Reval, 1886 ; organ-
ist* conductor and dram, composer.
(3) K. Jn. Chp., b. Lubeck, 1826 ;
bro. of above ; organist and compos-
er ; from 1878, conductor and critic
Liibeck; and mus. -custodian in the
library; pub. historical works on
T^Ubcck.
Stiehle (shte'-lS), L. Maximilian
Ad.» b. Frankfort. Aug. 19, 1850;
violinist; pupil of Vieuxtcmps, Her-
mann and Joachim ; lives at Basel.
SUfi^ (rightly G. Stie^rele) (stY-g«r.
IS, or shte'-g£-l6), Giorgio, Ingstet-
ten, 18 19 — at his villa n. Monza,
Italy, 1868 ; tenor and composer.
Stlmp'son, Jas., b. Lincoln, 1820;
organist various churches in Engl.;
prof, of mus. Blind Inst.; editor, or-
ganist and composer.
Stir'ling, Elisabeth, Greenwich, 18 19
— London, 1895 ; organist and com«
poser.
Stob&iis (shto'-ba-oos), Jn., Graudenz,
W. Prussia, 1580 — KOnigsberg, 1646;
bass, conductor and composer.
StockJiaiisen (sht6k'-how-z£n), (i)
Fz., 1792— 1868; harpist and com-
poser. His wife (2) Margarethe
(n^ Schmuck), Gebweiler, 1803 —
Colmar, 1877; pupil of Cartruffo,
Paris ; concert-soprano ; toured with
her husband. (3) Julias, b. Paris,
July 22, 1826 ; barytone and eminent
teacher ; son of above ; pupil of
Paris Cons, and of Manuel Garcia ;
succ. concert-singer ; 1862-67, cond.
Philh. Concerts and Singakademie,
at Hamburg; 1869-70, chamber-
singer at Stuttgart; 1878-79 and
1882-98, teacher of singing, Hoch
Cons., Frankfort : since private
teacher ; pub. a Method. (4) F«.,
b. Gebweiler, Jan. 30. 1839; pupj^ o(
Alkan and of Leipzig Cons.; 1868-
79« oond. at Strassburg ; from 187 1,
teacher Strassburg Cons.; 1892, R.
Prof.
Stojowski (sto-yof'-shkT), Sigismund,
b. Strelce, Poland, May 2, 1870 ; pi-
anist ; pupil of L. Zelenski at Cra-
cow, and at Paris Cons. , winning ist
prizes for pf. and comp.; studied
with Paderewski ; lives in Paris, as
teacher ; comp. pf. -concerto, suite
and variations for orch., songs, pf.-
pes., etc.
Stokes, Chas., b. 1784, Engl.; or-
ganist, pianist, teacher, composer and
theorist.
Stoltz, (i) Rosine (rightly Victoiine
Ndb) (sht6lts or nap), Paris, Feb. 13,
1815— (?) ; pupil of Choron's Sch.;
mezzo-soprano ; 1837-47, Gr. Opera,
Paris ; other stage-names " Mme.
Temaux," " Mile. H^loise,**
" Rose Niva ** ; m. successively a
baron and 2 princes ; c. 6 songs. (2)
Therese, Trieste, 1838?— Milan,
1902 ; soprano ; debut. La Scala,
1865 ; created '' Aida " in Italy ; in-
timate friend of Verdi ; married after
1875 and retired.
Stoltzer (sht61ts'-«r), Thos., Silesia,
ca. 1490 — Of en, 1526; ct. -conductor
and composer.
Stdl2(e)l (sht^lts'-«l), Gfl H., GrOn-
stadtl. Saxony, 1690 — Gotha, 1749 ;
ct.-conductor and dram, composer.
Stolzenberg (shtol'.ts^n-b^rkh), Ben-
no, b. Kttnigsberg, Feb. 25, 1829;
tenor; pupil of Mantius and H.
Dom; debut, KOnigsberg, 1852;
dir. Danzig City Th.; teacher, Ber-
lin; 1885, Cologne Cons.; from 1896,
dir. of a vocal sch. at Berlin.
Stopel (shta -p«l), Fz. (David Chp.),
Oberheldrungen, Saxony, 1794 —
Paris, 1836 ; theorist.
Sto'nard, Wm., d. 1630; organist
and composer at Oxford.
Stor (shtar), K., Stolberg, Harz, 18 14
— Weimar, 1889 ; violinist, cond.
and dram, composer.
Sto'race, (i) Stephen, London, 1763
—(of gout) 1796, prod. 18 stage-
works, son and pupil of (2) Stefano
S«t an Italian doubU-bass-player,
7P
THE MUSICAL GUIDE
{3) Anna Selina (1766 — 18 17), fa-
mous colorature-soprano ; daughter
and pupil of (2) ; sang in public at 8;
then debut, Florence, 1780; created
** Susanna " in Mozart's *' Figaro:*
Storch (st6rkh), M. Anton, Vienna,
1813 — 1888 ; conductor and com-
poser.
Stdwe {shta'-v«), Gv., Potsdam, 1835—
1891; dir. and composer.
Stradella (stra-ddl'-ia), Alessandro,
probably Naples or Venice, ca. 1645
— Genoa, after 168 1 (the date of his
last cantata) ; important Italian com-
poser, of whom little is actually
known, though he is the hero of an
extraordinarily melodramatic legend
of jealous nobility, paid assassins,
and love pursued. In a work by
Bonnet-Bourdelot (1715), it is said
that his name was Stradel and being
engaged to write an opera for Venice,
he eloped with the mistress of a
nobleman who sent paid bravi to as-
sassinate him in Rome. These men
were overcome by the beauty of an
oratorio of his and warned him of his
danger. He fled to Turin with the
woman who passed for his wife, and
after being followed here and there,
and recovering from numerous
wounds, was finally slain in Genoa.
Flotow made an opera of this story,
in which there is much that is in-
credible. S. was also credited with
being a singer and poet, ar,d a wonder-
ful harpist. In any case, 148 of his
works exist in MS. in the Modena
Library, and others elsewhere, incl.
8 oratorios, many cantatas, madri-
gals, duets, etc. The church-aria
'' Pietit, Signore;' and the arias ** O
del mio dolce ardor" and ''^ Se i miei
sospiri" are probably wrongly at-
tributed to him. Monographs by P.
Richard, ** A. Stradella^' (i866). and
Calelane.
StradiTari (StradiTarins) (strtd-Y-vi'-
re, or -va'-rtf-oos), (i) Antonio, Cre-
mona, 1649 (i650?)--Dec. 17 (18?),
1737 ; maker of vlns., vlas., 'cellos,
etc., who established a type and pro-
portion never improved ; his tone is
also supreme among vlns. (with t^
possible exception of those of Jc&
Guameri) ; he probably worked ^
Niccol6 Amati, 1667-79; 1680, he
purchased the house in whidi las
workshop thereafter was atoatsd;
1700-25, is his best period, but be
worked to 1736; his label reads *'Ab-
tonius Stradivarius CremoneiMSL
Fecit Anno . . . (A f S)." Of
his eleven children, 2 sons, (2) Fnn.
(1671 — 1743) and (3) Omobono (1679
— 1742), were his assistants. Mooo-
graphs, by Lombardini (1872), Feds
(1856); Wasielewski, and Riecb-
ers.
Straeten, van der. Vide vandex-
STRAETKN.
Strakosch (shtra'-kosh), (i) Moritx,
Lemberg, Galicia, 1825 (1S30?)—
Paris, Ckt. 9, 1887 ; pianist and im-
{)resario ; c. operas ; teacher of Ade-
ina, and husband of Carlotta, PattL
(2) Max, d. New York, 1892 ; bra
of above and eoually famous as im-
presario. (3) rhoebe; soprano ;
niece of above ; debut in open.
Trieste, 1896; has sung at Covent
Garden, Met. Op., etc.
Stratton, Geo. w., Swanrcy, N. H..
U. S. A. — Berlin, 1901 ; lived Boston
as composer.
Straubc (strow'-be), C. ; pupil of Ric-
mann, Rufer, and A. Becker ; 1902
organist Thomaskirche (vice C.
Piatti).
Strauss (shtrows), (i) Jos., Brftnn,
1793 — Carlsruhe, Dec- i (2?), 1866:
violinist, mus. -director, ct, -conduct-
or ; c. operas. (2) Jn. (Sn), VienoA,
March 14, i8o4---<of scarlet fever)
Sept. 25, 1849, ** The Father of the
"Waltz " ; son of proprietor of a beer
and dance-hall ; conductor and com-
poser of 152 waltzes all more or less
famous. (3) Jn. (Jr.), Vienna. Oct
25, 1825 — June 3, 1899; "The
Waltz-King ; son of above, whoop-
posed the mus. tastes of the three
sons, for whom the mother seemed
secret instruction. In 1844 conduct-
DICTIONARY OF MUSICIANS 753
or of ooort - balls and very succ.
orch. concerts. He had c. a waltz
at 6, and his later comps. eclipsed
the success of those of his father,
after whose death he united the two
orchestras. 1862, he m. the singer
Henriette Treffz (d. 1878), and later
tlie singer Angelica Dittrich ; c. 400
pes. of dance-music ; his waltzes
'• Th€ beauHful blue Danube"
•* ICUHsiUrkben:' " Wiener Blut^'
•' The looi Nights,'' ** IVine, Worn-
en and Song^* etc., are dance-rhap-
sodies whose verve and colour have
deserved and won the highest praise
of severe musicians. His ught operas
rival his waltzes in charm and succ.
and incl. the v. succ. ** Die Fleder-
maus" ('74). (4) Jos., Vienna, April
25, 1827 — ^July 22, 1870; bro. of
above, during whose illness in 1853
he served as cond.; later formed an
orch. of his own and learned the vin. ;
on a tour to Warsaw he was mal-
treated by Russian officers for whom
he had refused to play, and died in
the arms of his wife (whom he had
m. in 1857) ; he c. 283 dances. (5)
Ednard, b. Vienna, Feb. 14, 1835 ;
bro. and succ. of Johann as cond. of
the ct.-balls and orch. ; took his orch.
to America 1892 and 1900 ; c. dance-
mus. (6) Ludwig^, b. Pressburg,
March 28, 1835 — Cambridge, Engl.,
1899; violinist. (7) Victor von,
Royal opera conductor, Berlin, 1902.
(8) Ricnard, b. Munich, June 11,
1864 ; composer ; daring and brilliant
musical adventurer; son of (8) Fz«
S. (chamber-mus. and horn-player) ;
studied also with W. Meyer. At 4
he c. a polka. He took a regular
Gymnasium course 1874-82, and spent
two years at the univ. At 17 his
first symph. was prod, by Levi ; his
** Serenade " for 13 wind-instrs. had
much succ. with the Meiningen orch.
under von BUlow, to whom S. be-
came asst., and (1885) successor as
ct.-mus. dir. at Meiningen; 1886,
3rd cond. at Munich ; 1889, ct.-cond.
at Weimar under Lassen; 1894, cond.
at the ct. -opera, Munich, also 1894,
cond. Berlin Philh., and from 1898,
cond. at Berlin Royal Opera. He
OL the soprano, Pauline de Ahna,
who created *' Freihilde " in his opera
" Guntram " (Weimar, 1894, Munich,
'95). His i-act opera ** Feuers-
noth'' {'*Firc.Famine'*), libretto by
• Wolzogens, was prod. Dresden, Nov.
21, 1901, with much success. He has
also cond. with g^eat succ. in various
cities. C. symph. op. 12 ; symphonic
fantasie ''A us Itatien^' ** Wanderers
Sturmlied'' (Goethe), f or 6-part cho-
rus, and full orch.; tone - poems,
''Don Juan;' op. 20; ''Macbeth,"
op. 23; ** Tod und Verkldrung" op.
24, the s]rmph. poems "Also spraeh
Zarathustra " (after Nietzsche), **-£»»
Heldenleben " (op. 40), and ** Don
Quixote "/ op. 28, Orchester-Rondo
** TillEulenspiegeVs lustige Streiche";
chamber-mus.; vln. -concerto ; 5
'* Stimmungsbilder" for pf.; concer-
to for Waldhom; "Enoch Arden"
melodrama for pf. and recitation,
and songs. i6-part a cappella chorus
" Der Abend" (1902), ballad for
chorus and orch. ** Taillefer" (1902).
Biog. by Dr. Arthur SeidI (Prague).
Richard Strauss.
By James Huneker.
THAT Richard Strauss was the son of the famous hom-playcr, may
explain his predilection for the beautiful instrument. ^At Meinmgen
he met Alexander Rittcr, a pupil of Wagner, and this friendship,
with Von Balow's 'daily coaching, decided Richard Strauss' s tendency in
48
754 THE MUSICAL GUIDE
art. He became a composer of the future^ a man of the new scIkxiL He
travelled much — he went to Greece, Italy, and Egypt for indpicot Ini^
trouble — and on " guesting" tours, on which he was receivoi with cb>
thusiasm, for he is a modem conductor in all the implications of the phnsc
A man of good physique, Scandinavian in appearance, Strauss is widc^
cultured and well read in classical and modem literature. ^In music he is a
true descendant of Berlioz, Liszt, and Wagner, thou^ early in his career be
showed marked traces of a devotion to Brahms. This is more noticeabk k
his piano and orchestra BurUske in D minor, in the solo sonata and in the
*' Wanderer* s Sturmlied,^'* opus 14, for six- voiced chorus and orchestn.
But the Richard Strauss we know to-day stands for all that is revolutioBirT
in the art. ^He has in his symphonic forms pushed to the verge of the
sublime— or the ridiculous, — or both — the poetic programme (Vide D. D.,
"program music"). His ** Don Juan,^'* ** Macbeth,'^ *' Death and Tram-
Jfguration,'' **Till EulenspiegeV s Merry Pranks,'' " Thus Spake Z^n-atlms'
tra,'' ** Don Quixote,'* and ** Ein Heldenleben" arc tokens of laboan
almost Balzacian in their intensity. An emotional strenuousness, a marrd-
lous mastery of the orchestral apparatus, an abnormal colour and rhythmic
sense, combined with pbedc feeling, bizarre, even grotesque methods of ut-
terance, an utter defiance of formalism either classic or romantic, and a
thematic invention not commensurate with his other gifts — all these quali-
ties jumbled in amazing juxtaposition and flavoured by a powerful individa-
ality, easily made Richard Strauss the leader of the New German School and
a formidable figure in the musical arena. ^Since his flaming utterances in
*' Don Quixote" and ** A Hero's Career " the faith of some of his roost
ardent disciples has been rudely shaken. *' Either retreat or madness " is
the critical cry, and Strauss is not a man to be moved by prayer or assauh.
So we find his two new solos for barytone and orchestra, sung at the Lower
Rhine Festival, June, 1900, in Aix-la-chapelle, more eccentric than ever.
^A brilliant composer, a strikingly intellectual man, Richard Strauss to-day
may be fairly called the leader of the musical Decadence. As a song-writer
his various collections have met with the greatest success, for he has a happy
method of welding music and poem into a perfect, if somewhat start&ig,
whole. Form he abandons utterly, striving to capture the idea as he per-
ceives it, in its full bloom. Opera 10, 15, 17, 127, 29, 32, are ^vourites;
the newer songs are very difficult and almost cryptic in sentiment and execu-
tion. Richard Strauss is the greatest living master of the orchestra.
Streabbog^. Vide gobbaerts. of Bizet and Damcke, Par^ ; critic
Street (shtrat), G. Emest, b. of there; since 1898. of "' VAclair'";
French parents, Vienna, 1854 ; pupil c operettas, i-act mimodnuna
DICTIONARY OF MUSICIANS 755
^^ Fides'* (Op.-Com., 1894), 3-act
opera ** Mtgnonetie" parody of
Thomas's " Ari>iww " (1896), ballet,
•• ScaramoMche^mXhyitssaiger ^1^1^
etc.
StrMcher (shtit'-kh^r), (i) Jn. Andre-
as, Stuttg^art, 1761— Vienna, 1833;
piano-malcer and professor ; 1793 in v.
the pf.-action which drops the ham-
mer from above ; succeeded 1832 by
his son (2) Jn. Bapt., 1794 — 1871,
who 'was succeeded by his son (3)
Emil.
Strelezki (strMa'.shkY), Anton (pen-
name of a Mr. Bnmand (?)), b.
Croydon, Engl., Dec. 5, 1859; pupil
of Leipzig Cons., and of Frau Schu-
mann ; c. popular songs, and pf .•
pes.
Strepponi. Vide verdi.
Striggio (stnd'.jo), Ales,, b. Mantua,
ca* 1535; lutenist, composer and
conductor.
Strinasacchi (stre-na-sfik'-ke), Regi-
na, Ostiglia, near Mantua, 1764^
1823 ; violinist.
Stro'g^rs, Nicholas, English organ-
ist and composer, 1685.
Strohmeyer (shtr6'-ml-«r), d. Weimar,
1845 ; bass.
Strong, G. Templeton, b. New
York, ca. 1855 ; pupil of Leipzig
Cons., and lives in Berlin ; c. symph.
•*/» den Bergen^''; symph. poem
•• Undine" (op. 14) ; *» Gestrebt-^
Gewonnen — GescheiterC* ;{, orch. with
yln.-obblig^to ; choral works with
orch.; pf.-pcs., etc.
Strond, Chas., 1705 — 1726; Engl,
organist and composer.
Strozzi (str6d'-ze), (i) Pictro, b. Flor-
ence, i6th cent.; co-founder of the
stile rafpresentativo (v. peri) ; set
to music Caccini's ** Iji Mascarada
degli Aceecatiy* 1595. (2) Abbate
Gr^^rio, apostolic protonotary at
Naples; composer, 1683.
Strnbe (shtroo'-b^, Gustav, b. Ballen-
stedt, Harz, March 3, 1867 ; violin-
ist ; pupil of his father ; at 10 in
Ballenstedt orch. ; at 16 pupil of Leip-
zig Cons.; played in the Gewand-
haus Orch. ; later prof, at Mannheim
Cons.; 1889, Boston, Mass., in
Symph. Orch.; c. symph., etc.
Struck (shtrook), Jn. Bapt. (called
Batistin), Florence, ca. 1680— Paris,
1755 ; ist 'cellist that ever played in
Paris Opera orch.; c. operas.
Stmngk (or Stmnck) (shtroonk), Ni-
kolans Adam, Celle, Hanover, 1640
— Leipzig, 1 7 10; violinist, organist
and dram, composer.
Stmss (shtroos), Fz., b. Hamburg,
Nov. 28, 1847 ; violinist ; pupil of
Unruh, Auer, and Joachim ; 1870,
member Berlin ct. - orch.; 1885,
•* chamber-virtuoso " ; 1887, ct.-Con-
zertmeister; also teacher Klindworth-
Scharwenka Conservatorium.
Stumpf(f) (shtoompO, (i) Jn. Chr.,
bassonist at Paris, ca. 1785 ; com-
poser. (2) K., b. Wiesentheid, Lower
Franconia, April 21, 1848 ; lives in
Munich; theorist.
Stnntz (shtoonts), Jos. Hartmann,
Arlesheim, near Basel, 1793— Munich,
1859 ; dram, composer.
Stttrmer (shtYr'-m£r), Heinrich, 1811
— Leipzig, 1902 ; operatic bass.
Succo (zook'-ko), Reinhold, GOrlitz,
1837 — Breslau, 1897; organist,
teacher and composer.
Such (zookh), Percy, b. June 27,1878;
'cellist ; studied with Robt. Haas-
manns ; toured ; lived in Berlin.
Sncher (zoo'-kh«r), (i) Josef, b. Dor-
bor, Hungary, Nov. 23, 1844; ^^^'
nent cond.; studied singing and the
vln. , Vienna ; pupil of Sechter
(comp.) ; vice-cond. of the acad. Gc-
sangverein; coach for solo singers
at the ct. -opera ; 1876, cond. Leipzig
City Th. ; 1877, m. the distinguished
Wagnerian soprano, (2) Rosa
Hasselbeck (b. Velburg, Upper
Palatinate) ; 1878-88 they were en-
gaged by Pollini at Hamburg ; later
as cond. of the Royal Opera at Ber-
lin (retired 1899), and prima donna
(retired 1898). Frau S. was daugh-
ter of a musician and sang small roles
at Munich and elsewhere at first ;
later prominent in Wagpier opera*
756
THE MUSICAL GUIDE
which she sang at Bayreuth and m
America.
Sndds, Win., b. London, EngL,
March 5, 1843; at 7 moved with
his parents to a farm in Gouvemeur,
N. Y.; self-taught; a bandm. dur-
ing the Civil War, and later pupil of
Eugene Thayer (org.), and J. Eich-
berg (vln. and comp.), Boston Cons,
of Music ; lives in Gouvemeur as
teacher and pub. of various methods ;
c 4 overtures, many dances^ marches,
church mus., etc., for pf., incl. can-
Uto " The Star of BeikUkemr
Snk (sook), Jose^ b. KMovic, Bo-
hernia, Jan. 4, 1874 ; violinist ; pupil
and son-in-law of Dvdrdk at Piague
Cons., 1896, 2nd vln. ** Bohemian
String-Quartet '* ; c. a dramatic over-
ture •• Winter*s TaU,'" symphony in
E ; suite for orch. op. 10 ** Ein
Mdrehen " (1898), etc.
Snl'liTan, Sir Artnur Sejinonr, Lon-
don, May 14, 1842 — Nov. 22, igoo;
eminent composer of national Eng-
lish comic opera ; v. succ. in church-
mus. also; at 12 a chorister under
Helmore, Chapel Royal ; at 13 pub.
a song; 1856, the first Mendelssohn
Scholar at the R. A. M.; studied also
at Leipzig Cons., etc. At 18 cond.
his overture ** Lalla Rookh "y at 20
prod, his mus. to ** The Tempest""
(Crystal Palace) ; at 22 his notable
cantata ^* Kenilworih'" (Birmingham
festival) ; cond. of the London Phil-
harm. (1885-87); and from 1880,
the Leed's Festivals. 1876-81, prin-
cipal, and prof, of comp. at the
Nat. Training Sch. for Mus. ; Mus.
Doc. h.c, Cambridge (1876), and
Oxford (1879) »' Chev. of the Legion
of Honour, 1878 ; g^nd organist to
the Freemasons, 1887 ; knighted,
1883. C. symphony (played at the
Gewandhaus, Leipzie, etc.) overtures
"/» Memoriam {on his father's
death), ** Marmion;' ''Di balh;' and
** Sapphire Necklace"; oratorios and
cantatas, incl. *'The Golden Legend*'
(1886); ''A FesHval Te Deum**
(1872), (Me ** / Wish to Tune my
QmvertM^ Lyre^ with ordi., aad
succ. inad. mus. to 8 of Shake-
speare's plajTS and others ; c mocfa t.
succ. church-mus. of all kinds. His
operas include the grand opera,
** Ivanhoe"* (1891X the TomasDc
opera, ^' Rose of Persia^ (1900).
neither a succ
His chief contribution to mvsk,
was his brilliant series of tmlj Elag-
lish comic operas, with the eqnafir
brilliant librettos of W. S. GUborl
Some of these had a wofid-wide
succ, and ^*' Patience** was a satire
of equal effectiveness with Moliere s
* • Les Pr/cieuses Ridicules. " Amoog
16 comic operas were the foUowing
great successes: ** Cox and Box'
(1867), *' Trial by Jury** (1875^
''H.M, S. Pinaforg^* (1S78). ** The
Pirates of Pentance** (1880), *' P*-
Hence** (1881), *'Iolantke** (1882),
*' The Mikado ** (1885), ''Ruddigore^
(1887), *• The Yeowun of the Guard^
(1888), " The Gondotiers:* " UtepU
(Limited)** (1S93); '' Contra^andis-
ta** (1867, revised 1894 as ^' The
Chieftain**), *' The Emerald Isle*
(1901), finished by Edw. German;
libretto by Basil Hood.
Snlser (zool'-ts^r), (i) Jn. G., Winter-
thur, 1 719 — Berlin, 1779; writer and
professor. (2) Salomon, of Jewish
parents, Hohenems, Vorarlberg, 1804
— ^Vienna, 1890 ; prof, of singing and
composer. (3) Julius, Vienna, 1831
— 1 891 ; son of above ; violinist and
conductor, and c operas. His sisters
(4) Marie and (5) Henriette *are
singers.
Sunderland, Mrs. . b. Bright-
house, Yorkshire, 18 19; soprano ; re-
tired, 1864.
Supp6, Fz. yon (fon-zoop'-p&), Spalt-
to, Dalmatia, 1820— Vienna, May
22, 1895 ; very popular operetta-com-
poser ; pupil of Padua, Cigala, and
Ferrari ; at first unpaid cond. at the
Josephstadter Th. ; then at Pressbui;
and Baden and at Vienna ; he c 3
gjand operas, a symph., a Missa Dtl-
matica, a requiem, ** L*estremo gimS*
DICTIONARY OF MUSICIANS 757
%io^*^ overtures (incl. the immensely
pop.** DichUr und Bauer ^^ pub. for
59 oombinati<Mis). Of his Singspiele,
comediettas, etc., some (like ** Tan-
nenkauser** and '* Diner ak") are
parodies, of the others the most succ.
are ** JuUinitza" (Vienna. 1876), and
•' m^ AfHkareise " (1883).
Snrette (su-r^t). Thos. Whitney, b.
Concord, Massachusetts, Sept. 7,
1862 ; graduated Harvard, 1891 ;
pupil there of Arthur Foote (pf .)> ^i^d
J. K. Paine ; origanist, Baltimore ;
then University Extension lecturer
(PhUa., Pa.); wrote treatises, etc.;
pub. 2 - act operetta ^^ Priscilla**
(griven over 500 times), etc.
Suriano (or Soriano) (soo'. (or sd')
rl-a-no), Fran., Rome, 1549— -Jan.,
1620 ; conductor and notable com-
poser ; pupil of Nanini and Palestri-
na ; cond. S. Maria Maggiore, and
1603, at St. Peter's, Rome.
Sar'nutn, Jos., 1803 — 1871 ; English
tenor, conductor and composer.
Susato. Vide tylman susato.
Silssniayer (ztts'-ml-^r), Fz. X.,
Stcyr, Upper Austria, 1766 — Vienna,
1803 ; conductor and dram, com-
poser.
Svendsen(svent'.z^), (i) 01uf,Christi-
ania, 1832 — London, 1888 ; flutist.
(2) Johan (Seyerin), b. Christiania,
Sept. 30, 1840; important, though
eclectic composer ; son of a bandm. ;
at TIC. vln.-pcs.; at 15 enlisted in
the army and was soon bandm., and
played flute, clarinet, and vln.; with
a stipend from Charles XV., he
studied vln.; at 23 he became pupil
of David and Hauptmann, Richter,
and Reinecke, Leipzig Cons.; toured
1868-69, in Musard's orch.; and at
the Odeon, Paris ; 1869, Leipzig ;
1871, m. an American in New York ;
1872-77, and 1880-83, cond. Christi-
ania Mus. Assoc.; 1883, ct.-cond. at
Copenhafi^en ; from 1896, cond.
Royal Th. there. C. 2 symphonies,
overture to BjOmson*s ** Sigurd
Slembe*'; ** Honuo andJuUet;' fune-
ral march for Charles XV., corona-
tion march (for Oscar II.), wedding-
cantata, etc., with orch.; op. 16,
^^ Carnaval des artistes ncrv/giens**
humorous march; 4 ^^ Norwegian
Rhapsodies^'' for orch.; vln. and
'cello concertos, chamber-music and
songs, etc.
Swan, Timothy, Worcester, Mass.,
1758— Northfield, 1842 ; teacher and
composer.
Sweelinck (or Swelinck the best 2
of the 7 spellings) (sva-link), (i)
Jan Pieter (called Jan Pieters-
zoon), Amsterdam, 1562 — Oct. 16,
162 1 : chief of Dutch organists. Son
and (1577-81) successor, probably also
pupil, of (2) Pictcr (d. 1573), who
had won pre-eminence as the org.-
virtuoso and teacher of his own time;
(i) was the first to employ the pedal
in a real fug^l part, and originated
the org. -fugue.
Sweet'hand, W., org. -builder, Bath,
Engl., 19th cent.
Swert, Jnies de. Vide deswert.
Swieten (sve'-t^n), Gf., Baron Ton,
1734 — Vienna. 1803; eminent patron,
but unimportant composer, of music;
c. 6 symphs.
Swinnerton, Heap. Vide heap.
Swoboda (svo-bd-di), August, d.
1901 ; teacher in Vienna ; pub. text-
books (1826-32).
Sylya (sel'-vi), Eloi, b. Geeraerds-
bergen, Belgium, Nov. 29, 1847 ;
noted tenor ; studied Brussels Cons.,
and with Duprez ; debut, Nantes ;
sang 7 years Paris Opera, then in
Russia, England and America ; 1889
Berlin.
Sympson. Vide simpson.
Sxalit (sha-let), Paula; b. 1886 (?);
pianist ; pupil of Leschetizki.
Szarrady. Vide clausz-szarvady.
Sz^kely (sha'-k«-le), Imre (Emeric),
b. Malyfalva, Hungary, May 8,
1823 ; pianist ; studied in Pesth ;
toured 1846 ; from 1852 teacher
Pesth; c. Hungarian fantasias on
national airs ; pf.-concertos, etc.
Szumowska (shoo-m6f'-'shka), Antoi*
nette, b. Lublin, Poland, Feb. 22.
758
THE MUSICAL GUIDE
1868 ; pianist ; pupil of Strobel and
Michalowski at Warsaw, and of
Paderewski at Paris ; has played
with great succ. at London, Paris,
New York, Boston, etc.; m. Joseph
Adamowski ; lives in Boston.
S^rmanowska ^she-ma-n6f'-shka),
Maria (nee Wolowska), Poland,
1790— (of cholera), Petersburg, 1831 ;
pianist ; pupil of Field at Mos*
cow ; ct.-pianist at Petersburg ;
Goethe was infatuated with her
and she with him ; c. 24 mazurkas,
etc.
Tabourot (t&.boo-r5), Jean, Dijon,
1519 — Langres, 1595 (?) ; a priest and
writer under the pseud. " Thoinot
ArbeaQ."
Tacchinardi (t&k-kY-nSr'^e), (i) Nico-
la, Florence, 1772 — 1859 ; at 17 a vio-
linist ; later a tenor of greatest Euro-
pean popularity, even singing ** Don
Giovanni " (transposed) with succ.,
though he was hideous and a hunch-
back. His daug[hter (2) Fanny Tac-
chinardi-Persiani (v. persiani).
His daughter (3) Elisa was a
pianist.
Tadolini (ta-d5-le'-ne), (i) Giov., Bo-
logna, 1793 — 1872 ; dram, composer;
m. (2) Eugenia Savorini (b. Forli,
1809), a singer.
Taffenel (t&f-fti.n«l), Claude Paul,
b. Bordeaux, Sept. 16, 1844 ; flutist,
pupil of Doms (flute) and Reber
(comp.) ; 3rd cond. Grand Op^ra, *
Paris; 1892, dir. Paris Cons, con-
certs— resigned, 190 1 ; 1893, prof, of
flute there.
Tag (t&kh), Chr. Gotthilf, Bayerfeld,
Saxony, 1735 — Niederzwonitz, 181 1;
composer.
Tagliafico (till.y&-fe'-ko). (i) Jos.
Dieudonn^, b. Toulon, Jan. i, 1821;
operatic singer and stage-manager in
I^ndon ; married (2) Cottis,
a singer.
Tagliana (tal-ya -na). Emilia, b. Mi-
lan, 1854 ; pupil of the Cons, there.
also of Lamperti ; colorature-sopnia
in various cities; 1873-77, Viexua;
pupil of Hans Richter; 1881-82,
chamber-singer, Beriin.
TIrlichsbeck (takh' - ITkhs - b&\
TIios., Ansbach, 1799 — Baden-Ba-
den, 1867; violinist, conductor and
dram, composer.
Taglioni (tfil-vd'-ne), Fdo., b. Naples,
Sept. 14, 10 10; son of the famoos
ballet-master Salvatore T. (1790—
1868). 1842-49, cond. at La^aoo;
till 1852, leader San Carlo Th., Na.
pies ; editor and conductor ; fotmded
a sch. for choral singing^; pub.
pamphlets and sacred songs.
Talezy (tft-l^x-e). Adrien, Paris, 1820
—1 881; pf. -teacher and composer.
Tal(l)78 (or Tallis), Thos., ca.
(1520-29) — London, Nov. 23, 1585;
an early English composer whose re-
markable contrapuntal ability aad
harmonic richness place him dose to
Palestrina. His training is not known;
1540, he ceased to be organist at Wal-
tham Abbey and joined the Chapd
Royal ; he was co-oiganist with Byrd
and shared his monopoly of rous.-
paper and printing; he c, notable
church mus. for both Catholic and
English services, also a song in 40
parts, etc.
Tamagno (tS-min'-y5), Fcan., b. Tu-
rin, 185 1; robust tenor; d^bu^ Paler-
mo ; sang with great succ at La
Scala, Milan, 1880. Has sung through-
out Europe and in both Americas.
1887, he created Verdi*s *' OtcUo."
Tamaro (tt-mti'-rd), Josef, Barcelooa.
1824 — New York, March 3, 190a;
noted tenor ; pupil of Lamperti ;
from 1876 teacher in America.
Tam'berlik, Enrico, Rome, 1820—
Paris, 1889; famous tenor; pupOof
Borgna and Guglielmi ; debut, Na-
ples, 1841; he tuid a powerful higb
t'f
Tamburini (tllm-boo-re'-ne), A., Faeo-
za, March 28, 1800— Nice, Nov. 9,
1876. Next to Lablache, perhaps
the most succ. of male singers; a
lyric bass with compass of 2 octaves ;
DICTIONARY OF MUSICIANS 759
the son and pupil of a bandm. A
hom-plajrer first, then pupil of Boni
and Ask>li ; d^bnt, Centi, 1818.
r&naka (t&-na'-ka), Shoh^, Japanese
theorist ; pupil of Spitta ; inv. the
enharmonium with just intonation.
Fanejeff (ta'-na-y^O, Serg^ei, b. Rus.
sia, Nov. 13, 1856 ; pupil of N. Ru-
binstein and Tchaikowski ; prof, of
theory and comp. Moscow Cons.;
prod. 3-act opera *^ Oresteia^* (St.
Petersburg, 1895).
Tansnr (tan'-sdr), Wm., Dunchurch
or Barnes? ca. 1700 — St. Neots,
1783 ; organist, teacher, writer and
composer.
Tappert (tftp'-p^rt). Wm., b. Ober-
Thomaswaldau, Silesia, Feb. 19,
1830 ; important theorist ; a school-
master, then 1856, studied with Dehn
theory; Kullak*s Acad.; lived in
Berlin from 1866 as a writer, editor
and composer.
Tarchi (t&r'-ke), Ang^lo, Naples,
1760 — Paris, 1 8 14; dramatic com-
poser.
Tarditi (tar-de'-te), Oiazio, d. after
1670; from 1648, maestro Faenza
Cath.; composer.
Tartini (t2r-te'-ne), Giuseppe* Pirano,
Istria, April 8, 1692 — Padua, Feb. 16,
1770; eminent violinist, composer and
scientist ; at first he studied for the
priesthood at his father^s wish ; then
law, finally mus.; apparently self-
taught as a violinist. A charge of
abduction, due to his secret marriage
with a niece of Cardinal Comaro, led
him to take refuge in the Franciscan
monastery at Assisi, where for two
years he practiced the vln. and stud-
ied comp. After a reconciliation he
returned to Padua. Later he heard
the violinist Veracini at Venice, and
sending his wife to relations, retired
to Ancona for further study. 17 14,
he discovered the combinational tones
(v. D, D., ** resultant") and util-
ised them in ]>erfecting intonation;
1721, solo-violinist and cond at St.
Antonio, Padua ; 1723-25, chamber-
mus. to Count Kinsky, Prague; X7a8,
founded a vln. -school at Padua ;
pub. treatises on harm, and acoustics;
c. over 200 vln. -concertos, 50 sona-
tas with bass, etc., incl. the famous,
posthumous '•// THlio del Diavolo,*'
an effort to reproduce a sonata played
to him by the devil in a dream. Biog.
Fanzago (Padua, 1770) ; J. A. Hiller
(1784), Fayolle (1810).
Tasca (tas'-ka), P. Ant., neo-Italian ;
c. opera ^' A Santa Lucia^* succ. in
Germany, 1902.
Taskin (t&s-k&n), (i) Pascal, Theux
(Li^e), 1723 — Paris, 1795 ; cele-
brated instr.-maker in Paris ; introd.
the piano-i>edal worked by the foot
instead of the knee ; inv. leather tan-
gents for clavichord, the armandine,
etc. (2) Jos. Pascal, 1750 — 1829;
nephew of above ; keeper of the
King's Instruments. (3) H. Jos.,
Versailles, i779^PariSj^ 1852 ; son of
above ; organist. (4) (Emile) Alex.,
Paris, 1853 — 1897 ; grandson of (3) ;
barytone.
Taubcrt (tow'-b«rt), (i) (K. Gf.) Wm.,
Berlin, 181 1 — 1891 ; noted pianist
and composer of operas, incid. mus.
to Shakespeare, etc.; pupil of Neidt-
hardt, Berger and Klein; ct.-cond. at
Berlin. (2) Otto, b. Naumburg-on-
Saale, June 26, 1833 ; pupil of O.
Claudius and '* prefect" of the cath.-
choir; 1863, prof., cantor and cond.
at Torgau ; pub. treatises ; com-
poser. (3) Ernst Eduard, b. Re-
gen walde, Pomerania, Sept. 25, 1838;
studied at the Stem Cons., Berlin ;
Prof., 1898 ; pub. chamber-mus.,
etc.
Taudou (to-doo), A. (Antonin Bar-
th^l^m7),b. Perpignan, France, Aug.
24, 1846 ; violinist ; pupil of Paris
Cons., winning Grand prix de Rome,
1889; member of the Opera-orch.;
from 1883, prof, of harm, at the
Cons.; c. vln. -concerto, etc.
Tausch (towsh), (i) Fz., Heidelberg,
1762 — Berlin, 18 17; clarinettist and
composer. (2) Julius, Dessau, 1827 —
Bonn, 1895 ; pianist, conductor, com-
poser and writer.
760
THE MUSICAL GUIDE
TAQSigr (tow'-zYlch), (i) AI07S, 1820—
1885 ; pianist and composer, pupil
of Thalberg. (2) Karl, Warsaw, Nov.
4, 1841 — (of typhoid fever), Leipzig,
July, 187 1 ; remarkable piano-virtu-
oso ; son and pupil of above; and of
Liszt; d^but, Berlm, 1858; lived Dres-
den and Vienna as notable cond.;
1865 founded a sch. at Berlin ; c.
brilliant exercises, transcriptions, etc.
Tanwitz (tow'-vtts), Eduard, Glatz,
Silesia, 18 12 — Prague, 1894; con-
ductor ; c. more than 1,000 comps.
incl. 3 operas.
Tayecchia (ta-v^k'-kY-a), Lui«; no-
table buffo ; d^but in concert Milan ;
in opera at La Scala ; has sung in
Europe and America.
Tav'crncr, (i) John, d. Boston, Eng-
land; organist and composer at Ox-
ford, 1530. (2) Rev. J., d. Stoke
Newington, 1638 ; organist and com-
poser.
Taybcr. Vide teyber.
Taylor, (i) Edw., Norwich, Engl..
1784 — Brentwood, 1863; bass, con-
ductor, critic, lecturer and writer. (2)
Franklin, b. Birmingham, Engl.,
Feb. 5, 1843 • pianist and teacher ;
pupil of C. Flavell (pf.) and T. Reds-
more (org.) ; also of Leipzig Cons.;
1876-82, prof. Nat Training Sch.,
and from 1883, at the R. C. M.;
Pres. of Acad, for the* Higher Devel-
opment of pf. -playing; writer and
translator.
Tchaikovsky (or Tschaikowskl,
etc.) (tsha-e-k6f'-shkr), Peter II-
jitch, Wotinsk, in the Government
of Wiatka, Dec. 25, 1840— (of chole-
ra) Petersburg, Nov. 6, 1893; emi-
nent Russian composer. Studied
law, and entered the government
civil service; did not take up mus.
seriously till 22 ; then entered the
newly founded Petersburg Cons.,
under Zaremba and A. Rubinstein,
1865, winning a prize medal kff
Schiller's ode ''An dU J^remdt'
(also used in Beethoven's 9U1 sympfa.);
1866-77, instructor of harm, tliet:
then lived Petersburg, Italy, Switz-
erland, as composer. He visttcd Eng-
land and appeared at PhiL Coooeffi^
1888 and '89 ; visited New York for
the dedication of the new Carnegie
Music Hall, and cond. his own cos-
positions. 1893, Mus. Doc k,€^
Cambridge. Writer, and translator of
harm, text-books. C. 11 Ros^ao op-
eras, incl.** Tk€ Vovevode*' (Moscov.
i869),**C^ri/fAifify*"(Petcrsb., 1874)*
'* Vakula, the Smith*' (Pttasb.,
1876); '^JevgfnJU Ofugin"*; 1879.
** Eugene Origin^* in Genoac
(Hamburg, 1892), and posthmBOGS
''Piaue Dame " (Vienna ct.-th., 1908);
3 ballets, " Le Lac des Cygwus " (op.
20), ''La Belle au Bait Dormumt^
(1890), and ''Le Casse-Z/nsetU"* {o^
71); a coronation cantata with orcfa.; 3
masses ; 6 symphs., incL No. 6 in B
minor, the famous ** Patk/tiqa§e'** ; 7
symph. poems, " The Tempist^*
** Franeesca da Rimim^** ** Mam'
/red,*' ** Pomeo andJuHet " (a fanta-
sy-overture) ; '* Hamlet;* " Faimm,
and " Le Voyevode** (symph. bal-
lad) : 4 orch. suites incl. ** Moar-
tiana ;" 3 overtures " iSiy (op. 49^.
** Triompkale*' on the Danish ooiL
hymn; *'L'Orage'\' ** Ma rchc slave,"
coronation march ; 3 pf .-concertos : a
pf. -fantasia with orch.; vln. -concerto;
capriccio for 'cello with orch. ; striag-
sextet •* Souvenir de FlcreneeJ' 3
string-quartets, a pf.-trio, pieces for
vln. and 'cello; and pf.-pcs., iscL
*• Souvenir de ffapsal," sonata " Tke
Seasons ;* 12 characteristic pes..
" Kinder Album "/ 6 duets, Rosaan
songs, etc. Also pub. a harmony ; bis
** Erinnerungem and translations of
Gevaert, etc
DICTIONARY OF MUSICIANS 761
Tschaikowsky.
By Ernest Newman.
HALF French m his ancestry, Tschaikowsky*s prenatal influences
were a blend of East and West. While Westerns regard him as
typically Rosaiany his compatriots think him less << native" than
other Russian composers. Like most Slavs, he drew sustenance more from
Prance than Germany. Brahms he thought dull ; Wagner he never really
understood. He loved music, he said, that came from the heart, that ex-
pressed ** a deep humanity," like Grieg's. To the delicate brain and nerves
of the modem man he added the long-accumulated eruptive passions of his
race. He takes the language made by the great Germans, and uses it to
express the complex pessimism of another culture. The colour of life in his
music ranges fi-om pale grey to intense black, with here and there a note of
angry scarlet tearing through the mass of cloud. Almost all his work, like
Xourgcnieff*s, lies within the one scale of emotions ; but fix)m relatively few
elements he evokes an infinite variety and complexity. In his songs, for ex-
ample, though melancholy is the dominant note of nine .out of ten, each
pamts a diflcrcnt shade of the generic mood. ^More interested in personal,
dramatic emotion than in music of abstract beauty, he worked his way
through and beyond the ordinary symphonic form, to the symphony with a
Imman significance or the symphonic poem pure and simple. His phrases,
th>ring his general conceptions, are vital, emotional, intimate. Music, he
hpld, must always interest in the first place ; and so he avoids the cold dis-
plays of technical artifice which Brahms, for example, so often gives us,
preferring rather to repeat the old matter with variations of ornamentation.
^fHis real contribution to the history of music, apart from the general beauty
and expressiveness of his work, is the modification of the symphonic form in
obedience to a poetic idea. He takes up the suggestions bequeathed by
B^lioz and Liszt, and turns them into accomplished realities.
Teb&ldini (ti-b&l-de'-ne), Gioyanni,
b. Brescia. 1864 (?) ; pupil of Paolo
Chimeri ; at 15 organist of Brescia
Oath., and chorusm. Guillaume Th.;
later studied at Milan Cons.; ex-
ptXitd 1886 for criticising a mass
written by a prof. ; after wandering
as organist and journalist, studied at
Ratisbon ; maestro, ** Schola Canto-
nun," San Marco, Venice ; 1894,
maestro, Padua Cath.; 1897, dir.
Parma Cons. ; wrote org.-metbod (v.
BOSSI) ; c. opera ** Fantasia Arada^**
** Messa funibre ** with Bossi, etc.
TedescA (ta-dds'.k&), Fernanda, near
Baltimore, U. S. A., i860 — August,
1885 ; violinist.
Tedesco (ta -dds'-ko), Ignaz (Ama-
deus), Prague, 18 17 — Odessa, Nov.
13, 1882: brilliant pianist ("the
Hannibal of octaves*') ; composer.
Telemann (ta'-l^-man), (i) G. Fhilipp,
Magdeburg, March 14, 168 1 — Ham-
burg, July 23, 1767 ; mainly self'
taught; conductor; 1709, ct.-cond.;
he overshadowed J. S. Bach in con-
temporary esteem and was one of the
most prolific and facile composers
ever known ; c. opera ; autobiog.»
1731. (2) G. Michael, Plon, Hoi-
stein, 1748 — Riga, 1831 ; grandson
of above ; cantor, theorist and comp.
Telle (t«l'-l«), K., 1826— Klostemeu-
burg, 1895 ;, ballet-composer.
Tcl'ford. Vide francis boott.
Teliefsen, Thos. Dyke Adand,
Trondheim, Norway, 1823 — Paris,
1874 ; pianist and composer.
Tern' pie, Hope, b. 19th cent, of Eng-
lish parents, Dublin; pupil of J. F,
Barnett, and E. Silas, London, and
of A. Messager, whom she m. ; c.
operetta ** Tkt Wooden Spoon,'' and
numerous pop. songs.
Tem'pleton, J., Riccarton, Scotland,
1802 — New Hampton, near London,
1886; tenor. .
Tenaglia (ta-nfil'-yii). Antoa Fran.,
b. Florence ; conductor at Rome ; c.
the Brst known opera using an aria
da capo, " Clear co^' 166 1.
Ten Brink. Vide brink, ten.
Tenducci (ten-doot'-che), Giusto F.,
b. Sienna, 1836 ; famous male opera*
tic soprano.
Ten Kate. Vide katk ten.
Temina (t&r-ne'-n&), Milka, b. Be-
g^sSe, Croatia, Dec. 19, 1864; no-
table dramatic soprano ; studied with
Gfinsbacher ; debut Leipzig. 1883 ;
then sang Graz and Bremen ; 1890
Munich, named *' court-singer *'; sang
in Bayreuth and in America from
1899.
Terpan'der, b. Antissa, Lesbos, 7th
cent. 'B.C.; called the ** Father of
Greek music."
Terradellas (Terradeg^lias) (tdr-rS-
d^l'-las or dal'-y^is), Doming^o (Do-
menico), Barcelona, Spain (bap-
tised, Feb. 13, 1711)— Rome, 175 1 ;
dram, composer.
Terschak (t«r'-shak), ikd., Prague,
April 21, 1832 — 1901 ; flutist ; pu-
pil of Zierer, Vienna Cons. ; toured ;
c. flute-pcs.
Terziani (t^r-tsl-a-ne), Engenk,
Rome, 1825 — 1889; prof., coodKt-
or and dram, composer.
Teschner (t^h'-n«r), Gv. Wo.,
Magdeburg, 1800— Dresden, 16S5,
teacher, composer and editor.
Tesi-Tramontini (ti'-ze-tra-mdo-te •
ne), Vittoria, Florence, ca. 1695—
Vienna, 1775 ; famous contralto.
Tessarin (tSs'-sil-ren), Frmn., b. Vco-
ice, Dec. 3, 1820 ; pianist and teach-
er ; pupil of A. Fanno and G. E,
Ferrari ; c. opera ^'^ L' Ultimo Aie»-
cerragto " (Venice, 1858) ; a canati,
etc.
Tessarini (t<?s-sS-re'-nc). Carlo, b
Rimini, 1690; famous TioliQisC
writer and composer.
Testori (t^to-re), (i) Carlo Gii.,
vln. -maker at Milan, ca. 1687 — 1754.
with his sons (2) Carlo A. and I51
Paolo A.
Tcyber (or Tayber) (tf-Wfr), (i) Aa-
ton, Vienna, 1754 — 1822 ; conductcr.
cembalist and composer. (2) Fi.,
Vienna, 1756 — 1810: bro. of abovt:
organist and dram, composer.
Thadewaldt (tii'-d^-valt). Hermasm,
b. Bodenhagen, Pomerania, April i
1827 ; 1850-51, bandm. at Dossd-
dorf; 1893-95, cond. at Dieppe;
1857 at Berlin.
Thalbergr (t&l'.b^rkh), Sigisnuuid,
Geneva, Jan. 7, 1812 — Naples, Apri
27, 187 1 ; famous piano-virtuoso ari
composer. ** Being the son of Prince
Dietrichstein, who had many wires
without l>eing married, T. had several
brothers of different family names'
(Grove). His mother was the Baroo-
ess von Wetzlar. Both of the parents
took the gpreatest interest in his edti-
cation. He was intended for a dip-
lomatic career, but after his socc. as a
pianist at 14, gave himself up to
mus. He had some tuition froo
Hummel (pf.) and Sechter (coinp.\
but chiefly from Mittag. a bassooc-
ist. At 16 three florid compositioos
appeared; at 18 a pf. -concerto. The
same year he toured Germany with
much succ. 1834, ct-pianist at Vies*
DICTIONARY OF MUSICIANS 763
; 1835, he conquered Paris, and
later the rest of Europe. 1843, ^^
m. Mme. Boucher, daughter of La-
blache ; 185 1, his first opera '* Flo-
r-zda^*' failed in London, and 1855,
' ' CrisHna di Svetia " failed in Vi-
enna. He then toured Brazil (1855),
and 1856, United States ; retiring in
1858 to his villa at Posilippo, near
N'aples. 1862, Paris and London ;
1863, second Brazilian tour; 1864,
retired again. He was remarkable
for his legato effects and for the sing-
ings-tone, Liszt saying ** Thalberg is
the only artist who can play the vio-
lin on the keyboard." He orig^inated
the subsequently abused scheme of
dividing a central melody between
the two thumbs, and enveloping it in
arpegg^ated ornament. His comps.
include many Borid transcriptions of
opera-tunes, also a grand concerto,
6 nocturnes, " La Cadence y* and
•• Mar eke funkbre vari^e^'' etc.
Thai' Ion, Robt., b. Liverpool, March
18, 1852 ; taken to New York at 2 ;
studied in Stuttgart, Leipzig, Paris,
and Florence ; lives in Brookljm, N.
Y., as organist and mus. -teacher.
Thayer (tha'-gr), (i) Alex. Wbee-
lock, South Natick, Mass., Oct. 22,
18 1 7 — Trieste, July 15, 1897 ; grad-
uated Harvard, 1843 ; was librarian
there for some years ; 1849 went to
Europe and began materials for life
of Beethoven ; 1862, America as
journalist ; 1854 returned to Germany
and frequently aifterwards as his means
permitted; 1862, U. S. consular agent
at Vienna ; later, till death, consul at
Trieste ; besides maiw articles he
wrote a great but unfinished life of
Beethoven ; though written in Eng-
lish it has been pub. only in a German
trans, by H. Deiters, in 3 vols, (Ber-
lin, 1 866- 1 8 79). Though incomplete,
his biog. of Beethoven is his monu-
ment. (2) (Whitney) Eug^ene, Men-
don, Mass., 1838 — Burlington, Ver-
mont, 1889; organist, editor, lecturer
and composer. (3) Arthur Wilder,
b. Dedham, Mass., Aug. 26, 1857 >
pupil of Guilmette and Adams (sing-
ing), Chadwick and Zerrahn ; cond.
choral socieries in Lowell, Worcester,
etc.; 1882 at Dedham, 1885 at Mil^
ton; then mus.-dir. Eliot Ch., New-
ton ; c. part-songs, etc.
Theile (tl -Ifi), Jn,, Naumburg, 1646—
1724 ; conductor and composer.
Theo'deri'ctts, Sixtus. Vide die-
TRICH
Them (t&m), (i) Karl (Karoly), Iglo,
Upper Hungary, 1817 — Vienna, 1886;
conductor, professor and dram, com-
poser. His sons and pf. -pupils (also
pupils of Moscheles and Reinecke),
(2) Willi (b. Ofen, June 22, 1847).
and (3) Louis (b. Pesth, Dec. 18,
1848), were teachers.
Thibaud (tc'-bo), (i) Jos., b. Bor-
deaux, Jan. 25, 1875 ; pi^inist ; pupil
of L. Diemer, Paris Cons., taking
ist prize for pf. -playing, 1892; 1895-
96, accompanied Marsick to America.
(2) Jacques, b. 1880; French pian-
ist.
Thibaut IV. (te-bo-kitr). King of
Navarre ; Troyes, 1201 — Pamplona,
1253 ; composer.
Thibaut (te'-bowt), Anton Fr. Jns-
tus, Hameln, 1774 — Heidelberg,
1840 ; professor and writer.
Thiele (te'-le), (i) Ed., b. Dessau,
Nov. 21, 1812 ; mus.-dir. at Kothen,
organist and prof, at the Seminary ;
1855, Dessau; i860, Hofkapell*
meister ; c. a mass, etc. (2) K. L.,
Harzgerode, near Bemburg, 18 16 —
Berlin, 1848 ; oi^anist and composer.
Thieme (called Thi^m^) (te'-md, or
t'ya-ma), Fr., CJermany (?)— Bonn,
i8o2 ; publisher of text-books, and
composer.
Thicrfcldcr (tcr'-f«lt-«r). Dr. Albert
(Wm.), b. Mtihlhausen, April 30,
1846; pupil of Leipzig Univ. and Dr.
Phil.; studied with Hauptmann,
Richter and Paul ; cond. various
cities ; from 1887 mus.-dir. and prof.
Rostock Univ.; writer of important
treatises ; prod. 5 operas, inch succ.
'* Der fleiratkstein " (text and music)
(Rostock, 1898), '' Zlatoro^;' and
764
THE MUSICAL GUIDE
*' Frau HoUU" for soli, chorus, and
orch., and 2 symphs. , etc.
Thieriot (te'.rl-6t). (i) Paul EmU,
Leipzig, 1780 — Wiesbaden, 1831 ;
violinist. (2) Fd., b. Hamburg,
April 7, 1838 ; pupil of £. Marxsen,
and Rheinberger; mus.-dir. at Ham-
burg, Leipzig, and Glogau; lives in
Hamburg ; c. symph. fantasy ** Lock
Lamondy'' vln. -concerto, etc.
Thillon (te.y6ft), Anna (n<^ Hont),
b. London, 18 19; verysucc. soprano;
pupil of Bordogni, Tadolini, and
Thillon, marrying the last named at
15 ; debut, Paris, 1838 ; 1844, Au-
ber's '* Crown Diamonds '* was writ-
ten for her; 1850-54, in America, the
first to produce opera in San Fran-
cisco ; retired 1867 to Torquj^.
Thimus (te'-moos), Albert, Freiherr
von, Cologne, 1806 — 1846 ; writer.
Thirl' wall, (i) J. Wade, Shilbottle,
Northumbria, 1809 — 1875 ; critic,
conductor and composer. (2) Annie,
daughter of above ; soprano.
Thoinan, E. Vide roquet.
Thoma (to'-ma), Rudolf, b. Lehse-
witz, near Steinau-on-Oder, Feb. 22,
1829 ; pupil of R. Inst, for Church-
mus., Berlin; 1857, cantor, Hirsch-
berg, then Breslau, 1870, *' R. Music
Dir." ; founder of a singing-soc., dir.
of a sch.; c. 2 operas, 2 oratorios,
etc.
Thomas (to'-mis). Chr. GC, Wehrs-
dorf near Bautzen, 1748 — Leipzig,
1806 : writer.
Thomas (to-m&s) (Chas. Louis),
Ambroise, Metz, Aug. 5, 18 11 —
Paris, Feb. 12, 1896; pupil of Paris
Cons.; winning 1st pf. -prize, 1829;
harm., 1830; Grand prix de Rome
(1832), with cantata *' Hermann et
Kettyy After 3 years in Italy, re-
turned to Paris, and up to 1843, prod,
nine stage-pcs., at the Op^ and
Op. -Com. with fair succ. The fail-
ure of the last was retrieved after a
silence of 5 years by **Z/ C»V/"(iS49),
'*/> Songe rUne Nuit d'6tr
(1850, both at the Op.-Com.). 185 1
elected to the Acadmie. The next 6
operas were only moderately socc;
but ''Afignon^ (Op.-Com., 1S66)
made a world-wide succ. and ^* ffsm-
Ut " (OpA-a, 1868) a lasting: so<x, a
Paris, where it is still sung. '* CUkd
Gillotin" (1874), ''Franfois€ de SS-
wiifi"(i882), and the ballet, '* la
Tempite'' (Op<^ra, 1889), were his ha
dram, works ; 187 1, dir. of the Cons..
1845, Chev. ; 1858, Officicr ; xS68,
Commander of the Legion of Boa-
our. C. also cantatas; messe sc^es-
nelle (Notre- Dame, 1865) ; masr
excellent ** choeurs orpheoniqiKs'"
(3-part male choruses), etc.
Thomas (tim'-us), (i) J., b. Brigeod,
Glamorganshire, March i, 1826;
1861 made ** Pencerdd Gwalia," Le,.
Chief Bard of Wales ; pupil at the
R. A. M.; 1851, harpist. R. It. Op-
era ; toured Europe, 1852-62 p!aj«i
at the Gewandhaus, etc. 1862, cond.
of the first annual concert of Wcl^
mus., with a chorus of 400, and ao
harps ; 1871, harpist to the Queen ;
leader in the Eisteddfodau, and baip-
prof. R. C. M. C. dram, cantau
"Z/Pter//K«"(i863); a WehOi smt
** The Bride of Neath ValUy " (1866);
patriotic songs, with harp; 2 harp-
concertos, etc. (2) Lewis WoLi
Bath, April, 1826 — London, 1896:
concert-bass, editor and critic. His
sons are : (3) W. Henry (b. Batk,
May 8, 1848), prof, of singing, GnSd-
hall and R. A. M.; and (4) Frank
L.y conductor and organist it
Bromley. (5) Harold, b. Chcltea-
ham, July 8, 1834 ; pianist ; pupil erf
Stemdale Bennet, C. Potter, and
Blagrove ; d^but 1850 ; pf.-pn?f
R. A. M. and GuildhaU Sch.. Lc«>-
don; c overtures, etc. (6) Theo-
dor(e), b. Esens, East Frieslasd,
Oct II, 1835 ; eminent cond., edu-
cator and stimulator of mus. taste is
America; son and pitpil of a violinis:.
at 6 played in public ; at 10 ^a^
brought to New York, where he soos
entered an orch.; 185 1, toured ^
soloist, later with Jenny Lind, GrsL
etc.; 1855, began the Mason ;a:
DICTIONARY OF MUSICIANS 765
Thomas Soirees (with Dr. Wm. Ma-
son); 1864-69 cond. **Symph, Soi-
rees" : 1869 made concert-tour with
an orch. of 54 ; 1876 at Philadelphia
Centennial with ill-socc. leading to
disbandment ; 1878-80, pres. Cin-
cinnati CoU. of Mas.; 1880. cond.
New York, PhHh. Orch.; from i838.
dir. Chicago Cons., also cond. Chi-
cago Orch. (7) Afthnr Goring,
Ralcon Paric, near Eastbourne, Sus-
sex, Nov. 21, 1850 — London, March
20, 1892 ; took up music at 24 and
studied with £mile Durand, later with
Sullivan and Prout R. A. M., Lon*
don, winning Lucas Prixe, 1879; lived
in London. C. 2 operas, v. succ.
*' EsmtraUa'* (Drury Lane, 1883,
New York, 1900); '' Nodes hda''
(1883): *' The Golden Wf^ (score
finished by Waddington, Liverpool,
1893); a choral ode. " The Sum
Worshippers*' (Norwich, 188 1), v.
succ. cantata. ** The Swan and the
Skylark** (Birmingham, 1894, instru-
mented by C V. Stanford) ; psalm
with orchestra (1878) ; 3 vocal
scenes, " Hero and Leander ** (1880).
etc.
Thomas Aqoi'aas (Saint Thomas of
Aquino), Rocca Sicca, near Aquino,
Italy, 1225 (27?) — Fossa Nuova.
near Terracina, 1274; famed theolo-
gian and philosopher ; he c. a no-
table communion service.
rhom6 (to-ma), Francis (rightly
Frangois Lac Jos.), b. Port Louis,
Mauritius, Oct. i8, 1850; pupil of
Marmontel (pf.), and Duprato (theo-
ry), Paris Cons.; lives in Paris as
teacher and critic ; c *' Rom At et Ju-
A>//f"(i89D); a mystery, '^V Enfant
Jhus** (1891); symph. ode '*Hymne
<1 la Nuit** and many pop. song^s
and pf.-pcs.
'homson (tim'-sfln), (i) Geo., Lime-
kihis, Fife, 1757— Leith, 185 1 ; not-
able coll. and pub. of Scotch, Welsh
and Irish melodies, to which he had
special instrumental accompaniments
written by Beethoven, Pleyel. etc.
(2) J., Sprofttson, Roxburgh, 1805 —
Edinburgh, 1841; * conductor and
dram, composer.
Thomson (ton-s66), C6sar, b. Li^e,
March 17, 1857; notable violinist ;
from 7 pupil of Li^ge Cons.; at ii,
winning the gold medal ; then pupil
of Vieuxtemps, Leonard, Wieniaws-
Id and Massart ; 1873-83. chamber-
mus. to Baron von Derwies at Luga-
no, and a member of Bilse's orch.,
Berlin ; 1883-97, teacher at Li^ge
Cons. ; 1898, vln.-prof . Brussels Cons,
(vice Isaye) ; has toured widely ; 1894,
United States.
Thoradike, Herbert Elliot, b. Liver-
pool, April 7, 1851; concert-bass;
d^but, Cambridge, 1878 ; 1887, Dru-
ry Lane.
Thome (th5m), (i) Edw. H., b. Cran-
bome, Dorset, May 9, 1834 • pianist
and org. ; chorister under Elvey ; or-
granist various churches; from 1891,
at St. Anne's, Soho, l^ndon ; cond.
St. Anne's Choral and Orch'l Soc.
C. Psalm 57, with orch. (1884); Mag-
nificat and Nunc dimittis with orch.
and organ ; an overture ; ** Sonata
elegia " for pf . (2) Thos. Pearsall,
American composer of comic operas,
''Leandro'* (New York, 1898),
etc
Thuille (too-e'-l^), L. (Wm. Ands.
M.), b. Bozen, Tyrol, Nov. 30, 1861;
pupil of Jos. Pembaur (pf., cpt.), at
Innsbruck; Baermann (pf.) and
Rheinberger (comp.) Munich Mus.-
Sch.; from 1883, teacher of pf. and
theory there; also cond. '' Ludrr-
hort* ; 1891, R. Prof, of Mus.; c.
succ. opera ** Theuerdank'* (Munich,
1897, Luitpold Prize), opera ** Lobe-
tanz'* (Carlsruhe and Berlin, 1898);
^* Romantic'* overture, sextet for
piano and wind, sonatas, etc.
Thunder, H. G., near Dublin, 1832—
New York, 1891 ; pianist, organist
and composer.
Thiirlings (tUr'-lTngks). Ad., since
1877, prof, of OUl.(\ithnlic thcoloj^-
at Bonn; Dr. Phil., Munich, with
dissertation, ** />/> A.i./,*i />v^<*-
schlechter und dit ntHt*f jwws, Ikco^
■^WB^"*"!^
766
THE MUSICAL GUIDE
nV** (1877) (advocating harmonic
dualism).
Thrnnam, Ed., Warwick, 1825—188-;
organist and composer.
Thnmer (toor'-ndr), Fr. Eagen,
Montbeliard, 1785 — Amsterdam,
1827; oboe-virtuoso ; composer.
ThumnuLjer. Vide aventinus.
Thurs'by, EIllIIlJ^ b. Brooklyn, N. Y.,
Nov, 17, 1857; famous concert-so-
prano; pufnl of Meyer (Brooklyn),
Errani (New York) and Mme. Ru-
dersdorflf (Boston), then of Lam]>erti
and .San Giovanni, Milan ; concert-
debut, America, Plymouth Church,
Brooklyn, 1875 ; sang in concert and
oratorio, and with Gilmore (1875) ;
frequently toured Europe and Amer-
ica with great succ. ; compass c'-e'"
(v. PITCH, D. D.).
Tichatschek (tekh'-it-sh^k), Jos.
AI07S, Ober-Weckelsdorf, Bohem'a,
1807 — Dresden, 1886 ; tenor ; cre-
ated Wagner's ''RienzV and ''Tann^
hduserr
Tieffenbrttcker. Vide duiffoprug-
GAR.
Tiehsen (te'-z^n). Otto, Danzig, 1817
— Berlin, 1849; c. comic opera.
Ticrsch (tersh). Otto, Kalbsrieth,
Thuringia, 1838 — Berlin, 1892 ; sing-
ing-teacher and theorist.
Tiersot (tl-«r'-s6), (J. Bapt. Eli-
8^e) Julien, b. Bourg, Bresse,
France ; pupil of Franck, Paris Cons. ;
from 1883, asst. libr. there ; pub.
essays, incL ** His (aire de la chan-
son populaire en France ^^* Bordun
Prize, 1885; c. ** Hellas'' for soli,
chorus and orch. ; rhapsodies on pop-
ular airs etc
Ticticns (riehtly Titicna) (tct'-y€ns),
Therese Johanne Alex., of Hun-
garian parents, Hamburg, July 17,
1831— London, Oct 3, 1877; famous
soprano ; teachers unknown ; debut,
Hamburg, 1849; from 1858, chiefly
in London in grand and comic opera.
Tilborg^hs, Jos., b. Nieuwmoer, Sept.
28, 1830 ; theorist ; pupil of Lemmens
(org.) and F^tis (comp.), Brussels
Cons. ; from 1882, prof, of oi^g.,
Ghent Cons.; and of <^. Antwcp
Mus.-Sch.; comp. organ-pieces aii
motets.
Tilmiui (tel'-man), Alfred, EnsBels.
1848 — 1S95 ; composer and pianisL
Tilmant (tel'-min), (x) Th^opfaile
Alex., Valenciennes, 1799— -Asao^res.
1878; conductor. His l>rocber U>
Alex., 1808— Paris, 1880 : 'cHfrsr
Timaooff (te'-man-6f), Veim, b. Via.
Russia, Feb. 18, 1855 ; {>iaiust ; pc-
pil of L. Nowitzky. A« RubmsteiiL
Tausig and Liszt ; lived in P)etcf5-
burg, Prague (187 1) and Vleimi
(1872).
Timm (tim), Heniy Christuui, Haa-
burg, Germany, 181 1 — New Yock,
1892 ; pianist and org. -composer.
Timm'ner, Christian, b. i860 ; Dutch
violinist ; pupil of Wirth ; toored ,
then retired 1894 for cig^ht yean'
practice ; reappeared in Berlin, 1903.
Ttnc'toris, Johannes (called Joha
Tinctor; or Gioy. Del Tintore;
rightly Jean de Vaerwere (vSr'-wi-
rfi)), Poperinghe, 1434 (or 35, scene say
1450) — Nivelles, 1511 ; canon ; wrote,
1477, the earliest known diet, of obq^.
(ca. 1475), etc.; composer.
Tinel (te-nSl), Edgar, b. Sinay, Bel-
gium, March 27, 1854 ; pianist and
composer ; son and pupil of a poor
school-teacher and organist ; popil
also of Brussels Cons. ; ist pf.>priie,
1873, and pub. opi x, 4 noctomcs
for solo-voice with pf.; 1877, '"^
Grand prix de Rome w. cantati
''Klokke Roeland'' (op. 17); 1881.
dir. Inst, for Sacred Mus. at Ma-
lines ; 1888, prod, very succ. ocatorio.
^^ Franciscus'' (op. 36); 1889, in-
spector State mus. schs. ; 1896, pn>f.
of cpt. and fug^e, Brussels Cons.;
pub. a treatise on Gr^orian chant,
and prod, a ** Grand Mass of tkt
Holy Virgin of Lourdes" for 5 parts
(op. 41), Te Deum, Alleluia, naotets
and sacred songs, iacid. mus., pf.-
pes. etc.
T&aboschi (te-rS-bos'-ke), Girolanw,
Bergamo, 1731 — Modena, 1797;
writer.
DICTIONARY OF MUSICIANS 767
ririndeUi (te-itn^^l'.le), P. Adolfo,
b. Con^liano, Italy, 1858 ; violinist;
pupil Milan Cons., then of Boniforti;
concL at Gorizia 3 years, then stud-
ied with GrOn and Massart; 1887,
vln.-prof. Liceo Benedetto Marcello,
Venice ; 1893, dir., also cond. ** Ver-
di Orchestra "; made Cavaliere, 1894;
pla3red with the Boston Symph.
Orch. in 1895 ; c. i-act oi>era
^^ L,^AUnaide'' (Venice. 1892), etc.,
now prof. Cincinnati Cons.
ritl (tet'-'l). Anton Emil, Pemstein,
Moravia, 1809 — Vienna, 1882; con-
ductor and dram, composer.
ritoff (te.t60. Nicolai Alexeije-
vitch, St. Petersburg, 1801 — 1876 ;
c. song^.
ri(e)tze (tet'-ts5), L., 1797— 1850;
tenor at Vienna.
Todi (to -de), Lnixa Rosa (n^ de
Ag^ar), Setubal, Portugal, Jan.
9, 1753— Lisbon, Oct. i, 1833; fa-
mous mezzo-soprano ; an actress at
15, then pupil of Perez; sang Lon-
don, 1712 ; 1777 V. succ. at Madrid ;
1783 provoked a famous rivalry with
Mara ; 1780 ct.-singer, Berlin. When
she died she left her 2d husband and '
her 8 children $80,000 and much
jewelry.
Todlni (to-de'-ne), Michele, b. Saluz-
zo, ca. 1625 ; musette-player and
instr. -maker, at Rome.
Toedt (tat), Theodore J., b. New
York, Feb. 4, 1853 ; choir-boy, Trin-
ity Parish, 186 1-7 1 ; pupil of Mrs.
Horn - Rust ; singer in oratorio,
church, and concert ; lives in New
York as a vocal teacher ; blind from
1895.
Toeschi (to-as'-ke) (in German ta'-
she), (i) Carlo Gin. (rightly Toesca
della Castella-Monte), Romagna,
1724 — Munich, 1788, ct.-mus. , direc-
tor and composer. (2) Jn. Bapt.,
Mannheim, ca. 1745 — Munich, May,
1800 ; son and successor of above ;
noted violinist ; c. 18 symphs., etc.
Tofts, Mrs. Katherine, first English-
woman to succeed in Italian oi>era ;
niost successful soprano ; accumu-
lated a fortune, lost her reason 1709,
and d. after 1735 ; m. Jos. Smith.
Tolbecque (tdl-b€k), four Belnan
brothers, (i) Isidore Jos., Han-
zinne, 1794 — Vichy, 187 1 ; conductor
and composer. (2)' Jean. Bapt.
Jos., 1787 — Paris, 1869 ; violinist
and conductor. (3) Aug. Jos., 180 1
— Paris, 1869 ; violinist. (4) Chas.
Jos., Paris, 1806— 1835 ; violinist
and conductor. (5) Aug^., b. Paris,
March 30, 1830 ; 'cellist ; pupil of
the Cons., and 1849 took ist prize ;
1865-71, teacher Marseilles Cons. ;
later 'cellist in the Paris Cons, con-
certs ; pub. " La GymncLstiqtu du
ViolotuelU " (op. 14) ; prod. succ. i-
act comic opera * Aprh la Valse**
(Niort, 189s). His son (6) Jean, b.
Niort, Oct. 7, 1857 ; 'cellist ; pupil
Paris Cons. ; 1873, took ist 'cello-
prize.
Toilet, Thos., English pub. and com-
poser, 1604.
TomascheK. Jn. Wenzel (rightly
Jan Vaclav Tomiiek) (tiUn'-a-
sh€k), Skutsch, Bohemia, April 17,
1774 — Prague, April 3, 1850; notable
pianist, organist ; also c. operas and
pf.-pcs.
Tomasini (to-mii-se'-ne), (i) Luig^
(Aloysiusj, Pesaro, 1741 — Esterhiz,
1808 ; violinist and director ; he had
two daughters who sang in opera at
Eisenstadt and 2 sons, (2) Luigi, £s-
terhaz, 1779 — after 1814; violinist.
(3) Anton, Eisenstadt, 1775 — 1824,
viola-player and leader.
Tombelle (tofi-b^l). Fd. de la, b.
Paris, Aug. 3, 1854 ; pupil of Guil-
mant and Dubois, Paris Cons. ; his
quartet and symph. won ist prize of
the ** Soci^te des compositeurs " ; Of-
ficer of Pub. Instruction, Paris ; c.
orch.-suites, etc.
Tomeoni (to-ma-6'-ne), (i) Florido,
Lucca, 1757 — Paris, 1820; teacher
and theorist. (2) Pelleflprino, b.
Lucca, ca. 1729; bro. of above;
teacher and writer in Florence.
Tom kins, (i) Rev. Thos., Engl, com-
poser, Gloucester, 1600. His son
768
THE MUSICAL GUIDE
(2) J., d. 1638 ; organist and com-
poser. (3) Thos., d. 1656 ; organ-
1st at Worcester cath. ; composer ;
son of (i). (3) Giles, d. 1668 ; bro.
and succ. of above. (4) Robt., son of
(2): 1641 one of the King's musicians.
Tom-lins, Wm. Lawrence, b. Lon-
don, Feb. 4, 1844 ; pupil of Macfar-
ren, and Silas ; 1869, America, from
1875 singing-t. and cond. Apollo Glee
Club, Chicago ; pub. ** Children's
Songs^ and How to Sing Them "
(1885?).
Tommasi (tdm-mSs'-se), Gin. M.,
Cardinal, Alicante, Sicily, 1649 —
Rome, 1713 ; writer.
Tdpfer(tdp'-f«r), Jn. GL, Niederrossla,
Thuring^a, 1791 — Weimar, 1870; or-
ganist, writer and composer.
Torchi (tor'-ke), Luig^, b. Mordano,
Bologna, Nov. 7, 1853 J graduate,
Bologna Cons., 1876, then studied
with Serrao (comp.) at Naples Cons,
and at Leipzig Cons, where he c. a
symph., an overture, a string quartet;
1885-91, prof, of mus. history, Liceo
Rossini, Pesaro ; then at Bolog^
Cons., since 1895 also prof, of comp.;
has begun a great 34-vol. coll. of the
chief Italian works of the 15-18 cen-
turies, ** Larte musicale in Italia,"
Torelli (to-rdl'-le). Gin., Verona, ca.
i66o^Ansbach, 1708 ; violinist and
composer; originator of the ** con-
certo grosso."
Tor'rance, Rev. G. Wm., b. Rath-
mines, near Dublin, 1835 ; chorister,
Dublin ; organist at St. Andrew's,
and St Anne's ; studied at Leipzig,
1856; 1866, priest; 1869, Melbourne,
Australia; since 1895, incumbent at
St. John's there ; Mus. Doc., h, r.
Dublin, 1879 '■> c- succ. oratorios,
''Abraham'* (Dublin, I^SS\ '" The
Captivity " (1864), and ** The /Reve-
lation " (Melbourne, 1882), services,
an opera, etc.
Torri (t6r'-re), Pietro, ca. 1665— Mu-
nich, 1737; court - conductor and
dram, composer.
Tor'rineton, Fr. Herbert, b. Dud-
ley, Lngl., Oct 20, 1837; pianist
and conductor ; articled papil of Jcs.
Fitzgerald ; at 16 organist at Bnvd-
ley ; 1856-68, organist. Great St
James's Church, Montreal, Canada;
also solo-violinist, cond. and btad-
master; his orch. represented Canada
at the Boston Peace Jubilee, 1869:
then teacher New Engl. Coos.; is
vln. Handel and Ha}*dn, and other
socs. ; from 1873, or^nist Metro-
politan Ch., Toronto, Canada, and
cond. Toronto Philh. Sec ; 18S6, «-
ganised the first Toronto mns. festi-
val ; 1S88, founded Toronto CoH of
Mus.; c. services, etc.
Tosel'li, Enrico, b. Florence, 1877:
pianist ; pupil of Sgambati and Mar-
tucci ; debut Monte Carlo, 1896 ;
played in London and America, 1901.
Tosi (to'-ze), Pier Fran., Bokgaa,
1647 — London, 1727 ; celebiated
contralto inusico and singing-teacfaef.
Tosti (tos'-te), Fran. Paolo, b. Orto-
na, Abnizzi, April 9, 1846 ; pupil of
the R. C. di S. Pietro a MajcUa,
Naples; sub-teacher there till 1669 ;
then ct. -singing-teacher at Rome;
1875 sang with great succ. Londoo,
and has since lived there as a teacher ;
1880, singing-master to the Rc^al
family ; 1894, prof. R. A. M. ; pub.
a coll. of ** Ointi popolari akruMM£si"
(Milan), and c. pop. songs.
Tottmann (tdt'-man), Carl Albert, b.
Zittau, July 31, 1837; studied Dres-
den, and with Hauptmann, at Leqi-
zig Cons.; violinist in the Gewand-
haus Orqh-; teacher of theory and
history at Leipzig, also lectnrer;
1873, Prof., for his valuable compen-
dium of vln. -literature ; pnb. also
essays, etc.; c. a melodrama " ZWn-
rSsch^n" Ave Maria, etc.
Tonlmouche (tool-moosb), Fr., b.
Nantes, Aug. 3, 1850; pupil of Mc*
tor Masse ; 1894, dir. theatre '* Me-
nus-Plaisirs"; since 1882, prod, many
operettas.
Tourj6e (toor-zhi). Dr. Eben, War-
wick, Rhode Island, 1834 — Boston.
1890 ; organist, teacher and founder
of N. E. Cons.
DICTIONARY OF MUSICIANS 769
Tom (toors), Berthold, Rotterdam,
Dec. 17, 1838 — London, March 11,
1897; violinist, composer and editor;
pupil Brussels and Leipzig Conserva-
toiy.
Tonrte (toort), Fran., Paris, 1747 —
1835 I famous maker of vln.-bows ;
est. the standard since followed.
Tow'ers, J., b. Salford, Feb. 18, 1836 ;
pupil of R. A. M. and of Marx, Ber-
lin ; conductor and organist, Man-
chester, England.
Tracy, Minnie, b. New York ; so-
prano ; sang with Hinrich's Opera
Co., Philadelphia; later at Geneva
and elsewhere ; 1900 with Am. Op.
Co., Met. Op.. N. Y.
Traetta (triWt'-ta) (not Trajetta), (i)
Tommaso (Michele Fran. Save-
fio), Bitonto, Naples, March 30, 1727
— Venice, April 6, 1779; pupil of
Durante ; 1758, maestro to Duke of
Parma ; 1765, pven a life-pension by
the Si>anish King; 1768, ct -com-
poser at Petersburg ; he prod. 37 op-
eras, many of them v. succ. ; c. also
an oratorio, masses, etc. (2) Filip-
po, Venice, 1777— Philadelphia, 1854;
son of above ; from 1799 in America
as an exile ; wrote a vocal method ;
c. opera, oratorios, etc.
Trasuntino (tra-soon-te'-no), Vito,
harps. -maker and inv., Rome, 1555 —
1606.
Trautmann, Marie. Vide jael, Al-
fred.
Trautwein (trowt'-vln), Traugott,
founded (1820) mus.-pub. business,
at Berlin, transferred in 1840 to J.
Guttentag, and by him to Martin
Bahn (1858).
Travcnol (tra-vtt-n61), Louis, d. 1783 ;
vln.-maker and writer, Paris.
Trav^ers, J., d. 1758 ; English organ-
ist and composer.
Trebelli (tra-b«l'-le), Zella (rightly
Guillebert), Paris, 1838— Etretat,
Aug. 18, 1892 ; noted mezzo-soprano;
pupil of Wartel ; debut, Madrid,
1859 ;. 1863, m. Bellini ; sang in
Europe and (1884) U. S. with great
succ.
Tree, Anna M., London, 1802 — 1862,
mezzo-soprano.
Treiber (trl'-b«r). Wm., Graz, 1838—
Cassel, 1899 ; pianist.
Tren'to, Vittono, b. Venice, 1761 (or
1765) ; d. after 1S26 ; mus.-dir. and
dram, composer.
Treu (Italianised Fedele) (troi, or fa-
da'-l$), Daniel Gl., b. Stuttgart,
1695 ; violinist, conductor and dram,
composer.
Tr^ville (tra-ve-ytt), Yvonne de
(rightly Le Gi^rce), b. Texas, of
French father and American mother ;
notable soprano; pupil of Marches! ;
d^but. New York, in " La Faloter
later for years with Castle J^quare
Opera Co.; 1890 went abroad for
rest and study ; 1901 sang in Spain ;
June, 1902, at Paris Opera Comique.
Trial (trt-ftl), (i) Jean Claude, Avig-
non, 1732 — Paris, 1771 ; dir. Paris
Op^ra and dram, composer. (2) An-
toine, 1736 — suicide, 1795 ; bro. of
above ; tenor ; his wife (3) Marie
Jeanne (n^e Milon) was a colora-
ture-sopr. Their son (4) Armand
Emmanuel, Paris, 1771 — 1803;
dram, composer.
Tri^bert (tn'-a-bftr'), (i) Chas. L.,
Paris, 1 8 10 — ^July 1867; oboist and
professor and manufacturer of instrs.
(2) Fr6d^ric, 18 13 — 1878 ; bro. and
partner of above, and maker of bas-
soons. (3) Fr6d6ric, son of (2) ;
oboist.
Trito'nius, Petms, Cierman com-
poser, Augsburg, 1507.
Trit'to, Giacomo, Altamura, Naples,
1735 — Naples, 1824; professor of cpU
and dram, composer.
Tromboncino (tr6m-b6n-che'-n6) ,
Bartholomaeus, c. at Verona, 1504-
10.
Tromlitz (trom'-ltts), Jn. G., Gera,
1726 — Leipzig, 1805; flute-player,
maker and teacher.
Trot'ter (Trotfere)(tr5-tar'), Henry, b.
London, Dec. 24, 1855 ; c. pop. songs.
Trout'beck, Rev. J., Blencowe, Cum-
berland, 1832 — London, 1899 ; pub.
psalters and transl. libretti.
49
770
THE MUSICAL GUIDE
Troycrs (troi'-«rs), Fd., Count von,
amateur clarinettist and patron, Vi-
enna. 1821-47.
Troyte (troit). Arthur H. D., Devon,
181 1 — 1857; composer.
Truhn (troon), Fr. Hieronymus, Elb-
ing, 181 1 — Berlin, 1886; conductor,
writer and composer.
Tschaikowaky. Vide Tchaikovsky.
Tschirch (tsherkh), six brothers, (i)
Hermann, Lichtenau, Silesia, 1808 —
Schmiedeberg, 1829 ; organist. (2)
K. Ad., Lichtenau, 18 15 — Guben,
Silesia, 1875 ; writer. (3) Fr. Wm.,
Lichtenau, 1818 — Gcra, 1892 ; ct.-
conductor and dram, composer. (4)
Ernst Lebrecht, Lichtenau, 18 19 —
Beriin, 1 854 ; conductor and dram,
composer. (5) H. Julius, Lichte-
nau, 1S20 — Hirschberg, Silesia, 1867;
R. Mus.-Dir. and composer. (6)
Rudolf, Lichtenau, 1825 — Berlin,
1872 : mus,-dir. and composer.
Tschudi. Vide broadwood.
Tua (too'-fi), Teresina, b. Turin, May
22, 1867: violinist; pupil of M assart,
Paris Cons., took ist prize 1880;
toured Europe, and, 1887, America,
with great succ. 1891 (?), m. Count
Franchi-Verney della Valetta.
Tubbs, (i) Frank Herbert, b.
Brighton. Mass., Nov. 16, 1853 ; pu-
pil of Leavitt, Petersilea and W. K.
Apthorp, Boston ; and (in singing) of
Davis and Wheeler, Boston, Manuel
Garcia, E. Behnke, and Shakesi>eare,
London, San Giovanni and Lamperti
in Italy ; choirm. various churches ;
founded N. Y. Vocal Inst.; writer of
essays and books on the voice. (2)
Jas., head of a family of vln. bow-
makers in London, 1890.
Tucher (too'-kh^r). (i) Gl., Freiherr
▼on, NUmberg, 1798 — 1877; writer.
(2) Rev. Wm., d. 1675 ; Engl, com-
poser.
Tuck'erman, Samuel Parkman,
Boston, Mass., 18 19 — Newport, 1890;
organist, editor and composer.
Tuczek (toots -zdk), Fz., Prague, ca.
1755 — Pesth, 1820 ; tenor ; conductor
and dram, composer.
Tud'way, Thos., England, ca. i66c
— London, 1730 ; organist and pre-
fessor, Cambridge, 1704-26 ; Mcs.
Doc. there, 1705 ; made a coll. of
contemporary services, also c. ser-
vices, etc.
Tulou (tll-loo), J. L., Paris, Sepu
1786 — Nantes, 1865 ; chief flutist erf
his time ; at 14 at the Opera ; iS36-
56, flute-prof, at the Cons. ; compos-
er.
Tuma (too'-mS), F«., Kostelccz, Bo-
hemia, 1704 — Vienna, 1774; gambo-
virtuoso and composer.
Tunder (toon'-d^r), Fz., 16 14 — Lu-
beck, 1^7 ; organist Marienkirchc,
as predecessor of Buxtehude.
Tunsted(e) (ttin'-st^) (or Donstede^
Simon, b. Norwich, Bniis^'ard, Suf-
folk, 1369 ; writer. (CousseznakerJ
Turini (too-re'-ne), (i) Gregorto,
Brescia, ca. 1560 — Prague, ca. 1600;
singer, comet-player and composer.
(2) Fran., Brescia, ca. 1590— 1656:
son of above ; onanist and comp.
Tttrk (tUrk), Daniel Gl., Claussnitz.
Saxony, Aug. 10, 1756 — Halle, Ai^.
26, 181 3 : eminent organist and teach-
er, theorist and composer.
Turle (tflrl), (i) Jas., Somerton, Engl.,
1802 — London, 1882 ; organist, con-
ductor, editor and com|x>ser. (2)
Robt., 1804 — 1877 ; bro. of abo\-e,
organist. (3) Wm. Taunton, b. 1795;
cousin of above ; organist.
Turley (toor'-ll), Jn. Tobias, Treuen
brietzen, Brandenburg, 1773 — 1829;
ore. -builder.
Turner, (i) Wm., 165 1 — 1740; Ei^-
lish Mus. Doc. Cambridge ; coto-
poser. (2) Austin T., b. Bristol
1823, cond. and composer; frtan
1854 in Australia. (3) AUred Dud-
ley, St. Albans, Maine, 1854 — 188S ;
pianist, teacher and composer.
Tumhout (tirn'-hoot), (i) Gerard de
(rightly Gheert Jacqaes)^ Tum-
hout, Belgium, ca. 1520 — Madrid.
1580; cond. at Antwerp Cath. and
to the Court at Spain 1572 ; com-
poser. (2) Jean, son of above ; ct.-
conductor and composer, ca. 1595.
DICTIONARY OF MUSICIANS 77'
Tnr'piii, Edmnnd Hart, b. Notting-
ham, May 4, 1835 ; concert-organist;
lecturer, editor and writer ; pupil of
Hullah and Pauer, London ; organist
various London churches ; from 1888
at St. Bride's; in 1889 Mus. Doc.;
then c. masses, 2 oratorios, cantatas,
syinph-** The Monastery ^^^ overtures,
etc.
Tnrtshaninoff (toort-sha'-nT.n60> Pe-
ter Ivanoyitch, St. Petersburg, 177Q
— 1856 ; composer.
Tyc (ti), Christopher, d. Westminster,
1572 ; 1554-61, organist Ely cathe-
dral and composer.
Tylman, Sosato (also Tilman, Tiel-
man, Thieleman) (tel'-msln), mus.-
printer at Antwerp from 1543 ; com-
poser.
Tyn'dall, J., Leighlin Bridge, Ireland,
1820 — Haslemere, Engl., 1893 ; fa-
mous scientist and acoustician.
u
Ubaldas. Vide hucbald.
Ubcr (oo'.b€r). (i) Chr. Beaj., Bres-
lau, 1746 — 18 1 2 ; dram, composer.
(2) Fr. Chr. Hermana, Breslau,
1 78 1 — Dnsden, 1822 ; son of above;
opera-conductor and composer. (3)
Alex., Breslau, i783^<^arolath, Si-
lesia, 1824 ; bro. of (2) ; 'cellist, con-
ductor and composer.
Uberti (oo-bir'-te) (Hubert) A., Ve-
rona, 1697 (?) — Berlin. 1783; brilliant
soprano-musico and teacher of Mali-
bran. Grisi, etc.
UccelUni (oo-ch51-le'-n€), Don Mar-
co, conductor and composer at Flor-
ence, 1673.
Ugbaldus, Uchubaldus. Vide huc-
BAI.D.
Ue^de (Q-gSld). Delphine (nee
Beance), b. Paris, Dec. 3, 1829;
soprano at Op. -Com., etc.; 1866, also
managed the Bouffes-Parisiens; twice
m.; c. an opera.
Ugolini (oo-go-le'-ne), V., Perugia, ca.
1570 — 1638 ; teacher and important
composer ; pupil of Nanini ; 1620-26
maertro at St. Peter's.
Ugolino (oo-go-le'-nd), Biagio, monk
in Venice ; pub. treatise, 1744.
Uhl (ool), Edmund, b. Prague, Oct.
25. 1853 ; pupil of Leipzig Cons.,
winning Helbig pf. -prize, 1878; since
teacher at the Freudenberg Cons.,
Wiesbaden ; or^nist at the Syna-
gogue ; and critic ; c. Romance for
vln. with orch., etc.
Uhlig (oo'-llkh), Th., Wurzen, Sax-
ony, 1822 — Dresden, 1853 I violinist,
theorist and composer.
Ulibisheff (in French OuUbischeflT)
(00-le -W-sh^O, Alex, d*, Dresden,
1795 — Nishnij Novgorod, 1858 ;
diplomat and writer of biographies.
Ulnch (ool'-rikh), Hugo (Otto), Op-
peln, Silesia, 1827 — Berlin, 1872 ;
teacher and dram, composer.
Umbreit (oom'-brtt), K.Gl., Rehstedt,
near (k)tha, 1763 — 1829; org. -virtu-
oso and composer.
Umlaaf (oom'-lowO, (i) Ig^naz, Vien-
na, 1756 — Meidling, 1796; music di-
rector ; asst. -conductor to Salieri.
(2) Michael, Vienna, 1 781— 1842;
son of above ; conductor and dram,
composer.
Umlauft (oom'-lowft), Paul, b. Meis-
sen, Oct. 27, 1853; pupil Leipzig
Cons., with Mozart scholarship 1879-
83 ; c. succ. i-act opera "^ Evanthia^'
(Gotha, 1893) (won Duke of Coburg-
Gotha's prize) ; dram, poem ** Agan^
decca:' yfnth orch. (1892); '' Mittel-
hoehdeutsches Liederspiel^^ etc.
Un^er (oong'-«r), (i) Jn. Fr., Bruns-
wick, 1716— 1781 ; inventor. (2) (in
lul. Ung^her) Caroline. Stuhlweis-
senburg, Hungary, 1803 — at her
villa, near Florence, 1877 ; soprano ;
1840, m. Sabatier. (3) G., Leipzig,
1837 — 1887 ; tenor.
Upton, G. Putnam, b. Boston, Mass.,
Oct. 25, 1835 ; graduate Brown
Univ., 1854 : 1861-85, on the edito-
rial staff, Chicago *' Tribune "/ found-
er (1872) and first pres. Apollo Club;
translator and writer of valuable
essays, jncl. ** Standard Of eras "
772
THE MUSICAL GUIDE
(1890); ''Standard Oratorios" (1891);
'* Standard SympAs." {iSg2), etc.
Urban (oor'-bin), (i) Chr., b. Elbing,
1778 ; mus.-director, theorist and
composer. (2) H., Berlin, Aug. 27,
1837 — Nov. 24, 1901 ; pupil of Ries,
Laub, Helman, etc. ; violinist and the-
orist; 1881, teacher at Kullak's Acad.;
c. symph. " Friihling^'^ overtures to
•• fUsco " (Schiller), '' Schiherazade,'*
and ** Zu einem Fastnacktsspiel" etc.
(3) Fr. Julius, b. Berlin, Dec. 23,
1838 ; bro. of above ; solo boy-so-
prano in the Domchor ; pupil of H.
Ries, and Helmann (vln.), Grell (theo-
ry), Eisner and Mantius (singing) ;
singing-teacher, Berlin ; wrote vocal
methoids and songs.
Urbani. Vide valkntini.
Urfey (dttr'-fl). Tho«. d', Exeter,
ca. 1649 — London. 1723 ; pop. play-
wright, whose plays'were set by Pur-
cell ; also a singer and composer.
Urban (Ur-^), Chretien, Montjoie,
1790 — Paris, 1845 ; eccentric and
gifted player on stringed instrs., an-
cient and modem ; organist and com-
poser.
Urich (oo'-rikh), L, b. Alsace ; pupil
of Goimod ; prod, operas *' Dtr
LootsCy' ** Hermann und Dorothea**
and 2-act '' Le Carillon" (Berlin,
1902).
Uric (oo'-rt-o), Fran. A., b. Milan,
1660 ; writer and composer.
Urquhart (tir'-kilrt), Thos., vln.-mak-
er, London, 1675.
Ursillo (oor-sll'-lo), Fabio (or simply
Fabio), 1 8th cent, archlute virtuoso
and composer at Rome.
Urso (oor'-so), (i) Camilla, Nantes,
France, 1842 — New York, Jan. 20,
1902 ; vln. -virtuoso (daughter of (2)
Sialvator, organist and flutist); pupil
of Massart ; she played in America
with great succ. at 10 ; toured the
world; m. Fr. Lu^es.
Urspnich (oor'-sprookh), Anton, b.
Frankfort-on-Main, Feb. 17, 1850;
pupil of Ignaz Lachner and M. Wal-
lenstein. Raff and Liszt ; pf. -teacher
Hoch Cons.; from 1887 at Raff
Cons.; c. opera '* Der Sturm "
(based on Shakespeare's ** Tempest^"
Frankfort, 1888), comic (^>era (text
and music) ''Das UnmogHcAsie vi^m
AlUm " (Carlsruhe, 1897), a symph.,
pf. -concerto, etc.
Ursus. Vide bahr.
U(u)tendal (or Utenthal, Untcs-
dal) (Q'-t^n-dal). Alex., d. Inns-
bruck, May 8, 1581 ; Flemish con-
ductor and composer.
F
Vaccai (vak-k&'-e), Niccoid, Tolen-
tino. Papal States, 1790 — Pesaio,
1848 ; noted singing-teacher ; prof.
of comp. Milan Cons.; wrote vocal
method ; c. an opera, funeral can-
tata, etc.
Vaet (vat), Jacques, d. Vienna, 1567;
Flemish conductor and composer.
Valentini (va-ien-tc'-ne). (i) Gtor.,
ca. 1615 ; organist and composer.
(2) GioT., Naples, 1779 — 1788; dram.
composer. (3) P. Fran., Rome, ca,
1570— 1654 ; eminent contrapuntist ;
tmpil of Nanini. (4) (Rightly Va-
entino Urbani) (oor-b&'-n^), cele-
brated contralto-musico ; later a ten-
or; London, 1707- (5) Gtu., b.
Florence, ca. 1690; violinist and
composer.
Valentino (vM-fin-te'-no), Henri Jus-
tin Armand Jos., Lille, 1785 — -Ver-
sailles, 1865; conductor Paris OptSra,
1820-31, then at Op. Com. till 1837.
Valet'ta, Ippolito. Vide franchi-
VERNEY.
VaUe ria, Alwina (righUy A. V. Loli-
mann), b. Baltimore, U. S. A., 1848;
soprano ; pupil R. A. M., Lowidoo,
and of ArcUti ; d^but, 1871 ; from
1882 in oratorio, England ; toured
Europe and America (rang^ h flat —
d ", V. PITCH. D. D.).
Vallotti (vaUIot'-tc), Fran. A,, Ver-
celli, June 11, 1697 — Padua, Jan. 16,
1780; noted organist, theorist and
composer
Van Brcc (vfin bra), Jn. B., Amster-
DICTIONARY OF MUSICIANS 773
dam, 1801 — 1857 ; violinist, conduct-
or and composer.
Van Cleve, J. Smith, b. Maysville,
Ky., Oct. 30. 185 1 ; pianist and
teacher, pupil of Nothnagel (Colum-
bus, C), Lang and Apthorp (Boston),
and W. Steinbrecher (Cincinnati) ;
1879-97 as teacher, critic, writer and
lecturer Cincinnati Cons, and the
Coll. of Mus. ; then Chicago; later
returned to Cincinnati ; composer.
Van den Eeden(a -d^n), (i) Gilles, d.
1792 ; first teacher of Beethoven; son
or nephew of (2) Heinrich ; ct.-mus.
to the Elector of Cologne.
Van dcr Heiden (hf-ddn), d. Besan-
9on, 1902 ; noted Belgian 'cellist.
Vanderlinden (van'-d5r-len-d6n), C,
b. Dordrecht, 1839 ; pupil of B6hme
(harm, and cpt.) and Kwast (pf.) ;
conductor Dordrecht Philh. Soc,
National Guard band, and societies ;
c. 2 operas, overtures, etc.
Van der Straeten (stra-t^n), Ed-
mond, Oudenaardcn, Belgium, 1826
— 1895; writer of valuable treatises
based on research and c. an opera, etc.
Van der Stucken (vSn'-ddr-shtook'-
<5n), Frank (Valentin), b. Frede-
ricksburg, Gillespie Co., Texas,
Oct. 15. 1858, of Belgian father and
German mother; notable composer and
conductor ; at 8 taken by his parents
to Antwerp, studied with Benott, later
with Reinecke, Sanger and Grieg;
1881-82, cond. at Rreslau City Th.;
1883, in Rudolstadt with Grieg, and
in Weimar with Liszt ; prod, opera
'' Vlasda" (Paris, 1883); 1884,
called to be mus.-dir. of the *' Arion,"
New York; from 1895 dir. Cincin-
nati Cons., and 1st cond. Cincinnati
Symph. Orch.; c. symph. prologue
'• miliam Ratdiff'' (Cincinnati,
1899); orch. episode, '^ Pagina d'a-
more*'' with choruses and songs;
** FesHval March:' for orch., '* Pax
Triumphans" (Antwerp, 1902), etc.
Van Duyze (van doi'-zS), Florimond,
b. Ghent, Aug. 4, 1853; lawyer and
amateur ; pupil of Ghent Cons. , win-
ning Grand prix de Rome, 1873,
with cantata ''^Torquaio Tasso's
Dood "/ prod. 7 operas, Antwerp and
Ghent ; c. also ode-symphonie ** Die
iYachtr
Van Dyck (van dlk), Ernest (Marie
Hubert), b. Antwerp, April 2, 186 1 ;
noted tenor; studied law, was then a
journalist at Paris ; studied singing
with St. Yves ; debut Paris, 1887, as
•* Lohengrin "; 1892 sang *' Parsifal "
at Bayreuth ; 1888 engaged for the
Vienna ct.-opera ; has sung in the
chief capitals, London, and 1899,
New York.
Van Hal. Vide wanhal.
Vanneo (van-na'-5), Stelano, b. Re-
canati, Ancona, 1493 ; monk and
writer.
Van Os (van 5s), Albert, earliest known
org. -builder called **A. the Great,"
at Utrecht, 1120.
Van Rooy (van ro'-l), Anton, b.
Rotterdam, Jan. 12, 1870 ; notable
barytone ; pupil of Stockhausen at
Frankfort ; sang in oratorio and con-
certs ; later at Bayreuth, 1897 ; then
at Berlin ct.-opera ; sang with succ.
London (1898), from 1898 in New
York annually ; his greatest r61e is
*• Wotan."
Van Westerhout (wfis'-t^r-howt), Nic-
colo (of Dutch parents), Mola di Bari,
1862 — Naples, 1898 ; dram, compos-
er.
Varncy (vSr-ne), (i) P. Jos. Alphonse,
Paris, 1811 — 1879; conductor and
composer of operettas. (2) Louis,
b. Paris (?) ; son and pupil of above ;
lives in Paris, and has since 1876
prod, over 30 operettas, comic operas,
** revues," etc.
Vasconcellos (v&s-kon-s^l'-los), Joa-
quim de, contemporary Portuguese
lexicographer and historian.
Vasseur (v^siir). L^on (F61ix Auj^.
Jos.), b. Bapaume, Pas-dc-Calais,
May 28, 1844; studied 6cole Nieder-
meyer ; from 1 870 organist Versailles
Cath.; cond. Folies-Berg^res and the
Concerts de Paris (1882) ; since 1872
prod, over 30 light operas ; c. also
masses, etc.
iii^iMMtiBAiiMMtfMIH
MMiH
774
THE MUSICAL GUIDE
Vaucorbeil (vo-kor-M), Aug, Eman-
uel, Rouen, 1821 — Paris, 1884; 1880,
dir. the Opera ; c. comic-opera, etc.
Vaufl^han (v6n), Thos., Norwich, 1782
— Birmingham, 1843 ; tenor.
Vavrinecz (va'-vre-ndts), Mauritius,
b. Czeglcd, Hungary, July 18, 1858;
studied Pesth Cons., and with R.
Volkmann; cath. cond. at Pesth ; c.
4-act opera **i?<i/r/i^'* (Prague, 1895),
succ. I -act opera '^ /dosamunda^*
(Frankfort-on-Main, 1895), oratorio,
5 masses, a symph., etc.
Vecchi(i) (v«k'-ke-(e) >, (i) Orazio,
Modena, 1551 (?) — Feb. 19, 1605;
noted composer; from 1596 maestro
Modena cath. ; his ** mus.-comedy '*
^'^ AmfipartiassOy* in which the chorus
joined in all the mus., even the mono-
logues, appeared the same year as
peri's (q. V.) "Z><i/«/'V c. also
madrigals, etc. (2) Orfeo, Milan, ca.
1540 — 1 61 3 ; maestro, and composer.
Vcit (vlt). Wenzel H. (VAclav Jin-
drlch), Kepnic, near Leitmeritz, Bo-
hemia, 1806 — Leitmeritz, 1864 ; com-
poser.
Velluti (vdl-loo'-te), Giov. Bat.. Mon-
terone, Ancona, 1781 — San Burson,
1861 ; the last of the great male so-
prani.
Venatonni. Vide mysliweczek.
Venosa, Prince of. Vide gesualdo.
Vcn'to, (i) Ivo de, b. Spain ; ct. -or-
ganist at Munich and composer (i 56I'
91). (2) Mattia, Naples, 1739 —
London, 1777 ; c. operas.
Venturelli (vdn-too-rai'-le), V., Man-
tua, 1 85 1 — (suicide) 1895; essayist
and dram, composer.
Venzano (vdn-ts^'-nd), Luig^i, Genoa,
ca. 1814 — 1878 ; 'cellist and teacher;
c. opera, pop. songs, etc.
Veracini (va-rS-che'-ne), (i) A., vio-
linist at Florence (1696). (2) Fran.
Maria, Florence, ca. 1685 — near
Pisa, ca. 1750 ; nephew and pupil of
above ; notable violinist, the greatest
of his time ; composer.
Verdelot (vird-lo) (Italianised, Verdc-
lot'to), Philippe, d. before 1567 ;
famous Flemish madrigal-composer
and singer at San Marco, Venke :
between 1530-40 in Florence.
Verdi (v«r'-de), (Fortunio) Ginseppe
(Fran.), Le Roncole, near Busscto.
Duchy of Parma, Oct. 9, 1813 —
Milan, Jan. 27, 1901 ; eminent ItaU
ian opera composer. Son of an ina-
keeper and grocer ; pupil, and at
10 successor of the village organist,
Baistrocchi, for three years pufsl of
Proves! at Busseto ; 183 1 with the
aid of his father's friend, Barezzi,
he went to Milan, where he was re-
fused admission to the Cons, by Ba-
sili, who thought him lacking in
mus. talent. He became a popil of
Lavigna, cembalist, at La Scaia ;
1833, cond. Philh. Soc., and organ-
ist at Busseto ; 1836 m. Barezzi's
daughter Margherita. 1839, ^^ op~
trai^^ Oberto** was prod, with fwr
succ. at La Scala, Milan. He was
commissioned by Merelli, the man*
ager, to write three operas, one every
eijg^ht months, at 4,000 lire ($800 or
^i6o) apiece, and half the copy-
right. The first was a comic opera
** Un Ciorno di Regno;' which failed
(1840), doubtless in part becaose his
two children and wife had died with-
in three months. V.'s combined dis-
tress drove him to rescind his agree-
ment and renounce composition for
over a year, when he was persuaded
by Merelli to set the opera ** ^ahmt-
co " ('* Nebuchadrezzar "), prod, at La
Scala, 1842, with g^reat applause, the
chief role being t^en by Giuseppina
Strepponi (1815-97), whom he m. in
1844. '*/ Lombardi alia prima
Crociata" (La Scala, 1843) was still
more succ. and is still played in Italy
(in Paris as '' J/rusalem'*), *' Er.
nani" (Venice, 1844) was prod, on
15 different stages in 9 months. 8
unsucc. works followed, incl. ** I dit
Foscarr (Rome, 1844). "iVor^^-M"
(Florence, 1847; revised Paris, 1865),
and ** 1 Masnadieri ' (after SchiUciKs
''Robbers'' London, H. M. Th.,
1847). '' Luisa Miller'* (Naples.
1849) was well received and is still
DICTIONARY OF MUSICIANS 775
sung in Italy. " Stiff elio " (Trieste,
1850) ; later as *' Cuglitlmc IVeUng-
Todt **/ also with another libretto as
** Arnoldo'' (1857), was three times a
failure. ** RigoUito,** c, in 40 days
(Venice) (also given as ** ViscardeU
io "), b^an a three years' period of
universal succ, it was followed
by the world-wide successes **//
Trovatore'' i^omut^ 1853) and ** Za
Traviata'' (Venice Th., 1853; also
given as ** VioUtta'')^ a Basco at
first because of a poor cast; **Z^j
Vipres Siciliennes " (Paris Opera,
1855; in Julian **/ VesfH Sicili-
ani*\' also g^ven sls *^ Ctovanna di
Guzman ") was fairlv succ. ; ** Simon
Boccanegra " (Venice, 1857,; succ.
revised. Milan, 1881), ** Un Ballo in
Maschera'' (Rome, 1859), *'-^ ^^o^'
za del Destino'" (Petersburg, 1862),
and ''''Don Carlos*'' (Paris, Opera,
1867), made no deep impression,
though they served as a schooling and
marked a gradual broadening from
mere Italian lyricism to a substantial
harmony and orchestration. * ' A ida "
(written for the Khedive of Egypt)
was prod. Cairo, 187 1, at I^ Scala,
Milan, 1872, and has had everywhere
agrcat succ. The Khedive gave him
;^,ooo for it. His ** Manzoni Re-
quiem " (1874) niade a sensation in
Italy; " 0/tllo'' (Milan, 1887) was a
work worthy of its composer, and in
his last opera ** Falslaff*' written at
the age of eighty, he showed not
only an unimpaired but a progressive
and novel style. He also c. 2 symphs.,
6 pf. -concertos, *^/nno delU Nasi-
oniy** for the London Exhibition
(1862). song^, etc.
In 1893 he was given the title ** Mar-
chese di Busseto. ' He lived at his
villa Sant* Agata, near Busseto. His
funeral brought 100,000 witnesses,
though his will ordered that it should
be simple and quiet. He left the
bulk of his fortune to the home for
aged and outworn musicians.
Biog. by Gino Monaldi (only in
German, transl. byL. Holthof, Leip-
zig, 1898) ; Checchi, 1887 ; Blanche
Roosevelt (London, 1887).
Giuseppe Verdi.
By W. J. Henderson.
YERDI has been the representative Italian opera composer of his time
and his personal development in art is that of his country, which has
followed his dominating influence. He began to write in the prev-
alent style of the old Italian school, but even in his early works, which had
striking resemblances to those of Donizetti and Bellini, he showed a rude
vigour not possessed by either of them. ^ This vigour came conspicuously
into notice in his **Eraam,*' though the most familiar example of his style
in this period of his development is * • Rigoletto, * ' The early works show fecun-
dity of melodic invention, but a close adherence to the elementary dance
rhythms used by the Neapolitan school. The dramatic element and the virile
power of the man, however, continually pressed toward the front till in
*^Aida^^^ in which the Egyptian subject lured him away from conventions
into originality of colour, he entered upon a new field and established himself
as a new individuality in music. He idealised the old aria, employed all the
resources* of modern instrumentation in the orchestral part, and sought for
776
THE MUSICAL GUIDE
truthful dramatic expression as none of his predecessors had. **Aids*^
been the model of the younger Italian school and its influence can be traccci
through the works of such writers as Mascagni, Leoncavallo, and PaccmL
^In "O/^/^" Verdi left the old .Italian patterns still iimher behind him^fct
without ceasing to be Italian in style or individual in ideas. The voice pans
are dominant and essentially melodious at all times, but the detenninatkin of
the composer to be faithful to the spirit of the text is more manifest than era-
before. The work is a monument of genius. In his ^^Falstaff'^'* Vcrfi
produced a comic opera which stands next to Mozart's *^Nozze di Figaro**
and Wagner's "/>/> Meister singer,^* The freshness and spontaneity of tbe
score, the marvellous eloquence of the orchestral details and the infinite sag-
niiicance of the recitative make this work one of the masterpieces of modem
times. The advance of Verdi from the ''drum and trumpet " operas of hii
youth to the highly organised, subtly significant and opulent scores of hk c^
age, is the feature of hb artistic career, and where he has led, Italy has fd--
lowed, (te was the master and the moulder of Italian musical thought iat
half a century.
Verdonck', Cornelius, Turnhout, Bel-
gium, 1564 — Antwerp, 1625 ; com-
poser.
Vere-Sapio (var-sft'-pt-d), Clemen-
tine (Du(hene) de, b. Paris; sopra-
no ; daugliter of a Belgian nobleman,
and an English-woman ; pupil of
Mme. Albertini-Baucarde, Florence ;
debut there at 16, sang at leading
theatres, Europe, later in concert,
also in the Uniteid States ; 1896, she
returned to i>pera; 1899, toured U. S.
with an opera troupe of which her
husband, Signor Sapio, was mgr.;
1900-1901 at Metropolitan, N. Y.,
and Covcnt Garden.
Verhulst (vSr-hoolst'), Jns. (Josephus
Herman), The Hag^ue, 18 16 — 1891 ;
cond, ; famous composer ; pupil of
Volcke at the Cons, there, later R.
mus.-dir.; cond. many societies, etc.;
intimate friend of Schumann ; c.
symphony, 3 overtures, etc.
Vernier (v^m-va), Jean Aim^, b.
Paris, 1769 (?); harpist and com-
poser.
Ver'non, Jos., d. South . I^mbeth,
1782 ; male soprano ; then tenor ;
composer.
V6ron (va-roh), D6sir6, Paris, 1798—
1867; critic, writer and manager d
the Opera.
Verovio (va-r6'-vt-6), Simone, the
first copper-plate mus.-printer, Rome,
ca. 1586 — 1604-
Vertov'ski, c. the first Russian opera
''AskolcTs Grave"' (Askoldcva M*-
gila), based on folksongs.
Ves<||ue Ton Piittlingen (v6sk fdn
pU-lTng-^n), Jn., Opole, Poland,
1803— Vienna. 1883; pianist of Bel-
gian parentage ; c. 6 operas ; used
pen-name " J. Hoven."
Ves'trio, Luda E., London, 1797 —
Fulham, 1856 ; opera-singer.
Viadana (ve-a-da'-na), Ladovico (da)
(rightly L. Grossi), Viadana, near
Mantua, 1564 — Giialtieri, 1645;
noted church- composer ; maestro at
Mantua cath.; important early figure
in the development of basso continiio
(v. D. D.).
Vian'na da Mot'ta, Jos6, b. Isle of
St. Thomas, Africa, April 22, 1868 ;
Portuguese pianist ; st * Lisbon and
Schan\'enka Cons., Berlin; later with
Schaffer, Liszt and von Bfklow;
toured Europe; lives Paris.
DICTIONARY OF MUSICIANS 777
Vijuiesi (ve-a-ni'-ze), An^ste Chas.
Leonard Francois, b. Leghorn,
Nov. 2, 1837; studied in Paris 1859,
cond. Drury Lane, London ; then at
New York, Moscow and Peters-
burg^ ; 12 years cond. at Covent Gar-
den ; also in other cities ; 1887, ist
cond. Gr. Op^ra, Paris; cond. New
York, 1891-92.
Viard-Lonis (vl-&r-Ioo-e), Jenny, b.
Carcassonne, Sept. 29, 1831; con-
cert-pianist and teacher, London.
Viardot-Garcia (vY-ir'-do-g^-the'-fi),
(i) (Michelle Fde.) Pauline, b.
Paris, July 18, 1821; famous mezzo-so-
prano and teacher; d^ghterof Man-
uel Garcia (q. v.)» studied pf. with Vega
at Mexico Oath., then with Meysen-
berg and Liszt, and Reicha (harm.) ;
and singing with her father and
mother; concert debut, Brussels,
1837; opera debut, London, 1839,
engaged by Viardot, dir. Th. Italien,
Paris, and sang there until 1841,
when she m. him and made Europe-
an tours with him. In 1849 she cre-
ated "Fides" in '' U Prophher
Paris, **Sapho" (Gounod's opera),
185 1 ; 1863, retired to Baden-Baden;
from 1 87 1 lived in Paris as teacher.
Her voice had the remarkable com-
pass of more than 3 octaves from bass
c-f". Wrote a vocal method and c
3 operas, 60 songs, and also 6 pes.
for pf. and vln. Biogr. by I^ Mara.
(2) Mme. Louise H6ritte Viardot,
b. Paris, Dec. 14, 1841; daughter of
above ; singing-teacher Hoch Cons.,
Frankfort (till 1886) ; then est. a
sch. at Berlin ; c. 2 comic operas, a
pf. -quartet, etc. (3) Mme. Chame-
rot, and (4) Marianne V., daughters
of (i) were concert-singers. (5) Paul,
b. Courtavent. July 20, 1857; violin-
ist , son of (i). pupil of Leonard;
1893, temporary cond. Paris Opera.
Vicentino (ve-ch^n-te'-no), Nicola,
Vicenza, 1511 — Milan, ca. 1576;
conductor, theorist and composer ;
inv. **archiorgano."
Victorio. Vide vittoria.
Vidal (ve-d&l), (i) B., d. Paris, 1880 ;
guitar-virtuoso, teacher and com-
poser. (2) Jean Jos., Sor^ze, 1789
— Paris, 1867 ; violinist. (3) Louis
A., b. Rouen, July 10, 1820 ; *cellist
and writer; pupil of Franchomme;
pub. im|)ortant historical works. (4)
Francois, b. Aix, July 14, 1832 ;
poet and writer. (5) raul Antonin,
b. Toulouse, June 16, 1863 ; pupil of
Paris Cons., winning first Grand
prix de Rome, 188 1; 1894, taught
solf^e there ; from 1896, cond. at
the Opera ; prod. 3-act lyric fantasy
** Eros " (1892), a ballet ** La Mala-
detia'' (1893), 2 i-act opereiUs;
lyric drama ** Guernica^* (Op. Com.,
1895) ; orch. suite, ** Les mysthres
(VEltusis^^^ etc.
Vierdank (fer'-d^k), Jn., organist
and composer at Stralsund 164 1.
Vierling (fer'-ltng), (i) Jn. Gf., Metz-
els, near Mciningen, 1750 — Schmalk-
den, 1 8 13; organist and composer.
(2) Jacob v., 1796— 1867, or^nist.
(3) George, Frankenthal, Palatinate,
Sept. 5, 1820 — Wiesbaden, June,
1 901 ; son and pupil of above, also
of Rinck (org.), Marx (comp.); 1847,
organist at Frankfort-on-Oder ; 1852-
53, cond. Liedertafel, Mayence ;
then lived in Berlin, founder and tor
years cond. Bach-verein ; prof, and
R. Mus.-Dir. ; c. notable secular
oratorios, ** Der Raub der Sabine^
rinntn'' (op. 50), ''Alarichs Tod''
and ^' Konsiantin"', Psalm 137, with
orch. ; and other choral works ; a
symph.; 5 overtures, incl. **/»f
FrUhling"; capnccio for pf, with
orch.. etc.
Vieuxtemps (v'ytt-tan), (i) Henri, Ver-
viers, Belgium, Feb. 20, 1820 — Mus-
tapha, Algiers, June 6, 1881 ; emi-
nent violinist and composer ; son and
pupU of a piano-tuner and instr.-
maker, then pupil of Lecloux, with
whom he toured at 8 ; then pupil of
de B^riot (vln.). Sechter (harm.),
Reicha (comp.) ; he toured Europe
with great succ, and three times
America (1844, 1857 and 1870) ; 1845,
m. Josephine Eder, a Vienna pianist ;
778
THE MUSICAL GUIDE
1846-52, solo- violinist to the Czar
and prof, at the Petersburg Cons.;
1871-73, prof, at the Brussels Cons.;
then paralysis of his left side stopped
his playing. He c. 6 concertos, sev-
eral concertinos, an overture on the
Belgian national hymn (op. 41), fantai-
sie-caprice, with orch. ; fantaisies on
. Slavic themes, * '^ Homage h Paganini^'*
caprice, sonata, vars. on ** Yankee
Doodle** 2 'cello-concertos, a g^nd
solo duo for vln. and 'cello (with Ser-
vais), etc. Biog. bv Randoux (1891).
(2) Jules Jos. nmest, Brussels,
March 18, 1832 — Belfast, March 20,
1896 ; bro. of above ; solo-'cellist It.
Opera, London ; also in Halle^s orch.
at Manchester.
Vieand (ve-ga.n5'), Salvatore,
Naples, 1769— -Milan, 1821 ; ballet-
dancer and succ. composer of bal-
lets.
Vilbac(k) (vel-bdk),(Alphoiise Chas.)
Renaud de, Montpellier, 1829 —
Paris, 1884 ; pisinist and organist; c.
comic operas.
Villanis (vel-l^'-nes), Lui^ Alberto,
b. San Mauro, near Turin, June 20,
1863; LL.D. Turin Univ., 1887.
then pupil of Thermignon, and Cra-
vero (comp.); 1890 prof, of mus.
aesthetics and history, Turin Univ.;
critic and writer.
Villarosa (vel-la-r5'-sa), Carlantonio
de Rosa, Marchese di, Naples, 1762
— 1847; Hoyal Historiographer, 1823,
and writer on music.
Villars (ve-ySrs), Fran, de, He Bour-
bon. 1825 — Paris, 1879 ; critic and
historian.
Villebois (ve'-y&-bwS), Constantin
Pctrovitch, Warsaw, 18 17 — 1882 ;
composer.
Vil'loing, Alex, b. Petersburg, d. there
1878 ; pf. -teacher ; wrote method
and c. pf.-pcs.
Villoteau (ve'-y6-to), Guillaume An-
dr6, Belleme, 1759 — Tours, 1839;
tenor and writer.
Vincent (vaA-sah), (i) Alex. Jos. Hy-
dulphe, Hesdin, Pas -de - Calais,
1797— "Paris, 1868; pub. treatises
claiming that the Greeks used harm^
etc
(fln'-ts«nt), (2) H. Jos., Thcilhrai,
near WUrzburg, Feb. 23, 1819— 1901;
g^ve up theology and law and became
a tenor in theatres at Vienna (1S49),
Halle and WUrzburg; from 1S72,
singing-teacher and conductor ; lived
at Czemowitz, Bukowina and later in
Vienna ; pub. treatises advocating
the ** Chroma '* (v. D.D.) Theory; c
operas, operettas, and pop. songs.
(vTn'-s«nt), (3) Chas, John, b.
Houghton-le-Spring, Durham, Engl..
Sept. 19, 1852 (son and pupil of (4)
Chas. J., organist at St. Michaers);
studied Leipzig Cons.; Mus. Doc
Oxon, 1885; 1883-91, organist Christ
Ch., London ; ed., writer ; c. over-
ture *• TAe Siortn "; oratorio •'^jk/A,"
3 cantatas with orch.; choral fugoe
in 8 parts, etc. (5) G. Fr., b. Mardi
27, 1855 ; bro. of above ; pufnl of
Leipzig Cons. ; from i882» organist at
St. Thomas's, Sunderland, also cond.
societies there ; c. operettas, a can-
tata with orch. ** Sir Humphrey Gil-
bert,^* etc.
Vinci (vcn'-chc), (i) Pietro, b. Nicoaa.
Sicily, 1540; maestro and composer.
(2) Leonardo, StrongoU, Calabria,
1690 — Naples, 1732 ; maestro and
dram, composer.
Vi'ning, Helen Sherwood, b. Brook-
lyn, N. v., July 4, 1855 ; wrote text-
books, etc.
Vin'ning, Louisa, Newton (?), Devon;
harpist and singer in London ; m. J .
S. C. Heywood, 1865.
Viola (ve-o -Id), (i) Alfonso deUa, ct..
composer at Ferrara. 1541-63 to
Ercole IL (2) Fran., pupil of Wil-
laert ; maestro at Ferrara, and com-
poser, 1558-73.
Viole (fe'-d-l«), Rudolf, Schochwitx,
Mansfeld, 18 15 — Berlin, 1867 ; pta-
nist and composer.
Viotta (fe-6t'-ta). Henri, b. Amster-
dam, July 16, 1848 ; studied Cologne
Cons.; also a lawyer, 1883; founder
and cond., Amsterdam Wagpier Soc,
etc.; 1889, ed. '' Maandblad vo^
DICTIONARY OF MUSICIANS 779
Afuxiek "/ 1896, dir. Cons, at The
Hague ; publ. a ** Ltxicon der Toon-
Jhinsi" {iSSg).
Viotti (ve-6t'-te), Gior. Bat., Fonta-
neto da P6, Vcrcelli, Italy, May 23,
1753 — Lox^on, March 10 (?), 1824;
son of a blacksmith ; at first stlf-
taught.then, under patronage of Prince
della Cistema, studied with Pugnani
at Turin ; soon entered the ct. -orches-
tra ; 1780 toured with Pugnani, was
invited to become ct.-violinist to
Catherine II., but went to Paris, then
London, playing with greatest succ;
1783 an inferior violinist drew a larger
audience, and in disgust he retired
from concerts and became a teacher
and accompanist to Marie Antoinette
and cond. to the Prince de Soubise.
Failing to be dir. of the Opera, 1787,
he joined L^nard, the Queen's hair-
dresser, and est. It. Opera, 1789;
prospering till the Revolution. He
went to London as a violinist and
played with g^reat succ. 1795, mgr.
It. Opera and dir. Opera Concerts
there ; failing he went into the wine-
trade. Later returned to Paris, and
became dir. of the Op^ra, 1819-22,
then pensioned with 6,000 francs.
He pub. 29 vln. -concertos (the Brst
written in the modem sonata-form,
and supported with broadened or-
chestration). C. also 2 Concertantes
for 2 vlns., 21 string-quartets, 51 vln.-
duos, 18 sonatas, etc. Bioer. by
Fayollc (Paris, 1810) ; Baillot (1825),
etc.
Virdung^ (fer'-doongk), Sebastian,
priest and organist at Basel, 151 1 ;
writer and composer.
Visetti (vc-s€t'-te), Alberto Ant., b.
Spalato, Dalmatia, May 13, 1846 ;
pupil of Mazzucato, Milan Cons.,
concert-pianist at Nice ; then Paris,
cond. to the Empress Eugenie ; on
the fall of the Empire, vocal teacher
in the R C. M., London; pub. a
•• History of the Art of Singing**
and translations.
Vital! (ve-ta -le), (i) Filippo, b. Flor-
ence , singer and composer. 163 1. (2)
Giov. Bat., Cremona, ca. 1644—^
Modena, Oct. 12, 1692 ; 2d ct.-cond.
and composer of important sonatas,
ballets, etc. (3) Toinaso, b. Bo-
logna, middle of 17th cent. ; leader
there, and c. a chaconne.
Vitry (ve-tre), Philippe De (Philip-
pu» di Vitria'co), b. Vitry, Pas-de-
Calais ; d. 1 3 16, as Bishop of Meaux;
theorist.
Vittori (vU-to'-re), Loreto, Spoleto.
ca. 1588 — Rome, 1670 ; composer.
Vittoria (vU-to'-rt-a), Tomaso Ludo-
yico da (rightly Tomas Luis De
Victoria), Avila(?), Spain, ca. 1540—
Madrid, (?) ca. 1608; went to Rome
early; 1573 maestro Collegium *Ger-
manicum ; 1575, of S. ApoUinaris;
friend and disciple of Palestrina ;
1589-1602 vice ct. - conductor, Ma-
drid ; c. notable works incl. a re-
quiem for the Empress Maria, 1605.
Vivaldi (ve-vSl'-de), Abbate Ant., Ven-
ice, ca. 1675 — 1743 ; celebrated vio-
linist ; from 17 13 dir. Cons, della
Pieti ; c. notable vln. -concertos and
sonatas.
Vivier (vev-ya), (i) Albert Jos., b.
Hujr, Belgium, Dec 15, 1816 ; pupil of
Fetis ; c. opera and wrote a har-
mony. (2) feug^^ne L^on, b. Ajac-
cio, 182 1 ; remarkable horn-virtuo-
so ; he always refused to tell how he
produced three or four notes at once,
making it possible to play the parts
for three horns on one ; pupil of Gal-
lay, then joined orch. at Paris Op^ra ;
made many tours, was a favourite of
Napoleon IIL, then retired to Nice ;
a great wit and a composer of excel-
lent songs. (3) Albert Jos., b. Huy,
Belgium, Dec. 3, 1816 ; theorist and
composer.
Vleesnouwer (flas'-hoo-v*r), Albert
de, b. Antwerp, June 8, 1863 ; pupil
of Jan Blockx ; prod. 2 operas,
''L&coU des Phes" (1892) and
*^^ ZrynV* (Antwerp, 1895), sympho-
nic poem, ^'De witde Jdger^" etc.
Vockerodt (fok'-^-rot), Gf., MQlhau-
sen, 1665 — Gotha, 1727; theorist.
Vos:el (fogdl), (i) Jn, Chr., NUm-
78o
THE MUSICAL GUIDE
berg* '75^ — Paris, 1788 ; dram, com-
poser. (2) L., flutist and composer.
Paris, 1792 — 1798. (3) Fr. Wm.
Fd., b. Havel berg, Prussia, Sept.
9, 1807; pupil of Bimbach, Berlin ;
toured as organist ; from 1852, at
Bergen, Norway ; pub. a concertino
for org. with trombones; symph.,
overture, 2 operettas, etc. (4) (Chas.
Louis) Ad., Lille, 1808 — Paris.
1892 ; violinist and dram, composer.
(5) (Wm.) Moritz, b. Sorgau, near
Freiburg, Silesia, July 9, 1846 ; pian-
ist; pupil of Leipzig Cons. ; teacher,
critic and conductor of choral socs.,
Leipzig ; pub. pf. method, c. rondos,
etc. (6) (Ad.) Bd., Plauen, Saxony,
1847 — Leipzig, 1898; journalist,
writer and composer. (7) Emil. b.
Wriezen-on-Oder, Jan. 21, 1859 ; Ur.
Phil., Beriin, 1887; 1883, sent to
Italy by the govt, as Haberl's asst.
in studying Palestrina's works ; from
1893, lib. Peters Mus. Library, Leip-
zig ; pub. monographs, etc.
Voggenhubcr (fog'-g^n-hoo-b^r), Vil-
ma von (Frau V. Krolop), Pesth,
1845 — Berlin 1888 ; dram, soprano
at Berlin ct.-opera 1868-88.
Vogl (fokh'-'l), (I) Jn. Michael, Steyr,
1768 — Vienna, 1840 ; tenor and con-
ductor (v. FZ. SCHUBERT). (2) Hciii-
rich, Au, Munich, Jan. 15, 1S45 —
on the stage, Munich, April 21, 1900;
famous tenor ; debut Munich ct.-op-
era, 1865; sang there thereafter;
eminent in Wagnerian roles at Bay-
reuth ; prod, an opera ^^ Der Frevid-
ling'* (Munich, 1899). (3) Thc-
rese (nee Thoma), Tutzing, Lake of
Stamberg, Nov. 12, 1845 t from
1868, wife of above, and like him,
eminent in Wagner opera ; dram,
soprano ; pupil of Hauser and Herg-
er, Munich Cons.; 1864, Carlsruhe ;
1865-92, Munich, then retired.
Voeler (fokh'-ier). Georg Jos. ("Abb^
Vogler"), WUrzburg, June 15, 1749
— Darmstadt. May 6, 1814; famous
organist ; theorist and composer; pupil
of Padre Martini and Vallotti ; took
orders at Rome ; 1786-99, court-con-
ductor Stockholm ; 1807. ct.-concL at
Darmstadt ; he was eminent as a
teacher of radical methods ; tCKired
widely as a concert organist with bis
** orchestrion "j . he wrote many trea-
tises ; c. 10 operas, a symphony, etc
Vopich (fo'-grtkh), Max (AVm.
Carl), b. Szeben (Hermannstadti.
Transylvania, Jan. 24, 1852 ; pianst :
at 7 he played in public, then pupd
of Leipzig Cons.; 1870-78, tomed
Europe, Mexico and South America ;
then U. S. with Wilhelmj ; i88a-S6.
in Australia, where he m.; since
1886, lives in New York ; c. 3 grand
operas (text and music) incl. ** Wanda"
(Florence, 1875) ; c. also an oratorio
''The Captivity'' {\%%^\ Met. Op.
1891); 2 cantatas, Missa Solemnis ;
2 symphs., vln. -concerto, etc.
Vogt (fdkht), (i) Gustave, Stxaas-
burg, 178 1 — Paris, 1879 ; oboist.
professor and composer. (2) Ja.
(Jean), Gross-Tinz, near Leibnitz.
1823 — Eberswalde, 1888 ; pianist and
composer,
Voigt (foikht), (i) Jn. G. Hemuuifi,
Osterwieck, Saxony, 1769 — 181 r; or-
ganist and composer. (2) K., Ham-
burg, 1808 — 1879 \ conductor. (3)
Henriette (nee Kunze), 1809— Oct.
15, 1839 i distinguished amatenr mu-
sician at Leipzig ; intimate friend of
Schumann.
Volckmar (folk'-milr). Wm. (Valen-
tin), Hersfeld. C^ssel, 18 12 — Hom-
berg, near C^ssel, 1887; mus.-teacb>
er, organist, writer and composer.
Volkert (f61'.k«rt), Fz., Heimersdorf,
Bohemia, 1767 — ^Vienna, 1845 ; or-
ganist and conductor ; c. over 100
comic operas, Singspiele, etc.
Volkland (folk'-lant), Alfred, b.
Brunswick, April 10, 1841; popil
Leipzig Cons. ; ct. -pianist at Sonders-
hausen ; from 1867, ct.-cond. there;
1869-75, cond. Leipzig Euterpe, also
co-founder the Bach-Vcrein ; since
1875, cond. at Basel; 1889, Dr.
Phil. h. c. (Basel Univ.).
Volkmann (f61k'-mSn), (Fr.) RobC,
Lommatzsch, Saxony, April 6, 181 5
DICTIONARY OF MUSICIANS 781
— Pesth, Oct 30, 1883 ; notable
composer ; sod and pupil of a cantor ;
studied with Friebel (vln. and 'cello),
Anacker (comp.) and K. F. Becker,
at Leipzig ; 1839-42, taught mus. at
Prague ; thereafter lived in Pesth,
excepting 1854-58, Vienna ; for years
prof, of harm, and cpt at the Nat.
Acad, of Mus., Prague ; c. 2 symphs. ;
3 serenades for strings ; 2 overtures,
incL ^^ Richard I/I,'* ; concerto for
*cello, ConcertstQck for pf. and
orch. ; 2 masses with orch. ; Christmas
Carol of the I2th cent.; old German
hymns for double male chorus ; 6
duets on old German poems ; 2 wed-
ding-songs; alto solo with orch.,
*^An die Nacht" ; dram.-scene for
sop>rano with orch., *' Sappho** ; pf.-
pcs. and songs. Biog. by Vogel
(Leipzig, 1875).
VoUhardt (fol-h&rt), Emil Rein-
hardt, b. Seifersdorf, Saxony, Oct.
16, 1858 ; pupil of Leipzig Cons.;
cantor Marienkirche and cond. at
Zwickau ; c. motets and songs.
VoUweiler (fol'-vI-Wr), K., Offenbach,
18 13 — Heidelberg, 1848; piano-
teacher and composer.
Volumier (vd-lQm-ya), J. Bapt., Spain,
1677 — Dresden, 1720; ct. -violinist
and ball-cond., Berlin and Dresden.
Vonderheide (fon'-d^r-hl'-dd), J. Fr.,
b. Cincinnati, Feb. 28, 1857; public
singer and violinist at 10 ; at 17 he
knew nearly all instrs. of the orch.;
taught 3 years in Pittsburg; studied
voice-culture and piano in Cincinnati
and Europe ; 1882-84, dir. Buffalo
Sch. of Mus.; 1885-91, N. Y. Con-
servatory.
Vopelins (fo-pa'-lt-oos), Gl, Herwigs-
dorf, n. Zittau, 1645 — Leipzig, 171 5;
cantor and composer.
Voretzsch (vo'-r^tsh), Jns. Felix, b.
Altkirchen, July 17, 1835 ; pianist
and conductor.
Voss, (i) (Vos'sius) Gerhard Jn.,
Heidelberg, 1577 — Amsterdam, 164*9 1
writer on mus. (2) Isaak, Leyden,
1618 — Windsor, Engl., 1689; ^" ^^
above ; canon and writer. (3) Chas.,
Schmarsow, Pomerania, 18 15 — Vero-
na, 1882 ; pianist and composer.
Vowles (v61z), W. G., succ. J. Smith,
org. -builder, est. Bristol, 1814.
Vredemasm (fra'-d£-man), (i) Jakob,
teacher and composer, Leuwarden,
ca. 1600 — 1640. (2) Michael,
teacher and theorist, Amheim, 1612.
Vroye (vrwa), Th. Jo». De, Villers-la-
Villc, Belgium, 1804 — Li^e, 1873 ;
canon and theorist.
VuiUamne (vwe-y5m), family of French
vln.-makers. (i) Claude (1771 —
1834); had 4 sons who follov^ed him,
the most famous (2) Jean Baptiste,
Mirecourt, Dept. of Vosges, France,
Oct. 7, 1798 — Paris, March 19, 1879;
1821-25, in partnership with Lete ;
he was v. succ. and a remarkable
imitator of Stradivari ; inv. 185 1,
*'octobasse'* (v. D. D.); 1855, a larger
viola " contre-alto " ; in 1867 a mute,
the '*pedale sourdine" ; also a ma-
chine for manufacturing gut-strings
of unvaried thickness, etc. His
brothers were : (3) Nicolas (1800—
1 871), (4) Nicolas Fran. (1802 —
1876), and (5) Claude Fran, (b.1807),
also an org. -builder. (6) Sebastian
(1835 — 1875), vln.-maker.
Vulpius (fool-pY-oos), Melchior, Wa-
sungen, ca. 1560 — Weimar, 1616 ;
cantor and composer.
w
Wach (vakh), K. GC Wm., Usbau,
1755 — Leipzig, 1833 ; double-bass
W)laver
achs (wfish), Paul, b. Paris, Sept.
19, 1851 ; pianist, pupil of Paris
Cons.; won 1st prize for organ, 1872;
c. pf. -pieces.
Wachsmann (vakhs'-mfin), Jn. Ja-
cob, early 19th cent, mus.-director,
Magdeburg Cath.; composer, writer
of methods, etc.
Wachtel (vakh'-t^l). (i) Theodor,
Hamburg, 1823 — Frankfort-on-Main,
1893 ; noted tenor ; son and successor
of a liver>'-stable keeper, then "dis-
covered "; studied with Frl. Grand-
782
THE MUSICAL GUIDE
jean. His son (2) Th. (d. Dessau,
1875) was for a time a tenor.
Wachter (v&kh'-tdr). Erast, b. MQhl-
hausen, May 19, 1872 ; bass; studied
with his father and Goldberg ; 1894,
Dresden opera; from 1896 Bayreuth,
as •• Fasolt." etc.
Wade, Jos. Augustine, b. Dublin —
d. London, 1845 ; violinist, conduct-
or and composer.
Waelput (v^'.poot), Hendrik, Ghent,
1845 — 1885 ; cond., professor and
dram, composer.
Waelrant (wal'-rilnt), Hubert, Ton-
gerloo, Brabant, ca. 15 17 — Antwerp,
1595; a mus.-pub. and teacher; in-
troduced ** Bocedisation " (v. D.D.) ;
c. motets, etc.
Wai^enseil (va' - g«n - zTl). (i) Jn.
Cnp., Nttmberg, 1633 — Altdorf,
1708 ; writer. (2) G. Chp., Vienna,
1 715 — 1777 ; teacher and composer.
Wagner (vftkh'-n€r),(i) Gotthard, Er-
ding, 1697 — Benedictine monastery,
Tegernsee, 1739 1 composer. (2)
G. Gf., Mtthlberg, Saxony, 1698 —
Plauen, 1760; cantor and composer.
(3) J^' Joachim, i8th cent, org.-
builder at Berlin. (4) Bros. Jn. and
(5) Michael, org. -builders at Schmie-
defeld, i8th cent. (6) Two bros. Chr.
Salomon and (7) Jn. Gl., harpsi-
chord-makers Dresden, 1774. (8)
K. Jakob, Darmstadt, 1772— 1822 ;
horn-virtuoso, concert-conductor ; c.
operas. (9) Ernst David, Dram-
burg, Pomerania, 1806 — Berlin, 1883;
cantor, organist, mus.-director and
composer ; pub. essays.
(10) (Wm.) Richard, Leipzig,
May 22, 18 13— -(of eyrsipelas) Venice,
Feb. 13, 1883 ; eminent opera com-
poser ; son of a clerk in the city
police-court, who died when W. was
six months old; the mother m. an
actor and playwright, Ludwig Geyer
of Dresden. W. attended the Dres-
den Krcuzschule until 1827 ; he
transl. 12 books of the Odyssey, and
at 14 wrote a bombastic and bloody
Shakespearean tragedy ; 1S27, he
studied at the Nikolai Gymnasium,
Leipzig, where the family lived wfaBe
his sister Rosalie was engaged at t^
City Theatre there. Wagner was
impelled music-ward by hearing a
Beethoven symph. and took op
Logir's ** Thoroughbass." He then
studied theory with the organist Gott-
lieb MQller and c. a string-qoartet, a
sonata and an aria. 1830, after ma-
triculation at Leipzig Univ., \x
studied six months with Th. Wcinlig
(comp.) and c. a pf. -sonata, and a 4-
hand polonaise. He studied Beetho-
ven's symphs. very thoroughly. At
19 he c. a symph. in 4 movements,
prod, at the Gewandhaus, Leips^,
1833. He wrote the libretto for an
opera, ** Die Hochzeit^** an intro-
duction, septet, and a chorus 1852.
but his sister Rosalie thought it im-
moral and he gave it up ; 1833 his
brother Albert, stage-manager and
singer at the Warzburg Theatre ia-
vited him to be chorusm. there. He
c. a romantic opera in 3 acts *' Dii
Feen^^ to his own libretto (after " La
Donna serpente,** by Gozzi) ; it was
accepted but never performed, by tlie
Leipzig th.-dir. Ringelhardt (given at
Munich, 1888). 1834, he became
cond. at the Magdeburg Th. Here
he c. (text and music) ** Dtu Luhs-
verbot (after Shakespeare's **Miasvre
for Measure **), performed by a bank-
rupt troupe, 1836. Th.-cond. at
K5nigsberg, and m. (1836) an ac-
tress Wilhelmine Planer, who d. 1866,
after they had separated in 1861.
He c. an overture ** Rule Britan-
nia,** 1837 cond. Riga opera. Moved
by Meyerbeer's triumphs at the Or.
Qp^ra at Paris, W. went there, July,
1839, by sea. The vojrage lasted 3i
weeks and was very stormy ; the ex-
perience suggested to him the opera
** Flying Dutchman." Meycrheer
gave him letters to musicians and
Qubs. in Paris ; here he suffered pcwr-
erty and supported himself by song-
writing, arranging dances for piano
and comet, preparing the pf.-score
of Halevy's '' RHne dc Chypre:*voA
DICTIONARY OF MUSICIANS 783
^wrriting articles. His operas were
scornfully rejected and he could get
no hearing till the v. succ. ** Rienti **
'was prod., Dresden, 1842, and ** Der
J^lUgende HoUdnder^' Jan. 2, 1843.
The novelties in this work provoked
a furious opposition that never ceased.
1843-49 he was cond. of Dresden
Opera, also cond. Dresden Lieder-
talel, for which he wrote a biblical
scene,** Das Liebesmahl dtr Apostely*
for 3 choirs, a cappella, later with full
orch. *^ Tannhduser** was prod.,
II>resden, 1845, with succ. in spite of
bitter opposition. In 1848 **Z^^^^-
^Wif ** was finished ; but the mgr. of
the Opera did not care to risk the
-work. He now wrote out a little
sketch **/?!> Nibelungen, WtUge-
schichU aus dtr Sage *V a prose studv
on *'* Der Niebelungen-Mythus als
£ntvntrf tu eintm Drama" (1848),
and a 3-act drama with Prologue,
written in alliterative verse, ** Sieg-
/rUds Tod" preparations for the
^eat work to follow. A rashly ex-
pressed sympathy with the revolution-
ary cause (1849) made flight neces-
sary ; he went to Weimar with Liszt,
but had to go on to Paris to escape the
order for his arres^ 1849 he pro-
ceeded to Zurich, were he wrote a
series of remarkable essays : ** Die
Kunst und die Revolution " (1849),
•* Das Kunstwerk der Zukunft"
'• Kunst und Klima," ** Das Juden-
tkum in der Musik " (1850), ** Oper
und Drama" ** £r inner ungen an
Spontini" a prose drama '* Wieland
der Schmiedt," and the 3 poems of the
Niebelungen trilogy (privately printed
1853). The music of **/?«/ Rhein-
gold" was finished 1854, ** Die WaU
kUre" 1856. He cond. orch. concerts
with much succ, lectured on the
mus. drama, prod. '* Tannh&user"
(Zurich, 1855) ; 1855 he cond. 8 con-
certs of the London Philh. Soc. 1857
he left **5iVj|/riV</" unfinished and c.
•• Tristan und Isolde " i860 he gave
concerts of his own works, winning
many enthusiastic enemies and some
valuable friends. The French Empe-
ror ordered ** Tannhduser" to be
prod, at the Gr. Opera, March 13,
1 86 1. It provoked such an elaborate
and violent opposition (for omitting
the ballet) that it was wiUidrawn after
the third performance.
W, was now permitted to return
to Germany ; ** Tristan " was acceptn
ed at the Vienna ct.-opera, but after
57 rehearsals the singers declared it
impossible to learn. In 1863, he
pub. text of the ^'Nibelung Ring"
despairing of ever completing the
mus. When his financial state was
most desperate. King Ludwig II. of
Bavaria (1864) invited him to Mu-
nich and summoned von BUlow as
cond. to prod. ** Tristan und Isolde "
(June 10, 1865); but opposition was
so bitter that W. settled at Trieb-
schen. Lucerne, and completed the
scores of **/?i> Meister singer" (prod.
Munich, 1868) and *' Der Ring des
Nibelungen," ''Siegfried" (186^ and
*'Gdtierddmmerung" (1874).
1870 he m. Cosima, the divorced
wife of von Bulow and natural
daughter of Liszt. Since his death
she has had charge of the Bayreuth
Festivals. Though King Ludwig*s
scheme for a special Wagner Thea-
tre in Munich was g^ven up, there
were by this enough Wagner-lovers
and societies throughout the world,
to subscribe funds for a theatre at
Bayreuth, where the comer-stone was
laid in 1872, on his 60th birthday.
In August, 1876, complete perform-
ances of ''Der Ring des Nibelungen "
were given there under most splendid
auspices, but with a deficit $37,500,
paid off by a partially succ. festival
in London, 1877, and by the setting
aside of the royalties from perform-
ances at Munich. He now set to
work on the " BUhnenweihfestspiel"
(Stage - consecrating - festival - play).
"Parsifal" finished, and prod, in
1882. The same year ill-health sent
him to Venice, where he d. suddenly.
His writings (extravagantly praised
784
THE MUSICAL GUIDE
and condemned) are pub. in various
eds. There is an English transla-
tion in 8 volumes, by Wm. Ashton
Ellis. Besides his operas and the
other works mentioned he c. a symph.
(1832) ; 6 overtures, incl. ^^Konztrt"
ouv€rtUre tieinHch fugirt^** ** Polo-
nia:' 'Columbus" '' RuU Britan-
nia''; ''New Year's Cantata'': incid.
mus. to Gleich's farce ^'Der Berg-
geist" (Magdeburg. 1836); '' Hul-
digungsmarsch" (1864, finished by
RaflF); ** Siegfried Idyll" (1870. for
his son then a year old), ** Kaiser-
marsch " (1870), ** Festival March"
(for the Centennial Exposition Phil-
adelphia, 1876), ** Gelegenheits-Can'
tata " (for unveiling a statue of King
Friedrich, August, 1843), " Gruss an
den ATomg" (1843, pf.). '*An IVeber's
Grabe" (Funeral March for wind-
instrs. on motives from Weber's '" Eu-
ryanthe" and double quartet for
voices, 1844). For Pp.: sonata ; po-
lonaise, for four hands ; fantaisie,**^^/-
bumsonaU, fAr Fran MaiJkildt MV
sendoneJt " (1853) ; ''Amkun/t M dem
Sckwarstn Sckwamen'* (1861); "-£«■
Albumblaitfar FSrstiu Meitrrmich'
(1861), ''Attmtnblati /Or From Bem
Sckott" (1875). Songs: '• Gwtm-
valslied" from ''Das Liekesverhtt'
(1835-36); ''Dors, m4m em/mmir
''Afignonne" "Attenie" (1839-40^
"Us deux Grenadiers" (\%yti^\ ^'Dcr
Tannenbaum" (1840); " /Crm/thed-
Chen" (1871). ''FMnf GedUkieT L
** Der Engel"; 2, "SUJU stiU^ ; 3,
'*/iw Trnbkaus": ^," Sckmervm^ ;
5, " Trdume" {\^fyi\
Btog. by C. F. Glaseoapp (1876):
F. Hueflfer (f 881) ; R. Pohl (1883) ;
W. Tappert (1883) ; H. v. Wolngei:
(1883) ; Ad. Jullien (1886) ; H. T.
Finck (1893) ; H. S. ChambcHaia
(1897); E. Dannreuther, F. Pragcr
(1893): G. Kobb^; Glasenapp aod
Ellis (1900). There are many trea-
tises on his works. His letters have
also been published in various forms.
Wagner.
By Henry T. Finck.
WHEN Richard Wagner was living as a politiou remgee in
land, at the age of thirty-six, he elaborated his theory of the **an-
work of the future" in a long essay. Reduced to one sentence,
this theory was, that music, poetry, painting, sculpture, and architecture had
run their course as separate arts, and that the art-work of the future \«ras to
be a combination of them. At a later period he tried to make Beethoven re-
sponsible for this theory, so far at least as the union of poetry and music b
concerned. Beethoven, he argued, wrote his first eight symphonies for in-
struments alone, but when he composed the Ninth, the greatest of them all,
he reached a point in the last movement, where the orchestra no longer suf-
ficed for his purposes, so he called in the aid of the human voice and poetry
— Schiller's ** Ode to Joy.*^ Thb symphony thus became "the gospel cif
the art- work of the future" ; and beyond it, Wagner maintained, progress
was possible only in the direction of the genuine music-drama; «* the key to
which was thus forged by Beethoven." And when the comer-stone for the
Bayreuth Theatre — in which the "art- work of the future" was to be pie-
DICTIONARY OF MUSICIANS 785
sented to the world — was laid, Wagner significantly made it the occasion for
the performance of this epoch-making Ninth Symphony, ^ Undoubtedly it
i^as a stroke of genius on the part of Wagner thus to turn the tables on his
enemies — who had decried him as a heretic and a foe to music — by claim-
ing their very idol as the sire of his new doctrine. In truth, however, it is
not at all probable that Beethoven had in mind any such purpose as Wagner
imputes to him. There is no reference to anything of the kind among the
biographic documents, whereas, it is known, on the other hand, that Bee-
thoven had been intending nearly all his life to set to music Schiller's " Ode
to yoy,** According to Czemy, he subsequently even pronounced this ex-
periment of incQrporating the Ode in his symphony a mistake {Missgrijp),
The voice, in truth, was never congenial to him. " Songs I do not like to
i^rite," he said to Rochlitz, in 1822, the very time when he was at work
on the ** Ninth Symphony,^* In both this work and the " Missa Solennis^^^
of the same period, Beethoven, moreover, uses the human voice like an in-
strument, and it is probable that in each case his object in employing it was
not so much to secure an alliance with poetry as to increase the power of his
musical forces, and to enlarge the variety of tone-colours by adding to the
orchestra the human voice, alone, concerted, and in massive choral combina-
tion. ^ Wagner's musical pedigree must therefore be sought elsewhere.
Hb ancestry might be traced back as far as Peri and the other originators of
Italian opera who (strange as it may seem to us who know only the Jater
Italian opera which Wagner reviled) represented a protest in favor of poetry
against the tyranny of music in the marriage of these arts. Wagner's whole
srt was such a protest, and his more immediate progenitor in this respect was
Gluck, who found that Italian opera had gradually become ridiculous through
the *' vanity of singers and the unwise compliance of composers ; " and who,
therefore, endeavoured to reduce operatic music to its proper function ; that of
seconding the poetry and deepening the feeling it arouses. Gluck' s idea that
the relation of poetry to music was much the same as that of a sketch to the
colour, "which animates their figures without altering their outlines " was cor-
dially endorsed and adopted by Wagner. ^ The next step in the evolution
of Wagnerism is represented by Weber, his indebtedness to whom Wagner
fi-ankly acknowledged in several places. He declared that the last scenes in
Weber's "Euryanthe'^ realised the ideal of musico-dramatic art, as here the
orchestra " interpenetrates the recitatives as the blood does the veins of the
body." What Weber himself wrote about this opera : " 'Euryanthe* is a
purely dramatic work, which depends for its success solely on the co-opera-
tion of the sister arts, and is certain to lose its effect if deprived of their as-
sistance," shows that his ideal was the same as Wagner's. Had he lived
longer, and had he possessed Wagner's pugnacity and iron will, he might
50
786 THE MUSICAL GUIDE
have been the man to annihilate the old-&hioned opera and tnnmphjoidy es-
tablish the modern music^drama. He even made use of leading motives [ride
D. D.]. Hb early opera '*Abtt Hassan " has a melody which is afterwards
repeated in a reminiscent way. The **Freyscbatz^^ has eleven recurnng
melodies, and *' Euryanth " has eight. ^ While the germs and mais
principles oi Wagnerism may thus be found in Peri, Monteverde, Glock, and
Weber, it remained for Wagner's genius to develop and apply them. Gluck't
operas were still far from being perfect works of art. To die Wagn&'s
own words : "In Gluck's operas we find the aria, the reciudve, the bolkt
still placed side by side without any connecdon ; ' ' while opera in general
remained after him, as before, a mere variety show, with here a pretty tune,
there a graceful skip of a dancer or a brilliant feat of vocalisation, here a daz-
zling scenic effect, there a volcanic outburst of the orchestra, and the whole
without artisdc coherence. If a painter put on a canvas a number of humaa
figures and diverse objects toully unrelated to each other, no one would caQ
it a work of art, however well done each figure might be in itself. The
opera before Wagner was such a canvas. He was the first who made a gen-
uine picture of it — an art-work organically united in all its parts. He did
this by means of the leading modves — the typical melodies and charac-
terisdc harmonies which accompany each of the dramatis per some throughoitt
the score, just as their social and moral character accompanies them, wiA
such modificadons as the situation calls for. Weber had used leading motives
as we have seen, but only in an elementary way. It remained for Wagner
to make them the very fi-amework of the music-drama. He thus tsuigfat
music to speak a definite language, so that we can almost tell by listening to
the orchestra alone what is going on on the stage. ^ His whole aim and
desire was to make the drama impressive and intelligible. For thb reason he
discarded the tuneful style of vocalism in vogue in Italian opera and developed
a new vocal style — a sort of melodious declamauon or '* speech-song."
This led to the ridiculous accusadon that there was ** no jnclody ** in his
operas, whereas the orchestral score usually bubbles over with melodies— often
two or more at a ume. After the singers had begun to master the new vocal
style, it was found, moreover, that an arust like Lilli Lehmann or Jean de
Reszkecan make this speech-song sound smooth, and melodious, too — as smooth
and melodious as the bel canto of Rossini and Mozart. And after the silvers
had learned how to act, and to enunciate distincdy, opera-goers learned that
Wagner had written stage- works which were quite as impressive poetically as
they were musically. He had an immense advantage over all other com-
posers in being able to write his own poems. His best ten operas — *« The
Flying Dutchman,'* *' Tannh&user,'' "Lohengrin,'* " Rheingo/d,**
"fFa/kiire,'' "Siegfried,'' "Qdtterd&mmerung," "Tristan," " Meistir-
DICTIONARY OF MUSICIANS 787
dinger ^^'* and ** ParsifaP* — apart from the music, rank among the beat pltyi
ever written in Germafty ; though to be sure they must not be judged apart
£t>m the music any more than the music must be judged apart from the poems.
The ludicrous opinions on these works formerly expressed by so many pro-
fessional musicians and critics were due chiefly tb the fiict that they did not
bear this in mind, though Wagner protested on every possible occasion that
lie must not be judged from the stand-point of the separate arts, but of the
combined arts. The greatest defects in the present-day performances of his
operas is owing to this, that few stage-managers have yet learned that he
expects them to be artistic, too, ^miliar with every detail of the work, so that
they can show how every incident on the stage is mirrored and emphasised
in the orchestral score. There is much delightfril pantomimic music in these
of>era3, the meaning of which is lost if the stage-manager is a bungler, and the
singers poor actors. ^With all these reforms and innovations, Wagner
never could have become the most commanding figure in the modem music-
world had he not been endowed at the same time with the Acuity for creat-
ing an extraordinary abundance of ideas, melodic and harmonic. Wilhelm
Tappert has truly observed that there is more melody in Wagner's '* Meu-
ter singer ' * than in all the operas of the melodious Mozart. In the field of
harmony and modulation Wagner was an innovator of unprecedented origi-
nality. There can be no tragic expression without discord, a^id he was the
greatest of all masters of discord — the musical tragedian par excellence. In
orchestradon, too — the art of clothing his ideas in beaudfiil garbs of various
colours — he was without a rival. ^ As Schubert influenced all song- writers
after him, Chopin all the pianoforte-composers, and Beethovtn all the sym-
phonists, so Wagner has cast his spell on every writer for the stage. ** Wag-
ner is the oxygen, the atmosphere which modern opera breathes," writes
Ferdinand Pfohl ; and he hardly exaggerates when he adds that " modem
opera, apart from Wagner's art is an empty word, a phantom. It does not
exist. ' ' The minor composers of all countries have been indulging for nearly
half a century in a very bacchanal of plagiarism at his expense, while even the
greatest of living masters — Dvorak, Grieg, Saint-Saens, Richard Strauss —
have honestly profited by his example in various branches of music. Rubin-
stein committed suicide by trying to swim against the current. The German
school of opera, the French, and even the Italian have followed Wagner in
abandoning colorature song and elaborate arias, in giving greater coherence
to their scores, and in showing a decent regard for their texts. In these
respects even Verdi, greatest of the Italians, has in his last period, paid homage
to Wagner's genius.
788
THE MUSICAL GUIDE
(ii) Sieg^ed, b. Triebschcn,
Lucerne, June 6, 1869; only son
of above ; attended a pol>technic
sch., but took up mus. as pupil of
Kniese and Humperdinck ; since
1893, a concert-cond. in Germany,
Austria, Italy and England ; he con-
ducts with his left hand; lives at Bay-
reuth ; cond. at the Festivals ; c. a
symph. poem ** SrAnsucA t ** (SchxWer)^
text and music of mod. succ. comic-
romantic opera ** Dgr B&renhduter**
(Munich Ct. Th., 1899), unsucc,
'' Hirzog Wildfang'' (1901). (12)
(Jachm&nn • wagoner), Johanna,
near Hanover, Oct. 13, 1828 — Wttrz-
burg, Oct. 16, 1894 ; niece of (10) ;
dram, soprano; created "Elizabeth,"
1845; m. a judge Jachmann. (13)
Paul Emil, b. Neise, June 28; teach-
er at Paderbom ; c. operettas, orch.-
W)cs., etc.
ain'wrig^ht, (i) J., d. 1768 ; organ-
ist, Manchester. (2) Robt., 1748 —
1782 ; son of above ; organist and
composer, Liverpool. (3) Richard,
1758 — 1825 ; bro. and succ. of above.
(4) Wm., d.1797; double-bass vir-
tuoso and singer ; bro. of above.
Waissel (vis-sdl), (Waisse'lius)
Matthias, b. Bartenstein, Prussia ;
lutenist and comf>oser at Frankfort,
1573.
Walckcr (vftl'-kir), (i) Ebcrhard Fr.,
Cannstadt, 1794 — Ludwigsburg,i872;
son of a skilled org. -builder ; himself
a noted org. -builder ; succeeded by
his five sons, (2) H. (b. Oct. 10,
1828), (3) Fr. (b. Sept. 17, 1829), (4)
K. (b. March 6, 1845), (5) Paul (b.
May 31, 1846), and (6) Eberhard (b.
April 8, 1850).
Waldersee (val'-d^r-za), Paul, Count
von, b. Potsdam, Sept. 3, 183 1; a
Prussian officer from 1848-71, then
took up mus. ; co-editor of Beethoven
and Mozart.
Wa'lcy, Simon, London, 1827 — 1875 ;
pianist and composer.
Walkeley (w6k'-li), Antony, 1672—
1717(18) ; Engl. org. and composer.
Walker (w6k'-er), (i) Jos. Cooper,
Dublin, 1760 — St.-Valery, France,
18 10 ; writer. (2) Jos. and
org. - builders, London. (3) Fr.
Edw., b. Marylebone, London, JasL
I7t 1835; tenor; chorister Chapel
Royal; prof, of singing, R. A. M.;
1883, cond. Brixton Philh. Soc. (4)
Edith, b. New York ; contralto ;
studied Dresden Cons, with Oiyeni;
engaged at the Vienna opera for 4
years as ist alto ; sings also in con-
cert.
Wallace, Wm. Vincent, Watcrford,
Ireland, June i, 18 14— -Chateau de
Bages, Haute Garonne, Oct. is,
1865 ; violinist ; wandered over ttie
world ; c. very pop. pf.-pcs. and c 6
operas includ. the very succ. *^* Mori-
/!a«a •' (London, 1845); and ** Lmr-
/i»/"(do. i860).
Wallaschek (viir.li-shdk), Riduml,
lecturer at Lemburg Univ.; pwib.
1886, valuable treatise '^^^stJutik
der Tonkunsty
Wallenstein (v^'-l^n-shtln), Marttn,
Frankfort-on-Main, 1843 — 1896 ; pi-
anist ;. c. comic opera.
Wallerstein (val'-I^r-shtTn), Anton,
Dresden, 18 13 — Geneva, 1892 ; vio-
linist and composer.
Wall'is, J., Ashford. Kent. 1616—
London, 1703 ; acoustician.
Walliser (vil'-lT-zdr), Chp. Thos.,
Strassburg. 1568 — 1648; mus,-dir.,
theorist and composer.
Wallner (v&i'-ndr), Leopold, b. Kiev,
Russia, Nov. 27, 1847 ; writer and
mus.-teacher in Brussels.
Wallndfer (vfil'-na-fdr), Ad., b, Vicn-
na, April 26, 1854 ; pupil of Wakl-
mQller, Krenn and Dessoff (comp.),
Rokitansky (singing) ; barytone at
Vienna ; 1883, with Neumann's
troupe; 1897-98, N. Y.; c. succ
op. *'^^x/iw/" (Prague, 1889), etc
Walmisley (wamz-U), (i) Thos.
Forbes, London, 1783 — 1866; or-
ganist and composer. (2) Xhoa.
Attwood, London, 18 14 — Hastings,
1856 ; son of above ; professor and
composer.
Wa'lond, (i) Wm., organist and
DICTIONARY OF MUSICIANS 789
poser, Oxford, 1759. (2) Wm., d.
1836; son of above; organist, Chi-
chester, 1775.
W^alsh, John, d. London, 1736 ; mus.-
WHiblisher.
alter (val'-t^r), (i) IgsuLz, Rado-
'witz, Bohemia, 1759 — Katisbon,. ca.
1830 ; tenor and composer. (2) Jn-
luine (nee Roberts), wife of above ;
SL singer. (3) G. Anton, b. Ger-
many ; pupil, R. Kreutzer ; 1792,
opera conductor at Rouen ; compos-
er. (4) Albert, b. Coblentz ; from
1795, clarinettist and composer in
Paris. (5) Aug., Stuttgart, 182 1 —
Basel, Jan. 22, 1896 ; mus. -director
and composer. (6) Jos., Neuberg-
on-Danube, 1833 — Munich, 1875;
vln.-teacher. (7) Gnstay, b. Bilin,
Bohemia, Feb. 11, 1836; tenor;
pupil of Prague Cons. ; debut in
Brunn, 1856-87, principal lyric tenor
at Vienna ct.-opera. (8) Benno, Mu-
nich, June 17, 1847 — Oct. 23, 1901 ;
bro. and successor of above ; violin-
ist ; pupil of Munich Cons. ; from
1863 member of the ct.-orch. (q)
(w6r.t*r), Wm. H., b. Newark, N.
J., July I, 1825 ; organist as a boy ;
from 1856, organist Columbia Coll.,
N. y.; Mus. Doc., 1864; c. 2 masses.
(10) Geo. Wm., New York, b. Dec.
16, 1 851; son and pupil of (9). also
pupil of T. K. Paine (Boston), S. P.
Warren (New York) ; 1. Washing-
ton since 1869. (11) K., b. Crans-
bcrg, Taunus, Oct. 27, 1862 ; pupil
of Meister and Schmetz ; later Ratis-
bon Sch. for Church-mus. ; then
teacher and organist at Biebrich-on-
Rhine ; from 1893, mus. -teacher at
Montsbaur Seminary ; wrote essays ;
c. motets, a prize triple fug^ue, etc.
{12) Fr. Wm., b. Mannheim, Sept.
3, 1870; Dr. Phil., Heidelberg,
1892 ; lives in Mannheim as writer
and critic.
Walther yon der Voi^elweide (vftl'.
ter fon d<r f6'-g*l-vl-d*), in the Ty-
rol (?), ca. 1160— WQrzburg, after
1227; the chief Minnesinger and
lyric poet of mediaeval Germany.
Walther (val-t«r). (i) Jn.,Thuringia.
1496 — Torgau, 1570; singer and
composer; ct. -conductor. (V. mar-
tin LUTHER.) (2) Jn. Jakob, b.
Witterda, near Erfurt, 1650; ct.-
musician, publisher and composer.
(3) Jn. Gt, Erfurt, 1684— Weimar.
1748 ; organist, writer and composer.
(4) Jn. Chp., Weimar, 1715— 71;
organist and composer.
Wi&el (v^l'-ts^l), Camillo, Magde-
burg, 1829 — Vienna, 1895 ; librettist,
(pseud. F. Zell).
Wambach (vflm'-b&kh), Emile (X.),
b. Arlon, Luxembourg, Nov. 26, 1854;
pupil of Antwerp Cons.; c. symph.
poem, '*Aan de boor den van de
Schelde^"' orch. I fantasias, Flemish
drama ^"^Nathans ParabeV^ ; 2 ora-
torios ; a hymn for chorus and orch.,
etc.
Wangemann (vang'-^-m&n). Otto, b.
Loitz-on-the-Peene. Jan. 9, 1848 ;
pupil of G. FlUgel, Stettin and Fr.
Kiel at Berlin ; since 1878, organist
and singing-teacher Demmin Gym-
nasium ; wrote org. treatise.
Wanbal (Van Hal) (van'-hal), Jn.
Bapt., Neu-Nechanit7, Bohemia,
1739 — Vienna, 1813 ; composer.
Wanski (van'-shkl). (i) Jn. Nepo-
muk, b. ca. 1800 (?); son of (2) Jan
(a pop. Polish song-composer) ; vio-
linist ; pupil of Baillot ; toured wide-
ly, then lived at Aix ; wrote a vln.
method and c. etudes, etc.
Ward, (i) J., d. before 1641 ; English
composer. (2) J. Chas., b. Upper
Clapton, London, March 27, 1835 ;
1846, soloist on the concertina ; since
1852, organist at several London
churches ; c. a motet, and a Sanctus
for double-choir ; cantata ** 7^ he
Wood''; ''A Psalm of Life,* with
orch.; orch. fugue on ^^The Sailor's
Hornpipe y'* etc.
Warlamoff (var'-U-moQ, Alez. Jejgo-
roYitch, Moscow, 1810^1849 ; sing-
ing-teacher and composer
Wamots (vftr-no), (i) Jean Arnold,
(1801 — 186 1). (2) Henri, Brussels,
1832 — 1893 ; opera-tenor ; son and
790
THE MUSICAL GUIDE
pupil of above ; c. operetta. His
daughter and pupil (3) Elly, b.
Li^e, 1862 ; soprano ; debut, Brus-
sels, 1879 f ^i^ST there, then at Flor-
ence, Paris Op. -Com., etc.
War'ren, (i) Jos., Ix>ndon, 1804 —
Kent, 188 1 ; organist, pianbt, violin-
ist, composer and writer. (2) G.
Wm., Albany, N. Y., Aug. 17,
1828 — New York, 1902; self-taught
organist ; from 1870, organist St.
Thomas's Ch., New York; prof.
Columbia Univ.; c. church-mus. (3)
Samuel Prowse, b. Montreal, Can-
ada, Feb. 18, 1841; organist; pupil
of Haupt, Gv. Schumann (pf.) and
Wieprecht (instr.) ; 1865-67, organ-
ist of All Soub* Ch., New York;
later at Trinity Ch.; c. church-mus.,
org.-pcs., etc. Richard Henry, Al-
bany, N. Y., Sept. 17, 1859; son and
pupil of (2), also studied abroad ;
from 1886 orfi^. at St Bartholomew's,
N. Y. ; founder and cond. of church
choral soc., which gave many im-
portant works their first hearing;
Parker's ** Hora Novissima" was
written for this society. C. anthems,
services, a' comic opera, songs, etc.
Wartel (vftr-t«l), (i) Pierre Fran.,
Versailles, 1806 — Paris, 1862; tenor.
(2) Atala Th6r^e (n^ Adrien), b.
Paris, July 2, 18 14 ; wife of above ;
1831-38, prof, at Paris Cons.; c. pf.-
studies, etc. (3) Emil, son of above ;
sang for years Th. Lyrique, then
founded a sch.
Wasielewski (v^-ze-idf'-shki), Jos.
W. von, Gross - Leesen, Danzig,
1822 — Sondershausen, 1896 ; violin-
ist, conductor, critic, composer, and
important historical writer.
Wassermann (v^'-s^r-mfin). H. Jos.,
Schwarzbach, near Fulda, 1791—
Richen, n. Basel, 1838 ; violinist and
composer.
Wassmann (v&s'-man), K., vln.-
teacher, Carlsruhe Cons.; pub. tech-
nical works.
Wat' son, (i) Thos., Eng. composer,
1590. (2) Wm. Michael, New-
castle-on-Tyne, 1840— E. Dulwich,
London, 1889 ; teacher and compos-
er under pen-name Jules Fsvre. (3)
John lay, Gloucester, Mass., Sept.
23. 1830— Boston, Aug. 5, 1902;
very succ. vt. and cond.
Webb, (i) Daniel* Taunton, 173s —
Batii, 1815; writer. (2) G. JasL,
Rushmore Lodge, near Salisborj,
Engl., 1803— Onmge, N. J., 1SS7;
organist and editor. (3) Frmak
Rush, b. Covinfi^n, Indiana, OcL
8, 1851; pupil ofN. E. Coos., Bos-
ton; organist; since 1883, teacher
at Staunton, Va.; c aoo pes. for
military bands, etc.
Webbe (wib), (i) Samuel, St., Min-
orca, 1740 — Ix>ndon, 1816 ; ed. coUs,,
etc. (2) Samuel, Jr., London, 1770
— 1843 ; son of above ; writer and
composer.
Weber (va'-b<r), (i) FridoUn (b.
Zelli, I7J3— d. 1764). and his bio.
(2) Fa. Anton (b. 1734 ?), were vio-
linists in the orch. of the Elector K.
Theodor Fa. became oond. of
Eutin town orch. His four daughters
were (3) Josepha (d. 1820), soprano ;
m. the violinist Hofer, 1789, later m.
a bass, Mejrer. For her Mozart c
"The Queen of the Ni^ht" in
the *• Magic Fluur (4) Aoysia,
1750— Salzburg, 1839. Mozart's firs
love ; she m. an actor, Lansne, 1780,
and toured as a singer. (5) Con-
stanae, Zell, i763~Salzbui^, 1S42,
Mozart's wife (1782); 1809, m.
Nissen. (6) Sophie, 1764 — Salz^
burg, 1843 > ^' ^^ tenor HaibL (7)
Fr. Aug., Heilbronn, 1753 — 1806;
physician and c. (8) Bd. Anselffl,
Mannheim, April 18, 1766— Berlin,
March 23,1821; pianist, condnctorand
dram, composer. (9) (Fr.) Dioaja,
Welchau, Bohemia, Oct. 9, 1766 —
Prague, Dec. 25, 1842 ; dir. Prague
Cons. ; c. operas, etc. (10) GC,
theorist and composer, Freinsheim,
near Mannheim, 1779 — Kreuznach,
Sept. 21, 1839 \ amateur pianist, flut-
ist and *cellist, also cond.; wrote es-
says and valuable treatises ; c. 3
masses, a requiem and a Te Donn
DICTIONARY OF MUSICIANS 79'
"With orch. and pf. -sonata, (ii) Fri-
<lolin (II.), b. 1 761; son of (2), and
step-broth, of (12) ; pupil of Haydn ;
singer and mus. -director.
(12) K. Maria (Fr. Ernst), Frei-
herr TOn, Eutin, Oldenburg, Dec.
18, i786--{of consumption) London,
Jane 5, 1826 ; son of the second wife
of (2) and cousin, by marriage, of
Mozart ; the founder of German
national opera (Wagner shows his in-
fluence deeply), and of the Romantic
Sch. ; perhaps the most widely influ-
ential German composer of the cent.
More important, in cold fact, as a
path-finder, and an influence, than
as an artistic individuality ; he was
also a notable pianist (he could
stretch a 12th), and a pioneer in
modem pianistic composition*. At
first a pupil of his step-bro. (11).
His mother, Genoveva (d. 1798, of
consumption), was a dram, sineer,
and the family led a wandering ufe.
At 10 he became pf.-pupil of J. P.
Hetischkel. As a chorister in the
cathedral at Salzburg,. 1797, he had
gratuitous lessons in comp. from Mi-
chael Haydn, to whom he dedicated
his first published comps. , six fughet-
tas (1798). 1798*1800, at Munich,
he studied singing with Valesi, and
comp. with Kalcher. At 12 he c. an
opera (the MS. lost or burned). He
also appeared as concert-pianist. He
met Aloys Senef elder, the inv. of
lithography, and engraved his own
op. 2, 1800, and made improvements
in the process. At 13 he c. and prod,
with succ. the opera ^^ Das Wald-
m&dchen'^ (Freiberg, also played at
Chemnitz, Prague, Vienna and St.
Petersburg). In 1801, he c. a third
opera ** Peter Schmoll und seine
iVflfA^tfru" (Augsburg, 1803?); 1803,
in Vienna, he became a pupil of Abb^
Vogler. 1804, cond. Breslau City
Th.; resigned 1806; supported him-
self by lessons, then mus.-intendant
to Duke Eugen of WQrtemberg ;
1807, private secretary to Duke Lud-
wig at Stuttgart, and mus. -master to
hb .children. In a turmoil of intrigue
and dissipation he forgot his art, until
he became involved in a quarrel lead-
ing to his banishment in 18 10. This
sobered him and awoke his better
self. Going to Mannheim, he prod,
his first symph. ; then rejoined Abbe
Vogler, at Darmstadt. His opera
'•5i/rfl«fl" was prod. (Frankfort-on-
Main, 1810), and ^^Abu Hassan,'* a
comic Singspiel (Mimich, 1811). He
made a concert-tour to various cities.
181 3, cond. of the Landstiindisches
Th. at Prague, where he reorganised
the opera, and won such note that, in
1 81 6 the King of Saxony called him
to Dresden to reorganise the Royal
Opera. At 20 he began ** Der Fret'
sch&tt^^ but gave it up till later
(the incid. musi to WolflTs *^ Precio-
x<2*' took 3 weeks). In 181 7, he m.
the singer Karoline Brandt, a mem-
ber of his company to whom he
had long been engaged. They
toured together as pianist and singer.
^^ Der FreischUtz was prod, with
tremendous succ, Berlin, 1821 ; its
strong nationalism provoking a frenzy
of admiration. But ^"^ Euryanthe
(Vienna, 1823) had much less succ.
1824, he was commissioned to write
*''Oberon,*^ for Co vent Garden, Lon-
don, but consumption delayed its
completion ; it was prod. (London,
1826) with much succ. He lived
only eight weeks longer ; his body
was taken to the family vault at Dres-
den. [See also pages 785 and 786.]
Dramatic Works : Besides the
operas already mentioned he c. " RU'
besahr* (begun 1804, not completed);
**/>*> Drei Pintos*^ (completed by
G. Mahler, written and prod. Leip-
zig, 1888). Incid. mus. to Schiller's
''Turandot:' Mttllner's ''Kdnig Yn^
gurd," Gche's ''HeinHch IV;' 9>x\A
Houwald's ''Der Leuchtthurm:* C.
also cantatas, incl. ''Der erste Tan "
(i8o8) ; and ** Kampf nnd Sieg'' (on
the battle of Waterloo), with orch.
(1815); "' Natur und Liebe,'' \%\%\
hymn, "In seiner Ordnung schaff
792
THE MUSICAL GUIDE
dfr Herr,'* with orch.; (i8|2), 2
masses and 2 offertories, with orch. ;
some very pop. songs, four scenes
and arias for soprano with orch.; 2
scenes and arias for tenor, chorus
and orch. ; 19 part-songs, some very
pop. ; and children's songs ; 6 canons
k 3-4; duets (op. 31); 2 symphs.
(both in C) ; Jubel-Ouvcrtttre ; 2
clarinet-concertos ; bassoon-concerto;
adagio and rondo ungarese for bas-
soon with orch. ; variations for many
instrs.; chamber-mus. ; 2 pf. -concer-
tos. Concertsttick with orch.. 10 so-
.natas. a 4-hand sonata, the famous
waltz "^ Aufforderung %um Tanze^*
(•* Invitation to tht Dance'''), op. 65 ;
12 AUemandes ; 6 Ecossaises ; 18
** Valses favorites de Vimp^ratrice de
France*'; several sets of Variations,
etc. The so-called ** IVeber's Last
Waltz'' (Thought or Farewell) was
written by Reissiger ; a MS. copy
of it being found in W.'s papers.
Biog. by Barbedette (Paris, 1862,
Leipzig. 1864-68) ' Jahns (Leipzig.
1873) ; Carl v. Weber (W.'s grand-
son) pub. his beautiful letters to his
wife (1886); Th. Hell (1828). An
almost ideal biog. is that of W.'s son
the Baron Max Maria von W. (in 3
vols., 1866-68).
(13) Edmund yon, Hildesheim,
I786--Wttrzburg, 1828 ; mus.-direc-
tor and composer. (14) Ernst H.,
Wittenburg, June 24, 1795 — Leipzig,
Jan., 1878, with his brother (15)
Wm. Ed. (1804 — 1891), prof, at
Gttttingen ; writer on acoustics, etc.
(16) Fz., Cologne, 1805 — 1876; or-
fanist, conductor and composer. (17)
^duard W., town>musician, Frank-
enberg. (18) K. H., b. Franken-
berg, Aug. 9, 1834 ; son of above ;
pupil of Leipzig Cons., 1866-70;
from 1877, dir. Imp. Russian Mus.
Soc. at Saratov ; pub. a pf. -method.
(19) G. Victor, b. Ober-Erlenbach,
Upper Hesse, Feb. 25, 1838 ; pupil
of Schrems. Ratisbon ; took orders ;
since 1866, cond. at Mayence Cath.,
expert and writer on org.-building ;
composer. (20) Gnstav, Mflncbce-
buchsee. Switzerland. 1845 — ^Znricfa,
1887; organist, conductor a.nd con-
poser. (21) Miroslayy, b. Pra^rue.
Nov. q. 1854 ; violinist ; pupil d fas
father ; at 10 played before the Aos-
trian Emperor, and toured ; puptl of
Blazek, Prague ; also of the Coos, ;
Konzertmetster. royal orch. at Wies-
baden, and 2nd cond. at the opeia
(resigned. 1893) ; 1889. R. Mos.-
Dir. C. incid. mus. to bailet ''*l>ie
Rheinnixe" (Wiesbaden, 1884), 2
string quartets (the 2nd takiii|r prize
at Petersburg, 1891), etc. (22) Om-
stantine Otto, Germany. 1847 (?) —
New Orleans, La.. Nov. 13, 1901;
pupil Leipzig Cons.; from i860 in
New Orleans as org., dir., teadier
and composer.
Web 8ter, Jos. Philbrick, Mandies-
ter. N. H., 1819— Elkhom, Wis.,
1875 ; composer.
Weckerlin (v£k-«r.l&n). Jean Bapt
Th., b. Gebweiller, Alsatia, Nov. 9.
1 821; entered his father's badness of
cotton-dyeing ; in 1844, studied sing-
ing with Ponchard and comp. with Ha-
levy at the Paris Cons., prod, henac
choral symph. ^* Rolandt*' 1847; gave
mus.-lessons ; 1853, prod. suoc. i-act
opera. * 'L' Organiste dans tem^arrms'*
(100 performances. Th.-L^jriiqae),
followed by several privately per-
formed operettas, 2 comic operas in
Alsatian dialect, i-act opera '"'Aprh
Fontenot " (Th.-Lyriquc, 1877) ;
1869, asst-libr. Paris Cons.; 1876,
libr.; wrote bibliogr. and other ar-
ticles and treatises, and ed. valuable
colls. C. " Symphonu de la faritr
an oratorio ''* Lejugement DernUrr
2 cantatas. incT. **Paix, CJbarii/^
Grandeur " (Op^ra, 1866) ; the ode-
symphonie **Les Pohnes de la Mer^
etc.
Weelkes (weks). Thos., organist
Chichester Cathedral ; c. notable
madrigals, etc., 1597.
Wegeler (va'.g5-l6r). Fa. Gerhard,
Bonn, 1765 — Koblenz. 1848, physi
dan and biographer of BeethoTCii.
DICTIONARY OF MUSICIANS 793
Wedekind (va'-d£-klnt). Erica, b.
Hanover» Nov. 13, 1872 ; soprano ;
pupil of Dresden Cons, and Fr. Or-
geni ; debut Dresden ct. -opera, 1894,
sang there 5 years, then toured widely
in concert and opera ; 1898, m. Herr
Oschwafd.
Weg^elius (va-ga'-ll-oos), Martin, b.
Helsingfors, Nov. 10, 1846 ; pupil of
Bibl, Vienna, and Richter and Paul,
Leipzig : 1878, opera cond. and dir.
of the Cons, at Helsingfors ; pub.
text-books; c. overture *"* Daniel
//j'ort''; a ballade with orch; " Mig-
fton ** for sopr. with orch. , etc.
"Wehle (va-le). K., Prague, 1825—
Paris, 1883 ; pianist and composer.
"NVeichler (vikh'-l^r), Maximilian,
flutist, Gewandhaus orch., Leipzig ;
pub. a flute text-book (1897).
Weidenbach (vl'-den-bakh), Jns., b.
Dresden, Nov. 29, 1847 ; pupil of
Leipzig Cons.; since 1873 pf. -teacher
there.
Weidt (vit), K., b. Bern, March 7,
1857; 1889 cond. at Klagenfurt; lives
in Heidelberg ; c. male choruses.
Wcigl (vikh'-'l), (I) Jos., Eisenstadt,
Hungary, 1766 — Vienna, 1846 ; ct.-
conductor and dram, composer. (2)
Taddiius, Vienna, 1774 (?)— 1844 ;
bro. of above ; c. operettas.
Weinberger (vin'-b$rkh-€r), (i) K.
Fr., b. Wallerstein, 1883 ; teacher
and cath. cond. at WUrzburg. (2)
Karl, b. Vienna, April 3, 1861; lives
there ; c. 9 succ. operettas, incl.
^' Die Ulanen'' (Vienna, 1891),
'' Lachende Erben'' (1892), ''Die
Blumen-Mary" {\h., 1897), ''Adam
und Eva'' (ib., 1898).
Wein^artner (vln'-gHrt-n^r) (Paul)
Felix, b. Zara, Dalmatia, June 2,
1863 ; notable conductor ; pupil of
W. A. Remy; later of Leipzig Cons.,
winning Mozart prize ; friend of
Liszt at Weimar, where his opera
** Sakuntala " was prod. 1884 ; until
1889, theatre cond. at K5nigsberg,
Danzig, and Hamburg, Mannheim ;
1891-97, 2nd cond. Berlin ct. -opera,
also cond. symph concerts at the
Royal orch.; from 1898 lives in Mu-
nich as cond. Kaim concerts as well
as the R. Orch. Berlin ; wrote
treatises ** U her das Dirigieren'' (Ber-
lin, 1896), etc. C. operas ** Sakun-
tai " (1884), " Malawika " (Munich,
1886), "Genesius'' (Berlin, 1893),
withdrawn by the author because of
press attacks and revived with succ.
at Mannheim and elsewhere ; *' Ores-
tes'' (Berhn, June 15, 1902); c. a
svmph. ; symph. poems ** Konig
Lear:' ** Das Gefilde der Seligenr
etc.
Weinlig (or Weinlich) (vin'-ltkh), (i)
Chr. Ehregott, Dresden, 1743 —
1813 ; organist and composer. (2)
(Chr.) Th., Dresden, 178a — Leipzig.
1S42 ; nephew and pupil of above ;
cantor, theorist and composer.
Weinwurm (vln'-voorm), Rudolf, b.
Schaidldorf - on - the - Tha ja. Lower
Austria, April 3, 1835 ; chorister, ct.-
chapel, Vienna ; 1858, studied law
and founded the Univ. Gesangverein;
mus.-dir. ; 1880 mus.-dir. of the Univ. ;
pub. treatises and composer.
Weinzierl (vln'-tsSri), Max, Ritter
von, Bergstadl, Bohemia, 1841 —
M6dling, near Vienna, 1898 ; con-
ductor and dram, composer.
Weis (vis), Karl, notable contempo-
rary composer ; prod, with succ. 2-
act opera '* The Polish Jew" (Berlin,
1902); comic opera "The Twins'"*
(Frankfort, 1903?).
Weisheimer (vls'-hl-mSr), Wende*
lin, b. Osthofen, Alsatia, 1836; pupil
of Leipzig Cons.; 1866, theatre-cond.
at WUrzburg, later Mayence; teacher
at Strassburg ; wrote essays ; c.
grand opera ** Theodor Korner"
(Munich, 1872), and "' Meister Mar-
tin und seine Gesellen" (Carlsruhe,
1879).
Weiss (vTs), (1) K., MUhlhausen, ca.
1738 — London, 1795 ; composer. (2)
K., b. 1777, son and pupil of above ;
writer and composer. (3) K., bro.
of above ; prod, the opera " Twelfth
Night" (Prague, 1892). (4) Fz.,
Silesia, 1778 — Vienna, 1830 ; viola-
794
THE MUSICAL GUIDE
virtuoso and composer. (5) Julius,
b. Berlin, July 19, 18 14 ; violinist ;
pupil of Henning ; teacher, writer
and critic ; pub. instructive works
for vln. (6) Amalie. Vide amalie
JOACHIM. (7) Josef, b. Kaschau,
Hungary, Nov. 5, 1864 ; pf.-virtu-
oso ; c. a concerto, etc.
Weissbeck (vis'-b«k). Jn. Michael,
Unterlaimbach, Swabia, 1756 — 1808;
cantor and organist ; writer of satiri-
cal pamphlets ; composer.
Weist-Hill, H., b. London, 1830 ;
violinist; pupil R. A. M.; cond. va-
rious concerts with much hospitality
to novelties ; 1880 principal Guild-
hall Sch.
Weitzmann (vlts'-m£n), K. Fr., Ber-
lin, 1808 — 1880 ; eminent theorist ; c.
operas, etc.; wrote valuable treatises.
Welch, J. Bacon, b. Northampton ,
1839 ; prominent Engl, singing-teach-
er.
Welcker yon Gontershausen (v^l'-
kir fon gon'-t^rs-how-zfin). H., Gont-
ershausen, Hesse, i8ii — Darmstadt,
1873 ; ct.-pf.-maker and writer.
Wel'don, (1) J., Chichester. Engl.,
1676 — London, 1736 ; organist and
composer. (2) Georgina, b. Clap-
ham, May 24, 1837 ; singer and
composer.
Wels (vgls), Chas., b. Prague, Aug.
24, 1825, pupil of Tomaschek; 1847,
ct. -pianist; 1849, New York as con-
cert-pianist and teacher ; c. concert-
overture and suite for orch.; a pf.-
concerto, etc.
Welsh (i) Thomas, Wells, Somerset,
1770— Brighton, 1848; bass and sing-
ing-teacher. (2) Mary Anne (nee
Wilson), 1802 — 1867 ; wife and pu-
pil of above ; v. succ. soprano, earn-
ing ;£■ 10,000 ($50,000) the first year
of her short career.
Wenck (v^nk), Aug. H., violinist ;
pupil of G. Benda ; lived in Paris
(1786), and Amsterdam (1806) ; inv.
a metronome ; c. pf.rsonatas, etc.
Wcnckel (v^nk'-^l). Jn. Fr. Wm.,
Niedergebra, 1734 — Ulzen, 1792 ;
organist and composer.
Wcndling: (v«nt'-Ung), (r) Jn. Baj^
from 1754 - 1800 flutist in Mzas-
heim ; band composer. His wife o
Dorothea (nic Spuml), Smttgan.
1737 — Munich, 1809, wsls a singe- j
(3) K., d. 1794 ; violinist in Mass-
heim band. His wife (4) AugusU
Elizabethe, was a singer. (5) JL^
b. Frankenthal, Rhine Palatinart-j
Nov. 14, 1857 ; pianist ; pupil i-«p-|
zigCons. ; performer on Janko kcv-.
board; teacher of it from 1SS7 i:l
Leipzig Cons.; ct.-pianist to Pracrj
of Waldeck. I
Wendt (vdnt). (i) Jn. Gl. (Amadessi,;
Leipzig, 1783— GOttingen, 1S36. (:>
Ernst Ad., Schwiebtis, Prussii
1806 — Neuwied, 1850 ; composer. [3)
Ed., Berlin, 1807— Magdebcn^g.iS^c.
violinist and composer.
Wennerbei^v*n'-n€r- Wikh) , GimnarT
Link6ping, Sweden, 1 8 1 7 — (?}:
poet, critic, statesman, and composer
c. an oratorio and pop. psalnms a]>i
songs.
Wenzel (v«n'-ts«l), (i) Ernst F<L,
Walddorf, near Lobau. 1808 — BsJ
Kttsen, 1880; pf. -teacher and writer.
(2) Leopold, b. Naples, Jan. 35,
1847 ; pupil of the Cons. S. Pictro -
Majella; at 13 toured as vioJinifi,
1866 joined Metra's orch. at Mar-
seilles ; 1 87 1, conductor ; later cood.
of the Alcazar, Paris ; 1883, London;
from 1889 cond. at the Empire Th. :
prod, operettas, many ballets, etc.
Werbec^e, Caspar yan. Vide gas-
PAR.
Werckmeister ( vftrk '- ml - shtfr ).
Ands., Beneckenstein, 1645 — Ha/6-
erstadt, 1706 ; organist, important
theorist and composer.
Werkenthin (var'-k«n-ten), Albert,
b. Berlin, March 6, 1842 ; pianirt;
pupil of von Billow, Weitzmann, Ci-
rich and Stem ; pub. a method ; c
pf.-pcs. and songs.
Wermann (vAr'-man), Fr. Oskar, Ix
Neichen, near Trebsen, Saxoar.
April 30, 1840 ; pianist and organist;
pupil of Leipzig Cons.; 1868, tcadjer
R. Seminary, Dresden ; 1876, nws.
DICTIONARY OF MUSICIANS 795
cJir. 3 churches and cantor at the
ICreuzschule there; c '^'' Reforma-
ri^ns-Cantafey"^ mass in 8 parts, etc.
/^emeburg (v4r'-nd-boorkh). Jn. Fr.
Chr., Gymnasium teacher at Weimar;
theorist and composer, 1796.
Werner (vir'-ndr), (i) Georgins Jos.,
i6g5 — Eisenstadt, 1766 ; conductor
and composer. (2) Jn. Gottlob,
Hoyer, Saxony, 1777 — Merseburg,
1823; org^anist, mus. -director, teacher
and composer. (3) H., near Erfurt,
1800 — Brunswick, 1833 ; composer.
(4) K., Breslau, 1822 — 1884; organ-
ist. (5) K. Ludwig, b. Mannheim,
Sept. 8, 1862 ; pupil of Hanlein and
Fischer ; organist at Baden-Baden.
(6) Josef, b. Warzburg, June 25,
1837; 'cellist; pupil of the Cons.
there ; teacher Munich School of
Music; pub. a method ; c. pes. for
'cello, etc.
JVerstOTski (v^r-shtof'-shkl), Alezei
Nikolajevitch, Moscow, 1799 —
1862 ; dram, composer.
kVcrt (vart), Jacob van, b. Nether-
lands, 1536— Mantua, 1596; con-
ductor and composer.
W€rf (v&.re), Nicolas Lambert,
Huy, near Liege, 1789 — Bande,
Luxembourg, 1867 ; solo- violinist,
teacher and composer.
Wesembeck. Vide rurburk de w.
Wes'ley, (i) Chas., Bristol. Engl.,
Dec. II, 1757 — lx)ndon. May 23.
1834; nephew of the evangelist John
W. ; teacher, organist and comjDoser.
(2) Samuel, Bristol, Engl., 1766 —
London, 1837; bro. and pupil of
above ; organist and composer. (3)
Samuel Sebastian, London, Aug.
24, 1810— Gloucester, April 19,1876;
son of above ; or^^nist.
Wessel (vfe'-s^l), Chr. R., Bremesia,
1797 — Eastbourne, 1885; mus.-pub-
lisher, Lx>ndon.
Wesselack (v$s'-s$-lak), Jn. G., Sat-
telpeilestein, Upf)er Palatinate, 1828
— Ratisbon, 1866 ; editor and com-
poser.
Wessely (v«s'-s^-le), (i) Jn., Frauen-
bur^, Bohemia, 1762 — Ballenstedt,
1814; violinist; c. comic operas. (2)
(K.) Bd., Beriin, 1768— Potsdam,
1826; dram, composer.
West, J. Ebenezer, b. South Hack-
ney, London, Dec. 7, 1863 ; concert-
organist and pianist ; pupil of Bridge
and Prout, R. A. M.; since 1891, or-
ganist S. Hackney Parish Ch.; c. 2
cantatas ; Psalm 130 ; services, etc.
West'brook, Wm. Jos., London,
1831 — Sydenham, 1894 ; organist,
conductor and composer.
West'lake, Fr., Romsey, Hampshire,
1840 — London, 1898 ; composer.
Westmeyer (vesht'-ml-dr), Wm.,
I burg, near OsnabrUck, 1832 — Bonn,
1880; c. operas.
Westmoreland, J. Fane, Earl of,
London, 1784 — Apthorpe House,
1859; dram, composer.
Westphal (v^sht'fal), Rudolf (G.
Hn.), Oberkirchen, Lippe-Schaum-
burg, 1826 — Stadthagen, 1892;
writer.
West'rop, H. J., Lawenham, Suffolk,
1812 — 1879 1 pianist, violinist, singer,
organist and composer .
Wetzler (v£ts'-ldr). Hermann Hans,
b. Frankfort-on-Main, Sept. 8, 1870 ;
pupil of Frau Schumann (pf.), B.
Scholz (comp.), Ivan Knorr (cpt.),
H. Heerman (vln.), and Humper-
dinck (orchestration) ; 1893, New
York, as pianist and teacher; asst.-
org. Trinity Ch.; from 1902 cond.
his own symphony orch.
Wexschall (v^x'-shal), Fr. Forkild-
son, Copenhagen, 1798 — 1845 ; pu-
pil of Spohr, teacher and solo-violin-
ist in royal band.
Weyrauch (vT'-rowkh). Aug. H. von,
composer of whom nothing is known
except that he c. and pub. 1824 the
song ''Adieu'* wrongly attributed to
Schubert from 1840.
Weyse (vl'-z«), Chp. Erast Fr., Al-
tona, 1774 — Copenhagen, 1842;
dram, composer.
Wheat' stone, Chas., inv. the con-
certina, 1829.
Whelp'ley, Benj. Lincoln, b. East-
port, Maine, U. S. A., Oct, 23, 1865 ;
796
THE MUSICAL GUIDE
studied with B. J. Lang, etc., at
Boston, 1890 in Paris ; lives in Bos-
ton as teacher and composer.
Whistling (wist -iTng), K. Fr., book-
seller and lexicographer in Leipzig.
Whit'aker, J., 1776 — 1847 ; organist
and composer, London.
White, (i) Robt., d. Westminster,
Nov. 7 (11 ?), 1574; organist at Ely
Cath. (1562-67) ; noted in his day as
organist and composer. Often con-
fused with (2) Wm. (c. fantasias or
** fancies" for org., etc.) and (3) Rev.
Matthew, Mus. Doc. 1629; c. an-
thems and catches. (4) Alice Mary,
Meadows (n^ Smith), 1839 — 1S84;
pupil of Bennett, and Macfarren, Lon-
don; c. symphs., cantatas, etc. (5) J.,
W. Springneld, Mass., March 12,
1855 — Bad Neuheim, Germany, July
18, 1902 : pupil of Dudley Buck ; then
of Haupt (org. and cpt.), Kheinberger;
gave org. -concerts in various German
cities ; 1887-96, organist. New York ;
from 1897 lived in Munich ; pub. Missa
Solemnis ; O salutaris ; c. an oratorio
""Alpha andOme^^a^'" etc. (6) Maude
Valerie, b. of English parents,
Dieppe, June 23, 1855 ; pupil of O.
May and W. S. Rockstro, and of R.
A. M,, Mendelssohn Scholar, 1879,
also studied in Vienna ; now lives in
London ; c. mass (1S88) ; 14 pf.-pcs.;
*' Pictures from Abroad'' and pop.
songs, etc.
White'hill, Clareace, b. America;
bass; debut in ** Romi^o et Juliette,'^
Brussels, 1899 ; engaged for Paris Op.
Q>m. ; 1900 at Met. Op. , N. Y.
Whi ting, (r) G. Elbridge, b. Hollis-
ton, Mass., Sept. 14, 1842 ; organist at
Worcester when 13 ; later at Hart-
ford, Conn, (where he founded the
Beethoven Soc); later organist in vari-
ous Boston churches ; studied with G.
W. Morgan. New York, and Best,
Liverpool ; Haupt and Radecke, Ber-
lin ; till 1879, teacher at the N. E.
Cons., Boston ; then till 1882, at the
Cincinnati Coll. of Mus.; since at
the N. E. Cons.; c. masses with
orch. and organ (1872), cantatas,
ballade with orch., ** //Jr«r-y of N^
varre^'* pf. -concerto, etc- (2) Arthor
Battelle, b. Cambridg^e, Mass., Jucf
20, 1861 ; nephew of above ; pf.-po-
pil of VV. H. Sherwood ; debut at iq
Boston ; studied with ChadwHck ackl
J. C. D. Parker ; then with Rhdo-
berger, in Munich ; lived in Bostc»x.
now New York, as teacher of pf. aci
comp.; c. fantasy with orch., oxt-
cert-overture, concert -^udc, church-
service, concerto, song cjrcles, etc
Whit'more, Chas. S., Colchester.
1805 — 1877 ; amateur KngL. cote-
poser.
Whitney, Samuel Brenton, b. Wood-
stock, Vermont, June 4, i S42 ; or-
ganist; pupil of Chas. Wells and T.
K. Paine ; since 1871, or^^nist, Cn,
of the Advent, Boston ; conductor or
church-choir festivals ; org.-prof.
and lecturer, Boston U. and N. K.
Cons. ; c. anthems, orjj.-sonatas. eta
Whyt'homc (or Whitehorae),Tlios^
b. 1528 ; Engl, composer.
Wiborg (ve'-borkh), EHsa, b. Kn-
gertt, Norway ; soprano ; studied
with Natalie Hanisch and Frau Har-
lacher; engaged at Schwerin, thea
other cities; sang ** Elisabeth *' at
Bayreuth ; 1900 at Stuttgart c: -
theatre.
Wichmana (vYkh'-m&n), Hemuum, b.
Beriin, Oct. 24, 1824 ; studied at K.
Akademie ; also with Tauberi, Men-
delssohn and Spohr ; then lived \i
Berlin; c. symphs., sonatas, etc.
Wichtl (vTkht'.'l), G., TrostbcTg. B*-
varia, 180S— Bunzlau, Silesia, Tsr;
violinist, conductor and dram, coo-
Wicke'dc (vlk'-^-di), Fr. von, b, IV
mitz-on-Elbe, July 28, 1834 ; anar
officer, then post-office official ; y:
pil of J. Vieth ; lived in Munich ; c
opera "' Ingo,'* overture ** I^rr asp^^
ad astro *' (1875), song^, etc.
Widmaan (vet'-man), (i; Hrasmu.
f)oet-laureate, organist and condoct^f
at Weikersheim ; publisher and coc}-
poser (1607). (2) Benedikt, b,
Brauntlingen, March 5, iSao; iccta:'
\
DICTIONARY OF MUSICIANS 797
at Frankfort ; theorist and composer.
(3) Jos. Victor, b. Nennowitz, Mo-
ravia, Feb. 20, 1842 ; at 3 taken to
Svritzerland ; ^wrote librettos and
biog. of Brahms.
Widor (ve-dor), Chas. (M.), b. Lyons,
Feb. 22, 1845 ; distinguished organ-
ist ; son of an Alsatian of Hungarian
descent (organist at Lyons) ; studied
with Leramens (org.) and Fetis
(comp.), Brussels ; at 15 organist
at St. Fran9ois, Lyons, and since
1869, organist at St. Sulpice, Paris;
1890, teacher at the Paris Cons.;
from 1896 prof, of cpt., fugue and
comp. ; critic (under pen-name " Au-
l^tes **) and dir. of the soc. **La Con-
cordia," c. V. succ. ballet "Za KorrU
gam" (Op^ra, 1880); music to
''Cont€ (fAvril" (Odeon. 1885);
*' L^s JacobiUs " (Odeon, 1885) ; un-
succ. lyric drama *^ Mattre Ambros**
(Op. -Com., May 6, 1896); 3 panto-
mimes; a mass for 2 choirs and 2 orgs.;
Psalm 112, with orch. and org.; ''La
nuii de Walpurgis^^ for chorus and
orch.; 2 symphs.; 10 org. symphs.
incl. '''Gotique^^ a concerto for vln.,
'cello, and pf., ore[. -sonatas, etc.
Wieck (vek), (1) Fr., Pretzsch, near
Torgau, 1785 — Loschwitz, near Dres-
den, 1873 ; est. a pf.-factory and li-
brary at Leipzig ; eminent pf .-teach-
er ; also singing-teacher and compos-
er; teacher also of his daughter (2)
Clara. (Vide Schumann.) (3) Al-
•mn, Leipzig, 1821 — 1885 ; son of
(i) ; pupil of David ; violinist at St.
Petersburg ; later pf. -teacher at Dres-
den. (4) Marie, b. Leipzig, Jan.
17, 1835 ; pianist ; daughter of (i) ;
played in public at 8 ; 1858, ct.-pian-
ist to the Prince of HohenzoUem ;
toured ; est. a sch. in Dresden.
Wiedemanii (ve'-d£-man), Ernst Jn.,
Hohengiersdorf, Silesia, 1797 — Pots-
dam. 1873 ; organist, teacher and
composer.
Wiederkehr (ve'-d5r-kar), Jacob Chr.
Michael, Strassburg, 1739— Paris,
1823 ; 'cellist, bassoonist, tambourin-
ist and composer.
Wiegand (ve'-g^nt), Josef Anton H.,
Frankisch-Crumbach in the Oden-
wald, 1842 — Frankfort, 1899; bass.
Wielhorski. Vide wilhorski.
Wiener (ve'-n^r), Wm., Prague, 1838;
violinist and leader.
Wieniawski (v'ya-ne-af'-shkt), (i) H.,
Lublin, Poland, July 10, 1835 — Mos-
cow, March 31, 1880; eminent violin-
ist and composer ; debut, at Peters-
burg, at 13 ; studied with Clavel and
Massart, and Colet (harmony) Paris
Cons.; won ist vln. -prize, 1846; i860,
solo- violinist to Czar, and 1862-67,
teacher at the Petersburg Cons.;
1875-77, vln. -prof. Brussels Cons,
(vice Vieuxtemps) ; toured widely,
1872 U* S. with Rubinstein ; c. '2
concertos, etc. (2) Jos., b. Lublin,
May 23, 1837; famous pianist ; at 10
pupil of Paris Cons.; at 13 toured
with his brother, then studied with
Marx at Berlin ; 1866, teacher at the
Moscow Cons.; est. a pf.-sch. of his
own ; later teacher in Brussels Cons. ;
c. 2 overtures, suite romantique for
orch., pf. -concerto, etc.
Wieprecht (ve'-pr€kht), Fr. Wm.,
Aschersleben, 1802 — Berlin, 1872 ;
famous trombonist and violinist ; inv.
the bass tuba (1835).
Wi6trovetz (ve-a'-tr5-vgtsh), Ga-
briele, b. Laibach, Jan. 13, 1869 ;
violinist ; pupil of Toachim and Wirth.
Toured and lives m Berlin. y
Wihan (ve'-han), Hans (Hanus), b.
Politz, near Braunau, June 5, 1855 ;
'cellist ; pupil of Prague Cons.; 1873,
prof, of cello, Mozarteum, Salzburg ;
1877-80, chamber-virtuoso to Prince
Schwarzburg - Sondershausen ; 1880,
1st solo-'cellist Munich ct.-orch.;
1888, prof, at Prague Cons., a mem-
ber '• Bohemian String Quartet."
Wihtol (ve'-tol), Jos., b. Wolmar,
Livonia. 1863 ; studied at Mitau ;
then with Johansen (harm.) and
Rimsky-Korsakov (comp. and instru-
mentation) Petersburg Cons.; since
1886, prof, of harm, there; c. "Z«i
fite Ligho'^ symph. picture, ^* Dram-
atic " overture, etc.
J
798
THE MUSICAL GUIDE
Wilbye (wTl'-bl), J.; lutenist and teach-
er, London, 1598 ; most brilliant com-
W)oser of madrigals.
ild (velt), Fz., NiederhoUabrunn,
Lower Austria, 1792 — OberdObling,
near Vienna, i860 ; tenor.
Wilder (vel-dir), Jerome Albert Vic-
tor van, Wettem, near Ghent, 1835
— Paris, 1892 ; writer and translator.
Wilhelm (vel'-hfilm), K., Schraalkal-
den, 1815 — ^873; **R. Prussian Mus.
Dir."; c. ''Die IVacht am Rhein;'
etc.
Wilhelm von Hirsau (f5n her'-zow),
d. June 4, 1091: abbott and theorist
at Hirsau, Schwarz-wald.
Wilhelmj (vel-h^l'-me), (i) Augr.
(Emil Daniel Fd.), b! Usingen,
Nassau, Sept. 21, 1845 \ eminent vio-
linist ; pupil of Fischer at Wies-
baden : played in public at 8 ; at 16
recommended to David by Liszt as a
young Paganini ; he studied 1861-64,
with David (vln.), Ilauptmann and
Richter, Leipzig Cons.; 1862, the
Gewandhaus; 1864, studied with
Raff at Frankfort ; from 1865, toured
the world ; 1876, leader of Bayreuth
orch. ; lived for years at Biebrich-on-
Rhine, where he est. (with R. Nie-
mann) a ** Hochschule*' for vln.;
1886, lived at Blasewitz, near Dres-
den; 1894, head-prof. Guildhall Sch.,
London ; 1895, he m. the pianist
Miss Mausch ; c. '' Hochzeits-Can-
tate^' with orch., vln. -pes., etc. His
son (2) Anton, 1898, vln. -prof, at
Belfast Cons. (3) Maria (nee Gas-
tell), b. Mayence, July 27, 1856;
sister-in-law of (i) ; concert-soprano,
pupil of Viardot-Garcia.
Wilnem (rightly Bocquillon) (vel-an
or bok-e-yon), Guiliaume Louis,
Paris, 1 77 1— 1842 ; dir. -gen. ot all
Paris schools ; founder of the great
system of popular singing societies or
'*Orph^nistes" (v. D. D.); pub.
many treatises on his method of
'* mutual instruction '* and a 10- vol.
coll. of comps.
Wi(e)lh6rski (vcl-hor'-shkt), (i) Count
Matv^i Jdijevitch, Volhynia, 1787
— Petersburg (?). 1S63 ; 'cellist.
His brother (2) Count Michall J^-
jevitch, Volhynia, 1788 — Mosco^r,
1856 ; composer.
Wilke (vel'-kfi), Chr. Fr. GL, Span-
dai, 1769 — Treuenbrietzen, 1843 ;
organist and govt, expert on org.-
building.
Willaert (wtt'-l&t) (Wi^liardns,
Vifi^liar, Vuigliart), Adnan (caliec
Aoriano), Flanders, ca. 14S0 —
Venice, 1562 ; eminent composer and
teacher ; called the founder of tiie
Venetian Sch.; a very prolific com-
poser ; pupil of Mouton and Jo^
quin Despr^; 15 16 at Rome, Uter
at Ferrara; then mus. to the Kii]^
of Bohemia ; Dec. 12, 1527, maestro
at San Marco, Venice, where he or-
ganised a famous sch. ; c. 5 massrs,
many motets, psalms, madngals,etc ;
the nrst to write for two choirs.
Willent-Bordogni (ve-yah - bor-ddo-
ye), Jean Bapt. Jos., Douai, 1809—
Paris, 1852 ; bassoon-virtuoso, teach-
er, writer and dram, composer. 1S54
m. the daughter of Bordogni.
WU'liams, (i) G. E., 1784-— 1819:
organist and comp>oser. (2) Anna,
b. London ; d^but, 1872 ; soprana
Also two sisters b. at Bitterley,
England. (3) Anne (b. 18 iS), so-
prano and (4) Martha, b. 1853, con-
tralto.
Willing: (vtl'-ltng), (i) Jn. L., Kfihn-
dorf, 1755 — Nordhausen, 1805 '" or-
ganist and composer. (2) (wli'-IlDg)
Chr. Edwin, b. London, Feb. sS.
1830; organist various London
churches, conductor and teacher.
Willis, (i) H., b. EngUnd, April 27.
1821; prominent org. -builder and im-
prover. (2) Richard Storrs, Bos-
ton, Mass., Feb. 10, 1819 — ^Detroit,
May 7, 1900 ; bro. of N. P. Willis
the poet ; critic and editor in N. Y..
later Detroit ; composer.
Wiirman, (i) Thos. Lindsay, d.
Engl., 1840; famous clarinettist. (3)
(vTl -man), Maximilian* b. Fordii-
enberg, near Wttrzbur^, 181 2 ; *ccl-
list. (3) , oldest daogbter of
DICTIONARY OF MUSICIANS 799
above ; |nanist. (4) Maedelena, d.
1801 : famous soprano ; her brother,
(5) K., violinist. (6) Mme. Tribolet
and wife of (i), d. 1812; opera-singer.
(7> Caroline, debut, 181 1; daughter
of (6) ; pianist and singer.
Wiilmers (vll'-mers). H. Rudolf,
Berlin, 1821 — Vienna, 1878 ; pianist
and composer.
'Wil'ly, J. L., London, 18 12— 1885 ;
violinist.
"Wilm (vllm), Nicola! von, b. Riga,
March 4, 1834 : pianist ; studied
Leipzig Cons.; 1857, 2nd cond. Riga
City Th. ; then Petersburg, i860;
teacher of pf. and theory Imp. Nico-
lai Inst.; 1875, Dresden; 1878,
"Wiesbaden; c. pop. string-sextet,
'cello and vln.-sonatas, male-cho-
x^ses etc.
Vnims (vtims), Jan Willem, Witz-
helden, Schwarzburg-Sondershausen,
1772 — Amsterdam, 1847; teacher and
org. -composer.
WUsing: (vll'-ztng). Daniel Fr. Ed.,
b. Horde, near Dortmund, Oct. 21,
1809; 1829-34, organist in Wesel,
then Berlin; c. oratorio ''\Jesus
Ckristus" in 2 parts (Bonn, 1889) ;
a De profundis h 16 (gold medal for
Art, Berlin) ; pf.-sonata, etc.
Wil'son, (i) J., Faversham, Kent,
1594 — London, 1673 ; famous luten-
ist and composer. (2) J., Edin-
burgh, 1800 — (of cholera) Quebec,
1849 ; tenor. (3) Mary Ann, 1802 ;
Wmpil of Thos. Welsh (q. v.).
inderstein (vYn'-d^r-shtln), Hans
(Wm. Gv.), b. Lttneburg, Oct. 29,
1856 ; violinist ; pupil of Leipzig
Cons.; also playing in Gewandhaus
Orch.; 1880-84, leader in Baron von
Derwies* orch. at Nice ; till 1887,
vln. -teacher at Winterthur (Switzer-
land) Cons., then cond. at NUrnberg;
i89'»-96, dir. Philh. Orch., at Mu-
nich, and at the Raim Concerts ;
1896, organised and conducted the
"Winderstein Orch."; 1898, cond.
Leipzig Singakademie ; c. Trauer-
marsch, Valse-Caprice and Standchen
for orch. ; orch. suite, etc
Windin^^ (vYn'-dYng), Augr. (Henrik).
b. Taaro (Laaland), Denmark, March
24, 1825 ; pianist ; pupil of Reinecke,
Ree, Dreyschock and Gade ; dir.
and prof. Co[)enhagen Cons. ; c. vln.-
concerto, sonatas, etc.
Wing'ham, Thos., London, 1846—
1893 ; organist and composer.
Winkel (vYnk'-^l), Dietrich Niko-
laus, Amsterdam, ca. 1780 — 1826;
a mechanician; inv. the *'compo-
nium" and "metronome," which
later Malzel (q. v.) appropriated.
Winkelmann (vYnk'-^l-man), Her-
mann, b. Brunswick, 1845 ; tenor ;
pupil of Koch at Hanover; debut
Sondershausen, 1875 ; sang at Alten-
burg^, Darmstadt and Hamburg;
then at ct.-opera, Vienna; 1882,
created '* Parsifal" at Bayreuth.
Winn, (1) Wm., Bramham, Yorkshire,
May 8, 1828 ; bass and teacher. (2)
Florence, 1857, daughter of above ;
contralto.
Win'ner, Septimus, Philadelphia,
1826 — Nov. 23, 1902 ; writer of pop.
songs and methods ; said to have
written 200 technical books on instru-
ments and to have c. and arranged
over 2,000 pes. for vln. and piano ;
also wrote for Graham's Mag., when
Poe was editor. His songs include
•• Listen to the Mocking Bird'' and
** Give us Back our old Commander'' \
founder of Musical Fund Soc.
Winogjadsky (ve - n6 - grat' - shkK),
Alex., b. Kiev, Russia, Aug. 3 (new
style), 1854; noted cond.; pupil of
Soloviev, Petersb. Cons.; 1884-86, dir.
Imp. Sch. of Mus. at Saratov ; since
1888, of Imp. Soc. of Mus. at Kiev;
in Paris, 1894, he cond. Russian pro-
grammes at the concerts **d'Har-
court " and '* Colonne," 1896.
Winter (vln'-t«r), Peter von, Mann-
heim, 1754 — Munich, 1825 ; studied
with Abbe Vogler, but mainly self-
taught ; violinist and ct. -conductor ;
composer of v. succ. operas, 38 in
all ; c. 9 symphs. incl. **A> SchUuht"
and much church-mus.
Wintcrberger (vln' - t«r - b«rkh - «r),
8oo
THE MUSICAL GUIDE
Alez.y b. Weimar, Aug. 14, 1834 ;
pianist ; pupil of Leipzig Cons, and
of Liszt. 1 861, pf.-prof. at Peters-
burg Cons.; 1872, lived in Leipzig;
c. pf.-pcs. and songs.
Winterfcid (vln'-tfir-f€lt), K. G. Aug.
Vivigcns von, Berlin, 1784 — 1852 ;
libr. and writer of valuable historical
works.
Wippern (y!p'.p5rn), Louise (Har-
riers - Wippem), Hildeshiem (or
BUckeburg), 1835(7) — Gorhersdorf,
Silesia, 1878 ; operatic singer.
Wirth (vert), Emanuel, b. Luditz,
Bohemia, Oct. 18, 1842 ; violinist ;
pupil of Prague Cons., 1864-77;
teacher at Rotterdam Cons., and
orch. -leader ; then via. -player in the
Joachim Quartet, Berlin, and vln.-
prof. at the Hochschule ; Royal Prof.
Wise, Michael, England, 164.8 ? —
in a street brawl, Salisbury, 1687 ;
tenor and notable early composer of
anthems, etc.
Wit (vet), Paul de, b. Maesticht,
Jan. 4, 1852 ; 'cellist and viola da
gambist ; coll. of ancient instrs.
Wit&sek (ve'-ta-shSk), Jn. Nepomuk
Aug., Horzin, Bohemia, 1771 —
Prague, 1839 ; conductor, director
and pianist.
Witek (ve'-t5k), Anton; concert-
master and soloist, Berlin Philh. orch.,
1902.
With'erspoon, Herbert, b. New
Haven, Conn. ; notable basso can-
tante ; graduated Yale Univ pupil of
J. W. Hall, N. Y., and Dubulle,
Paris ; sang in opera, Castle Square
Co., N. Y., and with Boston Symph.
and other orchs. throughout U. S.;
V. succ. debut in recital, N. Y. , 1902.
Witt (vlt), (i) Fr., Halten-Bergstetten.
1771 — WUrzburg, 1837 ; violinist,
conductor and dram, composer. (2)
Julius, b. Kttnigsburg, Jan. 14,
18 19 ; singing-teacher there, and c.
pop. male choruses. (3) Theodor
de, Wesel, 1S23 — (of consumption)
Rome, 1855 ; organist and composer.
(4) Wm., Hamburg, 1826 — London,
1900; violinist and publisher. (5)
Fz.f Walderbach, Bavaria, 1834-
Schatzhofen, 1888; editor and wriier.
(6) Jos. von, Prague, 1843 — Bcrim,
1887 ; tenor.
Wittc (vlt'-td), (i) Chr. Gl. Fr., I
1873 ; org.-builder. (2) G. H., b.
Utrecht, Nov. 16, 1843; son of abort;
pupil of R. Mus. Sch. at The Hagtx,
then of Leipzig Cons.; teacher a
Leipzig till 1867, then in Alsatia, 1871;
cond. at Essen, 1882 ; R. Mus. Dir.;
c. pf. -quartet (prize at FioreiKti,
grand Elegy for vln. and orch,, etc
Wittekopf (vlt'.t«-k6pO, Rudolf, b.
Berlin, Dec. 11, 1863 ; studied Stem
Cons.; d^but, Aix,i888: sangLcqBJg.
1889-96 ; later in other cities, md.
London in the ** Nibelungen Ring"
Wittich (vft'-ttkh). Mane, b. Gicssca
May 27, 1868 ; soprano ; stodicd
with Frau Otto-Ubridy; sung varioas
cities ; 1901 Dresden ct. -opera.
Wohlfahrt (vol'-fart). (i) H., Kfiss-
nitz, near Apolda, 1797 — Connewiu,
1883; noted teacher, writer and com-
poser. His sons (2) Fz., FraiKo-
Sriesnitz, 1833 — Gohlis, 18S4. {31
tobt., b. Weimar, Dec. 31, rS26;
violinist, teacher and writer of tec-
books.
Woikii (voi'-koo), Petresoii, b. Rcc-
mania, 1885 (?) ; violinist ; pupil d
Barmas, Stem Cons., Berlin, for 5
W^ears.
oldemar (vol-dtt-m&r) (rightly Mi-
chel), Orl^ns, 1750 — tlermont-Fcr-
rand, 18 16; conductor and composer
wrote methods; in v. a mus.-stcoogn-
phy '* Tableau m/iotachigraphi^Mi'
and mus. -correspondence * Noter^
phier
Wolf (v610, (i) Ernst Wm.. Gro«-
heringen, 1735 — Weimar, 1792 : ct-
conductor; c. 42 pf. -sonatas. (2)6.
Fr., Hainrode, 1762 — WemigeiDdt
1 8 14; conductor, theorist and com-
poser. (3) Fd., Vienna, 1796 — 1B66:
writer. (4) L., Frankfort-on-Mu
1804 — Vienna, 1859 ; pianist, vids-
ist and composer. (5) Max, Mora-
via, 1840 — Vienna, 1886 ; c. operct-
■ tas. (6) Wm., b. Breslau, April 3.
DICTIONARY OF MUSICIANS 801
1838: pupil of Knllaki teacher of
mus. -history, Berlin, also writer and
composer. (7) Hugo, Vienna, March
13, i860 — 1902 ; composer ; already
there is in Berlin a H. W.-verein ; at
5 studied vin. and piano with l^is
father; at 8 studied at Vienna Cons. ;
prod. succ. comic opera '* Dtr Cor-
regidor '* (Mannheim, 1896) ; c. cho-
ric works with orch. " Z>/> Christ-
Mocht** and ^^ Der Feuerreiter*';
male choruses and about 500 songs,
many of them importantly original.
Wolff (v610. (i). Vide WOLF (4). (2)
Edotiard, Warsaw, 18 16 — Paris, 1880;
Eianist and composer. {3) Auguste
^€sAx€ Bd., Paris, 182 1— 1887; pia-
nist, pf. -teacher and maker ; head of
firm ** Pleyel-Wolflf." (4) Hermann,
Cologne, 1845 — Feb. 3, 1902 ; pupil
of Fz. Kroll and Wttrst ; editor, con-
cert-agent and mgr. at Berlin ; c. pf.-
DCS and sonfiTS
Wdlf (f )1 (v«lf -i)(Woclfcl, Woclfle),
Jos., Salzburg, 1772 — London, 18 12;
composer; his enormous hands and
great contrapuntal skill made him a
pf. -virtuoso whose rivalry with Bee-
thoven divided Vienna into factions ;
but the rivals had mutual respect and
W. dedicated his op. 6 to B. ; c. light
operas (1795-98).
Wolfram (vol'.fram), (i) Jn. Chr.,
d. 1835; organist and writer at Gold-
bach, near Gotha. (2) Jos. Maria,
Dobrzan, Bohemia, 1789 — Teplitz,
1839; conductor and dram, composer.
Wolfram (vol'-froom), Philipp, b.
Schwarzenbach - am -Wald, Bavaria,
Dec. 17, 1855; pupil Munich 5>ch. of
Mus.; mus.-dir. Heidelberg Univ.;
Dr. Phil. h. c. (Leipzig, 189 1); c.
** Grosses //ailt/uja/* and other cho-
ruses, pf.-pcs., etc.
Wollanck (vdl'-lank), Fr.,Beriin,i782
— 183 1 ; amateur composer of an opera.
WoUenhaupt (vol'-l^n-howpt), H.
Ad., Schkeuditz, near Leipzig, 1827
— New York, 1863; pianist, teacher
and composer; from 1845 ^^ ^^^
York.
Wollick (v6r-llk) (VoUi'cius, BoUi-
cius), Nicolas, b. Bar-le-Duc;
teacher and writer at Metz, 1 501-12.
Wolzogen (und Neuhaus) (vol'-tso-
g^n oont noi-hows), (i) K. Aug.
Alfred, Freiherr von, Frankfort,
1833 — San Remo, 1883; writer. (2)
Hans (Paul), Freiherr von, b. Pots-
dam, 1848; son of above; lived as
writer at Potsdam till 1877. Wagner
made him editor of the ^^ Baireuther
Blatter r
Wonneger (or Vuonnegger (v6n'-n^-
g$r)), Jn. L., friend of Glarean ;
pub. an epitome of G.'s '' Dodeka-
chordon'* (1557).
Wood, (i) Mrs. Mary Ann. Vide
PATON. (2) Henry J., b. London,
1869; prominent cond.; pupil of his
father ; at 10 an organist ; 1883-85,
gave org.-recitals ; then st. at R.
A. M. with Prout and others ; then
cond. societies ; 1891-92, Carl Rosa
Op. Co.; 1894, Marie Roze Co.;
1895-1902, Queens Hall Prom. Con-
certs, London. C. oratorio ''Doro-
thea'' (18S9), operettas, masses,
songs, etc. ; wrote treatise on singing ;
1900, cond. a concert in Paris. His
wife, (3) a Russian, is a singer, debut
London, 1900. (4) Mary Knight,
b. Easthampton, Mass., April 7,
1857; pianist; pupil of B. J. Lang,
A. R. Parsons, J. H. Cornell, and
H. H. Huss ; lived in New York; pub.
about 30 sones, many very popular.
Wood'man, Raymond Huntington,
b. Brooklyn, N. Y., Jan. 18. 1861 ;
pf. -pupil of his father, of Dudley
Buck, and Cesar Franck ; 1875-79,
asst. -organist to his father, at Flush-
ing, L. L; 1894-97. mus.-editor
••iV. K. Evangelist''; since 1 880,
organist First Presb. Ch., Brooklyn ;
since 1889. head of org.-dept. Metr.
Coll. of Mus., N. Y., etc. ; c. pf.-
and org. -pes., etc.
Woolf, Benj. Edw., London, Feb.,
1836-— Boston, Feb., 1901 ; at 3
taken to America by his father
who taught him various instrs. ;
studied with G. R. Bristow (org.) ;
cond. theatre-orchs. in various cities ;
8o2
THE MUSICAL GUIDE
critic Boston ''Globe*' later ''Sat
Evening Gazette**; prod, operatic
comedietta, comic operas ** Pounce
6f* a?." (Boston, 1SS3), " IVestward
Ho!'* (Boston, 1894), overture to
•* Comedy of Errors " (1887J, etc.
Wormser (v6rm-zar), Aiiar6 (Al-
phonse Toussaint), b. Paris, Nov.
I, 1 851; pupil of Marmontel (pf.) and
Bazin, Paris Cons, taking ist pf.-
prize, 1872 ; Grand prix de Rome,
1875 ; lives in Paris ; c. the operas-
comique "^^^iSf de Ponthieu" (Aix-
les-Bains, 1877), " RivoU" (Paris,
1896); V. succ. pantomime " LEn*
fant Prodigue" (Paris, 1890, Lon-
don, 1891, New York, 1893); panto-
mime "VId/al** (London. 1896);
ballet, "V&toiU** (Paris, 1897), etc.
Wor^an, (i) Jas., d. 1753; Engl, or-
ganist. (2) J., d. 1794; bro. and
succ. of above; also composer.
Work, H. Clay, Middletown, Conn.,
1832— Hartford, 1884; c. ** Grand-
father's Clock'* " Marching through
Georgia** and other pop. song^.
Wot'ton, (i) Wm., org.-builder, 15th
cent., Engl. (2) Wm. B., Torquay,
Sept. 6,1832; bassoonist, saxophonist,
oboist.
Wouters (voo'-t&rs), (Fran.) Adolphe,
b. Brussels, May 28, 1841; pupil, and
since 1871, pf.-prof. at the Cons.;
1886, organist Notre-Dame de Finis-
t^re, and cond. at Saint-Nicolas ; c. 3
masses solennelles (under pseud.
"Don Adolfo")» a grand Te
Deum, overture, etc.
Woycke (voi'-k^), Eugen (Adalbert),
b. Danzig, June 19, 1843 ; pianist ;
pupil Leipzig Cons.; lived in Edin-
burgh as teacher ; pub. 7 pf.-sonatas.
He married in 187 1, (2) Emily
Drechsler (nee Hamilton), concert-
violinist, playing in public since 11.
(3) Victor, b. Edinburgh, 1872 ; son
and pupil of above ; debut as violin-
ist, 1889; 1892, teacher at the Nat.
Cons., New York.
Woyrsch (voirsh), Felix von, b.Trop-
pau, Austrian Silesia, Oct. 8, i860;
studied with A. Chevallier, Ham-
burg, but mainly self-taugfat; since
1895, organist and conductor at Al-
tona : c. 4 comic operas incl. sooc
" Wikingerfahrt** {$kXiTn\iexz, 1896),
4 choral works with orch.; symph.;
symph. prologue to "^I>ivina Comme-
dia** etc
Wranitzky (fra-n^t'-shkl), (i) Pail,
Neureusch, Moravia, 1756-— Vienni,
1808; violinist, conductor and dram,
composer. (2) Anton, Neureusch,
1761 — Vienna, 1819; violinist; bro.
and pupil of above ; conductor and
composer.
Wrcdc (vra'-dfi), Hanover, 182S—
Frankfort-on-the-Oder, 1899 ; pian-
ist, conductor, singing-teacher and
composer.
Wrigrhfon, W. T., 1816— Tunbric^
Wells, 1880; English song-coiB-
WK>ser.
tterst (vtt'-^rst), Richard (Fd),
Berlin, 1824 — 1881; teacher, critk
and dram, composer.
Wailner (vTl'-nfir), (i) Fz., Mto-
ster, Jan. 28, 1832 — Cologne, Sepc
8, 1902 ; noted conductor ; studied
MUnster, later at Berlin, Brussels, Co-
logne, Bremen, Hanover and Leip-
zig, and gave concerts as pias-
ist ; 1854, pf. -teacher Munich Coos.:
1858, town mus.-dir. at Aix-U-
Chapelle; 1861, *'R. Mus.-Dir."
1864, 1882, 1886 and 1890 be
conducted the Lower Rhine Mns.
Fest. ; cond. the ct. -chapel, Mu-
nich ; 1867, dir. choral classes in
the Sch. of Mus.; in 1869, cond.
ct. -opera and the Acad. Conceits
(vice von Bolow), giving Wagner's
"Rheingold** and " WalkSre** Hoxe
first hearing. 1870, ist ct.-cood..
R. Prof. 1875; in 1877, ct.-oood.
at Dresden, and artistic dir. d
the Cons.; 1883-84, cond. Berfc
Philh.; 1884, dir. Cologne Coo*.:
was Dr. Phil. Leipzig U.; c. cantaa
^""Heinrich der FinkUr** with ordL
(ist prize, Aix-la-Chapelle "Lieder-
tafel " 1864) ; new arrangemcfit
(with added recitatives) of von W^
ber's "OberoH**; Psalm 125. frib
DICTIONARY OF MUSICIANS 803
orch.; Miserere and Stabat Mater,
for double chorus, masses, chamber-
mus., etc. (2) Ludwigy b. Mon-
ster, Aug. 19, 1858 ; son of above ;
Dr. phil., then studied Cologne Cons.;
1888, dir. a church choir; became
an actor in spite of a vocal impedi-
ment, then a tenor singer in concert,
also in opera (as ** Tannhiiuser,"
etc.).
iVonderlich (voon'-d£r-lTkh). Jn. G.,
Bayreuth, 1755 — Paris, i8ig; flute-
virtuoso and prof. Paris Cons. ; also
composer.
iVflrfel (vtir'-f«l), Wm., Planian, Bo-
hemia, 1 791 — Vienna, 1852 ; pianist,
prof., conductor and dram, composer.
wuTtti (voorm), (i) Wm., b. Bruns-
wick, 1826 ; virtuoso on the comet-^-
pistons ; from 1847, lived in Pe-
tersburg, from 1862 teacher at the
Cons., and from 1869 bandm. -in-
chief of the Russian Guards ; c. cor-
net-pcs. (2) Marie, b. Southamp-
ton, Engl., May 18. i860; pianist;
pupil of Pruckner and Stark, Anna
Mehlig, Mary Krebs, Jos. Wieniaws-
ki. Raff and Frau Schumann ; 1884,
won the Mendelssohn Scholarship ;
studied with Stanford, Sullivan,
Bridge and Reinecke ; played with
succ. Leipzig, Berlin, etc.; c. an
overture ; a pf. -concerto ; sonatas,
etc.
(Vylde (wild), H., Bushy, Hertford-
shire, 1822 — London, 1890; pianist,
oreanist and teacher.
iVy man, Addison P., Cornish, N. H.
(U. S. A.), 1832 — Washington,
Penn., 1872 ; teacher of vln. and com-
poser.
Njimt (wtn), Sarah E., b. Holy-
well, Huntingdon, March 11, 1842;
singer, held Westmoreland scholar-
ship R. A. M. : d^but, London, 1862 ;
m. Aviet Agabeg, 1875, ^^d since
then teacher.
^yns (vens), Charlotte F Allele, b.
of Flemish parents, Paris, Jan. 11,
1868 ; mezzo-sopr. ; pupil Pans Cons. ,
taking in 1892 3 first prizes, singing,
opera and op^ra comique ; engaged
at the op^ra, but debuted Op. Com.
as '*Mtgpton'* ; later at Th. de la
Monnaie, Brussels, returning to Op.
Com. in 1899 ; m. Ed. de Bruijn.
1899.
Wyszkowski. Vide hofman, c.
Xanrof (ksHn-roQ (rightly L6on Four-
neau), b. Paris, Dec. 9, 1867 ; lawyer,
critic and amateur composer of songs
for Yvette Guilbert, also of light
stage-pcs.
Xylander (rightly Holtzmann) (kse'-
lant-€r or holts'-m^n), Wm., Augs-
burg, 1532 — Heidelberg, 1576;
writer.
Xyndas (ksen'-dlte), Spiridion, Corfd,
1812 — (in poverty) Athens, 1896;
Greek composer of succ. ballad-op-
eras.
Yonge (yiing). Vide young.
Yost (yost). Michel, Paris, 1754—
1786 ; celebrated clarinettist and
composer.
Young, (i) (or Yonge), Nicholas, b.
Lewes, Sussex ; d. 1619 ; pub. * W«-
sua TransalpinOf" colls, of Italian
madrigals, 1597. (2) Rev. Mat-
thew, Roscommon, 1750— -1800 ;
acoustician. (3) Thos., Canter-
bury, 1809 — Walmouth, 1872; the
last prominent male altoist. (4) J.
Matthew Wilson, Durham, Engl.,
1822 — W. Norwood, 1897 ; organist
and composer.
Yradier (e-Hidh'-Y-ar), Sebastian, b.
Vittoria, 1865 ; Spanish song-com-
poser.
Yriarte (e-r!-ar'.t«), Don Tomas de,
Teneriflfe, ca. 1750 — Santa Maria,
near Cadiz, 1791; writer.
Ysaye (e-sl'-yO), Eugene, b. Li^e,
July i6, 1858 ; prominent violinist,
son and pupil of a cond. and violin-
ist« then pupil of Li^ge Cons., and of
8o4
THE MUSICAL GUIDE
Wieniawski and Vieuxtemps ; later
with govt. -stipend studied in Paris ;
till 1 88 1, leader in Bilse's orch., Ber-
lin, since has made v. succ. tours
throughout Europe and N. America ;
from 1 836. head prof, of vln. Brus-
sels Cons., and leader *' Ysaye Quar-
tet "; 1893, Chev. of the Legion of
Honour ; his quartet played in Lon-
don 1900-01; c. 6 vln. -concertos ;
variations on a theme by Paganini ;
Poime elegiaque for vln. with orch.
(or pf.), etc.
Yussupoff (yoos'-soo-p6f), Prince Ni-
colai, b. Petersburg. 1827 ; vio-
linist ; pupil of Vieuxtemps ; writer
of treatises, and c a programme-
symph. ''Gonsalvo de Cordova" with
vln. obbligato ; ** Concerto sympho-
nique^* for vln., etc.
Yzac (c'-zak). Vide isaac.
ZahalzsL y Olaso (tha-bftl'-thH 8 5-lS'.
so), Don Damaso, Irurita, Navarre,
1833 — Madrid, 1894 ; pianist and
teacher; prof. Madrid Cons.; c.
studies.
Zabel (tsa -b«l), Karl, Berlin, 1822—
Brunswick, Aug. 19, 1883 ; cond.
and composer.
Zacconi (tsak-ko-ne), Ludovico, b.
Pesaro, 1540— ca. 1600; monk and
important theorist.
Zacharid (tsak-a-re'-a), Eduard, b.
Holzappeler-HUtte, Nassau, June 2,
1828; pastor at Mazsayn; inv.
*• Kunstpedal" (v. D.D.).
Zachau (tsakh'-ow), (i) Peter, town-
musician, LUbeck, comf)oser for viola
da gamba, 1693. (2) Fr. Wm.,
Leipzig, 1663— Halle, 17 12; Han-
deKs teacher ; organist and composer.
Zajic (za-yech), Florian, b. Un-
hoscht, Bohemia, May 4, 1853; vio-
linist ; son of poor parents; on a
stipend studied at Prague Cons.;
member theatre-orch., Augsburg;
188 1, leader at Mannheim and Strass-
burg; 1889, at Hamburg; i89i«
teacher Stem Cons.. Berlin; lateral
Klindworth-Scharwenka Cons. ; has
toured widely and was made cham-
ber-virtuoso 1S85 and s^ven RossUa
order of Stanislas.
Zamminer (tsam'-me-n^r), Fr., Dans-
stadt, 1 818 (?) — Giessen, 1856; acous-
tician.
Zanardini (tsa-nar-de'-ne), Angelo,
Venice, 1820 — Milan. 1893; c open,
also writer and translator of libretti.
Zandt van (fan-tsant), Marie, b.
New York, Oct. 8, i86i (daughter
of (2) Jeanie van Z., sin^r formerly
in Royal and Carl Rosa Coapa<
nies); pupil of Lamperti, Milan; dc>
but. Turin, 1879 ; sang in London,
then from 1880 at Op. -Com., Paris,
with great succ; 1884, temporair
loss of voice due to prostratioi
brought on her such violent critidsn
that she took a leave of absence ai^
sang with succ. at St. Petersburg,
etc.; on her return. 1885, she met the
same opposition and sang* thereafter
in England, etc.; compass a-/"",
Zanettmi. Vide gianettini.
Zang^ (tsang), Jn. H., Zella St. Blasii.
1733 — Mainstockheim, 181 1; cantor;
pianist.
Zang^e (tsang -«) (Zan^'ins), Nico-
laus, d. I&rlin, before 1620; coo-
ductor and composer.
Zani de Ferraati (dsa'-ne da f^r-rio-
te), Marco Anrelio, Bologna, 1800
— Pisa, 1878; guitar-virtuoso.
Zanobi. Vide gagliano.
Zarate (tha-rft'-t^), Eleodoro Ortiz
de, b. Valparaiso. Dec. 29, 1865;
pupil of Collegio di San Luis there :
1885 won 1st g^vt. prize, and studied
Milan Cons, with Saladino; won priie
1886, for opera ** Giovanna la Fe^
za "/ studied in Italy; 1895, prod,
the first Chilian opera, the succ **/^
Fioraia de Lugano ** (Santiago. Chili,
Nov. 10).
Zaremba (tsU-ram'-ba), Nicolai Ivan-
ovitch de, 1824 — Petersburg. 1879;
teacher.
Zarembski (tsS-r^mp'-shkt), Jules de,
Sbitomir, Russian Poland, i354^
DICTIONARY OF MUSICIANS 805
1885; pianist, pf.-prof. and com-
poser.
Zarlino (dsar-le'-no), Gioseffo (called
^arlinns Clodiensis), Chioggia,
March 22. 15 17 — Venice, Feb. 14,
1590; eminent theorist, conductor
and composer ; a Franciscan monk ;
pupil of Willaert at Venice; from
1 565 cond. at San Marco, also chap-
lain at San Severo ; his comps. are
almost all lost; he was commissioned
by the Republic to write mus. in cel-
ebration of Lepanto, a mass for the
plague of 1577 and in welcome of
Henri III., 1574, on which occasion
he also c. a dram, work ** Orfeo*';
his theoretical ability is shown by the
great work ^'' Institutioni harmo-
m<rAif"(i558).
Zarzycki (zilr-zek'-e), Alex, Lem-
berg, Austrian Poland, 1831 — War-
saw, 1895; pianist, conductor and
dram, composer.
ZaT(e)rtal (tsil'-v«r.tal), Bohemian
family, (i) Josef R., b. Folep, Nov.
5, i8ip; horn-player and leader. (2)
Wenceslas ti., Polep, Aug. 31,
1821; clarinettist and composer. (3)
Ladislas, b. Milan. Sept. 29, 1849 ;
son of above; conductor; 1871 t. at
Glasgow, 188 1 at Woolwich; prod.
operas ** Una notU a Fir erne" and
** Afyrrha,*' both at Prague. 1886.
Zaytx (dsa'-ets), Giovanni von, b.
Fiume, 1834; pupil of Lauro Rossi.
Milan Cons.; since 1870 theatre-con-
ductor and singing-teacher at the
Cons, at Agram; c. the first Croa-
tian opera **iVfV<?iii Subic Zrinjski"
(1876), also 20 German Singspiele,
masses, etc.
Zeckwer (ts^k'-var), Richard, b.
Stendal. Prussia, April 30, 1850; pian-
ist; pupil Leipzig Cons.; from 1870
organist at Philadelphia, U. S. A. ;
1870 teacher Phila. mus. acad.; since
1876 director, composer.
Zeelandia (tsa-lSn -dY-&), Henricus
de, Netherland theorist and composer
ca. 1400.
Zeldenrust (ts^l'-dCn-roost). Eduard,
b. Amsterdam, June 5, 1865; pianist;
pupil of Robert Collin ; at 13 entered
Cologne Cons, under Fd. von Heller
for 5 yrs. ; then studied with Kwast
and Gemsheim in Rotterdam ; later
with Marmontel, Paris Cons.; toured
Europe and America.
Zelenka (z£.l«n'-kil), Jan Dismas,
Lannowicz, Bohemia, 1679 — Dres-
den, 1745; conductor and cpmposer.
2elenski (zh£-l£n-shk1), Ladislas, b.
on the family estate Gradkowice, Ga-
licia. July 6, 1837; pupil of Mirecki
at Cracow, Krej^i at Prague, and
Damcke at Paris; prof, of comp.,
later dir., Warsaw Cons.; c. a symph.,
2 cantatas, etc. for orch.; succ. opera
•* Goplana " (Cracow. 1896), etc.
Zell, r . Vide walzel.
Zellner (ts^l'-n^r), (i; Ld. Alex.,
Agram, 1823 — Vienna. 1894; son and
pupil of an organist ; editor, profes-
sor, writer and composer. (2) Julius,
Vienna, 1832 — Wttrzzuschlag, Styria,
1900 ; c. 2 symphs., etc.
Zelter (ts«r-t€r). Karl Fr., Berlin,
Dec. II, 1758 — May 15, 1832; son of
a mason; studied with Kimberger and
Fasch, to whom he was assistant and
1800 successor as cond. of the Sing-
akademie ; 1809 he founded the
** Liedertafel" from which grew the
grreat *' Deutscher Sangerbund " of
50,000 members, for which he c.
famous male choruses; 1819, founder
and dir. R. Inst, for church-mus. ;
friend of Goethe, whose songs he set;
c. also oratorios, etc.
Zemlinsky (zSm-ltn'-shkY), Alex., b.
of Polish parents. Vienna, 1877; pu-
pil of Fuchs, Vienna Cons.; took
** Gesellschaft der Musikf reunde "
prize with a symph. 1897; his opera
•* Sarema" took a 2nd prize, 1894,
and was prod, with succ, Munich,
1897.
Zenger (ts£ng'-^r). Max, b. Munich,
Feb. 2. 1837 ; pupil of Stark, and
Leipzig Cons. ; i860, cond. at Ratis-
bon; 1869 mus. -dir. Munich ct. -op-
era; 1878-85, Munich Oratorio Soc.
etc.; Dr. Phil, h, f., 1897; c 3 op-
eras; succ. oratorio ''^ Kain*' (after
8o6
THE MUSICAL GUIDE
' Byron, Munich, 1867), cantatas with
orch., •* tragic " syraph., etc.
Zenta. Vide august a holmes.
Zeretelev. Vide lawrowskaja.
Zerr (ts^r), Anna, Baden-Baden, 1822
— on her estate, near Oberldrch, 1881;
singer.
Zerrahn (ts^r-rdn'), K., b. Malchow,
Mecklenburg, July 28, 1826; distin-
guished conductor; studied with Fr.
Weber and at Hanover and Berlin ;
1848, America, as a member of Ger-
mania Orch.; 1854-95, cond. Handel
and Haydn Soc., Boston; also cond.
Harvard Symph. Concerts, and prof,
of harm., instr. and singing, N. E.
Cons.
Zeugheer (tsoikh'-hir), Jakob (known
as J. Z. Hermann), Zurich, 1805 —
Liverpool, 1865 ; violinist and con-
ductor.
Zeuner (tsoi'-n^r), K. Traugott,
Dresden, 1775 — Paris, 1841; pianist,
teacher and composer.
Ziani (dse-ft'-ne), (i) P. Andrea, Ven-
ice, ca. 1630 — Vienna, 171 1 ; organ-
ist and dram, composer. (2) Marco
A., Venice, 1653 — Vienna, 1715;
nephew 6i above; ct. conductor and
dram, composer.
Zichy (tse'-she). Count G^za, b. Szti-
va, Hungary, July 22, 1849 '• noted
left-handed piano-virtuoso ; having
at 17 lost his right arm ; pupil of
Mayrberger, Volkmann and Liszt ;
holding high legal positions ; also
made tours for charity. 1890-94, In-
tendant Nat. Th. and Opera, Pesth.
C. succ. operas, *^Aldr'' (Pesth,
1896); ''Meister Roland'' (Pesth,
1899, Magdeburg, 1902), cantata,
etc.; pf.-pcs., for the left-hand and
studies (with preface by Liszt), etc.
Zimmer (tslm-m€r), (r) Fr. Aug.,
Herrengosserstadt, Thuringia, 1826 —
Zehlendorf, 1899; mus. -director and
writer. (2) Otto, Priskorsine, Sile-
sia, 1827 — Breslau, 1896 ; organist
and editor. (3) Robt., Berlin, 1828
— 1857 ; writer and teacher.
Zimmermann (tsTm'-m^r-man), (i) An-
ton, Pressburg, 1741 — 1781; con-
ductor, composer and oi^ganist. (sj
Pierre Jos. Guillaome, P^l
March 19, 1785— Oct. 29, 1853; ^'
mous pf.-teacher ; pupil, later, 1816-
48, prof., at Paris Cons.; c. conic
opera and many pf.-pcs. (3) Agnes,
b. Cologne. July 5, 1847; pianist:
at 9 pupil of London R. A. M., via-
ning King's Scholarship twke, tfti
also silver medal ; d^but. Crystal Pil-
ace, 1863 ; toured with g^reat socc:
has ed. scores and c. a pf.-trio, etc
Zingarelli (tsTn-gi-r^lMe). NicoU A,
Naples, April 4, 1752 — Torre dd
Greco, near Naples, May 5, 1837:
violinist, teacher and eminent com-
poser ; the succ. of his opens and
the greater succ. of his ifrand op-
eras throughout Europ>e was almos:
equalled by his noble and de^
vout sacred mus. ; pupil of Fenarofe
and Speranza ; his first opera mts
prod, at 16, and followed by another
at 21, but he had no succ till *MA
sinda, " written in 7 days (La Scak.
Milan, 1785); he followed this with
many others, incl. his best, **GiuSetta
e Romeo" (ibid., 1796); 1792, cood.
at Milan Cath.; 1794, at Loreto;
1804 at St. Peter*s, Rome ; 181 1, im-
prisoned for refusal to conduct a ser-
vice in honour of the King of I^ooe,
the son of Napoleon, who took him to
Paris, released him, and paid him well
for a mass; 1813, dir. Naples Cons.;
1816, cond. at the cath.; he was a
notable teacher; c. 31 operas, masses
of all kinds in a series **AmnmaU£
Loreto " for every day in the year, 80
magniBcats, etc.
Zinkeisen (tsTnk'-T-z£n), Konrad L.
Dietrich, Hanover, 1779 — Brans-
wick, 1838 ; violinist, conductor and
composer.
Zipoli (dse'-po-Ie), Dom.» organist,
Jesuit Church, Rome ; pub. important
clavier-sonatas, treatises, etc. (1726).
Zoeller (ts^l'-I^r), Carl, Berlin. 1849
— London, 1889 ; writer and nouUe
composer.
Zoilo (dso'-e-lo), Annibale, condnctoi
at Laterano, Rome, 1561-70; 1571,
DICTIONARY OF MUSICIANS 807
singer, Papal Chapel ; c. madrigals,
«tc.
:011ner (ts«l'-n«r), (i) K. U., Oels,
Silesia, 1792 — Wandsbeck, near
Hamburg, 1836 ; org. -virtuoso, writer
and dram, composer. (2) K. Fr.,
I^ittelhausen, Thuringia, March 17,
1800— Leipzig, Sept 25, i860; fa-
mous composer of male choruses;
pupil of Schicht, Thomasschule, Leip-
zig ; vocal-teacher there, founded a
Liedertafeln *' Z5llner-verein/' other
sees, of similar nature, organised 1859
to form a *' Z-band." (3) H., b. Leip-
zig, July 4, 1854 ; son of above ; pu-
pil Leipzig Cons.; 1878, mus.-dir.
Dorpat Univ.; 1885, Cologne Cons,
and conductor various vocal socs.;
1889, toured Italy with a male cho-
rus; from 1840, cond. New York
•* Deutscher Liederkranz"; 1898,
mus.-dir. Leipzig University and
cond. ** Paulinerchor*'; c. 4 operas,
3 choral works with orch., cantata
'•^»> neug IV fit'* (won international
prize, Cleveland. Ohio, 1892), a
symph., oratorio, male choruses, etc.
(4) Andreas, Amstadt, 1804 — Mein-
ingen, 1862 ; mus.-dir. and comp.
Zopff (tsopO, Hermann, Glogau, 1826
— Leipzig, 1883 ; editor, writer and-
dram, composer.
Zschiesche (tshe'-sh£), Aug., Berlin,
1800— 1876; dram. bass.
Zschocher (tsh6kh'-«r), Jn,, Leipzig,
1821 — 1897; pianist.
Zuccalmarlio (dsook • kal - mal' - yo),
Anton Wm. Florentin von, Wal-
drol, 1803 — Nachrodt, Westphalia,
1869 ; contributor to Schumann's
periodicals.
Znmpe (tsoom'-p^), Hermann, b.
Taubenheim. Upper Lusatia. April
9f 1850 ; grad. Seminary at Bautzen ;
taught a year at Weigsdorf; from
187 1 at Leipzig; also studied with
Tottmann ; 1873-76, at Bayreuth, as
copyist and asst. to Wagner ; there-
after th. cond. various cities ; 1891,
ct.-cond. at Stuttgart ; 1895, ct.-
cond. Munich; later at Schwenn
1901, Meiningen ; c. 2 operas ; v.
succ. operettas *'/anW//»**^ (Vienna
1886), "Aar/Vf" (Hamburg, 1888),
and ''Polnische Wirthschajr (Ber-
lin, 1891) ; overture ** WalUnstein*s
Tod;' etc.
Zumsteeg (tsoom'-shtakh), (i) Jn.
Rudolf, Sachsenflur, Odenwald, 1760
— Stuttgart, 1802 ; 'cellist and ct.-
conductor ; c. ojjeras and important
" durch-komp^irten " ballads, before
Lttwe (q. v.). His daughter (2)
Emilie, Stuttgart, 1797 — 1857, was
a pop. song-composer.
Zur Mtthlen (tsoor-mu'-l^n), Rai-
mund von, b. on his father's estate,
Livonia, Nov. 10, 1854 ; concert-
tenor ; studied at Hochschule, Ber-
lin, with Stockhausen at Frankfort,
and Bussine at Paris.
Zur Nieden (tsoor ne'-d^n), Albrecht,
Emmerich - on - Rhine, 1 8 19 — Duis-
burg, 1872 ; mus. -director, conductor
and composer.
Zvonar (tsvo'-narzh), Jos. Ld., Kub-
lov, near Prague, 1824 — Prague,
1865 ; teacher, theorist and dram,
composer.
Zweers (tsvars). Benhard, b. Amster-
dam, and lived there as composer of
4 symphs. , sonatas, etc. ; studied with
Jadassohn.
Zwintscher (tsvTnt'-sh^r), (i) Bruno,
b. Ziegenhain. Saxony, May 15, 1838 ;
pianist ; pupil of Julius Otto, then of
Leipzig Cons. ; 1875-98, teacher there;
writer. (2) Rudolf, pianist in London.
696
THE MUSICAL GUIDE
singing-teacher and court-cond. at
Mayence, later Berlin ; c. 20 operas,
etc., incl. vocalises.
Rille. Vide laurent db rille.
Rimbault (rim'-bolt), (i) Stephen
Francis, organist and composer,
1773 — 1837. (2) Edw. Fran., Lon-
don, June 13, 1 8 16— Sept. 26, 1876 ;
son and pupil of above ; organist and
noted lecturer, editor, essayist and
writer of numerous valuable historical
works based on research.
Rimsky-Korsakov (rYm'-shkt-k6r'.sS-
k60, Nikolas Andrejevitch, b.
Tikhvin, Novgorod, May 21 (new
style), 1844; notable Russian com-
poser; studied at the Naval Inst.,
Petersburg ; also took pf. -lessons ;
1861, took up mus. as a profession
after study with Balakirev; at 21 prod,
his first symph.; 1871, prof, of comp.
and instr. at Petersb. Cons., also
1873-84 inspector of Marine Bands ;
1874-87, dir. Free Sch. of Mus., and
until 1 88 1, cond. there ; 1883, asst.
cond. (to Balakirev) of the Imp.
Orch.; from 1886, cond. Russian
Symph. Concerts; 1889, cond. 2
Russian concerts at the Trocadero,
Paris. He orchestrated the posthu-
mous 0[)eras : Dargomyzsky's ^''Com-
Modore^'* Mussorgsky's *' Khovanst-
chyna^* and Borodin's ^'Prince
Jgor'\' pub. coll. of Russian songs
and a harmony. C. operas ''' Psko^
vitjanka'' (** The Giri from Pskov")
(St. Petersburg, Imp. Th. 1873) ; ''A
May Night'* (i\o. 1880); " SnegoroUh-
ka'^ ("The Snowy Princess") (do.
1882); ''Mozart und Saluri'' (Mos-
cow); opera ballet '* Mlada ** (Peters-
burg, 1892); opera ''Christmas Eve "
(1895); 3 symphs. incl. **Antar**
(188 1), sinfonietta; " Russian " over-
ture ; Servian fantasia , mus. tableau
•* Sadko " (1876) : pf. concerto, etc. ;
opera " Zarskaja Newjesta " (1901).
Rinaldi (re-nal'-de), Giov., Reggiolo,
Italy, 1840— Genoa, 1895 ; pianist.
Rinck (r!nk), Jn.Chr. H., Elgersburg,
Thuringia, Feb. 18, 1770— Darm-
stadt, Aug. 7, 1S46 famous organ-
ist, writer and composer; papQ of
Kittel^ etc.; town organist Gicsen,
then, 1805, at Darmstadt, where be
also taught in the seminary; iSij
ct.-orgranist there ; autobiog. (Bres-
lau. 1833).
Ringel, Federico. Vide f. d*erlak-
GER.
Ringler (rfng'l^r), Ednard, b. N&m-
berg, Jan. 8, 1838 ; pupil of Hoh^
mann; but did not adopt mus. till 30,
then studied with Grobe, and Dupont
at Nttmberg ; cond. the *' Singrer*
ein " ; from 1883 choir-dir. in the
synagogue, and from 1890, cond. the
excellent '^Verein fOr klassiscben
Chorgesang " ; singing-teacher and
critic; c. succ. "Vollsoper" **^^
peUin von Cailigen " (Nttmberg, 1896)^
p^rand opera ** Fritkjof" songs, etc
Rmuccini (re-noot-che -ne), OttaTi<s
Florence, 1562 — 162 1 ; the librettist
of the first opera ever performed*
Peri (q. v.)and Caccini*s ** ZVi/k/ "
(1594), also of Peri's " EuridUt^
(1600), and Monteverde's ** Arianma
a Nasso " (1608).
Riotte (ri-6t). PhilUp J., St. Mcndd,
Treves, Aug., 1776—1856; conduct-
or and dram, composer.
Ripa (re'-pa), Alberto de (called Al-
berto Mantovano), b. Mantua— d.
ca. 1580 ; lutist and composer.
Rischbieter (rYsh'-be-tdr), Wm. Al-
bert, b. Brunswick, 1834 ; pupil of
Hauptmann, theory ; violinist in
Leipzig and other cities ; from 1862
teacher harm, and cpt., Dresden
Cons., pub. treatises, etc.; c. symph..
overtures, etc.
Risler (res'-l£r), Edouard, b. Baden-
Baden. Feb. 23. 1873 \ notable pia-
nist ; pupil of Diemer and d* Albert,
Stavenhagen, etc.; lives in Paris.
Ristori (res-to'-re), Giov. Alberto,
Bologna, 1692 — Dresden, Feb. 7,
1753 ; organist and conductor ; c. 2
of the earliest comic operas, also
church-music.
Rit'ter, (i) G. Wenzel, Mannheim.
April 7, 1748 — Berlin. June 16, 1808;
bassoonist, Berlin ct.-orch. ; compos-
DICTIONARY OF MUSICIANS 697
cr. (2) Aug^. Gf., Erfurt, Aug. 25,
181 1 — Magdeburg, Aug. 26, 1885;
organ-virtuoso, editor and composer.
(3) Alex, Narva (or Reval), Russia,
June 27 (new style), 1833 — Munich,
April 12, 1896 ; violinist ; c. succ.
operettas, etc. (4) Fr^d^ric Lonis,
Strassburg, June 22, 1834 — Antwerp,
July 22, 1891 ; prof, of mus. and
conductor at I^oraine ; 1856, Cincin-
nati (U. S. A.), organist Philh. orcK.
and Cecilia Soc.; 1861 New York,
cond. the Arion ; 1867 prof. Vassar
Col.: wrote *^ Music in England^**
and * * Music in America " (both N.
Y., 1883); and other J^istorical
works; c. 5 symphs., etc. (5) (Ray-
mond-Ritter), r anny, b. Philadel-
phia, 1840 ; wife of above : writer
and translator. (6) (rightly Bennet)
Theodore, near Paris, 1841 — Paris,
1886 ; pianist and composer. (7)
Hermann, b. Wismar, Sept. 16,
1849 ; violinist ; studied Berlin with
Joachim, etc. ; invented and played a
yiola alta ; for 20 yx^ teacher at
Wurzburg. (8) Josef, b. Salzburg,
Oct. 3, 1859 : barytone at Vienna. (9)
Ritter-Gotse (g^t-'tsd), Marie, b.
Berlin. Nov. 2, 1865; merao-sopr. ;
pupil of Jenny Meyer and Levysohn ;
d^but R. Opera, Berlin ; later Ham-
burg for 4 years ; sang at Met. Op.
and in concert U. S. A. 1890-02 ;
dien Berlin R. Opera.
Riy6-King^ (re'-va-kTng), Julie, b.
Cincinnati, Ohio, Oct. 31, 1857;
noteworthy pianist ; toured the world
with g^reat succ; c. pop. pf.-pcs.
RiTi^e (rev-)rar), Jules, i8ogr— Paris,
Dec. 26, 1900 ; conductor.
Rob'inson, (i) J., 1682 — 1762 ; Eng-
lish oreanist and composer. (2) Ann
((lee Turner), d. 1741 ; singer ; wife
Q^bove. (3)Ana8tasia, X750; Engl,
^^er; m. Earl of Peterborough.
(^Marg^et, sister of (i); singer
in^Handel's oratorios. (5) Francis,
pi|>fessor at Dublin^ 1810. His four
spns were (6) Francis, tenor ; (7)
Wm., bass ; (8) J., tenor and organ-
\iL\ (9) J0S.9 b. Aug., 18 16 ; famous
cond. and composer; his wife, (10)
Fanny Arthur, 1831 — 1879, ^^ ^
singer and composer.
Roberts, J. Varley, b. Stanningly,
near I^eeds, Sept. 25, 1841 ; organist
and composer; from 1868 at Halifax;
1876 Mus. Doc. Oxford ; c. cantata
** fonahy' etc.
Robjohn, Wm. Jos., b. Tavistock.
Devon, Nov. 3, 1843 ; self-taught
mus. ; at 14 went to America ; has
been organist various churches ; c
various o[)erettas, etc.; wrote under
pen-name Caryl Flono.
Robyn (ro'-bln), (i) Alfred G., b. St,
Louis, Mo., April 29, i860 ; son of
(2) Wm. R. (who organised the first
symph. orch. west of Pittsburgh) ; at
10 A. succeeded his father as organist
at St. John's Church ; at 16 solo-pianist
with Emma Abbott's Co. ; prod, comic
opera ''^ Jacinta'' (1894); c. pf.-con-
certo, etc., also very pop. songs (incL
** Answer "), etc.
Rochlitz (r6kh'-ms), Jn. Fr., Leipzig,
Feb. 12, 1769 — Dec. 16, 1842 ; com-
poser, editor and prominent writer of
essays, biog. and librettos.
Rock, Michael, d. March, 1809;
English organist and composer.
Rdckcl (r«k'.^I), (i) Jos. Aug.,
Ncumburg-vorm-Wald, Upper Pala-
tine, 1783 — Anhalt-C5then, 1870;
singer, prof, and operatic dir. at Aix;
1829-32, of a German co. at Paris ;
1832, London. (2) Aug. Gratz,
1814 — Buda-Pesth, 1876 ; joint-con-
ductor at Dresden op>era (with Wag-
ner) ; 1848, abandoned mus. for poli-
tics. (3) Edw., b. Treves, Nov. 20^
1816 ; pupil of his uncle, J. N. Hum-
mel ; toured as pianist ; from 1848
lived Bath, Eng. ; c. pf.-pcs. (4)
Jos. (Ld.), b. London, April 11,
1838 ; bro. of above ; pupil of Eisen-
hofer, G5tze, and of his father and
bro. Eduard (pf.) ; lives in Bristol, as
teacher and pianist ; c. cantatas,
pf.-pcs., pop. songs, etc.
Rock stro (rightly Rackstraw), Wnu
Smjrth, North Cheam, Surrey, Jan.
• 5, 1823 — London, July 2, 1895 ; no*
>
X
698
THE MUSICAL GUIDE
table historian ; pupil Leipzig Cons. ;
pianist and teacher, London; 1891,
lecturer R. A. M. and R. C. M.;
wrote treatises, biog. and ** Getural
Hist4fry of Musu '^ {1SS6); c. over-
ture, canUta ** TAe Good Sfup/urd'*
etc.
Roda (rd'-d&), Fd. von, Rudolsudt,
181S — near Kriwitz, 1876; mus.-dir.
and composer.
Rode (rdd), (Jacqnes) P. (Jo^)> ^^oi*-
deaux, Feb. 16, 1774 — Chateau-
Bourlxm, near Damazon, Nov. 25,
1830 ; notable violinist ; pupil of Fau-
vel and Viotti ; d^but. Fans, 1790 ;
toured ; prof, at the Cons.; 1800, so-
loist to Napoleon, later to the Czar ;
c. 13 concertos, famous ^udes, etc;
wrote a method (with Baillot & Kreut*
zer).
Rode (r6'-d«), (i) Jn. Gf., Kirch-
scheidungen, Feb. 25, 1797 — Pots-
dam, Jan., 1857; horn-virtuoso; c.
tone-pictures, etc. (2) Th., Pots-
dam, 1821 — Berlin, 1883 ; son of
above ; singing-teacher and writer.
Rdder (ra'-d«r), (i) Jn. Michael, d.
ca. 1740: Berlin org.-builder. (2)
Fmctuo'sns, Simmershausen, March
5. 1747 — Naples, 1789; notable or-
ganist. (3) G. v., Rammungen,
Franconia, 1780 — Alt6tting, Bavaria,
1848 ; ct.-cond. and composer. (4)
Carl Gl.y StOtteritz, near Leipzig,
18 la — Gohlis, 1883 ; 1846, found^
the largest mus. and engraving estab-
lishment in the world : in 1872, his
sons-in-law, C. L. H. Wolf and C. E.
M. Rentsch, became partners. (5)
Martin, Berlin, April 7, 1851— B<is-
ton, Mass., June 7, 1895 ; pupil R.
Hochschule ; conductor and teacher
of singing in various cities, incl. Dub-
lin and Boston ; critic and writer un-
der pseud. ''Rare Miedtner";
wrote essays, librettos, etc. ; c. 3 op-
eras, a symph., 2 symph. poems, etc.
Rodio (r5 -dl-o), Rocco, b. Calabria,
ca. 1530 ; famous Neapolitan con-
trapuntist and theorist.
Rodolphe (rd'.d610 (or Rudolph),
Jean Joi,, Strassburg, Oct. 14, 1730
— Paris, Aug. 18, 1S12; bom-virtu-
oso and violinist ; pub. treatises :
prod, operas.
Ros:el (ro'-h«l), Jos^ b. Orihoela, Ali-
cante, Dec. 24, 1829; conductor and
composer of 61 zarzuelas, etc.
Ro^er (ro-zha), Gve. Hip., La Cha-
pelle St. -Denis, near Paris, Dec 17,
1815 — Paris, Sept. 12, 1879; noted
tenor; cnAtcd''!^ PropfuU"/ 1868,
prof, of singing at the Cons. (2)
victor, b. Mon^>ellier, France, July
21, 1854; pupil Ecole Niedermeyer;
critic of **Atf FroMte^ ; prod, about
20 operettas, etc., incl. '*Ztf PetiU
Tdch/'{^%^)\ svLCc'ToMleBlasuk/'
51899); and succ. ** AfUt. Georges*
1900).
RMrers (r&'-jto), (i) Ben}., Windsor*
1014— Oxford. 1698 ; organist at
Dublin ; later at Windsor ; c. the
hymn sung annually at $ A.M., May
I, on the top of Magdalen tower,
Oxford. (2) John, d. Aldersgate.
ca. 1663; lutenist to Chas. H. (3)
Sir John Leman, 1780 — 1847; com-
poser ; pres. Madrieal Soc. (4)
Clara Kathleen (n& Bamett), b.
Cheltenham. Engl., Jan. r4, 1844 ;
daughter and pupil of John Bamett ;
pupil of Ivcipzig Cons.; studied also
singing with G6tze and Sangiovanni,
at Milan ; d^but Turin, 1863 (under
name ''Clara Doria'O; sang in
Italy, then in London concerts;
1 87 1, America with Parepa-Rosa Co.;
1872-73. also with Maretzek Ca:
since then lived in Boston as singer
and teacher ; 1878, m. a Boston law-
yer, Henry M. R.; pub. •* The PkU
losophy of Singing^" (New York,
1893) ; c songs, sonata for pf. and
vln., etc (5) Rolatad, b. West
Bromwich, Staffordshire, Nov. 17,
1847; at II, organist at St. Peter's
there ; 1871-91, organist a Bangor
Cath. and cond. of the Penrhyn and
Arvonic Choirs; teacher in Wales:
1875, Mus. Doc. Oxford; c. canta-
tas ''^ Prayer and Praise ** (with orch.),
*' TAf Garden" (prize, Llandudno,
1896); amd'^PloraM"; Psahn 130,
DICTIONARY OF MUSICIANS 699
for soli, chorus and strings; asvmph.,
etc (6) James H., b. Fair Haven,
Conn., U. S. A., 1857; at 18 studied
in Berlin with L5schom, Haupt, Ehr-
lich and Rohde, and at Paris with
Firsot, Guilmant and Widor ; lives in
Cleveland, Ohio, as organist, pianist
and composer of notable songs. (7)
Delia, b. Denver, Colorado, ca.
1869 ; soprano ; pupil of Mme. de la
Grange and Leon Jancey (French
diction) ; debut, St. Petersburg ; has
sung^ at La Scala, Milan, in Rouma-
nia, Turkey, etc.
o^rnone (ron-yo'-n^, (i) Riccardo,
a Milanese violinist. His son (2)
Fran., pub. a vln. method, 16 14,
etc.
Rohde (ro'-dQ, Edaard, Halle-on-
Saale, 1828— Berlin, March 25, 1883 ;
writer of pf .-method ; singing teacher
and composer.
Rohleder (r6'-la-d<r), (i) Jn., pastor at
Friedland, Pomerania ; pub. a trea-
tise, 1792. (2) Fr, Traug^ott, Pas-
tor at Lahn, Silesia ; pub. articles on
church-mus. (1829-35).
Rokitansky (ro-kY-t&n'-shkl), Victor,
Freiherr von, Vienna, 1836 — 1896 ;
pub. treatises on singinsp.
Rolandt (rd'-lSnt), Hedwig^ (stage-
name of Hedwig^ Wachutta), b.
Graz, Sept. 2, 1858 ; soprano ; pu-
pil of Frau Weinlich-Tipka, Graz;
debut, Wiesbaden, 1877; 1883, m.
the merchant Karl Schaaf.
Rol'la, Ales., Pavia, April 22, 1757
— Milan, Sept. 15, 1841 ; violinist
and teacher ; prof, of vln. and via. :
Paganini was his pupil.
RoUc (r61'-l«), Jn. H., Quedlinburg,
Dec. 23, 17 18 — Magdeburg, Dec. 29,
1785 ; son and successor of the town
mus.-dir. of Magdeburg ; 1741-46,
vla.-player, Berlin ct.-orch.; c. 4
Passions, 20 oratorios, etc.
Rdllig (r^l'-llkh), K. Ld., Vienna,
1761 — March 4, 1804; harmonica-
player ; inv. of the ** Orphika " and
'•Xanorphika" (v. D. D.) ; wrote
treatises on them ; c. comic opera.
Ronuuiiello (rd-min-X^l'-ld), (i) Lui-
fi, b. Naples, Dec. 29, i860 ; pian-
ist ; pupil of his father, his broth-
er (2) Vincenso, and at Naples
Cons. ; graduating with highest hon-
ours; dir. of the pf.-dept. there,
later member of the Soc. del Quar-
tetto, also pianist Femi Quartet ; in-
structor in the R. ** Educandato di
San Marsellino " and critic ; Che v. of
the Italian Crown ; has made tours
and pub. a pf. -method (prize at Na-
ples, 1886) ; c. 3 operas, symphonic
poems " Corsair " and " Manfred;'
2 symphs., etc.
Romanina. Vide albsrtini, g*
Romanini (rd.m&-n€'-ne), Romano, b.
Parma, 1864; pupil of Mandovani
(vln.) and Dacci (comp.)at the Cons.;
1st vln. Teatro Regio ; then cond.
concert and theatre-orch. at Savigli-
ano ; 1890, prof, of vln. ; since 1897,
director ** Instituto Venturi," Bre-
scia ; c. succ opera "^Z Campo*'
(Brescia, 1895), symph., etc.
Romano, (i) Alessandro (q. v.). (2)
Giulio. Vide caccini.
Romberg (rom'-b^rkh), (i) Anton (a)
and (2) H., two brothers, lived in
Berlin, 1792. (3) Anton (b), West-
phalia, 1745 — 1812 (1742 — 1814,
ace. to Riemann) ; bassoonist. (4)
Gerhard H., b. 1748 ; clarinettist
and mus.-dir. at MQnster. (5) Bd.,
Dincklage, near Mttnster, Nov. 11,
1767 — Hamburg, Aug. 13, 1841; the
head of the German sch. of 'cellists ;
prof.; ct.-cond., 1815-19 ; c many
operas, incid. mus.; 9 excellent con-
certos. (6) Andreas (Jakob),
Vechta, near MUnster, 1767 — Gotha,
1821 ; vln.-virtuoso ; son of (7) Ger-
hard H., b. 1748 ; dir. and clarinet-
tist. (8) Cyprian, Hamburg, 1807
— 1865 : son of (6) and pupil of (5),
'cellist and composer. (9) Anton (c),
b. 1777; bassoonist ; son of (3). (10)
Therese, b. 1781; pianist; sister of
(6).
Ro'mer, Emma, 1814 — Margate, 1868:
Engl soprano.
Ronchetti - Monte^ti (ron-k^t'-te
mon-ta-ve'-te), SteCano, Asti, 18 14—
'•is
700
THE MUSICAL GUIDE
Casale Monferrato, 1882; pupil of
B. Neri, Milan ; 1850, prof, of comp.
at the Cons. ; 1877, dir. ; c. an opera,
a motet, etc.
Ronconi (ron-kd'-ne), (i) Dom., Len-
dinara, Rovigo, July 11, 1772 — Mi-
lan, April 13, 1839 ; singer and fa-
mous vocal-teacher ; tenor ; 1809,
dir. of the ct. -opera, Vienna ; 18 19-
29 ; singing-master to the princess,
Munich; 1829, founded a singing-
sch. at Milan ; pub. vocal exercises.
(2) Giorgio, Milan, 1810— 1890;
son of above; barytone; 1863, teach-
er at Cordova, Spain ; from 1867,
New York : composer. (3) Felice,
Venice, 181 1 — St. Petersburg, 1875 ;
singing-teacher and writer. (4) Sc-
bastianOy b. Venice, 18 14 ; barytone,
violinist and teacher, Milan.
Rong (rong), Wm. Fd., d. Berlin;
said to ha,yt been living in 1821,
aged 100 ; chamber-musician of Prus-
sia; mus. -teacher, writer and com-
poser.
Rdnisch (ra'-nYsh), K., Goldberg, Sile-
sia, 18 14 — Blascwitz, 1894; piano-
manufacturer at Dresden.
Rdntgen (r£nt'-g«n), (i) Engelbert,
Deventer, Holland, 1829 — Leipzig,
1897 ; violinist. (2) Julius, b. Leip-
zig, May 9. 1855 ; pianist ; son of
alx»ve ; pupil of Hauptmann and £. F.
Richter, Plaidy, Reinecke and Fr.
Lachner ; at 10 began to c; at 17
pub. a vln. -sonata ; debut as pianist,
1878; teacher mus.-sch., Amster-
dam ; 1886-98, cond. to the Soc. for
the Promotion of Mus., also Felix
Mentis Soc.; co-founder (1885) of
the Cons.; c. *' Toskanische Rispettiy*
an operetta for voices and pf.; a pf.-
concerto, etc.
Rooke, Wm. M., Dublin, 1794 — Lon-
don, 1847 ; teacher, pianist, violinist
and dram, composer.
Root, (i) G. Ed. Fr., Sheffield, Mass.,
Aug. 30, 1820 — Barley's Island, Aug.
6, 1895 ; teacher of singing and con-
ductor ; pupil of Webb, Boston ;
studied Paris, 1850 ; c. *' Battle-cry
0/ Freedom^^ '* Tramps Tramps
Tramp** ''Just before the Batik.
Mother,** etc. (2) Fr. Woodmaa.
b. Boston, Mass., June 13, 1846.
son and pupil of above; pofal of
Blodgett and Mason, New York ; or-
ganist ; 1869-70. studied in Enrope :
later lecturer, writer and teacher of
large vocal classes.
Rooy, van. Vide van root.
Roquet (ro-ka), Ant. Ernst, Nantes.
1827 — Paris, 1894 > amateur, who nit-
der pen-name " Ernest Thoiaan"
(twa-nlin) pub. valuable historkal
works based on research.
Rore (rd'-r£). Cipriano de, Mech^.
I5i6--Parma, 1565 ; eminent com-
poser of Venetian sch. ; pupil of \Ml-
laert, 1550, and his successor, 1563 :
ct. -conductor.
Rorich (ro'-rtkh), Carl, b. Ndrabcfg.
Feb. 27. 1869 ; pupil of R. Sch. <rf
Mus., WtirzbuiTg ; from 1892, teacher
Gr. Ducal Sch. of Mus., Weimar; c
an overture '' MSrcken,** . a suite
** WaldUben:* etc.
Ro'sa, (i) Salvato're, Aranella, Na-
ples, 1615 — {Lome, 1673; famous
painter and poet ; wrote a satire 00
mus., etc.; composer. (2) Carl
(rightly Carl Rose), Hamburg^, 1842
— ^Paris, 1889 ; violinist ; 1867, m.
Parepa-Rosa, and with her organised
an English opera-company; toured
with great frequency, especially at
head of an Engl, opera syndicate.
Ros^ (r5'-zi), Arnold Josef^ b. Jassr,
Oct. 24, 1863 ; pupil of Heissler, Vi-
enna Cons. ; I St vln. Rose Quartet ;
since 188 1, soloist, Vienna ct.-oix:h..
and since 1888, leader Bayreuth Fes-
tivals.
Roseingrave (r5z'-In-gr&v), Thos.,
Dublin — London, 1750; 12 years
organist at St. George's, Hanover
Square ; composer and writer.
Rosel (r5'-z£l), Rudolf Arthnr, b,
MUnchenbemsdorf, Gera, Aug. 23,
1859; pupil of Weimar Mus.-Sch.,
later of Thomson ; 1877-79, ist vln.
various cities ; from 1888 in the Wei-
mar ct.-orch. ; also teacher at Mas.-
Sch.; c. fairly succ. "lyric
DICTIONARY OF MUSICIANS lox
»»
" Halimah " (Weimar. 1895) ,
syxnph. p>oem '* FriihlingsstUrme^^' a
nottumo for horn with orch., a not-
tumo for oboe with orch. , etc.
(r6-2«l-ia6), H., Paris, 1811
•1876 ; pf. -teacher, writer and com-
Rosenbain (ro'-z£n-h!n), (i) Jacob
(Jacques), Mannheim, 18 13 — Baden-
Saden, 1894 ; pianist and dram, com-
poser. (2) Eduard, Mannheim,
181 8 — Frankfort, 1861; bro. of above;
pianist, teacher and composer.
Roseninfiller (rd'-z^-mll-l^r), Jo.,
161 5 — Wolfenbattel, 1682; mus.-di-
rector and composer.
Rosenthal (r5'-z£n-tSl), Moriz, b.
L.einberg, 1862 ; brilliant pianist ; at
8 his ability enlisted the aid of Miku-
K ; at 10, pupil of R. Joseffy ; at 14,
gave a concert Vienna ; Royal Pian-
ist ; 1876-86, pupil of Liszt ; from
1887, toured America and Europe ;
1896-97, tour of U. S. interrupted
by illness; pub. (with L. Schytte)
*' Technical Studies for the Highest
D^ree of Development ^
Rases (ro -zfe), Jose, Barcelona, 1791
— 1856; organist, composer and
teacher.
Rosetti (ro-s^t'-te), Fran. Ant.
(Fz. Anton Rossler, r^l^r), Leit-
meritz. Bohemia, 1750— Ludwigslust,
1792 » ct -conductor and composer.
sler (ras'-l^r). Gv., 1819 — Dresden,
1882 ; teacher and dram, composer ;
prod. succ. opera ^Dessau).
, J., b. Newcastle-on-Tyne. 1764,
or^^nist and composer.
Rossaro (rds-sH'-rdj, Carlo, Crescen-
tino, Vercelli, 1828— Turin. 1878,
pianist and dram, composer.
Ros'setor, Phillip, EngL lutenist and
composer, t6i6.
i (r6s' sc). (i) Giov. Bat., Gen-
oese monk ; theorist, ca. 161 8. (2)
Abbate Fran., b. Bari. Italy, ca.
1645 , canon and dram, composer,
(3} Gaetano, Verona 1780— 1855 t
librettist. (4) Luig^ Felice, Bran-
dizzo, Piedmont. 1804 — Turin, 1863 ,
essayist and translator. (5) Lauro,
Macerata, 1812 — Cremona, 1885;
wrote a harmony and c, operas. (6)
GioT. Gaetano, Borgo, S. Donino,
Parma, 1828 — Genoa, 1886; c. 4
operas.
Rossini (r6s-s$'.ne), Gioacchino A.,
Pesaro, Feb. 29, 1792 — Ruelle, near
Paris, Nov. 13, 1868; eminent Italian
opera-composer. His father was in-
spector of slaughter-houses and also
horn - player in strolling troupes in
which the mother (a baJcer's daugh-
ter) was/ri»fa donna buffa. Left in
charge of a pork-butcher, R. picked
up some knowledge of the harpsichord
from a teacher, Prinetti ; 1802 stud-
ied with Angelo Tesci ; this began
his tuition ; he made rapid progress,
and sang in church, and afterwards
joined his parents as a singer, horn-
player and accompanist in the theatre.
At 14 he studied comp. with Padre
Mattel, and 'cello with Cavedagni at
the Bologna Liceo. At 15 he prod,
a cantata " // Pianto d' Armonia per
la Morte d'Or/eo" which won a
prize. Mattel soon told him that,
though he had not enough cpt. to
write church-mus., he knew enough
to write operas, and he ceased to
study. At 17 he prod, a succ i-act
opera buffa * La Cambiale di Matrix
frw>«w" (Venice, 18 10); next year, a
succ. 2-act opera buffa ^^ VEquivoeo
Stravagante^^ Bologna. He received
various commissions, writing 5 operas
during t8i2. 1813, his *'Tancredi'*
(Fenice Th., Venice) was an im-
mense succ. and * * LItaliana in Al-
geria'' an opera buffa (San Benedetto
Th.), was also succ. Two failures
followed with disheartening effect,
but '' Elisabetta'' (its libretto curi-
ously anticipating Scott's ** Kenil-
worth") vfas a succ. (Naples, 1813),
and in it he dropped recitaiivo secco,
A failure followed and on the first
night of the next work the public re-
sentment at his daring to set to mus.
the text of one of Paisiello*s operas
led to its being hissed. This work
'' Almaviva'' (Rome, 18 16) was
702
THE MUSICAL GUIDE
better received the second night and
gradually est. itself in its subsequent
fame under the title ** 11 Bar Here di
Sevigiia" ; 1815-23 he was under
contract to write two operas yearly
for Barbaja, manager of La Scala at
Milan, the Italian opera, Vienna, and
Neapolitan theatres. His salary was
12,000 lire (about $2,400). During
these 8 years he c. 20 operas, travel-
ling from town to town and working
under highest pressure. 182 1 he m.
Isabella Colbran (d. 1845). who had
sung in his operas. The ill-succ. of
his most carefully written ** Semiram-
ide'* (Venice, 1823) and an offer
from Benelli, amgj., led him to Lon-
don where he was lionised and in 5
months earned £7^000, For 18
months he was mgj. of the Th. Ital-
ien at Paris, and prod, several operas
with artistic, but not financial succ
He was however ** Premier composi-
teur du roi" and *' Inspector-general
du chant en France," sinecures with
a salary of 20,000 francs ($4,000).
He lost these in the Revolution of
1830, but afterwards on going to law
received a pension of 6,000 francs.
At the Gr. Opera he prod, with socc
revisions in I< rench, of earlier Italian
succs. 1829 he gave there his greathr
succ. masterpiece ** CugHelmo TelL
At the age of 37, having prod, under
his direction Meyerbeer's first opera
and having heard ** Les Hugutn^tsr
R. foreswore opera and never wrote
again anything more dranuitic than bis
famous ** Siabat Mater"* (1832), not
performed entire till 1842; "^'^ Petite
messe soUnnelle*' with orch. ; a can-
tata for the Exposition of 1867 ; and
pf.-pcs. with burlesque names. He
retired to Bologna and Florence, re-
turning to Paris in 1855. 1847 be m.
Ol3rmpe Pelissier. He c. 35 operas,
16 cantatas, canzonets and arias,
* * Corgheggi e solfeggi per sopranQ per
render e la voce agile" ** Chant dej
Titans " for 4 basses with orch. ;
** Tantum ergo" for 3 male voices
with orch,; ** Quoniam " for solo bass
with orch.; *' O salutaris" for solo
quartet, etc. Biog. by Stendhal
(1823), Azvedo (1865). H. S. Ed-
wards (London, 1869), Zanolini
(1875). Struth (Leipzig), Dr. A. Ko-
hut (Leipzig, 1892).
Rossini.
By Irenaeus Prime-Stevenson.
IT is like a page of goldenest sunshine in the volume of musica] persomBji
to review the brief, brilliant, artistic story of Rossini's activity or to
glance at his long and happy life. Almost from the first came to him
fame, fortune, and opportunity for that amazing fecundity of mind which was
so curiously sorted with his indolence of body. Few men of genius have
lived and worked and rivalled and succeeded, of whom so little is current
that is ungracious or discreditable. ^As to Rossini's place in art, albeit a
huge fraction of his operas are empty to our ears, and bore us with their
flowery ornamentation and feeble dramatic substructure, we have no right to
predict that thorough neglect will soon deliver to darkness and dust such
scores as " L* Ita/iafia in Algeria** ** II Bar bier e di Seviglia,^* ** GugH-
tlmo TelW^ — and possibly ** Semiramide*^ ; for the world will have loat
Joo completely a natural irresistible feeling for melody, for restrained elegance
DICTIONARY OF MUSICIANS 703
of orchestral diction, and above all for the perfect expression of true comedy
in music. Only in one other master, Mozart, to whom Rossini felt that 1^
owed so much, and to whom he declared himself so fiu* inferior, do we meet
equal sincerity, taste, and eloquence as prolifically put into operatic song and
orchestration. ^ And as to ** TV//," with that noble and serious work, a
striking variant from the old Italianbtic Rossini, a work by a mature and
serious-minded composer of the first order, all the great and the little musical
world will long have to reckon. ^ The great influences on Rossini were
two : Mozart, whose greatest successor in Italian operatic comedy Rossini
certainly is ; and a mixture of French form and French dramatic spirit with
German importance in every detail of the orchestra. ^ It cannot be said
that Rossini founded a school. He " said it all himself,'' as the phrase goes ;
and his imiutors either gave over copying (often with most happy and sig-
nificant advantages to great individualities for themselves, as in the instances
of Meyerbeer and Donizetti and Verdi), or else they were not of substance
in their efforts to eclipse the dazzling master of Pesaro. His effect upon the
whole operatic public of Europe was for a time almost demoralising, paralys-
ing to all other music. ^Immediately after the striking renunciation of his
career, at only thirty-seven years of age, came the Wagner movement, which
is showing not unwelcome signs of sluggishness and eventual disappearance.
R5ssler, F. A. Vide rosetti, f. a.
Rest (rost), (i) Nicolas, pastor at
Kosmenz. Altenburc^ ; composer,
1 583-16 14. (2) Fr. Wm. Enren-
£ned, Bautzen, 1768 — Leipzig, 1835;
writer.
Roth (rat), (i) Ph., Tamowitz, Sile-
sia. 1853— Beriin, 1898 ; 'cellist. (2)
Bertrand, b. Degersheim, St. Gal-
len, Feb. 12, 1855 ; pianist ; pupil of
Leipzig Cons, and Liszt ; teacher
Hoch Cons., Frankfort, co-founder.
Raff Cons., 1882 ; 1885-90, Dresden
Cons.; then opened a private mus.-
sch. there.
RothmUhl' (rot'.raQi), Nikolaus, b.
Warsaw, March 24, 1857: tenor ; pu-
pil of GSnsbacher; debut, Dresden
ct.-theatre, then Berlin, etc.; toured
widely, incl. America ; then at Stutt-
gart ct. -opera.
Roth-Ronay (rdt-r5'-n&-e), Kalman,
b. Veszprein, Hungary, July 20, 1869;
notable violinist ; pupil Grttn, Vien-
na Cons. , took 1st prize gold medal
for vln.; studied comp. at Leipzig
Cons., then with Joachim, Berlin.
1893-94, leader Covent Garden ;
toured Europe ; decorated by King
of Hungary, King of Servia, Prince
of Bulgaria and the Sultan ; pub. a
few songs ; c. also sonatas for vln.
and piano, etc.
Rotoli (ro-t5'-le), An^^usto, b. Rome,
Jan. 7, 1847; pupil of Lucchesi ;
founded and cond. ** Societi corale
de* concerti sagfri," 1876, singing-
master to Princess Margherita ; 1878,
maestro, Capella reale del Sudario ;
1885, invited to Boston, Mass., as
teacher in the N. E. Cons.; Chev. of
the Ital. Crown, etc. C. mass for the
funeral of Victor Emmanuel, 1878;
*• Saimo eUgiaco,"' with orch. (1878).
etc.
Rot'tcnberg (-b«rkh), Dr. Ludwig, b.
Czernowicz, Oct. 11, 1864; studied
vln. and piano with Fuchs, and theo-
ry with Mandyczewski ; debut as
pianist ; 1888, director ; 1891, cond.
mmammt
704
THE MUSICAL GUIDE
at Brunn, then ist opera cond. at
Frankfort.
Rotter (rot'-t^r), L., Vienna, 1810—
1895 ; pianist, conductor, theorist and
composer.
Rottmanner (rot'-man-n^r), Ed., Mu-
nich, 1809 — Speyer, 1843 ; organist.
Rouget de I'lsle (roo-zha da-lel),
Claude Jos., Lons-le-Saulnier, Jura,
May 10, 1760 — Choisy-le-Roy, June
27, 1836; composer of the *' Afar-
sfiilaise,** military engineer, poet, li-
brettist, violinist and singer ; wrote
**Zfl Marseillaise ^^^ picking out the
air on his vln.; he called it *^ Chant
de Guerre^'' but it grew p>opular first
in Marseilles, and was brought to
Paris bv Marseillaise volunteers in
1792 ; K. was imprisoned for refus-
ing to take an oath against the crown,
but was released, and lived in Paris
in g^eat poverty.
Rousseau (roos-so), (i) Jean Jacques,
Geneva, June 28, 1712 — Ermenon-
ville, near Paris, July 3, 1778. The
great writer; mainly self-taught in
mus , but aiming to reform nota-
tion by the substitution of numerals
for letters and note-heads, read before
the Academic, 1742, a " Dissertation
sur la musique moderne** (1743);
his opera, "Z>j Muses Galantes,*' hud
one private representation (1745); his
revision of the intermezzo *' La keine
de Navarre " (by Voltaire and Ra-
meau) was a failure ; but his opera
''Le Devin du Village'' (Gr. Opera,
1752) was succ. for 60 years. He
wrote mus. articles for the ''Encyclo-
pedie^'' which were roughly handled
by Rameau and others, but revised
and re-pub. as " Dictionnaire de mu-
sique"' (1768). In 1752 he partici-
pated in the ** Guerre des Bouffons,"
between the partisans of French and
Italian opera, R. siding with the
Italianists and declaring that a
French national music was impossible
and undesirable ; for which the mem-
bers of the opera burned him in
effigy. '' Pygmalion'' {iTi'i) was v.
succ. being a novelty — a melodrama.
all the dialogue spoken, the orch.
furnishing interludes and background.
Six new arias for ** Le Devin du Vil-
lage" and a coll. of 100 romaDces
and duets '* Les consolations des mi-
sh'es de ma vie** (1781), and frag-
ments of an opera, ** Daphnis €i
ChloS'' were pub. (1780). <2)J ean,
violinist in Paris ; pub. valuable text-
books (1678-87) ; composer. (3)
Samuel Alex., b. Neuvcmaison,
Aisne, June 11, 1853 ; pupil of Paris
Cons., 1878, won the Prix Crcsscnt.
and 2d Grand Prix de Rome ; prod,
i-act comedy-opera ** Diamarak^
(Op.-Com., 1879) I 1S91. won the
Prize of the City of Paris, with open
** Merowig^*; 1892, ist cond. Th.
Lyrique ; 1898, prod, fairiy succ
lyric drama **Z/i Cloche du Rkin**;
c. also a solemn mass, etc
Roussier (roos-sT-a), Abbe P. J06.,
Marseilles, 1716— 6coub, Normandy,
ca. 1790 ; canon and theorist.
RoTel'li, (i) Giu., Bergamo, 1753 —
Parma, 1806; 'cellist. (2) P., Ber-
gamo, 1793 — 1838 ; nephew of abore;
violinist and composer.
Rovet'ta, Giov., d. Venice, 166S ; pu-
pil of Monteverde, and his successor
(1644) at San Marco ; c. operas, etc.
Row'botham, John F., b. Edinbargh,
April 18, 1854 ; studied Oxford,
Berlin, Paris, Vienna, Dresden :
wrote numerous histories of mus.,
biogs., etc.
Roze (roz). Abbe Nicolas, Boorg-
Neuf, near Chalons, 1745 — St.-Man-
de, near Paris, 18 19; composer and
writer.
RozkoSny (r6z'-k5sh-ne), Josef Rich-
ard, b. Prague, Sept. 21, 1833 ;
pianist ; pupil of Jiranek, Tomascbek
and Kittl ; toured, then lived in
Prague ; prod, there 9 Bohemian op-
eras : c. adso overtures. 2 masses, etc
Rubini (roo-be'-ne), GioT. Bat., Ro-
mano, Bergamo, April 7, 1795 — at
his castle, near Romano, March 2,
1854 ; famous tenor, said to ha\-e
been the first to use the vibrato and
the sob, both since abused ; his range
DICTIONARY OF MUSICIANS 705
was from £-b' (with a falsetto regis-
ter to f. V. PITCH, D.D.); Bellini
wrote many operas ifor him ; toured
with Liszt, earning by one concert
over $10,000 ; had one of the largest
fortunes ever amassed by a sineer.
Rabiastein (roo'-bfn-shtln). (i) Anton
Greg^oroTitch, of Jewish parents,
Wechwotynecz, Bes^rabia, Nov. 30,
1830 — Peterhof, near St. Petersburg,
Nov. 20, 1894; one of the greatest
of the world's pianists. Early taken
to Moscow, where his father est. a
pencil factory, he was at first a pupil
of his mother ; at 7, of Alex. ViU
loing, who was his only pf. -teacher.
At 9 he made a tour with Villoing as
far as Paris, where, in 1840, he played
before Chopin and Liszt, who ad-
Tised him to study in Germany. He
toured further and returned to Mos-
cow in 1843. His brother, Nikolai
(▼. below), was also musical, and
in 1844 ^th were taken to Berlin,
where Anton studied comp. with
Dehn. Returning to Russia after a
tour through Hungary, with the flut-
ist Heindl, he lived in Petersburg
under the patronage of the Grand
Duchess Helen ; he prod. 2 Russian
operas ; 1854-58, with the assistance
of Count Wielhorski and the Grand
Duchess, he made a wide tour, finding
himself now well known as composer
and pianist ; 1858, ct. -pianist and
cond. of ct. - concerts, Petersburg ;
1859, dir. Russian Mus. Soc.; 1862,
founded the Imp. Cons, at Peters-
burg, and was its dir. until 1867 ;
1865, he m. Vera TchekuanofiF.
1867-70, he toured Europe, with
grreatest imaginable succ; 1872-73,
he gave in America 215 concerts, from
which he earned $40,000 (;^8,ooo) ;
but he could never be induced to
cross the ocean again, though offered
$125,000 (;^25,ooo) for fifty con-
certs. 1887-91, again dir. Petersburg
Cons., then lived in Berlin; 1891, in
Dresden. The Czar bestowed on
him the Order of Vladimir, carrying
with it nobility, and the title ot Imp.
45
Russian State Councillor ; he was an
officer of the Legion of Honour, a
Knight of the Prussian Ordre pour le
merite, etc. He instituted the Rubin'
stein prises of 5,000 francs each for
pf. -playing and composition open
every 5 years to men between 20 and
26 of any nationality.
He wrote his '' Memoir s,^^ also
*' Die Musik und ihre Meister**
(1892), •' GedankenkorV (1892).
As a pianist R. is second only to
Liszt, whom he perhaps excelled in
fire and leonine breadth. He was,
however, frequently inaccurate in his
performance. He chiefly wished to
be remembered as a composer and
placed gpreat hope in the creation of
what he called '* Sacred Opera " (ora-
torio to be enacted with costume and
scenery). In this *' new form " he c.
•* The Tower of Babei;' " Paradise
Lost:' ''Moses:' '' Christus:' Be-
sides the noteworthy operas ' * Nero "
{lldLmbMtz.i^jK)):' The Demon'' (Rus-
sian, P., 1875), and "" Die Mak^
kabder " (German, Berlin, 1875), he c.
1 1 other operas, a ballet ** La Vigne "
(Die Rebe)^ and 2 cantatas with orch.
C. also 6 symphs. (incl. the famous
** Ocean:' op. 42, in C, in 7 move-
ments); op. 95, in D min. {:' Dra-
matic ") ; op. 107, in G min. (in
memory of Gr. Duch. Helen).
*' Character - pictures *' *' Faust:'
''Ivan IF,:' Sind'' Don Quixote";
3 concert-overtures, incl. op. 43
(*' Triomphale"\ and op. 116 C'^«-
thony and Cleopatra ") ; a Suite in 6
movements, op. 1 19 (his last work) ;
symph poem " Z<z RusHe" ; 5 pf.-
concertos ; fantasia eroica with orch. ;
vln.-concerto ; romance and caprice
for vln. with orch.; 2 'cello-concertos;
vln.-sonatas ; vln.-sonata (arr. for
vln. by David), etc. For piano
SOLO : suite ; 4 sonatas, 6 preludes,
6 etudes, 5 barcarolles; '' Kamenoi'
Ostrow " (" IsU of Kamenoi " in the
Neva, a series of 24 ''pictures") ;
♦• Soirees de St. P.:' *' .\fisceilanies:'
*' Le Bai:' 10 pes. op. 14 ; ''Album
7o6
THE MUSICAL GUIDE
d€ PeUrhof*^ etc. For pp. 4 hands,
sonau, ** Bal Costumi*' 6 Charakt-
erbilder, fantasia for 2 pfs. ; oyer 100
songs, 18 doets, choruses, etc.
Autobiog. *' Mtmcirs'' (St. P.
1889 ; Leipzig, 1893). Biogr. by
Mac Arthur (Lx>ndon, 1889).
(2) Nikolai, Moscow, June 2,
1835 — (of consumption), Paris, March
23, 188 1 ; bro. of abc»ve, who declared
N. to be the better pianist of the two;
founder Moscow Mus. Soc.; dir.
Moscow Cons, from its foundation.
1864; c. pf.-pcs. etc. (3) Jos., Suro-
Constantinow, Russia, Feb. 8, 1847 —
(suicide) Lucerne, Sept. 15, 1884;
pianist for rehearsals at Ba3rreuth ;
composer. (4) Jacques, Russia,
1874 — Paris, 1902 ; son of (i).
Rubner (roop'-n^r), Cornelius, b. Co-
penhagen, Oct. 26, 1853 ; pianist ;
pupil of Cade and Reinecke ; 1892,
cond. Carlsruhe Philh. Soc.; c. a
symph. poem ; ** FestouvfrtHre^*^ etc.
Ruckers (rook'-^rs), family of clavecin-
makers at Antwerp, superior to all
others, (i) Hans (Senior), d. ca.
1640 ; father of (2) F«., b. 1776. (3)
Hans (Junior), b. 1578. (4) An-
dries (senior), b. 1579. (S) Anton,
b. 1581 ; the last mfr. was (6) An«
dries (Junior), 1607-67.
Rucsicska. Vide ruzicka.
Rudersdorff (roo'-d5rs-d6rf), Her-
mine, Ivanowsky, Ukraine, Dec.
12, 1822 — Boston, Mass., Feb. 26,
1882 ; noted soprano and teacher.
Rudolph, Jn. J. R., Arch-duke of
Austria, Florence, 1788 — Baden,
Vienna, 1S31 ; pianist and composer;
pupil and intimate friend of Bee-
thoven.
Rudorff (roo'-d6r0, Erast Fr. K., b.
Berlin, Jan. 18, 1840 ; pupil of Bar-
giel (pf.), and Leipzig Cons.; pri-
vate pupil of Hauptmann and Rei-
necke ; 1865, pf. -teacher, Cologne
Cons.; 1867 founded the Bacli-verein;
1869 head pf.-teacher Berlin Hoch-
schule ; 1880-90 cond. Stem Gesang-
verein; c. 2 symphs., 2 overtures,
etc.
Rnegger (rflg'-gft-), Elsa, b. Lu-
cerne, Dec. 6, 188 1 ; 'cellist ; stocfied
with Jacobs and Anna Campowski at
the Cons, there, taking ist prize at
13 ; began touring widely America
and Europe.
Rfifer (rfl'-far), (i) Ph. (Baftli<16-
my), b. lAhgt, June 7, 1844 : son of
a German organist. (2) Phllipp R^
pupil of Li^ Cons.; 1869-71, mus.-
dir. at Essen ; pf.-teacher Stem's
Cons., Kullak*s Cons., and from
1881 Scharwenka's, Berlin, c. ope-
ras ''Merlin'' (Beriin, 1887); socc
'' Ingo'* (BerUn, 1896); symph. in
F. ; 3 overtures, etc.
Rnffo (roof-fo), V., b. Verona; maes-
tro of the Cath.; composer (1550-
88).
Rufinatscha (roo'-fY-nat-shi), Jn.,
Tyrol, 1 8 12 — ^Vienna, May 25, 1893;
composer.
Rureeri (Rnggieri) (rood-ja'-re). a
Cremonian family of vln.-makers, (i)
Fran., flourished, 1668 — 1720 (2)
GioT. Bat. (1700— 1725), and (3)
P. (1700— 1720), probably his sons.
(4) Guido and (5) V., both of Cre-
mona in i8th cent. R. violins re-
semble Amatis. (6) GiOY. M., Ve-
netian composer ; prod, operas there
1696— 1712.
Rnggi (rood'-je), Fran., Naples, 1767
— 1845 \ conductor, professor and
dram, composer.
RtUilmann (rQl'-mSn), (Ad.) Jalins»
Dresden, 1817 (16?) — 1877; court-
trombonist ; professor, writer and
composer.
Rum'tord, R. Kennerly, b. London,
Sept. 2, 187 1 ; concert barytone ;
studied in Frankfort, Berlin and
Paris ; m. Clara Butt, 1900.
Rummel (room'-m^l). (i) Chr. (Fz. L.
Fr. Alex.), Brichsenstadt, Bavaria,
1787 — Wiesbaden, 1849 : clarinettist,
and composer. (2) Josephine, Man>
yares, Spain, 18 12— Wiesbaden, 1877;
daughter of above; ct. -pianist. (3)
Jos., Wiesbaden, 18 18 — London,
1880 ; son and pupil of (i) : ct.-pian*
ist and composer. (4) Franxiaka,
DICTIONARY OF MUSICIANS 707
Wiesbaden, 1821 — Brussels, 1873:01.-
sanger; sister of above; m. Peter
Schott, the pub. (5) Aug., Wies-
baden, 1824 — Londion, 1886; pian-
ist. (6) Fz.f London, Jan. 11, 1853
— May, 1901 ; pianist ; son of (3) ;
pupil oif Brassiu, Brussels Cons., win-
ning ist prize, 1872 ; 1877-78, toured
Holland with Ole Bull; toured Amer-
ica 3 times; teacher Stem's Cons.,
then Kullak's, Berlin; 1897 ** Profess-
or ** from the Duke of Anhalt.
Runciman, John F., b. England,
1866 ; prominent critic. Educated
at the science school (now Rutherford
College), Newcastle-on-Tyne ; or-
ganist from childhood; 1887, took
position in London ; from 1894 musi-
cal critic ** Saturday RevUw ; later,
until 1898 also acting editor and man-
aging director ; also editor of the quar-
terly " The Chord," and of the *' Mu^
siciarCs Library"; for some years
correspondent Boston '* Musical Rec-
ord"; 1901, of New York ** Musical
Courier'''; some of his essays were
published as ** Old Scores and New
Readings" (1899) ; has also written a
biog^phical study of Purcell.
Rang (roongk), Henrik, Copenhagen,
1807 — 1871 ; conductor and dram,
composer.
Rnng^hagen (roong - £n - h^ - g^n),
K. Fr., Berlin, 1778 — 185 1; Profess-
or, conductor and dramatic compos-
er.
Rupff. Vide luther, m.
Rus'sell, (i) Wm., London, 1777 —
18 13 ; pianist. (2) Henry, Sheer-
hess, 1813 — London, Dec. 6, 1900 ;
V. pop. Engl, song-composer. (3)
Louis Arthur, b. Newark, N. J.,
Feb. 24, 1854 ; pupil of S. P. War-
ren, G. F. Bristow, and C C. Mul-
ler. New York; also studied, London,
1878-95; organist and choirm., New-
ark ; since 1879, cond. Schubert
Vocal Soc.; since 1885, Easton (Pa.)
Choral Soc.; 1885, founded the New-
ark Coll. of Mus. , of which he is dir.
and teacher; 1893, organised Newark
Symph. Orch.; wrote various books ;
c. cantata with orch., ** A Pectoral
■Rhapsody" etc.
Rust (roost), (i) Fr. Wm.» W^rlitz,
near Dessau, July 6, 1739 — Dessau,
Feb. 28, 1796; violinist; bro. and pupil
of an amateur violinist in J. S. Bach's
orch. at Leipzig ; ct.-mus. director ;
c. stage pieces, etc. (2) Wm. K.,
1787 — 1855 ; son of above ; pupil of.
TQrk ; organist and composer. (3)
Wm., Dessau, Aug. 15, 1822 —
• Leipzig, May 2, 1892, nephew of
above ; composer ; notable organist
and teacher ; cond. Berlin Bach-
Verein and editor of Bach's text.
Ruta (roo'-t^), Michele, Caserta, 1827
— Naples, Jan. 24, 1896; theorist
and dram, composer.
Ruthardt (root'-hart), (i) Fr., 1800—
1862 ; oboist and composer. (2)
Julius, b. Stuttgart, Dec. 13, 1841 ;
son of above; violinist, th.-conductor
since 1885 at Bremen ; c. incid. mus.
songs. (3) Ad., b. Stuttgart, Feb.
9, 1849 ; bro. of above ; pupil of the
Cons.; 1868-85, teacher in^ Geneva,
then Leipzig Cons.; writer and com-
poser.
Ruzicka (Rucsicska, Rutschitsch-
ka, etc.) (root-shetsh'-ka), Wenzel,
Jaumentz, Moravia, 1758 — ^Vienna,
1823 ; bandm. and dram, composer
and ct. -organist ; Schubert was his
pupil*
Ryan, (i) Michael Desmond, Kil-
kenny, i8i6 — London, 1868 ; from
1836 critic and librettist in London.
(2) Thos., b. Ireland, 1827; at 17
went to the U. S. ; studied Boston,
1849 ; co-founder *' Mendelssohn
Quintet Club," with which he toured
America ; clarinet and vla.-virtuoso ;
c. quintets, quartets, songs, etc.;
wrote '"'^ Recollections of an old Mu^
sician " (New York, 1890).
Ryba (re'-ba), Jakob Jan., Przestitz,
Bohemia, 1765 — Roczmittal, 1815 ; c.
6 comic operas, etc.
Ryder, Thos. Philander, b. Cohas-
set, Mass., June 29, 1836; pupil of
Gv. Satter; organist Tremont
Temple, Boston ; c. pf.-pieces.
7o8
THE MUSICAL GUIDE
Saar (z2r), (Louis) Victor Fz., b.
Rotterdam, Dec. lo, 1868 ; studied
with Kheinberger and Abel, Munich
Cons. ; then with Brahms ; 189 1 took
the Mendelssohn composition prize
for a pf.-suite and songs ; 1892-95,
opera-accompanist, New York ; 1896-
98, teacher, comp. and cpt., National
Cons., N. Y.; 1898, Coil, of Mus.;
critic and composer for piano.
Sabbatini (sab-bS-te'-ne), (i) Gale-
azzOy b. Pesaro ; ct. -maestro and
composer (1627-39). (2) Luig^ A.,
Albano Liziale, Rome, 1739 — Padua,
1809 ; maestro, writer and composer.
Sacchi (sak'-ke), Don GiOTenale, Bar-
fio, Como, 1726 — Milan, 1789; writer.
Sacchini (sak-ke'-ne). A. M. Gaspa-
ro, Pozzuoli, near Naples, June 23,
i734~Paris, Oct. 8, 1786 ; eminent
Neapolitan opera composer, son of a
poor fisher. Discovered and taught by
Durante and others; 1756, prod. succ.
intermezzo '* Fra Donata,*' followed
by others in Neapolitan dialect ; 1762-
66, at Rome in a keen rivalry with
Piccini ; 1772-82, London, succ. as
composer but not as financier. Fled
from creditors to Paris where he had
succ. and prod, many works, incL
** (Edipe h Colone,"' his best work.
He c. over 60 operas, 6 oratorios, etc.
Sachs (zakhs), (i) Hans, NUmberg,
Nov. 5, 1494 — Jan. 19, 1576 ; a
cobbler; chief of the Meistersinger
(v. D.D.) and hero of Wagner's opera
of that name ; he wrote over 4,000
poems, 1, 700 tales and 200 dramatic
poems ; also c. melodies. (2) Julius,
Waldhof, Meiningen, 1830 — Frank-
fort-on-Main. 1888 ; pianist. (3)
Melchior Ernst, b. Mittelsinn,
Lower Franconia, Feb. 28, 1843 ;
pupil Munich Cons, and of Rhein-
berger ; 1868-72, cond. **Lieder-
kranz " ; 187 1 , teacher of harm. Sch.
of Mus.; founded and still cond.
** TonkQnstlerverein *' concerts; c.
op)cra, ballade with orch., etc.
Sachse-Hofmeister (zakhs'- ^ - hof-
mT-sht«r), Anna* b. Gompolds-
kirchen, near Vienna, July 26, 1851 ;
soprano.
Saf fieddin', Abdolmumin, Ben Fa-
chir el Ormeve el Bagdadi, chief
Arabic and Persian theorist of the
13th and 14th cents., author of the
standard work ** Skerejfic,^
Saf onoff, W., b. IstchOry, Caucasus,
Feb. 6 (new style). 1852 ; pupil of
Leschetizki and Zaremba ; then of
Brassin, Petersburg Cons., taking
gold medal, 1881-85, teacher then ;
1885, Moscow; 1889, dir. of the Cons.
there, aVkd since 1890 conductor.
S^h (sSkh), Jos., b. Pesth, March 15,
1852; Hungarian lexicographer; 1885,
founder and editor of mus.* paper
''Ztnriafr
Sagitta'nos. Vide scniJTZ.
Sahla (za'.U), Richard, b. Graz. SepL
.17. 1855 ; violinist ; pupil of David,
Leipzig Cons.; debut, Gewandhans,
1873; 1888, ct.-cond. Btkckebuig:
founded an oratorio-soc there ; c a
Roumanian Rhapsody, etc.
Saint-Amans (sjlJi-tfi-mfiA), L. Jos.,
Marseilles, 1749 — Paris, i8ao; con-
ductor at Brussels and dram, com-
poser.
Saint Anbin (s^-to-bilA), (i) Jeanne
Charlotte (nee Schroeder), Paris,
1764 — 1850 ; notable operatic singer.
Her three children : (2) J^an Denis,
Lyons, 1783 — Paris, 18 10; vi<rfintst
and composer. (3) CMle, b. Lyons,
1785 ; retired, 1890 ; singer. (4)
Alexandrine, b. Paris, 1793; re-
tired, 1812 ; sister of above ; siofer
of great promise. '
Saint-Geors:es (s4&.zh6rzh), (i) .
Chev. de, Guadek>upe, 1745 — Paris,
1799 (^r 1 801) ; mulatto violinist and
composer. (2) Jules H. Versoj,
Man^uis de, Paris^, 1801 — 1875 ; U-
brettist of many works, e^3ecially in
collaboration with Hal^vy.
Saint-Huberty (sftfi-tu-bdr-te), Antoi-
nette C6cile ClaTel (called St-Hv
berty,rightlyClavel),Toul, ca. 1756;
— London, 18 12, noted soprano, Gr.
Opera, Paris, 1777-S9 ,* 179a m, the
DICTIONARY OF MUSICIANS 709
Count d'Entraigoes ; they were assas-
sinated at thor country seat, near
London, 18 1 2 (probably from political
motives).
Saint-Lmmbert (sftfi-UA-bir), Michel
de, Parisian harpsichord - teacher ;
wrote methods (16&K1700).
Saint-Lubin (s&n-lQ-b&h), L6on de,
Tnrin, 1805 — Berlin, 1850; violinist
and dram, composer.
Sainton (s&n.t6d), (i) Prosper (Ph.
Catherine), Toulouse, 18 13 — Lon-
don, 1890; violinist and composer.
(2) Sainton-Dolby, Charlotte He-
len (nee Dolby), London, 1821 —
1885 • contralto-singer.
Saint-SaSns fs&fi-s&n), Chas. Cap
mille, b. Paris. Oct. 9, 1835 ; emi-
nent French composer. Began to
study the piano before 3 ; at 5 played
a Gr^ry opera from the score ; at 7
entered the Cons., pupil of Stamaty
(pf.), Maleden and Hal^vy (comp.),
and Benoist (org.); 1st org. -prize,
185 1 ; at 16, prod, a symph.; 1853,
organist Saint-M^ry; 1858, the Ma-
deleine ; also till 1870 pf. -teacher
Nicdermeyer Sch.; made frequent
tours. He is a writer of unusual gifts.
1894, Commander of the Legion of
Honour. C. operas: i-act ** La Prin-
ctssejawte'^ (0^,-Com.^ 1872); **Z^
Timbre cT Argent,'' 4-acts (Th.-Lyr.,
1877) ; the very succ. ** Samson et
Daiila*'* (Weimar, 1877, often sung
as an oratorio) ; " Proserpine " (Op.-
Com., 1887); ''Ascanto" (Opera,
1890) ; comic ** PAryne** (Op.-Com.,
1893) ; ** ParisaHs *' (Beziers, 1902) ;
wrote the last 2 acts of Guiraud's un-
finished ''Pr/d/gonde " (Opera, 1895).
C. ballets, music to ''* Antigone*' (Com-
mie-Fran9aise) ; and Gallet's ** Difja-
nire" (Beziers, 1898, with orch. of
250, chorus of 200, and ballet of 60
in open air). C. also a Christmas
oratorio; the ** Biblical opera" *'Le
D//uge"; 2 masses ; ode **La Lyre
et la Harpe'^ (Birmingham Fest.,
1879)1 * La jota aragonese" for
orch.; 5 pf. -concertos ; 3 vln. -con-
certos ; 'cello-concerto ; cantata * Les
Noces de Prom/th/e*' (1867); Psalm
19, with orch. (London, 1885) ; 5
symphs., 4 symphonic poems, *' L£
rouet d'OmphaU;' *' Phaiton;'
''Danse macabre,*' ** La jeunesse
d^HercuW; 2 orch. suites, the first
* • A Ig/rienne, "etc.
Sala (s&'-la), Nicola, near Benevento,
Italy, 1701 — Naples, 1800; Maestro,
theorist and dram, composer.
Sal'aman, Chas. Kensin^on, Lon-
don, March 3, 1814 — July, 1901;
pianist ; pupil of Rimbault and Chas.
Neate ; d^but 1828, then studied with
H. Herz, Paris; 1831, teacher in
London ; 1840, founded a choral soc.;
1858, founded the Mus. Soc. of Lon-
don; also the Mus. Assoc, 1874;
critic and essayist ; c. orch. pes., etc
Sal'blinger (Salminger) (zal'-mlng-
£r), Sigismund, monk, at Augsburg;
composer, 1545.
Saldoni (siU-dd -ne), Don Baltasar,
Barcelona, 1807 — 1890 ; organist,
singing-teacher, writer and dram.
comjKJser.
Sale (sii), (i) Fran., Belgian ct.-
tenor and composer, 1589. (2) (sal),
John, London, 1758 — 1827; bass,
conductor and composer. (3) John
B., Windsor, 1779 — 1856 ; organist,
bass, teacher and comp>oser ; son of
above. (4) Geo. Chas., Windsor,
1796 — 1869 ; organist ; son of (2).
Sal^za (sill-a-za), Albert, b. Bruges,
Beam, 1867; notable tenor; pupil
Paris Cons. ; ist prize in singing, 2d.
in opera; debut Op.-Com., 1888;
1889-91, at Nice ; from 1892, en-
gaged at the OF«ra, Paris; 1898,
Met. Op., New York.
Salieri (sal-t-a -re), (i) Ant., Legnago,
Verona, Aug. 19, 1750 — Vienna, May
7 (12?), 1825; noted operatic com-
poser and organist ; pupil of his
brother (2) Francesco (violinist) and
of Simoni, Pascetti and Pacini ;
taken to Vienna by Gassman ; his suc-
cessor as ct. -composer and cond. of
Italian opera ; he prod, many operas
there, then one at Paris under Gluck's
name, G. kindly confessing the ruse
710
THE MUSICAL GUIDE
when the opera was a succ. ; 1788, ct.-
cond. Vienna ; was a rival of Mozart
and unjustly accused of poisoning
him ; c. 40 operas, 12 oratorios, etc.
Salimbeni (s&l-Im-ba'-ne), Felice,
Milan, ca. 1712 — Laibach, 1751; so-
prano-musico.
Salinas (sd-le'-nils), Fran., Burgos,
Spain, ca. 15 12 — 1590; professor.
Sallantin (s^-laA-t&h), A., Paris, 1754
— after 18 13 ; oboe- virtuoso, teacher
and composer.
Salminger. Vide salblinger.
Salmon (s&m'-tin), Eliza, Oxford,
1787 — Chelsea, 1849; soprano.
Said, Gaspare da. Vide gasparo.
Saloman (za'-lo-mlin), Sieg^ed,
Tondem, Schleswig, 18 18 — Stock-
holm, 1899 ; violinist, lecturer and
dram, composer.
Salom6 (sil-o-ma), Th. C^sar, Paris,
1834 — St.-Germain, 1896; composer
and organist.
Salomon (zH'-la-mon), (i) Jn. Peter,
Bonn, Jan., 1745 — London, Nov.
28, 1815 ; vln.-virtuoso ; from 1781,
London ; 1786, organised famous
Salomon concerts for which Havdn,
whom he brought over, c, special
works. (2) Moritz, mus.-dir. at
Wemigerode, Harz ; pub. a treatise
against Natorp, 1820, and mus.
novels. (3) M., Besan9on, 1786—
183 1 ; guitar-player; composer, inv.
the "harpolyre." (4) Hector, b.
Strassburg, May 29, 1838 ; pupil of
Jonas and Marmontel (pf.), Bazin
(harm.) and Hai^y (comp.); in 1870,
2d chorusm., later chef de chanty Gr.
Op<fra ; c. operas, etc.
Salter (sol'-t^r), Sumner, b. Burling-
ton, Iowa, June 24, 1856 ; studied at
Amherst Coll. and music in Boston ;
organist and mus.-dir., N. Y.; ed.
** The Musician^'' ; c. church-mus.
Salvayre (s&l-v&r) (Gervais Bd.),
Gaston, b. Toulouse, June 24, 1847;
studied at the cath.-mattrise, then at
Toulouse Cons.; later Paris Cons.,
taking the Grand prix de Rome,
1872, with cantata ** Calypso''; 1877,
chorusm. at the Op^-Populaire ;
1894 in Servia ; later critic of " Gt/
Bios'' ; Chev. of the Legion of
Honour; c. operas *'Z^ Brenm'^
(1877), ''Richard Ilir (Petos-
burg, 1883). ''EgmoHt" (Op.-Com..
1886), ''La Dame de MimUareau'
(Op^ra, 1888), etc.; c. also Biblical
^mph., "La Resurrection^'^ Ii3rii
Psalm with orch., etc
Samara (sa-m&'-rS), Spire, b. Corf^
1 861; pupil of Enrico Stancamptano
in Athens ; later of D^ibes, Pam
Cons.; prod. v. succ. opera, "Flora
Afira^iiis" (MilsLn, 1886): "Medge''
(Rome. 1888); "Lionella'* (Milan.
1891); "La MarHre'' (Naples.
1894 ; Paris, 1898) ; " La Furia D^
maia" (Milan, 1895); " HUtoire
d' amour " (Paris, 1902).
Sammartini (sim-mir-te-ne), (i)
Pietro, ct.-mus. at Florence, etc.
(1635-44). (2) Giov. Bat., Milan,
ca. 1705 — ca. 1775 ; organist, con-
ductor and composer. (3) Gin., d.
London, 1740 ; oboist ; bra of above.
Samuel (sSm-w^l), Ad., Li^, 1824—
Ghent, 1898 ; theorist and dram,
composer.
Sanctis, de. Vide de Sanctis.
Sandberger (zant'-b^kh-dr). Ad., b.
WQrzbui^, Dec. 19, 1864; studied at
the R. Sch. of Mus. there, and at
Munich, also vrith Spitta ; 1887, Dr.
Phil.; mus. libr., Munich Library,
and lecturer at the Univ.; 1898 prof,
of mus. at Prague Univ.; ed. Orlando
di Lasso's complete works ; wit>te
biog., hist., essays, etc.; c. v. succ.
opera ** Ludwig der Springer** (Co-
burg, 189s), overture, etc.
Sanders, C. Vide lf.uckart.
San'derson, (i) Jas., Workington,
Durham, 1769? — ca. 1841 ; violinist,
teacher and composer. (2) Lillian,
b. Sheboygan, Wis., U. S. A., Oct,
13, 1867 ; concert mezzo-soprano :
pupil of Stockhausen, Frankfort-on-
Main ; debut Berlin, 1890 ; toured
Europe; m. Fz. Rummel; lives in
Berlin. (3) Sibyl, b. Sacramento,
Cal., 1865; soprano, opera-singer;
pupil of de la Grange and Massenet ;
DICTIONARY OF MUSICIANS 7»i
sacc debut, Op.-Com., 1889; sang
there for years ; 1898 in New York
Met. Op., and variously in Europe.
Sandooi. Vide cuzzoni.
Sandow (z&n'-do), (i) Eagen, b. Ber-
lin, Sept. II, 1856; violinist; pupil
Rohne, W. MtUler, and K. Hoch-
schule ; from 1870 court chamber-
mus. His wife (2) Adelina (n^
Herma), b. Friesack, Oct. 14, 1862 ;
sineer and teacher.
Sandt (z2nt). Max yan de^ Rotter-
dam, Oct. 18, 1863 't pisLnist ; pupil
of his father and Liszt ; toured
Europe; 1889, pf.-teacher Stem
Cons., Berlin.
Sandys (s&nds), Wm., 179a — 1874;
English writer on music.
Siing^er-Sethe (z£ng'.£r-za-t£), Irma,
b. Brussels, April 28, 1876 ; notable
violinist ; daughter of Dutch father
and German mother ; b^^n violin at
5 ; pupil of her mother, of Joachim,
Wilheimj, and Ysaye, took ist prize
at the Cons. ; d^but London, 1895 ;
toured Europe with great success ; m.
Dr. Singer, 1897, and lives in Berlin.
Sang^OTaimi (san-jo-van'-ne), A.,
Bergamo, 1831 — Milan, 1892; prof,
of sm^ng.
Santini (san-te'-ne), Abbate Fortu-
nate, Rome, 1778—?; coll. a no-
table mus.-libra^.
Sant'ley, (i) Chaa.» b. Liverpool,
Feb. 28, 1834; noted operatic and
concert barytone; pupil Nava, Mi-
lan ; Garcia, London ; d^but, 1857 ;
won pre-eminence in England at
festivals, etc. ; operatic debut, Co-
vent Garden, 1859; 1875 with Carl
Rosa Co. ; 187 1 and 1891, America ;
retired 1900; also a painter; c. a
mass with orch. ; a berceuse for orch.
(1890) ; songs (pub. under the pseud.
" Ralph Bettcrton "), etc. His wife,
(2) Gertrude Kemble (Charles
Kemble's granddaughter) (d. 1882).
was a soprano ; their daughter (3)
Edith was a successful soprano, till
her marriage in 1884 with the Hon.
R. H. Lyttleton.
Santucci (san-toot'-che), Marco,
Camajore, 1762 — Lucca, 1843; con-
ductor and coniposer.
Sapell'nikoff, Wasslly, b. Odessa,
Oct. 21, 1868 ; pianist ; pupil of Fz.
Kessler, and then (with a stipend from
the city of Odessa) of L. Brassin and
Sophie Menter, Petersburg Cons.;
1888, d^but Hamburg ; toured.
Saran (za -rin), Aug, (Fr.), b. Alten-
plathow, Province of Saxony, Feb.
28, 1836; pupil of Fr. Ehrhch and
of R. Franz; teacher, army-chap-
lain (1873) *t i3^5 cond. of a church-
choral soc. at Bromberg ; writer and
composer.
Sarasate (sa-r&-s&'-tQ, Pablo (Mar-
tin Meliton Sarasate j Navas-
cuez) dCf b. Pamplona, Spain,
March 10, 1844 : eminent violinist ;
at 10 played before the Queen, who
presented him with a Stradivari ;
after succ. concerts in Spain he stud-
ied with Alard (vln.) and Reber
(comp.), Paris Cons., taking ist vln.-
prize 1857, and a premier accessit^
1859, i^ harm.; he has made very
wide and very succ. tours ; 1889,
America. For him Lalo c. his ist
vln. -concerto and the'*Svmph. es-
pagnole " ; Bruch, his 2na concerto
and the Scotch Fantasia ; A. C.
Mackenzie, the " Pibroch" Suite. S.
has pub. *• Zigeunerweisin " for vln.-
and orch.; '' Spanische Tdnge** for
vln. and pf., fantasias, etc.
Sarmiento (s&r-ml-dn'-td), Salvatore,
Palermo, 18 17 — Naples, 1869 ; con-
ductor and dram, composer.
Saro (sa -r5), J. H., Jessem, Saxony,
1827 — Berlin, 1891 ; bandmaster and
writer.
Sarrette (s^-r^t), Bd., Bordeaux,
1765 — Paris, 1858 ; founder and di-
rector till 18 14 of the Paris Cons,
which he gpradually developed from
a sch. started by the band of the
Paris National Guard.
Sarri (sar'-re), Dom., Trani, Naples,
1678 — after 1741 ; conductor and
dram, composer.
Sarti (s^'-te), Giuseppe (called II
Domenichino) (el dd-m£n-Y-ke'-n5),
712
THE MUSICAL GUIDE
Faenza, Dec. i, 1729 — (of gout) Ber-
lin, July 28, 1802 ; pupil of either Val-
lotti or Padre Martini; 1748-50 organ-
ist Faenza Cath. ; 175 1 he prod, at
Faenza , succ . Of>era * * Pompea in A rme-
wa/' followed by'*// Re Pastare''
(Venice, 1753) and others so succ.
that at 24 he was called to Copen-
hagen as dir. Italian opera and court-
cond.; he was summarily dismissed
for political reasons; 1775-99, dir.
Cons, deir Ospedaletto, Venice ; in
competition (with Paisieilo and others)
he won the position of cond. at Milan
Cath.; he prod, from 1776-84, 15
operas ; he also prod, g^nd canta-
tas and several masses, etc. Cathe-
rine II. invited him to PetersbuiTg.
As he passed Vienna, he was received
by the Emperor, and met Mozart,
complaining, however, of the *' bar-
barisms" in M.'s quartets and find-
ing 19 mortal errors in 36 bars. Lived
at Petersburg 18 years, excepting
a brief peri^ of disgrace, due to
Todi, during which exile he founded
a fine sch. at Ukraine. 1793 he was
restored to the Empress* favour, and
placed at the head of a Cons. He
raised the Italian opera to high effi-
ciency, inv. a very accurate machine
for counting \-ibrations and was en-
nobled in 1795. In a Te Deum (on
the taking of Otchakow by Potemlnn)
the music was reinforced by fire-
works and cannon. He set the li-
bretto " Hega " by the Empress. He
c. 40 operas, masses, some still per-
formed, etc.
Sartorio (sjlr-to -rI-6), A., Venice, ca.
1620 — ca. 168 1 ; conductor and dram,
composer.
Sass (s^) (at first sang under the name
Sax), Marie Constance, b. Ghent,
Jan. 26, 1838 ; a chansonette-singer
in a Paris cafe, found and taught by
Mme. Ugalde ; debut Th.-Lyrique,
1859, as soprano, 1860-71, at the
Opera, then in Italy ; 1864, m.
Castelmary, divorced 1867.
Satter (zat -t^r), Gustay, b. Vienna,
Feb. 12, 1832 ; pianist ; studied Vi-
enna and Paris ; i854r-6o toured tlie
U. S. and Brazil ; returned to Paris,
where Berlioz warmly praised his
compositions ; lived in various cities ;
c. opera ** Olanthe^^'* overtures '* Lore^
Uir 'WuHus Ctsar;' ''An dU
Freude^ * 2 Sjonphs., a S3rniph. tone-
picture •* Washington,*^ etc
Sattler (zat'-l«r), H., Quedlinbuf^.
181 1 — Brunswick, 1891 ; writer and
composer.
Saucr (zow'-«r), (i) Wm., b. Fried-
land, Mecklenburg, 1831 ; or;^.-
builder from 1857 at Frankfoft-0!n-
Odcr. (2) Vide leidesdorf. (3)
Emil, b. Hamburg, Oct. 8, 1862 ;
notable pianist ; pupil of his mother;
of N. Rubinstein at Moscow, 188 1,
and of Liszt at Weimar ; from i88s
toured Europe and 1898-99 U.S.with
g^reat succ. ; 1901, head of pf.-depc
Vienna Cons. ; c. suite modeme, ''Awu
He Attn Tagen/* 2 piano concertos,
concert-^tude, etc.
Saurel (sfi'-oo-r€l), Emma, b. Paler-
mo, 1850 ; opera - singer ; debut,
Pisa ; has toured widely.
Sauret (s5-ra). Emile, b. Dun-le-Roi,
Cher, France, May 22, 1852; notable
violinist ; pupil of Paris Cons, and of
de Beriot, Brussels Cons. ; at 8 began
succ. European tours ; America 1872,
and frequently since; 1S80-B1, t.
Kullak's Acad., BerUn ; lived in
Berlin till 1890, then prof. R. A. M..
London ; wrote ** Gradus ad Parmas-
sum du violoniste** (Leipzig, 1894) ;
c 2 vln. -concertos, etc.
Sauter (zow'-t«r), SeTerin S., Ger-
many, 1822 — St. Louis. Mo., March
24, 190 1 ; cond.; came to America as
refugee, 1848.
Sauyetir (so-vtlr'), Jos., La Fidcbe,
1653 — Paris, 1716 ; a deaf-mute, who
learned to speak at 7, and became a
notable investigator in acou^ics
(which word in fact he invented) ; he
was the first to calculate absolute vi-
bration-numbers, and to explain over-
tones; pub. many treatises (1700-13).
Sauzay (s6-z£'), Chas.) En^^oe,
Paris, July 14, 1809 — 1901 ; violmtst -
DICTIONARY OF MUSICIANS 713
papil of Vidal; later of Baillot at the
Cons. ; won ist and 2nd vln. -prize, and
prize for fugue ; 2nd vln. and after-
wards via. in Baiillot's quartet, and m.
B. 's daughter (a pianist) ; 1840 solo vio-
linist to Louis Philippe ; later leader
of 2nd vlns. Napoleon III.'s orch.;
i860 vin.-prof. at the Cons.; pub. a
treatise; c. a string-trio, *^ Etudes
karmoniques^* etc.
Savaxd (sd-v&r), M. Gabriel Aug".,
Paris, 18 14 — i88i ; prof, of harm.
and thorough-bass at the Cons. ; pub.
treatises.
Savaxt (sa-var), F., Mcziires, 1791 —
Paris, 1 84 1 ; acoustician.
Savile (slv'-ll), Jeremy, English com-
poser, 1653.
Sax (six), (i) Chas. Jos., Dinant-sur-
Meuse, Belgium, 1791 — Paris, 1865 ;
studied flute and clarinet, Brussels
Cons.; from 1815 managed an instr.-
factory at Brussels, making a spe-
cialty of brass instrs. ; he made many
improvements ; 1853 he ioined his
son Ad. in Paris. (3) (Ant. Jos).
Adolphe, Dinant, Nov. 6, 18 14 —
Paris, Feb. 9, 1894 ; son of above ;
eminent maker and inv. of instrs. ; he
inv. the family of instrs. called the
saxophone (v. d. d.) ; in Paris he con-
tinued to make improvements invent-
ing the saxhorns, saxotromba, etc.;
1857 teacher of the saxophone, Paris
Cons, and pub. a saxophone method;
he had much litigation over the prior-
ity of his inventions, but always won.
(3) Alphonse, bro. and co-worker of
above. (4) Marie. Vide sass.
Sbolci (s'b6l'-che), Jcftc, Florence,
1833 — 1895 ; 'cellist and teacher.
Scacchi (skSk'-ke), Marco, b. Rome ;
ct. -conductor 1618-48 ; writer and
composer.
Scalchi (sk^'-ke), Sofia, b. Turin,
Nov. 29, 1850 ; alto or mezzo-sopra-
no of unusual range f-b" (v. pitch
D. D.) ; pupil of Boccabadati ; debut
Mantua (1866); she has sung through-
out Europe, often in North and South
America with much succ.; 1875 m.
Signor LoUi.
ScaletU (sk£i-l£t'.t&), Onudo, Crema
— Padua, 1630 ; conductor and com-
p)oser.
Scandel'li, Ant., Brescia, 1517 — Dres-
den, 1580 ; conductor and composer.
Scaria (ska-rl-a), Emil, Graz, 1840^
Blasewitz, 1886 ; bass ; created
**\Votan" at Bayreuth, 1876 and
*' Gumemanz'* (Parsifat)^ 1882.
Scarlatti (skar-lat'-te), (i) Alessan-
dro, Trapani, Sicily, 1659 — Naples,
1725 ; founder of the ** Neapolitan
Sch." ; noted teacher and an impor-
tant innovator in opera (he prod, over
115) ; in 1680 he is first heard of as
conducting his own opera ; he intro-
duced the innovation of the orchestral
ritornello, and a partial recitativio
obbligato (v. D.D.); 1684 court-cond.;
1703, 2nd cond. S. Maria Maggiore,
Rome; 1707-09, ist. cond.; teach-
er at 3 conservatories, San Onofrio ;
de' Poveri di Gesii Christi, and the
Loreto. (2) Domenico (Girolamo),
Naples, 1683 (5 ?) — 1757 ; son and
pupil of above ; studied also with
Gasparini ; eminent virtuoso and
compolser for harpsichord ; founded
modern pf.-technic ; devised many
now familiar feats ; the first to com-
pose in free style without contra-
puntal elaboration and mass ; in a
competition with H&ndel he proved
himself equal as a harpsichordist, but
confessed himself hopelessly defeated
as an organist ; he was thereafter a
good friend, almost an idolater, cross-
ing himself when he mentioned Han-
del ; 17 1 5-19 he was maestro at St.
Peter's, 1720 at London; 1720 court-
cembalist Lisbon ; his gambling left
his family destitute; from 17 10 he prod,
operas, incl. the first setting of ** Ant'
Uto'" {11 isY (3) Giuseppe, Naples,
1712 — Vienna, 1777; grandson of (i);
dram, composer. (4) Fran., c. a
melodrama in M.S. at Rome. (5)
Pictro, c. opera '* Clitarro^^ with
intermezzi by Hasse.
Schaab (shap), Robt., Rotha, near
Leipzig, 18 1 7 — 1887 ; organist and
composer.
7»4
THE MUSICAL GUIDE
Schachner (shUkh'.n^r), Rudolf Jos.,
Munich, 182 1 — Reichenhall, 1896;
pianist, teacher and composer.
Schacht (shiUcht), Matthias H., Vi-
borg, Jutland, 1660— Kierteminde,
1700 ; lexicographer.
Schack (Cziak) (shSk or chak), Ben-
edikt, Mirowitz, Bohemia, 1758 —
Munich, 1826 ; tenor and dram, com-
poser.
Schad (shat), Jos., b. Steinach, Bava-
ria, 181 2 — Bordeaux, 1879; pianist
and composer.
Schade (shi'-de), (i) (Schadaus)
Abraham, pub. a valuable coll. of
384 motets (1611-16). (2) Carl,
singing-teacher and writer (1828-31).
Sch&flfcr (sh«f'-fer), (i) Aug., Rhein-
berg, 1814 — Berlin, 1879; dram,
composer. (2) Julius, b. Crevese,
Altmark, Sept. 28, 1823 ; studied
with Dehn, Berlin ; 1855 mus. dir. to
the Grand Duke at Schwerin ; found-
edand conducted the ** Schlosskirch-
enchor ; " i860 mus. -dir. at the
Univ. and cond. Singakademie, Bres-
lau; 1871, *• R. Mus.-Dir."; 1878
prof.; Dr. Phil. A. c. (Breslau), 1872 ;
wrote defence of his friend Franz*
accompaniments to Bach and Han-
del ; composer.
Schafhilutl (shaf-hl-tl), K. Fz. Emil
von, Ingolstadt.1803 — Munich, 1890;
professor and theorist.
Schalk (shal'k), Josef, b. Vienna and
studied at the Cons. ; notable cond.,
first at Graz, then ist cond. at the
Pragfue Opera and Philh. concerts ;
since 1899 ist cond. ct.-opera, Ber-
lin; 1898 at Covent Garden, 1899
gave the complete Wagoner Ring-
cycle in New York.
Scharfe (shar'-f«), , Grimma, Sax-
ony, 1835 — Dresden, 1892; barytone,
teacher and composer.
Scharfenberg^ (sh&r'-fen-b^rkh), Wm.,
Cassel, Germany, 1819 — Quogue,
N. Y., 1895; pianist, teacher and
editor.
Schamack (shar'-n&k), Luise, b.
Oldenburg, ca. i860 ; mezzo-soprano ;
pupil of von Bemuth, Hamburg
Cons.; debut, Weimar.
Scharwenka (shar-v^n'-ka), (i) (L.)
Philipp, b. Samter, Poscn, Feb, 16,
1847; pupil of Worst and Kollaks
Acad., Berlin, also of H. Dom :
1870, teacher of theory and comp. at
the Acad.; 1880 founded (with his
bro. Xaver) the ** Scharwenka Cons."*:
1 89 1, accompanied his bro. to Ncv
York ; returned, 1892, as co-dir. of
the Cons., later, 1893, merged in the
Klindworth Cons. ; he is also a carica-
turist and illustrated a satire by Ahn.
Moskowski (Berlin, 188 1) ; 1902.
R. Professor; c. '^Herbstfeier'^ and
'* SakuntaUty* for soli, chorus and
orch.. 2 9,ym^hs.^^*^Arkadisclu SuiU^
and '"Serenade'* for orch., fcstrral
overture, Trio in G, op. 112, etc (2)
(Fz.) Xaver, b. Samter, Jan. 6,
1850 ; bro. of above ; distinguished
pianist and composer; pupil of Kul-
lak and Wtlrst, Kullak*s Acad.; 1868,
teacher there ; at 19 gave public con-
cert at the Singakademie, with sncc.;
for 10 years he gave annually 3 cham-
ber-concerts there (with Sauret and
H. GrQnfeld) ; cond. of subscription
concerts ; 1874, toured Europe and
America ; 1880, co-founder the *' Ber-
lin Scharw. Cons.," dir. till 1891,
then founded a Cons, in New York ;
1808, Berlin, as dir. Klindworth-
Scharwenka Cons.; ct. -pianist to the
Emperor of Austria, ** Prof." from
the King of Prussia ; c. succ. opera
'' Matasimntha*' (Weimar, 1896);
symph., 3 pf. -concertos, etc.
Schauensee (show'-£n-za). (Fs. Jos.
Leonti) Meyer von. Lucerne, 1720
— after 1790; organist and dimm.
composer.
Schebek (sha'-b£k), Edmund, Peters-
dorf, Moravia, 18 19 — Prague, 1S95;
amateur authority on vln.-construc-
tion, etc.
Schebest (sha'-b^t), Agnes, Vienna,
1813 — Stuttgart, 1869; mezzo-so-
prano.
Schechner-Waaren (sh€k'-n^-va'-
g^n), Nanette, Munich, 1806 — 1860 ;
DICTIONARY OF MUSICIANS 7>5
noted soprano ; 1832, m. Waagen, a
painter.
Scheibe (shl'-W), (i) Jn., d. Leipzig.
1748 ; celebrated org. -builder. (2)
Jn. Ad., I^pzig, 1708 — Copen-
hagen, 1776 ; son of above ; organ-
ist, editor and composer.
Sdieibler (shi'.bl«r), Jn. H., Montjoie,
near Aix-la-Chapelle, 1777— Cref eld,
1838 ; acoustician and inventor.
Scheidemaim (shT'-d£-maln), (i) Hein-
rich, Hjunburg, ca. 1 596-— 1663 ; or-
ganist ; pupil and successor of his
father (2) Hans S., organist Kathe-
rinenkirche.
Scheidemantel (shI -d^-man-t£l), K.,
b. Weimar, Jan. 21, 1859; pupil of
Bodo Borchers; sang at the ct.-th.,
1878-86 ; pupil of Stockhausen ;
1885, ** Kammersinger'* ; since
1886, Dresden ct.-opera ; 1886, sang
•' Amfortas" in '' Par si far at Bay-
reuth.
Sctaeidt (shit), Samnel, Halle-on-
Saale, 1587 — 1654 ; famous organist
and composer ; pupil of Sweelinck ;
organist of Moritzkirche and ct. -con-
ductor ; c. notable chorals, etc.
Schein (shin). Jn. Hermann, GrOn-
hain. Saxony, i586^Leipzig, 1630;
soprano; ct. -conductor and com-
poser.
Schelble (sh«r.bl«), Jn. Nepomnk,
Hofingen, Black Forest, 1789 —
Frankfort-on-Main, 1837 ; notable
cond. and singing-teacher ; tenor ; c.
operas, etc.
Schelle (sh^l'-l^), (i) Jn., Geisingen,
Saxony, 1648 — Leipzig, 1701; can-
tor Thomaskirche. (2) K. Ed.,
Biesenthal, near Berlin, 18 16 — Vien-
na, 1882 ; critic, lecturer and writer.
Scheller (sh^l'-ldr), Jacob, b. Schettal,
Bohemia, 1759 • vln. -virtuoso.
Schelper (shdl'-pdr). Otto, b. Rostock,
AprU 10, 1844 ; an actor, later bary-
tone in opera, at Bremen ; 1872-76,
Cologne, then sang leading roles,
Leipzig City Theatre.
Schenck (sh£nk), (i) Jean (Johann),
g^mba-player and dram, composer,
1688-93, Amsterdam. (2) Jn.,
Wiener-Neustadt, Lower Austria,
1761 (1753 ?) — Vienna, 1836 ; c. op-
erettas. (3) Hng^o, 1852 (?) — Vien-
na, 1896 ; conductor and composer.
Scherer (shi'-rdr), Sebastian Anton,
organist at Ulm Minster and com-
poser, 1664.
Scherzer (sh^r'-ts^r), Orto, Ansbach,
182 1 — Stuttgart, 1886 ; violinist and
organist.
Schetky (sh«t'-ke), Chp., Darmstadt,
1740— Edinburgh, 1773; 'cellist and
composer.
Schicnt (shlkht), Jn. Gf., Reichenau,
Saxony, 1753 — Leipzig, 1823 ; pupil
of an uncle (org. and pf.) ; pianist,
conductor and writer ; c 4 oratorios,
chorals, etc.
Schick (shTk) (n^ Hamel), Marga^
rete Lnise, Mayence, 1773 — Berlin,
1809 ; soprano ; pupil of StefTani and
Righini ; debut, Mayence, 1791; from
1794, Royal Opera, Berlin.
Schiedermayer (she'-d£r-ml-^r), Jos.
Bd., d. Linz-on- Danube, Jan. 8,
1840 ; cath. -organist ; wrote a text-
book on chorals and a vln. -method ;
c. symphs., sacred mus., org. -pes., etc.
Schiedmayer (shet'-ml-^r) & Sdhne,
Stuttgart firm of piano-makers,
founded in Erlangen, 1781. (i) Jn«
D., removed to Stuttgart 1806. The
present head is (2) Ad. (b. 1847),
a i^eat-grandson of (i).
Schikaneder (she'-k&-na-d£r), Eman-
nel Jn., Ratisbon, 1751 — Vienna,
18 12, the librettist of Mozart's ^^Zau-
berjldte*^ in which he created '* Papa-
geno"; a manager, actor and singer.
Sdiildt (shYlt), Boelchior, Hanover (?),
1592 — 1667 : organist.
Schiller (shYl'-l^r), Madeline, b. Lon-
don, Engl. ; pianist and teacher ; a
pupil of Isaacs, Benedict and Hall^,
but mainly self-taught ; debut, Ge-
wandhaus, with great succ, repeated
in London ; toured Australia ; m. M.
E. Bennett of Boston, Mass., where
she lived several years making many
tours, incl. Australia and Europe ;
later lived in New York.
Schilling (shTl-ling), Gv., Schwiegers-
7i6
THE MUSICAL GUIDE
hausen, near Hanover, 1803 — Ne-
braska, U. S. A., 1 881; wrote text-
books and treatises, etc.
Sdiil'lin^, Max, b. Daren, April 19,
1868 ; notable composer ; studied
with Brambach and von K6nig^5w ;
1892, stage-manager at Bayreuth ;
1890 while studying law, at Munich,
c. the opera ^'^ InguekU'* (prod, by
Mottl, Carlsruhe, 1894) ; played in
many other cities ; c. also opera
'' Der Pftitriag'' {"ScYi^cnn, 1901); 2
symph. mntasias" J/^^r^r«jj," 1895,
and ** Seemorgen^^ etc
Schimon (she-mon), Ad., Vienna,
1820 — Leipzig, 1887 ; singing-teach-
er, accompanist and dram, com-
poser, etc. ; 1872, m. the soprano (2)
Anna Regan, Bohemia, 1842 — Mu-
nich, 1902 ; pupil of Manuel Garcia
and Stockhausen ; sang in Italy and
Germany ; court-singer in Russia ;
1874, teacher of singing Leipzig
Cons. ; 1877-86, R. Sch. of Mus.,
Munich; again at Leipzig Cons.;
also after death of her husband,
singing-teacher at Munich.
Schindelmeisser (shln'-d£l-mis-s^r),
L., K5nigsberg, 18 11 — Darmstadt,
1864 ; ct. -conductor and dram, com-
poser.
Schindler (shlnt'-l^r). Anton, Medl,
Moravia, 1796 — Bockenheim, near
Frankfort, 1864 ; violinist and con-
ductor ; friend and biographer of
Beethoven.
Shintldcker (shtnt'-ldk-«r), (i) Phll-
ipp, Mons, Hainault, 1753 — Vienna,
1827 ; 'cellist. (2) Wolfgang^, b.
Vienna, 1789 ; 'cellist and composer ;
nephew and pupil of above.
Schira (she'-ra), Fran., Malta, 1809
— London, 1883; professor, conduct-
or and dram, composer.
Schirmacher (sher'-makh-£r), Dora,
b. Liverpool, Sept. i, 1862 ; pianist ;
pupil of VVenzel and Reinecke, Leip-
zig Cons., winning Mendelssohn
prize ; debut Gewandhaus, 1877 ; c.
a suite, sonata, etc.
Schirmer (sher'-m^r), (i) Gustav,
Kttnigsee, Saxony, 1829 — Einsbach,
Thuringia. 1893 ; son and
of court piano-makers at
hausen ; 1837 came to New York ;
founded pub. firm. Beer & Sdiimer ,
1866 S. obtained the entire busiDCSB
since known as G. Sdunner ; since
1893 incorporated under manaf^eiDCSt
of (2) Rudolf E. and (3) Gostar,
sons of above.
Schladebach (shU'-d«-b£kh), Jolhtt*
d. Kiel, 1872 ; wrote treatise 00 the
voice.
SchUlger (shla-g^r). Hans, FUs-
kirchen. Upper Austria, 1830— Sal*-
burg, 1885 ; conductor and diam.
composer.
Schlecht (shl^kht), Ralmniid, Eicb-
stadt, 181 1 — 1891 ; priest and writer.
SchleiniU (shli -nits). H. Conimd,
Zechanitz, Saxony, 1807 — Leipz^.
1881 ; dir. Leipzig Cons, (rice Men-
delssohn).
Schlesin^er (shla -zYng-^), two mns.-
pub. firms, (a) at Berlin, founded
1810 by (i) Ad. Martin, from 1858
managed by his son (2) Heinri^
(d. 1879) ; since 1864 under R. Ue-
nau. (b) at Paris, founded 1834 bf
(3) Moritx Ad., son of (i) ; under
Louis Brandus in 1846. (4) Seba^
tian Benson, b. Hamburg, SqiL
24, 1837 ; at 13 went to U. S.; stud-
ied at Boston with Otto Dresel ; for
17 years Imp. German Consul at
Bioston ; now lives in Paris ; pub.
many pop. songs and piano-pieces.
Schletterer (shl^t'-t^r-^r), Hans
Michel, Ansbach, 1824 — Augsbuig,
1893; mus.-dir., writer and composer.
Schlick (shlYk), (i) Arnold, ct.-organ-
ist to the Elector Palatine, and con-
poser, 151 1. (2) In. Konrad, Mfin-
ster (?), Westphalia, 1759 — Gotha,
1825 ; 'cellist and composer.
SchUmbach (shlYm'-bakh), G. Chr.
Fr., b. Ohrdrof, Thuringia, 1760 ;
organist, writer on org.-building. etc.
Schldsser (shl€s'-s«r). (i) Louis,
Darmstadt, 1800 — 1886 ; ct.-conduct-
or and dram, composer. (2) (K.
Wm.) Ad., b. Darmstadt, Feb. i,
1830: son and pupil of above; pianist;
DICTIONARY OF MUSICIANS 7»7
d^ut Frankfort, 1847 ; toured; from
1854, teacher in London ; c. pf.-
quartet and trio, etc
Scnlottmaim (shl6t'-mfln). Louis, b.
Beriin, Nov. 12, 1826 ; concert-
pianist, pupil of Taubert and Dehn ;
lived in Berlin as teacher ; 1875, ^•
Mus.-Dir.; c overture to ''* Romeo
and JuUeC ** Trauermarsch'* for
orch., etc.
Schmedes (shma'-d^), Erik, b. Co-
penhagen, 1868 ; pianist ; then stud-
ied singing with KothmUhl ; sang as
baiytone in various theatres ; studied
witn Iffert and, 1898, sang tenor roles
at Vienna ; 1899 ** Siegfried " and
•• Parsifal " at Bayreuth.
Schmeii (shmll), ^ teacher at
Magdeburg, inv, **notograph."
Sch]nelzer(shm£r.ts£r), Jn. H., Prague,
1655 — d. after 1695 at Vienna ; ct.-
cond. and composer.
Sclimid(t) (shmYt), (i) Bd., organist at
Strassbur?, 1560. He was succeeded
by (2) Bd. Schmid, the younger.
(3) Anton, Pihl, Bohemia, 1787 —
1857 ; mus. libr. Vienna Library ;
writer.
Schmidt (shmit), (i) Jn. Phil. Samuel,
Kttnigsberg, 1779 — Berlin, 1853 ;
Govt, official, critic, writer and dram,
composer. (2) Jos., BQckeburg, 1795
— 1865 ; violinist, ct. -conductor and
composer. (3) Hermann, Berlin,
1810 — 1845 ; ballet-conductor and
ct.-composer ; c. operetta. (4) Gus-
tav, Weimar, i8i6 — Darmstadt,
1882 ; ct.-conductor and dram, com-
poser. (5) Arthur P., b. Altona,
Gcr., Apnl i, 1846 ; est. mus. -pub.
business, Boston and Leipzig, 1876.
Schmitt (shmit), (i) Jos., 1764—
Frankfort-on-Main, i8i8 ; writer,
violinist and composer. (2) Niko-
laos, b. Germany ; bassoonist and
composer ; from 1779, ^^f ^^ ^**'
sique of the French Guards at Paris.
(3) Aloys, Erlenbach, Bavaria, 1788
— Frankfort'On-Main, 1866 ; eminent
teacher, pianist, writer and dram,
composer. (4) Jacob (Jacques),
Obernburg, Bavaria, 1803 — Ham-
burg, 1853 ; bro. and pupil of above ;
wrote a method and c. (5) (G.)
Aloys, Hanover, Feb. 2, 1827 — Dres-
den, Oct., 1902; pianist and cond.;
son and pupil of (3) ; pupil Voll-
weiler (theory), Heidelberg ; toured ;
then th.-cond. at Aix-la-Chapelle,
etc.; 1857-92, ct.-cond. at Schwerin ;
from i893fc dir. "Dreyssig'sche Sing-
akademie," Dresden. He c. 3 op-
eras, incl. **7Vi%" (Frankfort,
1845) ; incid. music ; overtures, etc.
He arranged the fragments of Mo-
zart's C minor mass into a complete
work ; died of an apoplectic stroke
while conducting his own '* In Mem-
oriam'' (6) Hans, b. Koben, Bo-
hemia, Jan. 14, 1835 : piano-teach-
er and oboist ; pf. -pupil of Dachs,
Vienna Cons., taking the silver medal;
later, teacher there ; wrote a vocal
method; c. important instructive
pes., etc.
Schmolzer (shm^l'-ts^r), Jakob Ed.,
Graz, 18 1 2 — 1886 ; teacher and com-
poser.
Schnabel (shna-b^l). (i) Jos. Ig^naz,
Naumburg, Silesia, 1767 — Breslau,
1831 ; conductor and composer. (2)
Michael, Naumburg, 1775 — Breslau,
1842 ; bro. of above ; founded at
Breslau (18 14) a piano factory, car-
ried on by his son (3) K. (1809—
188 1) ; pianist and composer.
Schnecker (shn^k'-£r), Peter Aug.,
b. in Hessen- Darmstadt, 1850 ; pupil
of Oscar Paul, Leipzig ; came to
America ; lives in New York as
teacher and organist ; pub. collec-
tions; c. pf.-pcs. and much pop.
church-mus.
Schneegass (shna'-gas) (Snegas-
sius), Cynak, Busdileben, near Go-
tha, 1546 — 1597 ; theorist and com-
poser.
Schneevoig^ (shna'-foikht), Georg,
b. Wiborg, Nov. 8, 1872 ; Finnish
'cellist ; studied with Schroder,
Klengel and Jacobs; lives in Hel-
singfors as teacher in the Cons., etc.
Schneider (shnl'-d^r), (i) Jn., Lander*
near Coburg, 1702 — Leipzig, ca.
7i8
THE MUSICAL GUIDE
1775 ; famous improviser and organ-
ist. (2) G. Abraham, Darmstadt,
1770 — Berlin, 1839 ; horn-virtuoso ;
conductor, composer of masses, etc.
(3) Louis, Berlin, 1805 — Potsdam,
1878 ; son of (2): writer. (4) (Jn. G.)
Win., Rathenow, Prussia, 178 1 —
Berlin, 1811 ; pianist, teacher, com-
poser and writer. (5) Wm., Neu-
dorf. Saxony, 1783 — Merseburg,
1843 ; organist and writer. (6) Jn.
Gottlob, 1753 — Gemsdorf, 1840;
organist. (7) (J"*- Chr.) Fr., Alt-
Waltersdorf, Saxony, Jan. 3, 1786 —
Dessau, Nov. 23, 1853 ; son and pu-
pil of (6) ; at ID c. a symphony ; 1821
ct. -conductor at Dessau ; wrote text-
books and c. 15 oratorios, incl. fa-
mous *' Das Weltgericht *'/ biog. by
F. Kempe. (8) Jn. (Gottlob), Alt-
Gersdorf, Oct. 28, 1789 — Dresden,
April 13, 1864 ; bro. of above ; emi-
nent organist and teacher. As a bov
a soprano of remarkable range (to f '
ace. to Riemann, v. pitch, d.d.);
later, tenor ; 1825 ct.-organist, Dres-
den, also conductor ; made tours ; c.
fugues, etc. , for organ. (9) Jn. Gott-
lieb, Alt-Gersdorf, 1797 — Hirsch-
berg, 1856 ; bro. of above ; organ-
ist. (10) Theodor, b. Dessau, May
14, 1827 ; son and pupil of (7) ; pupil
of Drechsler ('cello) ; 1845, 'cellist,
Dessau ct.-orch.; 1854 cantor and
choir-dir. court and city churches;
1860-96 cantor and mus.-dir. Jakobi-
Idrche, Chemnitz; also cond. (11)
(Jn.) Julias, Berlin, 1805 — 1885;
pianist, organist and mus. -director ;
and c. operas ; son of (12) Jn. S.,
{)f.-mfr. at Berlin. (13) K., Streh-
en, 1822 — Cologne, 1882 ; tenor.
(14) K. Ernst, Aschersleben, 18 19 —
Dresden, 1893 ; writer.
Schnitsrer (shnlt'-g^r), (i) Arp., Gods-
warden, Oldenburg, 1648-— Neuen-
felde, ca. 1720 ; org.-builder. His
son, (2) Fz. Caspar (d. 1729), and
an elder bro. , worked at Zwolle, Hol-
land.
Schnorr yon Karolsfeld (shn6r f5n
kr-r6U-f«U), (i) L., Munich, 1836—
Dresden, 1865 ; noted tenor ; created
Wagner's "Triston"; c. open at
Munich (1865), his wife, (2) Ifaiwi-
na (n^ Garrigues), creatiiig- *' Isol-
de"; she took a fatal chill cm this
occasion.
Schnyder too Wartensee (shne'-<l&
f6n var'-t€n-za), X., Lucerne, 1786 —
Frankfort-on-Main, 1868 : teacher,
writer and composer.
Schoberlechner (shd'-b^-l^kb-o^f).
Fx., Vienna, 1797 — Berlin, 1843 ;
pianist, conductor and dram, coid-
poser.
Schdberlein (shi'-b«r-ttn). L., Kolm-
berg, Bavaria, 1813 — G5ttingeii,i88i:
writer.
Schobert. Vide schubart (3).
Schoenefeld (sha-'ni-filt), H., b. Mfl-
waukee, Wis., Oct. 4, 1857; son and
pupil of a musician ; later studied
Leipzig Cons. ; winning a prixe for a
chorus with orch. performed at the
Gewandhaus ; then studied with £.
Lassen (comp.), Weimar ; toured
Germany as a pianist ; from 1879,
Chicago, as pianist and teacher, also
cond. the *' Germania Minnerchor.**
C. •* The Three Indians " o<ie with
orch.; 2 symphs. (" Rural*" " S^ru^.
time ") ,• 2 overtures, ** In the Sutmy
South " (a notable work based 00
Ethiopian themes) and ** The Anttr-
ican Flag"; vln.-sonata (Henri Mar-
teau priiee, 1899), pf.-pcs., etc
Schbffer (sh£f'-f«r), Peter (the young-
er), mus. -printer at Mayence and
Strassburg, 1530-39.
Schoelcher (sh^l-shar), Victor, Paris,
1804 — 1893 ; writer, statesman and
biographer of Htodel.
Scholta (sholts), Hn., b. Breslan,
June 9, 1845 ; pianist and teacher ;
pupil of Brosig, of C. Riedel and
Plaidy at Leipzig, and v. BQlow, and
Rheinberger, R. Sch. of Mus., Mo-
nich ; 1870-75, teacher there ; then
in Dresden ; 1880 "R. Saxon cham-
ber-virtuoso " ; ed. Chopin's works ;
c. pf. -concerto, sonata, etc.
Schola (sholts), (i) P., important com-
poser of Russian music, taught comp.
DICTIONARY OF MUSICIANS 7»9
Moscow, 183a (2) Bd. E., b. May.
ence, March 30, 1835 ; pupil of Ernst
Paucr, Mayence, and of Dehn, Ber-
lin ; 1856 teacher R. Sch. of Mus.,
Munich; 1859-65, ct. -conductor Han-
over Th.; 1871-78, cond. Breslau
Orch. Soc.; 1883, dir. of the Hoch
Cons., Frankfort (vice Raff) ; Dr.
PhU. JL €, (Breslau Univ.). ** Royal
Prussian Professor," etc.; pub. es-
says ** Wohin treiben ztnrF" (Frank-
fort, 1897) ; prod. 5 operas incl. succ.
•* /«^<?'*^ (Frankfort, 1898). C. '* Das
Sirg-ts/^si" and *'I)as Lied von der
Glccke " for soli, chorus and orch. ;
symph. poem ^^MaHtuonia **y symph.
overtures ** Iphigenia'* and ** /w
Freien*^ etc.
Schdn (shan), Moritz» Kronau, Mo-
ravia, 1808 — Breslau, 1885 ; violin-
ist, conductor and writer.
Schdnberg^er (shan'-bdrkh-£r), Benno»
b. Vienna, Sept. 12, 1863 ; pianist ;
pupil of Vienna Cons., studied also
with Liszt ; toured ; 1885 teacheV,
Vienna ; later in Sweden (1886), then
London ; 1894 toured America; c. 3
pf.-sonatas, 3 rhapsodies, etc.
Schondorf (shdn'-dorf), Jns., b. Rd-
bel, Mecklenburg, 1833 • pupil of
.Stem-Kullak Cons., Berlin; since
1864 organist Pfarrkirche, GUstrow ;
singing-teacher Cath. Sch., and con-
ductor ; c. ** Vaterldndische Ge-
sdngf,'' ^^/Caiserhymne" etc.
Schonfeld (shan'-f^lt), Hermaim, b.
Breslau, Jan. 31, 1829; cantor and
R. Mus. -Dir. there; c. cantatas, a
symph. ; 3 overtures, etc.
Scndrg^ (sh£rkh), Fz., b. Munich, Nov.
15, 1871 ; violinist; pupil of Ysaye ;
toured ; lives in Brussels.
Schott (shot), (r) Bd., d. 1817; found-
ed (Mayence, 1773) the mus.-pub.
firm of B. Schott, carried on by his
sons (2) Andreas (1781 — 1840) and
(3) Jn. Jos. (1782— 1855), under the
firm-name of ** B. Schott's Sohne ;
the present manager at Mayence and
the London branch are Fz. von Land-
wchr and Dr. L. Strecker. (4) An-
ton, b. Schloss Staufeneck, Swabian
Alp, June 25. 1846; tenor; 1865-71
an artillery officer in the French cam-
paign ; then studied with Frau Sche-
best-Strauss ; 187 1, Munich opera ;
1872-75 Berlin opera; leading tenor
at Schwerin and Hanover, made
concert-tours ; 1882 in Italy with
Neumann*s Wagner troupe.
Schradi(e)ck (shr&'-dek), Heniy, b.
Hamburg, April 29, 1846 ; noted
violinist ; pupil of his father and of
Leonard, Brussels Cons., David,
Leipzig; 1864-68 teacher Moscow
Cons., then leader Philh. Concerts,
Hamburg ; 1874-82, co-leader, Gc-
wandhaus Orch. and theatre-orch.,
Leipzig, also teacher for a time at the
Cons. 1883-89, prof, oif vln., Cin-
cinnati Cons., U. S. A.; returned to
Germany as leader of the Hamburg
Philh. Soc; afterward head vln.-
prof. Nat. Cons., N. Y., and later
Broad St. Cons. , Philadelphia ; pub.
excellent technical studies for vln.
Schramm (shram), Melchior, German
organist and contrapuntist, 1595*
Schreck (shr£k), Gustay, b. Zeulen-
roda, Sept. 8, 1849 ! pupil of Leipzig
Cons.; 1885 teacher of theory and
comp., Leipzig Cons.; 1892, mus.-
dir. and cantor, and cond. of the
** Thomanerchor" ; prod, concert-
cantatas, oratorio, " Christus der
Aufersiandene" (Gewandhaus, 1892),
church-music, etc.
Schrems (shrams), Jos., Warmen-
steinach. Upper Palatinate, 18 15 —
Ratisbon, 1872 ; conductor, editor
and teacher.
Schrdder (shra'-d^r), (i) Hermann, b.
Quedlinburg, July 28, 1843 ; violin-
ist, writer and composer ; pupil of A.
Ritter, Magdeburg; from 1885,
teacher R. Inst, for Church-mus.,
Berlin, and at a mus. -sch. of his
own. (2) Karl, b. Quedlinburg.
Dec. 18, 1848 ; bro. of above ; 'cel-
list and composer ; pupil of Drechs-
ler, Dessau and Kiel, Berlin ; at 14,
1st 'cello ct.-orch. at Sondershausen,
and teacher in the Cons.; 1873, 'cel-
lo, Brunswick ct.-orch.; 1874, solo
720
THE MUSICAL GUIDE
'cellist Gewandhaus Orch., and th.-
orch., Leipzig, also teacher at the
Cons., and made tours ; 1881, ct.-
cond. , Sondershausen ; cond. German
Opera at Amsterdam ; until 1888,
Berlin ct.-opera ; till 1890, the Ham-
burg Opera ; returned to Sonders-
hausen as ct.-cond. and dir. "Fllrst-
licbes Conservatorium ; " wrote 'cello-
method, catechism on conducting and
the 'cello. C. succ. opera "^^Aspasia"
(Sondershausen, 1892) ; a succ. i-act
opera '* Der Asket'* (Leipzig, 1893) ;
succ. operetta '*if/fl/ff/V>" (Bunzlau,
1887) ; 1871, founded the '*Schrdder
Quartett," with his brothers (i)
Hermann (3) Fz. and (4) Alwin,
b. Neuhaidensleben (Magdeburg),
June 15, 1855; pupil of his fa-
ther and brother Hermann, also of
Andre (pf.), and De Ahna (vln.), W.
Tappert (theory) ; self-taught as a
'cellist, as which he has won his
fame; 1875, ist 'cello in Liebig's
** Concert-Orchester," later under
Fliege and Laube (Hamburg) ; 1880,
Leipzig, as asst. of (i), whom he suc-
ceeded, 188 1, in the Gewandhaus,
theatre and Cons.; 1886, Boston, as
first 'cellist Symph. Orch.; member
of the " Kneisel Quartet." (5) Kon-
rad (Gv. Fd.), b. Marienwerder, W.
Prussia, July 7, 1850; pupil of Kul-
lak's Acad., Berlin, also of O. Kolbe
(comp.); teacher in the Acad.;
pf. - teacher, Berlin. C. the first
*• Low German " opera (after Fritz
Renter), the v. succ. i-act comic op-
era " /?« droggst de Pann weg''*
(Schirenn, 1897); pub. 50 songs. (6)
Fr., d. 18 18 ; barytone, the first to
sing Mozart's *' Don Giovanni'* in
German.
Schrdder - Devrient (shra - d^r - da'-
f rt-5nt). Wilhelmine, Hamburg, 1804
— Coburg, i860 ; eminent soprano ;
daughter of (6) above, and of a cele-
brated actress, Antoinette Sophie
Burger Devrient (divorced 1828, af-
ter bearing him 4 children; married
twice afterward) ; pppil of Mazatti ;
d^but, Vienna, 1831 ; m. the actor
Karl D. ; she created the r^e of "Adii.
ano Colonna" in the **^!r>ff»'' of
Wagner, whose style she deiqslj af-
Schrdder-Hanfiitancrl. Vide haxf-
STANGL.
Schrdter (shri-t^r), (i) Leonliafd,
Torgau, ca. 1540— Magdcbur]g, after
ic8o; eminent contrapuntist. (2)
Chp. Gl., Hohenstein, Saxony, 1699—
Nordhausen, 1782 ; noted oi^ganist ;
claimed in a p>amphlet (1763) to have
invented, 17 17, the pianoforte, bat
was forestalled by Cristofori ; com-
poser. (3) Corona (Elisabeth Wil-
nelmine), Guben, 1751 — Ihnenan,
1802 ; celebrated soprano ; popfl of
her father, (4) Joh. Fr. S., cham-
ber-singer. (5) Joh. Samnel, War-
saw, 1750 — London, 1788, son of
(4) ; pianist. (6) Joh. H. (b. War-
saw, 1762), son of (4) ; violinist.
Schnbart (shoo'-bfirt), (i) (Chr. Fr.)
Daniel, Sontheim, Swabia, 1739—
Stuttgart, 1 701 ; poet ; organist and
composer. (2) L., son of above;
editor of his father's '* Ideen mm finer
^stheHk der Tonkunsr (1806).
(3) (also Schobert, or Chobert
(sho'-b€rt) ( )y first name un-
known), Strassburg, 1720 — Paris,
1768 ; a relative of above ; organist
at Versailles ; 1760, chamber-mus. to
Prince de Conti ; very pop. pianist
and composer.
Schnbert (shoo'-bdrt), (i) Jos., Wams-
dorf, Bohemia, 1757 — Dr»den, 1812;
violinist, and dram, composer, (s)
Jn. Fr., Rudoistadt, 1770— Cologne,
181 1 ; violinist, writer and composer.
(3) Fd., Lichtenthal, near Vienna,
1794 — Vienna, 1859; elder bro. of
the g^eat comix>ser (4) and passion-
ately devoted to him ; dir. Normal
Sch., Vienna; c. church-mus., a re-
quiem for his brother, etc
(4) Franz (Peter), Lichtenthal,
near Vienna, Jan. 31, 1797 — of ty-
phus, Vienna, Nov. 19, 1828 ; one of
the most eminent of the world's com-
posers. One of the 14 children of %
schoolmaster at Lichtenthal, who
DICTIONARY OF MUSICIANS 721
taught him the vln. ; also studied with
Holzer there ; at 10, first soprano in
the church-choir, and c. songs and
little instrumental pes. 1808, a sing-
er in the Vienna court choir, and also
in the ** Convict" (the training-sch.
for the court singers). He played in
the sch.-orchestra, finally as first
vln., and studied theory with Rncziz-
ka and Salieri. His earliest extant
composition is a 4-hand fantasia of
12 movements written when he was
13. He had a frenzy for writing, and
a fellow-pupil, Spaun, generously fur-
nished him with mus.-paper, a luxury
beyond the means of Schubert. At
15 be had written much, incl. an
overture ; at 16 he c. his first symph. ;
18 1 3, his voice broke and he left the
•* Convict," where the unrestrained
license allowed him in his composi-
tions accounts for the crudeness of
some of his early works and the faults
of form that always characterised
him, as well as for his immediate and
profound individuality ; at 17 he c.
his first mass. In order to escape
military conscription he studied a few
months at the Normal Sch. and took
the post of elementary teacher in his
father's sch. He taught there until
18 16, spending his leisure in studving
¥rith Salieri, and in comp. particularly
of songs, of which he wrote as many
as 8 in one day — 144 in his i8th year
(1815), including '' Der Erlk5nig'\-
18 14-16, he also c. 2 operettas, 3
Singspiele and 3 incomplete stage-
pieces, 4 masses. 18 16, he applied,
without succ. , for the directorship of
the new State mus.-sch. at Lay bach
(salary $100 (;£'2o) a year). From
18 17 he lived in Vienna, except two
summers (1818 and 1824), spent at
Zelesz, Hungary, as teacher in Count
Esterhizy's nimily. How S. existed
is a matter of mystery, except for the
help of such friends as Fz. von Scho-
ber, who aided him with the utmost
generosity. The famous tenor Mi-
chael Vogl, popularised his songs.
By his 2 1st year (1818) S. had c. six
46
of his symphs. and a great mass of
work. His mus. farce '* Die ZwiU
iingsbrOder " was prod. (K&mthner-
thor Th., 1820, but ran only six
nights). 182 1, after he had written
over 600 compositions, hx&^^Erlkd^
nig " was sung at a public concert of
the ** Musikverein " and elsewhere,
with a wide sale that attended most
of his subsequent publication of songs
and pf.-pcs.; though he was sadly
underpaid by his publishers, some-
times receiving only a gulden (20
cents, less than a shilling) for them.
In 1822 he declined the post of organ-
ist at the court chapel ; but could
never obtain a salaried position,
though many efforts were made. At
31 he gave his first concert of his own
works, with good succ. (1828). In
1822, he had finished a grand opera
*' Alfonso und Estrella*' the libretto
bad, the scoring too difficult for the
musicians at Graz, where it was put
in rehearsal ; it was withdrawn, not
to be prod, till 1854 under Liszt and
in 188 1 when Jn. Fuchs rewrote the
libretto and prod, it at Carlsruhe
with great succ. In 1825 a work,
^' Rosamunde^'^ "fias prod. attheTh.
an-der*Wien, with applause for the
music, but it was withdrawn after a
second performance. Other works of
his had not even productions, his
stubborn refusal to alter a note pre-
venting the profitable performance of
dram, scenes, etc. His health finally
broke under the strain of composi-
tion all day on a little food and rev-
elry till late at night. He died of
typhus and was buried, at his own
request, in the **Ostfriedhof " at
Wahring, near Beethoven.
A complete critical edition of his
works is pub. by Breitkopf & H artel.
These inch, besides those mentioned,
an opera "^^/roj/" (unfinished), 3-
act operettas '' Der Teufels Lusi*
schloss'' and '' Der Spiegelriiter'";
Singspiele: '' Der Vierjdhrige
PosUn;* ''Fernando''; '' Claudine
von Villabella" (unfinished); '' Du
722
THE MUSICAL GUIDE
Freunde von Salamanca ** and ** Der
Minntsdngtr*'; all written 1814 —
1816 ; none performed ; 3-act melo-
drama, **/?/> Zauberkarft^' (Aug.
19, 1820); 3-act opera, '* Sakoniala**
(not Hnished or performed) ; i-act op-
eretta, *'Z>i> Verschworenen^ otUr
der hUusHche Krieg'' (Vienna, 1861);
3-act opera, ^* Fierabras*' (Vienna,
1861) ; ** Die Burgschaft,'' 3-act op-
era (c. 1816 ; prod, by Fz. Lachner,
Pesth, 1827); unprod. operas ^^ Der
Graf von Gleichen "(1827) and ''Die
Salzbergwerke*' ; 6 masses; ''Deutsche
Messe*\' unfinished oratorio ^^ Laza-
rus^' 2 " Tantumergo" (with orch.);
2 *' Stabat Mater, etc. Choral
Works with Orch., or Instrs.:
Miriams Siegesgesang *'/ prayer,
Vor der Schlacht''; hymn, " Jlerr
unser Gott,'' " Hymne an den Heili-
gen Geisty^ " Morgengesang im
Walde:' " Nachtgesang im Wa/de'*
and " NachthelUr " Schlachtlied;'
"Glaube, Hoffnung und Liebe^^* sev-
eral cantatas and part-songs. Orch.
AND Chamber-Mus. : 10 symphs.,
No. 8 the *' unfinished " in B min., 7
overtures (Nos. 2 and 5 "in the Ital-
ian style ") ; vln. -concerto ; rondo for
vln. with orch.; octet; pf. -quintet
(**/4W^//If«^i/i«/^/," with double-bass);
string-quintet with 2 'celli ; 20 string-
quartets ; 2 pf. -trios ; 2 string-trios ;
(t
(4
rondo brilliant, phantasie in C, sona-
ta, 3 sonatinas, nocturne for 'ceOo
and pf.; introd. and vars. for flute
and pf.; 17 pf.-sonatas (incl. opt 78,
fantasia), 3 grand sonatas, postho-
mous ; 8 impromptus, 6 moments
musicals; many variations, many
waltzes, incl. ** Valses sentimentaUsr
" Homage aux belles VienfwLses^
" VaUesnobUs:' 12" GrStserlValxer,'
" Wanderer-Fantasie** ; For pr., 4
HANDS : 2 sonatas, ** Divertiss^meni^
rhongroise,'' " Grand romic,'' "AV/^^
amiti^:' rondo in D, ** Ltbensst£rme;'
fugue, polonaises, variations, waltzes,
4 Landler ; marches, incL ** TrMicr-
marsch " and ** heroique."
Songs with piano : '* Erlkdnigr
op. I ; ** Gr etc hen am ^nnrader
op. 2; ^' Heidenroslein*^ op. 3;
"Der Wanderer " and " Der du vtm
dem Himmel bist^* op. 4 ; Suleika
songs, Mignon's songs, 2 song cycles
by Wilhelm MQller, '^ Die Scheme
Mullerin'' and " Die IVinterreise;'
containing 20 and 24 numbers; 7
songs from ** FrauUin vom Set^
(Scott's "Lady of the Lake "), 9 soi^
from "Ossian''*; 6 songs by Heine in
the '• Schwanengesangy* etc.
Biog. by von Hellbom (Vienna,
1861, 1865); Reissman (Berlin, 1873);
A. Niggli (1880) ; Barbedette (Paris,
1866) ; Max Friediander.
Schubert.
By H. A. Scott.
FRANZ SCHUBERT was very nearly the greatest of all composen.
If he had lived longer, been more carefully trained when young,
and received greater appreciation in his lifetime — three very reason-
able '* might-have-beens ** — v^rho shall set limits to the heights which he
might have won ? He died at thirty-one. If others of the masters had been
cut off* at this age what treasures the world would have lost !- — ^in the case,
say of Handel, every one of his oratorios ; in that of Beethoven, his seven
greatest symphonies ; in that of Wggner, all his operas after ** Tannbduser^^
and '* Lobertgrin^* ; in that of Brahms, the " German Requiem " and ill
DICTIONARY OF MUSICIANS 723
his symphonies. ^ It does not follow that Schubert would necessarily have
developed in any Hke manner. But, at least, there are reasons for thinkmg
that he might have done so. We know that in the last year of his life he
contemplated taking lessons in counterpoint, that on his death-bed he spoke
of " entirely new harmonies and rhythms" running through his head, and
that he had the loftiest of ambitions. As it was, and taking his works as
they stand, certain weaknesses distinguish them which there is no overlooking.
That fabulous fertility which could beget six of the *' Winter rebe " songs at
a single sitting, three of the pianoforte sonatas in as many weeks, and eight
operas in a year, was not counterbalanced by a like faculty in the matter of
self-criticism and concentration. Too many of his bigger works lack form
and proportion. He did not trouble sufficiently to work out and make the
most of the inspired thoughts which came to him in such unparalleled abun-
dance. He was a stupendous genius, it might almost be said, with an infi-
nite capacity for not taking pains — whose ** profuse strains of unpremeditated
art ' * were at once too profuse and too unpremeditated. ^ But even so only
one or two of the very greatest names can stand before his in music's history.
He occupies a position only one degree short of the very highest. In the
actual quality of his inspiration indeed perhaps there is not one who could be
ranked before him. No composer in the whole history of music was more
wondrously endowed by nature, whether one considers either the surpassing
beauty of his ideas or the profusion of their supply. ^ In Schubert's music
at its best there is a haunting and unutterable loveliness, an exquisite blending
of tenderness, sweetness, and purity, with strength, nobility, and grandeur,
to which, for the true Schuberdan, there is perhaps no equivalent in the works
of all the other masters put together. And this applies, it should be said,
not less to his instrumental pieces than to his songs. ^ The notion that
Schubert is great only in his songs is one of those stock judgments which, once
accepted, it seems almost impossible to eradicate. In point of ^ct nothing could
be wider of the mark than thb belief. Schubert left imperishable works in
nearly every branch of music. His songs comprise no doubt his most char-
acteristic and distinctive achievements, inasmuch as nothing like them had
ever been so much as attempted before. But, so far as concerns the specific
quality of their music, they were equalled, if not surpassed, by such works
as the symphonies, his chamber compositions, and those exquisite one-move-
ment pieces for the pianoforte, the " Impromptus^* and ** Moments Musicals ^^^
which in their way, be it said, were only a degree less epoch-making than
the songs. ^ What then is the distinctive place in music of this divincly-
g^ed tone-poet ? His distinction is twofold : he created the song as we
know it, and more than any other composer he influenced the development
of the romantic movement. As the greatest of all song- writers, Schubert's
724 THE MUSICAL GUIDE
position is assured. It seems safe to say that his noblest achievements under
this head will never be surpassed. The Schubert song, of which the text
throughout is mirrored in the accompaniment, in which every bar of the
music is conditioned by the words, thoughts, ancf dramatic or emotiona]
content of the poem illustrated, was a distincdve creadon in its way not one
whit less wondesful than, say, the Beethoven symphony or the Wagnerian
music-drama. Such songs as *' Der Erlkdnigy^* •* Die junge Nnme^*
" Der Tod und das Miidcben,'* ** Der Atlas ^^^ " Der Doppe /ganger,** or
** Gruppe aus dem Tartarus ^^^ to name but half-a-dozen almost at random from
his more descriptive examples, were a totally new thing in music, the influ-
ence of which upon all succeeding composers, not only of songs but of every
kind of dramadc or illustradve music, not excluding opera, it would be
hard to over-esteem. ^ And more remarkable still perhaps is the hex. thai
this superb emodonal and dramadc expressiveness was attained without the
smallest sacrifice of qualides specifically musical — nay, took shape in music
of the greatest beauty, richness, variety and charm, as music alone and with-
out reference to the text. Schubert's creation of the song in truth partakes
almost of the miraculous, for he not only invented an absolutely new land <^
song, but developed its utmost possibilides, one might almost say, at a blow
— in a word did this new thing at the first dme of asking and did it suprcmdy
well. ^ Schubert's influence as song- writer it would be hardly possible to
exaggerate. It was truly not a reform which he introduced but a revolution.
As to his influence on the composers of the romandc school one has only to
consider in general the whole character of hb music with its all-pervading
poetry, and emotional expressiveness, and in particular such works as those
already named, his ** Impromptus** and ** Moments Musicals** to wit, to
realise the character of the connecdon. Here also, in these last-named
works, he did that which no one before him had attempted, inventing new
forms for the expression of moods too delicate, too intimate, and too personal
for treatment in the larger movements of established type, and once again left
behind him creations of an entirely novel kind, which later composers have
striven in vain to improve upon. ^Perhaps in the whole range of pianoforte
music there are no passages more ravishingly beautiful — more enctianting to
the ear, regarded from the purely sensuous standpoint — than some to be fi>und
in these inspired works. Had Schubert left nothing furtner than this slender
volume o( ** Impromptus** and '* Moments Musicals** for the pianoforte hii
name would live forever in the records of the art. .^ If Schubert's essays in
the larger forms — the symphony and the sonata — are to a certain extent
impaired by the qualities alluded to, this is by no means to deny their enor-
mous significance and importance. Schubert in these larger works may have
been difluse at times, may not aiways have developed to the full the won-
DICTIONARY OF MUSICIANS ^^^
drolu ideas which came to him in such abundance, his works may somedmes
lack propordon ; but what qualides are theirs by way of comparison ! — what
w^ealch of melody ! what intoxicating harmonies ! what irresisdble rhythms !
v^hat magical modulations ! Recall such creadons as the C major and the
B minor symphonies, the quintet in C major, the D minor, A nunor, and G
major quartets, and the sonatas in A minor, B flat, and G among his larger
piano works, and of what account seem the dry-as-dusts' and analysts' strict-
ures in the face of such imperishable compositions as these ? Nor should it
be overlooked that in these larger works also, Schubert's methods, if he kept
within the recognised forms, were all his own, and as such were full of
influence upon his successors. Apart from such technical matters as his
harmonies, modulations, instrumentation, and the like, under all of which
heads he made striking advances, he breathed into these established forms also
a spirit of romance, a yearning, wistful, personal note of lyric tenderness
and fervour, whereby they are distinguished from all earlier compositions
of their kind. ^Well might it be said by Grove of Schubert that "there
never has been one like him and there never will be another" ; by Liszt
that he was '< le musicien le plus poete que jamais " ; and by the inscription
on his tomb that <' Die Tonkunst begrub hier einen reichen Besitz aber noch
viel sch6nere Hoffhungen."
(5) F«. Anton, 1768 — 1824 ; vio-
Knist ; R. Konzertmeister.. (6) Fz.,
DnE^en, 1808— 1878 ; son and pupil
of (5) ; violinist, Konzertmeister K.
orch. and composer. (7) Maschin-
kfty wife of (6) and daughter of G.
A. Schneider, 1815 — Dre^en, 1882 ;
soprano. (8) Georgine, Dresden,
1840— Potsdam, 1878 ; daughter and
pupil of (7) ; pupil also of Jenny Lind
and Garcia ; sanp^ in many European
cities. (9) Lous, Dessau, 1828 —
Dresden, 1884 ; violinist ; singing-
teacher and composer. (10) Oskar,
b. Berlin, Oct. 11, 1849; clarinettist ;
in America 2 years ; since at Berlin.
(11) Camille, pen-name of Camille
Prilipp.
Schuberth (shoo'-b^rt), (i) GotUob,
Karsdorf, 1778 — Hamburg, 1846 ;
oboist and clarinettist. (2) Julius
(Fd, G.)» Magdeburg, 1804 — Leip-
rig, 1875 ; son of above; founded firm
of *• J. Schuberth & Co.," Hamburg,
1826; Leipzig branch, 1832; New
York, 1850. His brother (3) Fr.
Wm. (b. 1817), took the Hamburg
house, 1853 (under firm-name *' Fritz
Schuberth"); 1872, at Weimar
founded the mus.-library ^* Liszt -
Schuberth Stiftung " ; 1891 succeeded
by Felix Siegel ; New York branch
now owned by J. H. F. Meyer. (4)
L.» Magdeburg, 1806 — St. Petersburg,
1850 ; son and pupil of (i) and von
Weber ; at 16 dir. Stadt Th. at Mag-
deburg; conductor Oldenburg, 1845;
cond. German opera, St. Petersburg;
c. operas, sjrmphs., etc. (5) K.,
Magdeburg, 18 11 — Zurich, 1863 ;
bro. of above ; noted 'cellist ; pupil
of Hesse and Dotzauer ; toured
widely ; soloist to the Czar; ct.-cond.,
dir. at the U.; c. 2 *cello-concertos.
Schubis^er (shoo'-blkh-^r), Anselm,
Uznach, Canton of St. Gallen, 18 15
— 1888 ; important writer.
Schnch (shookb), (i) Ernst Ton, b.
Graz, Styria, Nov. 23, 1847 ; puj^ of
£. Stoltz and O. DessofiF ; 1872, cond.
726
THE MUSICAL GUIDE
Pollini's It. Op.; from 1873 ct.-cond.
Dresden, then R. Ct. -Councillor and
Gen. . Mus. - Dir. (2) Clementine
Proska, b. Vienna, . Feb. 12, 1853;
wife of above ; 1873, colorature-sopr.,
Dresden ct -theatre.
Schncht (shookht), Jean F.» Holz-
thalleben, Thuringia, 1832 — Leipzig,
1894 ; critic and coinposer.
Schttcker (shlk'.$r), Edmnnd, b. Vi.
enna, ca. 1856 ; harpist ; pupil of
Zamara, Vienna Cons.; 1884, teacher
Leipzig Cons., and harpist Gewand-
haus Orch.; 1890, ct.-harpist to Duke
of Saxe-Altenburg ; 1891, Chicago
Orchestra.
Schnlhoff(shoor-h60, Jnlius, Prague,
1825 — Berlin, 1898 ; notable pianist ;
pupil of Kisch, Tedesco and Toma-
schek ; debut, Dresden, 1842 ; lived in
Paris as teacher, then Dresden and
Berlin; c. pf. -pes., etc
Schultesius (shool-ta'-zY-oos), Jn«
Paul, Fechheim, Saxe-Coburg, 1748
— Leghorn, 18 16 ; theorist and com-
poser,
Schultheiss (shoolt'-hls), Benedict,
d. 1693 ; organist and composer,
NUrnberg.
Schultz (shoolts), Edwin, b. Danzig,
April 30, 1827 ; barytone ; pupil of
Brandst^tter, Berlin ; singing-teacher
there ; also cond. the ** Monstre Con-
certe" given 1864 — 71, for the ben-
efit of wounded soldiers ; in 1880
the Prussian Ministry of War com-
missioned him to compile song^s ; c.
7 prize male choruses, etc.
Schultze (shoolt'-ts£), (i) Jn., organ-
ist and composer, Dannenberg,
Brunswick, 16 12. (2) Chp., cantor,
etc., Delitzsch, Saxony (1647 — 1668).
(3) Dr. Wm. H., Celle, Hanover,
1827 — Syracuse, N. Y., 1888 ; violin-
ist and professor. (4) Ad., b. Schwe-
rin, Nov. 3, 1853 ; pianist ; pupil of
Kullak*s Acad. , Berlin ; teacher
there ; 1886-90 ct-cond., Sonders-
hausen and dir. of the Cons. ; later in
Berlin ; c. a pf. -concerto, etc.
Schnlz (shoolts), (i). Vide pratori-
us. (2) Jn. Abraham Peter, LQne-
burg, March 30(31 ?),I747 — ^Schwedt.
June ID, 1800; important predeces-
sor of Schubert as a song-writer;
pupil of Kimbeiger, Berlin; teacher
there. 1780, ct.-cond. at Rheinsbeff :
I7d7-'94f ct— cond. Copenhagen ; tod
theorist ; c. operas, oratorios, etc
(3) Jn. Ph. Chr., Langensala, Tko-
ringia, 1773 — Leipzig, 1827; cood.
and composer. (4) &., Snbrector at
Forstenwalde ; wrote pop. text-
books, 1812 and 1816. (5) OttoK.
Fr. Wm., b. Gorti, Brandenbuiig,
March 25, 1805 ; pupil of Klein ax^
Zelter, Berlin ; organist at Prenz-
lau ; R. Mus. -Dir.; pub. methods
and c. sacred music, etc (6) Ad.,
Berlin, 1817 — 1884; violinist and
composer. (7) Fd., Kossar, 1821—
Berlin, 1897 ; 1856 conductor, mos.-
dir., singing-teacher and composo;
(8) Au^st, b. Brunswick, June 15.
1837 ; violinist ; pupil of Zinkeisen,
Leibrock, and Joachim ; leader of
the Ducal Orch. there ; c pop. male
Quartets.
Schulz-Beuthen (shooIts-boi'-t£n), H.,
b. Beuthen, Upper Silesia, Jnoe
19, 1838; pupil of Leipzig Cons.,
and of Riedel ; since 188 1, pf. -teach-
er, Dresden Cons.; c. 3 operas, 6
symphonies, " Haydn '^ ^'^ FrUkHftri-
fHerr £^, '' SckdH JSJisaietk,''
"^^ Reformation's,*^ (with organ);
'' Kdnig Lear,*' and a '' Kinder^Stn-
fonie*\' S3rmph. poem, ** Du TMUen-
insel"; 3 overtures, ind. ^^ Indian-
ischer Kriegstam** ; cantatas with
orch., ** Befreiungsgesang der Vet-
bannten Israels^** and ** Harald^ re-
quiem and Psalms 42, 43, and 123
with orch. Psalm 13 a ca^Ua male
choruses, etc.
Schulz-Schwerin (shoolts-shvi'-ren).
K., Schwerin, Jan. 3, 1845 *» pianist ;
pupil of Stem Cons., Berlin; ct-
pianist to Grand Duke of Mecklen-
burg; since 1885 lived in Berlin;
c. a symph., overtures ** Torfuat*
Tasso, " Die Braut wm Mesdna^''
and '* Triomphale** ; Sanctus, Bene-
dictus^ etc., with ordi., etc.
DICTIONARY OF MUSICIANS 727
(shoolts'^). (i) Jn. Fr., Mil-
bitz, Thuringia, 1793 — Paulinzelle,
1858 ; org. -builder with his sons at
MOhlhausen. (2) Ad.» b. Mannhagen,
near MoUn, April 13, 1835 ; concert-
bass ; pupil of Carl Voigt, Hamburg,
and Gsircia, London ; head-prof, of
singing R. Hochschule, Berlin.
Bchumacher (shoo'-makh-£r), (Peter)
Paul (H.), Mayence, 1848 — 1891 ;
conductor, critic, teacher and com-
poser.
Schunuum (shoo'-m£n), (i) Robert
(Alex.)> ZwickaUf Saxony, June 8,
18 10 — insane, Endenich, near Bonn,
July 39, 1856 ; one of the most in-
dividual and eminent of composers.
Youngest son of a book-seller (of lit-
erary taste and author of a biog.
gallery to which R. contributed at 14).
Pupil of a local organist, Kuntzsch
(pf.), who prophesied immortality for
him ; at 6 he began to compose, at
II, untaught, he c. for chorus and
orch. At 17 he set poems of his own
to mus. 1820-28, attended Zwickau
Gymnasium; then matriculated at
Leipzig Univ. to study law and phi-
losophy. 1829 Heidelberg, where he
also studied mus., practising the piano
7 hours a day ; played once in public
with great succ. 1830. Leipzig,
where he lived with Friedrich Wieck,
with whom he studied the piano ; he
also studied comp. with H. Dorn.
In tiying to acquire independence of
the fingers by suspending the fourth
finger of the right hand in a sling
while practising with the others he
crippled this finger and foiled his am-
bition to be the chief virtuoso of his
time. He now made comp, his first
ambition. In 1833, his first symph.
was performed with little succ, the
first movement having been played in
public by Wieck's 1 3-year old daugh-
ter, Clara, with whom S. fell in love.
The father liked S. as a son, but not
as a son-in-law, and put every ob-
stacle in his way, until in 1840, after a
year's law-suit, the father was forced
to consent and the two lovers, both
now distinguished, were united in one
of the happiest marriages known in
art ; she giving his work publicity in
her very popular concerts ; he de-
voted to her and dedicating much of
his best work to her. 1834 he found-
ed the '* Neue Zeitschrift fttr Musik,"
and was its editor till 1844. His
essays and criticisms (signed Flores-
TAN, EUSEBIUS, MeISTER RaRO, 2,
12, 22, ETC., Jeanquirit, etc.) are
among the noblest works in the his-
tory of criticism, particularly in the
matter of recog^ismg new genius and
heralding it fearlessly and fervently.
(Chopin, Berlioz, and Brahms, profit-
ed by this quality. Of Wagner he
did not altogether approve.) In his
writings he constructed an imaginary
band of ardent young Davids attack-
ing the Goliath of Philistinism. He
called this group the ** Davidsbtind-
ler." His pen-name *' Eusebius."
represents the vehement side of his
nature, ** Florestan," the gentle
and poetic side. His paper had
some succ, which was not bettered
by a removal to Vienna, 1838-39, and
a return to Leipzig. 1840, Dr. Phil.,
Jena. 1840 was mainly devoted to
his important song-composition; T841
to symph. work ; 1842 to chamber-
mus., incl. his pf.-quintet (op. 44)
which gave him European fame.
1843 was choral, '* Das Parodies und
Peri " (from Moore's " Lalla Rookh"),
ha\'ing a great succ; he also began
his choric mus. for ** Faust ^ The
same year, on the invitation of his
warm personal friend Mendelssohn,
he became teacher of pf. and comp.,
and of playing from score at the
newly founded Leipzig Cons.; 1844,
after going with his wife on a con-
cert-tour to Russia, he removed to
Dresden and resigned the editorship
of the "AVw^ Zeitschrifr; lived at
Dresden until 1850 teaching and com-
posing such works as the great C-
major svmph, 1846, and the opera
'' Genov'eva'' (1848; prod. 1850
without succ. ; its exclusion of recita«
728
THE MUSICAL GUIDE
tive diseasing the public). 1847
cond. of the ** Liedertafer* ; 1848
organised the ** Chorgesangverein."
1850, Dtlsseldorf as town mus.-dir.
(vice Fd. Hiller). 1853, signs of in-
sanity, first noted in 1833 and more
in 1845, compelled him to retire. 1854
he threw himself into the Rhine,
whence he was rescued by some
boatmen ; he was then taken to an
asylum at Endenich near Bonn^where
he remained in acute melancholia,
varied by intervals of complete lucid-
ity, when he composed as before. A
complete ed. of his compys. is edited
by Clara Schumann and publ. by
Breitkopf & Hartel. It includes, be-
sides the works mentioned, mus. to
Byron's *' Manfred^' Goethe's
''Faust;' cantatas, *' Der Rose Pil-
trerfahrC with orch.; " Adventlied;'
for sopr., chorus and orch.; '' Ab-
schiedslied;* chorus with wood- wind
or pf.; reauiem for ''Mignon";
*' Nachilied^' for chorus and orch.;
ballades ''Der Kdnigssohn" '' Des
Sanger's Fluch'' (op. 139), ** Vom
Pagen und der Kdnigsiochier" ''Das
Gliick von Edenkali;' and ** New
jahr sited'' ; Missa sacra, and requiem
mass, with orch. ; 4 symphs. (No. 3,
op. 97, in Eh t\it" Pheinisc he;* or
''Cologne;' symph.); " OuvertUre,
Scherzo und Finale ;' op. 52 ; 4 con-
cert overtures '* Die Braut von Mes»
sina;' " Festouvertare;* "Julius
Casar" amd "Hermann und Doro'
thea*\' pf. -concerto ; Concertstttck,
and concert-allegro, 'cello-concerto;
fantasia for vln. with orch. , etc
Much remarkable chamber music :
incl. pf. -quintet in Eb op. 44 ; 3 pf.-
trios, etc. ; 6 org. -studies in canon-
form. *'5>&i>»^«/jZr^« PedaUJlager;
6 org. -fugles on B-A-C-H, op. 60.
For pf. : Op. i, Variations on
A-B-E-G-G (the name of a yoasg
woman) ; op. 2 ** Pt^lUns " ; op. 3,
•* Studies after PaganinV s Caprices^;
op. 5, " Impromptus on theme kyQ.
Wieck*'; op. 6. " DavidsbUndkr.
tdnne*'; op. 9, ** Camaval"; op. 10,
** Studies on PaganittTs Caprica";
op. 15, thirteen ** Kinderscenen* ; op.
16, "JCreisleriana"; op. 21, "NovtU
letten " (4 books), 3 sonatas (No.
3 •* Concert sans orchcstre*'). and
3 sonatas for the young ; op. 33
*• Naehtstikke**; op. 26 *' Fasekisii''
schwank aus IVien**; op. 68, " Al
bum far die Jugend;* a canon 00
"An Alexis:* FOR PF. 4 hajtos: Op.
66. " Bilder aus Osten^'* after Rttck-
crt, 12 ** ClavierstOehe far Jkleine tmd
grosse /Tinder**; op. 109, " Ml-
scenen;* Many choruses a rc^^Ai ;
many songs and duets, incl. ten ^^
nische LiebesHeder^ with 4-haod ic-
comp., op. 138 ; Liederkreis (Heine),
song-cycle, op. 24, and Liederkreis
(12 poems by Eidiendorff), op. 39;
** Myrthen;* op. 25 ; Licder und Gc-
sange, 5 sets; 12 poems (KOmer),
op* 35 I 6 poems (RQckert), in colUb-
oration with his wife, op. 37 i
•* Frauenliebe und Leben;* qpt 42 ;
" Dichterliebe;* op. 48; " Uederal
bum fUr die Jugend^** op. 79:6
songs from Byron's ** Hebrew Mej*-
dies;* op. 95 (with pf. or harp) ; nine
Lieder und GesSnge from ** WiVuiM
Meisler;* op. 98a, etc.
His writings are pub, in 4 vols.,
1854 ; 4 vols, in English, Londoo*
1875 ; and his letters ed, by his wife
(1885) and u886) by Jansen.
Biogrr. by von \V asielewski (1858),
Reissmann (1865), Ambros (i860).
L. Mesnard (Paris, 1876). H. Ro-
mann (1887), H. Erler (1887), S.
Bagge (1879), Waldersee (1880), ««i
by Ph. Spitta (1882).
DICTIONARY OF MUSICIANS 7^9
Schumann.
Br Richard Aldrich.
SCHUMANN'S nusic &lk into three groups or periods as easily as
Beethoven's. There is first, the product of his early, exuberant
style, those wonderfiil series of short {Hano pieces, slight in form, but
soaring into imaginative power; saying little, but vaguely hinting at much. The
second period is one of more self-centred activity, of greater poise, of more
conservadve methods ; his ideal had expanded, and was leading him to com-
pose in a larger mould, with a broader sweep of imagination, and with a
greater regard for form as itself an element of beauty. And, in his last period,
we must group those of his works that show the Ruling powers, the exhausted
imagination of an intellect already overshadowed by its approaching doom.
^ Schumann's beginnings in music were as nearly the spontaneous outpour-
ings of himself as can well be thought of. It is difficult to derive the sources
of even his first attempts fi-om the music of his predecessors. He studied
some of Hummel 's works, and gready admired Moscheles, and, the critics
say, that the ** Abegg** varianons. Opus i^ are in the Hummel- Moscheles
style. He was devoted to Schubert from his early years, and played his little
piano pneces, especially the dances, with great love ; perhaps the traces of this
may be found in the Papillons, Opus 2. But even here, the influence, if there
be any, related more to the concise and sentendous form, the poetic content,
than to the fibre of the music itself. It is not the kind of resemblance that
you will find to Mozart and Haydn all through the earliest works of Beetho-
ven. Bach, too, formed a part of young Schumann's musical daily bread ;
We may perhaps discern that influence in the instincdve feeling for contra-
puntal movement — though of a very free, and, as it were, untechnical sort —
in those earliest piano pieces ; but here again comparison of the specifically
musical style reveals nothing. ^There is one infiuence^ however, that cannot be
overlooked in computing the forces bearing on Schumann's fbrmadve period ;
that is Jean Paul Richter. All readers of Schumann's letters know how steeped
he was in the spirit of this singular German fantastic, this overwrought romantic
symbolist, a story-teller, philosopher, and poet in one. He was all in all to
Schumann ; not only the young man's literary style — he was already a copi-
otur writer — but his very ideals in music, were moulded on Jean Paul's, and
th^kly overlaid with his mannerisms. For, in these early years of Schumann's
li^, music and poetiy seem to meet on common ground, and to take their
infpulse fitnn one and the same starting-point. In Jean Paul, all that charm-
ing crew of " Davidites.^* with **Fkrestan'^ and *'Eusebius*' as their for^
1
730 THE MUSICAL GUIDE
front, have their prototypes ; and their appearance in the early Zeitscbr^
articles is no more characteristic of this influence than their appearance in the
^^CarnevaP^ and the ** Davids bund lertanze,** ^ With his attainment of
his heart's desire in his marriage with Clara Wieck, in 1840, there seems to
have come a mellowing, a ripening force in Schumann's musical inspiration —
if you will, a conservative force that led him to see the significance and value
of those musical forms to which he had at first been indifierent. Some of his
ardent companions in the revolutionary parties of the earlier years saw in thii
a backsliding from his professions. But the fact that he parted company witk
** F lores tan " and ** Eusebius,*^ and erased their names from the reissues d
musical works once signed by them, can be for us naught but an indication ol
intellectual growth. We enjoy those romantic and engaging figures, bat we
see greater things than they were concerned with in the symphonies, the
piano-quintette, the string-quartettes, the piano-concerto, the third part ok
" Famt,'* and «« Paradise and the Peri.'' ^ The contributions of Schu-
mann to the development of the art are important and permanent. What be
did to develop the expressive power of the pianoforte is all his own. He
wrote fi>r the instrument in a new way, calling for new and elaborate advances
in technique — ^not the brilliant finger-dexterity of Chopin and liszt, but a
deeper underlying potency of expression through interlacing parts, skilfully
disposed harmonies, the inner voices of chords, and through new demands as
to variety of tone quality, contrasts of colour and the enrichment of the whole
through pedal efiects. It has been called a crabbed style, but it is no less
idiomatic of the piano than the more open and brilliant manner that was
developed at the same period by the virtuoso-school of pianofi>rte-playing and
composition. ^Schumann's use of short pieces, in connected series, as an ex-
position of what is really a single poetic idea running through them all, is his
own creation, and one that succeeding composers have made the moat o£
So is his idealised form of programme-music — music, that is, expressing some
definite, concrete, external idea. But his wise judgment on music of this
kind must always be kept in mind, that it must always be beautifiil and intel-
ligible as music without the need of explanation through titles, in which he saw
only an aid or stimulus to the hearer's imagination. Space is lacking to dis-
cuss his later experiments in modifying or developing the classical or sonata
form to increase its unity and its emotional potency, such as are to be found
in the D-minor and C-major symphonies, and the piano-quintette. Schu-
mann added something peculiarly his own to the Lied, in his enhancement oi
the accompaniment's significance, increasing its power of expression in co-
operation, sometimes almost on equal terms with the voice, and, in many
instances, giving its ritoumelles or instrumental postludes an independent elab-
oration and meaning of their own, ^ Schumann came oi a well-to-do
DICTIONARY OF MUSICIANS 731
family, and his early genenu education and sociai surroundings had been far
beyond those of most musicians. The fact that he was not only well read,
but a writer himself of peculiar charm and individuality, a critic of quickening
insight and generous discernment, reacted, as it needs must, on his music.
Though he was, early in his youth, of a lively character, he was always dis^
posed toward moodiness ; and by the time he reached manhood he had fallen
into a state of remarkable taciturnity and introspection. Wrapped in his own
thoughts, he would, when in the company of fiiends or fellow-musicians, sit
silent hour after hour, with his head leaning on his hand, often with an incip-
ient smile upon his hce, and with his lips pursed, as though to whistle.
His letters show him to have been of a sweet and affecdonate nature toward
his family and intimates ; kindly and generous in his esdmate and treatment
of others, yet roused to anger by a wrong, and capable of deep and glowing
resentment. ^ Schumann's place in modem music was slowly won, both
in his native land and elsewhere, but there is little sign yet, of its being shaken.
His symphonies suffer unduly, through their unskilful orchestradon, in the
estimation of a generation to whom fine feeling for orchestral colour is essential,
but the magnificent elegance of the two great overtures (to *« Manfred** and
♦* Genoveva**) b little discounted in this way ; the string-quartettes and the
piano-quintette and quartette seem to lose none of then- beauty as they recede in
historical perspective ; the piano concertos, and a great number of the songs are
heard repeatedly, every year, with unremitted joy. His solo piano-pieces
appeal less and less to the taste of the latter-day piano-virtuoso who cannot utilise
music calling so little for nimbleness of finger and brilliancy of efiFect ; but it
is impossible to deny that these pieces are still competent, as few others are,
to serve deep and sincere music lovers ''for the enjoyment of god at home."
Schumann will always have a commanding hold, a commanding place in the
nineteenth century, the century of evolution, the century that struck off the
academic bonds fix>m art. In the noble band of romantic adventurers into
new and unexplored realms of music, Schumann was a leader, but he never
fiuled in his bold and chivalrous championship of the rectitude of his art.
(2) Clara (Josephine), n^eWieck,
Leipzig, Sept. 13, 1819 — Frankfort-
on-Main, May 20, 1896; eminent
pianist ; wife of above (q. v.). She
played in public at 9; at 11 at the
Gewandhaus ; toured from 1832 ;
Vienna (1836) received the title of
Imp. Chamber- virtuoso. On Sept. 12,
1S40, m. Schimiann (q. v.). After be
died she went with her children to
Berlin ; 1863 to Wiesbaden, resum-
ing her public career as a concert-
pianist ; 1878-92 pf. -teacher Hoch
Cons., Frankfort. Besides editing
Schumann's works, his early letters
and iinger-exercises from Czemy,
she c. pf. -concerto, preludes and
fugues, pf.-trio, Vars. on a theme
by Schumann, many song^ incl. 3
in Schumann's op. 37 (Nos. a, 4,
and 11). Biog. by Litzmann, 1902.
(3) Georg (ATfred), b. K6nigstein,
732
THE MUSICAL GUIDE
Saxony, Oct. 25, 1866 ; pianist , son
and pupil of the city mus.-dir., pupil
of his grandfather, a cantor, and of
K. A. Fischer, B. RoUfuss, and Fr.
Baumfeider, Dresden, then of Leijj-
zig Cons., where he c. 2 symphs., a
serenade for orch., a pf. -quintet, a
vin.-sonata, etc., taking the Bee-
thoven prize, 1887 ; lived 2 years in
Berlin; 1892-96, cond. at Danzig, since
then Bremen Philh. Orch. and cho-
rus; c. also choral work, ** Amor und
Psyche^'' (Leipzig, 1888), orch.-suite
** Zur Karntvalszeit^*^ etc.
Schnmann-Heiiik (shoo'-man • hfnk),
Ernestine (nee Rdssler), b. Lieben,
near Prague, June 15, 1861 ; contral-
to ; pupil of Marietta von Leclair,
Graz ; debut Dresden, 1878, in ** //
Trovaiore y" sang there 4 years ; 1883
Hamburg City Th.; 1896, sang
** Erda," ** Waltraute," and the First
Norn at Bayreuth ; m. Herr Heink,
1883; m. Paul Schumann, 1893 ; from
1898, in America with Met. Op.
troupe.
Schnnd (shoont), Joachim, org. -build-
er, Leipzig, 1356.
Schnnke (shoonk'-«), (i) K., Magde-
burg, 1801 — suicide, Paris, 1839 I
pianist ; son and pupil of a horn-virt-
uoso. (2) Michael S.» composer. (3)
L., Casscl. 18 10— Leipzig, 1834 ;
pianist and com|X)ser ; pupil of his
father, the horn-virtuoso. (4) Gott-
fried S.
Schuppanzich (shoop'-p&n-tsYkh), Ig^-
naz, Vienna, 1776 — 1830 ; violinist,
conductor and teacher.
Schttrer (shu'-rfir), Jn. G., Raudnitz,
Bohemia, ca. 1732 — Dresden, 1786 ;
dram, composer.
Schurigr (shoo'-rtkh), (Volkmar) Ju-
lias (Wm.), Aue, Saxony, 1802 —
Dresden, 1899 ; composer and teach-
er.
Schuster (shoo'-shtifr), Jos., Dresden,
1748 — 1812; ct. -conductor ; c. pop.
operas, symphs., etc.
Schtttt (shut), Eduard, b. Peters-
burg, Oct. 22, 1856 ; pianist ; pupil
of Petersen and Stein, Petersb. Cons.;
studied at Leipzig Cons.; now cood.
Akademischer Wag^erverein.Vkniia;
c. fairly succ. comic opera, ** Sigmer
Formica " (Vienna, 1892) ; c. pf.-
concerto. etc.
Schatz (shots), (Sagitta'rins) H..
*' The father of German music,"
KOstritz, Saxony, Oct. 8, 1585 — Dres-
den, Nov. 6, 1672 ; in 1607 entered
Marburg Univ. to study law, hot,
1609, was sent to Venice by Land-
g^ve Moritz of Hesse-Cassel to study
with Giov. Gabrieli; 1612 returned to
Cassel as ct. -organist ; 16 15 cond. to
the Elector of Saxony at Dresden;
he frequently revisited Italy, wfaeooe
he brought much to modify and en-
large German mus. ; also made kmg
visits to Copenhagen as ct.-coiid
1627, on royal invitation for the wed-
ding of Princess Sophie of Saxony.be
c. the first German opera, the libnttto
being a transl. from the ** Dafm"*
of Peri (q. v.) ; this work is lost, as is
also the ballet, ** Orpheus umd Emry-
dice" 1638, for the wedding of Jn.
Georg II. of Saxony. Carl Riedel
revived interest in S. by pub. and
producing '* Die 7 WorU Christi an
Krewiy* and a ** Possum,** A com-
plete ed. of S's works is pub. br
Breitkopf and H artel in 16 vols.; thcj
include sacred and secular mus. of
great historical importance as the
predecessor whom Handel and Bach
rather developed than discarded ; be
was bom just a hundred years be-
fore them and shows great dramatic
force and truth in his choral work,
combining with the old polypbooic
structure a modem fire that makes
many of his works still beautiful
Biog. by Ph. Spitta, and Fr. Spitta
(1886).
Schwab (shv&p), Fran« M. L., Strass-
burg, 1829 — 1882 ; conductor and
dram, composer.
Schwalm (shvalm), (i) Robt., b. Er-
furt, Dec. 6, 1845 ; pupil of Pfli^g-
haupt and Leipzig Cons.; cond. at
KOnigsberg ; c. opera, mate choruses
with orch. , oratorio, etc (2) Otcar,
DICTIONARY OF MUSICIANS 733
Erfurt, Sept* ii, 1856; pupil of Leip-
t3g Cons.; 1886-88, proprietor of
Kahn*s pub. -house in Leipzig ; also
critic for the " TageblaH,'' etc.; c. an
overture ; pf.-pcs., etc.
SchajKler, Wm., b. St. Louis, U. S.
A., May 4, 1855 ; lives there as ama-
teur composer, largely self-taught ; c.
excellent songs, notably to Stephen
Crane's ''Black Rider s^
Schwanbei^ (shvsUi'-b^rkh), Jn. Gf.,
Wolfenbattel, 1740 — Brunswick,
1804 ; ct.-conductor and dram, com-
poser.
Scbwantxer (shvin'-ts^), Hugo,
Oberlogau, 1829 — Beriin, 1886; or-
ganist, teacher and composer.
Sdiwarbrook (shvar'-brook), Thos.,
Gcr. org.-builder in England, 1733-
1752.
Sdiwarz (shv&rts), (i) Ands. GL,
Leipzig, 1743 — Berlin, 1804; bassoon-
ist in London. (2) Chp. Gl.» b.
1768 ; son of above ; bassoonist. (3)
Wm., Stuttgart, 1825— Berlin, 1878;
singer and teacher. (4) Max, b.
Hanover, Dec. i, 1856; son of above;
pupil of Bendel, BQlow, and Liszt ;
pianist ; 1880-83, teacher Hoch
Cons., Frankfort ; then co-founder,
after Rafifs death, of the Raf!
Cons.; since 1885 its dir. (5) Bi-
anca. Vide bianchi. (6) Wenzel,
b. Brunnersdorf, Feb. 3, 1830 ; pu-
pil Prague Cons. ; from 1864 lived in
Vienna, proprietor of a mus. -insti-
tute; writer.
Schwedler (shvat'-l^r), (Otto) Maxi-
milian, b. Hirschberg, Silesia, March
31. 1853 ; flutist; pupU of Fr. Meinel,
Dresden ; in Leipzig mimicipal and
Gewandhaus Orch.; since 1895, ist
flute ; inv. the ** Schwedler flute " ;
wrote a pamphlet on it and c. tran-
scriptions, etc.
Scliweitzer (shvit'-ts«r), , Coburg,
1737 — Gothia, 1787 ; conductor and
composer.
Schweizer (shvit'-ts^r). Otto, b. Ztt.
rich. May 26, 1846 ; pianist ; pupil
of Moscheles and Wenzel, Leipzig
Cons. ; since 1870 Edinburgh, also
pf. -teacher at Athenseum Sch., Glas-
gow ; c. 2 pf. -suites, etc.
Schwencke (shv£nk'-«), (i) Jn. GL,
1744 — 1823; bassoonist. (2) Chr.
Fr. Gl., Wachenhausen, Harz, 1767
— Hamburg, 1822 ; son of above ;
cantor and mus.-dir. (3) Jn. Fr.,
Hamburg, 1792 — 1852 ; son and pu-
pil of (2) ; composer. (4) K., Ham-
burgj^i797 — ?; pianist; son of (2).
(5) Fr. GL, Hamburg, 1823 — 1896 ;
virtuoso on the pf . and organ ; com-
poser.
Schytte (shet'-t*), L. (Th.), b. Aar-
hus, Jutland, April 28, 1850 ; drug-
get, then studied with Ree, Neupert,
Gebauer, Gade, Taubert, and Liszt
(comp.); 1887-88 teacher Horak*s
Institute, Vienna ; lived in Vienna as
concert-pianist and teacher ; c. 3
comic operas ; pf. -concerto ; panto-
mimes for 4 hands, sonata, etc
Scontrino (sk6n-tr§'-no). A., b. Tra-
pani, 185 1 ; pupil of Plantania, Pa-
lermo ; lived In Milan as teacher ;
since 1897 prof, of cpt. at Florence
Cons.; c. 5 operas, incl. succ. i-act
'' Gringoire'' (1890), and ''La Cor-
tigiana '* (Milan, 1896); c. "Sinfcmia
marinaresca" (Naples, 1897).
Scot'son Clark, the Rev., London,
Nov. 16, 1840— 1883 ; pupil of his
mother (a pupil of Chopin) ; then
at Paris ; at 14 organist ; studied
with J. Hopkins and at R. A. M.; after
serving as organist various places, he
studied at Leipzig and Stuttgart ;
1873, returned to London as teacher,
organist and composer of many pop.
works.
Scott, John, England, ca. 1776^
Jamaica, 1815.
Scotto (skot'-to), (i) Ottaviano, and
his son (2) Girolamo, mus. -printers
at Venice, 153^39. and 153^73. re-
spectively ; the latter was also a com-
poser.
Scriabine (skre'-a-be-n£), Alex, b.
Moscow, Jan. 6 (new style), 1872 ;
brilliant pianist ; pupil of Safonoff
(pf.) and Tancjev (comp.) at the
Cons. ; toured Europe from 1895 ; c.
734
THE MUSICAL GUIDE
sonata, prelude and nocturne for left
hand alone ; pf. -impromptus, pre-
ludes, etc.
Scribe (skreb), Ene^ne, Paris, 1791 —
1861 ; most prolific of French drama-
tists, and wrote over 100 librettos,
incl. ** Fra Diavolo,** " Prophite,"
''VAfHcainer
Scnderi (skoo-dH'-re), SalTatore, b.
Terranova, Italy, Jan. 3, 1845 ; c.
pop. songs.
Scudo (skoo'^d), Paolo, Venice, 1806
— ^insane, Blois, 1864 ; writer.
Sebald (zi'-b^t), (i) Frau Ton (n^
Schwadke) ; contralto, Berlin,
1 791 ; her daughters (2) Atnalie,
soprano ; for some time the object of
Beethoven's affections; (3) Auguste,
sister of above ; also soprano.
Sebastian! (sa-bas.tY-&'-ne), Jn., b.
Weimar, 1622 ; conductor and com-
V poser.
Sebor (sha'-bor), K. (Karel), b. Bran-
deis, Bohemia, July 18 (Aug. 13?),
^843 ; pupil Prague Cons, and of
Kittl; 1864-67, cond. Nat. Opera ;
from 1871 military bandm., Vienna ;
prod, at Prague 5 Czech operas ; c.
symphs., overtures, etc.
Sechter (z«kh'-t«r), Simon, Friedberg,
Bohemia, Oct. 11, 1788 — Vienna,
Sept. 10, 1867; eminent contrapunt-
ist and teacher, ct. -organist, prof, of
harm. ; wrote valuable treatises ; c.
burlesque opera ^^ AH Hitch-Hasch,**
Sedlmair (zat'Umir), Sofia Offeney,
b. Hanover, Jan. 25, 1863 ; soprano
in various cities. ^
Seeling^ (za'-lYng), Hans (Hanns),
Prague 1828 — 1862 ; piano- virtuoso
and composer. y
Segrer(t) (za'-gSrt), Jos., Repin, Bo-
hernia, I7i6---Prague, 1782 ; organist
and composer.
Seg^hers (stt-gftrs'), Fran. J. Bap.,
Brussels, ifoi — Margency, near
Paris, 1881 ; violinist and conductor.
Seg^ond (sil-gdn), L. A., a physician
at Paris ; studied singing with Man-
uel Garcia, and wrote *' Hygiene du
chanUur " (1846), etc.
Segouro'la, Andres Perello de, b.
Spain ; studied law Madrid Unir.;
practised a year at Barcelona ; then
took up singing with success.
Seeuin (s^'-wln), (i) Albert Edw.
S., London, 1809 — New York, 1852 ;
bass. (2) Elizabeth, his sister.
mother of Parepa Rosa. (3) Ann
Childe, wife of (i); operatic sing-
er ; d^but, 1828 ; retired and lival
New York, 1880. (4) Wm. H., 1S14
— 1850 ; bro. of (i) ; bass.
Seibert (zi'-b«rt), Lonis, b. Ckebeig,
near Wiesbaden, May 22, 1833 ; pf.-
teacher Wiesbaden Cons.; c. cham-
ber-mus., etc.
Seidel (zi'-d«l), (i) Fr. L., Trencn-
brietzen, Brandenburg. 1765 — Char-
lottenburg, 1831 ; oreanist and dram,
composer. (2) Jn. Julius, BresUn^
1 8 10— 1856 ; organist and writer.
Seidl (zlt'-*l), (i) Anton, Pesth, May
7, 1850— New York, March 28, 1898;
eminent cond., particularly of Wag-
nerian mus.; pupil Leipzig Cons.;
1870 chorusm. Vienna opera ; 1872-
79, assisted Wagoner in score of ** Ni-
belungen Ring''* ; 1879-83 cond. for
Neumann's Wagner-troupe ; 1883-85
cond. Bremen opera (m. there the
soprano (2) Frl. ICrauss) ; 1885-91
Met. Op., N. Y., also from 1895-97
cond. N. Y. Philh. Orch.; 1886 and
1897 cond. at Bayreuth ; 1897 cond.
Covent Garden, London. (3) Ar-
thur, b. Munich, June 8, 1863; pupil
R. Sch. of Mus. at Ratisbon and of
Paul, Stade, Spitta, and Bellermann;
Dr. Phil., Leipzig, 1887; lives in
Dresden ; writer.
Seifert (zl'-f«rt), Uso, b. RomhiW.
Thuringia, Feb. 9, 1852 ; pupil of
Dresden Cons*; teacher there and ot-
ganist ; wrote pf. -method, pf.>pcs.,
etc.
Seifnz (zf-frlfts). Max, Rottweil,
Wttrtemberg, 1827— Stuttgart, 1885 ;
violinist, ct.-cond. and composer.
Seller (zl'-l€r), Jos., LQgde, near Pyr-
mont, 1823 — 1877 ; oi^nist, writer
and composer.
Seiss (zls), Isidor (Wm.), b. Dresden,
Dec. 23, 1840; pianist; pupil of
DICTIONARY OF MUSICIANS 735
Leipzig Cons. ; since 1871 pf .-teacher
Cologne Cons.; 1878 Prof.; con-
ductor Musikalische Gesellschaft ; c.
studies in bravura, etc.
Seitx (zits), (i) Robt., Leipzig, 1837—
1889 ; mus. -publisher and editor. (2)
Fr. (Fritz), b. GOnthersleben, Go-
tha, June 12, 1848; violinist; pupil
of Uhlrich ; since 1884 leader Dessau
ct.-orch.
S^ja-n (si-zh&ii), Nicolas, Paris, 17.45
— 1 8 19 ; famous organist ; 1772,
Ndtre Dame; 1783, St. Sulpice ; 1783,
royal chapel ; teacher and composer.
Sekels (za -k<(ls), Bd., pupil, now t. of
comp. Hoch Cons. , Frankfort ; c.
songs.
Sel'by, Bertram Luard, b. Kent,
Engl., Feb. 12, 1853 ; organist,
Salisbury Cath.; then of St. Barna-
bas, London ; c. 2 operas ; a i-act
operetta (** duologue"), successful
•• Weather or NcT' (London, 1896),
Berlin as ** Z>aj Wetter kduschen,''
1896; org-sonatas, etc.
Selig^mami (za'-lYkh-man), Hippolyte
Prosper, Paris, 1817 — Monte Carlo,
1882 ; 'cellist and composer.
Selle (z«l'-l6), Thos., Zorbig, Saxony,
1599 — Hamburg, 1663 ; cantor and
composer.
Sellner (z^l'-n^r), Jos., Landau, Ba-
varia, 1787 — Vienna, 1843 ; oboe-
virtuoso, teacher, writer and compos-
er.
Sembrich (z^m'-brYkh), Marcella
(rightly Praxede Marcelline Ko-
chanska, Sembrich being her moth-
er's maiden name), b. Wisnewszyk,
Galicia, Feb. 15, 1858 ; eminent col-
orature soprano ; pupil (later the
wife) of Wm. Stengel (piano), Lem-
berg Cons. ; studied with Epstein at
Vienna, and singing with Victor Ro-
kitansky, and with G. B. Lamperti,
Jr., at Milan; d^but, May. 1877, at
Athens ; studied German opera at
Berlin with Lewy; sang for 18 months
Dresden ct.-th.; from June, 1880,
London, and, 1883-84, toured Eu-
rope and America ; 1884, studied
with Francesco Lamperti, Sr.; from
1898 has sung at Met. Op. and in
concert in America with greatest
succ. ; 1900, managed her own opera
CO. in Germany.
Semet (sii-mi), Th^ophile (Aiiii6
Emile), Lille, 1824— Gorbeil, near
Paris, 1888 ; drummer and dram,
composer.
Seiiiler(zSmM£r), Fz. X., 1772 — 1859;
via. -soloist in Berlin.
Senesino (san-^-se'-no), Bernard!
Francesco (called the Sienese), Siena,
1680 — ca. 1750; male contralto or
mezzo-sopr. ; sang in H^del's operas
till 1729, where he quarrelled with
H. and went over to Bononcini; made
a fortune and returned to Siena.
Senff(z£nO, Bartholi; Friedrichshall,
near Coburg, i8i8 — Leipzig, 1895 ;
founder Leipzig mus.-pub, house
(1850), also editor.
Sen(f)fl (z^nf'l) (or Senfel), L., Basel-
Augst, 1492 — Munich, ca. 1555;
emhient contrapuntist, ct.-cond. and
composer.
Senkrah(zan'-kra)(rightlyHark'ness),
Arma Leorette, New York, 1864
— suicide, Weimar, Aug. 4, 1900; vio-
linist ; pupil of Amo Hilf , Leipzig ;
Wieniawski, and M assart, Paris
Cons. ; toured with succ.
Serafino (sa-rsl-fe'-nd), (i) Santo, vln.-
maker at Venice, 1730-45 ; his label
is ** Sanctus Seraphin Utinensis fecit
Venetiis, Anno, 17 — ". (2) Greeo-
rio, his nephew, also was a vm.-
maker, label " Georgius Seraphin
Sancti nepos fecit Venetiis, 17 — ,
Serassi (sa-riLs'-se), Italian family of
org.-builders at Bergamo. The u>un-
der (i) Giuseppe (i7 vecchio), Gor-
dano, 1694 — Cfrema, 1760. His son
^2) Andrea Luigi, 1725— 1799. (3)
Giuseppe (i7 giovane)^ Bergamo,
1 750 — 1 817; succeeded by his sons (4)
Carlo and (5) Giusepi>e.
Sering (za'-ring), Fr. Wm., FUrsten-
walde, near Frank fort- on-Oder, Nov.
26, 1822 — 1901; from 187 1 teacher at
Strassburg, where he organised a Ge-
sang^erein ; pub. treatises, also an
oratorio, male choruses, etc;
736
THE MUSICAL GUIDE
Sermisy (s^r-me-se), Claude de
(called Claudia, not Claudin Le-
jenne), ca. 1530-60 ; French ct.-cond.
and composer.
SeroT (or Sleroff, Syeroff (s'ya-rof));
Alex. NikolajeTitch, Petersburg,
May II. i8ao— Feb. I (new style),
1871 ; important Russian composer
and critic ; a lawyer, studied 'cello
with Karl Schuberth ; 1863 prod,
grand opera (text and mus.) ^^ Ju-
dith" and the Czar granted him a
pension ; he was a lecturer on mus.
at Moscow and Petersb. Universities
and wrote his own librettos ; 1865
prod. *^ Hogneda" with succ.; laid
aside 2 unfinished operas to finish
** WratyiasUla'* but died before it
was done. Soloviev finished it and
it was prod, with succ.
Serpette (s£r-p«t), (H. Chas. A.)
Gaston, b. Nantes, Nov. 4, 1846 ;
pupil of Thomas, Paris Cons.; 1871,
taking ist Grand prix de Rome,
wrote cantata ^''Jeanne d'Arc"; 1874,
prod, opera-bouffe '*Za Branche
Cass/e^^ (Bou£Fes-Parisiens), followed
by 30 other light works.
Serrao (s^r-ra'-d), Paolo, b. Filadelfia,
Catanzaro, in 1830 ; pupil of Naples
Cons.; political troubles prevented
the prod, of his opera ^^'Vlmpos-
tore in 1852, and another in 1857,
but he prod. '' PergolesV and "Za
DucAessa di Guisa" (iSts), and **//
Figliucl prodigo " (i 868) ; c. also an
oratorio, a requiem, a funeral symph.
(for Mercadante), etc.
Senrais (s£r-v£), (i) Adrien Fran.,
Hal, near Brussels, 1807 — 1866; emi-
nent 'cellist and teacher ; pupil of his
father and of Platel; debut Paris,
1834 ; 1848, Prof. Brussels Cons, and
soloist to the King ; toured widely ;
c. 3 concertos for 'cello, etc. (2)
Jos., Hal, 1850 — 1885 ; son and pu-
pil of above ; 'cellist and prof. Brus-
sels Cons.
Sestini (s^s-te'-ne), Giovanna, prima
buffa in London, 1783.
Sercik (s«v'>tsYk), Pan; notable Bo-
hemian violin teacher.
SeT'em, Thos. H., London, 1801—
Wandsworth, 1881; conductor, pub-
lisher and dram, composer.
Sew'ard, Theodore rrelinghuyea,
d. New York, Oct. 30, 1902 ; teach-
er, ed. and composer of slave songs
and '* spirituals."
Seydelmann (zi'-d^l-mfin), Fs., Dres-
den, 1748 — 1806; cembalist, con-
ductor and dram, composer.
Seyffarth (zif'-f&rt), Ernst Hn., b.
Crefeld, 1859; pupil of Cologne
Cons, and of Kiel ; from 1892, con-
ductor Neuer Sins^erein, Stuttgart;
c. dram, scene ** Thusmldar "^"Tram-
erfeier bcim Tode einer Jungfrm^
symph., sonatas, MS. opera '* Tke
Bells ofPlurs,"' etc.
Seyfried (zl'-fret), Ignaz X. Ritter
▼on, Vienna, 1776— 1 841; conductor,
writer and dram, compc^er.
S^gard (sa'-g£rd), Camille, b. Eng-
land ; went early to Russia ; papil of
her father and of Marchesi; debut,
1888, Covent Garden as *'Zerlina";
sang at Opera Comique, later in Am-
sterdam ; has sung in concert and
opera in Europe, and since 1896 in
America.
Sg^ambatt (sgim-ba'-te), Giovanni, b.
Rome, May 18, 1843 ; important pi-
anist and conductor ; pupil of Al^
ga, Barbieri and Natalucci, later of
Liszt ; at 6 played in public, sang in
Church and cond. small orchestras:
later he toured Italy and Germany ;
1877, head-teacher Accad. di S. Ce-
cilia, Rome; 1896, founded **Nuova
Society Musicale Romana " ; admirer
and friend of Wagner; c. requiem
with orch. (1896), 3 symphs., ovw-
tures, pf. -concerto, an octet, 2 pf.-
quintets, a string-quartet (op. 17) and
piano pes., etc.
Snakespeare, Wm., b. Croydon,
Engl., June 16, 1849; choir-boy; at
13 organist ; pupil of Molique (comp.);
1866, won King*s scholarehip R. A
M., and studied there with Bennett;
187 1, took Mendelssohn Scholarship
for pf. -playing and comp.; studied
with Reinecke, Leipzig; 1873, anging
DICTIONARY OF MUSICIANS 737
at MOan; from 1875, concert and ora-
torio-singer ; 1878, prof, of singing,
R. A. M.; in 1880, i886» cond. of
the concerts there ; resigned ; has
won high reputation as a singing-
teacher ; c. overtures, a symph., pf.-
concerto, etc
Sharpe, Herbert Frauds, b. Hali-
fax, Yorkshire, March i, 1861 ;
Queen*s Scholar, Nat Training Sch.,
London ; gave pf. -concerts ; 1884,
px>f. R. C. M.; 1890, examiner;
wrote '' Piano forU Sch.'' (with Stan-
ley Lucas) ; c. comic opera, etc.
Shaw, (i) OliTer, b. Middleboro',
Mass., d. 1848 ; a blind singing-
teacher and public singer. (2)
Mary, London, 1814 — Suffolk, 1876,
contralto and teacher.
Shed'lock, John South, b. Reading,
£n^., 1843; gn^uate, London,
Univ., 1864 ; pupil of E. LQbeck
(pf .) and Lak) (comp.), Paris ; teach-
er and concert-pianist, London, 1879;
critic for the *^ Athemtum **/ also lect-
itred at the R. A. M.; pub. articles,
•' The Pianoforte Sonata, Its Origin
and Development" (London, 1895);
editor and translator ; c. string-quar-
tet, etc.
Shel'ley, Harry Rowe, b. New
Haven, Conn., June 8, 1858; pupil
of Stoeckel at Yale, Dudley Buck,
Vogrich and Dvofak (New York) ;
organist various churches, also teach-
er of theory and comp. Metropolitan
College, N. Y.; c. ** The Inheritance
Dimncy* sacred cantata, 2 symphs.
(the first E(>, performed, N. Y., 1897),
vln.-concerto (1891), cantata ** Vexil-
la Regis'* (N. Y., 1894), and suite
^* Baden-Baden" etc., for orch.;
church-mus., pf. and org. -pes. and
soncs, many very pop.
Shepltfd, (I) Thos. 6riffin, b. Madi-
son, Conn., April 23, 1848 ; pupil of
G. W. and J. P. Morgan ; organist
various churches in New Haven ; in-
structor, Yale Glee Club and cond.
Oratorio Soc, also dir. Apollo Club
(male voices) ; teacher and critic ; c.
comic opera, Christmas cantata, etc.
47
(2) Frank Hartson, b. Bethel.
Conn., Sept. 20, 1863 ; pupil of
Thayer, Boston; organist various
towns ; 1886-00, studied Leipzig,
1888, organist English Chapel there ;
1891, est. a sch. at Orange, N. J.;
organist there ; writer of text-books
and treatises.
Sherrington, Jose., b. Rotterdam,
Oct. 27, 1850 ; sister of Mme. Lem-
mens - Sherrington ; concert - soprano
with remarkable range (a-e'").
Sherwood, (i) Edgar Harmon, b.
Lyons, N. Y., Jan. 29, 1845 ; pianist ;
served in the Union Army 1862-^5,
and then took up mus. ; lives in Roch-
ester, N. Y., as pianist, teacher and
composer. (2) Wm. Hall, b. Lyons,
N. Y., Jan. 31, 1854 ; noteworthy
pianist and teacher, bro. of (i) ; son
and pupil of Rev. L. H. Sherwood,
founder of Lyons Mus. Acad. ; pupil
also of Heimberger, Pychowski and
Wm. Mason ; studied 5 years un-
der Th. Kullak, Weitzmann, Wuerst
and Deppe (Berlin), Richter (Leip-
zig), K. Doppler and Scotson Clark
(Stuttgart) and Liszt (Weimar); d^
but with succ., Berlin ; returned 1876
to the U.S., and has toured with great
succ; teacher N. E. Cons., Boston,
later. New York ; 1889, Chicago, as
head of the pf. -section of the Cons.;
1897, founded ** Sherwood Piano
Sch."; 1887 he m. his pupil, Es-
tella F. Adams, also pianist ; pub.
pf.-pcs. (3) Percy, b. of English
parents, Dresden, May 23, 1866 ; pu-
pil of Hermann Scholtz (pf.) ; later
of Dresden Cons. ; concert-pianist and
teacher, Dresden Cons.; c. pf.-pcs.
Shield, Wm., Whickham, Durham,
i748--London, 1829 ; violinist, writer
and composer.
Shin'ner, femily, Cheltenham, July 7,
1862 — Aug., 1901; concert violinist,
England. 1889, m. Capt. Liddell;
founded S. Quartet (female).
Shore, (i) Matthias, d. 1700, Eng-
lish ct.-trumpeter ; reputed Inventor
of the tuning-fork. (3) Wm., d.
1707, son tad successor of abovs.
738
THE MUSICAL GUIDE
(3) Catherine, ca. 1668 — ca, 1730;
sister of a|?ove ; stage-singer, 1693,
m. Colley Gibber. (4) John, 1660—
1 750 ; bro. and successor of (2).
Shttdi. Vide bro ad wood.
Shut'tleworth, Obadiah, d. ca. 1735;
English organist and violinist.
Sibeaus (sc-ba-ll-oos), Jean, b. Ta-
vastehus, Finland, Dec. 8, 1865 ;
studied Mus. Inst. Helsingfors ; and
with Becker and Goldmark ; since
1893, teacher theory, Mus. Inst, and
the Orch. Sch., Helsingfors ; c. The
first Finnish opera " Tornissa Olija
Impi ** (Helsingfors, 1896) ; also for
orch. " The Swan of Tuenela " and
** Lemmin Kainen*
Siboni (se-bo'-ne), (i) Giu., Forli,
1780 — Copenhagen, 1839 ; tenor. (2)
Erik (Anton Waldemar), Copen-
hagen, 1828 — 1892; pianist, organ-
ist, teacher and dram, composer. (3)
Johanna Frederika (nee Cnill), b.
Rostock, Jan. 30, 1839 1 pianist ;
pupil of Moscheles ; 1866 m. above.
Sicard (se-k&r), Michel de, b. of
French parents, Odessa, 1868 ; vio-
linist, pupil of Cons, at Kiev ; debut
at 9; 1884, pupil Paris Cons.; 1886,
ist. vln-prize, then pupil of Joachim
(vln.), and Bargiel (comp.) ; has
toured Europe.
Sieber (ze'-b«r), Fd., Vienna, 1822—
Berlin, 1895; ifamous singing-teacher.
Siegrel (ze -g^l), (i) E. F. W., d.
1869 ; founded, 1846, mus. -pub. firm
at Leipzig, now owned by R. Linne-
mann. (2) F. Vide schuberth, j.
Siehr (zer), Gv., 1847 — Munich, 1896;
bass ; created ** Hagen," Bayreuth,
1876.
Sievekingf (ze'-v£-kYng), Martinus, b.
Amsterdam, March 24, 1867; notable
pianist ; pupil of his father, of J.
ROntgen, Leipzig Cons. , and Coenen
(harm.) ; 1890 played in London ;
made v. succ. tours ; 1895 Boston ;
1896-97 American tour ; c. a suite
(played by Lamoureux, Paris), etc.
SiUtce (sc-ffi'-che) (rightly Grossi),
GioT. Fran., robbed and mur-
dered in Northern Italy, ca. XC99;
soprano-musico ; ca. 1675 member
Papal Chapel.
Sighicelli (se-gY-ch^l'-le), familj of
violinists, (i) Filippo, San Cesario,
Modena, i6i86 — Modena, 1773 ;
violinist (2) Gin., Modena, 1737 —
1826 ; son of above ; violinist. (3)
Carlo, Modena, 1772 — 1806 ; son of
(2), also attached to court. (4) A.,
Modena, 1802 — 1883 ; son of (3) ;
eminent violinist and conductor. (5)
v., b. Cento, July 30, 1830 ; son and
pupil of (4); pupil of Hellmesberger,
Mayseder, and 1849 solo-violinist and
2nd ct.-cond. Modena ; since 1855,
teacher Paris ; c. vln.-fantasias, etc
Sigismondi (s^-jVs-mon'-de), Giv.,
Naples, 1739 — 1826; singing-teachei
and dram, composer.
Silas (se'-lte), Eduard, b. Amsterdam,
Aug. 22, 1827 ; pianist ; debut Am«
sterdam, 1837; pupil of Neher, Kalk.
brenner, etc.; later of Benoist and
Halevy, Paris Cons.; winnings ist
prize for org. playing, 1849, ^ com-
petition with Saint-Saens and Cohen;
since 1890 lives in England as or-
ganist ; 1866 Assemblee gentle des
Catholiques en Belgique awarded him
1st prize (gold medal and 1,000
francs) for a mass; later prof, of
harm. Guildhall Sch. and the London
Acad, of Mus.; c. oratorio "/aafi"
(Norwich Fest.. 1863), Kyrie Eleison,
with orch., 3 symphs., 3 overtures,
etc.
Silbermann (zel'-b^r-mSn), (i) Andre-
as, Klein-Bobritzsch, Saxony, 1678
— Strassburg, 1734 ; org.-builder at
Strassburg. (2) G£, Kldn-Bo-
britzsch, 1683 — I>resden, 1753; bro. of
above and his apprentice; the first Ger-
man to manufacture pianofortes, bat
preceded by Cristofori ; inv. cembal
d' amour (v. D.D.). (3) Jn. Andre-
as, Strassburg, 1712 — 1783 ; son of
(i); org.-builder. (4) Jn. Daniel,
17 17 — Leipzig, 1766 ; son of (i), suc-
cessor of (2). (5) Jn. H., Strassbnig,
1727 — 1799 ; son of (i) ; pf. -maker.
(6) Jn. Fr., 1762 — 1817 ; son of (5),
ot^.-builder, organist and oonqioeer.
DICTIONARY OF MUSICIANS 739
SUcher (zll'.kh£r), Fr., Schnaith,
WQrtcmbcrg, 1789 — Tubingen, i860;
noted song-composer; pupil of his
father and of Auberlen ; teacher at
Stutt^;art, 1817; mus.-dir. at Tubin-
gen Univ. ; pub. a text-book and
collected and c. chorals, etc.
Siloa (se'-io-a), Ginlio, pupil of Acad,
of Sl Cecilia, Rome ; c. ** Carnun
S^culare '* for soli, chorus and orch.
(1902).
Siloti (se'-Id-te), Alex., b. Charkov,
Russia, Oct. 10, 1863 ; pianist ; pupil
of Zwereff and of N. Rubinstein and
Tchaikovsky, Moscow Cons. ; win-
ning a gold medal ; debut, Moscow,
1880 ; studied with Liszt 3 years ;
1887-90, prof. Moscow Cons.; since
in Paris; has made v. succ. tours
1898-90, America ; c. pf. -pieces.
SilTa (zel'-vS), (i) Andreas de, i6th
cent, contrapuntist ; c. motets, etc.
(2) DaTid Poll de, St. Esprit, near
Bayonne, 1834 — Clermont, Oise,
1875 ; blind ; pupil of his mother
who c. operas, oratorios, etc ; wrote
out his comp. by dictation.
Silver (sel-var), Chas., Paris, April 16.
1868 ; pupil of Dubois and Massenet
at the Cons.; won Grand prix de
Rome with cantato ** VlnUrdiV; c.
operetta, elegiac poem *' Rals " ; 4-
act fairy opera ^^ La Belle au Bois
Dormant*'' (Paris, 1895), oratorio
*• ToHe:' etc.
Simandl (ze'-mUnt'l), Fz., ist double-
bass Vienna court orch.; since 1869
teacher at the Cons.; pub. method
for contra-bass.
Simfio. Vide Portugal.
Simon (ze'-mdn). (i) Jn. Kaspar, Can-
tor and organist at Nordlingen, 1750-
54 ; composer. (2) Chr., Schem-
berg, 1809 — Sondershausen, 1872 ;
double-bass.
Simon (sc'-m6A), (i) Jean Henri, Ant-
werp, 1783 — 1861 ; violinist. (2)
-Girard, Julie Josephine
Caroline (n^e Glrard), b. Paris,
1S59; pwpil of Cons.; dAut 1877,
creating Offenbach's " Colinette."
1878, *'Mmc. Favart,* and many
other r61es ; m. Simon ; later m.
Hugenette.
Simons-Candeille. Vide canbkills.
Simp' son (or Sympson), (i) Chp.,
d. London, ca. 1677 ; player on the
viola da gamba ; pub. text-books.
(2) Tho8.» b. England ; from ca.
161 5, violinist in Germany; composer.
Sim'rock, (i) Nicolaus, b. Bonn,
1755 ; founded there 1790 mus.-pub.
house; 1805 Berlin branch founded
by his son "(2) Peter Jos.: since 1870
in Berlin under (3), Fritz, 1841 —
Lausanne, Sept., 1901.
Sina (se-na), Louis, 1778 — Boulogne,
1859; violinist.
Sinclair (slnk'-l^r), J., near Edin-
burgh, 1790— MaiTg^te, 1857; tenor.
Sinding^ (zlnt'-fng), Chr., b. Kong-
bery, Norway, Jan. 11, 1856; notable
composer ; pupil of Reinecke, Leip-
zig Cons. , later with Royal Scholar-
ship, studied at Dresden, Munich,
and Berlin ; 1. Christiania as organist
and teacher; c. symph., 2 vln. -sona-
tas, chamber-mus., a pf. -concerto, pf.-
pcs., and songs.
Singel^e (s&Azh-li), J. Bap., Biussels,
i8i2 — Ostend, 1875 \ violinist and
composer.
Singer (z!ng'-«r), (i) Peter, Hftfelgehr
(Lechthal), 1810 — Salzburg, 1882 ;
monk ; inv. (1839) the *' Pansym-
phonikon *' (v. D. D.) ; composer. (2)
Edmund, b. Totis, Hunganr, Oct.
14, 1831 ; violinist; pupil of Ellinger,
at Pesth, then of Kohne; toured, then
studied with Jos. B5hm, Vienna, and
at Paris Cons.; 1853-ii leader at
Weimar; then leader at Stuttgart,
and prof, at the Cons. (3) Cftto,
Sora, Saxony, 1833 — New York,i894;
pianist, conductor, teacher and com-
poser. (4) Otto, Jr., b. Dresden,
Sept. 14, 1863 ; violinist ; studied in
Paris, in Berlin under Kiel, and in
Munich under Rheinberger; 1890
teacher in Cologne Cons., and con*
ductor ; since 1892 lives in Leipzig ;
c. vln.- ConcertstUck, etc.
Sinn (zYn), Chp. Albert, wrote trea-
tise on ^* Temperament,** 1717.
740
THE MUSICAL GUIDE
Sir'men (Syrmen), (i) Lni^, violin-
ist and cond. at Bergamo ; his wife,
(2) Maddalena Lombardini de, b.
Venice, 1735 — d. towards end of
cent.; prominent violinist; pupil of
Tartini ; later singer and composer.
Sistemuums (zlst -^r-mins), Anton,
b. Herzogenbusch, Holland, Aug. 5,
1867; bass ; pupil of Stockhausen ;
1899, sang ** Pogner " at Bayreuth ;
lives in Frankfort.
Sitt (zlt), Hans, b. Prague, Sept. 21,
1850; violinist ; studied Prague Cons. ;
1867, leader theatre-orch., Breslau ;
1869, cond. there, later in Prague,
etc.; 1883, teacher of vln. Leipzig
Cons, and via. -player Brodsky Quartet;
cond. of various societies ; c. 3 vln.-
concertos, a vla.-concerto, a 'cello-
concerto, etc.
Sittard (sYt-tAr), Josef, b. Aix-la-Cha-
pelle, June 4, 1846 ; pupil, Stuttgart
Cons., later teacher of singing and
pf . there ; lecturer on mus. ; since
1885, critic ; 1891, prof. ; writer and
composer.
SiTon (se-vo -re), Ernesto Camillo,
b. Genoa, 1815 — 1894; famous vio-
linist and composer ; d^but at 6 ; pu-
pil of Costa and Paganini ; toured
widely.
Sjttffren (shakh'-r^n), (Jn. Gt.) Emil,
b. Stockholm, 1853 ; pupil of the
Cons, there ; later of Kiel (cpt) and
Haupt (org. at Berlin) ; since 1890,
organist Johanldrke, Stockholm ; c.
sonatas, etc.
Skroup (or Skraup) (shkroop or
shkr&'-oop), (i) Fz. (Frantiiek),
Vosic, Bohemia, i8oi — Rotterdam,
1862 ; conductor and dram, compos-
er. (2) Jan Nepomuk, Vosic, 181 1
— Prague, 1892 ; bro. of above ; con-
ductor, singing-teacher, writer and
dram, composer.
Skuhersk^ (skoo'-h£r-shke), Fz.
(Frantiiek) Sdenko, Opocno, Bo-
hemia, 1830 — Budweis, 1892; or-
ganist, conductor, theorist and com-
poser.
SUtinn (sUl'-tYn), Ilja Hitch, b. Bel-
gorod, Russia, July 7, 1845 ; pupil
St. Petersburg Cons, and of Th. Kid-
lak and Wuerst, Berlin ; dir. Char-
kow section. Imp. Russian Mas.
Soc
SUughter (sl6t'.£r), A. Walter, cho-
rister at St. Andrew's, Wells St.,
London ; pupil of A. Cellier and
Jacob! ; cond. Drurv Lane and Sl
James's Th.; prod, comic operas
(1890), and a succ. mus.-coa]cdj
" The French Maid'' (1897), etc
SlaTik (sla'-vek), Jos., Jince, Bobe-
mia, 1806 — Pesth, 1833 ; violinist.
Slivinski (slY-ven'-shkl), Jos. von, b.
Warsaw, Dec. 15, 1865; pianist;
pupil of Strobl, Leschetizky and An-
ton Rubinstein ; debut, 1890 ; Amer-
ica, 1893 ; toured vith Leipzig Philh.
orch. ; lives Paris.
Slo'per (Edw. Hn^), Lindsay, Lon-
don, 1826—1887; pianist, teacher,
writer and composer.
Small'wood, Wm., b. Kendal, EngL,
183 1 — 1897; organist; writer and
composer.
Smareg^Ua (smfi-r&l'-yS), A., b. Pola,
Istria, May 5, 1854 ; studied Vienna
and at the Milan Cons. , graduatiiig
with a symph. work ^^ EUan^ra*' ;
prod. 6 operas, ind. '^^ PrenMa**
(Milan, 1879), '' Bianca da CervW
(Milan, La Scala, 1882), **// VassaU
lo di Szigeth " (Vienna, 1889. as ''Der
VasaU von Sgi^eth," New York.
1890), and "Za FaJena" (Venice,
1897.
Smart, (i) Sh- G. (Thos.), LondoD,
1 776-— 1867; noted conductor; pupil
of Dupuis and Arnold ; kn^ted,
18 II ; cond. Phil. Soc., 1813-44.
(2) Henry, Dublin, 1778—1823;
bro. of above ; violinist ; leader Dni-
ry Lane, 18 12-21 ; piano-manufac-
turer. (3) Henry, London, Oct. 26,
1813 — (blind) July 6, 1879 J *^ *°**
pupil of (2); studied with Keams;
organist in London from 1836 ; c an
opera ''Bertha^ (1855); manycanU-
tas, etc.
Smetana (sma'-ti-nfi), Fr. (Bedrich),
Leitomischl, Bohemia, 1824— insane,
Prague, 1884 ^ noted composer and
DICTIONARY OF MUSICIANS 74»
pianist ; pupil of Proksch and Liszt ;
1848, organised a sch. at Prague;
1866-74, cond. Nat. Theatre Prague.
Deafness caused his resignation and
the eternal ringing of one note in his
head brought on insanity. He made
this note the motif of a prophetic
composition. C. a string-quartet, 7
operas, incl. ^''Prodand nevUta**
(*• The Bartered Bride\ 1866 ; 9
symph. poems, incl. a cycle of 6
'^Md Vlasr (''My Country''),
symph. of ** Triumph,'* etc.
Smetn'ers^l, Wm., pianist, organist,
writer and composer, London, 1794.
SniHh, ii) Bd. (Bd. Schmidt) (called
"Father Smith •*), Germany, ca.
1630— London, 1708 ; ct org.-build-
cr. (2) Robt.y Cambridge, i68^> —
1768 ; acoustician. (3) J. Chris-
topher (Johann Chr. Schmidt),
Ai^bach, 1 7 12 — Bath, 1795 ! dram.
composer. (4) Johami Stafford,
Gloucester, Engl., ca. i750^Lon-
don, 1836 ; onanist and composer.
(5) Edw. Woodjey, 1775— 1849,
Uy-vicar at Windsor. (6) Geo.
Townsbend, Windsor, 18 13 — Here-
ford, 1877: son of above ; composer.
(7) Montem, bro. of above ; smger.
(8) Samael, b. Eton, 1821; bro. of
above; organist. (9) John, Cam-
bridge, 1795 — 1861; composer and
Srof. (10) Robt. Archibald, Read-
igf 1780---1829; composer and vio-
linist. (II) Alice Mary (Mrs. Mead-
ows White), London, 1839 — 1884;
composer. (12) Sydney, Dorchest-
er, Engl., i839h-^London, 1889; pi-
anist, teacher, writer, etc. (13) Wil-
son G., b. Elyria, Ohio, Aug. 19,
1855 ; notable composer ; pupil of
Otto Singer, at Cincinnati ; at Ber-
lin, 1 880^2, of Kiel, the Sctiarwen-
kas, Neumann, Moszkowski and
Raif ; since 1882, lives in Cleveland
as teacher of pf., voice and comp.;
pab. numerous graceful pf.-pcs. and
songs, also ** Octave Studies" and
other valuable technical works. (14)
Gerrit, b. Hagerstown, Maryland
Dec XI, 1859; graduate (M. A. and
Mus. Doc.) Hobart College, Geneva,
N. Y.; pupil of Stuttgart Cons.; then
of S. P. Warren, New York ; organ-
ist, Buffalo; also studied with Eu-
gene Thayer (org.), and W. H.
Sherwood (pf.)< and one year in Ber-
lin with Haupt and Rohde ; then
organist, Albany ; since 1885, at the
Scnith Ch., N. Y.; music-prof.; prof.
Union Theol. Seminary ; c. cantata
'' King Datnd'' choruses, graceful
pf.-pcs. and song^.
Smolian (shmo-lt-fin), Arthur, b.
Riga, Dec. 3, 1856 ; pupil of Munich
Cons. ; cond. at various theatres ;
teacher, Wiesbaden ; 1890, teacher
Carlsruhe Cons. ; and critic ; compos-
er.
Smyth, Ethel, b. England ; c. text
and music of opera ** The Forest''
(Der PVa/d)f prod. Beriin, 1902, and
London, 1902.
Snel (sn^l), Jos. Fran., Brussels, 1793
— Koekelberg, near Brussels, 1861;
violinist, conductor and dram, com-
poser.
Snetzler (shn^ts'-l^r), John, Passau,
1 7 10 — London, end of i8th cent.;
org. -builder, England.
Snow, (i) Moses, d. 1702 ; member
of the Chapel Royal. (2) Valen-
tine, d. 1772 ; English trumpeter in
Handel's works.
Scares, J oao. Vide rebello.
So'binof; , favourite Russian
tenor at Petersburg.
Sobolevsky (so-bd-ief-shk!),
prof, at St. Petersburg ; ed. Russian
folk-song^ (1895).
Sttdermann (sa'-d£r-m^), August
Johan, Stockholm, 1832— 1876 ;
theatre-conductor there ; pupil of
Hauptmann and Richter ; c. Swedish
operetta, a notable mass with orch.,
etc.
Soffredini (sdf-fr^-de'-ne), Alfredo,
from 1896, ed.-in-chief, Milan **GaX'
zetta Musicale" ; prod, (text and
mus.) 2-act children's opera '^ Jl Pic*
colo Haydn " (Pavia, 1893), *tc.
SokoloT (s6'-k6-160, Nicholas, b.
Petersburg, 1858 ; pupil at the Cons.;
742
THE MUSICAL GUIDE
taught harm, in the Imp. Chapel ; c.
an elegy (op. 4), and intermezzo for
orclL, etc.
Soldat (zol'^St), Marie (Frau Soldat-
Ro^er), (b. Graz, March 25, 1864;
violinist ; pupil of Pleiner and Pott,
and of Joachim, 1889 ; m. Herr
Roger (Vienna).
SoH^ (s61-ya) (rightly Soulier), (i) J.
P., Ntmes, 1755 — Paris, 1812 ; bary^
tone ; c. comic operas, many pop.
(2) Chas., son of above ; conductor ;
pn>d. a comic opera (Nice, 1877).
Solle (z61'-15), Fr., Zeulenroda, Thu-
ringia, 1806 — 1884 ; cantor and
writer.
SoloTieT (or Solowiew) (s5'-lo-vef),
Nicolai Feopometovitch, b. Petro-
savodsk, Russia, April 27 (May 9),
1846 ; pupil of N. J. Zaremba (theo-
ry), Imp. Cons, at Petersburg ;
smce 1874 prof, there ; also critic,
editor and Councillor of State ; c.
comic opera ** Vakula, The Smith''*
(Petersb., 1875), and grand opera
''Cordelia'' (Petersb., 1883, in Ger-
man, Prague, 1890) ; finished Seroflf's
opera *' The Demon's Power"; c.
symph. picture, ''Russia and the
Mongols ' (Moscow, 1882) ; prize
chorus '* Prayer for Russia " (Imp.
Russ. Mus. 5k>c., 1876), cantata
** The Death of Samson " (1870).
Som'erset, Lord H. (Richard Chas.),
b. Dec. 7, 1849; amateur composer.
Som'enrell, Arthur, b. Windermere,
Engl; pupil Berlin Hochschule and
of Stanford and Parry, R.C.M.; c.
mass, with orch. (Bach Choir, 1891),
"A Song of Praise'* (iSgi), " The
Forsaken Merman" (Leeds Fest.,
1895), " The Power of Sound'*
(1895), elegy for alto with orch.,
suite for small orch. "In A ready"
song cycle on Tennyson's "Maude"
etc
Somis (so'-mes), GioT. Bat., Pied-
mont, 1676 — Turin, 1763 ; violinist,
teacher and conductor.
Sommer (z6m'-mdr), (i) Dr. Hans
(rightly Hans Fr. Aug^. Zincke)
(tslnk'-6), b, Brunswick, July 20, 1837;
pupil of Meves and J. O. Grimm ;
graduate, later prof, at GOttingen
Univ.; from 1888 lived in Weimar ;
c. succ. opera "Lorelei" (Brunswick,
1891), i-act " BUhnenspiel," *' Stdm
Foix" (Munich. 1894), i-acf'Z^
Meerman " (Weimar, 1806), " /^uSf
zahl" (1902). (2) Karl, singer at
ct.-opera, Vienna.
Sonnleitner (zdn'-lTt-n^r), (i) Chp. S.,
Szegedin, 1734 — Vienna, 1786; dean
of jurisprudence, Vienna ; composer.
(2) Jos., Vienna, 1765 — 1835 ; son of
above ; 1S27, discovered the famoos
^th cent. Antiphonary of St. Gallen
m neume-notation. (3) Ld» too,
Vienna, 1797 — 1873; nephew of
above ; devoted friend of Schubert.
Sontagr (zdn'-tiikh), Henriette (Ger-
trude Walpurg^s), Coblenz, Jan.
3, 1804 — of cholera, Mexico, June
17, 1854 ; famous colorature-sopra-
no, her voice taking e'" easily; daugh-
ter of two actors ; operatic singer ;
1823 created von Weber's ** Emry^
ant he."
Sontheim (zdn'-tim). H., b. Beben-
hausen, Feb. 3, 1820 ; notable tenor;
debut Carlsruhe, 1839 \ i^T^t pen-
sioned.
Sor (rightly Sors) (sdr), Fdo., Barce-
lona, 1778 — Paris, 1839; gruitar-virt-
uoso and dram, composer.
Sorge (z6r'-g$), G. Ands., Mellen-
bach, Schwarzburg, 1703 — Loben-
stein, 1778 ; famous organist and
theorist ; ct. -organist and composer.
Soriano, (i) Fran. Vide suriano. (2)
Soriano - Fuertes (so-rf-a'-nd-foo-
^r'-t£s), Don Mariano, Murcia, 18 17
— Madrid, 1880 ; son and pupil of tlie
dir. royal chamber-mus. (1841) ; prod.
several zarzuelas, aiming to estab.
national opera ; conductor and writer
of historical works.
Sormann (z6r'-man), Alfred (Richard
Gotthilf ), b. Danzig, May 16, 1861;
pianist ; pupil of R. Hochschule,
Beriin, and of Liszt; de1)Ut 1886;
1889, ct.-pianist to Grand Duke of
Mecklenburg-Strelitx ; c concerto,
etc
DICTIONARY OF MUSICIANS 743
Soabies (soo-bl-^), Albert, b. Paris,
May 10, 1846; mus. -historiographer
and critic ; a lawyer, then pupil of Sa-
yard and Bazin {hdrm. and comp.) at
the Cons.; 1874 ^^ revived the fa-
mous ** Almanack tUs spectacles ^
Aim.. Duchesne**; for this the Aca-
demte, 1893, awarded him the Prix
Voirac; 1876, critic for '* Le Soir,**
under name ** A de Lomagne "y
officer of public instruction, and Le-
gion of Honour, also of the Russian
order Stanislas; writer of valuable
historical works, etc.
Soubre (soobr), Etienne Jos., Li^ge,
1813 — 1871; director and dram. comp.
Souhaitty (soo-^t-te'), J. Jac, Fran-
ciscan monk at Paris, the first to use
figures for popular notation, 1665-78.
Soulier (soo-y§). Vide solie.
Sonsa (soo'-sji), John Philip, b.
Washington, D. C. Nov. 6, 1856;
son of a Spanish trombonist in the
U. S. Marine Corps band. Pupil of
John Esputa and G. F. Benkert
(harm, and comp.) ; at 17 cond. of
travelling theatrical troupes ; 1877,
violinist m Offenbach*s orch. in Amer-
ica ; dir. ** Philadelphia Church-choir
Pinafore Co.**; 1880-92, bandm.
U. S. Marine Corps; resigned and
organised the military band bearing
his own name, which has toured
America and Europe with greatest
succ. ; (1900), Paris, Exposition.
Compiled, by Govt, order, ** National
Patriotic and Typical Airs ofallCoun^
tries**; wrote mstruction-books for
trumpet and drum, and for vln. C. 7
comic operas incl. v. succ. " ElCapi-
tan** succ. (text and music) '* The
BHde EUct:* •* The Charlatan;* and
''ChHs and the Wonderful Lamp,**
a symph. poem '* The Chariot Race **
(from ** Ben Hur ") ; 3 suites, ** The
Last Days of Pompeii,** ''Three Quo-
tationsr and '' Sheridan* s Ride**;
and many immensely succ. marches
popular throughout the world,
*• Washington Post,** *' High School
Cadets,** *' Stars and Stripes For-
ever,"" '' Imperial Edward/' etc.
SoTinsky (s6.vTn'.skY), Albert (CsyQ
Wojech), Ladyzyn, Ukraine, 1803
(1805 ?) — Paris, March 5, 1880 ; pian-
ist, teacher and dram, composer.
Soyer (swii-ya), Berthe, b. Chalon-
sur-Sa6ne, May 12, 1877; contralto ;
pupil of Paris Cons., took ist prize
Paris Cons., 1899; d^but same year
at Op^ra as ** Amneris."
Spangenber^^ (spang'-^n-bSrkh), (i)
Jn., Hardeisen, near G6ttingen, 1484
— Eisleben, 1550 ; theorist and com-
poser. (2) Cyriak, Nordhausen,
1528 — Strassburg, 1604 ; son of
above ; writer.
Spark, Dr. Wm., Exeter, Engl., Oct.
28, 1823 — Leeds, June 16, 1897;
noted organist and editor ; wrote au-
tobiography and memoirs; composer.
Spataro (spa-t&'-ro) (or Spatjinis,
Spada'ro, Spada'rius), Giov., Bo-
logna, ca. 1460 — 1541 ; conductor
and theorist.
Spazier (shpa-tser'), Jn. GL K., Ber-
lin, 1761 — Leipzig, 1805 ; theorist
and composer.
Speer (shpar), Daniel, cantor at Wai-
blingen, 1692 ; composer.
Speidel (shpi'-d^l), (i) Konrad, d.
Ulm, Jan. 29, 1880 ; singer and con-
ductor. (2) Wm., Ulm, 1826 —
Stuttgart, 1899; son of above; pianist,
conductor and composer. (3) Ma-
ria, b. Stuttgart, Oct. 13, 1872 ;
daughter of a^ve ; singer ; pupil of
Pollini and Nicklass-Kempner.
Spengel (shp^ng'-^l), Julius H., b'.
Hamburg, June 12, 1853 ; pupil of
Cologne Cons, and Berlin Hoch-
schule, taught in Hamburg, and
studied with Gradenerand Armbrust;
1878, cond. Cadlienverein ; singing-
teacher and organist ; c. symph.,
*cello-sonata, etc.
Spen'ser, Willard, b. Cooperstown,
N. Y., July 7, 1856; self-taught;
prod. V. succ. operettas, text and
music, *' ThcLittU rj^^<?<?« " (Philadel-
phia, 1886), and ''Princess Bonnie**
Speyer (Speier) (shp!'-£r), Wilhelm,
Frankfort, 1790--1878 ; violinist and
composer.
744
THE MUSICAL GUIDE
Sptcker (shpYk'-^r), Max, b. Ktoigs-
berg, Prussia, Aug. i6, 1858 ; pupil
of Louis K5hler, then of Leipzig
Cons.; theatre conductor various
cities; 1882-88, cond. '* Beethoven
Milnnerchor," New York; 1888-95
Dir. Brooklyn Cons.; since teacher
Nat. Cons., New York ; c. orch.
suite, cantata with orch., etc.
Spiering (shpe'-ring), Theodor, b.
St Louis, Missouri, 1871 ; violinist ;
pupil of H. Schradieck, Cincinnati ;
then of Joachim, Berlin; founder and
ist vln. '^Spiering Quartet," Chi-
cago.
Spies (shpes), Hermine, Lohnberger
Foundry, near Weilburg, 1857 —
Wiesbaden, 1893 ; concert-contralto.
Spiess (shpes), (i) Jn. Martin, organ-
ist and composer (1745-61). (2)
Meinard, Honsolgen, Swabia, 1683
— Yrsee Monastery, 1761 ; prior,
theorist and composer.
Spindler (shpXnt'-Wr), Fritz, b. WQrz-
bach, near Lobenstein, Nov. 24,
181 7 ; pianist ; studied mus. with
Fr. Schneider at Dessau ; from 1841,
lived in Dresden as teacher; c. 3
symphs., pf. -concerto, v. pop. salon-
pcs., etc.
Spinelli (spY-nSl'-U), Nicol^ b. Tu-
rin, 1865 ; notable neo-Italian; pupil
of Naples Cons.; 1890 took 2nd Son-
zogno prize with i-act opera ^^Co-
diSa" Mascagni winning ist prize ;
prod. V. succ, 3-act lyric drama ** A
' Basso Porto " (1894, New York,
1899), ^*<^® '* Stories of the Operas."
Spin'neT, English family of musicians,
(i) Thos. Edw., b. June 24, 1824 ;
pupil of Sir Henry Bishop ; organ-
ist St. Edmund's, Salisbury, and cond.
Orpheus Soc.; c cantata, church-
mus., etc. (2) Mattie (Mrs. Bees-
ley), daughter of above ; pianist ;
pupil of Benedict, Bennett, and von
BqIow; debut, London, 1875; or-
ganist, at Banbury. Her four broth-
ers, (3) Eug^ene, 1845— 1867 ; 1862,
organist, Banbury. (4) Frank, 1850
— 1888 ; organist, conductor and
composer. (5) Walter, 1852 — 1894 ;
organist various cities ; c or^.-pcs.,
etc. (6) Rev. T. Herbert, b. Jan.
13. 1857 ; pupil of Arnold and
Bridge ; won harm.-prize, Trinity
Coll., London, 1876 ; at 16 organ-
ist, Salisbury, later at Exeter ColL,
Oxford; F.R.C.O.; 1882, ordained
priest ; 1885, vicar, Burton-on-Trent ;
composer.
Spiridio (spe-re'-dY-o), Berthold,
monk, organist and composer, Bam-
berg, 1665-91.
Spina' ion. Vide xyndas.
Spitta (shpYt'-ta), (i) (Julius Aii|:.)
Philipp, Wechold, near Hoya, Han-
over, Dec. 27, 1841 — Berlin, April 13,
1894; teacher and prof, music^ his-
tory ; wrote many essays and a not-
able life of J. S. Bach (2 vols., 1873-
80), etc. (2) Fr., b. Wittingen, Han-
over, Jan. 10, 1852 ; bro. of above ;
prof, of theologv, Strassburg Univ.;
ed. works of SchQtz and pub. valu-
able treatises.
Spof forth, (i) Reginald, Notting;liam,
Southwell, 1769 — Kensingrton, 1827;
c. glees, etc. (2) Samuel, 1780-—
1864 ; bro. of above ; oiganist and
composer.
Spohr (shpor), Ludwi^ 0° ^ auto-
biog^phy he calls hunself Louis),
Brunswick, April 5, 1784 — Casscl,
Nov. 22, 1859 ; eminent violinist and
conductor; notable composer and
teacher. Son of a physician who re-
moved to Seesen, 1786 ; pupO of his
mother, and at 5 studied with Rie-
menschneider (vln.) and Dufonr ;
then with Kunisch, Hartung and
Maucourt, Brunswick; at 14 he
played a concerto of his own at court.
He became a member of the Ducal
Orch.; 1802 pupil of Fz. Eck, whom
he accompanied to St. Petersburg;
1803, returned to the Ducal Orch. ;
1804 toured with great succ. ; 1805,
leader Duke of Gotha*s orch.; bdu
Dorette Scheidler (d. 1834), the haq>.
player and toured with her, 1807 and
1809. 1836 he m. the pianist Mari-
anne Pfeiffer (d. 1892); i8ia, after
brilliant concerts at Vienna, leader at
DICTIONARY OF MUSICIANS 745
the Th. an der Wien ; 1815, toured
Italy (plairing a concertante of his
own with Paganini at Rome) ; 1817-*
19, opera-cond. at Frankfort ; prod.
here succ. opera ** Faust *V 1820,
visited England with his wife, played
at Philharm. Concerts, and prod*
there two symphs.; introducing into
England the habit of conducting with
a biton. Gave concerts at Paris
with little socc. From 1822 ct.-cond.
at Cassel ; 1857, retired for political
reasons on a reduced pension. Dur-
ing bis period as a cond. he prod.
Wagner's ** FliegttuU HoUdnder''
(1842), and '* TannhUuser " (1853),
but could not overcome the oppo-
sition to a production of ^* Lohen*
grin** He soon recognised Wagner
as the greatest living dramatic com-
poser, but did not care for Beethoven
or Weber. He is among the first of
the second-best composers, his high-
est attainments being the opera'^/r^*
sonda** (Cassel, 1823), the oratorio
•' Die LeHten Dingi " (Cassel, 1826 ;
in England as ** The Last fudg^
mm/'*); the grand symph. *^ jDie
IVeihe der Tone** (** The Consecra-
Hon of Tone^* 1832) and the clas-
sic vln.- concertos. His ** Violin"
School^ (183 1 in 3 parts), is a stand-
ard. He c. II operas in all; dram,
cantata, ** Das Befreite Deutsch*
land** ; a mass, etc., with orch.; 9
symphs.; No. 4 op. 86 in F ('* Weihe
der Tone ") ; No. 6op. 116, G (**^tj-
torieaV*; dedicated to the London
Philh. Soc.); 7.op. 121, C (** Jrdisch-
es und GdttUsches im Menschen^
leben**) for 2 orchs.; 8 op. 137, G
min. (ded. to the London Philharm.) ;
9 op. 143, B min. ('* Die Jahreszeit^
en*), 8 overtures, and 15 vln.-con-
certos; No. 8 (op. 47, in A min.,
*' in modo nTuna scena cantante '*)
•* quartet-concerto •* for 2 vlns., via..
and *ceilo with orch.; 2 concertantes
for 2 vlns. with orch.; grande polo-
naise for vlns. with orch.; 2 clar.-
concertos ; much chamber - mus.
Autobiogr. (Cassel, i860, *6i, 2 vols.);
Biogr. by Malibran (Frankfort, i860);
by H. M. Schletterer (i88i).
Spontini (sp6n-te'-ne), Gasparo
(Luigi Pacinco), Majolati, Ancone,
Nov. 14, 1774 — Jan. 24, 1851; note-
worthy cond. and dram, composer.
Son of poor peasants, who intended
him for the church, he ran away, and
an uncle, at San Vito, provided him
with teaching. At 17 entered the
Cons, della Pietii de* Turchini at Na-
ples. 1796, commissioned to write
an opera for the Teatro Argentina at
Rome, its director having heard some
of his church-mus. in Naples, he left
the Cons, without permission and
prod. succ. opera, **/ Puntigli delle
Donne**; Piccinni secured his rein-
statement and gave him valuable ad-
vice. He prod, operas with succ. in
various cities and in Palermo, where
he was cond. to the Neapolitan court
which had fled before the French.
After having produced 16 light Ital-
ian operas, he went to Paris (1803),
where three successive failures and
a study of Mozart*s works, led him.
to change his style. After support-
ing himself as a singing-teacher he
won succ. with his substantial i-act
opera *' Milton " (Th. Feydeau, Nov.
27, 1804); the Empress Josephine, to
whom he had dedicated the score, ap-
pointed him '* chamber-composer.**
He c. a cantata **L*eccelsa Gar a**
celebrating the victory of Austerlitz.
The Empress's power secured a hear-
ing for bus opera "Za K^j/ailf,** which
after three years of delay and polish*
ing, was prod, with greatest succ. 1807;
by a unanimous verdict of the judges,
Mehul, Gossec and Gretry, Napo-
leon's prize for the best dram, work
of the decade was awarded to it. It
was followed with equal succ. by the
grand opera *"* Fernand Corte%^
1809. 1810, dir. It. opera; dis-
missed for financial irregularitv;
18 14, Louis XVIII. appointed him
ct.-composer. He c. 2 stage-pieces
in glonfication of the Restoration.
The opera ^* Ofympie** was prod.
746
THE MUSICAL GUIDE
1819 without succ, though when re-
vised and prod. 1826 it prospered.
1820, he became ct. -composer and
gen. mus.-dir. at Berlin ; he prod,
his old operas with succ, and c. the
festival play '' Lalla Rukh'' (1821).
remodelled as ** NurtnahaV* (1822) ;
*' Alcidor'* (1825) and ''Agnes von
Hohenstaufen^' (1829), none of
which were widely succ. A period of
violent jealousies and quarrels with
the Intendant BrOhl, and virulent in«
trigues, culminated after a score of
stormy years in his being royally rep-
rimanded, and finally driven out of
the theatre by a hostile audience.
He retired in 1841 on full pay. He
went to Paris, then to Italy. 1844
the Pope gave him the rank and title
of "Conte di Sant* Andrea"; he
was a knight of the Prussian ** Ordre
pour le merite," member of the Ber-
lin Akademie (1839), and Paris Aca-
demic, and Dr. Phil., Halle Univ.
Biog. by L. de Lom^nie (1841);
Montanari (185 1); Raoul-Rochette
. (1882).
Spor'le (rightly Burnett), Nathan J.,
1812 — 1853 ; English tenor and com-
poser.
Squire, Wm. Heniy, b. Ross, Here-
fordshire, Aug. 8, 1871; 'cellist; son
and pupil of an amateur violinist;
d^but at 7 ; won scholarship at the
R. C. M., and studied with Powell
and Parry ; second d^but, 189 1 ; c.
'cello-concerto.
Stabile (sta'-be-l^), Annibale, d.
Rome, ca. 1595 ; conductor and
composer.
Stade (shta'-d^), (i) H. Bd., Ettisch*
leben, 18 16 — ^Amstadt, 1882 ; organ-
ist and composer. (2) Fr. Wm., b.
Halle, Aug. 25, 1817; organist, pu-
pil of Fr. Schneider, Dessau ; mus.-
dir. and Dr. Phil. h. c. Jena Univ.;
1860-1891, ct.-organist and cond. at
Altenburg ; c. 2 symphs. ; Festouver-
tQre, music to" C>rw/^j'*; cantatas, with
orch.; choral works; vln.-sonata;
•• Kinder sonaU " (4 hands), etc. {3)
Dr. Fritz (L. Rudolf)« b. Sonders-
hausen, Jan. 8, 1844 ; pupil of Rkdl
and Richter, Leipzig, and teacher
there ; pub. an answer to HansUck's
''Vom Musikalisch-Schdnen'' etc
Staden (shta'-d«n), (i) Jn., Ntlmbcig.
ca. 1579 — 1634; organist and com^
poser. (2) Sigismund Gl., son and
successor of above ; c. ** Seelrmg^
the earliest extant German opera (cl.
H. SCHUTZ' opera '^Dafne*"),
Stadler (shtfit'-l«r), Maximilian,
Melk, Lower Austria, 1748 — ^Vienna,
1833 ; composer and writer.
Stadlmayer (shtftt'-*l-ml-«r), Jn., Frei-
sing, Bavaria, 1560 — Innsbruck, after
1646 ; conductor and composer.
SUdtfeldt (shtat'-f£lt), Alex., Wies-
baden, 1826 — Brussels, 1853 , dram.
com]x>ser.
Stagemann (shtS'-g£-mSn), Max, b.
Freienwalde-on-Oder, May 10,1843;
pupil of Dresden Cons.; barytone
and ••chamber-singer** at Hanover;
1877, dir. of KOnigsberg Th.; later,
mana^r Leipzig City Th.
Sta^'gins, Nicholas, d. 1705 ; Eng-
lish composer and professor.
Stag^o (stSn'-yd), Alberto, Palermo,
1836 — Genoa, 1897 ; tenor.
Stahlknecht (shtal-k*n«kht), two broth-
ers, (i) Ad., Warsaw, 18 13 — ^Berltn,
1887; violinist and dram, composer.
(2) Julius, Posen, 1817 — Berlin,
1892 ; 'cellist royal orchestra.
Stahmer-Andriessen (sht£' -mdr-in'-
dres-sSn), Pelade (now Greef-A.) b.
Vienna, June 20. 1862 ; pupil of the
Cons., and of Frau Dreysdiock; so-
prano in Neumann's troupe ; 1884-90,
Leipzig town-theatre ; 1890, nu ardi-
itect Ende ; later m. Greef.
Stainer (or Steiner) (shtT-n£r), Jakob,
Absam, Tyrol, 1621 — 1683 ; inventor
and manufacturer of instrs. (2)
Markus, his brother, also vln.- and
vla.'maker.
Stainer (sta'-n(^). Sir John, London,
June 6, 1840 — ^Verona, April, 1901 ;
chorister at St. Paul*s ; studied with
Bayley (harm.) and Steggal (q)t)i
and later Cooper (01^.) ; 1854-60, or-
ganist various places, then Univ. or-
DICTIONARY OF MUSICIANS 747
ganist at Oxford ; (1859) Bac. Mas.,
and (1865) Mus. Doc.; 1866, Exam-
iner for mas. dqB;rees ; 1872--88, or-
ganist of St. Paul*s, resigning on
accoant of his eyesight ; 1876, prof.
of org. and harm. Nat. Traming
Sch. for Mus. ; 188 1, principal in
R. C. M.; 1883. again at Oxford;
1882, Govt. Inspector of Mus. in
the Training-Sclu ; 1878, Chev. of
the Legion of Honour; kn^hted,
1888 ; 1889, prof, of mus. at Oxford
Univ.; pub. treatises and (with Bar-
ret) a •' DicUof Mus, Terms," 1875;
c oratorio ** GitUon** cantatas " The
JDaugkter of Jairus^ (Wore. Fest.,
1878). ''St. Mary Magdalene'^
(Gloucester, 1883), and '* The Crucu
fixion ** (London, 1887), 4 services,
etc
Stair, Martha Greene (*< Patty "),
b. Cleveland. O.; pianist ; pupil of
F. Bassett, there ; lives there as con-
cert pianist, organist and composer.
Stamaty (stiUm&-t8), Camille M.,
Rome, 181 1 — Paris, 1870; pianist
and composer.
Stamitx (shu'-mlts), (i) Jn. K.,
Deutsch • Brod., Bohemia, 171 7 —
Mannheim, 1761 ; notable violinist
and composer. (2) Anton Thad«
dftna, Deutsch-Brod., 1721 — Altbunz-
lang, 1768 ; bro. of above ; canon ;
'cellist, Mannheim. (3) K., Mann-
heim, 1746— Jena, 1801 ; violinist
and viole d*amour- performer, con-
ductor and composer. (4) Anton,
Mannheim, 1753 — Paris,braof above;
yiolinist and composer.
Stanford, Chas. VUlieni, b. Dublin,
Sept. 30, 1852 ; pianist and notable
composer ; pupil of Sir Robt. Stew^
art and Arthur O'Leary (comp.), and
Ernst Pauer (pf.), London ; 1870 won
oigan scholarship at Queen's Coll..
Cambridge; 1873-92, organist of
Trinity Coll., Cambridge, also cond.
Univ. Mus. Soc. (till 1893) ; 1875-
76, studied comp. with Reineclce at
Leipzig, and Kiel, Berlin. M.A.,
Canub., 1878 ; Mus. Doc, Oxford,
1883, Cambridge, x888; 1883, prof.
of comp. and cond., R.C.M.; 1885,
cond. Bach Choir ; 1887, prof, of
Mus. at Cambridge ; 1897, cond.
Leeds Philh. Soc. C operas/* The
Veiled Prophet of Khorassan "(Han-
over, 1881); ''Savonarola^ (Ham-
burg, 1884) ; •* The Canterbury PiU
grims** (London, Covent Garden,
1884) ; V. succ. •* Shamus O'Brien''
(London, 1896) ; ** Much Ado about
Nothing*' (Covent Garden, 1901,
Leipzig, 1902): incid. mus.; orato-
rio, '* The ResurrecHon " (1875) ;
•' The Three Holy Children" (Bir-
mingham, 1885) ; Psalm 96 (1877) ;
"Elegiac Ode" (Norwich, 1884);
"The Revenge" (Leeds, 1886);
"JuHUe Ode'^ (1887), etc. " The
Bard" (Cardiff. 1895); " Phaudrig
Crochoore ** (Norwich, 1896) ; re-
quiem, 3 Morning and Evening
Services; a Communion Service, etc.;
5 symphs. ** Elegiac" in D min.
(No. 3) •* Irish:' (No. 4) •* Thro*
Youth to Strife^ Thro' Death to
Life ": and No. 5 " L'aUegro ed il
penseroso"; 2 overtures, a pf. -con-
certo ; ** Irish Rhapsody " (1902), etc.
Stange (shtang'.£), Hermann, b. Kiel,
Dec. 19, 1835; pupil of Leipzig Cons.;
organist at Rossal College, Engl.;
since 1878, mus.-dir., and since 1887
prof. Kiel Univ.
Stanhope, Chas., Third Eari of.
1753 — London, 1816; writer.
Stanley, (i) (Chas.) John, London,
1 7 13 — 1786 ; organist and conduct-
or. (2) Albert Augustus, b. Man-
ville, Rhode Island, May 25, 185 1 ;'
studied in Providence, and at Leip-
zig ; organist, Providence ; i888,
prof, of mus. Univ. of Michigan. C.
^' The City of Freedom," ode, with
orch. (Boston, 1883); Psalm 2i (Prov-
idence, 1892), and Commemoration
Ode "Chorus triumphalis," with
orch ; svmph. ** The Awakening of
the Soul"; symph. poem '^Altis,
etc.
Stans'burg, Geo. F., Bristol, 1800^
1845 ; pianist, violinist, flutist, singet
and composer.
748
THE MUSICAL GUIDE
Starck, Ingebore. Vide dronsart.
Stark (shtirk), L., Munich, 1831—
Stuttgart, 1884 ; teacher, editor and
composer.
Starke (shtark'-«), Fr., Elsterwcrda,
1774 — Dobling, near Vienna, 1835 ;
bandm. , writer and composer.
Stasny (shtto'-ne), (i) L., Prague,
1823 — Frankfort, 1883 ; conductor
and dram, composer. (2) Vide sri-
ASTNY.
Staudigl (shtow'^ekh.'!), (i) Josef,
WoUersdorf, Lower Austria, 1807—
(insane), Michaelbeuemgrund, near
Vienna, 1861 * bass and ct.-conduct-
or. (2) Joset, b. Vienna, March 18,
1850 ; son of above ; barytone; pupil
of Rokitansky at the Cons. ; chamber-
si nger to the Grand Duke at Carls-
ruhe and a member of the ct.-opera.
His wife (3) Gisela, singer ; pupil
of Marchesi, 1899 Wiesbaden ct.-
opera.
Stavenhagen (shtn'-f^n-h^-g^n), (i)
* Bd., b. Griez, Reuss, Nov. 24, 1862;
pianist ; pupil of Kiel, at the Mei-
sterschule, and of Rudorff, at the
Hochschule, Berlin ; 1880, won the
Mendelssohn prize for pf.; pupil of
Liszt, 1885 ; toured Europe with
succ. and the U. S. (1894-95) ; 1890,
ct.-pianist and ct.-conductor at Wei-
mar; Knight of the White Falcon
order ; from 1898 ct.-cond. at Mu-
nich ; c. pf.-pcs. (2) S. Denis Ag-
nes, b. Winsen, Sept. 3, 1862 ; so-
prano ; pupil of Frau Prof. Schultzen
and Frau Jachmann- Wagner ; cham-
ber-singer.
Stcherbatcheff(stch^r'.b^t^:h«0» Nic-
olas de, b. Russia, Aug. 24, 1853 ;
prominent figure in the neo- Russian
sch.; c. *^ Deux idylles pour orches'
tre "/ * Fieries et pantomimes ,*
" Mosaique^ album pittoresque** etc.,
for pf.; songs **-<4i# soir tombant^**
etc.
Stecker (sht$k'-£r), K., b. Kosmanos,
Bohemia, Jan. 22, 1861 ; pupil of
Prague Org. -Sch.; 1885-89, teacher
of org. there ; then prof, of cpt., and
history at the Cons.; from 1888 also
lecturer at the Univ. ; pub. ti
c. a Missa solemnis, etc.
Ste£Eani (stef-fi'-n€), Abbate Kg^^w^
no, Castelfranco, Venetia, 1655—
Frankfort-on-Main, 1730 ; emiiieot
composer of daring originality and
gpreat power both in instmmentatioc
and general construction ; ct.- and
chamber-musician and ct.-organKt;
prod. 20 operas.
Steffens (sht«f'-f«ns), Jnlins, Stargaid,
Pomerania, 1831 — Wiesbaden, 1882;
'cellist and composer.
Steffkins, (i) Theodore, prof, lute
and viol, in London, 1672; his broth-
er (2) Dietrich was in the ct.-buid,
1641 ; (3) Fr., and (4) Clir.» sons of
(i) ; violinists.
Steg'rall, (i) Chas., London, June 3,
1820 ; pupil of Bennett, R. A. M.,
1851; prof, of org. and harm, there;
Mus. Bac. and Mus. Doc. , Cambridge;
from 1864, organist Lincoln's Inn
Chapel ; wrote method for org.; ed.
colls., and c. Psalms 105, and 33
with orch. ; services, etc. (2) Regi-
nald, b. London. April 7, 1867 ; son
and asst. -organist of above; popO,
R.A.M.; from 1895, prof, of oig.
there ; c. mass with orch. and organ,
*^ Festival Evening Service^ with
orch., a symph., 3 overtures, etc.
Stegmann (stakh'-mfin), K. David,
Dresden, 1751 — Bonn. 1826; tenor,
cond. and dram, composer.
Stegmayer (shtakh'-ml-^), Fd., Vien-
na, 1803 — 1863 ; conductor, singing-
teacher and composer.
Stehle (shta'-l«), Gv. Ed., b. Stein-
hausen, Wflrtemberg, Feb. 17, 1839 ;
cond. at St. Gallen Cath.; c. sympih.
tone-picture " Saul*^ for org.
Steibeit (shtf-b^lt), Daniel, BerKn,
1765 — St. Petersburg, 1823; a most
unvirtuous virtuoso. Under patron-
age of the Crown Prince, a pupil of
Kimberger; early debut; 179(1, fa-
vourite pianist, teacher and com-
poser at Paris ; prod. v. socc. opera
'*Rom/o et Juliette** (1793). He
seems to have suffered from klepto-
mania and general dishonesty, whidi.
DICTIONARY OF MUSICIANS 749
with his insolence, snobbery, and his
debts, forced him to leave Paris in
1797, for London, where he was
equally sacc; the ^'' Storm Rondo ^'
(or the Bnale of his 3rd concerto
*'*L,*OrageyPrfy/d/ <tun rondeau pas-
toraV)^ rivalling the notorious *^ Bat-
tU of Prague ^'^ by Koczwara. 1799,
he tour^ Germany, challenging
Beethoven at Vienna with disastrous
results. He carried Haydn's '"''Crea-
tion*' back to Paris and prod, it,
1800, with great succ., with himself as
cembalist ; but had to leave Paris
ag^in, remaining in London, until
1805, when he revisited Paris for 3
years ; 1808 toured and settled in
Petersburg ; 18 10, Imp. ct. - cond.
and cond. of French Opera ; here
prod. 2 new operas, as well as earlier
ones. In spite of his odious personal-
ity, his virtuosity was remarkable,
and his compositions show much orig-
inality in modulation and scoring.
He wrote a pop. pf. -method ; c. 6
operas, 5 ballets, and much piano-
mus., including 50 etudes, many
progpramme - pes. of extraordinary
vogue.
Stein (shtin), (i) Jn. Andreas, Heide-
sheim. Palatinate, 1728 — Augsburg,
1792; inv. '* German (Viennese) pf.-
action " ; organist and famous pf.-
maker. Succeeded by son (2) Mat-
th&ns Andreas (Augsburg, 1776 —
Vienna, 1 842)1 who 1802 set up for
himself in Vienna. (3) Maria Anna
(or Nanette Streicner), Augsburg,
1769 — Vienna, 1835 ; daughter of (i);
a devoted friend of Beethoven ; also
a manager of the pf. -factory. Her
son (4) Jn. Bapt. (b. Vienna, 1795),
was her successor. (5) Fr., Augs-
burg, 1781 — (of consumption) Vienna,
1808 ; bro. of above ; prominent pi-
anist. (6) Karoline (nee Haar),
pianist and teacher. (7) K. An^
dreas, Vienna, 1797 — 1863 ; son and
successor of (2) ; pupil of FOrster,
ct.-pf. -maker and composer. (8)
Eduard, Kleinschirma, Saxony, 18 18
— Sondershausen, ^64 ; ct. • con-
ductor and composer. (9) Theodor,
b. Altona, 18 19; pianist; d^but at
12 ; since 1872, pf.-prof. Petersburg
Cons. (10) Gertrude May, b. Al-
bany, U. S. A. ; pupil C. A. White ;
1891, toured with the Juch Opera
Co. ; prominent American contralto ;
190 1 m. L. A. Bailey.
Steinbach (shtln'-bakh), (i) Emil, b.
Lengenrieden, Baden, Nov. 14, 1849;
pupil Leipzig Cons.; 1877, cond.
Mayence town-orch ; c orch. and
chamber-mus. , etc. (2) Fritz, b.
GrOnsfeld, Baden, June 17, 1855 ;
bro. and pupil of above ; also pupil
Leipzig Cons. ; won Mozart Scholar-
ship; i88o~86, 2nd cond. at Ma-
yence ; since 1886 ct.-cond. Meining-
en ; pub. a septet, 'cello-sonata,
songs.
Steindel (shtln'-d€l), (i) Bmno, b.
Zwickau, Saxony, ca. 1864; ist 'cel-
lo, Berlin Philh. ; later in the Chicago
Orch. (2) Bruno, b. MUnchen-
Gladbach, Germany, 1890; pianist;
son and pupil of mus.-dir. in that
town ; played in public at 6 ; has
played since in Germany and Lon-
don.
Steiner. Vide stainer.
Steingr&ber (shtln'-grap-«r), Theo-
dor, b. Neustadt-on-the-Orla, Jan.
25, 1830 ; founder of Hanover mus.-
pub. Brm ; since 1890 in Leipzig ;
wrote a pf. -method unc(er the pseud.
** Gustay Damm."
Stein' way & Sons, firm of pf .-makers,
New York and Hamburg ; founded
by (i]) H. Engelhard Steinweg
(shtIn -vakh), Wolfshagen, Harz,
1797 — New York, 1871 ; journeyman
org.-builder, Seesen, ca. 1820 ; he
worked at night on his first piano,
which combined the good points of
Old English and recent German
instrs. ; it made immediate succ. ; after
the Revolution of 1848, he emigrated
to New York in 1850 with four sons,
(2) Chas., Seesen, 1829— 1865. (3)
H., Seesen, 1829 — New York, 1865.
(4) Wm., Seesen, 1836 — New York,
1896; (5) Albert, Seesen, i84(
ISO
THE MUSICAL GUIDE
New York, 1877 ; leaving the busi-
ness in charge of (6) Theodor (See-
sen, 1825 — Brunswick, 1889). Fa-
ther and sons worked in different
factories till 1853, when they com-
bined as Steinway & Sons. In 1865
Theodor, who had moved to Bruns-
wick, sold the business to the firm
Grotrian, Helferich & Schulz, Theo-
dor Steinwegs Nachfolger (i. e. '* suc-
cessors") (v. STEINWEG), and be-
came a partner in the N. Y. firm,
now the largest of its kind in the
world.
Steinweg, Original form of ** Stein-
way " (q. V. No. 6).
Stclzner (sht«lts'.n«r), Dr. Alfred, b.
Wiesbaden ; lives in Dresden ; inv.
the violotta and cellone, etc. (v.
D.D.) ; they were used in the orch. of
his fairy opera '* RUbetahr' (Dres-
den, 1902). *'He was diffident as a
performer, but his compositions for
the 'cello must render his name im-
mortal, for though the list of his
works only amount to 13, the origi-
nality and purity of them entitle him
to rank among the very first writers.
He is often called the Beethoven of the
violoncello, nor can that be consid-
ered too high praise" (Cieorge Her-
bert).
Stephens, (i) Dr. John, d. 1780 ; or-
ganist Sal^bury Cath.; composer.
(2) Cathenne, London, 1791 (94?)
— 1882 ; opera and concert-soprano.
(3) Chas. Edw., London, 1821 —
1892 ; nephew of above ; pianist ;
teacher, organist and composer.
Sterkel (sht«r'-k61). Abbe Jn. Fz. X.,
WUrzburg, 1750 — Mayence, 1817 ;
conductor, organist and com]x>ser.
Ster'ling, (i) Antoinette, b. Ster-
lingville, N. Y., Jan. 23, 1850; con-
cert and oratono contralto, range
g flat—/' (v. PITCH, D. D.) ; pupil
of Mme. Marchesi, Viardot-Garcia
and Manuel Garcia ; sang for a time
in Henry Ward Beecher's Ch., at
Brooklyn ; from 1873, London ; 1875,
m. John MacKinlay. (2) Win-
throp S., b. Cincinnati, 1859 ; pupil
of ColL of Mus. and Letpzig^ Cons.,
also under R. Hoffman (comp.) and
Frau Unger-Haupt (voice), later to
London under Turpin, Behnke and
Shakespeare ; organist West Londoo
Tabernacle ; from 1887, prof. Cin-
cinnati Coll. of Mus.
Stern (sht^m), (i) G. Fr. Thfophile,
Strassburg, 1803 — 1886; oi^ganist
and composer. (2) Jnlins, Breslau,
1820 — Berlin, 1883 ; cond., teacher
and composer. (3) Marnrethe
(n^e Herr), b. Dresden, Nov. 25,
1857 ; pianist ; pupil of Karl Kra^reo,
Liszt and Frau Schumann ; 188 1, she
m. the poet Dr. Adolph Stem, Dres-
den. (4) Leo, b. Brighton. Engl..
1870 ; 'cellist ; pupil of Piatti and of
Klengel and Davidoff, Leipzig ; first
tour, 1888 (with Piatti); made succ.
tours in France ; 1897, America ; c
'cello pieces, etc.
Sternberg; (st£m'-b£rkh), Conttanthi
(WanoTitch), Edler yon, b. St.
Petersburg, July 9, 1852; pianist;
pupil of Leipzig Cons., Berlin Aka-
demie, and of Liszt ; conductor va-
rious churches; from 1877, toured
widely; 1880, United States; from
1890, dir. '* Sternberg Sch. of Mus.,"
Philadelphia; c. 2 pf. -trios, ^* Danses
cosaques** for vln., 'cello-fantasia,
etc.
SteVens, (i) Richard J. Samnel,
London, 1757 — 1837; omnist, com-
poser and prof. (2) Kitty. Vide
STEPHENS (2).
SteVenson, (i) Sir J. Andrew, Dub-
lin, ca. 1762 — 1833; Mus. Doc; c
Irish operas ; son of (2) John (>'io-
linist in the Sute>Band at Dublin).
(3) E. Irenaeus. Vide prime-stkv-
ENSON.
Stewart, Sir Robt. Prescott, Dub-
lin, 1825— 1894; organist, professor,
conductoryand composer.
StiastnT (SUstn^) (sht'yist'-ne), (1)
Bd. Wenxel, Prague, 1760—1835 ;
'cellist, professor and composer. (2)
Fz, Jn., Prague, 1764 — Mannheim,
ca. 1820 ; bro. and pupil of above ,
'cello-virtuoso^nd composer.
DICTIONARY OF MUSICIANS 751
Stidi (stikh), Jan V&cUt (or Jn.
^:
^Vensel) (Italianised as ** GioTan-
ni Pnnto ")» Zchuzicz, Bohemia, 1748
— Prague, 1803 ; eminent horn-virtu-
oso, writer and composer.
Stiehl (shtel), (i) H. (Fz. Daniel),
Labeck, i829--Reval, 1886; organ-
ist, conductor and dram, composer.
(3) K. Jn. Chp.» b. LQbeck, 1826 ;
bn>. of above ; organist and compos-
er; from 1878, conductor and critic
Lubeck ; and mus. -custodian in the
library ; pub. historical works on
Stiehle '(shte'-l«), L. MazimiUan
Ad.y b. Frankfort. Aug. 19, 1850;
violinist ; pupil of Vieuxtemps, Her-
mann and Joachim ; lives at Basel.
Stigelli (rightly G. Stiegele) (stY-g^l'-
IS, or shte'-g£-ld), Giorgio, Ingstet-
ten, 18 19 — at his villa n. Monza,
Italy, 1868 ; tenor and composer.
Stimp'son, Jas., b. Lincoln, 1820;
organist various churches in Engl.;
prof, of mus. Blind Inst.; editor, or-
^|anist and composer.
Stir'ling, Elixabeth, Greenwich, 18 19
— London, 1895 ; organist and com-
poser.
StobiLus (shto'-ba-oos), Jn., Graudenz,
W. Prussia, 1580 — KOnigsberg, 1646;
bass, conductor and composer.
Stockhausen (sht6k'-how-z$n), (i)
Fz., 1792— 1868; harpist and com-
poser. His wife (2) Margarethe
(n^ Schmnck), Gebweiler, 1803 —
Colmar, 1877; pupil of Cartruffo,
Paris; concert-soprano; toured with
her husband. (3) Julius, b. Paris,
July 22, 1826 ; barytone and eminent
teacher; son of above; pupil of
Paris Cons, and of Manuel Garcia ;
succ. concert-singer ; 1862-67, cond.
Philh. Concerts and Singakademie,
at Hamburg; 1869-70, chamber-
singer at Stuttgart; 1878-79 and
1882-98, teacher of singing, Hoch
Cons., Frankfort: since private
teacher ; pub. a Method. (4) Fz.,
b. Gebweiler, Jan. 30. 1839 ; pupil of
Alkan and of Leipzig Cons.; 1868-
79, cond. at Strassburg ; from 187 1,
teacher Strassburg Cons.; 1892, R.
Prof.
Stojowski (sto-yof'-shkY), Sigismund,
b. Strelce, Poland, May 2, 1870 ; pi.
anist ; pupil of L. Zelenski at Cra-
cow, and at Paris Cons., winning ist
prizes for pf. and comp.; studied
with Paderewski ; lives in Paris, as
teacher ; comp. pf.-concerto, suite
and variations for orch., songs, pf.-
pes., etc.
Stokes, Chas., b. 1784, Engl.; or-
ganist, pianist, teacher, composer and
theorist
Stoltz, (i) Rosine (rightly Victorine
N6b) (shtdlts or nap), Paris, Feb. 13,
1815— (?) ; pupil of Choron's Sch.;
mezzo-soprano ; 1837-47, Gr. Opera,
Paris ; other stage-names '* Mme.
Temaux,'' << Mile. H61oise,"
" Rose Niva ** ; m. successively a
baron and 2 princes ; c. 6 songs. (2)
Therese, Trieste, 1838?— Milan,
1902 ; soprano ; debut. La Scala,
1865 ; created ''Atda'* in Italy ; in-
timate friend of Verdi ; married sifter
1875 and retired.
Stoltzer (sht6lts'-«r), Thos., Silesia,
ca. 1490 — Ofen, 1526; ct -conductor
and composer.
St61z(c)l (sht€lts'-€l). Gf. H., Grttn-
stadtl. Saxony, i690^Gotha, 1749 ;
ct. -conductor and dram, composer.
Stolzenberg (sht6r-ts£n-b£rkh), Ben-
no, b. K5nigsberg, Feb. 25, 1829;
tenor; pupil of Mantius and H.
Dom ; debut, KOnigsberg, 1852 ;
dir. Danzig City Th.; teacher, Ber-
lin ; 1885, Cologrne Cons. ; from 1896,
dir. of a vocal sch. at Berlin.
Stdpel (shta -p^l), Fz. (David Chp.),
Oberheidrungen, Saxony, 1794 —
Paris, 1836 ; theorist.
Sto'nard, Wm., d. 1630; organist
and composer at Oxford.
Stor (shtar), K., Stolberg, Harz, 18 14
— Weimar, 1889 ; violinist, cond.
and dram, composer.
Sto'race, (i) Stephen, London, 1763
— (of gout) 1796, prod. 18 stage-
works, son and pupil of (2) Stefano
S.| an Italian double-bas$-player«
752
THE MUSICAL GUIDE
(3) Anna Selina (1766 — 1817), fa-
mous colorature-soprano ; daughter
and pupil of (2) ; sang in public at 8;
then debut, Florence, 1780; created
•* Susanna" in Mozart's '* Figaro:*
Storch (st6rkh), M. Anton, Vienna,
18 13 — 1888 ; conductor and com-
poser.
Stdwe (shta'-v€), Gt., Potsdam, 1835—
1891; dir. and composer.
Stradella (strii-d£r-k), Alessandro,
probably Naples or Venice, ca. 1645
— Genoa, after 168 1 (the date of his
last cantata) ; important Italian com-
poser, of whom little is actually
known, though he is the hero of an
extraordinarily melodramatic legend
of jealous nobility, paid assassins,
and love pursued. In a work by
Bonnet-Bourdelot (17 15), it is said
that his name was Stradel and being
engaged to write an opera for Venice,
he eloped with the mistress of a
nobleman who sent paid bravi to as-
sassinate him in Rome. These men
were overcome by the beauty of an
oratorio of his and warned him of his
danger. He fled to Turin with the
woman who passed for his wife, and
after being followed here and there,
and recovering from numerous
wounds, was finally slain in Genoa.
Flotow made an opera of this story,
in which there is much that is in-
credible. S. was also credited with
being a singer and poet, ar,d a wonder-
ful harpist. In any case, 148 of his
works exist in MS. in the Modena
Library, and others elsewhere, incl.
8 oratorios, many cantatas, madri-
gals, duets, etc. The church-aria
'' Pieth, Signore'" and the arias ** O
del mio dolce ardor" and '* -Slf i miH
so spirit' are probably wrongly at-
tributed to him. Monographs by P.
Richard, ** A. Stradella^* (1866). and
Calelane.
Stradivari (Stradivarins) (strftd-Y-vI'-
re, or -va'-rT-oos), (i) Antonio, Cre-
mona, 1649 (i65o?)--Dec. 17 (18?),
1737 ; maker of vlns., vlas., 'cellos,
etc., who established a type and pro-
portion never improved ; his tone is
also supreme among vlns. (with the
possible exception of those of Jo&
Guameri) ; he probably worked for
Niccol6 Amati, 1667-79; 1680, he
purchased the house in which his
workshop thereafter was situated;
1700-25, is his best period, but be
worked to 1736; his label reads ** An-
tonius Stradivarius Cremonensis.
Fecit Anno . . . (A f S)." Of
his eleven children, 2 sons, (2) Frmn.
(1671 — X743) and (3) Omobono (1679
— 1742), were his assistants. Mono-
graphs, by Lombardini (1872), FAis
(1856); Wasielewski, and Riech-
ers.
Straeten, van der. Vide vandrk-
STRAETEN.
Strakosch (shtrfi'-kdsh), (i) Morits,
Lemberg, Galicia, 1825 (1830?)—
Paris, Oct. 9, 1887 ; pianist and im-
presario ; c. operas ; teacher of Ade-
lina, and huslMind of Carlotta, Patti.
(2) Max, d. New York, 1892 ; bra
of above and eoually famous as im-
presario. (3) Phoebe ; soprano ;
niece of above ; debut in opera,
Trieste, 1896; has sung at Covent
Garden, Met. Op., etc.
Stratton, Geo. w., Swanzcy, N. H.,
U. S. A. — Berlin, 1901 ; lived Boston
as composer.
Straube (strow'-b^), C. ; pupil of Rie-
mann, Rufer, and A. Becker; 1902
organist Thomaskirche (vice C.
Piatti).
Strauss (shtrows), (1) Jos., Brflnn,
1793 — Carlsruhe, Dec. i (2?). 1866:
violinist, mus.-director, ct -conduct-
or ; c. operas. (2) Jn. (Sr.), Vienna.
March 14, r8o4---{of scarlet fever)
Sept. 25, 1849, ** The Father of the
Waltz " ; son of proprietor of a beer
and dance-hall ; conductor and com-
poser of 152 waltzes all more or less
famous. (3) Jn. (Jr.), Vienna, Oct.
25, 1825— Tune 3, 1899; "The
Waltz- King * ; son of above, who op-
posed the mus. tastes of the three
sons, for whom the mother secured
secret instruction. In i844oondocl-
DICTIONARY OF MUSICIANS 753
or of court -balls and very succ.
orch. concerts. He had c. a waltz
at 6, and his later comps. eclipsed
the success of those of his father,
after whose death he united the two
orchestras. 1862, he m. the singer
Henriettc Treffi (d. 1878). and later
the sing^er Angelica Dittrich ; c 400
pes. of dance-music ; his waltzes
'* TJU beauHful blue Danube;'
** KanstUrUben:' ** Wiener Blut;'
" The looi Nights ;' ** Wine, Wom-
en and Song^* etc., are dance-rhap-
sodies whose verve and colour have
deserved and won the highest praise
of severe musicians. His light operas
rival his waltzes in charm and succ.
and incl. the v. succ. ** Die Fleder-
maus " ('74). (4) Jos., Vienna, April
25, 1827 — ^July 22, 1870; bro. of
above, durmg whose illness in 1853
he served as cond.; later formed an
orch. of his own and learned the vln. ;
on a tour to Warsaw he was mal-
treated by Russian officers for whom
he had refused to play, and died in
the arms of his wife (whom he had
m. in 1857) ; he c. 283 dances. (5)
Eduard, b. Vienna, Feb. 14, 1835 ;
bro. and succ. of Johann as cond. of
the ct. -balls and orch.; took his orch.
to America 1892 and igoo ; c. dance-
mus. (6) Ludwig^, b. Pressburg,
March 28, i835--Cambridge, Engl.,
1899; violinist. (7) Victor voii,
Royal opera conductor, Berlin, 1902.
(8) Ricnard, b. Munich, June 11,
1864 ; composer ; daring and brilliant
musical adventurer; son of (8) Fz.
S. (chamber-mus. and horn-player) ;
studied also with W. Meyer. At 4
he c. a polka. He took a regular
Gymnasium course 1874-82, and spent
two years at the univ. At 17 his
first symph. was prod, by Levi ; his
'* Serenade'* for 13 wind-instrs. had
much succ. with the Meiningen orch.
under von BUlow, to whom S. be-
came asst., and (1885) successor as
ct.-mus. dir. at Meiningen ; 1886,
3rd cond. at Munich ; 1889, ct.-cond.
at Weimar under Lassen; 1894, cond.
at the ct. -opera, Munich, also 1894,
cond. Berlin Philh., and from 1898,
cond. at Berlin Royal Opera. He
m. the soprano, Pauline de Ahna,
who created ** Freihilde " in his opera
** Guntram " (Weimar, 1894, Munich,
*95). His i-act opera " Feuers-
noth" (** Fire-Famine"), libretto by
Wolzogens, was prod. Dresden, Nov.
21, 1901 , with much success. He has
also cond. with gpreat succ. in various
cities. C. svmph. op. 12 ; symphonic
fantasie **wiw Itaiien,'' ** Wanderers
Sturmlied*' (Goethe), for 6-part cho-
rus, and full orch.; tone • poems,
''Don Juan;' op. 20; ''Macbeth:'
op. 23; ** Tod und Verkldrung" op.
24, the sjrmph. poems "Also spraek
Zarathustra " (after Nietzsche), **£i»
Heldenleben " (op. 40), and ** Don
Quixote"; op. 28, Orchester- Rondo
*' Till EulenspiegeV s lustige Streiche";
chamber-mus.; vln.-concerto ; 5
*' Stimmungsbilder*' for pf.; concer-
to for Waldhom; "Enoch Arden"
melodrama for pf. and recitation,
and songs. 1 6-part a cappella chorus
" Der Abend'' (1902), ballad for
chorus and orch. " Taillefer" (1902).
Biog. by Dr. Arthur Seidl (Prague).
Richard Strauss.
By James Huneker.
THAT Richard Strauss was the son of the famous hom-playcr, may
explain his predilection for the beautiful instrument. ^At Meiningen
he met Alexander Ritter, a pupil of Wagner, and this friendship,
with Von Billow's 'daily coaching, decided Richard Strauss' s tendency in
48
754 THE MUSICAL GUIDE
art. He became a composer of the future, a man of the new school. He
travelled much — he went to Greece, Italy, and Egypt for incipient lung-
trouble — and on ** guesting" tours, on which he was received wth en-
thusiasm, for he is a modem conductor in all the implications of the phrase.
A man of good physique, Scandinavian in appearance, Strauss is widdy
cultured and well read in classical and modem literature. ^In music he is a
true descendant of Berlioz, Liszt, and Wagner, though early in his career be
showed marked traces of a devotion to Brahms. This is more noticeable in
his piano and orchestra Burleshe in D minor ^ in the solo sonata and in the
*' Wanderer* s Sturmlied,^^ opus 7^, for six- voiced chorus and orchestra.
But the Richard Strauss we know to-day stands for all that is revoludonary
in the art. ^He has in his symphonic forms pushed to the verge of the
sublime — or the ridiculous, — or both — the poetic programme (Vide D. D.,
'•program music"). Hii^^Don Juan^^^ "Macbeth,** ''Death an J Trams-
figuration,** "Till EulenspiegeVs Merry Pranks,** *' Thus Sfaie Zaratbas-
tra,** "Don Quixote,** and " Ein Heldenleben** are tokens of laboon
almost Balzadan in their intensity. An emotional strenuousness, a marvel-
lous mastery of the orchestral apparatus, an abnormal colour and rhythmic
sense, combined with pbedc feeling, bizarre, even grotesque methods of ut-
terance, an utter defiance of formalism either classic or romantic^ and a
thematic invention not commensurate with his other gifts — all these quali-
ties jumbled in amazing juxtaposition and flavoured by a powerful individu-
ality, easily made Richard Strauss the leader of the New German School and
a formidable figure in the musical arena. ^Since his flammg utterances in
** Don Quixote** and ** A Hero* s Career ** the faith of some o^ his most
ardent disciples has been rudely shaken. " Either retreat or madness " b
the critical cry, and Strauss is not a man to be moved by prayer or assault.
So we find his two new solos for barytone and orchestra, sung at the Lower
Rhine Festival, June, 1 900, in Aix-la-chapelle, more eccentric than ever.
5[A brilliant composer, a strikingly intellectual man, Richard Strauss to-day
may be fairly called the leader of the musical Decadence. As a song- writer
his various collections have met with the greatest success, for he has a happy
method of welding music and poem into a perfect, if somewhat stanfing,
whole. Form he abandons utterly, striving to capture the idea as he per-
ceives it, in its full bloom. Opera 10, 15, 17, 127, 29, 32, are favourites ;
the newer songs are very difficult and almost cryptic in sentiment and execu-
tion. Richard Strauss is the greatest living master of the orchestra.
Streabbog^. Vide gobraerts. of Bizet and Damcke, Parts ; critic
Street (shtrat), G. Ernest, b. of there ; since 1898. of '' LJtclair^;
French parents, Vienna, 1854 ; pupil c operettas, i-act mimodrana
DICTIONARY OF MUSICIANS 755
^' Fides^ {Op.^Com.. 1894). 3-act
opera ** Mignonette ^^^ parody of
Thomas's •'i&j'jiww" (1896), ballet,
** .S^ora/m^fir^ withMessager.iSQi,
etc.
Strmcher (shtrf.kh«r), (i) JiL Andre-
as, Stuttgart, 1 761 — Vienna, 1833;
piano-maker and professor ; 1793 in v.
the pf. -action which drops the ham-
mer from above ; succeeded 1832 by
his son (2) JiL Bapt., 1794 — 1871,
who 'was succeeded by his son (3)
Emil.
Strelezki (str£-l«t^shkY), Anton (pen.
name of a Mr. Bumand (?)), b.
Croydon, Engl., Dec. 5, 1859; pupil
of Leipzig Cons., and of Frau ochu-
mann ; c. popular songs, and pf.«
pes.
Strepponi. Vide verdi.
Stiiggio (strld'.jo). Ales., b. Mantua,
ca. 1535 ; lutenist, composer and
conductor.
Strinasacchi (stre-n&-slk'-ke), Regi-
na, Ostiglia, near Mantua, 1764—
1823 ; violinist.
Stro'g^rs, Nicholas, English organ-
ist and composer, 1685.
Strohmeyer (shtrd'-ml-^), d. Weimar,
1845 ; bass.
Strong, G. Templeton, b. New
York, ca. 1855; pupil of Leipzig
Cons., and lives in Berlin ; c. symph.
**/» den Bergen"; symph. poem
•• Undine" (op. 14) ; '* Gestrebt-^
Gewonnen — Gescheitert" jLorch. with
vln.-obbligato ; choral works with
orch.; pf.-pcs., etc.
Strond, Chas., 1705 — 1726; Engl.
organist and composer.
Strozzi (str6d'-ze), (i) Pietro, b. Flor-
ence, i6th cent.; co-founder of the
stile rappresentativo (v. peri) ; set
to music Caccini's ** Iji Mascarada
degli Accecati" 1595. (2) Abbate
Gregorio, apostolic protonotary at
Naples; composer, 1683.
Strnbe (shtroo'.b^, Gnstay, b. Ballen-
stedt, Harz, March 3, 1867 ; violin-
ist ; pupil of his father ; at 10 in
Ballenstedt orch. ; at 16 pupil of I^p-
zig Cons.; played in the Gewand-
haus Orch.; later prof, at Mannheim
Cons.; 1889, Boston, Mass., in
Symph. Orch.; c. symph., etc.
Struck (shtrook), Jn. Bapt. (called
Batistin), Florence, ca. 1680 — Paris,
1755 ; ist 'cellist that ever played in
Paris Op^ orch.; c. operas.
Strnngk (or Stninck) (shtroonk), Ni-
kolaas Adam, Celle, Hanover, 1640
— Leipzig, 1710; violinist, organist
and dram, composer.
Stmss (shtroos), Fs., b. Hamburg,
Nov. 28, 1847 ; violinist ; pupil of
Unruh, Auer, and Joachim; 1870,
member Berlin ct. - orch.; 1885,
'* chamber-virtuoso " ; 1887, ct.-Con-
zertmeister; also teacher Klindworth-
Scharwenka Conservatorium.
Stumpf(f) (shtoompO, (i) Jn. Chr.,
bassonist at Paris, ca. 1785 ; com-
poser. (2) K., b. Wiesentheid, Lower
Franconia, April 21, 1848 ; lives in
Munich; theorist.
Stnntz (shtoonts), Jos. Hartmann,
Arlesheim, near Basel, 1793 — Munich,
1859 ; dram, composer.
Stttrmer (shtYr'-m^r), Heinrich, 18 11
— Leipzig, 1902 ; operatic bass.
Succo (zook'-kd), Reinhold, Goriitz,
^837 — Breslau, 1897; organist,
teacher and composer.
Such (zookh), Percy, b. June 27,1878;
'cellist ; studied with Robt. Haas-
manns ; toured ; lived in Berlin.
Sucher (zoo'-kh^r), (i) Josef, b. Dor-
bor, Hungary, Nov. 23, 1844; emi-
nent cond.; studied singing and the
vln., Vienna; pupil of Sechter
(comp.) ; vice-cond. of the acad. Ge-
sangverein; coach for solo singers
at the ct -opera ; 1876, cond. Leipzig
City Th. ; 1877, m. the distinguished
Wagnerian soprano, (2) Rosa
Hasselbeck (b, Velburg, Upper
Palatinate) ; 1878-88 they were en-
gaged by Pollini at Hamburg ; later
as cond. of the Royal Opera at Ber-
lin (retired 1899), and prima donna
(retired 1898). Frau S. was daugh-
ter of a musician and sang small roles
at Munich and elsewhere at first ;
later prominent in Wagner opera*
756
THE MUSICAL GUIDE
which she sang at Bayreuth and in
America.
Sndds, Wm., b. London » EngL,
March 5, 1843; at 7 moved with
his parents to a farm in Gouvemeur,
N. Y.; self-taught; a bandm. dur-
\ng the Civil War, and later pupil of
Eugene Thayer (org.), and J. Eich-
berg (vln. and comp.), Boston Cons,
of Music ; lives in Gouvemeur as
teacher and pub. of various methods ;
c 4 overtures, many dances, marches,
church mus., etc., for pf., incl. can-
UtA** TA€ Star of Bethlehem r
Snk (sook), Josef, b. Ki'ei^ovic, Bo-
hemia, Jan. 4, 1874 ; violinist ; pupil
and son-in-law of Dv6rik at Prague
Cons., 1896, 2nd vln. ** Bohemian
String-Quartet " ; c. a dramatic over-
ture •* Winter^ s Tale,* symphony in
E ; suite for orch. op. 16 *' Ein
Mdrchen " {1898), etc.
Snl'liTan, Sir Arthur SeTmonr, Lon-
don, May 14, 1842 — Nov. 22, igoo;
eminent composer of national Eng-
lish comic opera ; v. succ. in church-
mus. also; at 12 a chorister under
Helmore, Chapel Royal ; at 13 pub.
a song; 1856, the first Mendelssohn
Scholar at the R. A. M.; studied also
at Leipzig Cons., etc. At 18 cond.
his overture ^' Lalta Rookh**; at ao
prod, his mus. io '* The Tempest''
(Crystal Palace) ; at 22 his notable
cantata ^^ Kenilworth" (Birmingham
festival) ; cond. of the London Phil-
harm. (1885-87); and from 1880,
the Leed's Festivals. 1876-81, prin-
cipal, and prof, of comp. at the
Nat. Training Sch. for Mus. ; Mus.
Doc. h.c.^ Cambridge (1876), and
Oxford (1879) ; Chev. of the I^egion
of Honour, 1878 ; gjand organist to
the Freemasons, 1887 ; knighted,
1883. C. symphony (played at the
Gewandhaus, Leipzie, etc.) overtures
**//! Afemoriam {on his father*s
death), ** Afarmion,** ''Di balh;' and
^^ Sapphire Necklace*' ; oratorios and
cantatas, incl. *^^The Golden Legend"
(1886); ''A FesHval Te Deum**
(1872), Ode *' / IVish to Tune my
Qmverinf Lyre" with orch., and
succ. incid. mus. to 8 of Shake-
speare*s plays and others ; c much v.
succ. church-mus. of all kinds. His
operas include the grand opera,
'' Ivanhoe" (1891X the romantic
opera, ^^ Hose of Persia"' (1900),
neither a succ.
His chief contribution to music,
was his brilliant series of truly £x^-
lish comic operas, with the equally
brilliant Ubrettos of W. S. GUbeit.
Some of these had a world-wide
succ, zxv^*^ PcUiente" wa& a satire
of equal e£fectiveness with M oU^re's
* * Les Pr/cieuses Ridicules, '* Among
16 comic operas were the following
great successes: ** Cox and Sajc"
(1867), ''Trial by Jury" (1875),
** H, J/. S. Pinaforg'^' (1878), " The
Pirates of Pentance" (i88o), ^'Pa-
tience" (1881), ''lolanthe" (1882).
** The Mikado " (1885). ''Ruddigort -
(1887), ** The Yeomen of th€ Guard^
(1888). " The GondoUers;* ** Ut€^
(Limited) " (1893) ; " Omtrahandis-
ta" (1867, revised 1894 as *^' The
Chieftain"), ** The Emerald IsW
(1901), fini^ed by Edw. dvcrman ;
libretto by Basil Hood.
SnUer (zooV-ts^r), (i) Jn. G., Winter-
thur, 1719 — Berlin, 1779 *. writer and
professor. (2) Salomon, of Jewish
parents, Hohenems, Vorarlber^, 1804
— ^Vienna, 1890; prof, of singriii|r and
comix>ser. (3) Julias, Vienna, 1834
— 1891 ; son of above ; violinist and
conductor, and c. operas. His sisters
(4) Marie and (5) Henriette ^aie
sineers.
Sun'derland, Mrs. , b. Bright-
house, Yorkshire, 1819; soprano ; re-
tired, 1864.
Supply Fz. Ton (fon-zoop'.pi), ^ala-
to, Dalmatia, 1820— Vienna, May
22, 1895 ; very popular operetta-com-
poser ; pupil of Padua, Cigala, and
Ferrari ; at first unpaid cond. at the
JosephstSdter Th.; then at Pressboig
and Baden and at Vienna ; he c. s
grand operas, a symph., a Missa Dal-
matica, a requiem, ** L'estrewu> gimdi*
DICTIONARY OF MUSICIANS 757
uo^^"* overtures (incl. the immensely
pop.** DichUr und Bauer" pub. for
59 oombinations). Of his Singspiele,
comediettas, etc., some (like ** Tan-
fUrthauser'^ and '' Dinar ah'*) are
parodies, of the others the most succ.
are ''Fatinitxa" (Vienna, 1876), and
** DU Afrikareise " (1883).
Snrette (su-r^t), Thos. Whitney, b.
Concord, Massachusetts, Sept. 7,
1862 ; gnuluated Harvard, 1891 ;
ril there of Arthur Foote (pf .)f and
K. Paine ; organist, Baltimore ;
then University Extension lecturer
(Phila., Pa.) ; wrote treatises, etc.;
pub. 2 -act operetta ** Prisalla**
(given over 500 times), etc.
Snriano (or Soriano) (soo'- (or so')
il-il-nd), Fran«, Rome, 1549—Jan.,
1620 ; conductor and notable com-
poser ; pupil of Nanini and Palestri-
na ; cond. S. Maria Maggiore, and
1603, at St. Peter's, Rome.
Snr'nuui, Jos., 1803-^1871; English
tenor, conductor and composer.
Soaato. Vide tylman susato.
Sfissmayer (zfks'-ml-£r), Fz. X.,
Stcyr, Upper Austria, 1766 — ^Vienna,
180^ ; conductor and dram, com-
poser.
STendsen(svent'.z^), (i) OlnfyChristi-
ania, 1832 — London, 1888 ; flutist.
(2) Johan (Severin), b. Christiania,
Sq>t. 30, 1840; important, though
eclectic composer ; son of a bandm. ;
at II c. vln.-pcs.; at 15 enlisted in
the army and was soon bandm., and
played flute, clarinet, and vln.; with
a stipend from Charles XV., he
studied vln. ; at 23 he became pupil
of David and Hauptmann, Richter,
and Reinecke, Leipzig Cons.; toured
1868-69, in Musard's oreh.; and at
the Od^n, Paris ; 1869, Leipzig ;
187 1, m. an American in New York ;
1872-77. and 1880-83, cond. Christi-
ania Mus. Assoc.; 1883, ct.-cond. at
(Copenhagen; from 1896, cond.
Royal Th. there. C. 2 symphonies,
overture to Bj6mson*s *' Sigurd
Slembe'\' ** Rontto andJuUet;' fune-
ral march for Charles XV., corona-
tion march (for Oscar XL), wedding-
cantata, etc., with orch.; op. 16,
** Car naval dfs ariisUs norv/giens**
humorous march; 4 ^^ Norwegian
Rhapsodies" for orch.; vln. and
'cello concertos, chamber-music and
songs, etc.
Swan, Timothy, Worcester, Mass.,
1758^ — Northfield, 1842 ; teacher and
composer.
Sweetinck (or Swelinck the best 2
of the 7 spellings) (sva-link), (i)
Jan Pieter (called Jan Pietera-
zoon), Amsterdam, 1562 — Oct. 16,
162 1 ; chief of Dutch organists. Son
and (1577-8 1) successor, probably also
pupil, of (2) Picter (d. 1573), who
had won pre-eminence as the oig.-
virtuoso and teacher of his own time;
(i) was the first to employ the pedal
in a real fugal part, and originated
the org. -fugue.
Sweet'hand, W., org. -builder, Bath,
Engl., 19th cent.
Swert, Jules de. Vide deswert.
Swieten (sve'-t£n), Gf., Baron Ton,
1734 — Vienna. 1803; eminent patron,
but unimportant composer, of music;
c. 6 symphs.
Swinnerton, Heap. Vide heap.
Swoboda (svo-bd -dS), Aupiat, d.
1901 ; teacher in Vienna ; pub. text-
books (1826-32).
Sylva (sel'-vfi), Eloi, b. Oeraerds-
bergen, Belgium, Nov. 29, 1847 1
noted tenor ; studied Brussels Cons.,
and with Duprez ; debut, Nantes ;
sang 7 years Paris Op^ra, then in
Russia, England and America ; 1889
Berlin.
Sympson. Vide simpson.
Szalit (sha'-let), Paula; b. 1886 (?);
pianist ; pupil of Leschetizki.
Szarvady. Vide clausz-szarvady.
Sz^kely (sha'-k£-le), Imre (Emeric),
b. Malyfalva, Hungaiy, May 8,
1823 ; pianist ; studied in Pesth ;
toured 1846 ; from 1852 teacher
Pesth ; c. Hungarian fantasias on
national airs ; pf. -concertos, etc.
Szumowska (shoo-m6f'-'shka), Antoi-
nette, b. Lublin, Poland, Feb. 22.
758
THE MUSICAL GUIDE
1868 ; pianist ; pupil of Strobel and'
Michalowski at Warsaw, and of
Paderewski at Paris ; has played
with gpreat succ. at London, Paris,
New York, Boston, etc.; m. Joseph
Adamowski ; lives in Boston.
Szvmanowska (she-mli-n6f'.shkli),
Maria (nee Wolowska), Poland,
1790— (of cholera), Petersburg, 183 1 ;
pianist ; pupil of Field at Mos*
cow; ct. -pianist at Petersburg;
Goethe was infatuated with her
and she with him ; c. 24 mazurkas,
etc.
Tabourot (t&-boo-rd), Jean, Dijon,
1519 — Langres, 1595 (?) ; a priest and
writer under the pseud. " Thoinot
Arbeao.''
Tacchinardi (tSk.kY-nar'^e), (i) Nico-
la, Florence, 1772 — 1859 ; at 17 a vio-
linist ; later a tenor of greatest Euro-
pean popularity, even singing ** Don
Giovanni " (transposed) with succ,
though he was hideous and a hunch-
back. His daughter (2) Fanny Tac-
chinardi-Persiani (v. persiani).
His daughter (3) Elisa was a
pianist.
Tadolini (ta-d5-le'-ne), (i) Giov., Bo-
logna, 1793 — 1872 ; dram, composer;
m. (2) Eugenia Savorini (b. Forli,
1809), a singer.
Taffenel (t&f-ffl-nei), Claude Paul,
b. Bordeaux, Sept. 16, 1844 ; flutist,
pupil of Doms (flute) and Reber
(comp.) ; 3rd cond. Grand Op^ra, *
Paris; 1892, dir. Paris Cons, con-
certs— resigned, 190 1 ; 1893, prof, of
flute there.
Tag (takh), Chr. Gotthilf, Bayerfeld,
Saxony, 1735 — Niederzwonitz, 181 1;
composer.
Tagliafico (tal-yfi-fe'-ko), (i) Jos.
Dieudonn€, b. Toulon, Jan. i, 1821;
operatic singer and stage-manager in
Ix)ndon ; married (2) -^— Cottis,
a singer.
Tagliana (tal-yil'-na). Emilia, b. Mi-
lan, 1854; pupil of the Cons, there.
also of Lamperti ; colorature-sopono
in various cities; 1873-77, Vieana;
pupil of Hans Richter; 1881-82.
chamber-singer, Berlin.
TlUglichsbeck (takh' - llkfas - bft),
T1108., Ansbach, 1799 — Badco-Ba-
den, 1867; violinist, conductor and
dram, composer.
Taglioni (tfil-vo -ne), Fdo., b. Naples,
Sept. 14, 1 8 10; son of the famoos
ballet-master Salvatore T. (1790—
1868). 1842-49, cond. at Ladano;
rill 1852, leader San Carlo Th., Ni-
pies ; editor and conductor ; f oimded
a sch. for choral singing ; pub.
pamphlets and sacred songs.
Talezy (t&-l«x-e), Adrien, Paris, 1820
— 1881; pf. -teacher and composer.
Tal(l)ys (or Tallis), Thos., ca.
(1520-29)-— London, Nov. 23, 1585;
an early English composer whose re-
markable contrapuntal ability and
harmonic richness place him dose to
Palestrina. His training is not known;
1540, he ceased to be organist at Wal-
tham Abbey and joined the Cbapd
Royal ; he was co-oi^nist with Byrd
and shared his monopoly of mus.-
paper and printing; ne c notable
church mus. for both Catholic and
English services, also a song in 40
parts, etc.
Tamagno (til-mfin'-yd), Fran., b. Tu-
rin, 185 1 ; robust tenor; d^ui, Paler-
mo ; sang with great succ at La
Scala, Milan, 1880. Has sung through-
out Europe and in both Americas
1887, he created Verdi*s *' OtcUo."
Tamaro (tfi-mft'-r5), Josef^ Barcelona,
1824 — New York, March 3, 1902 ;
noted tenor ; pupil of Lunperti ;
from 1876 teacher in America.
Tam'berlik, Enrico, Rome, 1820—
Paris, 1889 ; famous tenor ; pupil of
Borgna and Guglielmi ; debut, Na-
pleS) 1841; he had a powerful high
.'"
Tamburini (tilm-boo-re'-ne), A., Faen-
za, March 28, 1800— Nice, Nov. 9,
1876. Next to Lablache, perhaps
the most succ. of male singers ; a
lyric bass with compass of 2 octaves ;
DICTIONARY OF MUSICIANS 759
the son and pupil of a bandm. A
horn-player first, then pupil of Bon!
and Asioli ; debut, Centi, 1818.
Tanaka (t&-n&'-ka). Shoh^, Japanese
theorist ; pupil of Spitta ; inv. the
enharmonium with just intonation.
Tanejeff (ti'-na-y£0. Sergrei, b. Rus-
sia, Nov. 13, 1856 ; pupil of N. Ru-
binstein and Tchaikowski ; prof, of
theory and comp. Moscow Cons.;
prod. 3-act opera " Oresteia " (St.
Petersburg, 1895).
Tansnr (tan'-sftr), Wm., Dunchurch
or Barnes? ca. 1700— St. Neots,
1783 ; orig^nist, teacher, writer and
composer.
Tappert (tSp'-p^rt), Wm., b. Ober-
Thomaswaldau, Silesia, Feb. 19,
1830 ; important theorist ; a school-
master, then 1856, studied with Dehn
theory; Kullak's Acad.; lived in
Berlin from 1866 as a writer, editor
and composer.
Tarchi (tilr'-ke), An^lo, Naples,
1760 — Paris, 1814; dramatic com-
poser.
Tarditi (tSr-de'-te). Orazio, d. after
1670; from 1648, maestro Faenza
Cath.; composer.
Tartini (tar-te'-ne), Giuseppe, Pirano,
Istria, April 8, 1692 — Padua, Feb. 16,
1770; eminent violinist, composer and
scientist ; at Brst he studied for the
priesthood at his father's wish ; then
law, finally mus.; apparently self-
taught as a violinist. A charge of
abduction, due to his secret marriage
with a niece of Cardinal Comaro, led
him to take refuge in the Franciscan
monastery at Assisi, where for two
years he practiced the vln. anQ stud-
ied comp. After a reconciliation he
returned to Padua. Later he heard
the violinist Veracini at Venice, and
sending his wife to relations, retired
to Ancona for further study. 17 14,
he discovered the combinational tones
(v. D. D.. "resultant") and util-
ised them in perfecting intonation;
172 1, solo-violinist and cond at St.
Antonio, Padua ; 1723-25, chamber-
mus. to Count Kinsky, Prague; 1728,
founded a vln. -school at Padua ;
pub. treatises on harm, and acoustics;
c. over 200 vln. -concertos, 50 sona-
tas with bass, etc., inch the famous,
posthumous '*// Trtl/o del DiavoU;'
an effort to reproduce a sonata played
to him by the devil in a dream. Biog.
Fanzago (Padua, 1770) ; J. A. Hiller
(1784), FayoUe (1810).
Tasca (tas'-ka), P. Ant., neo-Italian ;
c. opera *M Santa Lucia^''^ succ. in
Germany, 1902.
Taskin (t&s-k&n), (i) Pascal, Theux
(Li^e), 1723 — Paris, 1795 ; cele-
brated instr. -maker in Paris ; introd.
the piano-pedal worked by the foot
instead of the knee ; inv. leather tan-
gents for clavichord, the armandine,
etc. (2) Jos. Pascal, 1750 — 1820;
nephew of above ; keeper of the
King's Instruments. (3) H. Jos.,
VerMulles, 1779 — PariSj^ 1852 ; son of
above ; organist. (4) (&mile) Alex.,
Paris, 1853 — 1897 ; grandson of (3) ;
barytone.
Taubert (tow'-b€rt), (i) (K. Gf.) Wm.,
Berlin, 181 1 — 1891 ; noted pianist
and composer of operas, incid. mus.
to Shakespeare, etc. ; pupil of Neidt-
hardt, Berger and Klein; ct.-cond. at
Berlin. (2) Otto, b. Naumburg-on-
Saale, June 26, 1833 ; pupil of O.
Claudius and ** prefect" of the cath.-
choir; 1863, prof., cantor and cond.
at Torgau ; pub. treatises ; com-
poser. (3) Ernst Eduard, b. Re-
genwalde, Pomerania, Sept. 25, 1838;
studied at the Stem Cons., Berlin ;
Prof., 1898 ; pub. chamber-mus.,
etc.
Taudou (to-doo), A. (Antonin Bar-
th^Umy),b. Perpignan, France, Aug.
24, 1846 ; violinist ; pupil of Paris
Cons., winning Grand prix de Rome,
1889; member of the Opera-orch.;
from 1883, prof, of harm, at the
Cons.; c. vln. -concerto, etc.
Tausch (towsh), (i) Fz., Heidelberg,
1762 — Berlin, 181 7; clarinettist and
composer. (2) Julius, Dessau, 1827 —
Bonn, 1895 ; pianist, conductor, com-
poser and writer.
760
THE MUSICAL GUIDE
Tausig (tow'-ztkh), (i) Aloys, 1820—
1885 ; pianist and composer, pupil
of Thalbcrg. (2) Karl, Warsaw, Nov.
4, 1841— (of typhoid fever), Leipzig,
July, 187 1 ; remarkable piano-virtu-
oso ; son and pupil of above; and of
Liszt; debut, Berlm, 1858; lived E>res-
den and Vienna as notable cond.;
1865 founded a sch. at Berlin ; c.
brilliant exercises, transcriptions, etc.
Tauwitz (tow'-vTts), Eduard, Glatz,
Silesia, 1812 — Prague, 1894 ; con-
ductor ; c. more tlum 1,000 comps.
incl. 3 operas.
Tavecchia (ta-v^k'-kt-a), Luiei; no-
table buffo ; d^but in concert Milan ;
in opera at La Scaia ; has sung in
Europe and America.
Tav'crncr, (i) John, d. Boston, Eng-
land; organist and composer at Ox-
ford, 1530. (2) Rev. J., d. Stoke
Newington, 1638 ; organist and com-
poser.
Tayber. Vide teyber,
Taylor, (i) Edw., Norwich, Engl.,
1784 — Brentwood, 1863 ; bass, con-
ductor, critic, lecturer and writer, (2)
Franklin, b. Birmingham, Engl.,
Feb. 5, 1843 ; pianist and teacher ;
pupil of C. Flavell (pf.) and T. Reds-
more (org.) ; also of Leipzig Cons.;
1876-82, prof. Nat Training Sch.,
and from 1883, at the R. C. M.;
Pres. of Acad, for the* Higher Devel-
opment of pf. -playing; writer and
translator.
Tchaikovsky (or Tschaikowski,
etc.) (tsha-e-k6r-shkY), Peter II-
jitch, Wotinsk, in the Government
of Wiatka, Dec. 25, 1840— (of chole-
ra) Petersburg, Nov. 6, 1893 ; emi-
nent Russian composer. Studied
law, and entered the government
civil service ; did not take up mus.
seriously till 22 ; then entered the
newly founded Petersburg Cons,,
under Zaremba and A. Rubinstein,
1865, winning a prize medal for
Schiller's ode ''An die FrauW
(also used in Beethoven's 9th symph.);
1866-77, instructor of harm, there;
then lived Petersburg, Italy, Switi-
erland, as composer. He visited Eng-
land and appeared at Phil. CoDoerts,
1888 and *89 ; visited New York for
the dedication of the new Carnegie
Music Hall, and cond. his own com-
Ix>sitions. 1893, Mus. Doc i.r.,
Cambridge. Writer, and translator oif
harm, text-books. C. 11 Russian op-
eras, incl.** The Voytvode '* (Mosoov,
i869),**C^rt/fAiwf>'/"(Petersb., 1874),
** Vakula, the Smith'' (Petenb,,
1876); 'jevgenjie Onegin'\' 1879,
*' Eugene Onegin'' in Gennan
(Hamburg, 1892), and posthmnous
''Pifue Dame '* (Vienna ct.-th., 190a);
3 ballets. '' Le Lac des Cygnes *' (op.
20), **Za Belle au Bois Dermami"
(1890), and ''Le Casse-N^etU*"{€tp,
71); a coronation cantata with orch.; 3
masses ; 6 sjrmphs., incL No. 6 in B
minor, the famous *' Path/tique'" ; 7
symph. poems, ** The Tempest^'"
'' Francesca da Rimini ;* '' Man-
fred:' ** Romeo andJuUet" (a fanta-
sy-overture) ; '' Hamlet :* *' F^imm,
and **Z> Voyevode" (symph. bal-
lad) ; 4 orch. suites incl. ** Mocar-
tiana ;" 3 overtures ** 1812" (op. 49),
*' Triomphale" on the Danish natL
\iymn\ ''VOrage"; ** Marche slave,"
coronation nuux:h ; 3 pf .-concertos ; a
pf. -fantasia with orch.; vln.-€ocicerto;
capriccio for *cello with orch. ; string-
sextet ** Souvenir de Florence ^^ 3
string-quartets, a pf.-trio, pieces for
vln. and *cello; and pf.^cs., incL
** Souvenir de Hatsai;' sonata " The
Seasons," I2 cnaracteristic pes.,
** Kinder Album "; 6 duets, Russian
songs, etc. Also pub. a harmony ; his
** Erinnerungen and transUtaoosof
Gevaert, eta
DICTIONARY OF MUSICIANS 761
Tschaikowsky.
Br Eenest Newman.
HALF French m his ancesoy^ Tschaikowsky' s prenttal influences
were a Uend of £ast and West. While Westerns regard him as
typically Kumomb, his compatriots think him less ** native" than
other Russian composers. Like most Slavs, he drew sustenance more from
France than Germany. Brahms he thought dull ; Wagner he never really
understood. He loved music, he said, that came from the heart, that ex-
pressed '* a deep humanity," like Grieg* s. To the delicate brain and nerves
of the modem man he added the long-accumulated eruptive passions of his
race. He takes the language made by the great Germans, and uses it to
express the complex pessimism of another culture. The colour of life in hb
music ranges from pale grey to intense black, with here and there a note of
angry scarlet tearing through the mass of cloud. Almost all his work, like
Tourgenieff^s, lies within the one scale of emotions ; but from relatively few
elements he evokes an infinite variety and complexity. In his songs, for ex-
amfJe, though melancholy is the dominant note of nine .out of ten, each
paints a different shade of the generic mood. ^More interested in personal,
dramatic emotion than in music of abstract beauty, he worked his way
through and beyond the ordinary symphonic form, to the symphony with a
human significance or the symphonic poem pure and simple. His phrases,
^N>ring his general conceptions, are vital, emotional, intimate. Music, he
h^d, must always interest in the first place ; and so he avoids the cold dis-
pbys of technical artifice which Brahms, for example, so often gives us,
preferring rather to repeat the old matter with variations of ornamentation.
^Hb real contribution to the history of music, apart fi-om the general beauty
and expressiveness of his work, is the modification of the symphonic form in
obedience to a poetic idea. He takes up the suggestions bequeathed by
Berlioz and Liszt, and turns them into accomplished realities.
Tetaldini (t&-bal-de'-ne), Giovanni,
b. Brescia, 1864 (?) ; pupil of Paolo
Chtmeri ; at 15 organist of Brescia
Gath., and chorusm. Guillaume Th.;
later studied at Milan Cons.; ex-
pMled 1886 for criticising a mass
written by a prof. ; after wandering
as organist and journalist, studied at
Ratisbon ; maestro, '* Schola Canto-
ram,** San Marco, Venice; 1894,
maestro, Padua Cath.; 1897, dir.
Panaa Coos. ; wrote org.-roetbod (v.
Bossi) ; c. opera *' Fantasia Araba**
** Afessa funibre " with Bossi, etc.
Tedesca (ti-d^s'-ka), Fernanda, near
Baltimore, U. S. A., i860— August,
1885 ; violinist.
Tedesco (ta'.d«s'.k5), Ignas (Ama-
deus), Prague, i8i7^)dcssa, Nov.
13, 1882; brilliant pianist C'the
Hannibal of octaves ") ; composer.
Telemann (taM^man), (x) G. Philipp,
Magdeburg, March 14, 168 1 — Ham-
burg, July 23, 1767 ; mainly self'
762
THE MUSICAL GUIDE
taught; conductor; 17091 ct.-cond.;
he overehadowed J. S. Bach in con-
temporary esteem and was one of the
most prolific and facile composers
ever known ; c. opera ; autobiog. ,
1 73 1. (2) G. Micnael, Plon, Hol-
stein, 1748 — Riga, 183 1 ; grandson
of above ; cantor, theorist and comp.
Telle (t«l'-l«), K., 1826— Klosterneu-
burg, 1895 ;. ballet-composer.
Tel'ford. Vide francis boott.
Teliefsen, Thos. Dyke Adand,
Trondheim, Norway, 1823 — Paris,
1874 ; pianist and composer.
Tem'ple, Hope, b. 19th cent, of Eng-
lish parents, Dublin; pupil of J. F.
Bamett, and E. Silas, London, and
of A. Messager, whom she m. ; c.
operetu ** The Wooden Spoon" and
numerous pop. songs.
Tem'pleton, f., Riccarton, Scotland,
1802 — New Hampton, near London,
1886; tenor. .
Tenaglia (ta-nftl'-yS), Anton Fran.,
b. Florence ; conductor at Rome ; c.
the first known opera using an aria
da cajX), ** CUarcOy' 1661.
Ten Brink. Vide brink, ten.
Tendacci (ten-doot'-chc), Giasto F.,
b. Sienna, 1836 ; famous male opera-
tic soprano.
Ten Kate. Vide kate ten.
Ternina (t&r-ne'-n&), Milka, b. Be-
gisse, Croatia, Dec. 19, 1864; no-
table dramatic soprano ; studied with
Gftnsbacher; d^but Leipzig, 1883;
then sang Graz and Bremen ; 1890
Munich, named "court-singer"; sang
in Bayreuth and in America from
1899.
Terpan'der, b. Antissa, Lesbos, 7th
cent. B.C.; called the ** Father of
Greek music."
Terradellas (Terradegliaa) (t^r-rS-
d^l'-las or dal'-y^), Domins^o (Do-
menico), Barcelona, Spain (bap-
tised, Feb. 13, 171 iV— Rome, 175 1 ;
dram, composer.
Terschak (t^r'-shftk), ikd., Prague,
April 21, 1832 — 1901 ; flutist ; pu-
pil of Zierer, Vienna Cons. ; toured ;
c. flute-pcs.
Terziani (tdr-tsI-S'-ne), Engenio,
Rome, 1825 — 1889; prof., conduct-
or and dram, composer.
Teschner (t«sh'-n«r). Gv. Wm.,
Magdeburg, 1800 — Dresden, 1883 ;
teacher, composer and editor.
Teai-Tramontini (ta'-ze-tra-mdn-te-
ne), Vittoria, Florence, ca. 1695—
Vienna, 1775 ; famous contralto.
Tessarin (t^s'-sa-ren), Fran., b. Vca-
ice, Dec. 3, 1820 ; pianist and teach-
er ; pupil of A. Fanno and G. B.
Ferrari : c. opera ** V Uitim^ Aien-
cerragio " (Venice, 1858) ; a caotau,
etc.
Tessarini (tfe-sS-re'-ne), Carlo, b.
Rimini, 1690; famous violhiist,
writer and composer.
Testori (t«s-to'-re), (i) Carlo Cul,
vln. -maker at Milan, ca. 1687 — I7S4^
with his sons (2) Carlo A. and (3)
Paolo A.
Teyber (or Tayber) (tl'-bdr), (i) An-
ton, Vienna, 1754— 1822 ; conductor,
cembalist and composer. (2) Fs.,
Vienna, 1756 — 1810: bro. of above;
organist and dram, composer.
Thadewaldt (tl'-dd-valt). Hermann,
b. Bodenhagen, Pomerania, April 8,
1827; 1850-51, bandm. at mssd-
dorf; 1893-95, cond. at Dieppe;
1857 at Berlin.
Thalbergr (tal'-b^rkh), Sisismnnd,
Geneva, Jan. 7, 18 12 — Naples, April
27, 1871 ; famous piano-virtuoso and
composer. ** Being the son of Prince
Dietrichstein, who had many wires
without being married, T. had sereial
brothers of different family names'*
(Grove). His mother was the Barois
ess von Wetzlar. Both of the parents
took the greatest interest in his edu-
cation. He was intended for a dip-
lomatic career, but after his sncc. as a
pianist at 14, gave himself up to
mus. He had some tuition from
Hummel (pf.) and Sechter (oooip.),
but chiefly from Mittag. a bassoon.t
ist. At 16 three florid compositions
appeared; at 18 a pf. -concerto. The
same year he toured Gennany with
mnch 8UCC. 1834, ct-piantst at yiea«
J
DICTIONARY OF MUSICIANS 763
na. ; 1835, he conquered Paris, and
later the rest of Europe. 1843, ^^
m. Mme. Boucher, daughter of La-
blache ; 185 1, his first opera ** Flo-
rida^'^ failed in London, and 1855,
'• CrisHna di Sve%ia " failed in Vi-
enna. He then toured Brazil (1855),
and 1856, United States ; retiring in
1858 to his villa at Posilippo, near
Naples. 1862, Paris and London ;
1863. second Brazilian tour; 1864,
retired again. He was remarkable
for his legato effects and for the sing-
ing-tone, Liszt saying *' Thalberg is
the only artist who can play the vio-
lin on the keyboard." He originated
the subsequently abused scheme of
dividing a central melody between
the two thumbs, and enveloping it in
arpeggiated ornament. His comps.
include many florid transcriptions of
opera-tunes, also a gprand concerto,
6 nocturnes, " La Cadtrue^'^ and
•* Marc he fukkbre vari/e^* etc.
Thallon* Robt., b. Liverpool, March
18, 1852 ; taken to New York at 2 ;
studied in Stuttgart, Leipzig, Paris,
and Florence ; lives in Brooklyn, N.
v., as organist and mus. -teacher.
Thayer (tha'-Cr), (i) Alex. Whee-
lock. South Natick, Mass., Oct. 22,
181 7 — Trieste, July 15, 1897 ; grad-
uated Harvard, 1843 , was librarian
there for some years ; 1849 went to
Europe and began materials for life
of Beethoven ; 1862, America as
journalist ; 1854 returned to Germany
and frequently aifterwards as his means
permitted; 1862, U . S. consular agent
at Vienna ; later, till death, consul at
Trieste ; besides manj articles he
wrote a g^reat but unnnished life of
Beethoven ; though written in Eng-
lish it has been pub. only in a German
trans, by H. Deiters, in 3 vols. (Ber-
lin, 1866-1879). Though incomplete,
his biog. of Beethoven is his monu-
ment. (2) (Whitney) Eugene, Men-
don, Mass., 1838 — Burlington, Ver-
mont, 1889; organist, editor, lecturer
and composer. (3) Arthur Wilder,
b* Dedham, Mass., Aug. 26, 1857 *
pupil of Guilmette and Adams (sing-
ing), Chadwick and Zerrahn ; cond.
choral societies in Lowell, Worcester,
etc.; 1882 at Dedham, 1885 at MiU
ton ; then mus.-dir. Eliot Ch., New-
ton ; c. part-songs, etc.
Theile (tl -1«), Jn., Naumburg, 1646—
1724 ; conductor and composer.
Theo'deri'cns, Sixtus. vide die-
TRICH
Thern (km), (i) Karl (Karoly), Iglo,
Upper Hungary, 1817 — Vienna, 1886;
conductor, professor and dram, com-
poser. His sons and pf.-pupils (also
pupils of Moscheles and Reinecke),
(2) Willi (b. Ofen, June 22, 1847),
and (3) Louis (b. Pesth, Dec. 18,
1848), were teachers.
Thibaad (te'-bo), (i) Jos., b. Bor-
deaux, Jan. 25, 1875 ; pianist ; pupil
of L. Diemer, Paris Cons., taking
1st prize for pf.-playing, 1892; 1895-
96, accompanied Marsick to America.
(2) Jacques, b. 1880; French pian-
ist.
Thibaut IV. (tc-bo-kitr). King o£
Navarre; Troyes, 1201 — Pampu>na,
1253 ; composer.
Thibaut (te'-bowt), Anton Fr. Jus-
tus, Hameln, 1774 — Heidelberg,
1840 ; professor and writer.
Thiele (te'-l«), (i) Ed,, b. Dessau,
Nov, 21, 1812 ; mus.-dir. at Kothen,
organist and prof, at the Seminary ;
1855, Dessau; i860, HofkapcU-
meister , c. a mass, etc. (2) K. L.,
Harzgerode, near Bemburg, 1816—
Berlin, 1848 ; organist and composer.
Thieme (called Thi6m6) (te'-m«. or
t'yi'-ma), Fr., (Germany (?)— Bonn,
1802 ; publisher of text-books, and
composer.
Thierfelder (t€r'-f«lt-«r). Dr. Albert
(Wm.), b. Muhlhausen, April 30,
1846; pupil of Leipzig Univ. and Dr.
Phil.; studied with Hauptmann,
Richter and Paul; cond. various
cities ; from 1887 mus.-dir. and prof.
Rostock Univ.; writer of important
treatises ; prod. 5 operas, incl. succ.
'Der HetrathsUin *' (text and music)
(Rostock, 1898), '^Zlatoro^:' and
764
THE MUSICAL GUIDE
•* Frau Holde,^* for soli, chorus, and
orch., and 2 symphs., etc.
Thieriot (te'.r!-6t), (i) Paul Emil,
Leipzig, 1780 — Wiesbaden, 1831 ;
violinist. (2) Fd., b. Hamburg,
April 7, 1838 ; pupil of E. Marxsen,
and Rheinberger; mus.-dir. at Ham-
burg, Leipzig, and Glogau; lives in
Hamburg ; c. symph. fantasy ** Lock
Lamondt'' vln. -concerto, etc.
Thillon (te-y6n), Anna (n^ Hnnt),
b. London, 18 19; verysucc. soprano;
pupil of Bordogni, Tadolini, and
Thillon, marrying the last named at
15 : debut, Paris, 1838 ; 1844, Au-
ber*s ** Crovm Diamonds '* was writ-
ten for her; 1850-54, in America, the
first to produce opera in San Fran-
cisco ; retired 1867 to Torquay.
Thimas (te'-moos), Albert, Freiherr
▼on, Cologne, 1806 — 1846 ; writer.
Thirl' wall, (i) J. Wade, Shilbottle,
Northumbria, 1809 — 1875 ; critic,
conductor and composer. (2) Annie,
daughter of above ; soprano.
Thoinan, E. Vide roquet.
Thoma (td'-mii), Radolf, b. Lehse-
witz, near Stcinau-on-Oder, Feb. 22,
1829; pupil of R. Inst, for Church-
mus., Beriin ; 1857, cantor, Hirsch-
berg, then Breslau, 1870, ** R. Music
Dir." ; founder of a singing-soc., dir.
of a sch.; c. 2 operas, 2 oratorios,
etc.
Thomas (to'-mfts), Chr. Gf., Wehrs-
dorf near Bautzen, 1748 — Leipzig,
1806 ; writer.
Thomas (t5-m&s) (Chas. Lonis),
Ambroise, Metz, Aug. 5, 1811 —
Paris, Feb. 12, 1896; pupil of Paris
Cons.; winning ist pf. -prize, 1829;
harm., 1830 ; Grand prix de Rome
(1832), with cantata " Hermann et
Kettyy After 3 years in Italy, re-
turned to Paris, and up to 1843, prod,
nine stage-pcs., at the Opera and
Op. -Com. with fair succ. The fail-
ure of the last was retrieved after a
silence of 5 years by ^'Le Ctd "{i%4g),
"Z> Sonj^f d'C/ne Nuit d*£tr'
(1850, both at the Op.-Com.). 185 1
elected to the Acad^mie. The next 6
operas were only moderately socc:
but ''Mignon'^ (Op.-Com.. 1866)
made a world-wide succ. and *^ HMm-
let " (Op^, 1868) a lasting succ in
Paris, where it is still sung. ** Giikd
Giliotin" (1874), '' Fran^oise de Ri-
minV*{\%%2\ and the baUet, *'Zj
TempiU"' (Opera, 1889), were his last
dram, works ; 187 1, dir. of the Cons.;
1845, Chcv. ; 1858. Officicr ; 1868,
Commander of the Legion of Hon-
our. C. also cantatas; messe solen-
nelle (N6tre-Dame, 1865) ; miDT
excellent ** choeurs orpheoniqucs
(3-part male choruses), etc.
Thomas (t&m'-iis), (i) J., b. Brigeod,
Glamorganshire, March i, 1826;
1861 made ** Pencerdd Gwalia." »./.,
Chief Bard of Wales ; pupil at the
R. A. M.; 185 1, harpist, R. It. Op-
era ; toured Europe, 1852-62 played
at the Gewandhaus, etc. 1862, oasA,
of the first annual concert of Welsb
mus. , with a chorus of 400, and ao
harps; 1871, harpist to the Queen;
leader in the Eisteddfodau, and baxp-
prof. R. C. M. C. dram, cantata
^' Llewelyn'' (i^i) \ a Welsh scene
** The Bride of Neath Valley " (1866);
patriotic songs, with harp; 2 harp-
concertos, etc. (2) Lewis Wm.,
Bath, April, 1826 — London, 1896;
concert-bass, editor and critic His
sons arc : (3) W. Henry (b. Bath,
May 8, 1848), prof, of singing.Goild-
haU and R. A. M.; and (4) Frank
L., conductor and organist at
Bromley. (5) Harold, b. Chelten-
ham, July 8, 1834 ; pianist ; pupil of
Stemdale Bennet, C. Potter, and
Blagrove ; d^but 1850 ; pf.-prof.
R. A. M. and Guildhall Sdi.. Lon-
don ; c. overtures, etc. (6) Theo-
dor(e), b. Esens, East Friesland.
Oct II, 1835 ; eminent cond., edu-
cator and stimulator of mus. taste in
America; son and pnpil of a violinist:
at 6 played in public ; at 10 v as
brought to New York, where he soon
ente^ an orch.; 185 1, toured as
soloist, later vrith Jenny Lind, Grisi.
etc; 1855, b^^an the Mason uui
DICTIONARY OF MUSICIANS 765
Thomas Soirees (with Dr. Wm. Ma-
son) ; 1864-69 cond. *'Symph, Soi-
rfe" ; 1869 made concert-tour with
an orch. of 54 ; 1876 at Philadelphia
Centennial with ill-sacc. leading to
disband ment ; 1878-80, pres. Cin-
cinnati Coll. of Mus.; 1880, cond.
New York, Philh. Orch.; from 1888,
dir. Chicago Cons., also cond. Chi-
cago Orch. (7) Arthur Goring^,
Ralton Park, near Eastbourne, Sus-
sex, Nov. 21, 1850 — London, March
30, 1892 ; took up music at 24 and
studied with £mile Durand, later with
Sullivan and Prout R. A. M., Lon-
don, winning Lucas Prize, 1879; lived
in London. C. 2 operas, v. succ.
*' Esmeralda"" (Drury Lane, 1883.
New York. 1900); '' Nadeshda'"
(1885); *• The Golden Web'' (score
finished by Waddington, Liverpool,
1893) ; a choral ode, ** The Sun
Worshippers"" (Norwich, 188 1), v.
succ. cantata, ** The Swan and the
Skylark"" (Birmingham, 1894, instru-
mented bv C. V. Stanford) ; psalm
with orcnestra (1878) ; 3 vocal
scenes. *' Hero and Leander " (1880),
etc.
Thomas Aqui'nas (Saint Thomas of
Aquino), Rocca Sicca, near Aquino,
Italy, 1225 (27?) — Fossa Nuova,
near Terracina, 1274 ; famed theolo-
gian and philosopher ; he c. a no-
table communion service.
Thom6 (toma), Francis (rightly
Francois Luc. Jos.), b. Port Louis,
Mauritius, Oct. 18, 1850; pupil of
Marmontel (pf.), and Duprato (theo-
ry), Paris Cons.; lives m Paris as
teacher and critic ; c. ** Rom/o et Ju-
lieite"" (i%fp)\ a mystery, '' L" Enfant
Jisus"^ (1891); symph. ode '"Hymne
h la N'uit"" and many pop. songs
and pf.-pcs.
Thomson (tlm'-st&n). (i) Geo., Lime-
kilns, Fife, 1757 — Leith, 1851 ; not-
able coll. and pub. of Scotch, Welsh
and Irish melodies, to which he had
special instrumental accompaniments
written by Beethoven, Pleyel, etc.
(2) J., Sproutson, Roxburgh, 1805 —
Edinburgh, 1841; -conductor and
dram, composer.
Thomson (t6n-s6A), C6sar, b. Li^ge,
March 17, 1857; notable violinist ;
from 7 pupil of Li^e Cons.; at 11,
winning the gold medal ; then pupil
of Vieuxtemps, L^nard. Wicniaws-
ki and Massart ; 1873-83, chamber-
mus. to Baron von Derwies at Luga-
no, and a member of Bilse's orch.,
Beriin ; 1883-97, teacher at Li^ge
Cons.; 1898, vln. -prof. Brussels Cons,
(vice Isayc) ; has toured widely ; 1894,
United States.
Thomdike, Herbert Elliot, b. Liver-
pool, April 7, 185 1 ; concert-bass;
d^but, Cambridge, 1878 ; 1887, Dru-
ry Lane.
Thome (thorn), (i) Edw. H., b. Cran-
bome, Dorset, May 9, 1834 ; pianist
and org. ; chorister under Elvcy ; or-
ganist various churches; from 1891,
at St. Anne's, Soho, London ; cond.
St. Anne's Choral and Orch'l Soc.
C. Psalm 57, with orch, (1884); Mag-
nificat and Nunc dimittis with orch.
and organ ; an overture ; " Sonata
elegia "" for pf . (2) Thos. Pearsall,
American composer of comic operas,
'' Leandro"" (New York, 1898),
etc
Thuille (too-e'-ie), L. (Wm. Ands.
M.), b. Bozen, Tyrol, Nov. 30, 1861;
?upil of Jos. Pembaur (pf., cpt.), at
nnsbrucic; Baermann (pf.) and
Rheinberger (comp.) Munich Mus.-
Sch.; from 1883, teacher of pf. and
theory there; also cond. '*^ Lieder^
hort""; 1 89 1, R. Prof, of Mus.; c.
succ. opera '* Theuerdank"" (Munich,
1897, Luitpold Prize), opera "' Lobe-
tanz"" (Carlsruhe and Berlin, 189S) ;
^^ Romantic"" overture, sextet for
piano and wind, sonatas, etc.
Tnun'der, H. G., near Dublin, 1832—
New York, 1891 ; pianist, organist
and composer.
Thiirling^s (tar'-lingks), Ad., since
1877, prof, of Old-Catholic theolog)-
at lk>nn ; Dr. Phil., Munich, with
dissertation, '* Die beiden Tonge-
schlechter und die neuere mus, TheO'
^S^^^^^^r
mm
M
766
THE MUSICAL GUIDE
^^
^^
rig** (1877) (advocating harmonic
dualism).
Thru nam, Ed., Warwick, 1825— 1 88-;
organist and composer.
Thumer (toor'-nSr), Fr. Eugen,
Montbeliard, 1785 — Amsterdam,
1827; oboe-virtuoso ; composer.
Thummayer. Vide aventinus.
Thura'by, Emma, b. Brookl)m, N. Y.,
Nov. 17, 1857; famous concert-so-
prano; pupil of Meyer (Brooklyn),
Errani (New York) and Mme. Ru-
dersdorff (Boston), then of Lamperti
and San Giovanni, Milan ; concert-
debut, America, Pl3rmouth Church,
Brooklyn, 1875 ; sang in concert and
oratorio, and with Gilmore (1875);
frequently toured Europe and Amer-
ica with great succ. ; compass c'-e'"
(v. PITCH, D. D.).
Tichatschek (tekh'-at-sh^k), Jos.
Aloys, Ober-Weckelsdorf, Bohen?'a,
1807 — Dresden, 1886 ; tenor ; cre-
ated Wagner's ''RiemV* and " Tann^
hduser"
Tiefifenbrttcker. Vide duiffoprug-
GAR.
Tiehsen (te'-z^n). Otto, Danzig, 181 7
—Berlin, 1849 ; c. comic opera.
Tierach (tersh). Otto, Kalbsrieth,
Thuringia, 1838 — Berlin, 1892 ; sing-
ing-teacher and theorist.
Ticrsot (tt-«r'-s6), (J. Bapt. Eli-
s^c) Julien, b. Bourg, Bresse,
France ; pupil of Franck, Paris Cons. ;
from 1883, asst. libr. there ; pub.
essays, inch ^^ Histoire de la chan-
son populaire en France" Bordun
Prize, 1885; c. *• Hellas" for soli,
chorus and orch. ; rhapsodies on pop-
ular airs etc
Tietjens (rightly Titicna) (tet'-y«ns),
Tnereae Johanne Alex., of Hun-
garian parents, Hamburg, July 17,
1831— London, Oct. 3, 1877; famous
soprano ; teachers unknown ; debut,
Hamburg, 1849 ; from 1858, chiefly
in London in grand and comic opera.
Til'borghs, Jos,, b. Nieuwmoer, Sept.
28, 1830 ; theorist ; pupil of Lemmens
(org.) and F^tis (comp.), Brussels
Cons. ; from 1882, prof, of org.,
Ghent Cons.; and of cpt. Antwerp
Mus.-Sch.; comp. organ-pieces and
motets.
Tilman (tel'-mSn), Alfred, Brussels,
1848 — 1805 ; composer and pianst
Tilmant (tel'-mftn), (i) Th^ophile
Alex., Valenciennes, 1799 — ^Asniires,
1878; conductor. His brother (2)
Alex., 1808— Paris, 1880 ; 'cdlist
TimanofiT (te -mftn-of), Veiu, b. Ufa,
Russia, Feb. 18, 1855; pianist; pa-
pil of L. Nowitzky, A. Rubinstein.
T ausig and Liszt ; lived in Petetv
burg, Prague (187 1) and Vienna
(1872).
Timm (tYm), Henry Christian, Ham-
burg, Germany, 18 11 — New York.
1892 ; pianist and org. -composer.
Timm'ner, Christian, b. i860 ; Dutch
violinist ; pupil of Wirth ; toured ;
then retired 1894 for eight years*
practice ; reappeared in Berlin, 1902.
Tinc'toris, Johannes (called John
Tinctor ; or Giov. Del Tintore ;
rightly Jean de Vaerwere (vSr'-wa.
r^)), Poperinghe. 1434 (or 35, some say
1450) — Nivelles, 151 1 ; canon ; wrote,
1477, the earliest known diet, of mus.
(ca. 1475), etc.; composer.
Tinel (te-n^l), Edgar, b. Sinay, Bel-
gium, March 27, 1854 ; pianist and
composer ; son and pupil of a poor
school-teacher and organist ; pupil
also of Brussels Cons. ; ist pf. -prize,
1873, and pub. opu i, 4 nocturnes
for solo- voice with pf.; 1877, "on
Grand prix de Rome w. cantata
'' Klokke Roeland" (op. 17); 1881,
dir. Inst, for Sacred Mus. at Ma-
lines ; 1888, prod, very succ. ocatorio*
** Franciscus" (op. 36); 1889, ^
spector State mus. schs. ; 1896, prof,
of cpt. and fugue, Brussels Cons.;
pub. a treatise on Gregorian chant,
and prod, a *'*' Grand Mass of tki
Holy Virgin of Laurdts" for 5 parts
(op. 41), Te Deum, Alleluia, motets
and sacred songs, incid. mus., pf.-
pes., etc.
Tiraboschi (te-rS-bds'.kc), GiroUuno,
Bergamo, 1731 — Modena, 1797;
writer.
DICTIONARY OF MUSICIANS 767
Tirinddli (te.i1n^«r.le), P. Adolfo,
b. Con^liano, Italy, 1858 ; violinist;
pupil Milan Cons., then of Boniforti;
cond. at Gorizia 3 years, then stud-
ied with GrUn and Massart; 1887,
vln.-prof. Liceo Benedetto Marcello,
Venice ; 1893, dir., also cond. ** Ver-
di Orchestra "; made Cavaliere, 1894;
played with the Boston Symph.
Orch. in 1895 ; c. i-act opnera
'^ VAtenaide*' (Venice, 1892), etc.,
now prof. Cincinnati Cons.
Titl (tet'.'l), Anton Emil, Pemstein,
Moravia, 1809 — Vienna, 1882 ; con-
ductor and dram, composer.
Titoff (te'-tdO, Nicolai Alexeije-
^tch, St. Petersburg, 1801 — 1876 ;
c. songs.
Ti{c)tzc (tet'-ts«), L., 1797— 1850;
tenor at Vienna*
Todi (to -de), Loisa Rosa (n^ de
Ag^mar), Setubal, Portugal, Jan.
9, i753--Lisbon, Oct. i, 1833; fa-
mous mezzo-soprano ; an actress at
15, then pupil of Perez ; sang Lon-
don, 1712 ; 1777 V. succ. at Madrid ;
1783 provoked a famous rivalry with
Mara ; 1780 ct.-singer, Berlin. When
she died she left her 2d husband and '
her 8 children $80,000 and much
jewelry.
Todini (t5-de'-ne), Michele, b. Saluz-
zo, ca. 1625 ; musette-player and
instr. -maker, at Rome.
Toedt (tat), Theodore J., b. New
Vork, Feb. 4, 1853 ; choir-boy. Trin-
ity Parish, 1861-71 ; pupil of Mrs.
Horn - Rust ; singer in oratorio,
church, and concert ; lives in New
York as a vocal teacher ; blind from
1895.
Toeschi (to-as'-ke) (in German ta'-
she), (i) Carlo Gin. (rightly Toesca
delta Caatella-Monte), Romagna,
1724 — Munich, 1788, ct.-mus., direc-
tor and composer. (2) Jn. Bapt.,
Mannheim, ca. 1745 — Munich, May,
1800 ; son and successor of above ;
noted violinist ; c. 18 symphs., etc.
Tolts, Mrs. Katherine, first English-
woman to succeed in Italian opera ;
most successful soprano; accumu-
lated a fortune, lost her reason 1709,
and d. after 1735 ; m. Jos. Smith.
Tolbecque (tol'-b^k), four Belgian
brothers, (i) Isidore Jos., Han-
zinne, 1794 — Vichy, 187 1 ; conductor
and composer. (2)' Jean. Bapt.
Jos., 1787 — Paris, 1869 ; violinist
and conductor. (3) Aug. Jos., 180 1
— Paris, 1869 ; violinist. (4) Chas.
Jos., Paris, 1806— 1835 ; violinist
and conductor. (5) Aug., b. Paris,
March 30, 1830 ; 'cellist ; pupil of
the Cons., and 1849 took ist prize ;
1865-71, teacher Marseilles Cons. ;
. later 'cellist in the Paris Cons, con-
certs ; pub. ** La Gymnastiqtu du
VioloncelW (op. 14) ; prod. succ. i-
act comic opera ' Aprh la Valse**
(Niort, 1895). His son (6) Jean, b.
Niort, Oct. 7, 1857 ; 'cellist ; pupil
Paris Cons. ; 1873, took ist 'cello-
prize.
Tor let, Thos., English pub. and com-
poser, 1604.
TomascheK, Jn. Wenzel (rightly
Jan VAclaT TomiSek) (t^m'-ft-
shdk), Skutsch, Bohemia, April 17,
1774 — Prague, April 3, 1850; notable
pianist, organist ; also c. operas and
pf.-pcs.
Tomasini (to-m^-se'-ne), (i) Luigi
(Aloysiusj, Pesaro, 1741 — Esterhiz,
1808 ; violinist and director ; he had
two daughters who sane in opera at
Eisenstadt and 2 sons, (2) Loigi, Es-
terhaz, 1779 — after 1814; violinist.
(3) Anton, Eisenstadt, 1775 — '824,
viola-player and leader.
Tombelle (t6A-b^l), Fd. de la, b.
Paris, Aug. 3, 1854 ; pupil of Guil-
mant and Dubois, Paris Cons. ; hb
quartet and symph. won ist prize of
the ** Socictc des compositeurs " ; Of-
ficer of Pub. Instruction, Paris ; c.
orch. -suites, etc.
Tomeoni (to-ma-o'-ne), (i) Florido,
Lucca, 1757 — Paris, 1820 ; teacher
and theorist. (2) Pellegrino, b.
Lucca, ca. 1729 ; bro. of above ;
teacher and writer in Florence.
Tom' kins, (x) Rev. Thos., Engl, com-
poser, Gloucester, 1600. His son
768
THE MUSICAL GUIDE
(2) J., d. 1638 ; organist and com-
poser. (3) Thos., d. 1656; organ-
ist at Worcester cath. ; composer ;
son of (i). (3) Giles, d. 1668 ; bro.
and succ. of above. (4) Rotyt., son of
(2): 1 64 1 one of the King's musicians.
Tom-lins, Wm. Lawrence, b. Lon-
don, Feb. 4, 1844 ; pupil of Macfar-
ren, and Silas ; 1869, America, from
1875 singing-t. and cond. Apollo Glee
Club, Chicago; pub. ''Children's
Songs y and How to Sing Them "
(1885?).
Tommasi (tdm-m&'-se), Giu. M.,
Cardinal, Alicante, Sicily, 1649 ""
Rome, 1713 ; writer.
Tdpfer(t«p'-fer), Jn. Gl., Niederrossla,
Ihuringia, 1791 — Weimar, 1870; or-
ganist, writer and composer.
Torchi (t6r'-ke), Luigi, b. Mordano,
Bologna, Nov. 7, 1853 ; graduate,
Bologfna Cons., 1876, then studied
with Serrao (comp.) at Naples Cons,
and at Leipzig Cons, where he c. a
symph. , an overture, a string quartet;
1885-91, prof, of mus. history, Liceo
Rossini, Pesaro ; then at Bologna
Cons., since 1895 also prof, of comp.;
has begun a great 34-vol. coll. of the
chief Italian works of the 15-18 cen-
turies, ** Varte musicaU in Italia,"
Torclli (to-r^l'-le), Giu., Verona, ca.
1660— Ansbach, 1708 ; violinist and
composer; originator of the ** con-
certo grosso."
Tor'rance, Rev. G. Wm., b. Rath-
mines, near Dublin, 1835 ; chorister,
Dublin ; organist at St. Andrew's,
and St Anne*s ; studied at Leipzig,
1856 ; 1866, priest; 1869, Melbourne,
Australia; since 1895, incumbent at
St. John's there ; Mus. Doc., A. c,
Dublin, 1879 \ c. succ. oratorios,
''Abraham'* (Dublin, 1855), ** rAf
Captivity " (1864), and ** The Reve-
lation**' {^itXbowxnt, 1882), services,
an opera, etc.
Torri (tor'-re), Pietro, ca. 1665— Mu-
nich, 1737; court - conductor and
dram, composer.
Tor'rineton, Fr. Herbert, b. Dud-
ley, bngl., Oct 20, 1837 ; pianist
and conductor ; articled pupn of Jis.
Fitzgerald ; at 16 oiganist at Bewd-
ley; 185&-68, organist. Great St
James's Church, Montreal, Canada;
also solo- violinist, cond. and band-
master; his orch. represented Canada
at the Boston Peace Jubilee, 1869:
then teacher New Engl. Cons.; 1st
vln. Handel and Ha}'dn, and other
socs. ; from 1873, oiganist Metro-
politan Ch., Toronto, Canada, and
cond. Toronto Philh. Soc ; 1886, or-
ganised the first Toronto mus. festi-
val ; 1888, founded Toronto CoU. of
Mus.; c. services, etc.
ToserU, Enrico, b. Florence, 1877:
pianist ; pupil of Sgambati and Mar-
tucci; debut Monte Carlo, 1896;
played in London and America, 1901.
Tosi (to'-ze). Pier Fran., Bologna,
1647 — London, 1727 ; celebrated
contralto musico and singing-teacher.
Tosti (t6s'-te), Fran. Paolo, b. Orto-
na, Abnizzi, April 9, 1846 ; pupil of
the R. C. di S. Pietro a MajcUa,
Naples; sub-teacher there till 1869 ;
then ct. -singing-teacher at Rome ;
1875 sang with great succ. London,
and has since lived there as a teacher ;
1880, singing-master to the Royal
family ; 1894, prof. R. A. M. ; pub.
a coll. of ** Canti popolari abriuMesi "
(Milan), and c. pop. songs.
Tottmann (t6t'-man), Carl Albert, b.
Zittau, July 31, 1837; studied Dies-
den, and wit^ Hauptmann, at Leip-
zig Cons.; violinist in the Gewand-
haus Orqh.; teacher of theory and
history at Leipzig, also lecturer:
1873, Prof., for his valuable conqien-
dium of vln. -literature ; pub. also
essays, etc.; c. a melodrama ** Dom-
rSsehen" Ave Maria, etc.
Toalmouche (tool-moosh), Fr., b>
Nantes, Aug. 3, 1850 ; pupil of Vic-
tor Masse ; 1894. dir. theatre '* Me-
nus-Plaisirs"; since 1882, prod, many
operettas.
Tourj^ (toor-zhS), Dr. Eben, War-
wick, Rhode Island, 1834 — Boston,
1890 ; organist, teacher and founder
of N. E. Cons.
DICTIONARY OF MUSICIANS 88i
14, 1862; mezzo-soprano; pupil of Frau
Breidenhoff, and O. Eichberg; married
the cellist, Eugen Sandow, 1895.
Her'ner, Karl, Rendsburg, Jan. 23,
1836 — Hanover, July 16, 1906;
violinist and comp.
Herzfeld (h6rts'-ffit), Victor von,
b. Pressburg, Oct. 8, 1856; violin-
ist; pupil Vienna Cons., talung prizes
for comp. and violin ; pupil later
of Grell, Berlin; 1886, prof, at Pest; c.
chamber music, etc.
Hess, (i) Willy, add that he was
made Royal Prof., 1900; 1903-4 he
was violin prof. R. A. M., London;
resigned and became concertmaster
Boston Symph. Orch., and leader of
the Quartet; 1908 co-founded the
Hess-Schroeder Quartet. (2) Lud-
wis, b. Marburg, March 23, 1877:
pupil Berlin Royal Hochsch. ana
Vidal in Milan; toured as concert
singer; from 1907 succeeded Felix
Mottl as dir. Munich Konzertgesell-
schaft; c. symphony '^Hans Mem-
/mf," an epic "i4rtaf««," and other
works for voices and orch.; songs, etc. ;
191 2 engaged to tour America.
Heuser (hoi'-zCr), Ernst, b. Elber-
feld, April 9, 1863; pianist; teacher at
Cologne Cons.; c. opera, etc.
Heyse (hl'-z6), Karl, b. St. Peters-
burg, May 10, 1879; organist; pupil of
Homeyer and H. Seifert; 1907, org.
at Frankfort-on-Main, and teacher
at the Hoch Cons.
Hin'ton, Arthur, b. Beckenham,
Nov. 20, 1869; violinist; pupil R. A.
M., later with Rheinbeiger at Mu-
nich Cons., where his first symph. was
played; his second symph. was played
m London, 1903; c. also opera ** Tarn-
ara "; operettas for children, and piano
pieces played by his wife, Katherine
Goodson, whom he married in 1903.
Hill, (i) Henry, London, July 2, 1808
— June II, 1856; viola player of
great ability. (2) Edwin Burl-
ingame, b. Cambridge, Mass., Sept.
9, 1872; graduated at Harvard, 1894,
with highest honors in music, pupil
of B. J. Lang (piano), F. F. Bullard
(theory), Arthur Whiting (piano),
later with Widor (comp.), in Paris, and
G. W. Chadwick (instrumentation);
188 7-1902 taught piano and harmony
in Boston, then took up writing for
magazines; 1908-12, musical instruc-
tor at Harvard;c.fantastic pantomime
for orch. ^^Jack Frost in Midsummer**
(Chicago Orch. 1907, N. Y. Symph.
1908); women's chorus with orch.
''Nuns of the Perfeiual Adoration**
(Musical Art Soaety, 1907, Birm-
ingham, England, Orch.. etc.); dra-
matic lyric for tenor and orch., 3
piano sonatas, songs, etc.
Hilton, (i) John, d. before 1612;
organist at Cambridge, 1594; per-
haps the father of (2) John, 1599 —
1656-7; organist at Westminster; c
anthems, madrigab, etc.
Hirsch'mann, Henri, b. St.Maud^.
1872; composer, under pen-name of
V- H. Herblav, of operas, "r
Amour d la BasttUe,** (Paris, [1897),
''Lovelace** (do., 1898), ^'HernanV*
(do., 1900); operettas "Das Sckwal-
benrest** (Berlin, 1904, in Paris, 1907,
as Les kirondelles); "La petite Bo-
hime** (Paris, 1905; in Berlin 1905,
as" Musette**) y etc.
Hit'zelberger, (i) Sabina, Rander-
sacker, Nov. 12, 1755 — after 1807;
soprano of 3-octaves range; wife
of the 'cellist H., her maiden name
unknown. Her daughters (2) Ku-
nigunde, soprano ; (3) Johanna,
alto ; wife of violinist Bamberger ;
(4) Rcgina, 1789 — M\midi, May
10, 1827; married Lane, and bore a
daughter, Josephine Lang-Kost-
lin, who composed songs.
HIawatsch, (hl&'-vftch), Woizech
ivanovitch, b. Leditsch, Bo-
hemia, 1849; organist; pupU Paris
Organists' School; cond. in various
Bohemian dries; from 187 1 in St.
Petersburg, as cond. of students or-
ganizarions; 1900, organist of the
court orch.;c comic opera "06/aw,*'
Roumanian rhapsody for orch., etc
770
THE MUSICAL GUIDE
Troycrs (troi'-^rs), Fd., Count von,
amateur clarinettist and patron, Vi-
enna. 1821-47.
Troytc (troit), Arthur H. D., Devon,
181 1 — 1857; composer.
Trohn (troon), Fr. Hieronymus, Elb-
ing, 181 1 — Berlin, 1886; conductor,
writer and composer.
Tschaikowsky. Vide Tchaikovsky.
Tschirch (tsherkh), six brothers, (i)
Hermann, Lichtenau, Silesia, 1808 —
Schmiedeberg, 1829 ; organist. (2)
K. Ad. I Lichtenau, 18 15 — Guben,
Silesia, 1875 ; writer. (3) Fr. Wm.,
Lichtenau, 18 18 — Gera, 1892 ; ct.-
conductor and dram, composer. (4)
Ernst Lebrecht, Lichtenau, 1819 —
Beriin, 1854; conductor and dram,
composer. (5) H. Jalius, Lichte-
nau, 1820 — Hirschberg, Silesia, 1867;
R. Mus.-Dir. and composer. (6)
Radolf, Lichtenau, 1825 — Berlin,
1872 ; mus.-dir. and composer.
Tachudi. Vide broadwood.
Tua (too'-a), Tereaina, b. Turin, May
22, 1867; violinist; pupil of M assart,
Paris Cons., took ist prize 1880;
toured Europe, and, 1887, America,
with gjeat succ. 1891 (?), m. Count
Franchi-Verney della Valetta.
Tubbs, (i) Frank Herbert, b.
Brighton, Mass., Nov. 16, 1853 ; pu-
pil of Leavitt, Petersilea and W. F.
Apthorp, Boston ; and (in singing) of
Davis and Wheeler, Boston, Manuel
Garcia, E. Behnke, and Shakespeare,
London, San Giovanni and I^mperti
in Italy ; choirm. various churches ;
founded N. Y. Vocal Inst.; writer of
essays and books on the voice. (2)
Jas., head of a family of vln. bow-
makers in London, 1890.
Tucher (too'-kh^r), (i) Gl., Frciherr
▼on, Numberg, 1798— 1877 ; writer.
(2) Rev. Wm., d. 1675 ; Engl, com-
poser.
Tuck'erman, Samael Parkman,
Boston, Mass., 18 19 — Newport, 1890;
organist, editor and composer.
Tuczek (toots -z^k), F«., Prague, ca.
1755 — Pesth, 1S20; tenor; conductor
and dram, composer.
Tad' way, Thoa., England, ca. 1660
— London, 1730 ; organist and pro-
fessor, Cambridge, 1704-26 ; Mus^
Doc. there, 1705 ; made a coU. of
contemporary services, also c. ser-
vices, etc.
Tulou (tn-loo), J. L., Paris, Sept.,
1786 — Nantes, 1865 ; chief flutist of
his time ; at 14 at the Opera ; 1826-
56, flute-prof, at the Cons.; compos-
er.
Tnma (too'-m2), Fz., Kostelecz, Bo-
hemia, 1704 — Vienna. 1774; gamba-
virtuoso and composer.
Tander (toon'-dfir), Fz., 1614— Lo-
beck, 1667 ; organist Marienkircbc,
as predecessor of Buxtehude.
Tunsted(e) (tdn'-stM) (or Dunstede),
Simon, b. Norwich, Bniisyard, Suf-
folk, 1369 ; writer. (Cousseroakcr.)
Tnrini (too-re'-ne), (i) Gregono,
Brescia, ca. isCo—Praguc. ca. 1600;
singer, comet-player and composer.
(2) Fran., Brescia, ca. 1590—1656:
son of above ; organist and comp.
Tttrk (tOrk), Daniel Gl., Chiussnitz,
Saxony, Aug. 10, 1756 — Halle, Aug.
26, 181 3 : eminent organist and teach-
er, theorist and composer.
Turle (tori), (i) Jas., Somerton, Engl.,
1802 — London, 1882 ; organist, con-
ductor, editor and composer. (2)
Robt., 1804 — 1877 ; bro. of above,
organist. (3) Wm. Taunton, b. 1795:
cousin of above ; organist.
Turlcy (toor'-ll), Jn. Tobias, Trcuen
brictzen, Brandenburg, 1773 — 1829;
org. -builder.
Turner, (i) Wm., 1651 — 1740; Eng-
lish Mus. Doc. Cambridge ; com-
poser. (2) Austin T., b. Bristol,
1823, cond. and composer; from
1854 in Australia. (3) Alfred Dud-
ley, St. Albans, Maine, 1854—1888 ;
pianist, teacher and composer.
Tumhout (tTrn'-hoot), (1) Gerard de
(rightly Gheert Jacques), Tum-
hout, Belgium, ca. 1520 — Madrid,
1580; cond. at Antwerp Cath. and
to the Court at Sptain 1572 ; com-
poser. (2) Jean, son of above ; ct-
conductor and composer, ca. 1595.
DICTIONARY OF MUSICIANS 77»
Tnr'piiif Edmund Hart, b. Notting.
ham. May 4, 1835 ; concert-organist;
lecturer, editor and writer ; pupil of
Hullah and Pauer, London ; organist
varioos London churches ; from 1888
at St. Bride's; in 1889 Mus. Doc.;
then c. masses, 2 oratorios, cantatas,
S3rmph.** The Monastery y* overtures,
etc.
Tnrtshaninoff (toort-sha'-nl-nof). Pe-
ter IvanoTitch, St. Petersburg, 1779
— 1856 ; composer.
Tye (tl), Christopher, d, Westminster,
1572 ; 1554-61, organist Ely cathe-
dral and composer.
Tylman, Susato (also Tilman, Tiel-
man, Thieleman) (tel'-man), mus.-
printer at Antwerp from 1543; com-
poser.
Tyn'dall, J., Leighlin Bridge, Ireland,
1820— Haslemere, Engl., 1893 ; fa-
mous scientist and acoustician.
u
Ubaldns. Vide hucbald.
Uber (oo'-WJr). (i) Chr. Benj., Bres-
lau, 1746 — 18 1 2 ; dram, composer.
(2) Fr. Chr. Hermann, Breslau,
1781 — Dresden, 1822 ; son of above;
opera-conductor and composer. (3)
Alez., Breslau, 1783 — Carolath, Si-
lesia, 1824 ; bro. of (2) ; 'cellist, con-
ductor and composer.
Uberti (oo-b«r'-te) (Hubert) A., Ve-
rona, 1697 (?) — Berlin. 1783; brilliant
soprano-musico and teacher of Mali-
bran. Grisi, etc.
UccelUni (oo-chSl-le'-n€), Don Mar-
co, conductor and composer at Flor-
ence, 1673.
Ugbaldus, Uchubaldus. Vide huc-
bald.
U^de (O-g&ld), Delphine (n^e
Beauce), b. Paris, Dec. 3, 1829;
soprano at Op.-Com., etc.; 1866, also
managed the BouflFes-Parisiens; twice
m. ; c. an opera.
Ugolini (oo-go-le -ne), V., Perugia, ca.
1570 — 1638 ; teacher and important
composer ; pupil of Nanini ; 1620-26
maertro at St. Peter's.
Ugolino (oo-go-le'-n5), Bia^o, monk
in Venice ; pub. treatise, 1744.
Uhl (ool). Edmund, b. Prague, Oct.
25, 1853 ; pupil of Leipzig Cons.,
winning Helbig pf. -prize, 1878; since
teacher at the Freudenberg Cons.,
Wiesbaden ; or^nist at the Syna-
gogue ; and critic ; c. Romance for
vln. with orch., etc.
Uhlig (oo'-l!kh), Th., Wurzen, Sax-
ony, 1822 — Dresden, 1853 ; violinist,
theorist and composer.
UlibiahefiT (in French Oulibischefif)
(oo-le'-bt-shdO» Alex, d', Dresden,
1795 — Nishnij Novgorod, 1858 ;
diplomat and writer of biographies.
Ulrich (ool'-rikh), Hug:o (Otto), Op-
peln, Silesia. 1827 — Berlin, 1872 ;
teacher and dram, composer.
Umbreit (oom'-brft), K.GL, Rehstedt,
near Gotha, 1763 — 1829; org.-virtu-
oso and composer.
Umlauf (oom'-lowO, (i) Ignax, Vien-
na, 1756 — Meidling, 1796; music di-
rector ; asst. -conductor to Salieri.
(2) Michael, Vienna, 1781 — 1842;
son of above ; conductor and dram,
composer.
Umlauft (oom'-lowft), Paul, b. Meis-
sen, Oct. 27, 1853; pupil Leipzig
Cons., with Mozart scholarship 1879-
83 ; c. succ. I -act opera "^ Evanthia**
(Gotha, 1893) (won Duke of Coburg-
Gotha's prize) ; dram, poem ** Agan^
decca:'vnxh orch. (1892); '' MitteU
hochdeutsches Lieder spiel ^' etc.
Un^er (oong'-<5r), (i) Jn. Fr., Bruns-
wick, 17 16— -1781 ; inventor. (2) (in
Ital. Ungher) Caroline, Stuhlweis-
senburg, Hungary, 1803 — at her
villa, near Florence, 1877 ; soprano ;
1840, m. Sabatier. (3) G., Leipzig,
1837 — 1887 ; tenor.
Upton, G. Putnam, b. Boston, Mass.,
Oct. 25, 1835 ; graduate Brown
Univ., 1854 ; 1861-85, on the edito-
rial staff, Chicago ** Tribune'''' ; found-
er (1872) and first pres. Apollo Club;
translator and writer of valuable
6§§ay8, jncl. '* Standard Operas''
772
THE MUSICAL GUIDE
(1890); ''Standard Oratorios'' (1891);
** Standard Symf As," (iSg2), etc.
Urban loor'-ban), (i) Chr., b. Elbing,
1778 ; mus.-director, theorist and
composer. (2) H., Berlin, Aug. 27,
1837 — Nov. 24, 1901; pupil of Ries,
Laub, Helman, etc. ; violinist and the-
orist; 1881, teacherat Kullak'sAcad.;
c symph. *' J'rHAiin^" overtures to
•• Fiesco " (Schiller), '' Schehtrazade:*
and " Zu einem Fastnachtsspiel^'* etc.
(3) Fr» Julius, b. Berlin, Dec. 23,
1838 ; bro. of above ; solo boy-so-
prano in the Domchor ; pupil of H.
Ries, and Helmann (vln.), Grell (theo-
ry), Eisner and Mantius (singing) ;
singing-teacher, Berlin ; wrote vocal
methods and songs.
Urbani. Vide valentini.
Urfcy (dttr'-fl). Thos. d', Exeter,
ca. 1649 — London, 1723 ; pop. play-
wright, whose plays'were set by Pur-
cell ; also a singer and composer.
Urban (Ur-ah), Chretien, Montjoie,
1790 — Paris, 1845 ; eccentric and
gifted player on stringed instrs., an-
cient and modem ; organist and com-
poser.
Urich (oo'-rikh), I., b. Alsace ; pupil
of Gounod; prod, operas '*Z>^
LootsCy' ** Hermann und Dorothea"
and 2-act '' Le Carillon'' (Berlin,
1902).
Urio (oo'-rK-o), Fran. A., b. Milan,
1660 ; writer and composer.
Urquhart (ttr'-ldirt), Thos., vln.-mak-
cr, London, 1675.
Ursillo (oor-sll'-lo), Fabio (or simply
Fabio), 1 8th cent, archlute virtuoso
and composer at Rome.
Urso (oor'-so), (i) Camilla, Nantes,
France, 1842 — New York, Jan. 20,
1902 ; vln. -virtuoso (daughter of (2)
^lyator, organist and flutist); pupil
of M assart ; she played in America
with gpreat succ. at 10 ; toured the
world; m. Fr. Lucres.
Urspnich (oor'-sprookh), Anton, b.
Frankfort-on-Main, Feb. 17, 1850;
pupil of Ignaz Lachner and M. Wal-
lenstein. Raff and Liszt ; pf .-teacher
Hoch Cons.; from 1887 at Raff
Cons.; c. opera '* Der Sturm"
(based on Shakespeare's *' Tempest^''
Frankfort, 1888), comic opera (text
and music) *' Das UnmdgUthsU em
Allem " (Carlsruhe, 1897), a sympb.,
pf. -concerto, etc.
Ursus. Vide bahr.
U(u)tendal (or Utenthal, Unten-
dal) (Q'-t^n-dal), Alex., d. Inns-
bruck, May 8, 1581 ; Flemish con-
ductor and composer.
r
Vaccai (vak-ka-e), Niccold, Tolen-
tino, Papal States, 1790 — Pcsaro,
1848 ; noted singing-teacher ; prof.
of comp. Milan Cons.; wTX>te vocal
method ; c an opera, funeral can-
tata, etc.
Vaet (vat), Jacques, d. Vienna, 1567;
Flemish conductor and composer.
Valentini (va-ldn-te'-n€), (i) Gior.,
ca. 161 5 ; organist and composer.
(2) Giov., Naples, 1779 — 1788; dram,
composer. (3) P. Fran., Rome, ca.
1570 — 1654; eminent contrapuntist;
pupil of Nanini. (4) (Rightly Va-
lentino Urbani) (oor-ba'-nd), cele-
brated contralto-musico ; later a ten*
or; London, 1707. (5) Gin., b.
Florence, ca. 1690; violinist and
composer.
Valentino (viU-a£i-te'.n5), Henri Jus-
tin Armand Jos., Lille, 1785 — Ver-
sailles, 1865; conductor Paris Op^ra,
1820-31, then at Op. Com. till 1837.
Valet'ta, Ippolito. Vide franchi-
VERNEV.
Valle'ria, Alwina (righUy A. V. Loh-
mann), b. Baltimore, U. S. A.,1848;
soprano ; pupil R. A. M., London*
and of Arditi ; d^ut, 1871 ; from
1882 in oratorio, England ; toured
Europe and America (range 6 flat —
d ", V. PITCH. D. D.).
Vallotti (val-16t'-te), Fran, A,, Ver-
celli, June 11, 1697 — Padua, Jan. 16,
1780; noted organist, theorist and
composer
Van Bree (van bra), Jn. B., Amster-
DICTIONARY OF MUSICIANS 773
dam, 1801 — 1857 ; violinist, conduct-
or and composer.
Van Cleve, J. Smith, b. Maysville,
Ky., Oct. 30, 185 1 ; pianist and
teacher, pupil of Nothnagel (Colum-
bus, 0.), Lang and Apthorp (Boston),
and W. Steinbrecher (Cincinnati) ;
1879-97 as teacher, critic, writer and
lecturer Cincinnati Cons, and the
Coll. of Mus. ; then Chicago ; later
returned to Cincinnati ; composer.
Van den Eeden(r.d$n), (i) Gilles, d.
1 792 ; first teacher of Beethoven ; son
or nephew of (2) Heinrich ; ct.-mus.
to the Elector of Cologne.
Van der Heiden (hf-d^n), d. Besan-
9on, 1902 ; noted Belgian 'cellist.
Vanderlinden (van'-dfrlen-d^n), C,
b. Dordrecht, 1839 ; pupil of Bohme
(harm, and cpt.)and Kwast (pf.) ;
conductor Dordrecht Philh. Soc.,
National Guard band, and societies ;
c. 2 operas, overtures, etc.
Van dcr Straeten (stra'-tfin), Ed-
mond, Oudenaardcn, Belgium, 1826
— 1895; writer of valuable treatises
based on research and c. an opera, etc.
Van dcr Stncken (van'-dfir-shtook'-
€n), Frank (Valeiitiii), b. Frede-
ricksburg, Gillespie Co., Texas,
Oct. 15, 1858, of Belgian father and
German mother; notable composer and
conductor : at 8 taken by his parents
to Antwerp, studied with Benoit, later
with Reinecke, Sanger and Grieg;
1881-82, cond. at Breslau City Th.;
1883, in Rudolstadt with Grieg, and
in Weimar with Liszt ; prod, opera
'' Vlasda'' (Paris. 1883): 1884,
called to be mus.-dir. of the '* Arion,"
New York; from 1895 dir. Cincin-
nati Cons., and ist cond. Cincinnati
Symph. Ohrch.; c. symph. prologue
** William Ratcliff'' (Cincinnati,
1899); orch. episode, *^ Pagina d^a-
more** with choruses and songs;
" FesHval March^' for orch., '* Pax
Triumphans** (Antwerp, 1902), etc.
Van Dtiyze (van doi'-zd), Florimond,
b. Ghent, Aug. 4, 1853 ; lawyer and
amateur ; pupil of Ghent Cons. , win-
ning Grand prix de Rome, 1873,
with cantata ^*'Torguato Tasso*s
Dood** ; prod. 7 operas, Antwerp and
Ghent ; c. also ode-symphonie ** Die
Nachtr
Van Dyck (vSn dik), Ernest (Marie
Hubert), b. Antwerp, April 2, 1861 ;
noted tenor; studied law, was then a
journalist at Paris ; studied singing
with St. Yves ; debut Paris, 1887, as
•* Lohengrin "; 1892 sang " Parsifal "
at Bayreuth ; 1888 engaged for the
Vienna ct.-opera ; has sung in the
chief capitals, London, and 1899,
New York.
Van Hah Vide wanhal.
Vanneo (viin-na -5), Steiano, b. Re-
canati, Ancona, 1493 ; monk and
writer.
Van Os (vSn 5s), Albert, earliest known
org. -builder called **A. the Great,"
at Utrecht, 1120.
Van R007 (van ro'-l), Anton, b.
Rotterdam, Jan. 12, 1870; notable
barytone ; pupil of Stockhausen at
Frankfort ; sang in oratorio and con-
certs ; later at Bayreuth, 1897 ; then
at Berlin ct.-opera ; sang with succ.
Ix)ndon (1898), from 1898 in New
York annually ; his greatest r6le is
" VVotan."
Van Westerhout (w^'-t^r-howt), Nic-
colo (of Dutch parents), Mola di Bari,
1862 — Naples, 1898 ; dram. com]x>s-
er.
Vamey (vdr-ne), (i) P. Jos. Alphonae,
Paris, 1811 — 1879; conductor and
com{x>ser of operettas. (2) Louis,
b. Paris (?) ; son and pupil of above ;
lives in Paris, and has since 1876
prod, over 30 operettas, comic operas,
** revues," etc.
Vasconcellos (vas-kon-s^l'-los), Joa-
quim de, contemporary Portuguese
lexicographer and historian.
Vasseur (vis-siir), L^on (F^lix Aug.
Jos.), b. Bapaume, Pas-de-Calais,
May 28, 1844; studied ficole Nieder-
meyer ; from 1870 organist Versailles
Cath.; cond. Folies-Berg^res and the
Concerts de Paris (1882) ; since 1872
prod, over 30 light operas ; c. also
masses, etc.
ai^mmimi
mmtm^
774
THE MUSICAL GUIDE
Vaacorbeil (vo-kor-b^'), Aug^. Eman-
uel, Rouen, 182 1 — Paris, 1884; 1880,
dir. the Opera ; c. comic-opera, etc.
Vaughan (v6n), Thos., Norwich, 1782
— Birmingham, 1843 ; tenor.
Vayrinecz (va'-vre-ndts), Mauritias,
b. Czegled, Hungary, July 18, 1858 ;
studied Pesth Cons., and with R.
Volkmann; cath. cond. at Pesth ; c.
4-act opera "i^a/r///"" (Prague, 1895).
succ. I -act opera *' Rosamunda "
(Frankfort-on-Main, 1895), oratorio,
5 masses, a symph., etc.
Vecchi(i) (v6k'-ke-(e) >, (i) Orazio,
Modena, 1551 (?) — Feb. 19, 1605;
noted composer; from 1596 maestro
Modena cath. ; his ** mus.-comedy "
^^Amfipantasso^^^ in which the chorus
joined in all the mus., even the mono-
logues, appeared the same year as
peri's (q. V.) '' Da/ne*\' c. also
madrigals, etc. (2) Orfeo, Milan, ca.
1540 — 1613 ; maestro, and composer.
VciT(vit), Wcnzcl H. (VAclav Jin-
drich), Kepnic, near Leitmeritz, Bo-
hemia, 1806 — Leitmeritz, 1864 ; com-
poser.
Vclluti (v€l-loo'-te),.Giov. Bat., Mon-
terone, Ancona, 1781 — San Burson,
1 86 1 ; the last of the great male so-
prani.
Venatorini. Vide mysliweczek.
Venosa, Prince of. Vide gesualdo.
Vcn'to, (i) Ivo dc, b. Spain ; ct. -or-
ganist at Munich and composer (156 1-
91). (2) Mattia, Naples, 1739 —
London, 1777 ; c. operas.
Venturelli (vdn-too-r^l'-le), V., Man-
tua, 1 85 1 — (suicide) 1895; essayist
and dram, composer.
Venzano (v£n-tsii'-nd), Laig^, Genoa,
ca. 1814 — 1878; 'cellist and teacher ;
c. opera, pop. songs, etc.
Veracini (va-rft-che'-ne), (i) A., vio-
linist at Florence (1696). (2) Fran.
Maria, Florence, ca. 1685 — near
Pisa, ca. 1750 ; nephew and pupil of
above ; notable violinist, the greatest
of his time : composer.
Vcrdelot (vdrd-lo) (Italianised, Vcrdc-
lot'to), Philippe, d. before 1567 ;
famous Flemish madrigal-composer
and singer at San Marco, Venice ;
between 1530-40 in Florence.
Verdi (v£r'-de), (Fortunio) Ginsqipe
(Fran.), Le Roncole, near Busscto,
Duchy of Parma, Oct. 9, 18 13 —
Milan, Jan. 27, 1901 ; eminent Jul-
ian opera composer. Son of an inn-
keeper and g^rocer ; pupil, and at
10 successor of the village ocganist,
Baistrocchi, for three years pupil of
Provesi at Busseto ; 1831 with the
aid of his father's friend, Barezzi,
he went to Milan, where he was re-
fused admission to the Cons, by Ba-
sili, who thought him lacking in
mus. talent. He became a pupil of
Lavigna, cembalist, at La Scala;
1833, cond. Philh. Soc., and organ-
ist at Busseto ; 1836 m. Barezzi's
daughter Margherita. 1839, his op-
trz *"' OSerlo** was prod, with fair
succ. at La Scala, Milan. He was
commissioned by Merelli, the man-
ager, to write three operas, one every
eight months, at 4,000 lire ($800 or
;f 160) apiece, and half the copy
right. The first was a comic open
" l/n Giorno di Regno ^^* which failed
(1840), doubtless in part because his
two children and wife had died with-
in three months. V.'s combined dis-
tress drove him to rescind his agree-
ment and renounce composition for
over a year, when he was persuaded
by Merelli to set the opera ** Nahu-
CO " (•* Nebuchadrezzar "), prod, at La
Scala, 1842, with great applause, the
chief role being t^dcen by Giusepfnna
Strepponi (1815-97), whom he ro. in
1844. **/ Lombardi alia prima
Crociaia" (La Scala, 1843) was still
more succ. and is still played in Italy
(in Paris as ''J/rusaUm'y '' Er.
nanV (Venice, 1844) was prod, on
15 different stages in 9 months. 8
unsucc. works followed, incl. ** J due
FoscarV' (Rome, 1844). *' Macbeth'*
(Florence, 1847; revised Paris, 1865).
and ** IMasnadieri ' (after Schiller's
''Robbers'' London, H. M. Th,,
1847). '' Luisa Miller'* (Naples.
1849) was well received and is stiQ
DICTIONARY OF MUSICIANS 775
sung in Italy. " StiffeUo " (Trieste,
1850); later as **" Gugliglmo WeUng-
rode "y also with another libretto as
*'*^ Arnoldo" (1857), was three times a
failure. ^^ Rigolrtto^** c in 40 days
(Venice) (also given as *' ViscanUl-
lo '*), bc^an a three years* period of
universal succ, it was followed
by the world-wide successes **//
Travatore" (Rome, 1853) and ''La
Travia/a** {Venice Th., 1853; also
fiven as ** KiW^//a "), a 6asco at
rst because of a poor cast ; " Les
Vipres Siciliennes " (Paris Opera,
1855 ; in Italian *' / Vespri Sicili-
and "/ also given as ** Gtovanna di
Guzman ") was fairly succ. ; " Simon
Boccanegra** (Venice, 1857.; succ.
revised, Milan. 1881), •» Un Ballo in
Maschera " (Rome. 1859), '* ^ ^o^'
%a del Destine*' (Petersburg, 1862),
and ''Don Carlos*' (Paris, Opera,
1867), made no deep impression,
though they served as a schooling and
marked a g^radual broadening from
mere Italian lyricism to a substantial
harmony and orchestration. " Aida**
(written for the Khedive of Egypt)
was prod. Cairo, 1 871. at La Scala.
Milan, 1872, and has had everywhere
a great succ. The Khedive gave him
;f 3,000 for it. His ** Manzoni Re-
quiem" (1874) made a sensation in
Italy; " Otello" (Milan. 1887) was a
work worthy of its composer, and in
his last opera ** Falstaff^" written at
the age of eighty, he showed not
only an unimpaired but a progressive
and novel style. He also c. 2 symphs.,
6 pf. -concertos, "Inno delle Nazi-
oni** for the London Exhibition
(1862), songs, etc.
In 1 893 he was eiven the title ' * Mar-
chese di Busseto. * He lived at his
villa Sant' Agata, near Busseto. His
funeral brought 100,000 witnesses,
though his will ordered that it should
be simple and quiet. He left the
bulk of his fortune to the home for
aged and outworn musicians.
Biog. by Gino Monaldi (only in
German, transl. byL. Holthof, Leip-
zig, 1898); Checchi, 1887; Blanche
Roosevelt (London, 1887).
Giuseppe Verdi,
By W. J. Henderson.
VERDI has been the representative Italian opera composer of his time
and his personal development in art is that of his country, which has
followed his dominadng influence. He began to write in the prev-
alent style of the old Italian school, but even in his early works, which had
stnkbg resemblances to those of Donizetti and Bellini, he showed a rude
vigour not possessed by either of them. ^ This vigour came conspicuously
into notice in his **£r»j/r/,'* though the most fiimiliar example of his style
in thii period of his development is * « Rigoletto, * ' The early works show fecun-
dity of melodic invention, but a close adherence to the elementary dance
rhythms used by the Neapolitan school. The dramatic element and the virile
power of the man, however, continually pressed toward the front till in
"JiJa,** in which the Egyptian subject lured him away from conventions
into originality of colour, he entered upon a new field and established himself
as a new individuality in music. He idealised the old aria, employed all the
resources of modem instrumentation m the orchestral part, and sought for
776
THE MUSICAL GUIDE
truthful dramatic expression as none of his predecessors had. **Aida** hat
been the model of the younger Italian school and its influence can be traced
through the works of such writers as Mascagni, Leoncavallo, and Puccini.
^In **0/^//(7" Verdi left the old .Italian patterns still ftuther behind him, yet
without ceasing to be Italian in style or individual in ideas. The voice parts
are dominant and essentially melodious at all times, but the determination of
the composer to be faithful to the spuit of the text is more manifest than ever
before. The work is a monument of genius. In his ^^Faistaff** Vcrdi
produced a comic opera which stands next to Mozart's **Nozze di Figarf^*
and Wagner's ••/)/> Meistersinger,*' The freshness and spontaneity of the
score, the marvellous eloquence of the orchestral details and the infinite sg-
nificance of the recitative make this work one of the masterpieces of modern
times. The advance of Verdi from the **drum and trumpet " operas of his
youth to the highly organised, subtly significant and opulent scores of bis old
age, is the feature of hb artistic career, and where he has led, Italy has fol-
lowed, lie was the master and the moulder of Italian musical thoogfat for
half a century.
Verdonck', Cornelius, Turnhout* Bel-
gium, 1564 — Antwerp, 1625 ; com-
poser.
Vcre-Sapio (var-sft'-pt-6), Clemen-
tine (Dm bene) de, b. Paris; sopra-
no ; daugliter of a Belgian nobleman,
and an English-woman ; pupil of
Mme. Albertini-Baucarde, Florence ;
d^but there at 16, sang at leading
theatres, Europe, later in concert,
also in the United States ; 1896, she
returned to i>pera; 1899, toured U. S.
with an opera troupe of which her
husband, Signor Sapio, was mgr.;
1900-1901 at Metropolitan, N. Y.,
and Covent Garden.
Verhulst (v^r-hoolst'), Jns. (Josephus
Herman), The Hague, 1816— 1891 ;
cond. ; famous composer ; pupil of
Volcke at the Cons, there, later R.
mus.-dir.; cond. many societies, etc.;
intimate friend of Schumann ; c.
symphony, 3 overtures, etc.
Vernier (vem-ya), Jean Aim6, b.
Paris, 1769 (?); harpist and com-
poser.
Vcr'non, Jos., d. South I^mbeth,
1782 ; male soprano ; then tenor ;
composer.
V^ron (va-roh), D^sir^, Paris, 1798—
1867; critic, writer and manager of
the Opera.
Vcrovio (va-r6'-vt-6), Simone, the
first copper-plate mus.-printer, Rome,
ca. I586r— 1604.
Vertov'ski, c. the first Russian opera
*\Askold*s Grave"' (Askold^fva M(h
gila), based on folksongs.
Ves^ue von Piittlingen (v^k fdn
pit -llng-^n), Jn., Opole, Poland,
1803 — Vienna, 1883; pianist of Bel-
gian parentage ; c. 6 operas ; used
pen-name " J. Hoven."
Ves'trio, Lucia E., London, 1797—
Fulham, 1856 ; opera-sinecr.
Viadana (ve-a-d&'-nS), Ludovico (da)
(rightly L. Grossi), Viadana, near
Mantua, 1564 — Gualtieri, 1645;
noted church-composer ; maestro at
Mantua cath.; important early figure
in the development of basso continuo
(v. D. D.).
Vian'na da Mot'ta, Jos^, b. Isle of
St. Thomas, Africa, April 22, 1868 ;
Portuguese pianist ; st * Lisbon and
Scharwenka Cons., Berlin; later with
Schaffer, Liszt and von BlUow;
toured Europe; lives Paris.
DICTIONARY OF MUSICIANS 777
Vianeti (ve-d-ni'-ze), Angaste Chas.
Leonard Fran^oiSy b. Leghorn,
Not. 2, 1837; studied in Paris 1859,
cond. Dniry Lane, London ; then at
New York, Moscow and Peters-
burg ; 12 years cond. at Covent Gar-
den ; also in other cities; 1887, ist
cond. Gr. Op^, Paris; cond. New
York. 1891-92.
Viard-Lonia (vY4Lr-Ioo-e), Jenny, b.
Carcassonne, Sept. 29, 1831; con-
cert-pianist and teacher, London.
Viardot-Garcia (vY-lr'-dd-gir-the'-fi),
(1) (Michelle Fde.) Pauline, b.
Paris, July 18, 1821; famous mezzo-so^
prano and teacher ; daughter of Man-
uel Garcia (q.v.), studied pf . with Vega
at Mexico Cath., then with Meysen-
berg and Liszt, and Reicha (harm.) ;
and singing with her father and
«tiother ; concert debut, Brussels,
1837; opera debut, London, 1839,
engaged by Viardot, dir. Th. Italien,
Paris, and sang there until 1841,
when she m. him and made Europe-
an tours with him. In 1849 s^^ cre-
ated ** Fides" in **Z^ Prophiter
Paris, **Sapho" (Gounod's opera),
185 1 ; 1863, retired to Baden-Baden;
from 1 87 1 lived in Paris as teacher.
Her voice had the remarkable com-
pass of more than 3 octaves from bass
c-f". Wrote a vocal method and c
3 operas, 60 songs, and also 6 pes.
for pf. and vln. Biogr. by La Mara.
(2) Mme. Louise H6ritte Viardot,
b. Paris, Dec. 14, 1841; daughter of
above ; singing-teacher Hoch Cons.,
Frankfort (till 1886); then est. a
sch. at Berlin ; c. 2 comic operas, a
pf. -quartet, etc. (3) Mme. chame-
rot, and (4) Marianne V., dauetiters
of ( i) were concert-singers. (5) Paul,
b. Courtavent, July 20, 1857; violin-
ist , son of (i). pupil of Leonard;
1893, temporary cond. Paris Op^ra.
Vicentino (ve-ch£n-te'-n5), Nicola,
Vicenza, 1511 — Milan, ca. 1576;
conductor, theorist and composer;
inv. **archiorgano."
Victorio. Vide vittoria.
Vidal (ve-dil), (i) B., d. Paris, 1880 ;
guitar-virtuoso, teacher and com-
poser. (2) Jean Jos., Sor^ze, 1789
— Paris, 1867 ; violinist. (3) Louis
A., b. Rouen, July 10, 1820 ; ^cellist
and writer; pupil of Franchomme;
pub. important historical works. (4)
rran^ois, b. Aix, July 14, 1832;
poet and writer. (5) PaulAntonin,
b. Toulouse, June 16. 1863 ; pupil of
Paris Cons., winning 6rst Grand
prix de Rome, 1881; 1894, taught
solf^e there ; from 1896, cond. at
the Opera ; prod. 3-act lyric fantasy
*' Eros " (1892), a baUet *' La Mala-
delta'* (1893), 2 i-act operettas;
lyric drama ** Guernica** (Op. Com.,
1895); orch. suite, **Z« my stores
(CEleusis** etc.
Vierdank (fer'-dtok), Jn., organist
and composer at Stralsund 164 1.
Vierling (fer'-ltng), (i) Jn. Gf., Metz-
cls, near Meiningen. 1750 — Schmalk-
den, 1813 ; organist and composer.
(2) Jacob v., 1796— 1867, or^nist.
(3) George, Frankcnthal, Palatinate,
Sept. 5, 1820 — Wiesbaden, June,
1901 ; son and pupil of above, also
of Rinck (org.), Marx (comp.); 1847,
organist at Frankfort-on-Oder ; 1852-
53, cond. Liedertafel, Mayence;
then lived in Berlin, founder and for
years cond. Bach-verein ; prof, and
R. Mus.-Dir. ; c. notable secular
oratorios, ** Der Raub der Sabine*
rinnen** (op. £o), ''Alarichs Tod*'
and '* KoMstantin**\ Psalm 137, with
orch. ; and other choral works ; a
symph.; 5 overtures, incl. **/w
FrUhling**; capnccio for pf. with
orch.. etc
Vieuxtemps (v'ytt-tah), (i) Henri, Ver-
viers, Belgium, Feb. 20, 1820— Mus-
tapha, Algiers. June 6, 1881 ; emi-
nent violinist and composer ; son and
pupil of a piano- tuner and instr.-
maker, then pupil of Lecloux, with
whom he toured at 8 ; then pupil of
de Beriot (vln.), Sechter (harm.),
Reicha (comp.) ; he toured Europe
with great succ, and three times
America (1844, 1857 and 1870) ; 1845,
m. Josephine Eder, a Vienna pianist ;
778
THE MUSICAL GUIDE
1846-52, solo- violinist to the Czar
and prof, at the Petersburg Cons.;
1871-73, prof, at the Brusseb Cons.;
then paralysis of his left side stopped
his playing. He c. 6 concertos, sev-
eral concertinos, an overture on the
Belgian national hymn (op. 41), fantai-
sie-caprice, with orch. ; fantaisies on
Slavic themes, * ^Homage h Paganini"
caprice, sonata, vars. on ** Yankee
Doodle" 2 *cello-concertos, a grand
solo duo for vln. and *cello (with Ser-
vais), etc. Biog. by Randoux (1891).
(2) Jules Jos. Ernest, Brussels,
March 18, 1832— Belfast. March 20,
1896 ; bro. of above ; solo-'cellist It.
Opera, I^ndon ; also in Hallo's orch.
at Manchester.
Vi^and (ve-gS-no'), SalTatore,
Naples, I769--Milan, 1821 ; ballet-
dancer and succ. compx>ser of bal-
lets.
Vilbac(k) (vgl-bik),(Alphonse Chas.)
Renaud de, Montpellier, 1829 —
Paris, 1884 ; pianist and organist; c.
comic operas.
Villanis (vel-U'-nes), Luigi Alberto,
b. San Mauro, near Turin, June 20,
1863; LL.I). Turin Univ., 1887,
then pupil of Thcrmignon, and Cra-
vero (comp.); 1890 prof, of mus.
{esthetics and history, Turin Univ.;
critic and writer.
Villarosa (vel-l&.ro -sa), Carlantonio
de Rosa, Marchese di, Naples, 1762
— 1847; Royal Historiographer, 1823,
and writer on music.
Villars (ve-yftrs). Fran, de, He Bour-
bon, 1825 — Paris, 1879 ; critic and
historian.
Villebois (ve'-vti-bwS), ConsUntin
Petrovitch, Warsaw, 1817 — 1882 ;
composer.
Vil'loing, Alex, b. Petersburg, d. there
1878 ; pf. -teacher ; wrote method
and c. pf.-pcs.
Villoteau (ve'-y6-t6), Guillaume An-
dr6, Belleme, 1759 — Tours, 1839;
tenor and writer.
Vincent (vftA-siifi), (i) Alex. Jos. Hy-
dulphe, Ilesdin, Pas -de - Calais,
1797 — Paris, 1868; pub, treatises
claiming that the Greeks used harm^
etc
(ftn'-ts«nt). (2) H. Josw, Thctlheim,
near WQrzburg, Feb. 23, 1819 — 1901:
gave up theology and law and becanae
a tenor in theatres at Vienna (1849),
Halle and WQrzburg; from 1872,
singing-teacher and conductor ; lived
at Czemowitz, Bukowina and later in
Vienna ; pub. treatises advocating
the •* Chroma " (v. D.D.) Theory; c
operas, operettas, and pop. songs.
(vln'-s*nt), (3) Chas. John, b.
Houghton-le-Spring, Durham, Engl..
Sept. 19, 1852 (son and pupil of (4)
Chas. J., organist at St. Michaers);
studied Leipzig Cons.; Mus. Doc.
Oxon, 1885; 1883-91, organist Christ
Ch., London; ed., writer; c. over-
ture ** The Storm "/ oratorio ^^Jiutk^'*
3 cantatas with orch.; choral fugiK
in 8 parts, etc. (5) G. Fr., b. March
27, 1855 ! b*'0- of above ; pupil of
Leipzig Cons. ; from 1882, organist at
St. Thomas's, Sunderland, also cond.
sociedes there ; c. operettas, a can-
tata with orch. '* Sir Humphrey Gil-
bert,'* etc.
Vinci (v€n'-che), (1) Pietro, b. Nicosia.
Sicily, 1540; maestro and composer.
(2) Leonardo, Strongoli, Calabria,
1690 — Naples, 1732 ; maestro and
dram, composer.
Vi'ning, Helen Sherwood, b. Brook-
lyn, N. Y., July 4, 1855 ; wrote text-
books, etc.
Vin'ning^, Lotusa, Newton (?). Devon;
harpist and singer in London ; m. J.
S. C. Heywood, 1865.
Viola (ve-o -m), (i) Alfonso delta, ct.-
compx)ser at Ferrara, 1541-63 to
Ercole II. (2) Fran., pupil of Wil-
laert ; maestro at Ferrara, and com-
poser, 1558-73-
Viole (fe'-5-l«), Rudolf, Schochwitz,
Mansfeld, 1815 — Berlin, 1867 ; pia-
nist and compx>ser.
Viotta (fe-6t'-ta). Henri, b. Amster-
dam, Julv 16, 1848 ; studied Cologne
Cons.; also a lawyer, 1883; founder
and cond., Amstenlam Wagner Soc.,
etc.; 1889, cd. ^' MeuuMlad votf
DICTIONARY OF MUSICIANS 779
Muxiek "; 1896, dir. Cons, at The
Hague ; publ. a *' Lexicon der Toori'
JkuMst '' (iSSg).
Viotti (ve-6t'-te), Giov. Bat., Fonta-
neto da P6, Vcrcelli, Italy, May 23,
1753 — London. March 10 (?), 1824;
son of a blacksmith; at first stlf-
taught.then, under patronage of Prince
della Cistema, studied with Pugnani
at Turin ; soon entered the ct. -orches-
tra ; 1780 toured with Pugnani, was
invited to become ct.-violinist to
Catherine II., but went to Paris, then
London, playing with greatest succ. ;
1783 an inferior violinist drew a larger
audience, and in disgust he retired
from concerts and became a teacher
and accompanist to Marie Antoinette
and cond. to the Prince de Soubise.
Failing to be dir. of the Opera, 1787,
he joined L^nard, the Queen's hair-
dresser, and est. It. Opera, 1789;
prospering till the Revolution. He
went to London as a violinist and
played with great succ. 1795, mgr.
It. Opera and dir. Opera Concerts
there ; failing he went into the wine-
trade. Later returned to Paris, and
became dir. of the Opera, 1819-22,
then pensioned with 6,000 francs.
He pub. 29 vln.-concertos (the first
written in the modem sonata-form,
and supported with broadened or-
chestration). C. also 2 Concertantes
for 2 vlns., 21 string-quartets, 51 vUi.-
duos, 18 sonatas, etc. Biogr. by
Fayolle (Paris, 1810); Baillot (1825),
etc.
Virdnng^ (fer'-doongk), Sebastian,
priest and organist at Basel, 151 1 ;
writer and composer.
Visetti (ve-s«t'-tc), Alberto Ant., b.
Spalato, Dalmatia, May 13, 1846 ;
pupil of Mazzucato. Milan Cons.,
concert-pianist at Nice ; then Paris,
cond. to the Empress Eugenie ; on
the fall of the Empire, vocal teacher
in the R C. M., London; pub. a
'* fftsiory of the Art of Singing ;*
and translations.
Vitali (ve-tS'-le), (i) Filippo, b. Flor-
ence , singer and composer. 163 1. (2)
GioT. Bat., Cremona, ca. 1644^
Modena, Oct. 12, 1692 ; 2d ct.-cond.
and composer of important sonatas,
ballets, etc. (3) Tomaso, b. Bo-
logna, middle of 17th cent. ; leader
there, and c a chaconne.
Vitry (ve-tre), Philippe De (Philip-
pus di Vitria'co), b. Vitry, Pas-de-
Calais ; d. 13 16, as Bishop of Meaux;
theorist,
Vittori (vlt-to'-re), Loreto, Spoleto,
ca. 1588 — Rome, 1670 ; composer.
Vittoria (vlt-to'-rt-a), Tomaso Ludo-
▼ico da (rightly Tomas Luis De
Victoria), Avila(?), Spain, ca. 1540—
Madrid, (?) ca. 1608; went to Rome
early; 1573 maestro Collegium "Ger-
manicum ; 1575, of S. Apollinaris ;
friend and disciple of Palestrina ;
1589-1602 vice ct. -conductor, Ma-
drid ; c. notable works incl. a re-
quiem for the Empress Maria, 1605.
Vivaldi (ve-vil'-de), Abbate Ant., Ven-
ice, ca. 1675 — 1743 ; celebrated vio-
linist ; from 17 13 dir. Cons, della
Pieti; c. notable vln. -concertos and
sonatas.
Vivier (vev-ya), (i) Albert Jos., b.
Hujr, Belgium, Dec 15, 1816 ; pupil of
F^tis ; c. opera and wrote a har-
mony. (2) Eugene L^on, b. Ajac-
cio, 182 1 ; remarkable horn-virtuo-
so ; he always refused to tell how he
produced three or four notes at once,
making it possible to play the parts
for three horns on one ; pupil of Gal-
lay, then joined orch. at Paris Op^ra ;
made many tours, was a favourite of
Napoleon III., then retired to Nice ;
a great wit and a composer of excel-
lent songs. (3) Albert Jos., b. Huy,
Belgium, Dec. 3, 1816 ; theorist and
composer.
Vleeshouwer (flas'-hoo-v5r), Albert
de, b. Antwerp, June 8, 1863 ; pupil
of Jan Blockx ; prod. 2 operas,
'TicoU des Phis" (1892) and
^^ Zryni'* (Antwerp, 1895), sympho-
nic poem, "Z>^ wilde Jdgcr^'* etc.
Vockerodt (f6k-«-r6t), Gf., Mulhau-
sen, 1665 — Gotha, 1727; theorist.
Vogel (fogei), (i) Jn. Chr., Num-
78o
THE MUSICAL GUIDE
herg, 1756 — Paris, 1788 ; dram, com-
poser. (2) L., flutist and corap>oser.
Paris. 1792—1798. (3) Fr. Wm.
Fd., b. Havclbcrg, Prussia. SqH.
9. 1807; pupil of Birnbach, Beriin ;
toured as organist ; from 1852. at
Bergen, Norway ; pub. a concertino
for org. with trombones; symph..
overture, 2 operettas, etc. (4) (Chas.
Louis) Ad., Lille, 1808— Paris.
1892 ; violinist and dram, composer.
(5) (Wm.) Moiitz, b. Sorgau, near
Freiburg. Silesia. July 9, 1846 ; pian-
ist; pupil of I>eipzigCons.; teacher,
critic and conductor of choral socs.,
Leipzig ; pub. pf. method, c. rondos,
etc. (6) (Ad.) Bd., Plauen. Saxony,
1847 — Leipzig, 1898; journalist,
writer and compjoser. (7) EmiL b.
Wriezen-on-Oder, Jan. 21. 1859 ; Ur.
Phil., Berlin. 1887; 1883, sent to
Italy by the govt, as Haberl's asst.
in studying Palestrina's works ; from
1893, lib. Peters Mus. Library, Leip-
zig ; pub. monographs, etc
Vog^g^enhuber (f^'-g^n-hoo-b^r), Vil-
ma Ton (Frau V. Krolop), Pesth,
1845 — Berlin 1888 ; dram, soprano
at Berlin ct.-opera 1868-88.
Vogl (f6kh'-'l). (I) Jn. Michael, Steyr,
1768 — Vienna, 1840; tenor and con-
ductor (v. FZ. SCHUBERT). (2) Heiii-
rich, Au, Munich. Jan. 15, 1845 —
on the stage, Munich, April 21, 1900;
famous tenor ; debut Munich ct.-of)-
cra, 1865 ; sang there thereafter ;
eminent in Wagnerian roles at lk»y-
reuth ; prod, an opera '* D^r Fremd-
ling'' (Munich. 1899). (3) Thc-
rese (nee Thoma), Tutzing, Lake of
Stamberg, Nov. 12, 1845 ; from
1868, wife of above, and like him,
eminent in Wagner opera ; dram,
soprano ; pupil of Ha user and Herg-
er, Munich Cons.; 1864, Carlsruhe ;
1865-92, Munich, then retired.
Voeler (fdkh'-ldr), Gcorg los. ("Abb«
Vogler"), Wttrzburg, June 15. 1749
— Darmstadt. May 6, 1814 ; famous
organist ; theorist and composer; pupil
of Padre Martini and V^allotti : took
orders at Rome ; 1 786-99, court-con-
ductor Stockbotm ; 1S07. ct.-oood. at
Darmstadt ; he was cnoDent as a
teacher of radical methods; toured
widely as a concert OTganist with fais
•* orchestrion ";. be wrote manj trea-
tises ; c. 10 operas, a symphotiy. etc.
V^di (fo'-grlkh). kajc (Wm.
Oui), b. Szeben (Hermantwradtj.
Transylvania, Jan. 24, 1S52 ; piaaist :
at 7 he played in public, then pofal
of Leipzig Cons.; 1870-78, toured
Europe, Mexico and South Annerica ;
then U. S. with \Mlhehnj ; 1882-86,
in Australia, where he m.; since
1886, Hves in New York : c 3 graad
operas (text and music) incl. *' WandA^
(Florence, 1875) ; c. also an oratorio
•* The CapHvity ^ (1884 ; Met. Op,
1891); 2 cantatas, Missa Soiemms;
2 symphs., vln. -concerto, etc
Vogt (fokht), (i) GtistaTe, Stiass-
burg, 1781 — Pairis, 1879 ; oboist,
professor and composer. (2) Jn.
(Jean), Gross-Tinz, near Leigmtz,
1823 — Eberswalde, 1888 ; pianist and
composer.
Voifi^t (foikht), (i) Jn. G. Hermann,
Osterwieck, Saxony, 1769 — 181 1; or-
ganist and composer. (2) K., Ham-
burg, 1808 — 1879; conductor. (3)
Henriette (nee Konae), 1809 — Oct
15* 1^39! distinguished amateur mu-
sician at Leipzig ; intimate friend of
Schumann.
Volckmar (folk -mar), Wm. (Valen-
tin), Hersfeld. Cassel, 181 2 — Hom-
berg, near Cassel, 1887; mus.-tcadi-
er, organist, writer and composer.
Volkert (fol'-kCrt), Fa., Heimersdorf,
Bohemia, 1767 — Vienna, 1845 ; or-
ganist and conductor; c. over 100
comic operas, Singspiele, etc
Volkland (folk'-lant), Alfred, b.
Brunswick, April 10, 1841; pupil
Leipzig Cons. ; ct. -pianist at Sondcrs-
hausen ; from 1867, ct.-cond. there;
1869-75, cond. Leipzig Euterpe, also
co-founder the Bach-V^erein ; since
1875, cond. at Basel; 1889, Dr.
Phil. h. c. (Basel Univ.).
Volkmann (f61k'-man). (Fr.) Robt,
Lommatzsch, Saxony, April 6, 1815
DICTIONARY OF MUSICIANS 781
— Pesth, Oct. 30» 1883 ; notable
composer ; son and pupil of a cantor ;
studied with Friebel (vln. and 'cello),
Anacker (comp.) and K. F. Becker,
at Leipzig ; 1839-42, taught mus. at
Prague ; thereafter lived in Pesth,
excepting 1854-58, Vienna ; for years
prof, of harm, and cpt at the Nat.
Acad, of Mus., Prague ; c. 2 symphs. ;
3 serenades for strines ; 2 overtures,
incL " Richard III, ' ; concerto for
'cello, ConcertstOck for pf. and
orch. ; 2 masses with orch. ; Christmas
Carol of the I2th cent.; old German
hymns for double male chorus ; 6
duets on old German poems ; 2 wed'
ding-songs; alto solo with orch.,
**^if die Nachi"; dram. -scene for
soprano with orch., ** Sappho''; pf.-
pcs. and songs. Biog. by Vogel
(Leipzig, 1875).
VoUhardt (fol-hart), Emil Rein-
hardt, b. Seifersdorf, Saxony, Oct.
16, 1858 ; pupil of Leipzig Cons.;
cantor Marienkirche and cond. at
Zwickau ; c. motets and songs.
VoUweiler (fol'-vT-l^r), K., Oflfenbach,
1 8 1 3 — H eidelberg, 1 848 ; piano-
teacher and composer.
Volmnier (vo-lUm-ya), J. Bapt., Spain,
1677 — Dresden, 1720 ; ct. -violinist
and ball-cond., Berlin and Dresden.
Vonderheide (f6n'-d€r-hi'-dfi), J. Fr.,
b. Cincinnati, Feb. 28, 1857; public
singer and violinist at 10; at 17 he
knew nearly all instrs. of the orch.;
taught 3 years in Pittsburg ; studied
voice-culture and piano in Cincinnati
and Europe ; 1882-84, dir. Buffalo
Sch. of Mus.; 1885-91, N. Y. Con-
servatory.
Vopelins (fo-pa'-lY-oos). Gl, Herwigs-
dorf, n. Zittau, 1645 — Leipzig, 17 15;
cantor and composer.
Voretzsch (vo'-r^tsh), Jns. Felix, b.
Altkirchen, July 17, 1835 ; pianist
and conductor.
VosSy (i) (Vos'sins) Gerhard Jn.,
Heidelberg, 1577 — Amsterdam, 1649 ;
writer on mus. (2) Isaak, Leyden,
1618 — Windsor, Engl., 1689; son of
above ; canon and writer. (3) Cbas.i
Schmarsow, Pomerania, 181 5 — Vero-
na, 1882 ; pianist and composer.
Vowles (volz), W. G., succ. J. Smith,
or?. -builder, est. Bristol, 1814.
Vredemann (fra'-d^-m&n), (i) Jakob,
teacher and composer, Leuwarden,
ca. 1600 — 1640. (2) Michael,
teacher and theorist, Amheim, 161 2.
Vroyc (vrwa), Th. Jos. De, Villers-la-
Ville, Belgium, 1804 — Li^, 1873 ;
canon and theorist.
Vuillatime (vwe-y5m), family of French
vln. -makers, (i) Claude (1771 —
1834); had 4 sons who followed him,
the most famous (2) Jean Baptiste,
Mirecourt, Dcpt. of Vosges, France,
Oct. 7, 1798 — Paris, March 19, 1879;
1821-25, in partnership with Lete ;
he was v. succ. and a remarkable
imitator of Stradivari ; in v. 185 1,
**octobasse" (v. D. D.); 1855, a larger
viola *' contre-alto ** ; in 1867 a mute,
the "pedale sourdine*' ; also a ma-
chine for manufacturing gut-strings
of unvaried thickness, etc. His
brothers were : (3) Nicolas (1800—
187 1 ), (4) Nicolas Fran. (1802 —
1876), and (5) Claude Fran. (b. 1807),
also an org. -builder. (6) Sebastian
(1835 — 1875), vln. -maker.
Vulpius (fool -pY-oos), Melchior, Wa-
sungen, ca. 1560— Weimar, 1616 ;
cantor and composer.
IV
Wach (vakh), K. Gf. Wm., Labau,
1755 — Leipzig, 1833 ; double-bass
W>layer.
achs (wSsh), Paul, b. Paris, Sept.
19, 1851 ; pianist, pupil of Paris
Cons.; won ist prize for organ, 1872;
c. pf. -pieces.
Wachsmann (vakhs'-man), Jn. Ja-
cob, early 19th cent. mus.-<lirector,
Magdeburg Cath.; composer, writer
of methods, etc.
Wachtel (vakh'-t«l), (i) Theodor,
Hamburg, 1823 — Frankfort-on-Main,
1893 ; noted tenor ; son and successor
of a l!ver>'-stable keeper, then ''dis-
covered "; studied with Frl. Grand-
782
THE MUSICAL GUIDE
jean. His son (2) Th. (d. Dessau^
1875) was for a time a tenor.
Wachter (vikh'Air), Ernst, b. Mohl-
hausen, May 19, 1S73 ; bass ; studied
with his father and Goldberg ; 1S94,
Dresden opera; from 1896 Bayreuth,
as ** Fasolt," etc.
Wade, Jot. Augustine, b. Dublin —
d. London, 1845 ; violinist, conduct-
or and composer.
Waelpnt (viU'-poot). Hendrik, Ghent,
1845 — 1885 ; cond., professor and
dram, composer.
Waelrant (wiU'-rant), Hubert, Ton-
gerloo, Brabant, ca. 15 17 — Antwerp,
1595; a mus.-pub. and teacher; in-
troduced ** Bocedisation " (v. D.D.) ;
c. motets, etc.
Wa^renseil (vr-gSn-zll), (i) Jn.
Cop., Nttmberg, 1633 — Aitdorf,
1708 ; writer. (2) G. Chp., Vienna,
1715 — 1777 ; teacher and composer.
Wag^aer (viUch^n«r),(i) Gotthard, Er-
ding, 1697 — Benedictine monastery,
Tegemsee, 1739; composer. (2)
G. Gf., MUhlbcrg, Saxony, 1698 —
Plauen, 1760 ; cantor and composer.
(3) Jn. Joachim, i8th cent, org.-
builder at Berlin. (4) Bros. Jn. and
(5) Michael, org. -builders at Schmie-
defeld, i8th cent. (6) Two bros. Chr.
Salomon and (7) Jn. Gl., harpsi-
chord-makers Dresden, 1774. (8)
K. Jakob, Darmstadt, 1772 — 1822 ;
horn- virtuoso, concert-conductor ; c.
operas. (9) Ernst David, Dram-
bui^g, Pomerania, 1806 — Berlin, 1883;
cantor, organist, mus. -director and
composer ; pub. essays.
(10) (Wm.) Richard, Leipzig,
May 22, 18 13— -(of eyrsipclas) Venice,
Feb. 13, 1883 ; eminent opera com-
poser ; son of a clerk in the city
police-court, who died when W. was
six months old ; the mother m. an
actor and playwright, Ludwig Geyer
of Dresden. W. attended the Dres-
den Kreuzschule until 1827 ; he
transl. 12 books of the Odyssey, and
at 14 wrote a bombastic and bloody
Shakespearean tragedy ; 1827, he
studied at the Nikolai Gymnasium,
^^P^« where the family lived wfaSe
his «ster Rosalie was engaged at the
City Theatre there. Wagner was
impelled music-ward by hearing a
Beethoven Sjrmph. and took op
Logir's ** Thoroughbass.** He tben
Studied theory with the organist Gott-
lieb Mailer and c. a string-quartet, a
sonata and an aria. 1830, after ma-
triculation at Leipzig Univ., be
studied six months with Th. Weinfig
(comp.) and c. a pf. -sonata, and a 4-
hand polonaise. He studied Beetbo-
ven*s symphs. very thoroughly. At
19 he c. a S]rmph. in 4 movements,
prod, at the Gewandhaus, Leipzig,
1833. He wrote the libretto for an
opera, **Z>i> Hockteit" an intro-
duction, septet, and a chorus 1832,
but his sister Rosalie thought it im-
moral and he g^ve it up ; 1833 his
brother Albert, stage-manner and
singer at the WQrzburg Theatre in-
vited him to be chonism. tttcre. He
c. a romantic opera in 3 acts *' Dit
Feen^^ to his own libretto (after ** La
Donna serpentet** by Gozzi) ; it was
accepted but never performed, by the
Leipzig th.-dir. Ringelhardt (gfiven at
Munich, 1888). 1834, he became
cond. at the Magdeburg Th. Here
he c. (text and music) '* Deu LUhes-
verbot (after Shakespeare's ^^Measmrt
for Measure "), performed by a bank-
rupt troupe, 1836. Th.-€ond. at
KOnigsberg, and m. (1836) an ac-
tress Wilhelmine Planer, who d. 1866,
after they had separated in 1861.
He c. an overture ** Rule BriUm-
nia.^* 1837 cond. Rig^ opera. Moved
by Meyerbeer's triumphs at the Gr.
Op^ra at Paris, W. went there, July,
1839, by sea. The voyage lastnl j\
weeks and was very stormy ; the ex-
perience suggested to him the opera
^* Flying Dukkmany Meycibeer
gave him letters to musicians and
Qubs. in Paris ; here he suffered pov-
erty and supported himself by song-
writing, arranging dances for piano
and comet, preparing the pf.-scorc
of Halcvy's '' RHne de Ckypre,** msA
DICTIONARY OF MUSICIANS 783
writing articles. His operas were
scornfully rejected and he could get
no hearing till the v. succ. ** Rienzi "
was prod., Dresden, 1842, and ''^ Der
FlUgende Hollander^' Jan. 2. 1843.
The novelties in this work provoked
a furious opposition that never ceased.
1843-49 he was cond. of Dresden
Opera, also cond. Dresden Lieder-
tafel, for which he wrote a biblical
scene, **/>flj Liehesmahl der Apostel^^
for 3 choirs, a cappella, later with full
orch. **" Tannhduser^* was prod.,
Dresden, 1845, with succ. in spite of
bitter opposition. In \%^Z*^^ Lohen-
grin *' was finished ; but the mgr. of
the Opera did not care to risk the
work. He now wrote out a little
sketch ''Die Nibelungen, WeUge-
sckichU aus der Sage "y a prose studv
on ''Der Niebelungen-Mythus als
Entwurf tu einem Drama'* (1848),
and a 3-act drama with Prologue,
written in alliterative verse, ** Sieg-
fried' s Tody"* preparations for the
great work to follow, A rashly ex-
pressed sympathy with the revolution-
ary cause (1849) made flight neces-
sary ; he went to Weimar with Liszt,
but had to go on to Paris to escape the
order for his arres^. 1849 he pro-
ceeded to Zurich, were he wrote a
series of remarkable essays : " Die
Kunst und die Revolution*'' (1849),
^' Das Kunstwerk der Zukunft"
•* Kunst undJClima," " Das Juden-
ihum in der Musik" (1850), " Oper
und Drama^* " Er inner ungen an
Spontini** a prose drama ** Wieland
der Schmiedt," and the 3 poems of the
Niebelungen trilogy (privately printed
1853). The myx&vc oi " Das Rhein-
gold'' was finished 1854, " Die WaU
kUre^" 1856. He cond. orch. concerts
with much succ, lectured on the
mus. drama, prod. '* Tannhduser "
(Ztirich, 1855) ; 1855 he cond. 8 con-
certs of the London Philh. Soc. 1857
he left **5'i>^r/>^" unfinished and c,
" Tristan und Isolde.*' i860 he gave
concerts of his own works, winning
many enthusiastic enemies and some
valuable friends. The French Empe-
ror ordered ** Tannhduser" to be
prod, at the Gr. Opera. March 13,
1 861. It provoked such an elaborate
and violent opposition (for omitting
the ballet) that it was withdrawn after
the third performance.
W. was now permitted to return
to Germany ; ** Tristan " was accept-
ed at the Vienna ct. -opera, but after
57 rehearsals the singers declared it
impossible to learn. In 1863, he
pub. text of the "Nibelung Ring"
despairing of ever completing the
mus. When his financial state was
most desperate. King Ludwig II. of
Bavaria (1864) invited him to Mu-
nich and summoned von Bulow as
cond. to prod. * * Tristan und Jsolde "
(June 10, 1865) ; but opposition was
so bitter that W. settled at Trieb-
schen. Lucerne, and completed the
scores of "Die Meistersinger" (prod.
Munich, 1868) and "Der Ring des
Nibelungen:' "Siegfried" (186^ and
* * Cotterddmmerung " ( 1 874).
1870 he m. Cosima, the divorced
wife of von BQlow and natural
daughter of Liszt. Since his death
she has had charge of the Bayreuth
Festivals. Though King Ludwig's
scheme for a special Wagner Thea-
tre in Munich was given up, there
were by this enough Wagner-lovers
and societies throughout the world,
to subscribe funds for a theatre at
Bayreuth, where the comer-stone was
laid in 1872, on his 60th birthday.
In August, 1876, complete perform-
ances of "Der Ring des Nibelungen "
were given there under most splendid
auspices, but with a deficit $37,500,
paid off by a partially succ. festival
in London, 1877, and by the setting
aside of the royalties from perform-
ances at Munich. He now set to
work on the " BUhnenweihfestspiel"
(Stage - consecrating - festival - play).
"Parsifal" finished, and prod, in
1882. The same year ill-health sent
him to Venice, where he d. suddenly.
His writings (extravagantly praised
784
THE MUSICAL GUIDE
and condemned) are pub. in various
eds. There is an English transla-
tion in 8 volumes, by Wm. Ashton
Ellis. Besides his operas and the
other works mentioned he c. a symph.
(1832) ; 6 overtures, incl. **ICoH%ert»
ouvertUre tiemKch fugirt^* ** Polo-
nia:' ''Columbus:' '* RuU Britan-
nia'*; '' New Year s Cantata'' ; incid.
mus. to Gleich's farce *'Der Berg-
geist" (Magdeburg. 1836); '' Hul.
digungsmarsch" (1864, finished by
Raff); ** Siegfried Idyll" (1870, for
his son then a year old), ** Kaiser-
marsch " (1870), " Festival March "
(for the Centennial Ex|x>sition Phil-
adelphia. 1876). ** Gelegenkeits-Can-
tata " (for unveiling a statue of King
Friedrich, August, 1843). ** Gruss an
den Konig" (1843, P^). "^« Weber's
Grabe" (Funeral March for wind-
instrs. on motives from Weber's ^' Eu-
ryanihe^' and double quartet for
voices, 1844). For Pf.: sonata ; po-
lonaise, for four hands ; fantaisie,**^/-
bumscnaie, far Frau Maikiide IVe-
sendoneJk " {ISS3); '' Ankumft h€i dem
Sckwarten Schwanen " (1861); ^^Ein
Albumblatt far FUrstin Mettermick'^
(1861), ''AUmmblaH fOr Frau Betty
Sckott" (1875). Songs: " Cwtm-
valslied*' from **Z>«j Uekesverb^'
(1835-36); *^Dors, num enfmmi*
''Mignonne" ''Attenie*' (i839-#)),
''Les deux Grenadiers'' (i^y)); ''Der
Tannenbaum" (1840); ^^ Krafthei-
eJken" (1871), ''FOnf Gediekie ^ I.
" Der Engel"; 2, ''Steke sHU^ ; 3,
*•/•• Trnbkaus": ^ '' Schmer^en^ ;
5, '' Trdume" {x^fyi),
Biog. by C. F. Glasenapp (1876) ;
F. Hueffer (1881) ; R. Pohl (1883):
W. Tappert (1883) ; H. v. Wolioget
(1883) ; Ad. Jullien (1886) ; H. T.
Finck (1893); H. S. Chamberlain
(1897); E. Dannrcuther, F. Prtger
(1893); G. Kobb^; Glasenapp and
Ellis (1900). There are many trea-
tises on his works. His letters have
also been published in various fonns.
Wagner.
By Henry T. Finck.
•
WHEN Richard Wagner was living as a poliacai renigee in Switzer-
land, at the age of thirty-six, he elaborated hb theory of the ••art-
work of the fiiture" in a long essay. Reduced to one sentence,
this theory was, that music, poetry, painting, sculpture, and architecture had
run their course as separate arts, and that the art-work of the future was to
be a combination of them. At a later period he tried to make Beethoven re-
sponsible for this theory, so far at least as the union of poetry and musk is
concerned. Beethoven, he argued, wrote his first eight symphonies for in-
struments alone, but when he composed the Ninth, the greatest of them all,
he reached a point in the last movement, where the orchestra no longer suf-
ficed for his purposes, so he called in the aid of the human voice and poetry
— Schiller's ^^ Ode to Joy.** This symphony thus became **the gospel c(
the art- work of the future'*; and beyond it, Wagner maintained, progrcsi
was possible only in the direction of the genuine music-drama; *• the key to
which was thus forged by Beethoven." And when the comer-stone for tkc
Bayreuth Theatre — ^in which the ••art- work of the future'* w«» to be pit-
DICTIONARY OF MUSICIANS 785
sented to the world — was laid, Wagner significaiitly made it the occasion for
the perfbnnance of this epoch-making Ninth Symphony. ^ Undoubtedly it
iivas a stroke of genius on the part of Wagner thus to turn the tables on his
enemies — who had decried him as a heretic and a foe to music — by claim-
ing their very idol as the sire of his new doctrine. In truth> however, it is
not at all probable that Beethoven had in mind any such purpose as Wagner
imputes to him. There is no reference to anythbg of the kind among the
biographic documents, whereas, it is known, on the other hand, that Bee-
thoven had been intending nearly all his life to set to music Schiller's ** Ode
to Joyy According to Czemy, he subsequently even pronounced this ex-
periment of incQrporating the Ode in his symphony a mistake {Missgriff).
The voice, in truth, was never congenial to him. ** Songs I do not like to
write," he said to Rochlitz, in 1822, the very time when he was at work
on the ** Ninth Symphony,** In both this work and the ** Miss a Soknnisy**
of the same period, Beethoven, moreover, uses the human voice like an in-
strument, and it is probable that in each case his object in employing it was
not so much to secure an alliance with poetry as to increase the power of his
musical forces, and to enlarge the variety of tone-colours by adding to the
orchestra the human voice, alone, concerted, and in massive choral combina-
tion. ^ Wagner's musical pedigree must therefore be sought elsewhere.
His ancestry might be traced back as far as Peri and the other originators of
Italian opera who (strange as it may seem to us who know only the later
Italian opera which Wagner reviled) represented a protest in favor of poetry
against the tyranny of music in the marriage of these arts. Wagner's whole
art was such a protest, and his more immediate progenitor in this respect was
Gluck, who found that Italian opera had gradually become ridiculous through
the ** vanity of singers and the unwise compliance of composers ; " and who,
therefore, endeavoured to reduce operatic music to its proper function ; that of
seconding the poetry and deepening the feeling it arouses. Gluck' s idea that
the relation of poetry to music was much the same as that of a sketch to the
colour, *< which animates their figures without altering their outlines " was cor-
(fially endorsed and adopted by Wagner. ^ The next step in the evolution
of Wagnerism is represented by Weber, his indebtedness to whom Wagner
frankly acknowledged in several places. He declared that the last scenes in
Weber's "Euryanthe** realised the ideal of musico-dramatic art, as here the
orchestra <* interpenetrates the recitatives as the blood does the veins of the
body." What Weber himself wrote about thb opera : ** 'Euryanthe* is a
purely dramatic work, which depends for its success solely on the co-opera-
tion of the sister arts, and is certain to lose its effect if deprived of their as-
nstance," shows that his ideal was the same as Wagner's. Had he lived
longer, and had he possessed Wagner's pugnacity and iron will, he might
50
786 THE MUSICAL GUIDE
have been the man to annihilate the old-Huhioned opera and triumphantly es-
tablish the modern music-drama. He even made use of leading motives [vide
D. D.]. His early opera **Abu Hassan " has a melody which is afterwards
repeated in a reminiscent vray. The **Freyscbiitz** has eleven recorring
melodies, and ** Euryanthe " has eight. ^ While the germs and main
principles of Wagnerism may thus be found in Peri, Monteverde, Gluck, and
Weber, it remained for Wagner's genius to develop and apply them. Gluck's
operas were still far from being perfect works of art. To cite Wagner's
own words : ''In Gluck's operas we find the aria, the recitative, the ballet
still placed side by side without any connection ; ' ' while opera in general
remained after him, as before, a mere variety show, with here a pretty tune,
there a graceful skip of a dancer or a brilliant feat of vocalisation, here a daz-
sding scenic effect, there a volcanic outburst of the orchestra, and the whole
without artistic coherence. If a painter put on a canvas a number of human
figures and diverse objects totally unrelated to each other, no one would call
it a work of art, however well done each figure might be in itself. The
opera before Wagner was such a canvas. He was the first who made a gen-
uine picture of it — an art-work organically united in all its parts. He did
this by means of the leading motives — the typical melodies and charac-
terisdc harmonies which accompany each of the dramatis persona throughout
the score, just as their social and moral character accompanies them, with
such modificadons as the situadon calls for. Weber had used leading motives
as we have seen, but only in an elementary way. It remained for Wagner
to make them the very framework of the music-drama. He thus taught
music to speak a definite language, so that we can almost tell by listening to
the orchestra alone what is going on on the stage. ^ His whole aim and
desire was to make the drama impressive and intelligible. For this reason he
discarded the tuneful style of vocalism in vogue in Italian opera and developed
a new vocal style — a sort of melodious declamadon or ''speech-song."
This led to the ridiculous accusadon that there was "no melody" in his
operas, whereas the orchestral score usually bubbles over with melodies— often
two or more at a dme. After the singers had begun to master the new vocal
style, it was found, moreover, that an artist like Lilli Lehmann or Jean de
Reszkecan make this speech-song sound smooth, and melodious, too-— as smooth
and melodious as the bel canto of Rossini and Mozart. And afrer the singers
had learned how to act, and to enunciate distincdy, opera-goers learned that
Wagner had written stage- works which were quite as impressive poetically as
they were musically. He had an immense advantage over all other com-
posers in being able to write his own poems. His best ten operas — " 7bt
Flying Dutchman,'' *' Tannbduser,'* ''Lohengrin,'' *' Rbeingoid,'*
**Walkare,*' ''Siegfried,'' "Gotterd&mmerung," "Tristan," *' Meister-
DICTIONARY OF MUSICIANS 787
Jtngfr,*^ and ** Parsifal^^ — apart from the music, rank among the best playi
ever written in Germany ; though to be sure they must not be judged apart
from the music any more than the music must be judged apan from the poems.
The ludicrous opinions on these works formerly expressed by so many pro-
fessional musicians and critics were due chiefly tb the fact that they did not
bear this in mind, though Wagner protested on every possible occa^on that
he must not be judged from the stand-point of the separate arts, but of the
combined arts. The greatest defects in the present-day performances of his
operas is owing to this, that few stage-managers have yet learned that he
expects them to be artistic, too, familiar with every detail of the work, so that
they can show how every incident on the stage is mirrored and emphasised
in the orchestral score. There is much delightfol pantomimic music in these
operas, the meaning of which is lost if the stage-manager is a bungler, and the
singers poor actors. ^With all these reforms and innovations, Wagner
never could have become the most commanding figure in the modem music-
world had he not been endowed at the same time with the faculty for creat-
ing an extraordinary abundance of ideas, melodic and harmonic. Wilhelm
Tappcrt has truly observed that there is more melody in Wagner's ** Meis-
ter singer ' ' than in all the operas of the melodious Mozart. In the field of
harmony and modulation Wagner was an innovator of unprecedented origi-
nality. There can be no tragic expression without discord, aiid he was the
greatest of all masters of discord — the musical tragedian par excellence. In
orchestradon, too — the art of clothing his ideas in beaudfiil garbs of various
colours — he was without a rival. ^ As Schubert influenced all song- writers
after him, Chopin all the pianoforte-composers, and Beethovtn all the sym-
phonists, so Wagner has cast his spell on every writer for the stage. ** Wag-
ner is the oxygen, the atmosphere which modern opera breathes," writes
Ferdinand Pfohl ; and he hardly exaggerates when he adds that ** modem
opera, apart from Wagner's art is an empty word, a phantom. It does not
exist." The minor composers of all countries have been indulging for nearly
half a century in a very bacchanal of plagiarism at his expense, while even the
greatest of living masters — Dvorak, Grieg, Saint-Saens, Richard Strauss —
have honestly profited by his example in various branches of music. Rubin-
stein committed suicide l)y trying to swim against the current. The German
school of opera, the French, and even the Italian have followed Wagner in
abandoning colorature song and elaborate arias, in giving greater coherence
to their scores, and in showing a decent regard for their texts. In these
respects even Verdi, greatest of the Italians, has in his last period, paid homage
to Wagner's genius.
788
THE MUSICAL GUIDE
(ii) Siegfiried, b. Tnebscben.
Locenie, Jane 6. 1569; only son
of abore ; attended a potytcchoic
sch., but to>k up mus. as pupil of
Knicse and Homperdtock ; since
I*W)3, a conccrt-cood. in Cermany,
Austria, Italy and England ; be con*
djns with his left hand; lives at Bay-
rcuth ; cond. at the Festivals : c. a
symph. poem ** S-A^xia-A/ ** (Schiller),
text and music of mod. sncc. comic-
romantic opera "" Der Bdrenhduter "
(Munich Ct. Th., 1599), unsucc.,
'' Hertog WiUfanf' (1901). (12)
(Jachmann - Wa^^ner), Johanoay
near Hanorer, Oct. 13, 1828 — WOrz-
burg, Oct. 16, 1894 ; niece of (10) ;
dram, soprano; created ** Elizabeth,"
1845; ro. a judge Jachmann. (13)
Panl Emil, b. Neise, June 28; teach-
er at Paderbom ; c. operettas, orch.-
I)cs., etc.
Wain' Wright, (i) J., d. 176$ ; organ-
ist, Manchester. (2) Robt., 1748 —
1782 ; son of above ; organist and
composer, Liverpool. (3) Richard,
1758 — 1825 ; bro. and succ. of above,
(4) Wm., d. 1797; double-bass vir-
tuoso and singer ; bro. of above.
Waisiel (vis'-s^l). (Waisselins)
Matthias, b. Bartenstein, Prussia;
lutenist and composer at Frankfort,
1573-
Walcker (v&l'-k«r), (i) Eberhard Fr.,
Cannstadt. 1794 — Ludwigsburg,i872;
son of a skilled org.-builder ; himself
a noted org.-builder; succeeded by
his five sons, (2) H. (b. Oct. 10,
1828), (3) Fr. (b. Sept. 17, 1829), (4)
K. (b. March 6. 1845). (5) Paul (b.
May 31, 1846), and (6) Eberhard (b.
April 8, 1850).
WaJdersee (val -d^r-za), Paul, Count
▼on, b. Potsdam, Sept. 3, 1831; a
Prussian officer from 1848-71, then
took up mus. ; co-editor of Beethoven
and Mozart.
Wa'lcy, Simon, I^ndon, 1827 — 1875 ;
pianist and composer.
Walkelej (w6k'-li), Antony, 1672—
1717(18) ; Engl. org. and composer.
Walker (w6k'-6r), (i) Jos. Cooper,
DBbtin, 1760— St-Vaierr.
18 10; writer. (3) Jos. aa
org. - boiklers, l/WMJnn (3> Ft.
Edw., b. Marylebooc, Loodon, Jan.
17, 1933; tenor; chorister Cfaapd
Royal; prof. 6k wnging, R. A. M.;
1SS3, cood. Brixtoo Philh. Soc 14}
Edsth, b. New York ; cootraito ;
studied Dresden Cons, with Orraii;
engaged at the Yieiuia opera rar 4
years as 1st alto ; sings aiso in coo-
cert.
Wal lace, Wm. Vincent, Waterforl
Ireland, Jane i, 1814 — Chitean de
Bages, Haute Garonne, Oct. R,
1865 ; TioHnist ; wandered irnx the
world ; c. very pop. pf.-pcs. and c 6
operas inclod. the verr succ '"^Mmri-
AIM " (London, 1845); and ''Zatr-
Ajt^"(do. i860).
Wallaschek (val -UUsbdk), Rkhanl,
lecturer at Lemburg UniY.; pob.
1886, valuable treatise ^".^€^tiuHk
d€r TonkuHsty
WaUenstein (val'4«n-shdn), Martin,
Frankfort-on-Main, 1843 — 1896 ; pi-
anist ;c. comic opera.
Wallerstein (val'-iar-shtin), Anton,
Dresden, 1813 — Geneva, 1892 ; vio-
linist and composer.
WaU'is, J., Ashford, Kent, 1616-
London, 1703 ; acoustician.
WaUiser (val'll-zdr), Chp. Thoa.,
Strassburg. 1568 — 1648 ; mus.-dir.,
theorist and composer.
Wallner (val'-n^r), Leopold, b. Kiev.
Russia, Not. 27, 1847 ; writer and
mus. -teacher in Brussels.
Wallndfer (val'-ni-f^r). Ad., b. Vieo-
na, April 26, 1854 ; pupil of >Vald-
mOlIer, Krenn and Dessoff (comp.),
Rokitansky (singing); barytone at
Vienna ; 1882, with Neumann's
troupe; 1897-98, N. Y.; c. succ
op. '' EddysUme*^ \?xz,^3it, 1889), etc
Walmisley (wamx'-ll), (i) Thot.
Forbes, London, 1783 — 1866; or-
ganist and composer, (2) Thos.
Attwood, London, 18 14 — Hastings,
1856 ; son of above ; professor amd
composer.
Wa'lond, (i) Wm., organist and com-
DICTIONARY OF MUSICIANS 789
poser, Oxford, 1759. (2) Wm., d.
1836; son of above; organist, Chi-
chester. 1775.
V^aUh, John, d. London, 1736 ; mus.-
W>ublisher.
alter (val'.t^r), (i) Ig^aaz, Rado-
wiu, Bohemia, 1759 — Ratisbon,* ca.
1830 ; tenor and composer. (2) Ju-
liAne (nee Roberts), wife of above ;
a singer. (3) G. Aatoiiy b. Ger-
many ; pupil, R. Kreutzer ; 1792,
opera conductor at Rouen ; compos-
er. (4) Albert, b. Coblentz ; from
1795, clarinettist and composer in
Paris. (5) Aug., Stuttgart, 182 1 —
Base], Jan. 22, 1896 ; mus.-director
and composer. (6) Jos., Neuberg-
on-Danut)e, 1833 — Munich, 1875;
vhi.-teacher. (7) Gustav, b. Bilin,
Bohemia, Feb. 11, 1836; tenor;
pupil of Prague Cons. ; debut in
Brunn, 1856-87, principal lyric tenor
at Vienna ct.-opera. (8) Betino, Mu-
nich, June 17, 1847 — Oct. 23, 1901 ;
bro. and successor of above ; violin-
bt ; pmpil of Munich Cons. ; from
1863 member of the ct.-orch. (9)
(w6r-t«r), WoL H., b. Newark, N.
J., July I, 1825 ; organist as a boy ;
from 1856, organist Columbia Coll.,
N. v.; Mus. Doc., 1864; c. 2 masses.
(10) Geo. Win., New York, b. Dec.
16, 1851; son and pupil of (9). also
pupil of J. K. Paine (Boston), S. P.
Warren (New York) ; 1. Washing-
ton since 1869. (11) K., b. Crans-
bcrg, Taunus, Oct. 27, 1862 ; pupil
of Meister and Schmetz ; later Ratis-
bon Sch. for Church-mus. ; then
teacher and organist at Biebrich-on-
Rhine ; from 1893, mus. -teacher at
Montsbaur Seminary ; wrote essays ;
c. motets, a prize triple fug^e, etc.
(12) Fr. Wm., b. Mannheim, Sept.
3, 1870; Dr. Phil., Heidelberg,
1892 ; lives in Mannheim as writer
and critic.
Walther ▼on der Vog^elweide (vSl'-
ter f6n d«r fo'-gil-vI-dC), in the Ty-
rol (?), ca. 1 160— WOrzburg, after
1227; the chief Minnesinger and
lyric poet of mediaeval Germany.
Walther (vai'-t«r), (i) Jn.,Thuringia.
1496 — Torgau, 1570; singer and
composer; ct. -conductor. (V. mar-
tin LUTHER.) (2) Jn. Jakob, b.
Witterda, near Erfurt, 1650; ct.-
musician, publisher and composer.
(3) Jn. Gt, Erfurt, 1684— Weimar,
1748 ; organist, writer and composer.
(4) Jn. Chp., Weimar, 1715—71;
organist and composer.
V/nSztl (v^r-ts^l), Camillo, Magde-
burg, 1829 — Vienna, 1895 ; librettist,
(pseud. F. Zell).
Wambach (viim'-bakh), Emile (X.),
b. Arlon, Luxembourg, Nov. 26, 1854;
pupil of Antwerp Cons.; c. symph.
poem, **Aan de boor den van de
ScheUUy^ orch. i fantasias, Flemish
drama ^'A'athan's Parabd"*; 2 ora-
torios ; a hymn for chorus and orch.,
etc.
Wang^emann (vang'-^-man). Otto, b.
Loitz-on-the-Peene, Jan. 9, 1848 ;
pupil of G. FlUgel, Stettin and Fr.
Kiel at Berlin ; since 1878, organist
and singing-teacher Demmin Gym-
nasium ; wrote org. treatise.
Wanhal (Van Hal) (van'-h^l), Jn.
Bapt., Neu-Necbanit7, Bohemia,
1739 — Vienna, 1813; composer.
Wanski (van'-shkl), (i) Jn. Nepo-
muk, b. ca. 1800 (?); son of (2) Jan
(a pop. Polish song-composer) ; vio-
linist ; pupil of Baillot ; toured wide-
ly, then lived at Aix ; wrote a vln.
method and c. etudes, etc.
Ward, (i) J., d. before 164 1 ; English
composer. (2) J. Chas., b. Upper
Clapton, London, March 27, 1835 ;
1846, soloist on the concertina ; since
1852, organist at several London
churches ; c. a motet, and a Sanctus
for double-choir ; cantata '* 7^A€
Wood''; ''A Psalm of Life,* with
orch.; orch. fugue on ^*The Sailor's
Hornpipe, '^ etc.
Warlamoff (var'-la-moQ, Alex. Jego-
rovitch, Moscow, i8io — 1849 ; sing-
ing-teacher and composer
Wamots (v&r-no), (i) Jean Arnold*
(i8oi — 1861). (2) Henri, Brussels,
1832 — 1893; opera-tenor; son and
790
THE MUSICAL GUIDE
pupil of above ; c. operetta. His
daughter and pupil (3) EUy, b.
Li^e, 1862 ; soprano ; debut, Brus-
sels, 1879 ; sang there, then at Flor-
ence, Paris Op. -Com., etc.
\Var'reii, (i) Jos., London, 1804 —
Kent, 188 1 ; organist, pianist, violin-
ist, composer and writer. (2) G.
Wm., Albany, N. Y., Aug. 17,
1828 — New York, 1902; self-taught
organist ; from 1870, organist St.
Thomas's Ch., New York; prof.
Columbia Univ.; c. church- mus. (3)
Samuel Prowse, b. Montreal, Can-
ada, Feb. 18, 1841; organist ; pupil
of Haupt, Gv. Schumann (pf .) and
Wieprecht (instr.) ; 1865-67, organ-
ist of All Souls' Ch., New York;
later at Trinity Ch.; c. church-mus.,
org.-pcs., etc. Richard Henry, Al-
bany, N. Y., Sept. 17, 1859; son and
pupil of (2), also studied abroad ;
from 1886 org. at St Bartholomew's,
N. Y. ; founder and cond. of church
choral soc., which g^ve many im-
portant works their first hearing;
Parker's ^^ Hora Novissima*^ was
written for this society. C. anthems,
services, a' comic opera, songs, etc.
Wartel (v4r-t«), (i) Pierre Fran.,
Versailles, 1806 — Paris, 1862; tenor.
(2) Atala Th^r^e (n^ Adrien), b.
Paris, July 2, 18 14 ; wife of above ;
1831-38, prof, at Paris Cons.; c. pf.-
studies, etc. (3) E mil, son of above ;
sang for years Th. Lyrique, then
founded a sch.
Wasielewski (va-ze-l^f'-shki). Jos.
W. von, Gross - Leesen, Danzig,
1822 — Sondershausen, 1896 ; violin-
ist, conductor, critic, composer, and
important historical writer.
Wassermann (vils'-s^r-miln), H. Jos.,
Schwarzbach, near Fulda, 1791—
Richen, n. Basel, 1838 ; violinist and
composer.
Wassmann (vas'-man). K., vln.-
teacher, Carlsnihe Cons.; pub. tech-
nical works.
Wat' son, (i) Thos., Encf. composer,
1590. (2) Wm. Michael, New-
castlcH>n-Tyne, 1840 — E. Dulwich,
London, 1889 ; teacher and compos-
er under pen-name Jules FaTre. (3)
John Jay, Gloucester, Mass., Sept.
23, 1830— Boston, Aug. 5, 1902;
very succ. vt. and cond.
Webb, (i) Daniel, Taunton, 1735^
Bath, 1815; writer. (2) G. Jas.,
Rushmore Lodge, near Salisbury,
Engl., 1803— Orange, N. J., 1887;
organist and editor. (3) Frank
Rush, b. Covineton, Inc^na, Oct
8, 1851; pupil of N. E. Cons., Bos-
ton ; organist ; since 1883, teadier
at Staunton, Va.; c. aoo pes. for
military bands, etc.
Webbe (w^b), (i) Samnel, Sr., Min-
orca,1740 — London, 1816; ed. coUs.,
etc. (2) Samuel, Jr., London, 1770
— 1843 ; son of above ; writer and
composer.
Weber (va'-b«r). (i) Fridolin (b.
Zelli, 17^3 — d. 1764), and his bro.
(2) Fz. Anton (b. 1734 ?), were vk>.
linists in the orch. of the Elector K.
Theodor Fa. became cond. of
Eutin town orch. His four daughters
were (3) Josepha (d. 1820), soprano ;
m. the violinist Hofer, 1789, later m.
a bass, Meyer. For her Mozart c
"The Queen of the Night" in
the ''Afagu FluU^ (4) Aloysia,
1750 — Salzburg, 1839. Mo2art*s first
love ; she m. an actor, Lanc^, 1780,
and toured as a singer. (5) Con-
stanze, Zell, i763~Salzburg, 1842,
Mozart's wife (1782); 1809, m.
Nissen. (6) Sophie, 1764— Salzp
burg, 1843 ; m. the tenor HaibL (7)
Fr. Aug., Heilbronn, 1753 — 1806;
physician and c. (8) Bd. Anselm,
Mannheim, April 18, 1766— Berlin,
March 23,1821; pianist, conductorand
dram, composer. (9) (Fr.) DionTS,
Welchau, Bohemia, Oct, 9, 1766 —
Prague, Dec. 25, 1842 ; dir. Pragoe
Cons. ; c. operas, etc. (10) GC,
theorist and composer, Freiosheim,
near Mannheim, 1779 — Kreuznach,
Sept. 21, 1839; amateur pianist, 6at-
ist and 'cellist, also cond. ; wrote es-
says and valuable treatises ; c 3
masses, a requiem and a Te Deom
I
DICTIONARY OF MUSICIANS 79'
with orch. and pf. -sonata, (ii) Fri-
dolin (II.), b. 1761; son of (2), and
step-broth, of (12) ; pupil of Haydn ;
singer and mus. -director.
(12) K. Maria (Fr. Erast), Frei.
herr Ton, Eutin, 01denbui|^, Dec.
18. 1786 — (of consumption) London,
June 5, 1826 ; son of the second wife
of (2) and cousin, by marriage, of
Mozart ; the founder of German
national opera (Wagner shows his in-
fluence deeply), and of the Romantic
Sch.; perhaps the most widely influ-
ential German composer of the cent.
More important, in cold fact, as a
path-finder, and an influence, than
as an artistic individuality ; he was
also a notable pianist (he could
stretch a 12th), and a pioneer in
modem pianistic composition*. At
first a pupil of his step-bro. (11).
His mother, Genoveva (d. 1798, of
consumption), was a dram, singer,
and the family led a wandering Ufe.
At 10 he became pf.-pupil of J. P.
Heuschkel. As a chorister in the
cathedral at Salzburg,. 1797, he had
gratuitous lessons in comp. from Mi-
chael Haydn, to whom he dedicated
his first published comps. , six f ughet-
tas (1798). 17^8-1800, at Munich,
he studied singling with Valesi, and
comp. with Kalcher. At 12 he c. an
opera (the MS. lost or burned). He
also appeared as concert-pianist. He
met Aloys Senefelder, the inv. of
lithography, and engraved his own
op. 2, 1800, and made improvements
in the process. At 13 he c. and prod,
with succ. the opera ^^ Das Wald-
mddchen'*'* (Freiberg, also played at
Chemnitz. Prague, Vienna and St.
Petersburg). In 1801, he c. a third
opera ** Peter Schmoll und seine
^<u-A^<ir»" (Augsburg, 1803?); 1803,
in Vienna, he became a pupil of AbM
Vogler. 1804, cond. Breslau City
Th.; resigned 1806; supported him-
self by lessons, then mus.-intendant
to Duke Eugen of WUrteraberg;
1807, private secretary to Duke Lud-
wig at Stuttgart, and mus. -master to
his .children. In a turmoil of intrigue
and dissipation he forgot his art, until
be became involved in a quarrel lead-
ing to his banishment in 18 10. This
sobered him and awoke his better
self. Going to Mannheim, he prod,
his first symph.; then rejoined Abbe
Vogler, at Darmstadt. His opera
**5f7vaiM(*' was prod. (Frankfort-on-
Main, 1810), and ^^Abu Hassan** a
comic Singspiel (Munich, 181 1). He
made a concert-tour to various cities.
18 1 3, cond. of the Landst&ndisches
Th. at Prague, where he reorganised
the opera, and won such note that in
1 8 16 the King of Saxony called h*im
to Dresden to reorganise the Royal
Opera. At 20 he began ** Der Frei'
sekUtt** but gave it up till later
(the incid. musi to Wolffs ** Precio-
sa** took 3 weeks). In 1 817, he m.
the singer Karoline Brandt, a mem-
ber of his company to whom he
had long been engaged. They
toured together as pianist and singer.
**£>er Freischiltz was prod, with
tremendous succ, Berlin, 1821 ; its
strong nationalism provoking a frenzy
of admiration. But *' Euryanthe
(Vienna, 1823) had much less succ.
1824, he was commissioned to write
**'Oberon** for Covent Garden, Lon-
don, but consumption delayed its
completion ; it was prod. (London,
1826) with much succ. He lived
only eight weeks longer ; his body
was taken to the family vault at Dres-
den. [See also pages 785 and 786.]
Dramatic Works : Besides the
operas already mentioned he c. '* RH-
betahV* (begun 1804, not completed);
''Die Drei Pintos** (completed by
G. Mahler, written and prod. Leip-
zig. 1888). Incid. mus. to Schiller's
**7«ra«<^/," M miner's ''KdnieYn^
gurd:* Gehe's ''HeinHch IV^ 9ind
Houwald's ''Der Leuchithurm" C.
also cantatas, incl. "Der erste Ton "
(1808) ; and •* Kampf und Sieg** (on
the battle of Waterloo), with orch.
(1815); '' Natur und Liebe;' \%\%\
hymn, "In seiner Ordnung sehaff
792
THE MUSICAL GUIDE
der Herr** with orch.; (i8|2), 2
masses and 2 offertories, with orch. ;
some very pop. songs, four scenes
and arias for soprano with orch.; 2
scenes and arias for tenor, chorus
and orch. ; 19 part-songs, some very
rp. ; and children's songs ; 6 canons
3-4; duets (op. 31); 2 symphs.
(both in C) ; Jubel-OuvertOre ; 2
clarinet'concertos ; bassoon-concerto;
adagio and rondo ung^rese for bas-
soon with orch. ; variations for many
instrs.; chamber-mus. ; 2 pf.-concer-
tos, ConcertstOck with orch., 10 so-
natas, a 4-hand sonata, the famous
waltz ^''AufforderunK turn Tanze^^
(** Invitation to tht Dance**), op. 65 ;
12 AUemandes ; 6 Ecossaises ; 18
** Valses favorites de Vimp^ratrice de
France** ; several sets of Variations,
etc. The so-called ** Weber*s Last
Walts** (Thought or Farewell) was
written by Reissiger; a MS. copy
of it being found in W/s papers.
Biog. by Barbedctte (Paris, 1862,
Leipzig, 1864-68)' Jahns (Leipzig,
1873) ; Cari V. Weber (W/s grand-
son) pub. his beautiful letters to his
wife (1886); Th. Hell (1828). An
almost ideal biog. is that of W.'s son
the Baron Max Maria von W. (in 3
vols., 1866-68).
(13) Edmund Ton, Hildesheim,
1786— -Warzburg, 1828 ; mus.-direc-
tor and composer. (14) Ernst H.,
Wittenburg, June 24, 1795 — Leipzig,
Jan., 1878, with his brother (15)
Wm. Ed. (1804 — 1 89 1), prof, at
GOttingen ; writer on acoustics, etc.
(16) Fz., Cologne, 1805 — 1876; or-
fanist, conductor and composer. (17)
idnard W., town-musician. Frank-
enberg. (18) K. H., b. Franken-
berg, Aug. g, 1834 ; son of above ;
pupil of Leipzig Cons., 1866-70;
from 1877, dir. Imp. Russian Mus.
Soc. at Saratov; pub. a pf. -method.
(19) G. Victor, b. Ober-Erlenbach,
Upper Hesse, Feb. 25, 1838 ; pupil
of Schrems, Ratisbon ; took orders ;
since 1866, cond. at Mayence Cath.,
expert and writer on org. -building ;
composer. (20) GnstaT, Mdncben-
buchsee, Switzerland, 1845 — ^Zurich,
1887; organist, conductor and com-
poser. (21) Miroslaw, b. Prairoe,
Nov. q, 1854 ; violinist ; pupil of his
father ; at 10 played before the Aus-
trian Emperor, and toured ; papil of
Blazek, Prague ; also of the Cons. ;
Konzertmeister, royal orch. at Wies-
baden, and 2nd cond. at the opera
(resigned, 1893); 1S89, R. Mns.-
Dir. C. incid. mus. to ballet *^Die
Rheinnixe** (Wiesbaden, 1S84), 2
string quartets (the 2nd taking JP™^
at Petersburg, 1 891), etc. (22) Coo-
stantine Otto, Germany, 1847 (^ —
New Orleans, La., Nov. 13, 1901;
pupil Leipzig Cons.; from i860 in
New Orleans as org., dir., teadier
and composer.
Webster, Jos. Philbrick, Mandies-
ter, N. H., 1819— Elkhora, Wis.,
1875 ; composer.
Weckerlin (v^k-^r-ULii), Jean Bapt
Th., b. Gebweiller, Alsatia, Nov. 9,
1 821; entered his father's business of
cotton-dyeing ; in 1844^ studied sing-
ing with Ponchard and comp. with Ha-
l^vy at the Paris Cons., prod, heroic
choral symph. '^^ RoUmd,** 1847; IT^w
mus.-lessons ; 1853, prod. succ« i-act
opera, * *Z* Organisie dans tewibarras^
(100 performances, Th.-Lyrique),
followed by several privately per-
formed operettas, 2 comic operas in
Alsatian dialect, T-act opera ^"A^h
Fontenot** (Th.-Lyrique, 1877);
1869, asst.-libr. Paris Cons.: x8^,
libr.; wrote bibliogr. and other ar-
ticles and treatises, and ed. valuable
colls. C. ** Symphonic dc la forit,"*
an oratorio "'^Lejugement Dernier^
2 cantatas, incT. **Paix, Charii/,
Grandeur** (Opera, 1866); the ode-
symphonie **Z« Pohnes de la Mer^
etc.
Weelkes (weks), Thos., organist
Chichester Cathedral ; c. notable
madrigals, etc., 1597.
Wegeler (va'.g£-ldr). Fa. Gerhard,
Bonn, 1765 — Koblenz, 1848, phys
cian and biographer of Beethoven.
DICTIONARY OF MUSICIANS 793
Wedekind (va-d6.klnt), Erica, b.
Hanover. Nov. 13, 1872 ; soprano ;
pupil of Dresden Cons, and Fr. Or-
geni ; debut Dresden ct. -opera, 1894,
sang there 5 years, then toured widely
in concert and opera; 1898, m. Herr
Oschwafd.
Weg^elius (va-ga'-lt-oos), Martia, b.
Helsing^ors, Nov. 10, 1846 ; pupil of
Bibl, Vienna, and Richter and Paul,
Leipzig : 1878, opera cond. and dir.
of the Cons, at Helsingfors ; pub.
text-books; c. overture *"* Danifl
HjorC" ; a ballade with orch; *'' Mig-
Hon " for sopr. with orch., etc.
Wchlc (va-ld). K., Prague. 1825—
Paris. 1883 ; pianist and composer.
Weichler (vikh'-l^r), Mazimilian,
flutist, Gewandhaus orch., Leipzig ;
pub. a flute text-book (1897).
Weidenbach (vl'-dfin-bakh), Jns., b.
Dresden, Nov. 29, 1847 ; pupil of
Leipzig Cons.; since 1873 pf.-teacher
there.
Weidt (vTt), K., b. Bern, March 7,
1857; 1889 cond. at Klagenfurt; lives
in Heidelberg ; c. male choruses.
Wcigl (vIkh'-M). (I) Jos., Eisenstadt,
Hungary, 1766 — Vienna, 1846 ; ct.-
conductor and dram, composer. (2)
Taddaas, Vienna, 1774 (?)— 1844 ;
bro. of above ; c. operettas.
Weinberger {vln'-b5rkh.«r). (i) K.
Fr., b. Wallerstein, 1883 ; teacher
and cath. cond. at WUrzburg. (2)
Karl, b. Vienna, April 3, 1861; lives
there ; c. 9 succ. operettas, incl.
''Die Ulanen'' (Vienna. 1891),
'' Lachende Erbm'' (1892), ''Die
Blumen-Mary^' i^h.^t \%(^i), "Adam
und Eva'' (ib., i8g8).
Wein^^artner (vln'-gart-n^r) (Paul)
Feliz, b. Zara, Dalmatia, June 2,
1863 ; notable conductor ; pupil of
W. A. Remy; later of Leipzig Cons.,
winning Mozart prize ; friend of
Liszt at Weimar, where his opera
** Sakuntala " was prod. 1884 ; until
1889, theatre cond. at KOnigsberg,
Danzig, and Hamburg, Mannheim ;
1891-97, 2nd cond. Berlin ct.-opera,
also cond. symph concerts at the
Royal orch.; from 1898 lives in Mu-
nich as cond. Kaim concerts as well
as the R. Orch. Berlin ; wrote
treatises *' Uber das Dirigieren" (Ber-
lin, 1896), etc. C. operas *' Sakun-
tal " (1884), "Malawika " (Munich.
1886), "Genesius" (Berlin, 1893),
withdrawn by the author because of
press attacks and revived with succ.
at Mannheim and elsewhere ; '* Ores-
Us*' (Berlin, lune 15, 1902); c. a
svmph. ; symph. poems '* Konig
Lear;' ''Das Gefilde der Seligen^
etc.
Weinlig (or Weinlich) (vln'-Ukh), (i)
Chr. Ehregott, Dresden, 1743—
18 13; organist and composer. (2)
(Chr.) Th., Dresden, 1780 — Leipzig.
1S42 ; nephew and pupil of above ;
cantor, theorist and composer.
Weinwurm (vln'-voorm), Rudolf, b.
Schaidldorf - on - the - Tba ja. Lower
Austria, April 3, 1835 J chorister, ct.-
chapel, Vienna ; 1858, studied law
and founded the Univ. Gesangverein;
mus.-dir. ; 1880 m us. -dir. of the Univ. ;
pub. treatises and composer.
weinzierl (vin'-tserl). Max, Ritter
▼on, Bergstadl, Bohemia, 1841 —
Modling, near Vienna, 1898 ; con-
ductor and dram, composer.
Weis (vis), Karl, notable contempo-
rary composer ; prod, with succ. 2-
act opera " The Polish Jew'' (Berlin,
1902); comic op)era " The Twins"
(Frankfort, 1903 ?).
Weisheimer (vTs'-hi-m5r), Wende-
lin, b. Osthofcn, Alsatia, 1836; pupil
of Leipzig Cons.; 1S66, theatre-cond.
at WUrzburg, later Mayence; teacher
at Strassburg ; wrote essays ; c.
grand opera ** Theodor Korner"
(Munich, 1872), and "- Meisier Mar-
tin und seine GeselUn " (Carlsruhe,
1879).
Weiss (vis), (i) K., Miihlhausen, ca.
1738 — London, 1795 ; composer. (2)
K., b. 1777, son and pupil of above ;
writer and composer. (3) K., bro.
of above ; prod, the opera '* Twelfth
Night" (Prague, 1892). (4) Fz.,
Silesia, 1778 — Vienna, 1830 ; viola-
794
THE MUSICAL GUIDE
rirtuoso and composer. (5) Jnlias,
b. Berlin, July 19, 1814 ; violinist ;
pupil of Henning: teacher, writer
and critic ; pub. instructive works
for vln. (6) Amalie. Vide amalie
JOACHIM. (7) Jotef, b. Kaschau,
Hungary, Nov. 5, 1864 ; pf.-virtu-
oso ; c. a concerto, etc.
Weissbeck (vis -b^k), Jn. Michael,
Unterlaimbach, Swabia, 1756 — 1808;
cantor and organist ; writer of satiri-
cal pamphlets ; composer.
Weitt-HUl, H., b. London, 1830 ;
violinist; pupil R. A. M.; cond. va-
rious concerts with much hospitality
to novelties ; 1880 principal Guild-
hall Sch.
Weitzmann (vlts'-man). K. Fr., Ber-
lin, 1808 — 1880 ; eminent theorist ; c.
operas, etc: wrote valuable treatises.
Welch, J. Bacon, b. Northampton ,
1839 * prominent Engl, singing-teach-
er.
Welcker von Gontershausen (v^r-
k*r fdn g6n'-t€rs-how-z6n). H., Gont-
ershausen, Hesse, 181 1 — Darmstadt,
1^73 ; ct.-pf.-maker and writer.
Wel'don, (i) J., Chichester, Engl.,
1676 — London, 1736 ; organist and
composer. (2) Georgina, b. Clap-
ham, May 24, 1837 ; singer and
composer.
Wels (vils), Chas., b. Prague^ Aug.
24, 1825, pupil of Tomaschek; 1847,
ct. -pianist; 1849, New York as con-
cert-pianist and teacher ; c. concert-
overture and suite for orch.; a pf.-
conccrto, etc.
Welsh (i) Thomas, Wells, Somerset,
1770 — Brighton, 1848; bass and sing-
ing-teacher. (2) Mary Anne (nee
Wilson), 1802 — 1867 ; wife and pu-
pil of above ; v. succ. soprano, earn-
mg ;£■ 10,000 ($50,000) the first year
of her short career.
Wenck (v«nk), Aug. H., violinist;
pupil of G. Benda ; lived in Paris
(1786), and Amsterdam (1806) ; inv.
a metronome ; c. pf.rsonatas, etc.
Wenckel (v«nk'-dl), Jn. Fr. Wm.,
Niedergebra, 1734 — Ulzen, 1792 ;
organist and composer.
Wendling: (vfat 4lng), (i) Ja. BMpL,
from 1754 -1800 flutist in Mac-.-
heim ; band composer. His wife 121
Dorothea (nee Spnmi), Stuttgart,
1737 — Munich, 1809, was a singrr.
(3) K., d. 1794 ; violinist in Maxs»-
heim band. His wife (4) Angvste
Elizabethe, was a silver. (5) K^
b. Frankenthal, Rhine Palatinate.
Nov. 14. 1857 ; pianist ; pnpU Lcip-
zig Cons. ; performer on Janko key-
board ; teacher of it from 1SS7 11
Leipzig Cons.; ct.-pianist to Prince
of Waldeck.
Wendt (v«nt). (i) Jn. GL (Amadeui,
Leiprig, 1783— Cdttingcn, 1836. (:>
Ernst Ad., Schwiebus, Prussia,
1806 — Neuwied, 1850 ; composer. {})
Ed., Berlin, 1807— Magdeburg, 1890;
violinist and composer.
Weimerberg(vdn'-n£r-b&ich), Gmmar,
LinkOping, Sweden, 18 17 — (?);
poet, critic, statesman, and composer:
c. an oratorio and pop. psalms an;!
songs.
Wenzel (v«n'-ts«l), (i) Emst Fd.,
Walddorf, near Lobau, 180S— Baii
K()sen, 1880; pf. -teacher and writer.
(2) Leopold, b. Naples, Jan. 23
1847 ; pupil of the Cons. S. Pietro a
Majella ; at 13 toured as violinis:;
1866 joined Metra's orch. at Mar-
seilles ; 1871, conductor : later cond.
of the Alcazar, Paris ; 1883, Londoo,
from 1889 cond. at the Empire Tfa. ;
prod, operettas, many ballets, etc
Werbed^e, Gaspar van. Vide gas-
PAR.
Werckmeister (virk'-mt-sht^X
Ands., Beneckenstein, 1645 — Halb-
erstadt, 1706 ; organist, important
theorist and composer.
Werkenthin (vftr'-k«n-ten), Albert,
b. Berlin, March 6, 1842 ; pianist ;
pupil of von BUlow, Weitzmann, Ul-
rich and Stem ; pub. a method ; c
W>f.-pcs. and songs,
ermann (v&r'-m&n), Fr. Oskar, bu
Neichen, near Trebscn, Sazonr.
April 30, 1840 ; pianist and organi^;
pupil of Leipzig Cons. ; 1868, teacher
k. Seminary, Dresden ; 1876, onis.
DICTIONARY OF MUSICIANS 795
dir. 3 churches and cantor at the
ICreuzschule there; c '''' Reforma-
tiffMj'Cantate^** mass in 8 parts, etc.
(Vemeburg (vir'-n€-boorkh), Jn. Fr.
Clur., Gymnasium teacher at Weimar;
theorist and composer, 1796.
Werner (v4r'-n^r), (i) Georgius Jos.,
i6q5 — Eisenstadt, 1766 ; conductor
and composer. (2) Jn. Gottlob,
Hoycr, Saxony, 1777 — Merseburg,
1822; organist, mus. -director, teacher
and composer. (3) H., near Erfurt,
1800 — Brunswick, 1833 ; composer.
(4) K., Breslau, 1822 — 1884 ; organ-
ist. (5) K. Ludwig, b. Mannheim,
Sept. 8, 1862 ; pupil of Hanlein and
Fischer ; organist at Baden-Baden.
(6) Josef, b. WarzburK, June 25,
1837 ; 'cellist ; pupil of the Cons.
there ; teacher Munich School of
Music; pub. a method ; c. pes. for
'cello, etc.
Werstovski (v^r-shtof'-shkY), Alezei
Nikolajeritch, Moscow, 1799 —
1862 ; dram, composer.
Wert (vart), Jacob van, b. Nether-
lands, I536--Mantua, 1596; con-
ductor and composer.
W6r7 (va-re), Nicolas Lambert,
Huy, near Li^c, 1789 — Bande,
Luxembourg, 1867 ; solo- violinist,
teacher and composer.
Wesembeck. Vide kurburk dk w.
Wes'lcy, (I) Chas., Bristol, Engl.,
Dec. II, 1757 — London, May 23,
1834; nephew of the evangelist John
W. ; teacher, organist and composer.
(2) Samuel, Bristol, Engl., 1766 —
London, 1837; bro. and pupil of
above ; oi^anist and composer. (3)
Samnel Sebastlaii, London, Aug.
24, 1 8 10 — Gloucester, April 19, 1876 ;
son of above ; organist.
Weasel (vfe'-s^l), Chr. R., Bremesia,
1797 — Eastbourne, 1885; mus.-pub-
lisher, London.
Wesselack (v^s'-sS-lak), Jn. G., Sat-
telpeilestein, Upper Palatinate, 1828
— Ratisbon^ 1866 ; editor and com-
poser.
Wessely (vfis'-s^-le), (i) Jn., Frauen-
burig;, Boheinia, 1762 — Ballenstedt,
1 8 14; violinist ; c. comic operas. (2)
(K.) Bd., Berlin, 1 768— Potsdam,
1826; dram, composer.
West, J. Ebenezer, b. South Hack-
ney, London, Dec. 7, 1863 ; concert-
organist and pianist ; pupil of Bridge
and Prout, R. A. M.; since 1891, or-
ganist S. Hackney Parish Ch.; c. 2
cantatas ; Psalm 130 ; services, etc.
West'brook, Wm. Jos., London,
183 1 — Sydenham, 1894 ; organist,
conductor and composer.
West'lake, Fr., Romsey, Hampshire,
1840 — London, 1898 ; composer.
Westmeyer (vfeht'-mi-«r), Wm.,
Iburg, near OsnabrUck, 1832 — Bonn,
1880; c. operas.
Westmoreland, J. Fane, Earl of,
London, 1784 — Apthorpe House,
1859 ; dram, composer.
Westphal (v£sht-fal), Rudolf (G.
Hn.), Oberkirchen, Lippe-Schaum-
burg, 1826 — Stadthagen, 1892;
writer.
West'rop, H. J., Lawenham, Suffolk,
1812 — 1879 '* pianist, violinist, singer,
organist and composer .
Wetzler (v£ts'-l£r), Hermann Hans,
b. Frankfort-on-Main, Sept. 8, 1870 ;
pupil of Frau Schumann (pf.), B.
Scholz (comp.), Ivan Knorr (cpt.),
H. Heerman (vln.), and Humper-
dinck (orchestration) ; 1893, New
York, as pianist and teacher; asst.-
org. Trinity Ch.; from 1902 cond.
his own symphony orch.
Wexschall (v^x'-shal), Fr. Forkild-
son, Copenhagen, 1798 — 1845 ; pu-
pil of Spohr, teacher and solo- violin-
ist in royal band.
Weyranch (vl'-rowkh). Aug. H. von,
composer of whom nothing is known
except that he c. and pub. 1824 the
song ''Adieu'* wrongly attributed to
Schubert from 1840.
Weyse (vi'-z^), Chp. Ernst Fr., Al-
tona, 1774 — Copenhagen, 1842;
dram, composer.
Wheat' stone, Chas., in v. the con-
certina, 1829.
Whelp'ley, Benj. Lincoln, b. East-
port, Maine, U. S. A., Oct. 23, 1865 ;
studied with B. J. Lang^, etc., at
Boston, 1890 in Paris ; lives in Bos-
ton as teacher and composer.
Whistling (wIst'-lTng), K. Fr., book-
seller and lexicographer in Leipzig.
Whit'aker, J., 1776 — 1847 ; organist
and corap>oser, London.
White, (i) Robt., d. Westminster,
Nov. 7 (11 ?), 1574; organist at Ely
Cath. (1562-67) ; noted in his day as
organist and composer. Often con-
fused with (2) WnL (c. fantasias or
•• fancies*' for org., etc.) and (3) Rev.
Matthew, Mus. Doc. 1629 ; c. an-
thems and catches. (4) Alice Mary,
Meadows (nee Smith), 1839 — 1S84;
pupil of Bennett, and Macfarren. Lon-
don; c. symphs. , cantatas, etc. (5) J.,
W. Springfield, Mass., March 12,
1855 — Bad Neuheim, Germany, July
18, 1902 ; pupil of Dudley Buck ; then
of Ilaupt (org. and cpt.), Rheinberger;
gave org. -concerts in various German
cities ; 1887-96, organist, New York ;
from 1897 lived in Munich ; pub. Missa
Solemnis ; O salutaris ; c. an oratorio
'*• Alpha andOmeira^'* etc. (6) Maude
. Valerie, b. of English parents,
Dieppe, June 23, 1855 ; pupil of O.
May and W. S. Rockstro, and of R.
A. NL, Mendelssohn Scholar, 1879,
also studied in Vienna ; now lives in
London; c. mass (1888) ; I4pf.-pcs.;
^*^ Pictures from Abroad'^ and pop.
songs, etc.
White'hill, Clarence, b. America;
bass; debut in " Rom^o et Juliette,^''
Brussels, 1899 ; engaged for Paris Op.
Com. ; 1900 at Met. Op. , N. Y.
Whi ting, (i) G. Elbridge, b. Hollis-
ton, Mass., Sept. 14, 1842 ; organist at
Worcester when 13 ; later at Hart-
ford, Conn, (where he founded the
Beethoven Soc); later organist in vari-
ous Boston churches ; studied with G.
W. Morgan, New York, and Best,
Liverpool ; Haupt and Radecke, Ber-
lin ; till 1879, teacher at the N. E.
Cons., Boston ; then till 1882, at the
Cincinnati Coll. of Mus.; since at
the N. E. Cons.; c. masses with
prch. and organ (1872), cantatas,
ballade with orch., ** /Tirwry of Sa-
varre^^" pf. -concerto, etc- (2) Arthur
Battelle, b. Cambridge, Mass.. June
20. 186 1 ; nephew of above ; pf.-p^
pil of W. H. Sherwood ; debut at 19
Boston ; studied with Chadwick an«i
J. C. D. Parker ; then with Rhein-
berger, in Munich ; lived in Boston,
now New York, as teacher of pf. and
comp.; c. fantasy with orch., con-
cert-overture, conccrt-ctude, churdi-
scrvice, concerto, song cycles, etc.
Whit' more, Chas. S., Colchester.
1805 — 1877 ; amateur Engl, com-
poser.
Whitney, Samuel Breiitoii,b. Wood-
stock, Vermont, June 4, 1842 ; or-
ganist ; pupil of Chas. Wells and J.
K. Paine; since 1871, organist, Ch.
of the Advent, Boston ; conductor of
church-choir festivals ; org. -prof,
and lecturer, Boston U. and N. E.
Cons. ; c. anthems, org. -sonatas, rtc
Whyt'home (or Whitehome),Thos.,
b. 1528 ; Engl, composer.
Wibors: (ve'-borkh), Elisa, b. Kra-
ger5, Norway ; soprano ; studied
with Natalie H^nisch and Frau Har-
lacher; engaged at Schwerin, then
other cities; sang ** Elisabeth" at
Bayreuth ; 1900 at Stuttgart ct,-
theatre.
Wichmana (vYkh'-min), Hermann, b.
Berlin, Oct 24, 1824 ; studied at R.
Akademie ; also with Taubert, Men-
delssohn and .Spohr ; then lived in
Berlin ; c. symphs., sonatas, etc.
Wichtl (vTkht'-'l), G., Trostberg. Ba-
varia, 1805 — Bunzlau, Silesia, 1S77;
violinist, conductor and dram, com-
Wickede (vYk'-€-dd), Fr. von, b. Do-
mitz-on-Elbe, July 28, 1834 ; array
officer, then post-office official ; py -
pil of J. Vieth ; lived in Munich ; c
opera " //i^," overture ** Per aspera
ad astra*" (1875), songs, etc.
Widmann (vet'-man). (i) Erasnms,
poet-laureate, organist and conductor
at Weikersheim ; publisher and com-
poser (1607). (2) Benedikt, b,
Brauntlingen, March 5, 1820; rector
DICTIONARY OF MUSICIANS 797
a.t Frankfort ; theorist and composer.
(3) Jos. Victor, b. Nennowitz, Mo-
ravia, Feb. 20, 1842 ; at 3 taken to
Switzerland ; ^wrote librettos and
biog. of Brahms.
"Widor (ve-d6r). Chas. (M.), b. Lyons,
Feb. 22, 1845 ; distinguished organ-
ist ; son of an Alsatian of Hungarian
descent (organist at Lyons) ; studied
yfnih Lemmens (org.) and Fetis
(comp.), Brussels; at 15 organist
a,t St. Fran9ois, Lyons, and since
1869, organist at St. Sulpice, Paris;
1890, teacher at the Paris Cons.;
from 1S96 prof, of cpt., fugue and
comp. ; critic (under pen-name " Au-
l^tes ") and dir. of the soc. *'La Con-
cordia," c. V. succ. ballet *'Za Korri-
^afu^'' (Op^ra, 1880); music to
^'ConU (TAvrir' (Odeon, 1885);
•' Us JacobiUs'' (Odeon, 1885) ; un-
succ. lyric drama ** Mattre Ambros**
(Op.-Com., May 6, 1896); 3 panto-
mimes ; a mass for 2 choirs and 2 orgs. ;
Psalm 112, with orch. and org.; ''La
nuit de Walpurgis^"" for chorus and
orch.; 2 symphs.; ro org. symphs.
incl. '''^Gotique^* a concerto for vln.,
'cello, and pf., org. -sonatas, etc.
Wieck (vek), (i) Fr., Pretzsch, near
Torgau, 1785 — Loschwitz, near Dres-
den, 1873 ; est. a pf.-factory and li-
brary at Leipzig ; eminent pf .-teach-
er ; also singing-teacher and compos-
er; teacher also of his daughter (2)
Clara. (Vide Schumann.) (3) Al-
ijTin, Leipzig, 182 1 — 1885 ; son of
(i) ; pupil of David ; violinist at St.
Petersburg ; later pf.-teacher at Dres-
den. (4) Marie, b. Leipzig, Jan.
17. 1835 ; pianist ; daughter of (i) ;
played in public at 8 ; 1858, ct. -plan-
et to the Prince of Hohenzollem ;
toured ; est. a sch. in Dresden.
Wiedemann (ve'-d^-man), Ernst Jn.,
Hohengiersdorf, Silesia, 1797 — Pots-
dam, 1873 '» organist, teacher and
composer.
Wiederkehr (ve'-dfir-kar). Jacob Chr.
Michael, Strassburg, 1739 — Paris,
1823 ; 'cellist, bassoonist, tambourin-
ist and composer.
Wiegfand (ve'-gSnt), Josef Anton H.,
Frankisch-Crumbach in the Oden-
wald, 1842 — Frankfort, 1899 ; bass.
Wielhorski. Vide wilhorski.
Wiener (ve -n^r), Wm., Prague, 1838;
violinist and leader.
Wieniawski (v'ya-ne-af'-shkt), (i) H.,
Lublin, Poland, July 10, 1835 — Mos-
cow, March 31, 1880; eminent violin-
ist and composer ; d^but, at Peters-
burg, at 13 ; studied with Clavel and
Massart, and Colet (harmony) Paris
Cons.; won ist vln. -prize, 1846; i860,
solo-violinist to Czar, and 1862-67,
teacher at the Petersburg Cons.;
1875-77, vln.-prof. Brussels Cons,
(vice Vieuxtemps) ; toured widely,
1872 U* S. with Rubinstein ; c. 2
concertos, etc. (2) Jos., b. Lublin,
May 23, 1837; famous pianist ; at 10
pupil of Paris Cons.; at 13 toured
with his brother, then studied with
Marx at Berlin ; 1866, teacher at the
Moscow Cons.; est. a pf.-sch. of his
own ; later teacher in Brussels Cons. ;
c. 2 overtures, suite romantique for
orch., pf. -concerto, etc.
Wieprecht (ve'-prSkht), Fr. Wm.,
Aschersleben, 1802 — Berlin, 1872 ;
famous trombonist and violinist ; inv.
the bass tuba (1835).
Wi^trovetz (ve-a'-tro-v5tsh), Ga-
briele, b. Laibach, Jan. 13, 1869 ;
violinist ; pupil of Joachim and Wirth.
Toured and lives in Berlin. ^
Wihan (ve'-han), Hans (Hanus), b.
Politz, near Braunau, June 5, 1855 ;
'cellist ; pupil of Prague Cons.; 1873,
prof, of 'cello, Mozarteum, Salzburg ;
1877-80, chamber-virtuoso to Prince
Schwarzburg-Sondershausen; 1880,
1st solo-'cellist Munich ct.-orch.;
1888, prof, at Prague Cons., a mem-
ber '* Bohemian String Quartet."
Wihtol (ve'-tol), Jos., b. Wolmar.
Livonia. 1863 ; studied at Mitau ;
then with Johansen (harm.) and
Rimsky-Korsakov (comp. and instru-
mentation) Petersburg Cons.; since
1886, prof, of harm, there; c. **/«i
fete Ligho'' symph. picture, ''^ Dram-
atic " overture, etc.
798
THE MUSICAL GUIDE
WUbrc (wll'-bl). J.; lutcnist and teach-
er, London, 1598 ; most brilliajit com-
poser of madrigals.
Wild (velt), Fz., NiederhoIIabninn,
Lower Austria, 1792 — OberdObling,
near Vienna, i860 ; tenor.
Wilder (vel-ddr), Jerome Albert Vic-
tor yan, Wettem. near Ghent, 1835
— Paris, 1892 ; writer and translator.
Wilhelm (vel'-h^lm), K., Schmalkal-
den, 1815 — 1873; •* R. Prussian Mus.
Dir.'*; c. ''Die Wacht am RhHn,"
etc.
Wilhelm von Hirsaa (f5n her'-zow),
d. June 4, 1091; abbott and theorist
at Hirsau, Schwarz-wald.
Wilhelmj (vel-h^l'-me). (i) An^.
(Emil Daniel Fd.), b! Usingen,
Nassau, Sept. 21, 1845 ! eminent vio-
linist ; pupil of Fischer at Wies-
baden ; played in public at 8 ; at 16
recommended to David by Liszt as a
young Paganini ; he studied 1861-64,
with David (vln.), Hauptmann and
Richter, Leipzig Cons.; 1862, the
Gewandhaus ; 1864, studied with
Raff at Frankfort ; from 1865, toured
the world ; 1876, leader of Bayreuth
orch. ; lived for years at Biebrich-on-
Rhine, where he est. (with R. Nie-
mann) a ** Hochschule** for vln.;
1886, lived at Blasewitz, near Dres-
den; 1894, head-prof. Guildhall Sch.,
London ; 1895, he m. the pianist
Miss Mausch ; c. ''ffochzeiis-Can-
tate^' with orch., vln. -pes., etc. His
son (2) Anton, 1898, vln. -prof, at
Belfast Cons. (3) Maria (nee Gas-
tell), b. Mayence, July 27, 1856;
sister-in-law of (i) ; concert-soprano,
pupil of Viardot-Garcia.
Wiihem (rightly Bocquillon) (vel-5n
or b6k-e.y6h), Guilfaume Louis,
Paris, 1771—1842 ; dir. -gen. ol all
Paris schools ; founder of the great
system of popular singing societies or
"Orph^nistes" (v. D. D.); pub.
many treatises on his method of
•* mutual instruction " and a 10- vol.
coll. of comps.
Wi(e)lh<5rski (vcl.h5r'-shkt). (i) Count
Matv^i Jiirjevitch, Volhynia, 1787
— Petersburg (?). 1863; 'celfist.
His brother (2) Count Michafl Jir-
jeritchy Volhynia, 17R8 — Moscov,
1856 ; composer.
Wilke (ver-k«). Chr. Fr. GL, Sfn&-
dai, 1769 — Treuenbrietzen, 1845 ;
organist and govt, expert on otg.-
building.
WiUaert (wll'-Uut) (Wifrliardns,
Viffliar, Vni^liart), Adrian (caUed
A<uiano), Flanders, ca. 14S0 —
Venice, 1562 ; eminent composer ai^
teacher ; called the founder of the
Venetian Sch.; a very proli6c com-
poser ; pupil of Mouton and Joa-
quin Despr^; 1 5 16 at Rome, Uter
at Ferrara ; then mus. to the Kin^
of Bohemia; Dec. 12, 1527, maestro
at San Marco, Venice, where he or-
ganised a famous sch.; c 5 masses,
many motets, psalms, madrigals,etc :
the first to write for two choirs.
Willent-Bordogni (ve-yan - b6r-d6i>-
yc), Jean Bapt. Jos,, Douai, 1809—
Paris, 1852 ; bassoon-\Hrtuoso, teach-
er, writer and dram, composer. 1S34
m. the daughter of Bordogni.
Williams, (i) G. E., 1784— 1819:
organist and composer. (2) Anna,
b. London ; debut, 1872 ; soprana
Also two sisters b. at Bittericy,
England. (3) Anne (b. 18 18), so-
prano and (4) Martha, b. 1853, coo-
tralto.
Willing: (v!l'-lYng). (i) Jn. L., KOhn-
dorf, 1755 — Nordhausen, 1805 : or-
fi^nist and composer. (2) (wU'-Ilng)
Chr. Edwin, b. London, Feb. 2S,
1830 ; organist various London
churches, conductor and teacher.
Willis, (i) H., b. England, April 27,
1821; prominent org.-builder and im-
prover. (2) Richard Storrs, Bos-
ton, Mass., Feb. 10, 18 19 — Detroit,
May 7, 1900 ; bro. of N. P. Wilis
the poet ; critic and editor in N. Y.,
later Detroit ; composer.
Will'man, (i) Thos. Lindsay, d.
Enel., 1840; famous clarinettist. (2)
(vTl -man), Maximilian, b. Forcfat*
enberg, near Wttrzburg, 1812 ; 'cel-
list. (3) , oldest daughter of
DICTIONARY OF MUSICIANS 799
a.lx>ve ; pianist. (4) Magdelena^ d.
1 801 ; famous soprano; her brother,
(5) K., violinist. (6) Mme- Tribolct
^nd wife of (i), d. 1S12; opera-singer.
<7) Caroline, debut, 181 1; daughter
of (6) ; pianist and singer,
illmers (vYl'-mdrs). H. Rudolf,
Berlin, 1S21 — Vienna, 1878 ; pianist
a.nd composer.
Willy, J. L., London, 18 12— 1885 ;
violinist.
AATilm (vUm), Nicolai von, b. Riga,
March 4, 1834 : pianist ; studied
I-^ipzig Cons.; 1857, 2nd cond. Riga
City T h. ; then Petersburg, i860;
teacher of pf. and theory Imp. Nico-
lai Inst.; 1875, I>resden ; 1878,
^Wiesbaden; c. pop. string-sextet,
'cello and vln.-sonatas, male-cho-
inses etc.
AAnims (vt'lms), Jan Willcm. Witz-
helden, Schwarzburg-Sondershausen,
1772 — Amsterdam, 1847; teacher and
org. -composer.
Wilsing (vir-zYng), Daniel Fr. Ed.,
b. Horde, near Dortmund, Oct. 21,
1809; 1829-34, organist in Wesel,
then Berlin; c. oratorio ^' Jesus
Christus,'^ in 2 parts (Bonn, 1889) ;
a De profundis h 16 (gold medal for
Art, Berlin) ; pf. -sonata, etc.
"Wirson, (i) J., Faversham, Kent,
1594 — London, 1673 ; famous luten-
ist and composer. (2) J., Edin-
burgh, 1800 — (of cholera) Quebec,
1849 ; tenor. (3) Mary Ann, 1802 ;
Wmpil of Thos. Welsh (q. v.).
inderstein (vln'-d£r-shtln), Hans
(Wm. Gv.)» b. Luneburg, Oct. 29,
1856; violinist; pupil of Leipzig
Cons.; also playing in Gewandhaus
Orch.; 1880-84, leader in Baron von
Derwies' orch. at Nice ; till 1887,
vln. -teacher at Winterthur (Switzer-
land) Cons., then cond. at Nttrnberg;
i89;-96, dir. Philh. Orch., at Mu-
nich, and at the Raim Concerts ;
1896, organised and conducted the
•• Winderstein Orch."; 1898, cond.
Leipzig Singakademie ; c. Trauer-
marsch, Valse-Caprice and Standchen
for orch.; orch. suite, etc
Winding (vln'-dlncr), Aug. (Henrik).
b. Taaro (Laaland), Denmark, March
24, 1825 ; pianist ; pupil of Reinecke,
Ree, Dreyschock and Cade; dir.
and prof. Copenhagen Cons.; ۥ vln.-
concerto, sonatas, etc.
Wing'ham, Thos., London, 1846—
1893 ; organist and composer.
Winkel (vlnk'-dl). Dietrich Niko-
laus, Amsterdam, ca. 1780^1826;
a mechanician ; inv. the *' compo-
nium" and "metronome," whidi
later M&lzel (q. v.) appropriated.
Winkelmann (vink'-dl-man), Her-
mann, b. Brunswick, 1845 ; tenor ;
pupil of Koch at Hanover; debut
Sondershausen, 1875 ; sang at Alten-
burg, Darmstadt and Hamburg;
then at ct.-opera, Vienna; 1882,
created ** Parsifal " at Bayreuth.
Winn, (i) Wm., Bramham, Yorkshire,
May 8, 1828 ; bass and teacher. (2)
Florence, 1857, daughter of above ;
contralto.
Winner, Septimus, Philadelphia,
1826 — Nov. 23, 1902 ; writer of pop.
songs and methods ; said to have
written 200 technical books on instru-
ments and to have c. and arranged
over 2,000 pes. for vln. and piano ;
also wrote for Graham's Mag., when
Poe was editor. His songs include
** LisUn to the Mocking Bird" and
** Give us Back our old Commander" \
founder of Musical Fund Soc.
Winog^adsky (ve - nd - griit' • shkY),
Alex., b. Kiev, Russia, Aug. 3 (new
style), 1854; noted cond.; pupil of
Soloviev, Petersb. Cons.; 1884-86, dir.
Imp. Sch. of Mus. at Saratov ; since
1888, of Imp. Soc. of Mus. at Kiev ;
in Paris, 1894, he cond. Russian pro-
grammes at the concerts **d'Har-
court" and "Colonne," 1896.
Winter (vtn'-t^r), Peter von, Mann-
heim. 1754 — Munich, 1825 ; studied
with AbW Vogler, but mainlv self-
taught ; violinist and ct. -conductor ;
composer of v. succ. operas, 38 in
all ; c. 9 symphs. incl. **A> SchUuht"
and much church-mus.
Winterberger (vln' - t«r - Wf rkh - «r).
8oo
THE MUSICAL GUIDE
Alex.» b. Weimar, Aug. 14, 1834 ;
pianist ; pupil of Leipzig Cons, and
of Liszt. 1 86 1, pf.-prof. at Peters-
burg Cons.; 1872. lived in Leipzig;
c. pf.-pcs. and songs.
Winterfeld (v!n'-ter-f51t). K. G. Aug.
Vivigcns von, Berlin, 1784 — 1852 ;
libr. and writer of valuable historical
works.
Wippern (vtp'-p^m), Louise (Har-
riers - Wippern), Hildeshiem (or
Backeburg), 1835(7) — Gorhersdorf,
Silesia, 1878 ; operatic singer.
Wirth (vert), Emanuel, b. Luditz,
Bohemia, Oct. 18, 1842 ; violinist ;
pupil of Prague Cons., 1864-77;
teacher at Rotterdam Cons., and
orch. -leader ; then via. -player in the
Joachim Quartet, Berlin, and vln.-
W)rof. at the Hochschule ; Royal Prof,
ise, Michael, England, 1648 ?—
in a street brawl, Salisbury, 1687 ;
tenor and notable early composer of
anthems, etc.
Wit (vet), Paul de, b. Maesticht,
Jan. 4, 1852 ; *cellist and viola da
gambist ; coll. of ancient instrs.
Wit4sek (ve'-ta-sh^k), Jn. Nepomuk
Aug., Horzin, Bohemia, 1771 —
Prague, 1839 *» conductor, director
and pianist.
Witek (ve'-t5k), Anton; concert-
master and soloist, Berlin Philh. orch.,
1902.
With'erspoon, Herbert, b. New
Haven, Conn. ; notable basso can-
tante ; gp^duated Yale Univ pupil of
J. W. Hall. N. Y., and DubuUe,
Paris ; sang in opera. Castle Square
Co., N. Y., and with Boston Symph.
and other orchs. throughout U. S.;
V. succ. d(^but in recital, N. Y. , 1902.
Witt (vlt). (i) Fr., Halten-Bergstetten,
1771 — WUrzburg, 1837; violinist,
conductor and dram, composer. (2)
Julius, b. Kttnigsburg, Jan. 14,
18 19 ; singing-teacher there, and c.
pop. male choruses. (3) Theodor
de, Wesel, 1823— (of consumption)
Rome, 1855 ; organist and composer.
(4) Wm., Hamburg, 1826 — London,
1900; violinist and publisher. (5)
Fz., Walderbach. Bavaria, 1834—
Schatzhofen, 1888; editor and writer.
(6) Jos. von, Prague. 1843 — Beriin,
1887 ; tenor.
Wittc (vU'-te). (r) Chr. Gl. Fr„ d
1873 ; org. -builder. (2) G. H,, b,
Utrecht, Nov. 16, 1843; son of aborc;
pupil of R. Mus. Sch. at The Hague,
then of Leipzig Cons.; teacher m
Leipzig till 1867, then in Alsatia, 18 71;
cond. at Essen, 1882 ; R. Mus. Dir.;
c. pf. -quartet (prize at FlorenceK
grand Elegv for vln. and orch. , etc
Wittekopf (vlt'-t«-k6p0. Rudolf b.
Berlin, Dec. 11, 1863; studied Siem
Cons.; d^but, Aix,i888; sang^ Leipz%,
1889-96; later in other cities, incL
London in the *' Nibelungen RingS"
Wittich (v!t'-trkh). Marie, b. Giessen.
May 27, 1868 ; soprano ; studied
with Frau Otto-Ubridy; sung various
cities ; 1901 Dresden ct. -opera.
Wohlfahrt (vol'-fart). (i) H., Koss-
nitz, near Apolda, 1797 — Connewiti,
1883; noted teacher, writer and com-
poser. His sons (2) Fx., Fraucii-
priesnitz, 1833 — Gohlis, 18S4- (3)
Kobt., b. Weimar, Dec. 31. 1826;
violinist, teacher and writer of text-
books.
Woikik (voi'-koo), PetresoU, b. Rou-
mania, 1885 (?) ; violinist ; pupil of
Barmas, Stem Cons., Berlin, for 5
W^ears.
oldemar (v6l-dti-m&r) (righUy Mi-
chel), Orl^ns, 1750 — Clermont-Fer-
rand, 1 8 16; conductor and composer:
wrote methods; inv. a rous.-stenogTa.
phy '* Tableau m^htachigrapkique^
and mus. -correspondence *'' NoUfgra-
phiei*
Wolf (v6l0, (i) Ernst Wm.. Gross-
heringen, 1735 — Weimar, 1792 : ct-
conductor; c. 42 pf. -sonatas. (2) G.
Fr., Hainrodc, 1762 — Wemigerode,
1 8 14; conductor, theorist and com-
poser. (3) Fd., Vienna, 1796 — 1866 ;
writer. (4) L., Frankfort-on-Main,
1804 — Vienna, 1859 ; pianist, violin-
ist and composer. (5) Max, Mora-
via, 1840 — Vienna, 1886 ; c. operet-
■ tas. (6) Wm., b. Breslau, April 22,
DICTIONARY OF MUSICIANS 801
1838 ; pupil of Kullak^ teacher of
mus. -history, Berlin, also writer and
composer. (7) Hago, Vienna, March
13, i860 — 1902 ; composer : already
there is in Berlin a H. W.-verein ; at
5 studied vln. and piano with l(is
father; at 8 studied at Vienna Cons. ;
prod. succ. comic opera ** Der Cor-
regidor ** (Mannheim, 1896) ; c. cho-
ric works with orch. ** Die Christ-
tuuhr and ''Der FeuerreiUr'';
male choruses and about 500 songs,
many of them importantly original.
Wolff (volf), (I). Vide wolf (4). (2)
Hdouard, Warsaw, 18 16 — Paris, 1880;
pianist and composer. (3) Aug^ste
D6sir^ Bd., Paris, 182 1— 1887: pia-
nist, pf.-teacher and maker ; head of
firm ** Pleyel-Wolflf." (4) Hermann,
Cologne, 1845 — Feb. 3, 1902 ; pupil
of Fz. KroU and WQrst ; editor, con-
cert-agent and mgr. at Berlin ; c. pf.-
pcs. and songs.
W61f(f )1 (v«lf^'l)(Woelfel, Woelflc),
Jos., Salzburg, 1772 — London, 18 12;
composer; his enormous hands and
great contrapuntal skill made him a
pf. -virtuoso whose rivalry with Bee-
thoven divided Vienna into factions ;
but the rivals had mutual respect and
W. dedicated his op. 6 to B. ; c. light
operas (1795-98).
Wolfram (vol'-frslm), (i) Jn. Chr.,
d. 1835; organist and writer at Gold-
bach, near Gotha. (2) Jos. Maria,
Dobrzan, Bohemia, 1789 — Teplitz,
1839; conductor and dram, composer.
Wolfrum (vol'-froom), Philipp. b.
Schwarzenbach-am-Wald, Bavaria,
Dec. 17, 1855; pupil Munich Sch. of
Mus.; mus.-dir. Heidelberg Univ.;
Dr. Phil. h. c, (Leipzig, 1891); c.
•* Grosses Halleluja,'' and other cho-
ruses, pf.-pcs., etc.
Wollanck (vdl'-iank), Fr., Berlin. 1782
— 183 1 ; amateur composer of an opera.
Wollenhaupt (vol'-lSn-howpt), H.
Ad., Schkeuditz, near Leipzig, 1827
— New York, 1863; pianist, teacher
and composer; from 1845 ^^ New
York.
Wollick (vdr-llk) (VolU'dus, Bolli-
dus), Nicolas, b. Bar-le-Duc;
teacher and writer at Metz, 1 501-12.
Wolzogen (and Neuhaus) (vol'-tsd-
^n oont noi-hows), (i) K. Augf.
Alfred, Freiherr von, Frankfort,
1833 — San Remo, 1883; writer. (2)
Hans (Paul), Freiherr von, b. Pots-
dam, 1848; son of above; lived as
writer at Potsdam till 1877. Wagner
made him editor of the ''Baireuther
Blatter r
Wonneger (or Vuonnegger (v6n'-n^-
gdr) ), Jn. L., friend of Glarean ;
pub. an epitome of G.'s '' Dodeka-
chordon'' (1557).
Wood, (i) Mrs. Mary Ann. Vide
PATON. (2) Henry J., b. London,
1869; prominent cond.; pupil of his
father ; at 10 an organist ; 1883-85,
gave org. -recitals ; then st. at R.
A. M. with Prout and others; then
cond. societies; 1891-92, Carl Rosa
Op. Co.; 1894, Marie Roze Co.;
1895-1902, Queens Hall Prom. Con-
certs, London. C. oratorio '"Doro-
thea"'' (1889), operettas, masses,
songs, etc. ; wrote treatise on singing ;
1900, cond. a concert in Paris. His
"wi^c. (3) * Russian, is a singer, debut
London, 1900. (4) Mary Knight,
b. Easthampton, Mass., April 7,
1857; pianist; pupil of B. J. Lang,
A. R. Parsons, J. H. Cornell, and
H. H. Huss ; lived in New York; pub.
about 30 son^, many very popular.
Wood'man, Raymond Huntington,
b. Brooklyn, N. Y., Jan. 18, 1861 ;
pf. -pupil of his father, of Dudley
Buck, and Cesar Franck ; 1875-79,
asst. -organist to his father, at Flush-
ing, L. I.; 1894-97. mus.-editor
*'iV. Y. Evangelist"'; since 1880,
organist First Presb. Ch., Brooklyn ;
since 1889. head of org.-dept. Metr.
Coll. of Mus., N. Y., etc. ; c. pf.-
and org. -pes., etc.
Woolf, Benj. Edw., London, Feb.,
1836 — Boston, Feb., 1901 ; at 3
taken to America by his father
who taught him various instrs. ;
studied with G. R. Bristow (org.) :
cond. theatre-orchs. in various cities ;
8o2
THE MUSICAL GUIDE
critic Boston ** Globe'* later ** Sat
Evening Gazette*^; prod, operatic
comedietta, comic operas ** Pounce
&> G?." (Boston, 1883). •* Westward
Ho!*' (Boston, 1894), overture to
•* Comedy of Errors " (1887), etc.
Wormser (v6rm-zar), Andr^ (Al-
phonse Toussaint), b. Paris, Nov.
I, 1851; pupil of Marmontel (pf.) and
Bazin, Paris Cons, taking ist pf.-
prize, 1872 ; Grand prix de Rome,
1875 I l^v^^s in Paris ; c. the operas-
comique ^^ Adkle de Ponthieu*' (Aix-
les-Bains, 1877), '' RivoU" (Paris,
1896); V. succ. pantomime ** VEn*
fant Prodigue" (Paris, 1890, Lon-
don, 1 89 1, New York, 1893); panto-
mime *'rid/ar (London, 1896);
ballet, ''LktoiW' (Paris, 1897), etc.
Worgaa, (i) Jas., d. 1753; Engl, or-
ganist. (2) J. I d. 1794; bro. and
succ. of above; also composer.
Work, H. Clajt Middletown, Conn.,
1832— Hartford, 1884; c. ** Grand-
father's Clock'' " Marching through
Georgia^" and other pop. songs.
Wot'ton, (i) Wm., org.-builder, 15th
cent, Engl. (2) Wm. B., Torquay,
Sept. 6,1832; bassoonist, saxophonist,
oboist.
Wonters (voo'-tars), (Fran.) Adolphe,
b. Brussels, May 28, 1841; pupil, and
since 187 1, pf.-prof. at the Cons.;
1886, organist Notre-Dame de Finis-
tire, and cond. at Saint-Nicolas ; c. 3
masses solennelles (under pseud.
«*Doii Adolfo"), a grand Te
Deum, overture, etc.
Woycke (voi'-k^), Eugen (Adalbert),
b. Danzig, June 19, 1843 ; pianist ;
pupil Leipzig Cons.; lived in Edin-
burgh as teacher ; pub. 7 pf. -sonatas.
He married in 1871, (2) Emily
Drechsler (nee Hamilton), concert-
violinist, playing in public since 11.
(3) Victor, b. Edinburgh, 1872 ; son
and pupil of above ; debut as violin-
ist, 1S89 ; 1892. teacher at the Nat.
Cons., New York.
Woyrsch (voirsh), Felix von, b.Trop-
pau, Austrian Silesia, Oct. 8, i860;
studied with A. Chevallier, Ham-
burg, but mainly self-taught ; stxice
1895, organist and conductor a.t Al-
tona ; c. 4 comic operas incl. succ.
'' Wikingerfahrt" i^WxTi^TZ, 1896X
4 choral works with orch.; symph.;
rph. prologue to ''^Divina Commt'
" etc
Wranitzky (fra-net'-sbkl). (i) Paol,
Neureusch, Moravia, 17 56-— Vienna,
1808; violinist, conductor and dram,
composer. (2) Anton, Neurenscfa,
1 761 — Vienna, 18 19 ; violinist ; bro.
and pupil of above ; conductor and
composer.
Wrcdc (vra'-d6), Hanover, 182S—
Frankfort-on-the-Oder, 1899 ; pian-
ist, conductor, singing-teacher and
composer.
Wrigrht'on, W. T., 1816— Tunbridge
Wells, 1880; English son^-com-
W)Oser
Ucrst (vtt'-«rst), Richard (Fd,),
Berlin, 1824 — 1881; teacher, critk
and dram, composer.
Wttllner (vtl'-ndr), (i) Fz., MOn-
ster, Jan. 28, 1832 — Cologne, Sept.
8, 1902 ; noted conductor ; studied
Mttnster, later at Berlin, Brussels. Co-
logne, Bremen, Hanover and Leip-
zig, and gave concerts as pian-
ist; 1854, pf. -teacher Munich Cons.;
1858, town mus.-dir. at Aix-la-
Chapelle; i86i, •• R. Mus. - Dir."
1864, 1882, 1886 and 1890 he
conducted the Lower Rhine Mus,
Fest. ; cond. the ct. -chapel, Mu-
nich ; 1867, dir. choral classes in
the Sch. of Mus.; in 1869, cond.
ct.-opera and the Acad. Concerts
(vice von BOlow), giving Wagner's
''RheingoW and '' WalkUre" their
first hearing. 1870, ist ct.-cond.,
R, Prof. 1875; in 1877, ct.-cond.
at Dresden, and artistic dir. dk
the Cons.; 1883-84, cond. Berlin
Philh.; 1884, dir. Cologne Cons.;
was Dr. Phil. Leipzig U.; c. cantata
^""Heinrich der Finkler'' with orch.
(ist prize, Aix-la-Chapelle **Liedcr-
tafel ' 1864) ; new arrangement
(with added recitatives) of von We-
ber's **OberoH"; Psalm 125, willi
DICTIONARY OF MUSICIANS 803
OTch.; Miserere and Stabat Mater,
for double chorus, masses, chamber-
mus., etc. (2) Ludwig, b. Mfln-
ster, Aug. 19, 1858 ; son of above ;
IDt. phil., then studied Cologne Cons.;
1888, dir. a church choir; became
an actor in spite of a vocal impedi-
ment, then a tenor singer in concert,
also in opera (as ** Tannhauser/'
etc.).
'Wnnderlich (voon'-ddr-Ukh), Jn. G.,
Bayreuth, 1755 — Paris, 1819; flute-
virtuoso and prof. Paris Cons. ; also
composer.
>Viirfel (var'-f«l), Wm., Planian, Bo-
hemia, 1791 — Vienna, 1852 ; pianist,
W>rof., conductor and dram, composer.
arm (voorm), (i) Wm., b. Bruns-
vi^ick, 1826 ; virtuoso on the cornet-^-
pistons ; from 1847, lived in Pe-
tersburg, from 1862 teacher at the
Cons., and from 1869 bandm. -in-
chief of the Russian Guards ; c. cor-
net-pcs. (2) Marie, b. Southamp-
ton, Engl., May 18, i860; pianist;
pupil of Pruckner and Stark, Anna
Mehlig, Mary Krebs, Jos. Wieniaws-
ki. Raff and Frau Schumann ; 1884,
won the Mendelssohn Scholarship ;
studied with Stanford, Sullivan,
Bridge and Reinecke ; played with
succ. Leipzig, Berlin, etc.; c. an
overture ; a pf.-concerto ; sonatas,
etc.
Wylde (wild), H., Bushy, Hertford-
shire, 1822 — London, 1890; pianist,
oreanist and teacher.
V^j man, Addison P., Cornish, N. H.
(U. S. A.), 1832 — Washington,
Penn., 1872 ; teacher of vln. and com-
W>oser.
ynnc (wtn), Sarah E., b. Holy-
well, Huntingdon, March 11, 1842;
singer, held Westmoreland scholar-
ship R. A. M. ; d^but, Ivondon, 1862 ;
m. Aviet Agabeg, 1875, and since
then teacher.
Wjna (vens), Charlotte F^licie, b.
of Flemish parents, Paris, Jan. 11,
1868 ; mezzo-sopr. ; pupil Paris Cons. ,
taking in 1892 3 Brst prizes, singing,
opera and opera comique ; engaged
at the op^ra, but debuted Op. Com.
as ''Mtg9wn'\' later at Th. de la
Monnaie, Brussels, returning to Op.
Com. in 1899 ; m. Ed. de Bruijn.
1899.
Wyszkowski. Vide hopman, c.
X
Xanrof (ks&£i-r60 (rightly L^on Four-
ncau), b. Paris, Dec. 9, 1867 ; lawyer,
critic and amateur composer of songs
for Yvette Guilbert, also of light
stage-pcs.
Xylander (rightly Hoitzmann) (kse'-
Isint-€r or holts'-man), Wm., Augs-
burg, 1532 — Heidelberg, 1576 ;
writer.
Xyndas (ksen'-d&s), Spiridion, Corfu,
i8i2^in poverty) Athens, 1896;
Greek composer of succ. ballad-op-
eras.
Yongfe (yiing). Vide young.
Yost (yost), Michel, Paris, 1754—
1786 ; celebrated clarinettist and
composer.
Young, (i) (or Yonge), Nicholas, b.
Lewes, Sussex ; d. 1619 ; pub. **MU'
sica Trans alpinay^^ colls, of Italian
madrigals, 1597. (2) Rev. Mat-
thew, Roscommon, 1750 — 1800 ;
acoustician. (3) Tho8., Canter-
bury, 1809 — Walmouth, 1872; the
last prominent male altoist. (4) J.
Matthew Wilson, Durham, EngL,
1822 — W. Norwood, 1897 ; organist
and composer.
Yradier (e-r&dh'-t-ar), Sebastian, b.
Vittoria, 1865 ; Spanish song-com-
poser.
Yriartc (e-rt-ir'-t^), Don Tomas de,
Teneriffe, ca. 1750 — Santa Maria,
near Cadiz, 1791; writer.
Ysaye (e-sT'-ytt), Eugene, b. Li^e,
July 16, 1858; prominent violinist,
son and pupil of a cond. and violin-
ist^ then pupil of Liege Cons., and of
8o4
THE MUSICAL GUIDE
Wieniawski and Vieuxtempys; later
with govt.-stipend studied in Paris ;
till 1 88 1, leader in Bilse's orch., Ber-
lin, since has made v. succ. tours
throughout Europe and N. America ;
from i836, head prof, of vln. Brus-
sels Cons., and leader " Ysaye Quar-
tet"; 1893, Chev. of the Legion of
Honour ; his quartet played in Lon-
don 1900-01; c. 6 vln. -concertos ;
variations on a theme by Paganini ;
Po^me elegiaque for vln. with orch.
(or pf.), etc.
Yussupoff (yoos'-soo-p6f). Prince Ni-
colai, b. Petersburg, 1827 ; vio-
linist ; pupil of Vieuxtemps ; writer
of treatises, and c. a programme-
symph. ^'Gonzalvo (U Cordova,*^ with
vln. obbligato ; *' Concerto sympho-
niqtie^* for vln., etc.
Yzac (c'-zak). Vide isaac.
Zabalza 7 Olaso (tha-b^I'-thii e 5-U'.
so), Don Damaso, Irurita, Navarre,
1833 — Madrid, 1894 ; pianist and
teacher; prof. Madrid Cons.; c.
studies.
Zabel (tsa -b«l), Karl, Beriin, 1822—
Brunswick, Aug. 19, 1883 ; cond.
and composer.
Zacconi (tsak-ko-ne), Ludovico, b.
Pesaro, 1540 — ca. 1600; monk and
important theorist.
Zacharia (tsak-a-re'-a), Ednard, b.
Holzappeler-HUtte, Nassau, June 2,
1828; pastor at Mazsayn; inv.
*' Kunstpedal" (v. D.D.).
Zachau (tsakh'-ow), (i) Peter, town-
musician, LUbeck, composer for viola
da gamba, 1693. {2) Fr. Wm.,
Leipzig, 1663 — Halle, 1712; Han-
del's teacher ; oi^anist and composer.
Zajic (zS'-yech), Florian, b. Un-
hoscht, Bohemia, May 4, 1853; vio-
linist ; son of poor parents; on a
stipend studied at Prague Cons.;
member theatre-orch., Augsburg;
1 83 1, leader at Mannheim and Strass-
burg; 1889, at Hamburg; 1891,
teacher Stem Cons., Berlin; lateral
Klindworth-Scharwenka Cons. ; has
toured widely and was made cham-
ber-virtuoso 1885 and given Russiaa
order of Stanislas.
Zamminer (tsam'-me-ndr), Fr., Darm-
sudt. 18 18 (?) — Giesscn, 1S56; acous-
tician.
Zanardini (tsa-nar-de'-ne), Angelo,
Venice, 1820— Milan, 1893: c opera,
also writer and translator of libretti.
Zandt van (fan-tsant), Marie, b.
New York, Oct. 8, 186 1 (daughter
of (2) Jeanie van Z., singer formerly
in Royal and Carl Rosa Compa-
nies); pupil of Lamperti, Milan; de-
but, Turin, 1879 ; sang in London,
then from 1880 at Op. -Com., Paris,
with great succ; 1884, temporary
loss of voice due to prostration
brought on her such violent criticism
that she took a leave of absence and
sang with succ. at St. Petersburg,
etc.; on her return, 1885, she met the
same opposition and sang thereafter
in England, etc. ; compass a-f^'*.
Zanettmi. Vide gianrttini.
Zang (tsang), Jn. H., Zella St. Blasn,
1733 — Mainstockheim, 181 1; cantor;
pianist.
Zange (tsang'-^) (Zang^'iiis), Nico-
laus, d. &rlin, before i6ao; con-
ductor and composer.
Zani de Ferranti (ds&'-ne di f^r-rin'-
te), Marco Anrelio, Bologna, 1800
— Pisa, 1878; guitar-virtuoso.
Zanobi. Vide gaguano.
Zarate (tha-ra'-t«), Eleodoro Ortiz
de, b. Valparaiso, Dec. 29, 1865;
pupil of Collegio di San Luis there :
1885 won 1st govt, prize, and studied
Milan Cons, with Saladino; won prize
1886, for opera ** Giovanna la Pax-
Ea "/ studied in Italy; 1895, prod,
the first Chilian opera, the succ *'Zd
Fioraia de Lugano ** (Santiago, Chili,
Nov. 10).
Zaremba ^tsS-ram'-b3), NicoUu Ivas-
oyitch de, 1824 — Petersburg, 1879;
teacher.
Zarembski (tsS-r^mp'-shkl), Jules de,
Shitomir, Russian PoUad, x354-*
DICTIONARY OF MUSICIANS 8oj
1885; pianist, pf.-prof. and com-
poser.
Zaxlino (dsir-le'-no), Gioseffo (called
Zarliniis Clodiensis), Chio^ia,
March 22, 15 17 — Venice, Feb. 14,
1590; eminent theorist, conductor
and composer ; a Franciscan monk ;
papil of Willaert at Venice; from
1 565 cond. at San Marco, also chap-
lain at San Severo ; his comps. are
ahnost all lost; he was commissioned
by the Republic to write mus. in cel-
ebration of Lepanto, a mass for the
plague of 1577 and in welcome of
Henri III., 1574, on which occasion
he also c. a dram, work ** Orfeo";
his theoretical ability is shown by the
great work ** InsHtuuoni harmo-
iwr>l^"(i558).
Zarzydd (zar-zek'-e), Alex, Lem-
berg, Austrian Poland, 1831 — War-
saw, 189$; pianist, conductor and
dram, composer.
ZaT(e)rtal (tsa'-v^r-tal), Bohemian
'anaily. (i) Josef R., b. Folep, Nov.
5, 181^; horn-player and leader. (2)
Wenceslas H.» Polep, Aug. 31,
1821; clarinettist and composer. (3)
Ladislas, b. Milan, Sept. 29, 1849 ;
son of above; conductor; 1871 t. at
Glasgow, 1 88 1 at Woolwich; prod,
operas ** Una notti a Firente'^ and
** Myrrha," both at Prague, 1886.
ZtLjtz (dsl'-ets), GioTanni von, b.
Fiume, 1834; pupil of Lauro Rossi,
Milan Cons.; since 1870 theatre-con-
ductor and singing-teacher at the
Cons, at Agram; c. the first Croa-
tian opera ^''Nicola Subic Zrinjski'*^
(1876), also 20 German Singspiele,
masses, etc.
Zeckwer (ts^k'-var), Richard, b.
Stendal, Prussia, April 30, 1850; pian-
ist; pupil Leipzig Cons.; from 1870
organist at Philadelphia, U. S. A. ;
1870 teacher Phila. mus. acad.; since
1876 director, composer.
Zeelandia (tsa-Un -dl-a), Henricus
de, Netherland theorist and composer
ca. 1400.
Zeldenrust (ts^l'-dCn-roost), Ednard,
b. Amsterdam, June 5, 1865; pianist;
pupil of Robert Collin ; at 13 entered
Cologne Cons, under Fd. von Heller
for 5 yrs. ; then studied with Kwast
and Gemsheim in Rotterdam ; later
with Marmontel, Paris Cons.; toured
£urof>e and America.
Zelenka (z€-l^n'.k&). Jan Dismas,
Lannowicz, Bohemia, 1679 — Dres-
den, 1745; conductor and composer.
Zelenski (zh£-l€n-shk1), Ladislas, b.
on the family estate Gradkowice, Ga-
licia, July 6, 1837; pupil of Mirecki
at Cracow, Krej6* at Prague, and
Damcke at Paris; prof, of comp.,
later dir., Warsaw Cons.; c. a symph.,
2 cantatas, etc. for orch.; succ. opera
•* Goplana " (Cracow, 1896), etc.
Zell, F. Vide walzrl.
ZeUner (tsdl'-n^r), (i; Ld. Alex.,
Agram, 1823 — Vienna, 1894; son and
pupil of an organist ; editor, profes-
sor, writer and composer. (2) Julius,
Vienna, 1832 — WUrzzuschlag, Styria,
1900 ; c. 2 sympbs. , etc.
Zelter (ts*l'-t«r), Karl Fr., Berlin,
Dec. II, I758--May 15, 1832; son of
a mason; studied with Kimbergerand
Fasch, to whom he was assistant and
1800 successor as cond. of the Sing-
akademie ; 1809 he founded the
*' Liedertafel" from which g^ew the
great ** Deutscher Sdngerbund " of
50,000 members, for which he c.
famous male choruses; 1819, founder
and dir. R. Inst, for church-mus. ;
friend of Goethe, whose songs he set;
c. also oratorios, etc.
Zemlinsky (z^m-Un'-shkY), Alex., b.
of Polish parents, Vienna, 1877; pu-
pil of Fuchs, Vienna Cons.; took
*• Gesellschaft der Musikfreunde*'
prize with a symph. 1897; his opera
** Sarema" took a 2nd prize, 1894,
and was prod, witli succ, Munich,
1897.
Zenger (ts^ng'-^r). Max, b. Munich,
Feb. 2, 1837 ; pupil of Stark, and
Leipzig Cons. ; i860, cond. at Ratis-
bon; 1869 mus. -dir. Munich ct. -op-
era; 1878-85, Munich Oratorio Soc.,
etc.; Dr. Phil. -*. ^., 1897; c. 3 op-
eras; succ. oratorio ** Kain " (after
8o6
THE MUSICAL GUIDE
' Byron, Munich, 1867), cantatas with
orch., •* tragic '* symph., etc.
Zenta. Vide august a holmes.
Zeretelev. Vide lawrowskaja.
Zerr (ts£r), Anna, Baden-Baden, 1822
— on her estate, near Oberkirch, 1881;
singer.
Zerrahn (ts^r-r&n'), K., b. Malchow,
Mecklenburg, July 28, 1826; distin-
guished conductor; studied with Fr.
Weber and at Hanover and Berlin ;
1848, America, as a member of Ger-
mania Orch.; 1854-95, cond. Handel
and Haydn Soc., Boston; also cond.
Harvard Symph. Concerts, and prof,
of harm., instr. and singling, >f. E.
Cons.
Zeug^heer (tsoikh'-har), Jakob (known
as J. Z. Hermann), Zurich, 1805 —
Liverpool, 1865 ; violinist and con-
ductor.
Zeuner (tsoi'-nSr), K. Traugott,
Dresden, 1775 — Paris, 1841; pianist,
teacher and composer.
Ziani (dse-&'-ne), (i) P. Andrea, Ven-
ice, ca. 1630 — Vienna, 171 1 ; organ-
ist and dram, composer. (2) Marco
A., Venice, 1653 — Vienna, 1715;
nephew olf above; ct. conductor and
dram, composer.
Zichy (tse'-she). Count G^za, b. Sztd-
va, Hungar)', July 22, 1849 ; noted
left-handed piano-virtuoso ; having
at 17 lost his right arm ; pupil of
Mayrberger, Volkmann and Liszt ;
holding high legal positions ; also
made tours for charity. 1890-94, In-
tendant Nat. Th. and Opera, Pesth.
C. succ. operas, ^''Aldr" (Pesth,
1896); ''Meister Roland'' (Pesth,
1899, Magdeburg, 1902), cantata,
etc.; pf.-pc5., for the left-hand and
studies (with preface by Liszt), etc.
Zimmer (ts!m-m€r), (r) Fr. Aug.,
Herrengosserstadt, Thuring^a, 1826 —
Zehlendorf, 1899; mus.-director and
writer. (2) Otto, Priskorsine, Sile-
sia, 1827 — Breslau, i8g6 ; organist
and editor. (3) Robt., Berlin, 1828
— 1 85 7 ; writer and teacher.
Zimmermann (tslm'-m^r-m^), (i) An-
ton, Pressburg, 1741 — 1781; con-
ductor, composer and organise. (3)
Pierre Jos. Guillaume, Pkrk,
March 19, 1785— Oct. 29. 1853; fa-
mous pf.-teacher ; pupil, later, 1816-
48, prof., at Paris Cons.; c. comic
opera and many pf.-pcs. (3) Agnes,
b. Cologne, July 5, 1847; piani^;
at 9 pupil of London R. A. M., vtn.
ning King's Scholarship twice, a&d
also silver medal ; debut. Crystal Pal-
ace, 1863 ; toured with great sooc:
has ed. scores and c. a pf.-trio, etc
Zingrarelli (tsYn-gS-ri^r-le), Nicola A.,
Naples, April 4, 1752 — Tone del
Greco, near Naples, May 5, 1837:
violinist, teacher and eminent com-
poser; the succ. of his operas and
the greater succ. of his grand op-
eras throughout Europe was almost
equalled by his noble and de-
vout sacred mus.; pupil of Fenarok)
and Speranza; his first opera vas
prod, at 16, and followed by another
at 21, but he had no succ till "y4A
sinda, " written in 7 days (La Scala,
Milan, 1785); he followed this with
many others, incl. his best, **^»M£r/!Zd
e Romeo*' (ibid., 1796); 1792, c<hkL
at Milan Cath.; 1794, at Loreto;
1804 at St. Peter's, Rome ; iS 11, im-
prisoned for refusal to conduct a ser-
vice in honour of the King of I^ome,
the son of Napoleon, who took him to
Paris, released him, and paid him well
for a mass ; 1813, dir. Naples Cons.;
1816, cond. at the cath.; he was a
notable teacher ; c. 31 operas, masses
of all kinds in a series **AfU9uaii£
Loreto " for every day in the year, 80
magnificats, etc.
Zinkeisen (tsYnk'-T-z^n), Konnul L.
Dietrich, Hanover, 1779 — Bmns-
wick, 1838 ; violinist, conductor and
composer.
Zipoh (dse'-p6-le), Dom., organist,
Jesuit Church, Rome ; pub. important
clavier-sonatas, treatises, etc (1726).
Zoeller (tsSl'-l^r), Carl, Berlin, 1849
— London, 1889 ; writer and notahte
composer.
Zoilo (dso'-e-l5), Annihale, condnctoi
at Laterano, Rome, 1561-70; 1571,
DICTIONARY OF MUSICIANS 807
singer, Papal Chapel ; c. madrigals,
etc.
Zdllner (ts«r-n«r), (i) K. H., Oels,
Silesia, 1792 — Wandsbeck, near
Hamburg, 1836 ; org. -virtuoso, writer
and dram, composer. (2) K. Fr.,
Mittelhausen, Thuringia, March 17,
1800— Leipzig, Sept. 25, i860; fa-
mous composer of male choruses;
pupil of Schicht, Thomasschule, Leip-
zig; vocal-teacher there, founded a
Liedertafeln ** ZOllner-verein," other
socs. of similar nature, organised 1859
to form a ** Z-band.'* (3) H., b. Leip-
zig, July 4, 1854 ; son of above ; pu-
pil Leipzig Cons.; 1878, mus.-dir.
Dorpat Univ.; 1885, Cologne Cons,
and conductor various vocal socs.;
1889, toured Italy with a male cho-
rus ; from 1840, cond. New York
•* Deutscher Liederkranz"; 1898,
mus.-dir. Leipzig University and
cond. *' Paulinerchor"; c. 4 operas,
3 choral works with orch., cantata
* *Die neue Welt " (won international
prize, Cleveland, Ohio, 1892), a
symph., oratorio, male choruses, etc.
(4) Andreas, Arnstadt, 1804 — Mein-
infi[en, 1862 ; mus.-dir. and comp.
Zoplf (ts6p0, Hermann, Glogau, 1826
— Leipzig, 1883 ; editor, writer and*
dram, composer.
Zschiesche (tshe'-sh£), Aug., Berlin,
1800 — 1876 ; dram. bass.
Zschocher (tsh6kh'-«r), Jn., Leipzig,
1821 — 1897; pianist.
Zuccalmaglio (dsook • kal - mSl' - yo) ,
Anton wm. Florcntin von, Wal-
drol, 1803 — Nachrodt, Westphalia,
1869 ; contributor to Schumann's
periodicals.
Zumpe (tsoom'-pO, Hermann, b.
Taubenheim. Upper Lusatia, April
9, 1850 ; grad. Seminary at Bautzen ;
taught a year at Weigsdorf; from
187 1 at Leipzig; also studied with
Tottmann ; 1873-76, at Bayreuth, as
copyist and asst. to Wagner ; there-
after th. cond. various cities ; 1891,
ct.-cond. at Stuttgart; 1895, ct.*
cond. Munich ; later at Schwenn
1 90 1, Meiningen ; c. 2 operas ; v.
succ. operettas '''Farinelli (Vienna
1886), ''ATarin*' (Hamburg, 1888).
and ''Polnische mrthschaft" (Ber-
lin, 1891) ; overture *' WalUnstein* s
Tod:' etc.
Zumsteeg (tsoom'-shtakh), (i) Jn.
Rudolf, Sachsenflur, Odenwald, 1760
— Stuttgart, 1802 ; 'cellist and ct.-
conductor ; c. operas and imp>ortant
*' durch-kompgnirten " ballads, before
Lttwe (q. v.). His daughter (2)
Emilie, Stuttgart, 1797 — 1857, was
a pop. song-composer.
Zur MUhlen (tsoor-ma'-lSn), Rai-
mund von, b. on his father's estate,
Livonia, Nov. 10, 1854; concert-
tenor ; studied at Hochschule, Ber-
lin, with Stockhausen at Frankfort,
and Bussine at Paris.
Zur Nieden (tsoor ne'-d£n), Albrecht,
Emmerich - on - Rhine, 1 8 19 — Duis-
burg, 1872 ; mus.-director, conductor
and composer.
Zvonar (tsvo-narzh), Jos. Ld., Kub-
lov, near Prague, 1824 — Prague,
1865 ; teacher, theorist and dram,
composer.
Zweers (tsvars), Benhard, b. Amster-
dam, and lived there as composer of
4 symphs. , sonatas, etc. ; studied with
Jadassohn.
Zwintscher (tsvtnt'-sh^r), (i) Bruno,
b. Ziegenhain, Saxony, May 15, 1838 ;
pianist ; pupil of Julius Otto, then of
Leipzig Cons. ; 1875-98, teacher there;
writer. (2) Rudolf, pianist in London.
of t^t (Operas
€xxata.
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459
464,
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P
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(Not corrected in the supplement)
col b Ssafiddin should be Safieddm.
col. b Agrel should be Agrell.
col. a. Breunlng should be Breunung.
col. b., line 34 Kerim should be K^rim.
col. a., line 9 Bebroid should be Debrois.
ccA, a.y line 30 k&-b&l-l&-ro should be k&-v&14&'H:0.
col. a., line 16 Firmin should be Philippe.
col. a., line 30 London should be Dublin.
col. a.y line 3 February 22, 1810 is conrect. See
supplement.
col. a., line 12 Zwyny should be Zywny.
ooL a., line 31 1882 sSiould be September 2, 1907.
col. b., line 46 Eminy should be Emmy.
col. b., line 48 1807 should be 1897.
col. a., Hillenmacher should be Hillemaciier.
col. a., line 38 omjt ** Helmann the Fool."
col. a., line 24 1900 should be December 21, 1899.
col. a., line 24 1884 should be 1894.
col. a., line 39 1804 should be 1802.
col. a., line 50 LS-a-d6f should be L'y^'-d^f.
col. a.y line 26 1852 should be 1582.
col. b., line 42 Solar should be Soler.
col. b., line 44 May, 1810, should be March 3, 1806.
col. a., line 15 July should be June 30.
col. b.y line 23 1898 should be January 8, 1904.
col. b.y line 4 Mayence, 1841, should be Mannheim,
April 30, 1842.
col. b., line 37 1863 snould be 1893.
col. b., line 18 1818 should be 1816.
col. a., line 29 Serrao should be Serrao.
col. a., line 39 1847 should be 1837.
col. b.y line 10 1710 should be 1700.
col. a., line 40 December 25 should be April 35 (or
May 7, N. S.).
col. h,, line 36 K. L. should be J. F. L.
col. b., line 27 1756 should be 1750.
col. a.» line 48 1827 should be 1822.
Supplementary Stories
of tfje ©pera0
MASSENETy JULES, appears laughing with two slave girls,
Crobyle and Myrtale. He welcomes
Thais (t&-€s) AthanaSl as an old friend. Athanati
A thrce^t lyric comedy. Book by fP^ ^/ J^*» f?^ ^om Nidas has
Louis Gallet (based on the novel by baiikrupted hmlself . He warns Athan-
AnaU^e France). ^^ agamst her, but consults to arrange
Produced at the Op6ra, Paris, 1894. Y^^^ meeting. In fcwA she is eroected
^^ for supper this night. AthanaSl asks
CHAXACTEKS. ^or decent raiment, and the slave ^Is
A f» f»' X xn Ka laughingly adorn and perfume him,
ATHAN^L ^a-ta -na-ci) oar. ^^^ ^^y ^^ Yum beautiful as a 3roung
NiciAS (ne-sl-fts) ten. g^^ ^ g^^^^ throng of revellers and
PAI.EICON (p&-lfi-m6n) bass, philosophers pour in, preceding Thais.
Thais •••••••• ^^I^' She amves for her last visit with Nidas
Albine (ai-ben) after "one whole long week of con-
Crobyle Otr6-bgl) stancy." She meets Athanafil and
Myktai£ (m€r-tftl) demands why he is so severe (Qui tefaU
Place of action: EiryDt, in the early ^ sivire). She swears that nothing is
Christian Era. '^ "^^ ^^^^i ^^^ mvites him to wreathe
his head with roses and watch her pos-
Act I. — Scene i. A settlement of turing again as Aphrodite. But he
hermit Cenobites on the Nile. Twelve flees in horror.
holy men are eating their frugal meal. Act n. — Scene. The home of Thais,
among them Pal^mon. They are await- She dismisses her friends wearily, and,
ing the return of AthanafiL "He returns left alone, begs her faithful mirror to
from Alexandria fagged and dejected, reassure her that she will always be
and describes the power of a priestess of beautiful (Dis-moi que je suis Umjours
Venus named Thais, whom he had beUe). She sees AthanaSl, who declares
known in his youth and whom now he that he loves her, but not as she under-
wishes to save. Pal^mon and the stands. A duel between saa%d and
others warn him not to meddle with profane love ensues, and each begins to
such evil, and AthanaSl falls asleep. In mfluence the other strangely. Thais
a vision he beholds a crowded theatre sprinkles incen^ on the altar of Venus,
where the half-naked Thais postures, and AthanaSl trembles. But he tears
As the vision vanishes, he awakens with away his gorgeous robe and reveals him-
horror and vows to save her, praying for self as a monk, cursing her life and bid-
aid to the God of Pity (Tot qui mis la ding her forsake it. She throws hersdf
pOU dans nos dmes). The Cenobites at his feet and the voice of Nidas heard
anxiously bid him farewell. in the distance fills her with loathing.
Scene n. The terrace of the palace AthanaSl tells her that he will wait for
of Nidas. Athana^l with difficulty her on her doorstep imtil dawn, but she
persuades a slave to summon his master, turns against him and drives him out;
While he waits, he contemplates the then falls weeping on her pillows,
panorama of the terrible aty {Voild After a symphonic interlude in the
done la terrible ciU), He calls upon the form of religious meditation, the scene
angeb to purify its corruption, as Nicias changes to a square before her house-
811 •
8l2
THE MUSICAL GUIDE
In the moonlight Athana£l is seen lying
on the 8t^. In the distance, the
home of Nidas is brilliant and noisy
with revelry.
Thais i^ipears and AthanaEl promises
to lead her to a monastery in the desert.
But first she must destroy all the monu-
ments of her shame. She must bum
her house and her goods. She consents,
but asks only to save one little ivory
image of Cupid, for ''Love is a virtue
rare'' {Uamour est une vartu rare).
She wishes to take this image to the
convent; it was a gift from Nidas.
Athanael hurls the statuette to the
ground. Thais meekly submits and
they go within to bum the paUce.
Nidas and a crowd of revellers fill the
square. The two slave girls sing of a
new charmer, who is more beautiful
than the Queen of Sheba (Cetfe mU
vierU est plus bdle). At the end of this
duet and during the dance, AthanaSl
wpears with a lighted torch, leading
Thais meanly dad and followed by her
sorrowful slaves. While the palace
bums, the crowd turns on Athana^
and Thais and would stone them, but
Nidas saves them from violence by
throwing gold into the mob.
Act m. — Scene i. The oasis, with
the white cells of the retreat of the nuns
of Albine. Thais and AthanaCl, greaUv
fatigued, struggle in. He is rou^ with
her imtfl she swoons; then a change
comes over him and his heart bleeds for
her bleeding feet, which he kisses, hail-
ing her as a saint. He goes to the wdl
for water, and she blesses him as a mes-
senger from God {O messager de Dieu),
He brings her water and fruits whUe
the white nuns of Albine i^pear sing-
ing a Latin hymn. AthanaSl greets
Albine and presents Thais to her.
Thais bids AthanaSl farewdl forever.
The word shocks him, and as he sees
her led away in Albine's arms, a cry of
anguish escapes him.
Scene n. The Cenobite settlement
again with a night of storm coming on.
AthanaSl has returned and spent twenty
days kA listing. He comes oat a£ fab
hut and asks Pal6mon to confeas faim.
In saving the soul of Thais, he has lost
his own. I£s mind is filled with visioas
of Aphrodite. He faUs asleep and sees
her again in all her fleshly charms. Tbe
vision vanishes in strident lau^ter,
S'ving place to a new viskxi, the
[onastery of Albine, where Thais, all
in white, b dying, surrounded by the
kneeling nuns. Athanal^ awakens in a
frenzy of revolt and dashes out to le-
daimher.
The scene changes to the CoQveat
garden, idiere Albine and the mms
moan over the saintly Thais, who has
saved jier soul, but worn out her IMe
with her penances. Athanafl appears
and b greeted with rtspctX as a vener-
able saint. He drags himself on bb
knees to the side of Thais, who weakly
reminds him that hb promise of Heaves
and redemption are fulfilled. She sees
the angeb and God. But AthanaE*
£rotests that nothing b true but life and
>ve. And when she dies, he faUs to
the ground with a terrible cry.
SMETANA, PRIEDRICH
The Bartered Bride. Piodaaa
Nevesta (prd'-dft-nft n«v-yfe'-tft) B.
Die Verkauf te Braut (de f^-kowT-te
browt) G.
A comic opera in three acts. Book
by Kari Sabina.
Produced, National Theatre, Pngne,
May 30, 1866.
CHASACTERS
Hans
Wenzel (v&i'-ts€l)
Keial (kft'-tsSl) bar.
KxuscHiNA(kroo-she'-n&) baas.
Springer bar.
Muff
MiCHA (mS-khft)
Marie
Kathinka (ka-teenk'-a) ...
Esmeral'da
Agnes
STORIES OF THE OPERAS 813
Act I. — Scene. The Square of a
H<dieniian village during a Spring
Church Festival. The chorus is rejoic-
ing in the coming of Spring, but Marie
is sad. Hans, her lover, asks her why.
and is told that she is to be the bartered
bride of the son of Micha. She is puz-
zled at the odmness of Hans, and asks
him to explain the mystery of his origin.
He tdls her that he b the son of a rich
man, but he left home on the death of
his mother. He bids her to be of good
cheer and goes. She hides as her father
and mother, Kruschina and Kathinka,
come in with the marriage broker, Kezal.
Kezal has arranged a marriage for
Marie with the son of Micha, whose
elder son has disa{^)eared. Kezal sings
the praises of the younger son, Wenzel.
Marie appears and refuses the match
declaring her love for Hans. Kezal
shows the agreement with Micha, but
Marie knocks it out of his hand. Kezal
promises to talk to Hans, and the act
ends with a country dance, called " the
hen.
Act n. — Scene. A room in the inn,
Hans at one table, Kezal at another,
A beer-chorus is sung and Hans toasts
love, while Kezal toasts cash. After a
wild dance called a "furiant" the scene
is emptied, and Wenzel enters stut-
teikig a song about his mother's ad-
vice to her "Dear Son" (rA«*' . . .
tkeurer Sokn), Marie appears and is
amused at her prospective bridegroom,
but Wenzel does not suspect her iden-
tity. She persuades him that Marie
will be a wretched wife, and promises
to find him another. He repeats her
oath that he will forswear Marie, and
follows her when she runs away. Kezal
drags Hans in and begs him not to
interfere with the wedding. Kezal
described love as a folly {Wer in Lieb'
entbrannt). He promises to get Hans
another bride and to give him three
hundred gulden. Hans consents on one
condition, that Marie shall marry no
one but Micha's son. The duped Kezal
hurries away in delight to draw up the
contract, and Hans rejoices in the
h^piness awaiting him {Es muss
geUngeu), Kezal returns with the
others and reads the marriage contract
by which Hans gives up all claims to
Marie in favour of the son of Micha.
Hans si^ the paper while the villagers
revile lum tor sellmg his bride.
Act m. — Scene. The same room.
Woizd is grieving that Marie has
taca:jped him, ^dien Springer, a drcus
man, arrives with his troupe, including
Esmeralda, the tight-rope walker, a
wild Indian chief and a great trained
bear. A brief performance is given
and Wenzel falls in love with Esmenilda.
The Indian chief tells Springer that
the actor who plays the trained bear
is drunk. In his desperation Springer
appeals to Wenzel to join the troupe
and promises him a life of joy with
Esmmdda, who teaches him how to
dance as a bear. His mother, Agnes,
his father, Micha, and Kezal arrive to
lead him to the ceremony; but he
declines the marriage. Marie rushes
in in an agony of grief because Hans has
betrayed her and sold her. Left alone,
she broods upon her sorrow (Wie
fremd und todt ist AUes umhar), Hans
rushes to her, but is repulsed, and she
announces that she will marry Wenzel.
Kezal appears and Hans still ai^>eals
for trust (Gesegne^t wer da lid>i und
auch vertrautf) The others return and
Hans is recognized by his father and
mother. Marie, und^tanding his plot
rushes to his arms, and Kezal dashes
away from the general ridicule. Loud
cries are heard that the bear has
escaped and there is a general panic, but
the bear exclaims "Don't be afraid I
I'm only We-We-Wenzell" and the
opera ends in cries of "Long Ufe to the
Bartered Bride."
STRAUSS, RICHARD.
Salom^ (sftl-6-maOF. (sa-l6'-m«) £.
Drama in one act. German text by
Frau H^wig Ladupann (founds on
8i4
THE MUSICAL GUIDE
the dnuna written in French by Oscar
Wflde).
Produced, Dresden, Dec. o, 1905;
New YoriL, igo7, the subscriDers de-
manding its witndrawaL
Hee'cwAm'tipas ten*
loKANAAN (yO-kln'-Sn) bar.
Nar'kaboth,
A yo*^i Syrian; Captain of the
Guard ten«
Tigeixi'nus,
A young Roman
A Cappado'cian basft.
A Nubian
The Page contr.
Naaman (nft'-m&n),
The execulioner
Hekoidias mes-sopr.
SALOici sopr.
The story is based upon the account
in the New Testament. Salome is the
daughter of Herodias by her first hus-
band, Herod Phillip. The second hus-
band, Herod Antipas, has imprisoned
lokanaan (John the Baptist) in a well
because he denounced Herod for marry-
ing his own brother's wife.
Scene. A terrace of Herod's palace
above the banquet halL At the back,
an old cistern. Soldiers are leaning
over the balcony and watching the
banquet, discussing the beautv of
Salome, the Quarrelsomeness of the
Tews and the gloom of Herod. Narra-
both, a young Syrian, Captain of the
Guard, stares with idolatry at Salome.
The voice of lokanaan is heard from the
well, prophesying the coming of a
mightier than he. The Cap^idodan
thinks that the cistern is a strange
prison for a man, but a soldier tells him
that Herod kept his elder brother, the
first husband of Herodias, imprisoned
there for twelve years, and then sent his
ring to the executioner, Naaman, who
stranded him. Narraboth exclaims
that Salome is leaving the table, and
Sakme enters, complaining tliftt ibe
could not endure the strangr staie ol
Herod. She is glad to be in the guda
away from the crowds; she beszs the
voice of lokanaan, and asks about Ub.
A slave comes hom Herod to b^ her to
return, but die refuses, and m**^* that
the soldiers bring lokanaan f oitli bom
the dstem. They are afraid, but she
beguiles Narraboth into diaobcyiag
Herod's orders, and the Prophet is
brought forward, denoimciiig ^Baoi
and Herodias. He terrifies, yet fascin-
ates, Salome, and she ^waks to hao.
He denounces her and her mot her, bat
she grows all the more amoroas of Iudl
Again he rebukes her as a t\^n^tmr d
Babyk>n. She turns npaa faim in
fury, (mly to grow ardent again. Sbe
longs to caress and to kiss him. Nazra-
both's heart breaks with jealousy and be
slays Jiimsdf and falls between SakoK
and lokanaan The young page of
Herodias, who had fonacen omens ia
everything on this foteful evening, be-
wails the death of Nanaboch, but
Salome does not even see the body, so
fiercely is she pleading for the 1ms of
lokanaan. He reviles htf, and bm her
go seek One whom she will find by the
Sea of
Galilee, but she wiD not
demanding his love, and he curses her
and returns to the weU.
Herod and Herodias and the Court
appear, Herod demanding why -SpHi*»
had not returned to the banquet as he
commanded. He notes that the moon
has a strange look like a mad woman.
Herod calls for torches and wine tlut
he may do honour to TigeUinus, the
Ambassador of Cssar. He slips on the
blood of Narraboth, and fiiKls that an
ill omen. He sees the corpse of Nana^
both and learns that he has slain him-
self. Herod remembers that Narraboth
looked too much at Salome. Herodias
says that Narraboth is not the only one
who looked too much at Salome, and
bids him go within. But he calls again
for wine which Cesar himself sent him,
and asks Sak>me to sip from his cufi.
STORIES OF THE OPERAS 815
She refuses, and he calls for fruit, but
she will not eat. Herodias in fury de-
nounces Herod as the son of a camel
driver. He invites Salome to share his
throne. The voice of the Prophet
comes from the well denouncing Herod.
The Jews ask that lokanaan be de-
livered into their hands, but Herod
answers that lokanaan is reputed to be
the prophet Ellas returned. lokanaan
predicts the coming of the Saviour of
the Worid. TigelUnus protests that
this is a title of Caesar's. Other Jews
describe the mirades of Christ, and
Herod wishes Jesus apprehended and
forbidden to raise the dead. The
Prophet's voice still thunders from the
well, and Herodias demands his life, but
Herod refuses it. He stares always at
Salome and heg& her to dance. She
refuses. He commands her. She re-
fuses. He pretends indifference and
loudly declares himself happy and con-
tent. But again he begs Salome to
dance away his gloom, promising her
whatsoever she may ask, even to the half
<^ his kingdom. Salome takes off her
sandals in spite of her mother's pro-
tests. Herod warns her that she will
dance upon the blood on which he has
slii^)ed: but she dances ''The Dance of
the Seven Veils."
Herod, overjoyed, now asks her her
fee, and she, to her mother's delight,
calls for the head of lokanaan on a silver
charger. Herod is aghast and protests
and pleads, but Herodias and Salome
remind him of his oath. He offers
jewels and fifty white peacocks, but she
is immovable. He warns her of the
evil omens and promises her all manner
of gifts, even to the Veil of the Sanctu-
ary, but she rq)eats, " Give me the head
of lokanaan." At last he yields. He
draws from his hand the ring of death
and gives it to a soldier who bears it to
the executioner. The executioner, with
a look of terror, descends into the as-
tern. Salome leans over the edge and
describes what she sees. The execu-
tioner is afraid and will not strike. But
at last, his huge black arm comes forth
tom the dstem, bearing on a shield the
head of lokanaan. Salome seizes it as
Herod hides his head in his doak.
Herodias smiles and the Nazarenes
kned in prayer.
Salome gloats over the head, and
taunts it with having refused the kisses
she demanded. She kisses the helpless
lips of the dead lokanaan, and cries out
her love for him.
Herod sickens and cries out against
her as a monster. He orders the
torches quenched, and as the doud hides
the moon and the hideous courtship of
Salome, Herod cries, ''Kill that
woman!" The soldiers hud their
shields upon her.
STRAUSS, RICHARD
Elek'tra
Tragic opera in one act. Book by
Hugo Hoffmannsthal.
Produced, Dresden, January 25,
1909; New York, February i, 1910.
CHARACTERS
Elek'tra sopr.
Chrysotheios (kr$-sAth'-&-mIs) .sopr.
Klytaeicnestra (klS-tfim-n&'-tril)
mez-sopr.
Aegisthus (€-jIs'thiis) ten.
Ores'tes bar.
Foster Father of Orestes bass.
A Young Servant ten.
An Old Servant bass.
The Conpidant sopr.
Overseer of the Servants. .. .sopr.
Trainbearer sopr.
Five Serving Women
The story is based upon the Greek
legends somewhat as treated in the
tragedies by Sophokles and Euripides.
Elektra was the daughter of King
Agamemnon and his wife, Klytaemnes-
tra. During the absence of Agamem-
non at the Trojan war his wife carried
on an intrigue with Aegisthus. When
Agamenmon returned home he was
slain in his bath by his wife and her
8i6
THE MUSICAL GUIDE
paramour. The Queen treated her
children, Elektra and Orestes, with
great cruelty, and they finally conspired
to murder her and her lover.
The German author has introduced
the character of Chrysothemis as a sister
of Elektra.
Scene. A courtyard of the palace
showing the servants' quarters and a
well. Five serving maids are grouped
about the well under the direction of
the Overseer. They are discussing the
ferocious and imcanny behaviour of
Elektra, who is a veritable wildcat.
Some of the maids have sympathy for
her because she is beaten and treated
like a beast. When they have gone,
Elektra appears, brooding over the
murder of her father, which slie sees
enacted before her. She longs for the
day when her father shall be revenged,
and when she shall dance over the
bodies of her guilty mother and the
wicked Aegisthus. Her sister, Giry-
8othemis,appedrs and warns Elektra that
she is to be thrown into a dungeon.
Chrysothemis longs for a life of love and
motherhood, but Elektra rebukes her
for her weakness and sends her away, as
Klytaemnestra appears with torches
and retinue. Klytaemnestra is worn
out with guilt and sleeplessness, and
asks Elektra if there is no rest for her.
Elektra answers in riddles which imply
that Klytaemnestra's repose shall only
come when the right blood shall flow
under the axe; when a certain woman
and a certain man shall be slain by
another man. Elektra asks if Orestes
may not be allowed to return from his
years of exile, and accuses her mother
of trying to have him murdered. Elek-
tra warns her that she will die for her
crime.
As the two women confront each
other, the Queen's confidant hurries in
and whispers news to her which gives
her great joy. As she hurries away,
Chr^^themis comes in screaming that
Orestes is dead, and that two strangers,
an old man and a young man, have
brought word that he had beeo
trampled to death by his horses.
A young servant darts in demandiiig
a horse, as he must cany a message
quickly. Elektra pleads with Chiy-
BOthemis to join her in the vengeance
which the dead Orestes should have
wreaked. She praises the younger sb-
ter for her strength and beauty, and
offers to be her slave if she will aid her.
Chrysothemis is afraid and reluctant,
and flees. Elektra creeps toward the
house to do the slaughter hecself, bat
meets Orestes himself, who enteiSw
Brother and sister do not recognize each
other at first, because he has grown to
manhood and she has lost her beauty.
An old servant prostrates hinu^^lf befoie
Orestes' feet, and Elektra embraces him
with joy. Orestes' foster-father hunies
in to warn the brother and sister not to
betray themselves. A servant appears
to invite Orestes to the presence of
Klytaemnestra, who does not si^>ect
him. Orestes enters the p^lairg and
shortly afterward the wild shrieksol
Klytaemnestra are heard as she is being
slain. Elektra braces hnself against
the door and keeps out the servants,
who are in a panic. Aegisthus andves
hastily and Elektra, taking a toidi,
invites him to enter, and pays him
ironical homage, dandng before him.
Much puzzled, Aegisthus enters the
house and is heard crying for hcJp. He
appears at the window, strug^ing and
tearing down the curtain. He is
dragged away and his cries are silenced.
Chrysothemis speaks to Elektra and
tdls her that the palace is in an uproar,
the retainers of Orestes having attacked
the partisans of Aegisthus. Blektn
croucnes by the door brooding with
uncanny rapture over the great revenge.
She tries to dance, but faUs prostrate.
HUMPERDINCK, ENGELBERT
Konigskinder (k&'-nlkhs-klnt-€r)
A fairy opera in three acts. Book by
Ernest Rosmer.
STORIES OF THE OPERAS 817
Produced, Metropolitan Opera
House, New York, Dec. 28, 1910.
CHARACTERS AND THEIR CREATORS
Der Koenigssohn (k&'-nlkhs-zOn),
The King's Son
Hermann Jadlowker, ten.
Die Gaensemagd (gSn'-zS-mSkht),
The Goose-girl, Geraldine Farrar, sopr.
Der Spielmann (shpel'-mHn),
The Fiddler Otto GoriU, bar.
Die Hexe (h€x'-6),
The Witch Louise Homer, contr.
Der Holzhacker (hOlts'-h^-Sr),
The Wood-cuUer.AdsLxno Didur, bass.
Der Besenbinder (b&'-z&i-bttrHd&'),
The Broom-maker. .Albert Reiss, ten.
ZwEi Kinder
Two Children
Edna Walter, Lottie Engd,
Der Ratsaelteste (rats'-€l-t&-tfi).
The Senior Councillor
Marcel Reiner, bar.
Der Wirt (v&rt),
The Inn-keeper
Antonio Pini-Corsi, bass.
Die Wirtstochter (verts'-tAkh-tCr),
The Inn-keeper's Daughter
Florence Wickham, mez-sopr.
Der Schneider (sdml'-der),
The Tailor Julius Bayer, ten.
Die Stallmagd (shtftl'-mSkht),
The Stable-maid
Marie Mattfeld, contr.
The Two Gate-keepers
Herbert Witherspoon, \\.^^i.
William Hinshaw, S ^^^ ^'
The action takes place in the Hella
Forest, and in the neighbouring town
of Hellabrunn.
Act I. — Scene. A glade near tne
Witch's hut. The Goose-girl is neglect-
ing her flock, and idly humming to her-
seB, when the Witch pop her head out,
berates her for letting her geese stray,
then calls her into make a poisoned
pasty of acorns. The Goose-girl stares
at a stimted lily and wonders why her
flowers will not grow as others do. She
asks of her own childhood, begs her
''Grandmother'' to let her go forth into
the world, but the Witch tells her she
has cast a spell over bush and briar, and
she cannot escape. The girl, left alone,
sings to the beloved linden tree (0 Uebe
Linde) and to her own reflection in the
water. The King's son appears in a
shabby hunting costume, with a bundle
on his Moulders. She questions him
ignorantly, and he finds her beautiful.
She asks what a King is, and he tells her
that a King guards his people as she
guards her geese; but that he, being
youthful, has found the life of a Prince
too gloomy and fettered and has fled
(Portl Hinausf) She longs to go with
him, and he takes her in his arms, ask-
ing her, "WUt thou go maying with
me?" iWiUst du mein Maienbuhle
sein?) The wind blows the wreath
from her hair, and he puts it in his
doublet as a token. He imties his
bundle and takes out a golden crown,
but she refuses it and he tosses it aside.
He takes her hand to lead her away, but
she feels the charm and is frightened.
He is angiy and finds her imworthy
with her beggar's blood (KdnigsbliU
und Bettelblut). He dashes away and
leaves her weeping. She hears the
Witch calling, and fearing lest the crown
betray her, begs one of the geese to hide
it, and hangs it on the goose's neck.
The Witch quizzes her closely, and she
confesses that she has seen a man.
The Fiddler is heard singing, "Three
fools went out one day for an egg that
a cock did lay" (Drei Narren zogen
aus). The Witch drives the girl into
the house and follows her in. The
Fiddler, the Wood-cutter and the
Broom-maker appear. They knock at
the door loudly, and when the Witch
finally appears, the Fiddler sings an
ironical love song to her beautiful red
eyes (Deine schimen roten Augen),
He and his friends have come to say
that the King of Hellabrunn had died
and his heir had disappeared. They
ask her whom they shall choose to rule
8i8
THE MUSICAL GUIDE
over them. The Witch says that at the
Hella feast the next dav, when the noon
strikes, the gate of the dty must be
open, and whosoever enters the town
must wear the crown. The Broom-
maker and the Wood-cutter ^o back to
the dty, but the Fiddler, havmg caught
a glimpse of the Goose-girl, demands
that she be given her liberty. When
she appears, he questions her. He
thinks that sne is of royal blood, but the
Witch sneers that she is the shameful
child of a hangman's daughter. Never-
thdess, the Fiddler hails her as royal,
and she calls to the gray goose to bring
back the crown. She puts it upon her
head as she kneels in prayer and the
light of a star falls upon the stunted
lily, which opens wide in full bloom.
Crying that she is free, the Goose-girl
darts away, followed by her geese and
the Fiddler. The Witch knocks down
the lily with her staff.
Act n. — Scene. A square near the
gate of the dty. The Gate-keepers are
on guard and the Inn-keeper's daughter
is quarrelling with the Stable-maid, as
the King's son comes out of the inn
yawning. He has slept with the swine,
and the girls treat him with contemptu-
ous familiarity. The Inn-keeper's
daughter brings him food, but it is too
coarse for his palate. She makes love
to him and advises him to marry, but he
asks if it is a linden tree under which
they sit. She embraces him, but he
pushes her hands away and she boxes
his ears. He turns to leave the hateful
town, when he finds in his doublet the
Goose-girl's wreath. The leaves seem
to whisper to him, " Do not go. " The
townspeople appear, and the Gate-
keepers keep them from the gates lest
one of them daim the crown. There is
a Spring dance. The King's son asks
the Inn-keeper for emplo^ent. He
is offered the post of swineherd and
reluctantly accepts. The Broom-maker
appears, followed by his thirteen
daughters, each of the children riding a
broom and trying to sell it. The
youngest child of the Broam-maker
asks the King's son to play with ber,
and they dance a ring-around-a-fvsj.
The Councillors and the rich Buxghos
with their famib'es arrive and seat them-
selves in the Tribune. The Wood-cut-
ter describes for them his journey to
the Witch's hut, which he dresses up
with dangers and wild anirnals. He
announces that at the opening of the
gates the King will arrive in gjory upon
a golden car. The King's son asks if
the Kins might not come in rags, but
everybody laughs at the idea, fie de-
scribes what a true King should be, but
they iqpck him; the Inn-keeper demands
pay for the food which the King's
son could not eat. He is about tobe
roughly handled by the crowd, when
the first bell rings. The crowd is hushed
with awe. At the twelfth stroke the
Gate-keepers throw open the gates, and
the Goose-girl enters with her flock,
followed by the Fiddler. The King's
son hails her as his Queen, and she him
as her King, but the crowd bursts into
derisive laughter at her bare feet and
his rags. The King's son draws his
sword and protects the giri, and the
Fiddler prodaims them King and
Sueen, but the mob drives them out
1 three with sticks and stones. The
Broom-maker's littlest daughter weeps.
The Senior Councillor asks her if ^
weeps because her broom has vanished
She answers, "No, it was the King and
Queen )rou banished. "
Act m. — Scene. The same as the
first act, but it is now bleak winter.
The water trough is frozen and the lin-
den tree is bare. The Witch's hut is
dilapidated, for she has been burned at
the stake on account of her prc^^hecy.
The Fiddler has been jailed and broken
on the rack for defending the two pre-
tenders. He is living alone in the nut,
hoping for the return of the two chil-
dren. He feeds the doves that gather,
and questions them for knowledge of the
outcast royal children, but they flutter
away. The Wood-cutter and the
STORIES OF THE OPERAS 819
Broom-maker appear, shivering with
the cold The Broom-maker brings his
littlest daughter, and the Fiddler greets
her with gratitude because when he was
perishing in jail she was the only one to
bring hnn bread. The Wood-cutter
brings word that the town has forgiven
the Fiddter, and the children, who have
followed, beg him to come back and
play for them, promising him cakes and
idsses, but he has sworn an oath not to
revisit the hateful town. The Broom-
maker describes the desolation that has
fallen upon the dty, the hostility of the
dhildrai toward their parents. The
little child tells the Fiddler that the
children know the King and Queen were
driven away. They want them brought
back. The Fiddler says he hopes that
when the Spring comes he can go forth
and find them. The child says that
May is a hundred years away, and the
Fiddler, taking up his fiddle limps off
into the wood with the children. The
Wood-cutter and the Broom-maker
remain and search the hut, while the
Fiddler is heard singing, ''Whither hast
thou wandered, oh, my Royal Maid"
(Wohin hist du gegangen). His voice
dies out, and the King's son and the
Goose-girl enter, starved and chilled.
The King's son goes to the door of the
hut and knocks. The Wood-cutter
opens the window, but slams it shut
when the King's son asks for bread.
The Goose-girl regrets that they have
left the cave where they have been in
hiding, but the King's son explains that
hunger was their compulsion, and that
he was lured back to his rightful realm.
He contrasts the gayety with which he
ran away from home and the sorrow of
his exile. To cheer him, she throws off
her fatigue, and dropping her cloak and
tearing her furs from her feet, she dances
barefooted in the snow untU she drops
at the foot of the linden tree. He wraps
her in her cloak and in his own robe.
He resolves to sell the useless crown for
bread, but breaks it in two lest any one
else shoiild wear it. He knocks at the
hut door and the Wood-cutter and the
Broom-maker, who have found nothing
in the hut but the poisoned pasty,
greedily exchange it for the gold. The
King's son takes it to the Goose-girl,
and they quarrel lovingly over which
shall have the larger share. They eat,
and as the poison fills their veins they
dream of Spring and happiness.
Wrapped in each other's arms and
kissing, they fall asleep. The snow be-
gins to fall more heavily and gradually
covers them over.
The Fiddler comes back with the
children, and the Wood-cutter and the
Broom-maker shows the pieces of the
crown and describe the ragged outcast
from whom they had taken it. The
Fiddler calls wildly into the woods,
"Kdnigskinder!! Konigskinder!" A
dove circles about the Fiddler, and flies
to the linden tree, where the Fiddle;^
finds the royal children in the sleep of
death. The children from the town
gather about and place the two bodies
on a bier of pine branches, on which
they are borne away to a royal grave
on the mountain, the Fiddler vowing to
sing them one last song, then fling away
his fiddle forever.
WAGNER, WILHELM RICHARD
Parsifal (par[-sl-fal)
"A consecration festival-drama" in
three acts.
In 1848 Wagner made plans for a
work, "Jesus von Nazareth," which
were gradually modified into the proj-
ect for "Parsifal," on which he was
engaged as early as 1854. But the
poem was not finished imtil 1877, in
which year it was published. He be-
gan the music the next year at the age
of 65. The prelude was privately per-
formed at Bayreuth, Christmas, 1878,
but the work was not completed until
January 13, 1882. The first perfor-
inancewasat Bayreuth, July 28, 1882;
sixteen performances were given during
the following month.
820
THE MUSICAL GUIDE
It was Wagner's earnest wish that
the work shoiJd never be given except
in the theatre to which it was sacred,
though it was performed ahnost entire
in concert form in London in 1884,
imder Sir Joseph Bamby. After much
controversy and an effort at legal
prevention, the work was performed at
the Metropolitan Opera House, under
Conried's management, with Burgstal-
ler as Parsifal, Blass as Gumemanz,
Van Rooy as Amfortas, and Temina as
Kundry. In 1905 it was produced at
Amsterdam.
At its original production there were
alternating casts as follows:
CHARACTERS
Parsifal. Winkelmann, Gudehus,
Jaeger ten.
Amfor'tas. Reichmann, Fuchs . . . bar.
Gurnemanz (goor'-nfi-mlints). Scaria,
Siehr bass.
KuNGSOR (kllnk'-z^r). Hill, Degele,
Plank bar.
TrruREL (tee'-too-r€l).
ELnights of the Grail
Four Squires
Kundry (koon'-drS). Matema,
Marianne Brandt, Malten . . . .sopr.
Flower Maidens
The storv concerns the legend of the
Holy Grail (the chalice from which
Jesus drank at the Last Supper, and in
which blood from His wounded side
was caught and kept). The Grail and
the spear that pierced Christ's side fell
to the care of the Knights Templars,
whose chief, Titurel, built the castle
Montsalvat for their sanctuary. The
power of the Grail was renewed an-
nually by the Holy Ghost, in the form of
a dove, from which the Knights also
received miraculous virtues.
The Knight Klingsor, failing to
obtain admission to the circle, laid
violent hands on himself, and avowed
undying enmity to the Grail Knights
In the wilderness near Montsalvat he
established, by evil magic, a gardeo
filled with flower-women of infenal
charm. Among his enchantresses was
Herodias, who laughed at Christ on His
way to crucifixion and was rorscd
She now exists as Kunclry, only partfy
imder the spell of Klingsor. At bs
behest she works evil sorceries, £or
which she tries to atone when she is
free.
The Knights know her on^ as the
wild Kundo^, but it was she who, under
Klingsor's speU, once enchanted Am-
fortas, the son of Titurd, who had
abdicated in Amfortas' favour. During
Amfortas' enchantment Klingsor ^d
robbed him of the sacred spear, and with
it inflicted on him a wound w^hich could
not be cured save by the same ^)ear,
which should be recaptured by a pure-
souled fool. Meanwhile, Klingsor has
continued to entice away the lvmglit<
one by one, and the Castle of the dail
is the home of despair.
Act I. — Scene i. A forest near a
lake, in the demesne of Montsalvat, the
castle of the Keepers of the Holy GiaiL
The elderly Gumemanz is asleep at the
foot of a tree and two squires are asleq>
at his feet. A reveille of trombones
wakes them ; they kneel in prayer. Two
Knights enter and Gumemanz asks
after Amfortas' health. He is about to
be brought to his bath though
Gumemanz says that his only hope b
in one man.
Kundry enters like a witch, bringing
a small flask of balsam which she has
fetched from Arabia. Amfortas is
brought in on a litter, bewailing his
wound. He thanks Kundry for her
gift and is carried on to his bath. The
squires revile Kundry, but Gumemanz
defends her, and outUnes to the squires
the whole previous history as described
above, ana the prophetic dream of the
guileless fool (d^ reine Thor).
A commotion is heard from the lake,
and a wounded swan flutters d3dng to
the ground. Other squires drag in the
half-witted Parsifal, whose arrow has
STORIES OF THE OPERAS 821
slam theswazL Goineinaiiz rq)roacbes
him for the wanton ciuehy. Paistial,
now first leahzmg what be has done,
weeps and bfeaks his bow and anows.
Tlie swan is bcnme away in state.
Gumemanz, questioning Parsifa], learns
tKaf thou^ he has no name himself,
his mother was called HeartVGrief
{HeneUidc), Kundry hoarsely ezplalns
that he was bom after his father,
Gamooiet, had been slain in battle, ana
was reared in solitude by his timorous
mother. ParsiM says that he was
tared frcHn hcxne by seeing a Ottering
company of Knights ride by, and had
bad to defend hmiself from wdves and
robbers.
Kundry sajrs that she saw his mother
die. At tins news Parsifal, in a frenzy,
seizes Kundry by the throat. Gurpe-
manz takes lum away and rebukes him.
He turns faint and Kundry restores
him with water from a brook; then
Kundry, unnoticed, strug^es in vain
against the sfaimber that mai^
KHngsor's qxH, and faUs behind a
thicket.
Tbe Kn^ts return with Amfortas
and pass on. Gumemanz, half-hoping
that Parsifal is indeed the pure-souled
ixxX^ invites him to the castle; magically
the woods flow back beneath their feet,
till they arrive in Scene n, a lofty cathe-
dral, on whose shrine stands the Holy
GraiL Parsifal, overa¥red, stands in
motionless wonder throughout the long
ceremony of the Eucharist. Knights
aiKi squires gather at tables singing,
and Amfortas is brought in. From an
unseen ciypt axnes the voice of the
aged Titurd ordering his son to cele-
brate the feast. Anuortas in an agony
of pain and remorse reluctantly con-
sents, crying aloud for forgiveness or
death. The GraQ is unveiled and
placed before him, and, in a shaft of
tight &om heaven, Amfortas elevates
the Host.
The ciq» of the Knights are seen to be
fiDed with wine. Gumemanz motions
Farsi^ to sit by him and partake of
the Communion, but Parsi^ does not
move. At the end of the rqnst Am-
fortas' pain breaks out afresh and he
is carried out, and the others withdraw.
Gumemanz, finding ParsiM still stupe-
fied, asks him if he understands what he
saw. Parsi^ shakes his head. Gur-
nemanz in disgust orders him off, with a
warning to leave the swans akxie and
seek the geese, since he is one.
Act n.-^ Scene. Klingsor's Magic
Castle. In the inner keep of a tower,
Khngsor stands amid his magic imple-
ments, and with necromancy summons
Kundry. Her form rises from the
earth, resisting vainly and protesting.
Klingscv exultantly a»nmands her to
change her form and enchant Paisifal,
whom he sees approadung. The other
enchanted Knights are heard resisting
him, but in vain. With triumphant
hopes of possessing the very Grail itself.
Klingsor sends Kundry to her task, bxA
sinks into the earth with his tower,
revealing Scene n: the flowery terraces
of the palace, and Parsifal staring into
the garden. From all sides beautiful
women rush upon him with caresses and
lauditer, each proffering him her love.
At nrst fascinated, he grows colder, and
is about to flee when he hears Kundrv's
voice call him by the name "Parsifal. "
The word reminds him of his mother's
voice and he pauses.
Kundry in the form of a beautiful
woman on a flowery couch dismisses the
other enchantresses. Parsifal a^ her
how she came to call him, the nameless
one, "Parsifal." She tells him of his
mother, her loneliness for her son. and
his death. Thus she brings Parsind to
his knees at her side. Then she offers
him the consolation of her own love,
and kisses him. Her lips bum him.
and he remembers Amfortas' pain and
his outcry against the enchantress whose
charms ensnared him. He denounces
Kundry as the destro>*er of Amfortas.
Kundry tries all her xsnlcSj appealing
for pity because of her ancient suffer-
ings since she laughed at Christ, and
822
THE MUSICAL GUIDE
can only be healed by the retummg
Christ. She begs Par^al to take her
to his arms and redeem her, but he cries
that her love would only make him
share ha damnation. She seizes him,
but he breaks from her. She curses his
pathway and calls for help, and the
enchantresses rush out. Klingsor also
appears on the castle wall. He ruses
the sacred spear and hurls it at Parsifal.
But it pauses in air over his head-
Parsifal, reaching upward, grasps it,
makes the sign of the cross, and the
palace and garden fall into instant ruins.
Parsifal calls to the prostrate Kundry,
''Thou knowest where alone thou see'st
me again. "
Act m. — Scene i. A meadow and
grove in Montsalvat. A hut wherein
dwells Gumemanz, now much older and
in hermit's garb. Hearing groans, he
comes out and finds Kundry lying
amon^ brambles. He restores her to
life with difficulty, and her only answer
is the words "To serve! To serve!"
As she brings water from the spring,
she sees a strange warrior approaching
in complete black armour, with visor
down. The mysterious Knight wiU not
answer Gumemanz' questions save by
noddings of the head. Gumemanz in-
forms hun that the day is Good Friday,
and that he shoidd disarm. He does so
slowly and in silence, kneeling before his
own spear. Gumemanz teUs Kundry
softly that the stranger is the fool he
had banished long ago. Parsifal rises,
recognizes Gumemanz, and tells him of
his long, long wanderings. Kundry's
curse upon his pathway had kept him
from finding his way back till now. He
shows the sacred spear which he has
carried imdefiled. Gumemanz wel-
comes him with rapture, and tells him
that since the day of his departure
Amfortas would no more elevate the
Host, and the Grail has remained un-
revealed. Lacking its aid, the Knights
have grown old and weak, and Titurel
has died.
Parsifal, blaming himself for his lon^
delay to return, grows faint Eundrfy
like a Magdalen, washes his feet and
anoints them, and dries them with her
hair, while Gumemanz, like a John the
Baptist, baptizes him, and at Parsifal's
behest anoints his head, for Parsifal is to
be the King. Parsifal now baptizes
Kundiy and redeems her.
Seeing how fair the landso^ is, Parsi-
fal wonders that nature should not
grieve on the day of agony, but Gor-
nemanz answers that everything glows
with gratitude to the Saviour. (This
scene is known musically as The Spdi
of Good Friday and the Flowering
Meadow intermezzo.) Parsifal kisses
the brow of Kundry, and the peal of
bells in the distance calls him. Gur-
nemanz brings out armour and a mantle
of the Grail Knights, and he and Kun-
dry fasten them on ParsifaL Once
more the landscape flows magically be-
neath their feet, but in the c^posite
direction from Act i. Once more they
arrive in the Hall, Scene n: but now the
Communion tables are missing.
The Knights bring in Titurel's body
in its coffin, and Amfortas in his litter,
preceded by the covered shrine of the
Grail. Amfortas has consented once
more to reveal the Grail. He blames
himself now for his father's death and
implores the dead body to moant to
heaven and pray: "Saviour, give my
son peace. "
The Knights demand the uncovering
of the Grau, but he asks them rather
to day him. Baring his wound, he begs
them to thmst in their swords and slay
him. They shrink back, but Parsifal,
advancing with the sacred q)ear, pats it
forth and touches Amfortas' wound,
saying that only the weapon that made
the woimd can heal it. Amfortas, re-
leased from pain, thrills with ecstasjr as
Parsifal announces that he himself will
reign thereafter. The Grail glows and
a halo of glory streams down feom
heaven, in which a white dove descoids
and hovers over Parsifal's head. He
rises and elevates the GraU. Kundiy
STORIES OF THE OPERAS 823
sinks slowly into a blissful death.
Amfortas and Gumemanz kneel in
homage to the guileless fool.
PUCCINI, GIACOMO
Madama Butterfly
A Japanese tragedy in two acts.
Libretto by L. Qlica and G. Giacosa
(after the book and plav by John
Luther Long and David Belasco).
Produced La Scala, Milan, 1904,
in two acts and hooted off the stage.
Withdrawn after one performance and
revised in three acts. Produced again
at Bresda with an immediate success.
Repeated at Covent Garden, 1905, and
throughout the world.
CHARACTESS
Hadama Buttekfly
(Cho-Cho-San) sopr.
Suzuki,
EerServcmt mez*sopr.
Kate Pinkerton met-sopr.
B. F. PlNKERTON,
Lieutenant in the United States
Navy ten.
Shakpless,
United States Consul at Nagasaki . bar.
Gotto,
A Marriage Broker ten.
PuNCE Yaicadosi bar.
Tms Bonze,
CkihChihSan's Unde bass.
Yakuside bar.
The Impesial CoiofissiONER....bass.
Tore OmciAL Registrar bar.
Cbo-Cho-San's Mother . . . mez-sopr.
The Axjnt mez-sopr.
The Coxjsin — •. sopr.
Trouble,
ChthCho^an's Child
Place of action at Nagasaki, Japan.
Act I. — Scene. A Japanese house
and garden, with the harbour in the
backgroimd. A United States naval
officer. Lieutenant B. F. Pinkerton, has
hired a Japanese marriage broker, Goro,
rocure for him the pretty Japanese
E Cho-Cho-San, with whom he has
me infatuated. The broker has
arranged the. contract and leased this
house — both leases for nine hundred
and ninety-nine years, and both break-
able at wilL At the rise of the curtain,
Goro b explaining to Pinkerton the con-
veniences of the little house and the
conveniences of Japanese marriage-law.
The two servants come in and prostrate
themselves, but are dismissed with scant
courtesy by Pinkerton. Goro explains
that the bride's relatives must be
present in large numbers at the cere-
mony. Sharpless, the American Con-
sul, comes in, out of breath with the
climb. Refreshments afe served and
Pinkerton gayly exalts the Yankee
spirit, but Sh^jpless warns him that his
course is dangerous. Pinkerton de-
scribes his infatuation — "love or
whim" (Amore o griUo)? Sharpless
begs Pinkerton not to crush this butter-
fly. Pinkerton laughs at his old-fogy
notions, and drinks to the da^ when
he will marry ''in true marriage an
American. "
Butterflv enters singing of the breath
of Spring (Spira sul mare). She kneels
and orders her friends to kneeL Shaip-
less asks her of her people, and learns
that she comes of a wealthy family
whose sudden poverty drove her to the
life of a geisha. Her father is dead, but
she has two uncles; one of them is a
toper; the other is the Bonze, a great
man. She is fifteen years old.
The High Commissioner and the
official Registrar and the relations now
arrive. Pinkerton laughs at the farce
(Che burletta) . Refreshments are served
and the papers are drawn up. Mean-
while, Butterfly takes from her big
sleeves her possessions. She throws
away her jar of paint at his protest.
She has brought also the sword the
Emperor had sent to her father with
instructions to commit hara-kiri; brings
out the images of the souls of her an-
cestors; to please him she has gone to
824
THE MUSICAL GUIDE
the mission, forsworn her religion and
taken his; and now she throws the
images away.
The marriage bond is signed, and
the guests are dispersing, when the
Bonze enters in a rage and demands of
his niece what she was doing at the
mission. Learning that she has re-
nounced her religion, he curses her and,
gathering the relatives together, leads
them all away, renoimdng her. But-
terfly weeps. Pinkerton consoles her
tenderly, the servants close the sliding
walls, and Butterfly, aided by her maid,
Suzuki, prepares her toilet. Pinkerton
muses on her ways of a little squirrel
(Con moti di scojaUolo)^ her childlike
charms ifiimbq dagli occki). She com-
pares herself to the moon-goddess (La
piccola Dea delta luna), tells of her fear
of him when the marriage-broker pro-
posed marriage to a foreign barbarian,
and now of her love. She begs him to
be good to his butterfly and not to thrust
a needle through her heart, as Ameri-
cans do with butterflies. She points
to the star-filled night (Dolce noUel
QuarUe steUel) and he leads her to the
marriage chamber.
Act n. — Scene. Three years later.
Inside the same house. Suzuki is
praving and ringing a prayer-bell. But-
terfly says that the God of her hus-
band must have overlooked them, for
they are near to starvation and Suzuki
has only a few coins left. Butterfly is
sure that her husband will return, and
quotes his promise to come back when
Uie robins nest. ''Some fine day we'U
see the smoke of his ship" (Un bel di,
vedrenw). Sharp! ess and Goro appear.
The Consid brings a letter from Pinker-
ton. She asks when robins nest in
America. "They have already nested
thrice in Japan; perhaps they nest less
often in America." Goro laughs and
Butterfly explains that as soon as
Pinkerton left her, Goro tried to bribe
her to marry the Prince Yamadori, who
enters now and declares his love.
They insist that Butterfly is already
divorced through her husband's
tion. Goro whispers that Pinkertco's
ship is already signalled. Shaniless
has had a letter asking him to break the
news to Butterfly that PinkeitoQ is
married and does not want to see her.
Yamadori rejected again, goes away
dejected and Sharpless reads the letter
to Butterflv, trymg to prq>aze her.
But ^e is furious and orders hxm out,
then begs his forgiveness, and to Pipvt
that she could not be forgotten, biiogs
in her baby, bom after Pinkerton Idt
her. Surely the mother of so wooderfol
a child could not go back to the geisha
life.
Sharpless rises in despair, kisses the
child and asks its name. Butterfly
says his name is " Trouble" till his father
returns; then it shall be " Joy. ' ' ^Tmi
Sharpless goes, Suzuki drags in Goro,
saying that he has been spreading t
scandal that nobody knows who is the
baby's father. Butterfly is about to
kill him with her father's sword, bat
spurns him and he slinks away. A
cannon is heard from the harbour.
Butterfly mad with joy, gets her tele-
scope and reads the name of PinkcrtQfi*s
ship, the Abraham Lincoln,
Flowers are gathered and scattered
everywhere. She is made beautifol,
and her wedding obi donned. Thtj
make three little holes in the wall to
watch for Pinkerton. The vigQ is pn>
longed till Suzuki and the ciiild £il
asleep, but Butterfly stands like a
statue. The slow passage of the to^
is indicated by the orchestral inter-
mezzo, accompanied by the ^»^™^««t
of an unseen cnorus.
Dawn comes, sailors are heard in the
distance, Suzuki wakens and begs But-
terfly to rest. She takes the Sild 141
the stairs, crooning to it (Dormi amf
tnio). Sharpless arrives with Pinker-
ton. Pinkerton will not let Suzuki caT
Butterfly. She sees a woman in tb:
garden. It is Pinkerton's Anookir
wife. Sharpless explains that she &
willing to adopt the child an<i rear k
STORIES OF THE OPERAS 825
Suzuki refuses to cany the proposal to
Butterfly. Pinkerton looks about at
the flowers, in remorse {Ok! Vamara
fragrarua). He cannot face Butterfly,
out gives the Consul money for her aiKl
hornes away.
His wife, Kate, comes in and Butter-
fly returns, heazing voices. Kate ex-
plains the situation. Butterfly b ma-
jestic in her grief, and promises that
Pinkerton shaU have his child if he will
come for it himself in half an hour.
Sharpless and Mrs. Pinkerton go, and
Butterfly, driving out the heartbroken
Sumki, prays to Buddha, takes her
father's sword and reads the legend on
the blade, ''With honour die whoso
cannot with honour live." She b
about to kill herself when Suzuki thrusts
the child into the room. She embraces
the d^ild firantically (Tm, /m, piccolo Id-
dio) and tells him that she is dying for
lus ^ake, that he may cross the ocean.
She begs him to remember her, then
seats him with an American flag anda
doU, and bidding him play, goes behind
the screen. Thesworaish^irdtodrop,
and she comes from behind the screen
with a white veil wrapped around her
throat. She falls at the child's side,
and as Pinkerton rushes in with the
Consul, she points to the child and dies.
PUCCINI, GIACOMO
La Toaca
"A melodrama" in three acts.
Libretto by L. Illica and G. Giacosa.
(After the pl^ by Sardou.)
Produced Costanzi Theatre, Rome,
January 14, 1900.
CHAXACTESS
Floria Tosca,
A CeUbraied Songstress sopr.
Mario Cavaradossi,
A Painter ten.
Baron Scaspia,
ChUf of Police bar.
Cesare Angelotti bass.
A Sacristan bar
Spoletta,
Police Ageni ten.
SCIARRONE,
Gendarme bass.
A Gaoler bass.
A Shephesd Boy contr.
ROBERTI,
EseaUioner
The action takes place at Rome,
June, 1800, and omcems the activities
of the Baron Scarpia, Chief of the Police
in his efforts to recapture Angelotti, the
Consul of the fallen Roman Republic.
Just before the rise of the curtain
Angelotti has escaped from the prison
of San Anselo, and has made his way to
the Chun± of Sant' Andrea aUa Valle,
where his sister has concealed in the
Attavanti Chapel a woman's costume to
aid his esc^. It happens that a
painter, Mano Cavaraoossi, who has
been painting frescoes in this chapel,
has made a sketch of Angelotti's sister
as she has knelt at prayer. This hastv
portrait is the cause of a quarrel with
Mario's sweetheart, the celebrated
singer, Floria Tosca: and her jealousy
is the weapon which Scarpia uses for
the eventual destruction of everybody
concerned.
Act I. — Without any overture, the
curtain rises with the nrst music from
the orchestra. Angelotti in convict
garb steab into the empty church, finds
a key at the foot of tne Madonna's
statue, and lets himself into the Atta-
vanti Chapel, just as the Sacristan, who
is cleaning Mario's paint brushes,
comes in followed by the painter, who
ascends the dais and uncovers the
picture of Mary Magdalen, which is
the portrait of Angdotti's sister. The
Sacristan recognizes the likeness and
Mario confesses that he has made
the sketch without the model's
knowledge. As he paints, however,
he takes out a miniature of La Tosca
and, comparing the two, avows his
heart's fidetity to La Tosca (Recondite
armoma). The Sacristan points out
826
THE MUSICAL GUIDE
to him the basket of food, but
Mario tells him to leave it and go.
Later Angelotti, thinking the church
empty, comes from concealment and is
discovered by Mario, to whom he tells
his story. Mario gives him the basket
of food and he hurries back into hiding
as La Tosca enters, jealously insisting
that she heard voices. Mario only
partially convinces her, but she tells
him to meet her at the stage door after
the performance that they may retreat
together to their villa in the country
{Ohaltuo fianco senUre), She catches
sight of the portrait, recognizes it, and
her jealousy is again suppressed with
difficulty. He swears he prefers her
black eyes to the blue eyes in the por-
trait {Quale occkio al mondo)^ and she
departs after a duet of love. Angelotti
returns from the chapel with the
woman's costume his sister has left for
him, but Mario thinks it unnecessary
for him to put it on and offers the pro-
tection of his own villa. A cannon shot
is heard announcing the prisoner's
escape, and the two men hurry away as
the Sacristan and the choir-boys enter
with the glorious news that Napoleon
has been defeated. Their joy is silenced
by the unen)ected entrance of S<^Tpia,
with his aide, Spoletta. Scarpia finds
that the Attavanti Chapel has been
opened with a new key, and inside he
finds a fan with the family coat of arms.
He recognizes also the portrait on the
easel, and discovers that the basket of
food brought for Mario has been emp-
tied, although the Sacristan insists that
Mario refused to eat it. Tosca returns,
and Scarpia, who loves her, devises a
scheme to play upon her jealousy for a
double purpose: to make her betray
Mario and to bring her into his own
power. He shows her the fan, which he
claims to have found upon the easel,
and convinces her that the blue-eyed
woman has been meeting Mario secretly.
She swears revenge and hurries out,
and Scarpia, giving instructions to
Spoletta to follow her in a dosed car-
riage, remains to exult over his triumph
and then to kneel in prayer.
Act n. — Scaipia's apartments in the
Famese Palace. Scaipia is dinios
alone and rejoicing over the assured
capture of Mario and AngelottL Be
has sent word to Tosca, who is to sing
for Queen Caroline in the Palace, that
she must come to his apartments it
once ''for the sake of her Maria'
His gendarme, Sdarrone, is sent to
bring Spoletta. who comes to say that
he has arrested Mario, and searched hb
villa, but has been unable to ficd
Angelotti. Scaipia orders Mario
brought into his presence, and stands
listening to the music which is bdsg
sung for the Queen, and m whidi
Tosca's voice is audible.
Mario is brought in with Robcrti, the
executioner, and a judge. Idario is
indignant at his arrest and denies all
knowledge of Angelotti. Tosca' is
brought in in great alarm and, as she
embraces Mario, he warns her to say
nothing. Scarpia orders him takes
away, and murmurs to the executiooer
that he is to be tortured. Then be
turns to Tosca with suave pditcDess
and questions her about what she hai
learned at Mario's villa. She says th^
her jealousy about the fan was ixt-
founded and that Mario was entird)
alone when she arrived at his \t&s.
Unable to move her otherwise, he te&
her that Mario is being tortured with a
steel band about his temples. He is
heard groaning and she calls to hie.
but he warns her to keep silence. At
last, however, Scarpia permits her u
look into the torture chamber and she
is overcome by what she sees. She
confesses that Angelotti is concealed is
an old well in the garden. Maxio is
brought in swooning, and Spoletu ^
ordered to go search the -well in tbc
garden. Mario, overhearing, acnst^
Tosca of treachery and repulses htr
Sciarrone brings word that Napokcc
has won the battle of Marengo and i^
royal troops have been defence.
STORIES OF THE OPERAS 827
This brings a cry of joy from Mario.
Soirpia orders him hanged. He is
draCTed away, and Tosca remains to
pl^ul for his life. Scarpia will save it
if she will pay the price — herself. He
pours out his love for her with ardour
that she detests. She repulses him
untfl she hears the drums of the death
march, and is told that the gallows
awaits her lover outside the window.
Spoletta enters to say that Angelotti
took poison when captured, and Scarpia
orders Mario shot. Tosca consents
with a sflent nod to pay Scarpia's price,
and he promises that there shall be a
mock execution with blank cartridges.
He instructs Spoletta that Mario's
execiilion is to be conducted ''like that
of Paunieri. " Spoletta, understanding
his duplicity, hurries away. Tosca
insists that Scarpia must write a safe
conduct to take her and Mario out of
the country. While Scarpia is writing
it she picks up a sharp knife, and when
Scarpia moves to take her in his arms,
she stabs him to death. As soon as he
is dead she forgives him, and finding the
safe conduct clenched in his fingers,
takes it from them, and puts out all the
lights, except two candles, which she
places on either side of him. She
removes also a crucifix from the wall,
and, pladng it on his breast, slinks out
of the room.
Act m. A platform of the castle with
a trap-door and a flight of steps. It is
almost daybreak and the voice of a
shepherd leading his flock to the hills
is heard dying in the distance. Mario
is brought in under guard. The jailer
records Mario's name and grants his
request for the privilege of writing a
letter of farewell. As he begins to
write he muses upon Tosca coming into
his garden under the starlight (E luce-
van le steUe), He breaks down and
weeps as Spoletta appears, foUowed by
Tosca, who rushes to him and shows
him the safe conduct. Perceiving the
signature of Scarpia, he demands what
price die paid. She says that he de-
manded "your blood or my love," and
describes how she had killed him. He
wonders at such a deed at such gentle
hands (O dolci mani). She explains
the plan of escape and informs him that
he must simulate death after the volley.
There is a love duet (Amaro sol peric).
The firing party enters. Mario is led
to one side. He refuses to have his
eyes bandaged. The soldiers fire.
Mario falls. The soldiers are led away,
leaving Tosca alone. She hurries to
Mario bidding him to make haste.
She finds that he is actually dead,
Scarpia has duped her after all; she
throws herself upon his body in agony of
grief. Spoletta and others return,
exclaiming that Scarpia has been as-
sassinated by Tosca. As Spoletta
rushes to seize her, she springs upon the
parapet and leaps to her death.
PUCCINI, GIACOMO
La Fanciulla (fan-chool'-lft). Del
West. /. TheGirioftheGoldtnWest.
An opera in three acts. Book by C.
Zangarini and G. Civinini (after the
drama by David Belasco).
Produced, Metropolitan Opera House
New York, December 10, 1910.
CHARACTERS AND THEIR CREATORS
Minnie Emmy Destinn, sopr.
Jack Rance,
Sheriff Pasquale Amato, bar.
Dick Johnson,
Ramerrez Enrico Caruso, ten.
Nick,
Bartender Albert Reiss, ten.
Ashby,
A gent of the Wells-Par go Transport Co,
Adamo Didur, bass.
Dinh Gilly, bar.
ten.
bar.
Miners ^-
ten.
Glen Hall, ten.
... A. Pini-Corsi, bar.
bass.
Sonora
Trin
Sid
Handsome . .
Harry
Joe
Happy
Larkens . . .
828
THE MUSICAL GUIDE
BnxY Jacksabbit,
An Indian. . . Georges Buigeois, bass.
WOWKLE,
Billy's SquaWf
Marie Mattfeld, mez-sopr.
Jake Wallace,
Travelling camp-minstrd,
A. de Seguida, bar.
Jose Castro bass.
A Greaser from RamerreM* gang
A PosmjON ten.
Men of the Camp
Place of action, California in the days
of the gold fever, 1849-1850.
Act I. — Scene. Interior of the
''Polka," a barroom and dance hall.
On the wall a placard offering a reward
of five thousand dollars for the stage-
robber, Ramerrez. The room is full of
miners gambling and drinking. From
the distance comes the homesick voice
of Jake Wallace, singing his song of
"Way Back Yonder" {Ld lontano),
Larkens, another miner, breaks down
with homesickness and a subscription is
taken up for him. Sid is caught cheat-
ing at kro. Jack Ranee, the Sheriff,
saves him from being l3mched, but pins
a badge on him in token of dishonour
and has him kicked out. Ranee and
others play poker as Ashby, the WeUs-
Fargo agent enters. Ashby tells them
that he is hard on the track of Ramerres
and expects to catch him soon. Nick
enters with whiskey and glasses, telling
the boys that Minnie has sent it to
them. They all join in drinking to
Minnie. Ranee impressively tells them
that Minnie will be Mrs. Ranee shortly.
Sonora bursts out with rage that Min-
nie is only fooling Ranee, whereupon
ensues a fight, which is stopped by
Minnie's entrance. She separates and
subdues them all.
The bo3rs gather around her, giving
her presents. Sonora hands her a little
bag of gold to clear up his debt to the
bar, and Minnie signs for it and places
it in the barrel. She then takes out her
Bible and holds her school for tlie boys,
treating them all as little children.
The ponv-eroress boy enters with fet-
ters, and tells Nick that a greaaei has
been seen hanging around, and to be
on his guard. Ashby asks him if be
knows an adventuress by the name d
Nina Micheltorena. Minnie interposes
that she has heard of this creature, wbo
tries to make love to aU the boys.
Ashby tells the Sheriff that he will catcb
Ramerrez that night, as Nina his
betrayed his movements.
As the boys read scraps of their home
letters aloud, Ranee makes kwe to
Minnie and asks her to many him.
Minnie asks him what will become of
the wife he already has. He teUs her
that for her sake he will desert In^ wife.
Minnie, drawinj^ a pistol, warns Ranee
to cease his dishonourable proposals.
Ranee goes angrily to the faro table,
and Minnie follows to say that she has
only done what she was taught dowa
at her home in Soledad {Lagg^^ nd
Soledad).
Nick reenters with RameneXy alias
Dick Johnson, whom Minnie greets and
seems to remember. Hiey recall to
each other their meeting on the road to
Monterey and vow that neither evci
would or ever could foigct. He a^
her to dance with him; some of the
others follow. Sounds of shots aie
heard and Ashby enters dragging Jos6
Castro. Castro, seeing Johnson's sad-
dle, believes that his master is ci4>tured.
but when he is questioned by Rana
concerning Ramerrez he gives them a
false scent; and they decide to foOov it
The door opens and Castro meets the
eves of Johnson and secretly teUs ^zb
that Jcmnson's following are near at
hand and will give the si^ud when ther
are ready to come to him. Ranee acd
the others gallop away on the false
scent, taking Castro. Nick goes into
the dance hall to put out the Kg*»*<^
Minnie and Johnson talk together. A
whistle is heard and Johnson reaiias
It is the signal of his men. Mhuiie 5
STORIES OF THE OPERAS 829
itened and tells Johnson tliat the
, ry resenting all the labour of the
>ys, is in the barrel under her care,
but she will fight for it with her life.
Johnson is so moved that he cannot
take the gold as he intended. He tells
her that he wants to come and see her
in her cabin by the hillside, and that she
has the face of an angel. He goes, and
Minnie b left alone. rq>eating as the
curtain falls, ''The lace of an angeL"
Act II. — Scene. The interior of
Minnie's cabin. The act opens with
WowUe, the Indian woman, singing to
her baby (// mio bimbo). Billy, the
Indian, enters and they discuss mar-
riage till Minnie appears and makes
prq>aration to receive Johnson. John-
son enters and they have a love-scene.
Minnie sings "You should see my little
Kay" (Ho un piccolo foUedro). Wow-
5 enters with canoles and Minnie
sends her home, telling Johnson that
he may stay for an hour longer. Dur-
ing their further love-scene, the snow-
sUxm increases, till Minnie tells Johnson
that it will be impossible for hun to go
at all. Minnie sends him to rest on
her bed, while she wraps herself in a
blanket to sleep by the nre.
^Hck is heard knocking and calling at
the door. Minnie forces Johnson to
hide, as she fears the jealous Ranee has
come and brought the others. As she
opens the door, Ranee, Nick, Ashby,
and Sonora enter. They tell Minnie
that they feared for her safety, and that
Johnson is in reality Ramerrez, who
had come to the "Polka" to rob it.
Ranee convinces Minnie that Johnson is
RanMcrrez, and has been betrayed by
his woman, Nina Micheltorena, show-
ing her the picture of Johnson given
them by Nina. Minnie, concealing her
jealous agony, sends them away, and
then orders Johnson to come out of hid-
ing. She accuses him violently, and
Jotinson bursts out in self-defence, con-
fessing "I am Ramirez, vagabond by
birth," (Sono Ramerra: nacqui vaga^
battdo). Minnie, moved, at the story of
his life, says that she could foigive him
anything but his having taken her first
kiai: that she cannot foigive; she sends
him out into the blinaid. He goes and
immediately after, shots are heard.
Minnie opens the door and Johnson
staggers in wounded. He struggles to
Si away again, but Minnie helps him to
de in the loft, declaring that she loves
him. Ranee, knocking excitedly, Min-
nie runs to admit him, feigning surprise
as Ranee declares he has tracked
Ramerrez to her cabin. Minnie denies
having seen Johnson, and Ranee makes
violent love to her. As she repulses
him, a dn^ of blood falling on his hand
from above leads to the discovery of
Johnson. Minnie hel^ Johnson down
the ladder, and as he faints, she bargains
to gamble with Ranee — s^e is to have
Tohnson's life if she wins; she gives
herself to Ranee if she loses. During
the game, Minnie contrives to exchange
her cards for others hidden in her stock-
ing. Ranee, believing that she has fairly
won, goes and Minnie is left sobbing
on the inert body of her lover.
Act m. — Scene. Early dawn on the
edge of the great California forest.
Nick and Ranee talk of Johnson, curs-
ing his love for Minnie. Men come and
go on horseback and there is pursuit.
Sonora rides in with the news of John-
son's capture. Ranee exulting, sings
''Your turn to we^ now Minnie"
(Minnie, ora piangi lu)/ The men dance
and sing pointing to the tree where Billy
is preparing the noose for hanging.
Jolmson appears in the midst of a crowd
of horsemen. Ashby hands him over to
Ranee and demands that justice be done
without delav. The men insult John-
son. He tells them that he does not
fear to die, but only begs that Minnie
shall not know. He sings " Let her be-
lieve me free and far away" (CWella mi
creda Ubero e lontano). As they take
him to the tree where Billy holds the
noose, Minnie rides in wildly crying,
followed by Nick. She throws hersdf
in front of Johnson, holding a pistol
830
THE MUSICAL GUIDE
toward the men, who dose in threaten-
in^y. She pleads with them: ** I claim
this man as mine'' {Ora quest' uomo i
mio). So appealing to them eadi in turn
for some tavour or service she has
rendered in the past she melts their
hearts. Sonora uees Johnson, and to-
gether Johnson and Mmnie take up the
trail toward the mountains singing
"Good-bye, My California."
DEBUSSY, CLAUDE ACHILLE
PelUas et M^lisande (p«l'-la-fts
ft mft-le-s&nd
Lyric drama in five acts. From the
play bv Maurice Maeterlinck.
Produced Op^ Comique, Paris,
April, 30, 1902.
CHASACTESS
Akkel, King of AlUmonde bass.
Prince Golaud (g6-l5),
His grandson bar.
Pelleas,
Half-brother of Golaud ten.
Melisakde sopr.
Genevieve (zhiSn— vyfiv),
PeUias* mother jnez-sopr.
Yniold (Cn-yAl'),
Golaud*s son,
A Physician
Act I. — Scene i. A forest in Alle-
monde. Mdisande is seated by a foun-
tain weeping. Prince Golaud, who is
hunting and has lost his way, asks her
why she weeps. She shrinks from him.
She has dropped into the fountain her
crown, but will not let him regain it.
He persuades her to let him lead her
away, as the night is coming on.
Scene n. A room in the castle. King
Arkel is listening to a letter read to him
by his Queen. It is Golaud's letter to
his half-brother, Pell^, telling how he
had found Mdlisande and later married
her, and now fears to bring her home
lest Arkel refuse to receive her. Go-
laud has been a widower devoted to his
little son, Yniold. Pelldas enters to say
that he is called away by the illness of
hb friend Marcellus. Arkel teOs him be
must await Golaud's arrivaL Scene
in. In front of the castle. Mfiisande
is complaining to Genevieve <^ the
gloom of the surrounding focests.
Pellto ai^)ears and they watch a ship
putting out with the coming stonn.
Genevieve leaves them and PelMas
helps Mdlisande to descend. She hopes
that he will not go away.
Act n. — Scene i. A foontam in the
nark. Pe116as and Mdlisande enter, and
Mdlisande tries to reach down into the
dark depths. She plays with the ring
Golaud gave her. It falls and is lost
She is afraid and wonders ^diat to tell
Golaud. Pell6as says "The truth, the
truth, the truthl'' Scene n. An
apartment. Golaud is ill; his horse ha
thrown him. M^isande staxK^s by hs
bed, she begins to weep. She is wA
happy at the castle. She wants Gobud
to take her away. He questions her
dosely of Pelleas. He notes that hE
ring is gone. She is confused and te&
him she lost it in the sea while gatherins
shells for Yniold. He bids her go Imnt
for it. She is afraid of the dark. Ht
tells her to take Pelleas with her; she
goes weeping. Scene m. Before a
grotto. Pellto would lead Mdisande
within so that she may describe it as
the place where she lost the ring. Tht
moon reveab three poor old men askecp.
She is afraid and will not enter.
Act m. — Scene l A tower, MSSs-
ande at a window sings as siie oon&
her long hair (Mes longs checeux do-
cendent). Pell^ appears and peases
her hair. He tells her he must kave
on the morrow, and would kiss her
hand. As she bends over, her hair fa&
about him; he embraces and Wt«<^ it
It "inundates" him, it "loves" Wt
To hold her prisoner, he ties it to a
willow. Two doves are frij^tened by
her outcry and fly off. Golaud araeas
and calls them mere children. Heladi
Pell^ away. Scene n. A vmoh vo-
der the castle. Golaud leads Pdtte ia,
q>eaking of the odour of death and tke
STORIES OF THE OPERAS 831
deep abyss. PeO^ feels suffocated
and they go. Scene m. A terrace.
Pell^ comes gasping frcNn the vaults.
Golaud warns him that there must be
DO more of these games of children.
Scene iv. In front of the castle under
M^lisande's window. Golaud takes his
little son Yniold on his knees, questions
him of his stepmother, Mdlisande.
The child sa3rs that Pelldas is always
with her. Golaud's grasp makes the
child cry. ' Golaud promises him toys.
Yniold says that Peu^ and M6lisande
do not send him away. They are
afraid not to have him there. They
are always afraid. Did they ever kiss?
Once when it was raining. Now a light
appears in the window above. Golaud
lifts the child so that he can see into
M^lisande's room. He sees Pell^
. there, but the two are apart, just gazing
at one another.
Act IV. — Scene i. A corridor. Pel-
Idas meets M^lisande. He has just come
from talking with Arkel, who has ad-
vised him to set out on his voyage. He
has made up his mind to go. Arkel
enters and speaks tenderly to the sor-
rowful M^lisande. Golaud appears.
His forehead is bleeding. He says he
tore it on a thorn. He repulses M61is-
ande and demands his sword. He
seizes M^lisande by the hair and drags
her about; then strides away. M61is-
ande sighs ''He loves me no more. I
am not happy." Scene n. A dark ter-
race. Ymold is trying to lift a rock
behind which his ball has rolled; he
Causes to watch a flock of sheep driven
y in a panic. Scene m. A fountain.
Pell^as broods over the snares of destiny.
M^sande comes. She is fearsome,
but he suddenly seizes her in his arms
and she confesses her love. In the
midst of their mutual rapture they hear
the noise of the castle gates closing.
They hear some one approaching.
They kiss as Golaud rushes upon them
with drawn sword. Pell^ falls and
M£lisande flees in wild terror with
Golaud in pursuit.
Act V. — Scene i. An apartment.
Mdlisande lies in a bed. A physician
tells Golaud and Arkel that she should
not die from so little a wound. Golaud
b bitterly remorseful, "They were
embracing like little chfldren — and I
did it in spite of myself. I did it in
spite of myself." Mdisande wakens.
Arkel tells her she has been a little
delirious for days, and she has borne a
chOd. She asks Golaud to come dose.
He asks the others to withdraw and
begs her forgiveness. As she is about to
die, he implores her to tell him truth-
fully if she loved Pclldas. She says that
she loved him, but there was no guilt in
them. Golaud cannot believe her.
The servants gather unbidden with an
ominous prescience. Golaud begs again
to question her; but Arkel teUs him not
to disturb her, "The human soul is very
silent. The human soul loves to steal
away alone." He leads the sobbing
Golaud from the room. " It was a little
being, peaceful, so timid, so taciturn.
It was a poor little mysterious thing,
like everybody else. She lies there as
if she were the elder sister of her child.
It must live in her place. It is the
little one's turn now."
WOLF-FERRARI, ERMANNO
I Giojelli Deria Madon'na
(6j5-y€l'-l€) /. The Jewels of the
Madonna.
Three-act opera. Book by the com-
poser. Lyrics by C. Zangarini and E.
Golisdani.
Produced Berlin, December 33, 191 1.
CHARACTEKS
Genkaso (g€n-nft'-rO),
A blacksmUh ten.
Cakmela (k^-m&'-lH),
His mother mez-sopr.
Maliella (mfil-y^'-l&).
Her foster-child sopr.
Rafaele (rft-fft-ft'-l6),
Head of the Camorra bar.
BiASO (b^ft'-s6)
A scribe buf-ten.
832
THE MUSICAL GUIDE
CiociLLO (che-chXl'-lO) j Cai»- ten.
Roc'co I orrists bass.
Stella ^ sopr.
CoNCETTA r^"^ ^P'-
(kto<het'.Ul)V ?j^.
Serena I ,^(j contr.
(sa-rft'-nft) j
Grazia (gr&ts'-y&)
Knoum as'* la liqndina**
Toton'no,
il >'(mif£ man (?/^ peasant class . . ten.
Place of action: Naples. Time:
The present day.
Act I. — Scene. A small open square
by the sea; Carmela's house, Genniuo's
workshop, Biaso's hut and tavern. It
is the afternoon of the festival of the
Madonna, and the square is crowded
with merrymakers of all sorts. The
Children of St. John and others pass b^
in procession. When the crowd is
somewhat dispersed, Gennaro works at
his anvil on a wrought-iron candela-
brum. .Totonno quizzes him for being
so serious. When he is gone, Gennaro
kneels before the anvil as at an altar and
pledges the gift to the Madonna (if a-
donna, con sospiri). Maliella rushes
out of the house in disarray, re-
buked by her foster-mother, Carmela.
Gennaro, her foster-brother, protests
against her recklessness, and she accuses
hun of jealousy. Biaso, the scribe,
gives her a paper cap and she sings the
" Canzone di Cannetma, " while a diorus
of Camorrists come over the bay.
Then Maliella dashes out followed by a
crowd of young men ; and Gennaro pours
out to his mother, Carmela, his j^ous
anguish. The mother tells how, when
Gennaro was a sick baby about to die,
^e vowed to adopt an infant giri begot-
ten in sin if the Madonna would spsne
Gennaro's life (Teri im porno ammalalo
bambino), Maliella luis turned out
badly, but Carmela hopes that mar-
riage with an honest man will reform
her. Gennaro goes out with his candel-
abrum, as the Camoirists chase Biaso
and tlueaten him because he has pco-
tested against their pursuit of Matidfa.
Among them is Rafade, their chief.
He seizes the giil in his arms witli a
song of love {Si, ferdU ^ amo^ UBe
ass€issina). She tries to escape, but
they surround her and sing a mod
serenade (Old Plam, Plaml) She d^
fends herself with a sharp hatpin, and
stabs Rafade in the hand. . He kisses
the wound made by her ''kiss of steel"
(Bade di lama), and thrusts a flower in
her bosom. She throws the floiwer down.
The crowd now amears to watdi the
procession of chilaien in white, jpie-
ceding the imay of the Madonna Dur-
ing the procession Rafade pours out his
love and asks her if she wishes to be
adored kneeling (AdorarH in muedM)
and if she wishes him to steal Uie Jcmk
of the Madonna for her. Gennaio a(h
pears and warns her agamst Raiade.
When Maliella defends him, Gcmiait)
orders her into the house, and is about
to attack Rafade; but the pfoccssion
reappears, and all must kned. Raibefe
throws a flower to MalieDa. Sie pidB
it up, puts it in her Iqs and huxries into
the house.
Act n. — The garden of CanndaH
house in the evening a few hours later.
Maliella stands near the railing lookiDg
longingly toward the sea. She is stil
holding the flower. Caimela hods ^bem
good-night and ^oes in. Malidla turns
on Gennaro saying that she is sick d
this gloom and is g(Mng away. Stt
goes inside and can be seen at her vii-
dow packing her things, as she ame a
popular love song (E f§drm^kky
ndrangkete). She comes out with her
bundle and Gennaio checks her, lovinijlf
embraces her and pours out his devolka
(Si, perdu t*amo, fadoro). She ii
astounded, but says she could loveoBtr
a man of reckless courage like the ooe
who had offered to steal for her tk
Tewels of the Madonna. Gennaio is
horrified, but when she starts to go,
prevents her, and she storms badt tohor
STORIES OF THE OPERAS 833
room in a rage, leaving him akme with
a sacrikgioiis tenqiUtioii. At last» he
goes to a tool chest and taking out
skeleton keys and files, steals away like
athieL
A groiq> of serenading Camonists,
among them Rafaeie, i^ipear and call
upon MaKdla to open her window
(Aprila, 0 beOa, La jmestrtUa), Mai-
iella i^ipeais, and Safaele makes love
to ber, and promises to make her queen
of hb band. At last she embraces him
through the bars of the gate just as a
Rraming is given that Gennaro IS return-
ing. Rafeide disa^>ears as Gennaro
comes back in a inood of honor. He
:aiTies a bundle, whkh he opens at
^ffaliella's feet It contains the Jewels
>f the Madonna. Maliella is terrified,
)ut*Gennaio, with mystical passion
tedares ''The Madonna knows that I
im guiltksB" (No^ la Madonna sa eke
urn Pojfesi). Irresistibly fascinated,
tfalieUa takes up the necklace and notes
hat it smells of incense. She puts on
he diadem and the bracelets, wishing
hat Rafaek might see her so. Gennaro
tnbraces her with wild fervour and she,
Imost in a trance of horror, thinking
im to be Rafaele yields herself to him.
Act m. — Scene. The headquarters
[ the CamcMrra. Among the crude and
ulgar (»iuiments is a fresco of the
fadonna, and a little altar behind a
irtain. The Cannorrists are drinking
upidly, and three women join in their
vel. When Rafaele appears, the girls
rit him with his infatuation for
[aliella, but he sings in her praise.
You. don't know Maliella's cnarm*'
^an sa^ete — di Maliella), A curtain
drawn in front of the fresco of the
adonna, and a wild orgy begins. In
e midst of it Maliella pounds on the
or and rushes in, appealing for help
ainst Gennaro and revenge. She
ints in Rafaele's arms, and he orders
e Cansorrists to bring him Gennaro
vecvdead. "Were you his? "Rafaele
mands. She covers her face and
bs. The others ridicule him. He
turns against Maliella, crying, ''You
belong to Gennaro, go to him," and
hurk her to the ground. As she falls,
her shawl falls open and exposes the
jewels. The other women surround
Maliella in amazement, not knowing
whence the jewels had come. In the
distance Gennaro is heard bewailing
his sin. Then the noise of the attack
upon him is heard and he bursts into the
room pursued by the Camorrists. He
hues his breast, calling on them to kill
him. Rafaele rushes upon him in a
rage, but is dragged away. Gennaro,
seeing Maliella, moves toward her with
a despairing ciy, but she looks on him
with loathing, tearing off the jewels and
flinging them at his feet, crying to all the
crowd that Gennaro had stolen them
from the Madonna. The men recoil,
and the women drop to their knees
mumbling the Litany. Rafaele cries
out that MaUella's soul is danmed, and
she dashes out to drown herself. Ra-
faele protects Gennaro from the at-
tacks of the X^amorrists, saying that he
shall be left to die there like a dog. In
the distance the church beUs ring the
tdaim, showing that the theft is dis-
covered. The women flee in terror;
the men, bowing before the Madonna's
fresco, retreat backward, leaving Gen-
naro alone. He gathers up the jewels,
kisses them with reverence and staggers
to the altar, where he lays them before
the portrait of the Madonna beggjmg her
pity. A ray of light from the rising stm
shines through the window and falls on
the jeweb. Gennaro takes it for a sign
of forgiveness and in his delirium seems
to hear the angels of paradise. Finding
a knife on the ground, he calls aloud for
his mother not to weep for him, and in
a mystical ardour, slowly presses the
knife into his breast. As he falls, he
sees Maliella's scarlet wrap on the
ground. He kisses it, and pillows his
dying head on it as the birds break out
into song. The angry mob appears at
the door, but halts on the threshold
seeing Gennaro dead.
834
THE MUSICAL GUIDE
WOLF-FERRARI, ERMANNO
Le Donne Curiose (la ddn'-na
koo-rl-o'-sa). /. Inquisitive Women.
A musical comedy in three acts.
Book by Luigi Sugana (based upon
Carlo Goldoni's comedy).
First produced in Munich, 1903, as
Die Neugierigen Frauen (dfi noi-ge -rl-
gSn frow'-fin).
CHARACTEES
Ottavio (dt-tav'-yo) bass.
Beatrice (ba-a-tre'-chfi) mez-sopr.
RosAURA (ro-za-oo'-ra) sopr.
Florin'do ten.
Pantalone (pan-ta-lo'-n6) buf-bar.
Leuo (la'-ll-o) bar.
Lean'dro ten.
Colombi'na sopr.
Eleono'ra sopr.
Arlecchino (ar-lfik-ke'-no) . .buf-bass.
Asdrubale (az-droo-ba'-16) ten.
Almo'ro ten.
Alvise (al-v5'-ze) ten.
Lunar 'do bass.
Mo'molo bass.
Menego (mC-na'-go) bass.
The action concerns a men's club in
Venice, whose mottoes are **No Women
Admitted" and *' Friendship" {Vami-
cizial) and the efforts of the ^aves and
sweethearts of the members to discover
what goes on in the club.
Act I. — Scene i. A room in the club-
house. The members are variously
engaged at chess and arguments.
Fieri ndo is sighing like a furnace for his
sweetheart, Rosaura, the daughter of
Ottavio. The members describe the
efforts of their wives and daughters to
find out the secrets of the organization,
but Florindo sings of his sweetheart
(Ma , (Ulor ch Ho vcdo trcmulo) . Leandro,
who is a bachelor, suggests a dinner for
the evening, and they all agree to allow
old Pantalone to pay for it. He comes
in and falls into the trap. His servant,
Arlecchino appears and is told to order
a fine supper for that evening at ten
o'clock. Pantalone reminds him that
the club's secrets must be kept fnsntk
women.
Scene n. A room in the home of
Ottavio, who is late for dinner, detaiwi
of course, at his horrid dub. His wife,
Beatrice, and his daughter, Rosaun,
are complaining. Beatrice b suie
they gamble there. Rosauia's theotyh
that they meet women there. Eleoooca
a neighbour, appears, and she h pogti>T
that the men are alchemists trying to
discover the philosopher's stox. She
sings oi her tragic experience with the
dressmaker (A trovare la mia sarta).
Colombina, a maid, runs in breathless!)'
and announces that she has discovered
that the dub is engaged in digging ic?
buried treasure (Ne ha di belle). And
now Arlecchino, who is secretly coart-
ing Colombina, comes in. The w(xm
pounce on him with their theories as tfi
the object of the dub and he agrees to
all of them. They turn upon him is a
rage and he runs out^ leaving the wobk&
as mystified as ever, but each still posi-
tive of her own theory. Ottavio comes
home and announces that Fl(»indoi>^
dine with him. He is figuring out schk
accounts in his notebook, and his inie
tries to wheedle from him the secreted
the club. He leaves in a huff and ^
follows him. Florindo appeals, to
Rosaura will not give him her heart \>
til he tells her the secret of the dub. He
pleads for mercy (lo settle, akmi,
Colombina returning, suggests to Rfl&;
aura that she should try the diect d
swooning. She pretends to fast
Florindo is frantic and Colombina ad-
vises him that the only way to npk
Rosaura's affections is to tell her tic
secrets of the dub. She manages fc
wheedle from him the rule of the cat
that no women shall be acimittcd t^
motto "Friendship," the fact tb:
there is to be a supp>er at ts
o'clock, and that every member k2:
his own key. Colombina then gcs
rid of him and speedily Fesiiscia:^
Rosaura.
STORIES OF THE OPERAS 835
Act n. — Scene i. A room in the
house of Lelio. H^ wife is going
through the pockets of his clothes
{Cke besiion di marUo). She finds two
new keys with a letter from Pantalone
saying that the locks have just been
changed. Sbe cries "Victory! Vic-
tory!" and restores the letter, but not
the kevs. Lelio comes in and she asks
him if he is going back to the alchemist's
furnace. He is furious at her quizzing,
and they storm out at opposite doors.
Scene n. A room in Ottavio*s house.
Colombina announces all that she has
learned. Only one thing is lacking —
the key to get in with. Ottavio and
Florindo appear and Beatrice tries to
get her hu^nd to change his coat so
that she may search the pockets of it,
and Colombina, as if by accident, spills
cofiFee on Ottavio's coat. And now
Ottavio takes it off to have the spots
removed. Ottavio begins to sneeze
while waiting for another coat. Colom-
bina brings back the things she has
found in the pockets, but secretly in-
forms Beatrice that she has substituted
the cellar keys for the club keys, and
Ottavio goes with Florindo leaving the
women rejoicing in their triumph.
Beatrice seizes the kejrs and tells
Rosaura that she is too young to go to a
men's club. Rosaura, left alone, muses
over Florindo (Ah^ tuito per U^ mio bene).
He steals back . but she refuses to relent
luiless he gives her the keys. He pours
out his despair ( Vol lacerate U mio povero
cuore) , but finally yields to her determin-
ation, and they are reconciled in a duet
(// cor nel conlenio).
Act rn. — Scene i. A street in Venice
before the clubhouse. At the back is a
ci\nst} Pantalone comes out of the club-
house looking for Arlecchino, who ap-
pears with bottles, but has forgotten the
candles. Arlecchino goes inside to un-
load before he returns for them, and
Pantalone follows him in. A gondola
dra^i^ up to the landing and Eleanora
steps from it as Arlecchino comes from
tiie clubhouse. Eleonora in her terror
drops her keys and runs. Arlecchino
podcets them and goes on his way, as
Colombina, disguised as a man, enters
with Beatrice from a side street.
Beatrice hides as Pantalone comes out,
and seeing Colombina gives the pass-
word, "Friendship." He soon dis-
covers that Colombina is only a dis-
guised woman, and snatches the keys
from her. She runs off, leaving Panta-
lone to wonder who is the traitor who
has given up the dub keys into women's
keeping. Pantalone goes back into the
club. Lelio and Ottavio come up.
Lelio is puzzled at not finding his keys
in his pocket. Florindo appears. Ot-
tavio twits him about his love for the
capridous Rosaura {Bravo mio zenero).
Ottavio, about to open the dub door,
finds that he has the cellar keys instead.
He turns to Florindo for his. Florindo
in some confusion says that he left them
at home. The three locked out mem-
bers knock, and Pantalone comes to the
door in a bad temper and shows the keys
that have been found. Lelio and
Ottavio follow him into the dub, but
Florindo remains, seeing a servant with
a lantern preceding a woman. He con-
ceals himself and Rosaura, masked,
follows her servant in. The servant is
about to put the key in the door when
Florindo snatches it from him. Ros-
aura drops her mask and the servant
runs away. Florindo reproaches Ros-
aura for trying to betray him, and enter-
ing the Club, slams the door behind him.
Arlecchino, who has seen this quarrel,
catches Rosaura as she faints. Wliile he
is wondering what to do with his burden,
Beatrice and Eleonora appear. Bea-
trice, recognizing her daughter, faints
in Arlecduno's other arm. Colom-
bina runs and prepares to faint also, but
Arlecchino reminds her that he has not
arms enough for three. The women
recover and begin to cry, reviling the
door that wiil not open. They now
turn upon Arlecchino. Colombina tries
to bribe him with rarcs.sos. Hontritr
offers him money; Rosauru olTcn< lum
836
THE MUSICAL GUIDE
earring; Colombina offers him a dinner
and kisses. But he refuses them all.
Then they turn upon him with their
finger-nails, and he surrenders the keys.
They open the club door and enter
while Arlecxhino picking up the lantern
looks up and down the street, ironically
calling out, "Are there any others who
want to get in?"
Scene n. A room in the clubhouse,
with an opaque door leading to the
dining room. The members of the
dub are saluting Pantalone, who warns
them not to give to a woman the keys
to a door or to their hearts. Arlecdiino
announces supper and the members
enter the banquet room. When the
door is dosed the four women steal
from their hiding places, somewhat sur-
prised to find that the m}rsterious activ-
ity of the dub consists of a simple stag
supper. The men are heard laughing
and the women, taking turns at the
keyhole, descril>e what is going on.
They grow hungry at the si^t of the
banquet, and when Arlecchino comes
in at a side door with a dish of tarts,
they rob him of them. They begin
now to struggle so frantically for the
Privilege of peeping through the key-
ole, that they push the door open.
The dub members arise in amazement
ttom the table, and Pantalone exd^ms
that he has heard of showers of frogs and
showers of larks, but never before
showers of women (Piova de sorsi).
The women apologize for their suspi-
dons and are forgiven. One of the
members begins to play the spinet and
Pantalone chucks Colombina under
the chin. Arlecchino protests that her
hand bdongs to him, and she gives it
to him — over the ear. A minuet is
begun, and it gradually devdops into a
livelier and livelier dance, during
which Pantalone gives Arlecchino a
clip over the head and sends him face
downward into a large dish of whipped
cream. The dance breaks up witn a
general cry of the club's motto,
"Friendship" {Amicitia),
MASSENET, JULES
Manon
An opera in five acts. Book by H.
Meilhac and Ph. Gille, (after the
romance by the Abb^ Provost).
Produced Op^ra Comique, Paiis»
January 19, 1884.
CHASACTEK8
The Chevaliek Des Geiettx (shO-
via-ya'dftgrC-tt') ten.
The Count Des Guextx,
His faiher,
Lescaut O^kd),
Of the Royal Guards, amsim 9f
Manon bar.
GunxoT MoRFONTAiN (m6r-f6n-tin).
Minister of finance, an old beau,
De Bretigny (dtt brfi-t&i-y€0»
A nobleman
An Innexepes
Manon (m&-n6n)
POUSETTE, (poO-s€t), )
Tavotte (zh&-v6t), y Actresses
KOSETTE. )
Place of action, Amiois in the year
1721.
Act I. — Scene. Courtyard of an Inn.
Morfontain, the old Minister €d Fi-
nance, and Br6tigny with three actresses
are demanding food and drink. The
host appears and they order dinner.
The landlord leads them to a {Mivflioii.
A bell rings and the townsfolk gather to
see the coach arrive. Among them is
Lescaut, who ha% come to meet his
cousin, Manon. The coach appears
and the passengers descend and wrangle
with the porters. Manon is among
them and greets her cousin with a kiss.
She describes her impressions of the
voyage and tells how one moment she
wept and another she laughed (Je sms
encore tout etourdie). Her consin goes
in search of her luggage, and Mdion-
tain, seeing Manon, starts an immediate
flirtation. She is amused rather than
offended. His OHnpanions join in the
STORIES OF THE OPERAS 837
mcniinent. As Morfontain in a low
voice states that his carriage is at her
service, heacsuxt returns. He advises
her to be prudent and good {Ne bronckes
fas, soyez getUiUe) and returns to his
brother offi^rs. Man<ui resolves to go
to the convent and have done with her
dreams (yay<ms, Manon, plus de
cMmires), Suddenly she sees in the
pavilion Morfontain and the actresses,
and she envies their jewels and their
^iJendours, their life of pleasure. The
voung Chevalier Des Gneuz ai^)ears on
his way to meet his father. Seeing
Manon, he is greatly struck with her
and makes her acquaintance with little
difficulty. She explains that she is only
a simple maid, not wicked, but longing
for happiness and now on her way to a
amvent. He cannot endure the thought
of her being so entombed, and offers
her his protection. She accepts and
they dedde that they will live in Paris
together (Nous vivrons d Paris Urns les
deux). At her suggestion they will
d<^>e toother in the carriage that
Morfontain has placed at her disposal.
They hurry away, leaving Morfontain
and Lescaut to amazement and wrath.
Act n. — Scene. An apartment in
Paris. Des Grieuz is writing at his
desk. He reads his letter to her. It
is a description of her charms written
to his father. He goes to mail the
letter, but notices some flowers, and
she explains quickly that they were
thrown in at her window. He promises
not to be jealous. The maid enters to
announce that two officers are present.
One of them is Lescaut and the other
De Br^tigny. They come in and
Lescaut denounces Des Grieux for dis-
honouring his family. He demands that
Des Grieux marry Manon, and is shown
the letter just written. As the men
read it together at the window, De
Brdtigny warns Manon that her lover
is to be kidnapped that evening by his
father's order, and advises her to let
him be taken, lest poverty engulf them.
Once she is free, he will make her the
Queen of Beauty. The two visitors
depart and Manon is troubled, though
Des Grieux is full of rapture and love.
He goes to post the letter and dhe makes
up her mind that for his sake she must
sacrifice him, especially as she is not
worthy of him. She hears a voice
which calls her (/' entends ceUe voix qui
ttC entraine). He returns and tells her
of a dream he had, seeing a little cot-
tage (Enfermanl Us yeuxje vois Id-bas).
A loud knock is heard at the door and
he is about to answer it, but she is
overcome with fear for him and tries to
restrain him. He releases himself and
going to the door is gagged and dragged
away. She runs to the window crying,
"Oh, my poor Chevalier 1"
Act in. — Scene. The promenade
of the Cours la Reine. It is a holiday
and there are booths and a dancing
pavilion, where the three actresses
Deckon to youths to join them. Les-
caut appears singing of his Rosalinda.
Morfontain sees the actresses and greets
them, complaining that not one of the
three is faithful to him. De Br^tigny
ironically begs him not to rob him of
Manon. Morfontain says that he has
heard that De Br6tigny refused Manon
a favour, and steals away. Later
Manon appears on the arm of De
Br^tigny and receives much homage.
She is delighting in her conquests, and
advises everybody to heed the call of
love and youth. As she moves on, the
Count Des Grieux, father of the Cheva-
lier appears and tells De Br6tigny that
his son has taken holy orders and be-
come an Abb6. Manon seizes an
opportunity to speak to the Count and
is told that her lover has learned his
lesson and forgotten her. She deter-
mines to see him and orders her chair
to take her to the Seminary of Saint
Sulpice.
Scene n. The parlour of the Semi-
nary. The Count congratulates his
son on the eloquence of his sermons,
but begs him not to take &ial orders;
rather to find some worthy maiden
838
THE MUSICAL GUIDE
and marry her, especiaUy as the next
day he mil receive a fortune from
his mother. Des Grieux, left alone, is
tormented by the image of Manon
(Ahj fuyeSj douce image). Soon she
appears and hearing the choir within,
sajrs a prayer. On seeing Des Grieux,
she appeals for his forgiveness. He
warns her that she cannot speak of
love in such a place, but she clings to
him, and at length he throws his arms
about her, defying heaven's vengeance.
Act IV. — Scene. A fashionable gam-
bling house. Lescaut is playing and
winning, but the sharpers are watching
him hopefully. The three actresses
appear, and he tells them that his
sweetheart is the queen of spades
(C*est ici que celle que j^aime). Des
Grieux and Manon appear, and Des
Grieux tells her that he both hates and
loves her. She has brought him here
to recoup their squandered fortunes.
Lescaut encourages him to play. Mor-
fontain challenges Des Grieux to a
game, and as they gamble Manon
revels in the excitement, which is life
to her (A nous les amours et les roses).
Morfontain accuses Des Grieux of
cheating, and the crowd turns against
him just as the place is raided by the
police. Morfontain denounces Des
Grieux and Manon as accomplices.
The Count enters and orders his son
and Manon arrested. He tells his son
that he shall be released at once, but
that Manon must "go where many of
her sort have gone."
Act v. — Scene. The road to Havre.
Des Grieux is seated by the roadside to
watch Manon pass by under guard; for
she is to be transported to a penal
settlement. Lescaut appears and Des
Grieux discusses with him their plan to
release Manon. The soldiers are heard
singing (CapUainey 6 gui^ es-tu fathuif)
Des Grieux is desperate enough to
attack the guard single handed, but
Lescaut drags hiro behind some bushes,
promising him that he shall see Manon.
The soldiers appear and Lescaut leads
one of the sergeants aside. The
soldiers move on, dragging witii them
the women who are prisoners. Later
Manon comes down the path greatly
exhausted. She is remorseful for her
fickleness and feels at last a pure flame
in her heart {AhJ je sens utte pvre
ftamme). The evening stars appear To
her coquettish heart they are jewels.
"You know I was always fond of
jewels." She grows weaker and weaker,
and dies of exhaustion munnuring
"This is the story of Manon Lescaut.'*
MASSENET, JULES
Le Jongleur De N6tre Oame
(la zhAn-glCr' dtt nCt-rii dam) F. The
Juggler of NAtre Dame.
A "miracle" in three acts. Book by
Maurice Lena (based on an old miiade
play).
Produced, Monte Carlo, February
i8, 1902.
CHASACTESS
Jean (zhah),
The juggler ten. or sopr.
Boniface (b6n-6-fas),
Cook of the abbey bar.
Tbe Pwor baas.
The Musician Monk
The Sculptor Monk
The Poet Monk
The Painter Monk
The part of the Juggler, thou^
originally sung by a tenor, was taken
by Miss Mary Garden on its productkn
at the Mai^attan Opera House in New
York.
Place: Paris. Time of action: Four-
teenth Century.
Act I. — Scene. The Place Qony,
in front of the abbey with a statue of
the Madonna over the door. It b
market day and the Square is filled with
merchants, and with merry-makers who
dance in honour of the Madonna and
the " Dauphin, Jesus. " The sound of a
vielle is heard approaching. It b
STORIES OF THE OPERAS 839
recognized as the music of a Juggler
Joyous anticipations are quendied by
the appearance of the meagre and
poverty-stricken Jean. He is hailed
as "His Majesty, King Famine." He
plays for them to dance, holding out his
cup with little success. They ridicule
him, and when he suggests the various
scMigs that he knows, they refuse to hear
any of thenL They demand a drinking
song, and he consents to sing "The
Hallelujah of Wine," first praying the
Virgin to pardon his sacrilege, for though
his heart is Christian, his stomach
is pagan. As he is singing reluctantly,
the Prior rushes out of the abbey, and
all flee except the Juggler, who drops
to his knees craving pardon. This the
I^or refuses, declanng that the gate of
hell is yawning for him. Jean weeps in
terror, and the Prior, relenting, tells
him he can save himself, but only by
taking holy orders. Jean recoils at the
thought of renouncing Liberty, his
heart's mistress (C*esi eUe que mon cocitr
pour maitresse a choisie). The Prior
warns him that Liberty will let him
starve, while the convent will feed both
soul and body. He points to Boniface,
the cook, who arrives on a donkey
laden with flowers, food and wine. The
cook sings of the three: the flowers for
the Virgin, the food and the wine for
her servants {Pour la Vierge d'abord).
The breakfast bell rings in the abbey,
and the monks are heard reciting
the Benedidte in the refectory. The
Prior invites Jean to the feast, and he
enters taking with him the Juggler's
outfit.
Act n. — Scene. Study room and
garden of the abbey. Among the
monks is a Sculptor who has finished a
statue of the Virgin, which the Painter
is colouring. A Musician monk is
rehearsing the others in a hymn to the
Virgin, which he has composed for the
occasion; Assumption morning {Ave
coeleste Itlium). Jean is bemoaning the
fact that he cannot join their praises
because he does not know Latin, but
only profane songs in the vulgar tongue.
The monks joke with Jeanbecause he
is taking on flesh, but he regrets that
he is only an ignorant monk who can
simply eat and drink and do nothing in
honour of the Virgin {Depuis qu*en ce
convent prospere) . He asks to be turned
out into the world again, but the
Sculptor advises him to study sculpture,
pointing with pride to his statue {Vols:
des Jlancs du m^rbre se live). The Poet
monk cries "Not so; give poetry the
place of honour {Non pas la place d*
honneur). The Musician upholds mu-
sic as the direct echo of the great mys-
teiy {Pour moiy je me figure). The
Painter joins the quarrel until the Prior
silences them all and compels them to
be reconciled. They carry the statue
out into the Chapel, leaving Jean alone
with Boniface the cook. Boniface de-
clares that the art of the cook is the
true glory {S'U Jaut s^enfler de gloire).
He tries to console Jean with the state-
ment that the Virgin understands
French as well as Latin, and tells the
legend of the rose and the sage-plant
{Marie avec r Enfant Jesus). As for
himself, he serves the Virgin by looking
to his oven. Jean is uplifted with a
sudden ray of light {Quel trait de
soudaine lumiire)^ and hopes that
perhaps the Virgin will accept a Jug-
gler's offering.
Act rn. — Scene. The chapel of the
Abbey. In the distance the monks are
singing the new hynm to the Virgin.
The painter is alone before the statue
he has coloured, taking a last look at it.
He sees Jean dressed as a monk, but
carrying his vielle and his kit. Jean
approaches. and appeals to the Mother
of Jesus {if ire adorable de Jesus) ^ to
accept his homage. Throwing off
his monk's robe, he appears in the
Juggler's costume, spreads his carpet
and begins to play on his vielle while
the Painter hurries out to warn the
Prior. Jean, declaring himself to be
the King of Jugglers from force of habit,
begins to pass his cup about a circle of
840
THE MUSICAL GUIDE
imaginary bystanders, but stops in con-
fusion. He begins to sing a song of
war, but fears it will frighten the
Virgin. He tries two other songs, but
his memory fails him, and sings the
eternal pastoral of Robin and Marion
(A Vori'dujoli hocage). As he sings, the
Prior, the Painter and the cook appear.
The cook restrains the Prior from inter-
fering, and Jean, not knowing he is
observed, jovially offers to evoke flying
devib for Her. He apologizes to the
statue and permits himself the honour
of dancing before her. The cook re-
minds the indignant Prior that David
danced before the Ark, and Jean dances
a bourr^ faster and faster until he falls
exhausted, kneeling in adoration. The
other monks have gathered and are
furious at the blasphemy. They are
about to attack Jean when the cook
orders them back, "The Virgin protects
him.'' A strange light begins to shine
on the statue, and on the mouth a smile
is about to awake. The voices of angels
are heurd singing "Hosannah! Glory to
Jean." The Prior and the monks
approach the Juggler reverently.
Startled from his prayer, Jean kneels
for forgiveness from the Prior. But the
Prior says that it is Jean who should
forgive them, for he is a great saint.
Thinking they are mocking him, he is
horrified, but they point to the intense
radiance now illuminating* the altar
and the aureole, which descending from
the hands of the Virgin, gleams on the
head of the Juggler. Jean swoons with
ecstasy. When the monks have chanted
the Kyrie Eleison, he says feebly, "At
last I understand Latin." He swoons
again while two unseen angels sing of
Heaven's Gate opening before him.
There is a snow of lilies and bluebells
about him and a cloud of incense. The
Virgin mounts to the skies and Jean
sees her surrounded by the angels in
Heaven. In his death ecstasy, he sees
Paradise welcoming him (Spectacle radi-
eux) and the Virgin beckoning him.
He dies in his rapture.
Ariane et Barbe-Bleue (ftF-yln'
ft- bSr-btl-blfiO* Ariane and Blue
Beard.
A lyric story in three acts. Boc^ by
Maurice Maeterlinck.
Produced, Op6ia Comique, Paris,
1907.
CHARACTERS
Ariane sopr.
The Nurse
SiLYSETTE (sflrle-zSt)
Ygiane (e-zh&n)
MiussANDE (mft-l!s-sfind)
Bellang^re (bS-lfth-zhftr)
Alladine (lU-lfi-den)
Blue Beard
Act I. — Scene. A hall in Blue
Beard's castle, showing six doors with
silver locks. Outside the window the
angry peasants are threatening to kUl
Blue Beard for bringing home another
wife. The windows doee magically as
Ariane enters with the nurse. The
nurse js terrified because the peasants
insist that Blue Beard killed his first
five wives. Ariane feeb sure that thc^
are not dead, but alive, and thinks
Blue Beard loves her so much that she
will gain his secret. She shows the keys
her husband has given her; six sflver
keys, which she is permitted to use, and
one gold key, which is forbidden to her.
Woman-like, she throws away the silver
keys and keeps the gold one. The
nurse, picking up the leys, opens the
doors m succession. Out of them
tumble great heaps of predous stones;
first, amethysts, second, sapphires
third, pearls, fourth, emeralds, fifth,
blood-red rubies, and sixth, a cataimct
of diamonds. These last feisdnate
Ariane and she bedecks hersdf with
them. (O mes dairs diamanis/) Inside
this cell she finds a door with a golden
lock and, in spite of the nurse's terror,
opens it. From the depths a smothered
chant arises from the five imprisoned
wives, the five daughters <^ Onamoode
(Les cinq files d^OrUmonde). Bfaie
Beard enters in a rage. The imprisoned
STORIES OF THE OPERAS 841
wives have aU disobeyed him just as
Ariane has done: some of them after a
few days; the last of them after a year.
"It was the last one alone that de-
served to be punished." said Ariane.
Blue BeBLrd seizes her, but she and the
nurse scream so loudly that the peas-
ants come to the rescue. Blue Beard
draws his sword, but Ariane gently
pushes the peasants back and says:
" What do you want? — He hasn't done
me any harm."
Act n. — Scene. The dungeon.
Aiiane, with a lamp, and the nurse
move forward till tney discover in a
huddle the five wives. Ariane rushes
to them with kisses and caresses, crying:
"Ahl I have found you" (Ah/ Je vous
ai trawfies). She is sure that they are
be»itiful, but they are in rags and
unkempt and frightened. She asks
their names and comforts them. A
drop of water from the dank roof eztin-
gu^ies the lamp, but the wife, S^ysette
is used to the daric and leads the others
to a trap door. Ariane breaks it open,
and the music of wind and sea, mingled
with the song of birds and the sound of
shepherd bells invades the room.
S^ysette waves her long hair as a signal
flag to a distant peasant, and as the
dock strikes noon the women scramble
out joyously.
Act m. — Scene. The same hall as
in the first act. Open coffers are over-
flowing with gorgeous robes. Hie
wives before large mirrors are dres^ng
their hair and donning gleaming rai-
ment, while Ariane goes from one to the
other assisting them. They have been
unable to escape from the castle walls,
but Ariane hopes to make them so
beautifid that Blue Beard will fall in
love with them again. The nurse
appears with the terrifying news that
Blue Beard is returning. But the
peasants are armed and lying in wait
for him. From the window they see
Blue Beard arrive with warriors who
fight the peasants. At length the
peasants conquer, and ^dng the
wounded Blue Beard, they burst into
the hall with their prisoner. Tliey
deliver him to the wives for punish-
ment. When the peasants have gone,
Ariane and the wives, overcome with
pity, release Blue Beard and dress hb
wounds, kissing him furtively. He
stares at his victims, but turns to
Ariane. She tells him farewell and asks
the other wives if they will go with her.
She points to the open door and the
moonlit sky (VoiSy la parte est ouverte),
but they prefer to remain with Blue
Beard, and she leaves them, wishing
them happiness.
Supplementary Bicttonatj^
of i)flu0ictaniQ;
Abttco, cofiect dates Verona, July
12, 1675 — Munich, Tuhy 12, 174a.
AbM (&b-bft), Joseph Barnabe de
St. Sevin, Agen, France, June 11,
1727 — Charcnton, 1787; violinist
and c; son of Philippe Abb^.
Abendroth (&'-b£nt-rOt), Irene, b.
Lemberg, July 14, 1872; soprano
Royal 0pm, Dresden, 1899-1908;
m- T. Thaller.
Abert (&'-b€rt), Hermann, b. Stutt-
Brt, March 25, 1871; son of J. J.
., historian.
Al>rani, John, b. Margate, Aug. 7,
1840, English organist; c. oratorio
The Widow of Nain, cantata Jeru*
saletHf etc.
AbrAnyi, (i) Komel, d. Budapest,
Dec 20, 1903. His son (2) Emil, b.
Bud^)est, 1880 (?); c operas Monna
Vanna (Budapest, 1907), Paolo and
Prancesca (do. 191 2), etc.
Achscharumov (fi^-tsha'-roo-m60>
Demetrius Vladimirovitsch, b.
Odessa, Sept. 20, 1864; violinist and
c; pupil of Auer.
Ackte (&k'-t&), Ai'no, b. Helsingfors,
Finland; soprano; sang at Paris
Op6ra, 1904-5, sang Met. Op., New
York.
Adalidv Qurr^a (ft-dhU'-l^dh-S-
goo-rr-ft), Marcel del., Conma,
Aug. 26, 1826 — Longara, Dec. 16,
1881; pianist; pupil of Moscheles
and Chopin^ c. opera, etc.
Adam, K. F., correct date of birth,
Constappel, Saxony. Dec. 22, 1806.
Afanassiev (ft-f^-nHs'^sI-ev), Nikolai
Jakovlevich, Tobolsk, 1821 — St.
Petersburg, June 3, 1898; violinist
and c.
Affer'ni, Ugo, b. Florence, Jan i,
1871; pianist and cond.; studied at
Frankfort and Leipzig; m. the vio*
linist Mary Brammer, 1872; c. an
opera, etc.
Agmcourt (d&-zh&A'-koor), Fran-
cols d', Rouen, 17 14 — Paris, June
18, 1758; court organist and c.
Agrenev (il-gra'-nSv), Demetrius A*
1838 — Rustchuk, Bulgaria, July,
1908; organized a choir under the
name Slavjanski, with which he
toured Europe and America, pre-
senting folk-songs.
Affullar (&'-ge-Ulr), Emanuel Abra-
ham, London, Aug. 23, 1824 —
London, Feb. 18, 1904; pianist of
Spanish origin; c. 2 operas, ^ symph.
AhtstrOm,Olof(not A. J. R.),correct
dates Aug. ia, 1756 — Aug. 11, 1835.
A Kem'pis, (i) Nicholas, organist
and c, at Bnisseb, ca. 1628. (2)
Jean Florent, org. at Brussels,
ca. 1657; c. requiem (pub. Antwerp,
1650) etc.
Alabiev, A. A., correct dates, Mos-
cow^ Aug. 16, 1787 — March 6, 1851.
Albanesi (al-b^-na'-zS), Luigi, b.
Rome, March 3, 182 1 — Naples, Dec.
4, 1897; pianist and composer.
Albert, Eugen d', add that he c.
further operas Kain and Der Improvi-
sator (both Berlin, 1900), Tie/land
(Prague, 1903), FlatUo solo (Prague,
igo$) yTragaldabas (Hamburg, 1907),
Die Verschenkte Frau or The Bar-
teired Wife ( 19 1 2 , Munich) . His opera
Tiefland (based on Guimera's play,
Marta of the Lowlands) has had
immense success; in Berlin alone
(prod. 1907) it reached its 400th per-
formance in Feb., 191 2; it was sung at
the Met. Op., N. Y., and throughout
Europe. He married Hermine Finch,
the singer, in 1895. His edition of
Bach's **WeU Tempered Clavier'* was
pub. 1907.
Alfv6n (alf'-vln), Hugo, b. Stock-
holm, May I, 1872; violinist; studied
845
846
THE MUSICAL GUIDE
at the Cons, and with C6sar Thom-
son ; 1900 received Jenny Lind scholar-
ship for 3 years foreign study; from
1904 prof, of comp. Stockholm Uni-
versity: from 1 910 mus. dir. Upsala
Univ. in 191 2 conducting a concert of
Upsala students in Berhn; c. 3 sym-
phonies; sjrmph. poem *'Aus den
Schdrm\cantSLiB, '^Tkc Bells, " " The
Lord's Prayer y" for chorus; scene
with orch., male choruses, etc.
Al'len, Hugh Percy, b. Reading,
Dec. 23, 1869; organist at 11, ^887 —
1892 org. Chichester Cathedral; since
1 901 at Oxford, where he was made
Mus. Doc. 1898, and University
Choregus since 1909; since 1908, mus.
dir. Reading University College.
Al'lison, Horton Clarldse, b. Lon-
don, July 25, 1846; pianist; pupU
R. A. M. and Leipzig Cons.; Mus.
Doc. (Dublin), c. piano and organ
music and sonss.
Alois (ft'-l&-^), Ladislaus, b. Prague,
i860; 'cellist; pupil Paris Cons.;
solobt Royal orch., St. Petersburg;
c. concertos, etc.
Alph^raky (fil-fft-r&'-ke), Ach. N.,
b. Charkov, Russia, 1846; c. piano
pieces, including **SSrinade Uvanline";
and songs.
Alt'mann, Wilhelm, b. Adelnau,
April 4, 1862; editor and historian.
Alvarez (fil-v&'-r£th), (i) Fermin
Maria, b. Sara^>ssa; d. Barcelona,
1898; c. popular songs, etc. (2)
(fil-v&-r&), stage name of Albert
Raymond Qourron ; b. Bordeaux;
tenor; pupil of A. de Martini; d6but
at Ghent, later at Paris Op6ra as
leading tenor for many years; 1898,
Met. Op. House of New York.
Arwood, Richard, flourished ca.
1550; English priest; c. mass and
organ pieces.
Amato (ft-mU'-to), Pasquale, bary-
tone; d6but Naples, 1900; sang at
Milan, then after a period of financial
distress sang at Trieste, etc., 1909,
Manhattan Opera; from 191 1 Met. Op.
Am'brosch, Joseph Karl, Kruman,
Bohemia, 1759 — ^Beiiin, Sq>t. 8, 1823;
operatic tenor; c songs.
Ames, Philip, 1837 — Dmham, F^.
10, 1908; organist Durham Cathedral
1861-1906; prof, of music, Durham,
from 1897.
Amft, Qeorg., b. Oberiiannsdoff,
Silesia, Jan. 25, 1873; music teadm;
Supil at Royal Inst, for church mus.
eiiin; teacher in Habelschoetdt;
editor and composer.
Amicis, De, vide De Amlcis.
Amps, William, d. Cambridge, May
20. 1909; En^ish organist and cood
Andersen (i) Joachim, Copcn-
hagoi, April 29, 1847 — May 7, 1909.
Soloist at 13. Toured widdy; court
musidan, Copenhagen, Petersburg
and Berlin; for 8 years solo flutist and
assistant conductor <^ Berlin PhiL
Orch., of which he was one of the
founders; 1 895-1909, the ruling musi-
cal force in Copenhagen, as conductar
of the Palace concerts, the TivoG
Orchestra, the Municipal Summer
concerts, his orchestral schcK^ and
Inspector (with rank of Ci4>tam) of
all the military music of Denmark.
Made Knudit of Dannebrog Order
by King Charles DC; received the
"Pakns" of the Acad, from the Fres.
of France, and was made "Prof." by
King Frederik of Denmark. (2)
Vl^o, Copenhagen, April 31, 1853 —
Chicag), Jan. 29, 1895; solo flutist
with Thomas ordL; brother of (i)
Anderson, Thomas, Biimhi^bun,
England, April 15, 1836 — Sept. 18,
1903; critic, organist and c
Andrieu (d&&-drl-fl0> Jean Fr. d'
Paris, 1684 — Jan. 16, 1740; oig.
and comp.; 1724 xoyal condlat Paris.
Anceli (djin-j&'-le), Andrea d', b.
Padua, Nov. 9, 1868; historian; c
opera **LInnocenU" (Bologna), etc
An^gerer, Gottfried, Waldsee, Fd).
3, 1851 — Zurich, Aug. 19, 1909, c
male choruses.
Androt (ftn-dr6), Albert Auguste,
Paris, 1 781 — Aug. 9, 1804; c opers,
requiem, etc
DICTIONARY OF MUSICIANS 847
Angrisani (ftn-gre-sft'-n(), Carlo, b.
Reggio, ca. 1760; bass; sang in Italy
and Vienna; 181 7 at London; c. s<mgs.
Ansorge (Kn-eAr'-ge), (i) Max, b.
Striegau. SUesia, Oct. i, 1862; <»gan-
tst; son of a cantor; studied at Borlin;
c songs, motets, etc. (2) Konrad
(Eduard Rein hold), b. Buchwald,
Sikflia, Oct. 15, 1862: fnanist; pupil
Leipzig Cons, and of Liszt; toui^
America; c. for orchestra, and piano.
Antino'rl, Luigi, b. Bologna, ca. 1697;
tenor; sang in London, 1 725-1 726.
An'tipov, Constantin, b. Russia,
Jan. 18, 1859; c symph. allegro for
orch., and inano pieces.
Antoniot'to, Giorgio, lived at Milan,
1 740; theorist and c. of 'cello-sonatas.
Arbds (fir'-vte), E. Fernandez,
b. Madrid, Dec 25, 1863; violinist;
his grandfather and father were band-
masters in the army; pupil Madrid
Cons.; took prizes at 12; then studied
with Vieuxtemps, Geva&t and Joach-
im; cond. Berlin Phil. Society; taught
at Hamburg, Madrid, and Royal
College, London; c comic opera,
El Cieniro de la Tierra, Madrid, 1895;
also for violin and orch.
Archangel'ski, Alexander A., b.
Pensa, Russia, Oct. 23, 1846; organ-
bt and cond. since 16; c. 2 masses,
a requiem.
Arensky, A. S., b. July 31, 1861; d.
Tarioki, Finland, Feb. 25, 1906.
Ar'gent, W. L, d. May 18, 1908;
organist and cond.; c masses, etc.
Ark, Karl Van, 1842 ~ St. Peters-
burg, 1902; pianist and teacher.
Arl'berg, Qeorg Ephraim, F.,
Letsand, Sweden, 1830 — Christiania
Feb. 21, 1896; barytone.
Arms'heimer, Ivan Ivanovitch,
b. St. Petersburg, March 19, x86o;
pupil at the cons.; c. i-act opera
Saw lafeuillie (French text); 2-act
opera Der Oberhofer (German text);
3-act opera Jaegerliv (Danish text);
cantatas, songs, etc.
Arnaud (&r-nO), Qermaine, b. Bor-
deaux, Dec. 20, 1891; pianist; pupil
of Paris Cons., winning second piano
prize, 1904; first prize, 1905; touredas
virtuoso, ipo8, with Boston Symph.
Arres'ti, Qiulio Cesare, ca. 1630 —
ca. 1695; organist and c. at Bok^gna.
Ars,(or Volkov), Niko!ai,b. Moscow,
1857; composer; cond., studied at
Geneva and Milan Cons.; c. oper-
ettas, sjrmph. poem, etc.
Ath'erton Percy Lee, b. Roxbury,
Mass., Sept. 25, 1871; conq)06er;
graduated Harvard, 1893, studying
music under Paine; studied two years
in Mimich with Rheinbeiger and
Thuilie, then a year in Berlin with
O. B. Boise; 1900 studied with
Sgambati and Widor; lives at Boston;
c. symph., tone poem for orch.. Noon
in the Forest^ opera-comique The
Maharaja, comic opera, and many
songs of great importance.
At'kins, Ivor Algernon, b. Cardiff,
Nov. 29, 1869; organist and cond.;
son and pupil of an organist; later
pupil and assistant of C. L. Williams;
since 1897, org. Worcester Cath.
A tt' water, J. P., d. April 10, 1909,
age 46. org. and cond. in England.
Aubry (6-br€), Pierre, b. Paris, Feb.
14, 1874; historian of liturgical music.
Auguez (d-g&), Numa, Saleux (Som-
me), 1847 — Paris, Jan. 27, 1901;
prof, at the Cons.; barytone.
Aus'tin, (i) Frederic, b. London,
Mar. 30, 1872; barytone; organist at
Liverpool for some years; then teacher
at the College of Music, there till
1906; then studied voice with Lunn;
dibut, 1902, favorite in oratorio and
in Wagner operas; c. overture
Richard II (Liverpool, 1900): rhap-
sody Spring (Queens Hall, 1907),
symph. poem Isabellaf etc. His
brother (2) Ernest, b. London,
Dec. 31, 1874; on the Board of Trade
till 33 years old, then studied comp.
with J. Davenport; c. symph., idyll,
march; Love Songs from Don Quixote^
for voices and ordi.; piano sonata, etc.
Auxcousteaux (d6-koo-to), Arthur
d% b. Beauvais, France; d. 1656;
848
THE MUSICAL GUIDE
cdikL Ste. Chapdle, Fans; c sacred
Avena'rius, Thos., oig. and c at
Hiklrshdm, 1614-1640.
AyreSv Frederic, b. Btngliamtoo, N.
Y., Blarch 7. 1876; compoaer; spent
a year at Comdl U., 1892; musk
pupU of E. S. Kdley and Arthur
Foote; 1901 went to New Mexko on
account of health, since 190a at
Colorado Springs» CoL, c songs and
pL piffffs.
B
Bache, (bfttdi) Constance; correct
dates, Edgbaston, March 11, 1846 —
Montreuz, June 28, 1903.
Bac(k)haus (bik'hows), Wilhelm,
b. Leipzig, March 26, 1884; pianist;
pupil of Reckendk)rf and at the Cons.,
later of d'Albert; from 1900 toured;
1905, piano teacher R. C. M., Man-
chester, but won the Rubinstein
Erize and toured again; 1911 the U.
.; from 1907 has taught master-
courses at Sondershausen Cons.
Badiaii (b&-dI-&'-le), Cesare, Imola,
1810 — Nov. 17, 1865; basso; 6Bmt,
Trieste, 1827; sang throughout Italy;
1859 in London; said to have been
able to sing a scale ¥rbSit drinking
a glass of claret.
Baitzell, Willard J., b. Shiremans-
town, Penn., Dec. 18, 1864; gradu-
ated Lebanon Valley College; at
24 took up music, studied with
Emery and Thayer; later in London
with Bridge and Parker, later with
H. A. Clarke, Philadelphia, as edi-
tor; taught musical nistoi^ and
theory at Ohio Wcsleyan Umversity
one year, then returned to Philadd-
phia. The previous statement of
his death is an exaggeration; he is an
editor in Boston and has edited a
''Dictumary of Musicians" (19x1).
Bantock, Qranviiie, add that 1898
he founded the New Brighton Choral
Society; 1900 Principal Birmingham
and Midland Inst. School <rf Music
and oond. vaiioas societies; 1908
succeeded El^ar in IVytoa Ckdr
01 Music at Birmini^iam Vm.;
1898 he married Hekna tqb Sch-
weitzer. He c Oner Kkavymm for
voices and oich. Fart I (BimiHig-
ham Fest, 1906) Part n (CanM
Fest., 1907), Part m CBirmii^Mi
Fest., 1909);^ 7 tone-poems for onh.;
2 symphonic overtures, ^ "^jm^ ly
overture. The Pierrot of Ike iftMric,
i9o8joverture to Oeiipas mi KoU-
no$ (^oictsUi Fest. 191 1); maas for
male voices, 1903; cfaanibcr nraMc etc
Barl>i« Alice, b. Bologna, ca zKo;
mezBO-sopr.; pi^ ol Zasolxin, Bvsi,
and Vannucoem; dfiwt, Milan, 1882;
toured Europe in ooooeit: abo a
vKNinist and poet.
Barcewicz (te^tsC^vlu), Staiiia-
iaus, b. Warsaw, April 16, 1858;
violmist; popl ol Moeoow Cons.; open
cond. at Warsaw; since 1885 vioiiB
pnrf. at the Cons.; c viofo pieces.
Bar'nekoT, Christlan,b.St.Saiivcar,
France, Tuly 28, 1837; organist;
of Danish parentage; pianist and
organist; pupQ <^ Hellstedt, Copcn-
hi^^; c women's dtocuaes with
ordi.; chamber music and songs.
Bart'muas, Richard, b. Bittcri^
Dec 23, 1859; onanist; pqpfl ot
Grell, Haupt, LQscsom; 1896 royal
music director; 1902, profagor; c.
oratorio Der Tag des Pfitttstem; 4
organ sonatas and much sacred music.
Bartz, Johannes, b. Staigard, Jan.
6, 1848; organist; pupil Le^ig C^;
since 1872 org. at Chui^ of Sts.
Peter and Paul, Moscow; c open,
Eoangdisckes Requiem; oratorio^ Dor
Himmdsbote, etc
Bary (bft'-re), Alfred F. von, b.
Malta, Jan. 8, 187^; tenor; studied
and practised medicme at first; 1902,
Impaired Dresden Royal Open; sang
Parsifal, Tristan, etc, at Bayreuth.
Bath, Hubert, b. Barnstaple, Eng-
land, Nov. 6, 1883; 1901 popfl of
Beringer and Corder at R. A. M.»
London; 1904, won Goring Thomas
DICTIONARY OF MUSICIANS 849
schnlanhip; c. i-act opera, "The
Spamsk StudetU"; symph. poems;
cantata The Wedding of Shon Mac-
lean; variations for OTch. (1904), and
many songs.
Datlca, Richardy b. Prague, Dec. 14,
1868; critic, historian and librettist.
Bax, Arnold E. Trevor, b. London.
Nov. 8, 1883; pupil of Matthay and
Corder at tbe R. A. M.; c a sym-
phony, symph. pictures, Eiri; string
quintel, Celtic Song Cycle, etc
Bayer (bl'-fr), (i) Aloys, Sub-
oBiidtL, July 3, 1802 — Grabenstftdt,
July 7, 1863; tenor; (2) Josef, b.
Vienna, Mar. 6, 1852; composer of
ballets and operettas; studied at
"Vienna Cons.; cond. at Court Opera.
Bay'ley, John Clowes, d. Oct.
10, 1909, age 75. English composer
of anthems and part songs.
Beach, John, b. Gloversville, N.
Y., Oct. II, 1877; composer; grad-
uated at New England Cons., 1898;
studied further with Clayton Johns,
and in Paris with Harold Bauer.
Taught piano and theory, Univ. of
Minnesota, two years; in New Orleans
three years; then in Boston. Since
1910 in Paris studying with G6dalge,
c. operettas, Gipsy Trail for bar. and
orch., songs, etc.
Beauvariet-Charpentier (bd-v&r-
lfir^iir-p&nt-y&), (i) Jean Jacques,
AbbeyviUe, 1730 — Paris, 1794; or-
sanist and comp. (2) Jacques
marie, Lyons, July 3, 1776 — Paris,
Nov. 1834; organist and comp., son
of (i).
Beck'er, Hugo, b. Strassburg, Feb.
13, 1864; 'cellist; son of Jean B.;
pupO of his father, Griitzmacher,
Piatti, etc.; 'cellist at the Opera
Frankfort, 1884-86 and 1890-1^06;
1896, Royal Prof.; succeed^ Piatti
as 'cellist at London Monday concerts.
Beck'mann, Wm. Qv., b. Bochum,
Jan. 16, 1865; pupil Royal Inst, for
church mas., Berlin; organist, critic,
and teacher at Berlin.
Beck' with, John Charles, 1778—
Oct. II. 181 9; son and successor of
J. Christmas B. as organist, Nor-
wich Cathedral.
Beechgard should be Bechgaard,
on p. 409.
Beethoven, Ludwig van, add that
a symphony supposed to be a youth-
ful work of his was discovered
191 1 in the library of the Universi-
ty of Jena, by Prof. Fritz Stein, was
performed there Jan 17, 1910, and
published 191 1; performed in Leip-
zig, Nov. 191 1, and by Boston Symph.,
191 2. It is not generally accepted
as Beethoven's but is found weak and
uninteresting, of Haydulike simplic-
ity, with echoes of Mozart.
Behaim (be-him'), Michel, Sulz-
bach, 1416 — murdered there, 1474;
soldier and minne^nger.
Belch'er, William Thomas, d.
Birmingham, May 6, 1905, age 78.
mus. d.; organist.
Bell, William Henry, b. St. Albans,
Aug. 20, 1873; pupil at the R. A. M.;
won Goss sdiokurship, 1889; since
i903» pro^' ^^ harmony, there c.
symphonies Walt Whitman (1900),
and The Open Roady 3 symph. poems
to the Canterbury Tales; symph.
poems, Love Among the Ruins (190^);
The Shepherd (1908), etc.
Bellaigue, (b3-ieg),Camille,b.Paris,
May 24, 1858; critic and essayist;
pupil of Paladilhe and Marmontel.
Belhncioni, Qemma, add that she
was b. Como, Italy, Aug. 18, 1866;
widow of the tenor, Stagno.
Bendix (i) Otto, correct birth date,
July 26, 1845. (2) Victor, correct
birth date. May 17, 185 1. (3) Fritz,
b. Copenhagen, Tan. 12, 1847; brother
of (i) and (2); 'cellist; pupil of
Griitzmacher; plays in Royal Orch.
at Copenhagen.
Benoit (bOn-wsL), Camille, pupil
of C^sar Franck; 1888-1895, assist-
ant conservator at the Louvre; since
189s conservator; c. overture, 1880;
text and music of opera Cliopatre, etc
author of Souvenirs, 1884, and
850
THE MUSICAL GUIDE
Musicims. foeUs et pldlosopkes, 1887;
also translator.
Berl>er, Felix, b. Jena, March 11,
187 1 ; violinist; pupil of Dresden Com,
and Leipzig Cons.; concertmaster in
various cities; 1904-1907 prof. Royal
Acad., Munich; 1907 at Fcankfort-on-
Main; since 1908 at Geneva Cons.;
toured widelv; 1910, America.
Bern'eker, Constanz, Darkehmen,
£. Prussia, Oct. 31, 1841 — K6nigs-
berg, June 6, 1906; conductor and
conu>.
Bernhardt, August, b. St. Peters-
burg, Jan. 15, 1852; pupO at the
Cons, and since 1898, director.
Berteau, (Berteaud or Berthau),
(ber'-t5), (i) Martin, Valenciennes,
(?) — Paris, 1756; the first important
'cellist; c. violin sonatas. (2) Qa«
briel, c. 'cello concerto about 1800.
BestKndkg (be-st&i'-dikh). Otto, b.
Striegau, Silesia, Feb. 21, 1835;
oond. and comp.: pupil of Mettner,
etc. in Breslau; founded a conserva-
tory in Breslau; c. oratorio Der
Tod BMurs and Victoria Crucis, etc
Betts, Thomas Percival Mil-
bourne, d. Aug. 27, 1904, age 53.
English critic.
Beyschlag (bf-shl&kh), Adolf, b.
Frankfort-on-Main, March 22, 1845;
oond. pupil of V. Lachner: conductor
at Franluort. later at Belfast, Man-
chester, Leeds; since 1002 at Berlin:
1907 made Royal Prof.; author ana
comp.
Biaggi, correct birth date is 1819.
Bibl (bsb-l), (i) Andreas, Vienna,
1 797-1878 organist and composer.
His son and pupil (2) Rudolf,
Vienna, Jan. 6, 1832 — Aug. 2, 1902;
pupil of Lechter; organist and com-
poser of organ sonata, etc.
Bidez (be-des), L. Alovs, b. Brussels,
Aug. 19, 1847; teadaer and com-
poser of operetta The Stratagem; piano
concerto, etc.; lived in the U. S.,
1876-1901; then returned to Brussels.
Bie (be), Oskar, b. Breslau, Feb. 9,
1864; critic; pupU of Ph. Scharwenka;
x886, Dr. PhU.; 1890, Privat Docect
at Technical Hi^ School, Bcrib;
author of books; also oonq).
Biehr Q>er), Oskar, b. Dnsden, 1851;
violinist; pupil of David; for twenty-
five years member ci Munich ooort
orchestra.
Biemacki (be-^r-nlt'-ske), Michael
Marian, b. Lublin, SepL 9, 1855;
comp.; pupO of Warsaw Cons.; &
rector there; comp. 2 masses, Prdop*
for orcfa., etc
Bin'der, Fritz, b. Baltimore, 1875;
pianist; at 7 toured Europe in cod-
cort; studied with Lescfa^izky and
at Cologne Cons.; from 1901, <&. ci
the Daniig Singakademie.
Bird, Henry Richard, b. Nov. 14,
1842; organist; son of Qeor^ B.,
an organist; at 9, became org.; pupil
of Turle; since 1872 (xg. at St. Maiy
Abbots, London; conducted concerts,
and won prominence as arcompanist
Bishop, Ann, or Anna, Loodoa
1814 — New York, March 18, 18S4
sc^rano; daughter of Juks Riviiie
married Sir Henry Bi^iop, 1831,
deserted him for the harpist Bochsa,
with whom she toured the wocki in
concert; after his death, in 1856, she
married a Mr. Schulz.
Bishop, John, 1665 — Windiester,
Dec. 19, 1737; organist and oomposia,
Bispham, David, afreet birth date
is Philadelphia, Jan. 5, 1857.
Bitt'ner, Julius, coDqx)6er ^ operu,
Die Rote Grot (Vienna, 1907), and Da
Musikant (Dec. 2,101 i,Ldpzig Opera)
Black, Andrew, b. Glasgow, Jan.
X5> 1859; barytone; at first an oigio-
bt; then pupil of Randegg^ and
Scafati; sang at the Crystal Palace,
1887; toured America; fomoos as
"£/»;a*"; 1893, Pr^. <rf singing
R. C. M., Manchester.
BlackHbum, Vernon, d. Padding-
ton, London, Feb. 14, 1907, age 40-
Prominent En^^ish critic; for many
years on the ''Westminster Gudte,"
London; author of "The Frinte of»
Art."
DICTIONARY OF MUSICIANS 851
Blanc (blftn), Claudius (rightly
Claude), Lyons, March 20, 1854 —
June 13, 1900; pupil of Paris Cons.,
winning first harmony prize, 1875,
2nd Pnx de Rome, 1877; Dir. Mus.
• school Marseilles, 1887-9, ^^^^ cho-
rus master, Paris C)p.;c. "Ste. Gene-
vUve de Paris" for orch. and songs.
Blaser'na, Pietro, b. Fiumicello,
Feb. 29, 1836; teacher and theorist.
Blauvelt, Lillian Evans, correct
birth date is Brooklyn, N. Y., March
16, 1873; she .made her d6but in
opera in ** Faust'* at Covent Garden,
1903, with success.
Blavet, (bl&-vft), Michel, Besan^on,
Mar. 13, 1700 — Paris, Dec. 28, 1768;
composer of comic operas, etc.
Bleecn, (blakh) Leo, b. Aachen, April
22, 1871; conductor; pupil of Berlin
Hochschule; 1893-1896, cond. at
Municipal Theatre, Aadien, and pupil
of Humperdinck; 1899-1906, cond.
German Laudestheatre at Prague;
1906, Royal Opera, Berlin; 1908,
cond. first East-Prussian Festival at
Kdnigsberg; c. 3 symph. poems,
very succ^sful i-act opera. Das
War Ickj (Dresden, 1902); 3-act
opera Aschenbrddel (Prague, 1905);
VersiegeU (Hamburg, 1908; New
York, 191 2), etc.
Bleichmann (bllkh'-mftn), Julius
Ivanovitch, b. St. Petersburg, Dec.
5, 1868; conductor; pupil at the
Cons., and of Reinecke and Jadas-
sohn; cond. various orchs. at St.
Petersburg; c. 2 operas, chamber
music, etc.
Bleyle (bllMfi), Karl, b. Feldkirch,
May 7, 1880; pupil of Wehrle and de
Lai^; later at Stuttgart Cons, and of
Thmlle; gave up violin on account of
nervous affliction of the arm; lives in
Munich; c symph.. An den Mistral
(from Nietzsche), for mixed chorus
and orch., Lemt lachen (from Nietz-
sche's **Zarathustra**)t do.; symph.
poem FlageUantenzugy Berlin; Mun-
ich, 1908; Berlin, 191 1, etc.
•«Blind Tom/' vide Winins.
Blon (bl6n), Franz Von, b. Berlin,
July 16, 186 1 ; cond.; pupil of Stem's
Cons.; 1898, c. operettas Syh rosa
(LQbc^ck, 1887); ^ Amarone (Mag-
deberg, 1903), etc.
Blondeau (bl6ii-dd), Pierre Au-
Suste Louis, Paris, Aug. 15, 1784-
1865; viola-player at the Op^ra;
pupil of the Cons., taking the Pnx de
Rome, 1808; c opera, ballet, etc.
Blu'menberg, Franz, b. Remagen,
Feb. 28, 1869; organist at Colore;
c. songs, male choruses, etc.
Blumenfeld, (i), Felix M., correct
birth date to April 19; since 1898
cond. Imperial Opera, St. Petersberg.
His brothers are (2), Stanislaus,
Kiev, 1850-1897, pianist and teadier;
(3) Sigismund, b. Odessa, Dec.
27, 1852; song-composer, living in St.
Petersburg.
Blumenschein (bloo'-mfin-shin),
William Leonard, b. Brensbach,
Dec. 16, 1849; pupil of Leipzig
Cons.; since 1879 organist, teacher
and cond. at Dayton, Ohio; 1891-96,
chorus master at the Cincinnati May
Festivals; c. anthems, piano pieces,
etc
Blu men thai, Jacaues, correct birth
date is 1829, d. Chelsea, May 17, 1^.
Blumer, (bloo'-mfir), Fritz, b.
Claris, Aug. 31, i860. Swiss pianist;
pupil of Geneva and Leipzig Cons,
and of Liszt; since 1886 teadier at,
Strassburg Cons.
Bodenstein (b5'-d£n-shtln), Her-
mann, Gandersheim, March 27, 1823
— Braunschweig, April 12, 1902;
organist.
Bodin, (bd-d&n), Francois Etienne,
Paris, March 16, 1793 — ^Aug. 13, 1862;
teacher of theory at Paris Cons.;
author of a treatise.
Bodi'nus, Sebastian, flourished
1725-1756; bom in duchy of Alten-
burg; violinist and composer.
Btfheim, (b&'-him), Joseph Mi-
chael, Prague, 1748 — Berlin, July
4, 181 1 ; actor and singer.
Boismortier (bwll-m6rt-yfi), Josef
852
THE MUSICAL GUIDE
Bodin De» Perpignan, ca. 1691-^
Paris, ca. 1765; c ballet operas,
cantatas, etc
BSlsche 0>a'-sh4, Franz, b. Wegen-
stedt, near Magdeburg, Aug. 20.
1869; theorist; pupil Berlin Royal
Hochschule; 1896, teacher Cologne
Cons.; c. overture JudUk, etc.
Bonci (bte'che), Alessandro, b.
Cesena, n. Bologna, 1870; famous
lyric tenor; at 7 sang in choir,
studied singing with Coen at Pesaro
Lyceum for 5 years; then member
of choir at Lweto; operatic d^ut in
**Falstcff"; sang witn great success
at Covent Garden, 1900, and in 1908;
sang at Metropolitan Opera House;
toured U. S., 191 1-191 3; smgs in Italy.
Bo'nifortit [Carlo, Arona, Sept. 25,
1818— Trezzo d'Adda, Dec 10, 1879;
organist and comp.
Bonini (bO-n('-n(), Severo, b. Flor-
ence. 17th century; Boiedictine
mookf one of the first writers in mono-
die style; c madrigals, etc, 1607-
161}.
Booth, Robert, b. St. Andrews,
Dec. 29, 1862; English organist; c for
orch.; church music, etc.
Bopp, Wilhelm, b. Mannheim,
Nov. 4, 1863; pupil of Leipzig Cons.,
and of Emil Paur; 1884, dir. in Frn-
burg; 1886, assistant to Mottl at
Bayreuth; 1889, teacher at Mann-
heim Cons.; 1900, opened a High
School of Music; 1907 dir. Royal
Cons., Vienna; cond. His wife, bom
Q laser, is a court opera singer at
Stuttgart.
Borchers (b^r'-kh&s), (i) Bodo,
1835 — Leipzig, Jime 6, ifiipS; opera
singer and teacher in Leipzig. (2),
Qustav, b. Braunschweig, Aug. 18.
1865; pupil Leipzig Cons.; cantor ana
teadier of song; since 1898, directed
a singing-school at Leipzig.
Bordes (Mrd), Charles, Vouvray-
sur-Loire, May 12, 1863; — Toulon,
Nov. 8, 1909; composer; important
figure in the revival of French church
music; pupil of C^sar Franck; 1887,
diurdi- conductor at Nogent-siir-
Mame; 1880 oommissioiied by tht
govt, to collect Basque folk music:
nom 1890 diapel-ffiaster at St. Ga-
vais, Paris; founder of the '^Assocu-
Hon ef the Singers of SL G^rwtf" and
of the "^Schola Camtomm de SL G^"
1898 with d'Indy and Gaifanant; 1905
redred to MontpeOier and lovnided i
Sckola there; 1909 went to ^ficeto
give a concert and died on his way
home. He resuscitated many ior-
gotten master works, and wrote many
articles on them; c Phaniesie and
Rapsodie Basque for orch.; open Lk
trots Vagms^ religk>us musk, cfaoroses.
and sonn and piano pieces.
Bo'rek, Christoph, d. 1557; Fbiisfa
composer and conductor.
Bo'ri (rightly Borgia), Lucrezia,
soprano; studied at Milan ; 1911-12
at La SoJa. In 1910 singing in I^ris
with the Met. Op. Co. oC N. Y. She
was engaged for New York 1912-13-
Bom'hardt, Johann, Braunschweig,
March 19, 1774 — April 19, 1840; c
Singspielen, etc
Borosini (bte-o-s«-ne), (i), Fran-
cesco, b. Bologna, ca. 1695; oper-
atic tenor in 1723 at the Gnnd
Opera, Prague, and 1 724-1 725 in
London, with his wife (2), Leonora
d' Ambreville, a oontialto <tf
French birth.
Bosch, i>leter Joseph, Hobokeo,
Holland, 1736 — Antwerp, Feb. 19.
1803; organist at Antweq> Cathedral;
c sonatas.
Boschetti (bOs-ket'-te), Viictor, b.
Frankfort-on-Main, Aug. 13, 187 1;
pupQ of Prague Cons.; from 1896.
organist at Vienna and Dir. Cbort
Opera, 1900-3; c 5 operas, cfaurdi
music, etc.
»telho (bo-tfl'-yo), Manuel Joa-
|ulm Pedro, Li^xni, 1795 — April
, 1873; flutist and teadier of theory-
BdtUni, (b6t-te'-ne), Marianna
Andreozzi, the Marchesa, Iaxxz,
Nov. 7, 1802 — Jan. 24, 1858; she
composed masses, overtures, etc
DICTIONARY OF MUSICIANS 853
3oucheron (boo6li-rdn),Raimondo,
Turin, Mar. 15, 1800 — Milan, Feb.
38, 1876; cond.,tbeorist and composer.
Bouhy (boo'-e), Jacques, b. Pepin-
ster, Bel^^um, 1848; oarytone; pupil
at li^ Cons., then Paris Cons.;
1871, the Gjpfra Paris^ after 1872 at
Opte Conuque, creating the Torea-
dor r61e in "Carmen," etc.; 1885-89,
director of New York Conservatory;
returned to Paris Opto; later a
faD«)us teacher; c. songs.
Bouman (boo'-mftn), Martin T.,
b. Herzogenbusch, Holland, Dec. 29,
1858; pupil of Brte and HoU; city
director at Gouda; c. operas, masses,
etc
Bouval Gx>o-vfil), Jules Henri,
b. Toulouse, June 9, 1867; pupil of
Paris Cons., taking first harmony
prize 1889; org. St. ^erre de Chaillot;
c i-act operas, ballets "La Chaine
d' Amour" for voice and orch., songs,
etc
Bo'wen, York, b. London, Feb. 22,
1884; composer and pianist; 1898^
1905, pupil of the R. A. M.; c. 3 con-
certos; symph. fantasia for orch.
brmight out by Richter; concerto
and sonata for the viola, etc.
Boyle, Qeo. Frdk, b. Australia;
teacher at Peabody Cons., Baltimore;
c piano concerto, which he cond. with
success Feb. 191 2 at New York Phil.
Boyvin (bw&-v&n), Jacques, d.
Rouen, ca, 1706; organist there in
1674; c. organ music.
Brad 'ford, Jacob, b. London, June
3, 1842; organist; pupil of Goss and
Steggal; Mus. Doc. Oxford, 1878;
since 1892 organist at St. Mary's,
Newington; c. oratorio ** Judith";
Sinfonia Ecdesidstica with double
chorus; overtures, etc.
Brady, Sir Francis, d. Co. Tyrone,
Ireland, 1909; well-known amateur
musician and one of the foimders
of the Royal Irish Academy of Music;
c several songs, etc.
Brandt, Johann, b. Klrchenbirk,
Bohemia, Aug. 30, 1835; c operettas.
Brandram, Roslna (Mrs. But-
cher), d. Southend-on-Sea, Feb.
28, 1907, aee 61. Noted contralto in
Gilbert and Sullivan operas.
Brandt, Herman, Hamburg, 1852
— New York, Dec. 27, loio; pupil
Leipzig Cons.; settled in San Fran-
cisco; later cond. the Philh. orch.
there; then taught in N. Y.; at one
time was concertmaster llieodore
Thomas Orch.
Bran'dukoy, Anatol Andreje-
vitch, b. Moscow, Jan. 6, 1859; *cel-
list; pupil Moscow Cons.; spent many
years m Paris; founded a quartet
there with Marsick; 1890 returned
to Moscow; c. for 'cello and orch., etc.
Brassart, Johannes, priest, com-
poser and singer; in Papal Choir
m 143 1 ; probably same as Johannes
de Ludo; c. sacred music.
Braun, (i) Anton, Cassel, Feb. 6,
1 7 29-1 790; violinist and c; perhaps
the son of (2) Braun, whose flute
compositions were pub. in Paris 1729-
1740. His brother (3) Johann,
Cassel, 1753 — Berlin, 1795, vio-
linist and comp. (4) Johann Fr.,
Cassel, 1759 — Ludwigslust, 1824:
oboist and comp.; father of (5) Karl
A. P., b. Ludwigslust, 1788; oboist;
and of (6) Wilnelm, b. Ludwigs-
lust, 1701; oboist^ whose wife was his
cousin (7) Kathmka B., a singer.
Bredal (br&'-d^), (i) Niels Krog,
Drontheim, 1733 — Copenhagen.
Jan. 26, 1778; theatre-director ana
comp. of cantatas. (2) Ivar Fred-
erick, Copenhagen, June 17, 1800-
March 25, 1864; viola player; c. op-
erettas; cantata "Judas iscariot^ " etc.
Breithaupt, (brit-howpt) Rudolf,
Maria, b. Braunschweig, Aug. 11,
1873; critic and teacher; pupil Leipzig
Cons., 1897: c. songs.
Brend'ler, Erich, b. 1800 — Stock-
holm, 1831; c. opera "Ryno" with
Prince Oskar of Sweden (prod.
Stockholm. 1834). etc.
Brescianello (brr-sh&-neiM5), Giu-
seppe Antonio, Mus. Director at
854
THE MUSICAL GUIDE
Stuttgart, 171 7-1757; published vio-
lin concertos, etc.
Bressler-Qianoli (il-n^'-lB) Mme.
b. Geneva, i87o(?); d. there after
operation for appendicitis, May 12,
191 2. Operatic mezzo-sopr; studied
Paris Cons., d6but Geneva, at 19;
1900, Paris Op. Com., 1903 with New
Orleans Op. Co., from 1007 sang with
success at Manhattan Opera, N. Y.;
1910 with Metropolitan Opera, N. Y.;
her "Carmen'' was famous.
Breton v Hernilndez (br&-tdn
e £r-n&n'-dSth), Tomas, b. Salam-
anca, Dec. 23, 1850; leading Spanish
composer of zarzuelas, an oratorio
Apocalypsia (1882), for orch. *M»-
dalusian scenes"; funeral march for
Alfonso XII, etc.
Br6val» Lucienne, Add that her cor-
rect name is Berthe A. L. Schill-
inSf correct birth date, Berlin, Nov.
4, 1869; pupil of Warot at Paris Cons.;
d6but, Opdra, 1892; sang there till
1900, then at Op. Com.; 1902 re-
turned to the Op^ra.
Br^ville (bra-vd), Pierre Onfroy
de, b. Bar-le-Duc, France, Feb. 21,
186 1 ; composer and critic, diplo-
matic career; then studied at Paris
Cons, and with C^sar Franck;
teacher at the Schola Cantorum; c
masses, sacred chorus with orch.,
SaitUe Rose de Lima; symph. poem,
NuU de dicembre; overture, Frtncesse
Maleiney music for Les sept Princesses,
and Sakuntala, etc., orch. fantasie
** Portraits des Afusiciens**; songs, etc.
Bridge, (i) Sir John Frederick;
1902, made member of the Vic-
torian Order; 1903, King Edward
Prof, of Music, London University;
(2) Frank, b. Brighton, Feb. 26,
1879; viola player; pupil of R. A. M.,
gaining a scholarship m composition;
c. prize (quartet in £. Minor (Bologna
competition); string quartet "Three
IdyUs**; rhapsody for orch. and symp.
poem, "Isabella" {1007),
Briesemelster, ( brC - z&-ml-st& ),
Otto, Amswalde,May 18, 1866 —
Berlin, June 17, 1910; tenor; at first a
doctor, then a pupil of Wiedcmami;
d^ut, 1893, Detmold.
Bright, Dora Estella, b. Sheffidd
Aug. 16, 1863; pianist; pupfl R. A. M.,
London; 1892 married Capt. Knald}-
bull; c. 2 piano concertos ; vaxiatioDs
with orch., etc.
Bron'ner, Qeorg, Holstein, t666—
Hamburg.. 1724; oiganist ; c for the
Hamburg Opera "Echo and Nar-
cissus," "Venus," etc.
Brons, Simon, b. Rotterdam, April
19, 1838; composer; teacher and
writer; author of theoretical woiks;
lives at The Hague.
Broschi, Carlo; real name of the
great male soprano 'called FarineQl
perhaps after his uncle who was i
composer.
BrounoffO>roo'-n60, Platon, b. E£-
zabethgiad, Russia, 1869; coinposer
pupil of Rubinstein and Rimsky-
Korsakov, St. Petersbuiig Cons.;
cantata "The Angel" prod, at court;
lives in New York as cond. of Russian
choral society, etc.; c piano suites
and songs.
Bruch, Max. Add that he received
in 1908 the Prussian order for merit
in art and learning, and many
honors from England, France, etc
His further compositions indiide the
secular oratorio, Custav Adolf (189S),
Nal und Damajant (1903); Die Mad^
des Gesanges, for barytone, mixed
chor. and orch. (191 2.)
Bru'dlen, Juan, Spanish priest;
cond, at Cathedral of Urgel, 15S5;
later at Barcelona; c madrigals, etc
Bruneau, Alfred. Note thatOcta\'e
Ser£, in his Musiciens fran^(Us d^au-
jourd^hui (Paris, 191 1), gives the
date of Bruneau's birth as March ist
not 3rd. Add to his composirions the
operas, all to Zola's texts: VChtragn
(Op. Com. 1 901); lyric comedy in
3 acts, V Enfant Roi {Op, Com. 190s);
i-act lyric drama Lasare (1905);
incid. music to La Faute de fAM
Mouret (Od6on, 1907); lyric drama
DICTIONARY OF MUSICIANS 855
NaU Micoulin (Monte Carlo, 1007);
Les Qualre JounUcs (accepted at
the Op. Com.); also songs, etc.
Bruns* (bioons) (Molar) Paul* b.
Werdien, June 13, 1867; tenor, bary-
tone, and teacher; studied in Leipzig
and Italy; gave historic son^-redtals;
since 1902 teacher of singing in Berlin;
author of a vocal method, etc
Buchmayer (bookh'-ml-Cr), Rich-
ard, b. 2^ttau, April 19, i857;pupil
Dresden Cons.; later piano teacher
there; 1907 Royal Saxon Prof.; gave
many concerts of andent clavier
music and then devoted himself to
musical history.
Buchner (bookh'-nCr), (i) Hans*
Ravensburg, Dec. 26, 1483-1540;
organist and con^. (2) Philipp Fr.,
Wertheim, 1614 — Wiirzburg, 1669;
cond. and comp.
BOchner (b(ikh'-n6r), b. Pyrmont,
1825; flutist and composer; from
1856, soloist at St. Petersburg Royal
Opera, and Prof, at the Cons.
Buck, (i) Dudley; retired from
church work 190J; d. Brooklyn, N. Y.
Oct. 6, 1909. (2) Percy Carter,
b. West Ham., March 25, 1871; pupil
at R. A. M., London; won scholarship
1891-4, organist at Oxford; 1893,
Mus. Doc.; 1896-9, organist WeLb
Cathedral, 1 899-1 901, Bristol Cathe-
dral; 1 910, prof, of music Dublin
University, vice-Pres.: c. overture
" Coeur de Lion "; chamber music, etc.
Bahl (bm), Joseph David, b. Am-
botse, 1 781; feunous trumpet-player
at Paris; author of trumpet-method.
Bullerian (bool-U'-rl-Sn), Rudolf,
b. Berlin, Jan. 13, 1858; director;
pupil Stem Cons.; played in orches-
tras from his i6th year; 1884,
municipal director at Gdttingen; 1890
in Russia, settling at Moscow, con-
ducting in other cities; since 1902 in
America.
BQmler (blm'-lCr), Qeorg Hein-
rlch, Bemeck., Oct. 10, 1669 —
Ansbach, Aug. 26, 1745; cond. and
comp. of church music.
Buonamici, Carlo, b. Florence.
June 20, 1875; pianist; son and pupil
of Giusei^ (q. v.), later studied at
Wttrzbun Royal Musicsch., with
Van Zeyl, taking first prize; after
year in the army, settled in Boston,
1896, as teacher and pianist with
Boston Symph. Orch., etc.; 1908
toured Europe.
Buongiorno (boo-6n-j6r'-n0), Cres*
cenzo, Bonito, 1864 — Dresden .
Nov. 7, 1903; c. operas.
Busoni, F., aidd that in 1907 he suc-
ceeded Sauer as teacher of the master
class at Vienna Cons.; 191 1 toured
America, c. symph. tone-poem
''Pojohla's Tochkr/' festival over-
ture, 1897; music to ** Berceuse Hi-
giaquef** for orch.; Schiller's "Turan-
dot ; transcribed Bach's or^an works
for piano; wrote *^Entwurf etner neuen
Aesthelik der Tonkunst. ** His qpera,
^*Der Brauhvahlt" was prod. Ham-
burg, April 13, 191 2, based on Hoff-
man's **Serapeons' Braier."
Butler, Thomas Hamly, London,
1762 — Edinburgh, 1823; oomp.
Cabezon (k&'-b&-th6n), (i) (Felix),
Antonio De, Santander, March
30,1510 — May 26, 1566; composer;
cembalist and organist to Phihp U;
called "The Spanish Bach"; blind
from birth; c. harp and flute pieces,
published in 1578 by his son (2)
Hernando, who succeeded him.
Cad 'man, Charles Wakefield, b.
Johnstown, Pa., 1881; at 13 b^an
piano studies, at 19 composed a
comic opera, prod, at Pittsburg, but
did not studfy composition tSi 20;
pupil of W. K. Steiner (organ), Luigi
von Kunits (orchestration), with
critical advice from Emil Paur; took
up Indian music, 1906 published
"Four Indian Songs"; 1909 spent
summer among the Oinaha Indians,
taking phonograph records ana
transcribing them; gives lecture-
856
THE MUSICAL GUIDE
redtals on Indian music, c Three
Moods for synu^, orch.; cbamber
music; cantata for male voices The
Vision of Sir Launfal, Japanese
romance for two voices, Sayonara;
three Songs to Odysseus; Indian songs,
etc
Cahier (kfl-herO, Mme. Charles
(n6e Walker,), contralto; b. Ten-
nessee; sang in concert as Mrs. Mor-
ris Black, then studied with Jean de
Reszk^; (Ubut in opera as "Orfeo"
(Nice, 1904); sang m other cities and
from 1909 at Vienna Royal Opera.
1Q12 at Met. Op., N. Y.
Caland (k&'-Unt), Elizabeth, b.
Rotterdam, Jan. 30, 1862; teacher
and author of piano methods.
Camar'go, (i) Felix Antonio, b.
Guadalajara, i6th cent.; cathedral
cond. at Valladolid; c. remarkable
hymn to St. lago, etc. (2) see Cupis
Camerloher (kkm'-efr-l6-&), (i)
Placidus Von, Muinau, 1710 —
Freising, 1776; c. operas, etc; his
brother (2) Anton, d. Munich,
174^; c opera.
Calve, Emma, b. D6cazeville,Trance
— not at Madrid, 1863 (1866?); mar-
ried the tenor Mario Gaapary, 191 2.
Camet'ti, Alberto, b. Rome, Mav
5, 187 1 ; oi^nist; pupil at Acad-
emy of St. Cecilia; organist of the
French church of St. Louis at Rome;
historian of music and comp.
Campanini (kam-pll-n('-n(), Cleo-
fonte, conductor; pupU Milan
Cons., later teacher there; cond. at
La Soda, Covent Garden, and 1006-
II at Manhattan Opera House, rTew
York, 191 2 at London; married Eva
Tetrazzini, operatic soprano (sister
and teacher of Luisa).
Campbell - Tipton, Louis, b.
Chicago, Nov. 21, 1877; studied in
Chicago, Boston and Leipzig; lives in
Paris ;his important compositions have
been much played abroad, notably his
"Heroic" sonata for piano, piano
suites, "The Four Seasons/' /^Suite
Pastorale," for piano and violin.
Canal (k&'-nil), Abbate Pietro,
Cnspano, April 13, 1807 — Dec 15.
1883; historian and conq>.
Canale (or Canali) (klr4ir-l£),
Floriano, organist at BrodL
1 585-1603; c churdi music.
Canob^io, Carlo, violinist at Im-
perial Thoitie, St. Peter^Mn;^, 1779'
1800; c 2 opens, ballets, etc
Cantor, Otto, b. Creuznadi, Rben-
i^ Prussia, 1857.
Capellen, Qeorg, b. Safarflrn,
lippe, April I, iS6g^ theorist and
comp.; took up music m 1901; antbor
of important works on modeni bar*
moQic anafyss.
Caplet, (kto-lft), Andr£, b. Havre,
1879; pupil of WoUett; vioGnist at
Havr6 Thea^ 1896; pcqpfl oi
Lerouz at Paris Cons., winning fine
harmony prize, i8p8, and Pnz 6t
Rome, 1901; lived m Rome, then io
Germany; acted as **«»g<^"t to
Cokmne, 1808; looo, was the first
to cond. Deoussy^ Martyre de Sa»
Stbastien; 1911-12 cond. at Boston
Op.; c prize quintet for wind instrs.,
etc
Capri, (UUpre) Julius, b. Marsfflks
1837; pianist and teadier in St. Pe-
tersburg after 1853; pcqiQ MarseiQes
Cons.; c opera Lwnore, etc
CapuzzI (UHpood'-z€), Oiuseppe
Antonio, Bresda, 1755-1818; c
5 opo^as, etc
Cara (k&-r&), Marco, called Mar-
chetto, court OMnposer atMantut,
1405-1525-
Carlez (k&r-l«s), Jules Alexis, b.
Caen, Feb. 10, 1836; organist, his-
torian and comp.
Car'nall, Arthur, Peteiabofoiigk
May 7, 1852 -— Penge, June 30. 1904;
from 1873 organist at St. John^
Penge; c overture, 2 quintets, etc
Caro (kft'rC), Paul, b. Breslau, Dec
25, 1859; pupil of Schfiffer aod
Scholz, and Vienna Cons.; c 2 opecu,
4 syn4>h., 30 string-quartets, etc
Caron (kfirr6&), (i) Firmen, should
be Philippe; (2) Rose Luclle (nfe
■■■
DICTIONARY OF MUSICIANS 857
Meuniez), b. Monerville, France,
Nov. 17, 1857; soprano; after her
marriage entered Paris Cons., 1880,
as pu]^ of Tharset, later of Marie
Sasse; d^ut Brussels, 1883; 1885-8,
Paris Op6ra; 1888-90, Brussels; from
1890, Op6ra Paris; also at the Op.
Ccnn., from 1902 prof, at the Cons.
She created many of the chief r61es
in modem French Opto and in
French versions of Wagner. She
sang Salammb6 at the C^pto, 1908.
Car'penter, John A. b. Park Ridge,
HI., 1876; pu[Hl of his mother (a
pupfl of Marchesi and Shakespeare),
Anay Fay, Seeboeck; then graduated
at Hansard, 1897, studying music
under Paine and taking highest
musical honours, submitting a piano
sonata; 1907; studied with Elgar in
Rome, and thereafter in Chicago with
Bemhard 2^ehn; c. violin and piano
sonata (191 2) and many songs.
Carse, A. Von Ahn, b. Newcastle-
on-Tyne, May 19, 1878; pupil R. A.
M., with the Madarren scholarship;
made an associate there in 1902; c.
ssonph. in C minor (prod. 1906);
symph. in G minor (1908), revised
and prod. 1909, symph. poem, *'/» a
Balcony" (1905); concert overture
(1904), etc.
Carter, Thomas, Dublin, May,
1769 — Nov. 8, 1800; mus. director
at Calcutta; c. songs.
Caruso (k9-roo'-s6), Enrico, b.
Naples, Feb. 25, 1873; f&mous Italian
tenor; pupil of Vergine; d6but, 1895,
winning gradual success in Italy
(Naples, 1898; 1899 La Scala), and
creating the tenor r61es in Giordano's
"Fedora," Cilea's" Ucouvreur," and
Franchetti's "Germania"; 1899-1903
sang in St. Petersburg, and Buenos
Ajrres; 1902, appeared with Melba
at Monte Carlo, began his tre-
mendous vogue; 1902 at Covent
Garden; 1903, Met. Op. House, N.
Y. Since then he has simg at
both <»)eras almost every year with
unrivalled favor; 1908, his voice was
threatened, but an operation restored
it. He created the tenor r61e in Puc-
cini's "G»>/o/ the Golden West," and
has sung throughout Europe always
with sensational effect and imequalled
prices. He is an ingenious caricatu-
rist, and has composed songs, one of
them being sung in the farce " The
MiUion" (New York, 1912), by a char-
acter called **The Bowery Caruso. "
Casals', Pablo, b. Beudrell, Spain,
Dec. 30, 1876; 'cellist; pupil of Jose
Garcia, Rosereda and Breton; since
1897, prof, at Barcelona Cons.; toured
widely; c. La Vision de Fray Martin,
for chorus and orch.; 'cello pieces, etc.
Casati (kn-sft'-ts), Qasparo, d.
Novara, 1643; cond. at Novara Cathe-
dral; c. church music.
Case, George Edward, d. Nov.
29, 1009, age 54. Writer and prof, of
trombone at R. C. M., London.
Casimiro (kft-se-me'-r5), da Silva
Joaquim, Lisbon, May 30, 1808 —
Dec. 28, 1862; Portuguese comp. of
church music.
Castlllon (kfls-ts-}r6ii), Alexis de,
Vicomte de Saint Victor, Char-
tres, Dec. 13, 1838 — Paris, March
5, 1873; composer ; pupil of Mass6
and C^ar Franck; c. symphony;
overture, Torjuato Tasso, Psalm 84
with orch.; piano concerto and im-
portant chamber music.
Cas'tro, Ricardo, Durango, 1866-
1908; dir. Nat. Cons, of Mexico.
Catalan! |(k&t-&-m'-nS), Alfredo,
Lucca, Jime 19, 1854 — Milan, Aug.
6, 1893; pupil of his father, an organ-
ist; at 14, c. a mass sung at the cathe-
' dral; pupil of Magi, and of Paris Cons,
and Milan Cons.; c. operas " La Fake"
(Milan, 1875); "£Wa" (Turin, 1880;
revised as "Loreley," 1890); "La
Wally" (L& Scala, 1892); c. symph.
poem "£ro e Leandro" etc.
Catoir (k&t-w&r), Georg L., b.
Moscow, April 27, 1 861; pupil of
Klindworth, Willborg, and Liadov;
c. symphony; symph. poem. Mzyri;
cantata, Russalka, etc.
858
THE MUSICAL GUIDE
Caudel'la, (i) Franz» d. Jassy,
Roumania, 1868; 'cellist and (&r. of
the Jassy Cons.; his son (2) Eduard,
b. Jassy, Tune 3, 1841; violinist; pupil
of his father, and of Alard, Massart,
and Vieuztemps; 1894-1901, dir. of
education at Jassy; c. opera, etc.
Chabran (sh&-brlUi), or Ciabrano
(cha-br&'-nd), Francesco, b. Pied-
mont, 1723; violinist and comp.;
1 75 1, toured Europe with success.
Chabrier, A. E., add that after his
death in 1894 fajs unfinished opera
^^BrisHs," was given at the Op6ra
Paris, 1899; his opera "Gufendoltne"
(text by Catulle Mendds), at the Op.
Com., ion.
Chad'fleld, Edward, Derby, Aug.
1, 1827 — Hastings, March 31, 1908;
organist at Derby; pupil of Smart,
Rosellen and Korbach.
Chadwick, Q. W., add that the fol-
lowing compositions were played in
the Boston Symph. Orch., overtures
**Adonais,** (1900); "Euterpe*'
(1904); "Cleopatra** (1906); sym-
phonic sketches (1908); theme varia-
tions and fugue for organ and orch.
(1909); Sii^onietta (1910); Suite
Symphonique for orch. winning $700
prize of Nat. Federation of Clubs
(1910); c. also "Nod** (1909);
"Lochinvar," ballad for barytone and
orch., 1909. "Judith** l^ic drama,
Worcester Feast 1900 mdd. music
to " Eoerywoman** (191 1); symph.
poem "Aphrodite** (Norfolk. 1912),
In 1905 a concert of his conq)S. was
was given by the Leipzig Concordia
Verein.
Chalne (sh&i), Eugene, b. Charll-
ville, Dec. i, 1819; pupil and after
1875 teacher at Paris Cons.; c 2
symph.. and important violin pieces.
Chaliapine (shftl-y&'-pen), Fedor
Ivanovich, b. Kazan, Feb. 11,
1873. Russian bass; pupil of Oussa-
tov, in Tiflis; sang in various cities,
finally at Moscow, and with immense
success in European capitals; 1908,
New York.
Champs (dO-shftA), Ettore de, b.
Florence, Aug. 8, 1835 ; pianist aad
c. of opcnsy masses, etc
Chapi (y Lorente) (cfaftppCcld-
r&i'-t€) Kuperto, Vmena, March
27, 1851 — Madrid, Mardiss, 1909;
pupil Madrid Cons.; c opens
and 78 zaizuelas; also a symph.;
oratorio, etc
Charlier (shftri-y&), Thte., b.
Seraing, Belgium, July 17, 1866;
trumpet-virtuoso and teacher; c
opera, ballets, etc
Chausson (shte-s^), Ernest* Puis,
June 21, 1855 — (killed in biQrde aod-
dent), limay n. Nantes, June lor
1899; pupil of Massenet and C^
Franck; c symph.; ssmaph. poems
Viviane and Les caprices de Mananm;
opera HiUne, Le roi Artkus (Bmaseb,
1903; text by the composer); sonp
and piano pieces.
Chemin - Petit ( shtt-min-pft-tc' ),
(i) Maurice, c. opera, "AljrH
the Great,** (HaUe, 1858). (2) Hans
c operas, indudink "Der liebe
Augustin** (Brandenbuig, 1906).
Chesh'ire, John, d. New Yoit
Sept. 21, loio, age 73. English
harpist; pupQ and later teacher is
Royal Academy of Music; prolific
composer for hiurp.
Chessin ( ch&'-sCn ), Alexander
Borissovich, b. St. Petersburg Oct
19, 1869; conductor; pupQ <rf the
dons., and of Nikisch at Lopzig; since
1901, cond. at St. Petersbuig and
since 1903 of PhilharaQoiiic concerts
at Moscow; c cantata, etc
Cheviliard, Camiile, add that m
1898 he acted as substitute cood.
for Lamoureux, called abroad; on tlic
death of L. Dec 21, 1899; hebecaiae
cond. of the Association des Concerts'
Lamoureux, Add to his ocnnps. indi
mus. to La Roussalka (1903); aDegio
for horn and piano, 1905; (nano piecei
and songs.
Chop (kh^). Max, b. Gieusieii,
Thurinpiia, May 17, 1862; Mm. wiitcTi
critic m BeiAn, under the name
DICTIONARY OF MUSICIANS 859
«'
Monsieur Charles;" c piano con-
certo, etc.
Chopin t Fr. , The controversy as to the
date of his birth has been recenthr
ended by the dif covery of the certifi-
cate, establishing it as Feb. 22, 1810.
Chretien ( krftt - y9A ), Hed wige
Louise Marie, b. Compile,
July 5, 1859; pupil Paris Cons., taking
first harmony prize, 1881; first
counterpoint and tugue, 1887; teacher
there, 1890-2; c. orch. pieces, cho-
ruses, songs, etc.
Christ (krest), Wilhelm, Geisen-
heim, Aug. 2, 1831 — Munich, Feb.
8, 1906; lustorian and theorist.
Chueca(chwft'-ka), Federico, 1846
— Madrid, June 20, 1908; composer
of zarzuelas.
Chva'la (shvil'-lfi), Emanuel, b.
Prague, Jan. i, 18^1; pupil of Fdrster
and Fibich; historian and c. of cham-
ber music etc.
Chyblnski (khe-b&i'-y£-shkl), Ad-
olf, b. Cracow, March 29, 1880; his-
torian of Polish music.
Ciconia (chl-k6n'-y^), Johannes,
canon at Padua about 1400; theorist
and comp.
Ciiea (chS'-l«-&), Francesco, b.
Pahni, July 29, 1866; leading Italian
opera comp.; at 9 hade. a nottumo
and a mazurka; at 15 entered the
Naples Cons.; while yet a student he*
faaa success with a suite for orch., and
a 3-act opera Ginaj (1889); 1896-
1904, professor at Royal Institute,
Florence; c. operas La Tilda^ (1892);
LArlesiana (Milan, 1896); Adrianna
Licouvreur (Milan, 1902, Covent
Garden, 1904); Gloria, (La Scala,
Milan, 1907).
Cirri (cher'-r(), (i) Ignazio, organ-
ist and comp.; his son (2) Qiovanni
Baptista, b. Forli, ca. 1740; 'cellist;
spent many years in London, then
returned to Italy; c. important
'cello music.
Clauss'nitzer, Paul, b. Nieder-
schQna, near Freibergi Dec. 9, 1867;
teacher and comp.
Clav6 (kl&-vft'), Jos^ Anselmo,
Barcelona, April 21, 1824 — Feb.,
1874; founder of male chorial societies
in Spain; c. very popular songs and
choruses.
Clavijo Del Castillo (kl&-v('-ho
d^ kfis-tel'-yd), Bernardo, d. Ma-
drid, Feb. 1626; Spanish organist
and comp.
Clay'ton, Thomas, ca. 1670 — ca.
1730. English manager and comp.
Clem'ens, Charles Edwin, b.
Plymouth, England, March 12, 1856;
organist; 1 889-1 895, organist at the
English church, and to Empress
Frederick in Berlin, and teacher at
Scharwenka Cons.; then moved to
Qeveland, Ohio; author of organ-
methods.
Clement (or Clemens or dem-
enti), Johann Qeorg, b. Bres-
lau ca. 1 7 10; cond. at Bredau, 1735,
till after 1785; c. masses etc.; left two
sons — one at Vienna, the other a
violinist and cond. at Carlsruhe, 1793,
taking the name Clementi.
Clemm, (i) John (Johann Gott-
lieb Klemm), Dresden, i6j)o —
Bethlehem, Pa., 1762; organ builder,
came to America, 1736; built first or-
gan for Trinity Church, N. Y., 1741,
of which his son (2) John was the
first organist.
CUrambault (klSrr&fi-bd), Louis
Nicolas, Paris, 1749; orgamst and
comp.
Cleve (klSv), (i) Johannes De,
Cleve (?) 1529 — Augsburg, 1582;
court tenor at Vienna and Prague; c.
church music; (2) Half dan, b.Rongs-
berg, Norway, Oct, 5, 1879; pianist:
pupU of his father and of Raif ana
the two Scharwenkas at Berlin; c.
piano-concertos, etc.
Cliffe (kllf), Frederick, b. Lowmoor,
May 2, 1857; organist; pupil of
Sullivan, Stainer, and at R. C.
M.; toured Europe with success;
c. 2 symph.; symph poem ** Clouds
and Sunshine^\' alto solo with orch.,
"r*e THumph of AlcesUs," etc.
86o
THE MUSICAL GUIDE
Clough-Uiter (kliif-ll'-t&') (i)
Henry, b. Washington, D. C.;
1874; composer and musical editor;
pupil of his mother, £dw. Kimball,
H. Xandet, and Dr. J. H. Anger;
org. at Washington and various
churches at Providence, R. I. c.
Lasca for tenor and orch.; 4
cantatas, A Day of Beauty, for
string quintet; 200 songs of imusual
color and sweep, etc. His wife,
(2) Grace Cotton Marshall, b.
Nineveh, Ind., Aug. 20, 1885;
pupil of her mother; 1902 — 5 com-
pleted seven-year course at Met.
School of Music, Indianapolis, grad-
uating with highest honors; studied
then in Boston with Carlo Buonamid
and H. C. L., whom she married.
She has pi^blished many piano pieces
and songs under the name Q. Mar-
schal-Loepke.
Coates, John, b. Girlington, Tune
29, 1865; tenor; sang in his father's
choir at 5; pupil of Burton and Bridge
later of Shakespeare; sang in li^t
opera, London and America, as
barytone, 189^-1899; dedded he was
a tenor; studied and made ddbut,
1900, at Covent Garden; favourite
festival tenor; also in opera in Ger-
many and 1910 chief tenor at Beech-
am's season.
Cob'bold, William, St. Andrew,
Norwich, Jan. $, 1559-60 — Becdes,
Nov. 7, 1639; org. and comp.
Coccia (k6t'-ch^), Maria Rosa,
Rome, Jan. 4, 1 759 — after 1 783 ;
woman con^K>ser of great impor-
tance m her own day; c. Magnificat,
etc.
Coignet (kwto-yfi), Horace, Lyons,
1736 — Paris, Aug. 29, 1 821; comp.
Colborne, Langdon, London, Sept.
i5> 1S37 — Hereford, Sept. 16, 1899;
organist at Hereford Cathedral, 1877-
i^; c. oratorio "Samuel,** etc.
Cole, (i) Belle, d. London, Jan. 6,
1905, age 60. Ainerican contralto. (2)
Rossetter, Q., b. near Clyde,
Mich. Feb. 5, 1866; composer; 1888,
graduated horn Michigan Univ..
taking musical courses also; at his
graduation the Univ. Mus. See.
performed his cantata with orcfa.
'* The Passing of Summer**; 188&— 90.
he tau^t Engush and Latin in h^
schoob; 1890--92 in Beriin, winning
competitive scholarship at Roy&]
Master-school, and studying with
Max Bruch; 1892 — 4, prof, of music
Ripon College; 1894 — 1901, Iowa
College; from 1902 in Chicago as
teacher, and from 1908 abo in duuge
of summer music classes of Columbia
Univ., N. Y. c. "King Robert of
SicUy,** and '' Hiawatha* s Wooin,''
as musical backgrounds for redta-
tion, ballade for 'cello and oidi;
sonata for violin son^ etc
Coleridge - Taylor, Samuel, add
that he was made cond. Haodd
Sodety, 1904; his ** Hiawatha'* was
devdoped as a trilogy, "Hiawatka*s
Wedding Feast,** (R. CM., London,
1898), **The Death of Minnehaha''
(Morth Staffordshire Fcst., 1899;
**Hiawatha*s Departure** (London,
1000), the overture the same year; c
also for voices and orch., " The Blind
Girl of CasteirCuilU, (Leeds Fest.
1901), '*Meg Blane,** (SheflBdd Fcst.
1902), ''The Atonement,** (Hereford
. Fest., 1903), "Kubla Khan,** (Htn-
dd Society, 1906); indd. music to
Stephen PtuUips's plays, ''Herod,**
"Ulysses,** "Nero,** and "Famst,"*
(1908); concert march, "Etlaopi*
SaluUng the Colors**; 5 baUads by
Longfellow, with orch., (Norwich
Fest., 190S); "A Tale of Old Jafan,"
voices and orch. (London, 191 2), etc
He died Sept. i, 191 2, in Loo(k>n.
Coloml)!, Qiuseppe,Modena, 1635-
1694; conductor and comp.
Colombini (k&-ldm-be'-ne), Uro,
b. Milan, 1878; tenor; sang at Muu
Royal Theatre, Madrid, and Imp.
Operas in Russia; loio-ii, MontitaL
Colyns (ko-l&ns), Jean Baptiste,
Brussels, Nov. 25, 1834 — Oct 31,
1902; violinist and con^).
i
DICTIONARY OF MUSICIANS 86i
Com'forty Ambrose H., d. April
26, 1905 at Cape Town, age 42.
Pianist and teacher.
Conried (k&n'-red), Heinrich, Bie-
litz, Sflesia, Sept. 13, 1855 — ^Meran,
April 27, 1909; impresano; in 1873
an actor at the Vienna Burgtheater.
came to New York 1878; founded
German company from 1887 at Irv-
ing Place Theatre; 1901, succeeded
Grau as manager of the Metro-
pc^tan Opera House, where in
1903 he made the first production
out^e Bayreuth of ^^ Parsifal";
Z905, Franz Leopdd decorated him
and gave him the privily of the
pn&s. ''von''; ill health K>rced his
retirement in 1908.
Conseil (k6n-sfi), Jean De, d.
Paris, 1535; composer, and 1526
singer in Papal chapel.
Con 'solo, Frederigo, Ancona, 1841
— Florence, Dec. 14, 1906 ; violinist
and comp.
Co'nus (or ConiusorKonlus), (i)
Qeorge Edwardovicht composer;
b. Moscow, Dec. i, 1862 ; theorist;
pupil of the Cons. ; 1891-9 teacher
of theory there; since 1902 prof, at
the Opera School; c. symph. poem
**From the Realm of lUusions," orch.
suite, "Ckild-Life" cantata, etc.
His brother, (2) Julius, b. Moscow,
1869; gold medallist at the Cons, and
later teacher of violin there; c. violin
concerto, etc. (3) Leo, pianist;
pupil at the Cons.; later foimded a
school of his own.
Converse, Frederick Shepherd,
b. Newton, Mass., Jan. 5, 1871;
composer; graduated at Harvard Uni-
versity and studied music with
Bahrmann and G. W. Chadwick;
1896-8 with Rheinberger, then
taught theory and comp. at the New
En^and Cons.; c. operas *^The Pipe
of Desire** (in concert form, Boston,
1906, as an opera, Met. Op., N. Y.
1910, Boston Op., 191 1); s)rmph.
(1907); overtures, "Youth** and
**Euphrosyne**; orch. romance, "The
Festival of Pan**; orch. fantasie,
"The Mystic Trumpeter**; symph.
poem "Ormasd" (Boston Symph.
Orch., 191 2); vidin concerto and
scmata, etc.
Conver'si, Girolamo, b. Correg-
gio, i6th cent.; c. madrigals, etc.
Coquard, Arthur, add that his
birth date is May 26th; c. operas
"Jahel** (Lyons, 1900), "La troupe
JcHicoeur** (1902), etc.
Cornette (k6r-n£t), Victor, Amiens,
1795 — Paris after 1850; Mus. Di-
rector; pupil Paris Cons.; cond. and
comp. for wind instruments; author of
many methods.
Coronaro (i) Antonio, b. ^ncenza,
i860; brother of Gaetano C, and
comp. of operas; his son was (2)
Arrigo, Vincenza, 1880 — October,
1906; c. opera Turiddu (Turin, 1905).
Corri-Paltoni, Frances, b. Edin-
burgh, 1 801; mezzo-soprano; niece of
Domenico R. Corri; toured Europe
till after 1830.
Cortellini $6r-t^-l('-ne), Camillo,
called " n violino'' from his skill;
at Bologna, 1583, 'as mimidpal musi-
cian and comp.
Cortesi (k6r-t&'-ze), Francesco,
Florence, 1830 — Jan. 3, 1904; con-
ductor, composer of operas, and
teacher of voice;
Cossoul (k6s'-sool), Guilherme An-
tonio, Lisbon, April 22, 1828 —
May 26, 1880; 'cellist and comp.
Cotes (kd'-t&), Ambrosio De,
d. Seville, Sept. 9, 1603; Spanish
composer and cond.
Cre'ser, William, b. York, Sept.
9, 1844; organist and composer;
pupil of Mactarren; 1880, Mus. Doc.
Onord; 1881, org. at the Parish
church, Leeds; conducted perform-
ances of Bach; 1891-1902, org. Chapel
Royal; St. James, and comp. to
Chapel Royal: married Amelia Clarke
a prominent mezzo-soprano; c. orato-
rio, {"Micaiah**; cantatas "Eudora**
(Leeds, 1882) ; " The Sacrifice of Freia**
(Leeds, 1889), ^^^*
862
THE MUSICAL GUIDE
Crevelli, Domenico,Brescia, June 7,
1703 — London, Feb. 11, 1857; comp.
Cro^mer, (i) Jos^ Antonio,, Lis-
bon, March 11, 1826 — Sept. 28,
1888; flutist; his brother, (2) Raph-
ael Jos^, Lisbon, March 26, 1828 —
Cascaes, Sept. 22, 1884; clarinettist
andoboAst.
Cul'bertson, Sasha, b. 1893; vio-
linist ; pupU of Suchorukoff; at 9
entered Cons, at Rostoff; in 1905
pupQ of Sevdk, Prague; d^ut, Vienna
1008; toured Europe and America.
Culp (koolp), Julia» b. Amsterdam;
mezzo-soprano; well known Lieder-
singer; pupil of Amsterdam Cons,
and of Etelka Gerster; has toured
Europe with great success; engaged,
191 2, to tour America.
Culwick (kOlMlk), James» C, West
Bromwich, April 28, 1845 — Dublin.
Oct. 5, 1907; organist, theorist ana
comp. Prof. Alexandria College, Dub-
lin; cond. Dublin Philharmonic Soc.,
etc. 1903, Mus. Doc. Univ. of
Dublin.
CuplB (ka-pe), (i) (Francois de
Camargo), Brussels, 1719 — Paris,
1764; violinist and comp. His son,
(2) Jean Baptiste, Paris ca.
1741 — ca. 1794; 'cellist and comp.
Cur'ry, Arthur Mansfield, b.
Chelsea, Mass., Jan. 27, 1866; violin
pupil of Franz Rneisel,and of Mac-
Donald in harmony; teacher and
cond. in Boston; c. overture "Blomi-
d4m** (Worcester, Mass., Fest.
1902) ; symph. poem " Atala" (Boston
Symph., 1911); *^The Winning of
Amarac**; Keltic legend for a reader,
chorus and orch.
Curtch - Bahren (koorsh-btt'-rfo),
Franz Theodor, Troppau, Jan.
10, 1859 — Leipzig, March 11,1908;
cond., editor and comp. of Sing-
spiele, including "£-Mo/->l5, *' a satire
on R. Strauss's *'Salomi"
Cut'ter, Benjamin, Wobum, Mass.,
Sept. 6, 1857 — ^Jamaica Plains, Mass.,
May 10, 19 10; composer; violin pupil
of Eichberg in Boston, 1877; 1881 of
Singer in Stuttgart, studied harmony
with Emery, Goetschius and Seihiz;
member of Sioston Symph.Qrcfa. many
years, c important mass in D; tzio
for piano, violin and 'cdk>, etc
Czapek (ch&'-p&), (i) Joseph, b.
Plague, March 9, 1825; of^gamst and
director; pupQ ii the Coiis.; c S3^m-
phonies, masses, etc (2) pen-name
under which J. L. Hatton c many
songs.
Czemohorsky ( cfaCr-n64i6r'-shkI ),
Bohuslav, Nimbuig, Bohemia,
Feb. 26, 1684 — Graz, July 2, 1740.
Franciscan monk, organist ind coop.
DalTner, Hugo, b. Munich, May
2, 1882; author and comp.; pupil of
Thuille, Schmid-Lindner and Max
Reger; 1904, PhJ>.; c. symph.,
sonatas etc
Dahl ((k), Balduin, b. Cm^oi-
hagen, Dec. 6, 1834; dir. of Ttvoli
concerts at Copenhagen, and comp. of
dance-music.
Dalcroze (dfil-krte), Emile Jaques,
b. Vienna, July 6, 1865, of Swiss
parentage; important Swiss com-
poser; pupil of Fuchs, Bruchner
and Ddlibes; teacher, lecturer and
critic at Geneva Cons.; c !3nric come-
dies "/ofiitf" (Geneva, 1393), ^^
Sancho Panza (1897); Po^me Alpestn
for voices and orch. (1896, London,
1897); a violin concerto of great orig-
inality played by Marteau on tui
tours, and Swiss songs of great popu-
larity and naticmal feeling.
Dale, Benjamin James, b. Croudi
Hill, London, July 17, 1885; organ-
ist; pupil of R. A. M.; c symph,
2 overtures, successful piano sonata
in D Minor, etc
Dalmords, (dfil-m6'-r€s), Charles,
b. Nancy, France, Jan. i, 1872;
tenor; pupil Paris and Lyons Cods.;
sang in France; 1896, at Manhattan
Opera, N. Y.; since then at Metro-
. politan, N. Y.
DICTIONARY OF MUSICIANS 863
Da'mon (o9 Daman), William,
ca. 1540 — ca. 1592; musician to
Queen Elizabeth; c. psalm times, etc.
Da Mot'ta, Jos€ Vianna, b. Isle
St. Tliomas, Africa, 186S; Portuguese
pianist; studied at Lisbon; d6but there
1881, then studied Scharwenka Cons.,
with Liszt and Von Billow; toured
widely; c symph. "An das VaUr-
land,*' 5 Portuguese rhapsodies on
native melodies, etc.; also critic and
author.
Damse (dfim'-si{), Joseph, Soko-
iov, Galida, Jan. 23, 1788 — Rudno,
near Warsaw, Dec. 15, 1852: clari-
nettist; c. operas, masses, and popu-
lar Pdish songs and dances.
d'Andrieu or Dandrieu, vide An-
drieu.
Dannstrttm (dftn'-strftm), Isidor,
Stockholm, Dec 15, 1812 — Oct. 17.
1897; barytone in opera, teacher ana
OHnp.
Davaux (d&-vO), Jean Baptiste,
CAtc-St-Andr6, 1737 — Paris, Feb.
22, 1822; c. many symphonies, cham-
ber music, etc.
Da'vey, Henry, b. Brighton, Nov.
29, 1853; historian and writer on
musical topics.
Dautresme (d&-tr£m), Lucien, £1-
beuf, Normandy, May 21, 1826 —
Paris, Feb., 1892; senator; c 2 operas,
etc
Da'vis, John David, b. Edgbaston.
Oct. 22, 1869; pupil Raff Cons.f ana
Brussels Cons.; since 1889, teacher at
Birmingham; c. opera ** The Cossacks "
(Antwerp, 1003), also s)rmph. varia-
tions, (London, 1905), symph. bal-
lade "The CencV*; symph. poem
"The Maid of AstoUU*'; chamber
music; prize "Coronation March**
(1902), etc
Daw'son, Frederick H., b. Leeds,
July 16, 1868; pianist, pupil of his
father, a pianist, and of Hall6.
Day, (i) John,, March 7, 1830 — Pim-
lico, Nov. 4, 1905; organist tnd for 53
years violinist in Queen Victoria's
private band. (2) Charles Rus-
sell, Horstead, Norfolk, i860 —
killed Feb. 18, 11900, in the battle of
Paardeberg; major in British army
and writer of books on musical instru-
ments.
Dayas, W. H., correct birth date,
1863; d. Manchester, England, May
3, 1903-
De Amicis (d& S-me'-ches), (i) Anna
Lucia, b. Naples, c. 1740 — d.
after 1789; sang in London, 1763-
1771; in 1773 created the r61e of
Giimia in Mozart's Lucio Silla; m.
Buonsollazzi, secretary of King of
Naples; (2) Domenico, brother or
husband of (i),sang with her in Lon-
don in 1763.
Debefve (dil-bfiyO, Jules, b. Li^
Jan. 16, 1863; pianist; pupfl and later
teacher at the Cons.; c opera, rhap-
sody for orch., etc
DeBoeck (dS-book), Auguste, b.
Merckem, Belgium, May 9, 1865;
organbt, son of an organist; pupil of
Brussels Cons., later a teacher there;
c symph., Rhapsodie Dahomienne for
orch., organ music, etc.
Debussv, A. C, add that the correct
birth (kte is St. Germain, Paris, Aug.
22, 1862; he re-wrote his cantata
"VEnJant Prodigue'* for the Sheffield
Fest., 1908; his opera "PeUias et
Milisanae" has been widely played,
1007, Berlin, 1909, New York, etc.; c
also incid. mus. to "Dumysos**
(Orange, 1904); operas "Chimine,**
"Tristan and Isolde,'* "As You Like
It," 3 nocturnes for women's voices
and orch., "Nuans, F&es, Sirines";
a series of three "Images** for orch.,
I, "Gigue triste** (NS), H, "Ronde des
Printemps** (Paris, 1910, N. Y. Phil.,
1 910, Boston Symph., 1910), HI,
"Iberia** (Paris Colonne orch., 1910,
N. Y., Phil., 191 1, Boston Symph.,
191 1), etc.
Deck'er « Schenk, Johann, b.
Vienna, 1826; singer, guitar-virtuoso,
and director of operas in St. Peters-
burg; c. for guitar, balalaika, etc.
Degner (dekh'-n£r), Erich Wolf,
864
THE MUSICAL GUIDE
near Chemnitz, April 8, 1858 —
Weimar, Nov. 18, 1908; organist,
theorist and teacher; c. symph., choral
work *'Martha and the Mother'*;
overture, etc
Degtarev, (d&h'-t&-rev), Stepoan
Ankiewitsch, 1766-1813; Rus-
sian director in St. Petersburg and
Italy; c 60 concertos, and church
choral music
Deichmann (dlkh'-mlin), Carl, d.
July 5, 1908, age 81. For 60 years
weU known violinist in England.
Derius, Frederick, b. Bradford,
England, 1863, of Gennan parentage;
important composer, largely sdf-
taught; from 188^ on an orange
plantation in Flonda; later studied
at Leipzig Cons, with Jadassohn and
Reinecke; from 1890 lives in France;
1897 his incid music to Norwegian
plan *^Polkeraadet" with buriesque
of national anthem led a spectator to
fire several shots at the composer; c.
operas **Koanga" based on G. W.
Cables *'The Grandissimes" (Elber-
feld 1904); ** Romeo und Julia auf
dem Dorf^* (Berlin 1907; London
Covent Garden 1910); i-act. ^^M argot
la Rouge"; 5 symph. poems ** Life's
Dance" (1898), "PonV' (1899), "^^
palachia" (1903, London 1907),
^*Bngg Fair" (London 1908) 'Yn a
Summer Garden" (London 1908); for
soli, chor and orch. **A Mass of Life"
(London 1909), "Sea Drift" based on
Walt Whitman, for barytone, chor.
and orch. (1904), songs, etc.
Del'ler, Florian, WOrttemberg, ca.
1730 — Munich, 1774; court comp.
of ballets, etc.
Del mas (d£i-mfis), Jean Fr., b.
Lyons, France, April 14, 1861; bass;
pupil Paris Cons.; i88i5, joined the
Op§ra where he create many r61es
with great success.
Detune (dti-lOn), Louis, b. Char-
leroi, March 15, 1876; Belgian cond.
and pupil at Brussek Cons., winning
prize, 1900, and Prix de Rome, 1903;
c. sonatas and songs.
Demar (dft'-mir), 5osef Seb.,
Gauafschach, Bavaria, Jane 29,
1763 — Orleans, 1832 ; org. and
comp.
Dercks, Emit, b. Donnetau, Siksk,
Oct. 17, 1849; oiganist and oomp.
Derevne, (dfi-rfo'), F^ly, b. Mar-
seilfes. May 12, 1883; pupil of Blaam;
dfinit, Marseilles, 1903, sang then at
Nice, Vichy, etc.; 1907 sang at Bos-
ton Opera; 1908-9, Covent Garden,
also at Met. Op., N. Y., has sung at
Lisbon, Buenos Ayres, and 191 1
again in Boston.
Deruyts (dS-roitsO, Jean Jacqties,
Lidge, 1790 — April 11, 1871 ; teacher
of C^sar Franck; c church musk.
Deslandres (de-UUi'-drti), Adolphe
Eduard Marie,, b. Paris, Jan.
22, 1840 ; organist ; pi^ I^ris
Cons.; organist at St. Marie at Bat-
ignolles, where his father was direc-
tor; c. operettas and church musk.
Dessoir (des-swSr), Susan ne (D6e
Triepel), b. Griinberg, Silesia, July
23, 1869; pianist at first, then pi^ oi
Amalie Joachim; singer of Liedcr;
married, 1899, Dr. Max Dosoir
(b. Berlin, Feb. 8, 1867), author of
works on musical aesthetics.
Destinn, Emmy, add that her real
name was Kittl — she chose "Des-
tinn'* in honour of her teacher; sIk
sang at Bayreuth, 1891; from 1908
she has had great success at the Met
Op., N. Y., also at Covent Garden
and Berlin Royal Op., she created the
r61e of '*Minnie" m Pucdni's "Fim-
duUa dd West,"
Dib'bern» Kari, b. Altona, June 17,
1855; conductor, later regbseur at
the Amsterdam Opera; c lilHcttos
and music of operas and operettas.
DIeckmann (dek'-mMn), Ernst,
b. Stade, July 17, 1861; organist;
pupil of filaupt and LQschoro; ^ce
1900 cathednd organist in Venkn;
c. choral works and songs.
Diepenbrock, (de'-pSn-brSk), A.
J. M., b. Amstoxlam, Sept. 2,1863;
teacher and comp. of church musk.
DICTIONARY OF MUSICIANS 865
Dima (de'-mft), Qeorge, b. Cron-
stadt, Oct. 10, 1847; teacher and cond.
ct Roumanian societies there; c.
songs, etc.
Dip'pel, Andreas* after many years
of success as tenor, became im-
presario; associated with Gatti-
Oi^Lzza in management of Metro-
pc^tan Opera House, New York,
1908; since then directed opera sea-
sons in Chicago and Philadelphia.
Dixon, George, Norwich, June
5, 1820 — Finchley, June 8, 1887;
organist, c. of church music.
Dohrn (dOm), Qeorg, b. Bahren-
dorf, near Magdeburg, Mav 23, 1867:
condL; at first lawyer, then pupil
Cologne Cons., since 1901 at Breslau
as cond. and director of the Sing-
^kademie.
Domanievski ( dd - mftn - ytf'- shkl ),
Boleslaus* b. Gron6wek, Poland,
1859; famous Polish piano teacher;
pupl of Jos. Wieniaw^ and Rubin-
stem; 1890-1000, prof, at Cracow
Cons., since, (Urector Warsaw Music
School; authOT of piano methods.
Domnich (dAm'-nIkh), (i) Hein-
rich, WCkrzburg, May 13, 1767 —
Paris, June 19, 1844; horn virtuoso;
first teacher of the horn at Paris Cons. ,
1795; author of methods. His brothers
abo [dayed the horn. (2) Jakob, b.
1758, went to America. (3) Arnold,
WOrzburg, 1771 — Neiningen, 1834.
Donaudy (dd-n&'-oo-de), Stefano,
b. Palermo, Feb. 21, 1879; <^' operas
PoUheUo (Palermo, 1892); Tkeodor
K9mer (Hamburg, 1902), and 5^-
duti nd Buio (Palermo, 1907).
Doret (d6-r&), Qustave, b. Aigle.
France, 1866; studied violin with
Joachim and Marsick^ and composi-
tion at Paris Cons.; hves at Pans as
cond.; c operas Les ArtnaiUes (Op.
Com., 1906), and Le nain de HassUf
(Geneva, 1908), oratorio, etc.
Drago'ni, Uiovanni Andrea, Men-
doUi, ca. 1540 — Rome, 1598; com-
poser; pupil of Palestrina; cond. at
theLateran.
Drese, (dr&'-z€), Adam, ThOringen,
Dec. 1620 — Amstadt, Feb. 15, 1701;
director and comp.
Dreyer (dn'-fir), Alexis De, b. Rus-
sia, 1857; c. piano pieces.
Drozdovski (drd6h-d6f'-shkl), Jan,
b. Cracow, Feb. 2, 1858; piano teacher,
pupil Vienna Cons.; since 1889, prof,
at Cracow Cons.; author of methods.
Druffel (droof'-fel), Peter, b.
Wiedenbriick, Oct. 8, 1848; composer
of old German liederspiel "Der
Erldser," etc.
Drys'dale, F. Learmont, Edin-
burgh, 1866 — June 18, 1909; pupil
of R. A. M., won Lucas prize,
1890; c. prize overture, *^Tam o*
Shanter*'; ''The Plague,*' a mystic
play (1896, Edinburgh): **The Red
Spider " (Dundee, 1898), and light
operas.
Ducasse (dtt-kSs), Roger, pupil
Paris Cons., with Gabriel Faur6,
winning Prix de Rome, 1902; from
1909 inspector in elementary schools;
c. suUe fran^ise for orch. (Colonne
concerts, 1909, twice. Boston Symph.,
1910); ''Varialions plaisantes sur un
thhne grave** for harp and orch. (Col-
onne concerts, 1909), piano pieces,
etc.
Dukas (dO-kfis), Paul, b. Paris, Oct.
I, 1865; one of the most original of
French composers; pupil at the Cons,
of Dubois, Mathias and Guiraud; won
prize in counterpoint, 1888, second
Prix de Rome with cantata " Vetteda**;
spent a year in Rome, then a year of
inilitary service; his overture ''Poly'
eude** was played by Lamoureux in
1892; his symphony, 1896, and else-
where; 1897 ''VApprerUi Sorder **;
1900, piano sonata; 1906, ViUaneUe
for horn and piano; 1907, his opera
"Ariane ei Barhe Bleue** made a great
stir and was played in Vienna, 1908,
Met. Op., N. Y., 191 2, etc. He is
prof, of instrumentation at the Cons,
and a critic; has edited texts of Ram-
eau, and c. for piano "VariationSf
IfUerlude et Final,** on a theme of
866
THE MUSICAL GUIDE
Rameau's 1902; Prdude iUgiaque on
the name of Haydn, igop; also a
ballet La PHi dance-poem m one act
(Paris 191 1).
Dulichius (dd-Ukh'-I-oo6) also
(Deulich or Deilich) Philip,
Chemnitz (christened Dec. 19), 1562
— March 2^, 1631 ; teacher and comp.
Dumont (dtt-m66), Henri, Villers,
near Lidge, 1610 — Paris, May 8,
16S4; organist and comp.
Dunc'an, William Edmond-
stoune, b. Sale, Cheshire, 1866;
organist; at 16 an associate of the
Royal College of Organists; 1883,
obtained scholarship at R. C. M.,
Eupil of Parry, Stanford and Mac-
irren; critic for some years, then
prof, at Oldham Cdlege; c successful
odes with orch., notably **Ye Mar-
iners of England" (1890), etc.
Dun'ham, Heniy Morton, b.
Brockton, Mass., July 27, 1853;
graduated New England Cons., as
pupil of G. £. Whiting, (organ), J.
C. D. Parker (Piano), Emery and
Paine (theory); held various diurch
positions till 191 1, and gave organ
recitals on the Great Organ at
Boston, at St. Louis Exposition, etc.;
prof, of organ at N. E. Cons.; author
of an organ method; c S3anph., poem
** Easier Morning" a book of organ
studies, Meditation for organ, harp
and violin; 3 organ sonatas, etc.
DunkI (dooi^'-1), Joh. Nepomuk,
b. Budapest, 1832; pianist; pupil of
Liszt and Rubinstein.
Dunkler (doonk'-l&r), Frangois,
Namur, 1816 — Hague, 1878; mili-
tary director.
Duparc (du-p&r), (Fouques Du-
parc), Henri, b. Paris, Jan. 21,
1848; pupil of C^sar Franck; soldier
in war of 1870-71; ill health led to a
life of seclusion to C^sar Franck's
great regret; c. symph. poem Lenore,
an orch. suite rehearsed in 1873, ^^t
foimd impossible; other pieces de-
stroyed and many songs of the high-
est importance.
Dupuis (dO-pwe), (i) Thomas
Sanders, LondcMi, Nov. 5, 1733 —
July 17, 1796; comp. and organist of
Chapel Royal London; of Freocfa
parentay, but lived in I^ondon, andis
tmried m Westminster AbAiey. (3)
Albert, b. Verviers, France, 1875;
prod, opera VldyOe, (Verviers,
1896); BiliUs (Vorviers, 1899); woo
Pruc de Rome at Brussds with open
HamMickd, 1903; c cantata, etc
Eaton, Louis H., b. Taunton, Mass.
May 9, 1861; organist; pupil ol Gnfl-
mant; from 1901, org, at San Fran-
cisco.
Ebert (&'-bM), Ludwif, b. Kk-
drau, Bohemia, April 13, 1834; 'cd-
list; pupil Prague Cons.; i854:-74f
first ^ctmst at (Mdenburg; 1875-88,
teacher at (Cologne Cons.; 1880,
founded Coos, at Koblens; c 'ceOo
pieces.
Ebner (Sp'-nfir), Wolfgang, Augs-
burg, ca. 1610 — Vienna, Fc£., 1665;
organist and comp.
Eclrardt Johann Qottfried, Augs-
burg, 1735 — Paris, Aug., i8op;oQnBp.
Edelmann (ft'-d€l-mSn) Jon. Fr.,
Strassburg, May 6, 1749 — I^ms,
July 17, 1704; c opera, baltets, etc
Edwards, (i) Henry Sutherland,
b. London, Sept. 5, 1829; writer;
historian and critic for many years
of the SL James GomOU; (2)
Frederick Qeorge, London, Nov.
II, 1853 — Nov. 08, 1909; organist;
;." (3) Henry
ed. ''Musical Times.
John, b. Barnstaple, Fd>. 24, 1854;
son and pu(Ml of an organist, then
pupil of Bomett, Mac&ren; 1885,
Mus. Doc. Oxford; c. oratorios, etc
Egidi (ft'-khe-de), Arthur, b. Beifin,
Aug. 9, 1859; organist; pupil of Kiel
and Taubort; t^uiier at the Hodi
Cons., Frankfort-on-Main; since
then org. at Apostel Paulus Churdi,
Berlin, and Royal Prof.; c overture,
etc.
DICTIONARY OF MUSICIANS 867
Eichner (Ikh'-nAr), Ernest, Mann-
henm, 1740 — Potsdam, 1777; c.
impoftant symphonies, concertos, etc.
Eiiken (f-k&i) (or Eyken), van ( i )
Jan Albert, Amersfoort, Holland,
April 25, 1822 — Elberfeld, Sept. 24,
1868; onanist and annp.; his oroth-
er, (2) Qerhard Isaak, b. May
5, 1832; organist and teacher in
Utrecht; (3) Heinrich, Elberfeld,
July xg, 1861 — Berlin, Aug. 28,
igc^; son of Jan.; pupil of Leipzig
Oms.; teacher of theory; c. songs
withorch.
Eijkens (f-kens), Daniel Simon
Antwerp, Oct 13, 181 2 — Oct. 9,
1891; composer.
Eisler vide Eysler.
El'car, Sir Edward, add that as
part of his early training he was
tandmaster 1879-1884 at the Coun-
ty Lunatic Asylum with attendants
as musicians; 1m; retired to Malvern in
1891 discouraged with his prospects
in London; lived as teacher and oc-
casionally cond. His ^^King Olaf"
(1896) brought his first real success,
which his orch. variations, (1899),
increased and the "Dream of Geron-
UuSf** (1900) established; Cambridge
made him Mus. Doc. that year;
Strauss cond. "GerofUius'* in Ger-
many, 1902; 1904 an Elgar Festival
was given for 3 days at Covent
(^irden, and the same year he was
Imi^ted. He c. Lnperial March,
2 military marches, called " Pomp and
Circumstance,^* "Sea Pictures y" con-
tralto and orch.; Coronation Ode
(1902), "The AposUes" (Birming-
ham Fest., 1903); Symphony No. 2
in £ flat "To the Memory of Edward
VII," (London Mus. Fest., 191 ij
and the same year by Cincinnati
Symph., N. Y. Phil., Boston Symph.,
etc.).
El'lenson, Hans, b. Stuttgart; tenor;
a chimney sweep in Stuttgart be-
friended by Karl Muck; pupil of
Lilli Lelunann, Vogel and Schwarz;
d€but 1906 at Eriurt; engaged as
leading tenor at Vienna Royal Opera;
renewed for 1911-16.
Eliicott, Rosalind Frances, b.
Cambridge, Nov. 14, 1857; daugh-
ter of the Bishop of Gloucester and
Bristol; studied at R. A. M., and with
T. Wingham; c "Dramaiic Overture,''
(Gloucester Fest., 1886), concert
overture (London, 1886); cantata
"Elysium " (Gloucester Fest, 1889);
also chamber music and songs.
EI'man, Misclia, b. Stahioje, Rus-
sia, Jan. 20, 1892 (some say Jan. 21,
1891); violinist; played at 5 in public;
studied 16 months at Odessa with
Fidelmann, 1903 invited by Auer to
become his pupfl; d6but at St. Pe-
tersburg, 1904, and greeted as a
great artist though only 12; toiured
widely; 1908, America; 1911-12 toured
America for third time, playing 12
times with Boston SympL Orch.; c
songs, etc,
^El'wes, Qervase Gary, b. North-
ampton, Nov. 15, 1866; tenor^ studied
Vienna, Paris, etc.; at first m diplo-
matic life; professional d6but, 1903;
has simg in Europe and America;
excels in Brahms songs.
Endler (£ntM&). Wm. Gottfried,
(also Endele (in) }| Bayreuth, May si,
1 7 22-1 793; conq)oser.
Enesco ( & - nSs' - koo ), Qeorses,
b. Cordaiemi, Roumania. Aug. 7,
1881; violinist; at 4 played and
composed, at 7 was admitted to
Vienna 0>ns., by Hellmesberger, in
whose familv he lived; at 11, took
first prizes for violin and harmony;
1896, studied in Paris Cons, with
Marsick and Faure; in 1897, he took
second accessit for counteipoint and
fugue, and a concert of his works was
given in Paris, including a violin
sonata, a piano suite, quintet, 'cello
pieces and songs; 1898, Colonne prod,
his "Pohne Roumain" for orch.; 1899,
he took first violin prize at the Cons.;
toured and became court >9olinist to
the Roumanian Queen; c. symph.
(Colonne orch., 1906; N. Y. Phil., 19 11)
868
THE MUSICAL GUIDE
2nd S3nxiph. in £ flat, op. 13 (Berlin
191 3) Pastoral fantasie for orch. (Col-
onne orch., 1890); Dixtuor, or sym-
phony for wind instrs., do. for 'cello
and orch. (Lamoureux orch., 1909);
for suite ordi. (Boston Symph., 19.11);
3 Rhapsodies Roumaines, (1911), etc.
EnseUberg, E. S., (pen-name of
Dr. Ed. Schdn), Engebbeig, Silesia,
Jan. 23, 1825 — ^M&hjren, May 27,
1879; councillor of the ministry, Dr.
Sch5n published many hiunorous
male quartets imder the pen-name;
he was a pupil in theory of Storch;
he c. also ordiestral works.
Erlebach (£r'-U-b&kh), Ph. H.,
Essen, July 25, 1657 — Rudobtadt,
April 17, 1814; court-cond.; c over-
tures, etc
Ernst, Henry Wilhelm, BrOnn,
Moravia, May 6, 1814 — Nice, Oct.
8, 1867; violimst; pupil Vienna Cons,
and with Bohm and Mayseder; fol-
lowed Paganini about to learn his
methods; 1832-38 lived at Paris;
1838-44 toured Europe with greatest
success; c. violin-concerto, etc.
Er'tel, Jean Paul, b. Posen, Jan.
22, 1865; critic and composer; pupil
of Tauwitz, Brassin and Liszt; sdf-
taught in instrumentation; teacher
at Brandenburg Cons.; 1897-1905, ed-
ited the " Deutsche Musike r ZeUung ' V
c. symphony "Harold *V symph.
poems "Maria Stuart," "Der
Mensch," "BelsaMor," "Hero und
Leander" (1909); a double fugue for
orchestra and oigan, etc.
Espo'sito, Micnele, b. Castellam-
mare, near Naples, Sept. 29, 1855;
pianist; pupil of Naples Cons., under
Cesi; 1878-82, at Paris; from 1882,
piano-prof.. Royal Irish Acad, of
Music, Dublin; 18^ organized and
cond. an orchestra m Dublin; c. can-
tata "Deirdre" winning Feis Ceofl
prize (1897); operetta, "The Post-
bag," "Irish" symph. (Feis Ceoil
prize, 1902). etc.
Eulambio, (&-oo-l&n'-bI-d) Michele
A.; young Italian composer, pupil
Leipzig Cons, where he c. a piano
concerto; his 2-act opera Nitum w%
Lenclos was prod. with success at
Leipzig City Opera, Aprfl 27, 1012.
Expert (€x-p&r), Henri, b. Bocdeanz,
May 12, 1863; pui^ of C6sar Franck
and Gigoutj authority on i5-i6di
century music and editor of naij
impK>rtant texts; from 1009 Hbnrian
Paris Cons., succeeding Weckcriin.
Eysler (is'-lfr), or Eisler, Edmund,
b. Vienna, Mar. 12, 1874; c opercttis
"The Feast of LucuUus" (Viemia
1901), and "Brother Stravbmgir**
(1903), '*Vera Violetta," 1907, etc
FXhrmann (fir'-mftn) Ernst Hans,
b. Beicha, Dec 17, i860; organist;
1892, teacher at Dresden Coos.;c
organ sonatas, etc
Falchi (fSl'-k€), SUnislatis, b.
Temi, 1855; composer of operas; "11
triUo del duntolo" (Rome, 1899), etc
Falkenberg (ffil-4c&&^ftr), Georges,
b. Paris, SepL 20, 1854 ; composer;
teacher of piano.
Fall, Leo, coiiq>06er of Ught opens;
"Irrlichl" (Mannheim, 1905), "Dtr
RebeU" (Vienna, 1905), "Dor JUeU
Bauer" (Mannheim, 1907), *^Dit
'Dollar Princessin" (^eima, 1907,
London and America as 'TAe DoOor
Princess*^, etc
Faller, Nikola Von, b. Iwaao-
wetz, Croatia, April 22, 1862; pupfl
of Bruckner in Vienna, Massenet and
D^libes in Paris; since 1887 &t Agram
as teacher in tht Cods.; open direc-
tor and comp.
Fanelli — b. 1861 ; studied Puis
Cons.; violinist; piayed in cal6s.
dance halls, acted as music copyist and
to obtain such woriL in 191 2 ^owed his
symphony "Tableaux Symphoiuques, "
written in 1883; had its first prod.
March 16, 191 2, by the ColonneordL,
received with greatest ai^roval. It
is based on Th. Cautiers "Romance
oj a Mummy"
DICTIONARY OF MUSICIANS 869
Farina (f&-r€'-nft), Carlo, b. Man-
tua; one of the earliest of violin
virtuosos; 1625 court chamber musi-
cian at Vienna; c vidin pieces.
Fau^jeon, Hany» b. Hohokus, N. J.,
May 6, 1878; composer; of English
parental, and taken to England in
infancy; pupil of Landon Ronald,
Storer, ami 1895-1901, R. A. M.;
prod, operetta ^'Ploretia,^* 1899; from
1903, prof, of theory at the R. A. M.;
c. piano concerto, orch. suite "Hans
Amdersen**; symph. poems, "Mow-
gfi," and "Summer Vision**; cham-
ber music^ songs, etc.
Farmer, (i) John, important En-
glish composer of madrigals; author
of a treatise pub. 1591, and madrigals,
1599-1602. (2) Thomas, d. 1694 (?);
composer; graduated at Cambridge,
1684; published songs, stage music,
etc., 1675-1695; Purcell wrote an elegy
to Nahum Tate's words, on his death.
Farrar', Qeraldine, b. Mehnose,
Mass., Feb. 28, 1882; soprano; at 12,
pupil of J. H. Loug) Boston; later of
TrabadeUo and LiUi Lehmann; 190 1,
d^ut Berlin Royal Opera; with great
success has sung there since, and in
the chief European capitals; regularly
engaged also at the C^. Com., Paris^
and since 1906, at the Met. Op.
House in N. Y., creating the r6ie
of the Goosegirl in Humperdinck's
"Kifni£skinder,**
Farewell, Arthur, correct birth date
is St. Paul, Minn., April 23, 1872. He
conducted the important Wa-Wan
press publications till 191 2, bringing
to lipht much otherwise hidden
Amencan genius. He has done
valuable work in New York and
dsewhere in developing municipal
music, free concerts in parks, piers,
etc. His comps. include for orch.
*'Dawn/' "The Domain of Hurakan,**
**Navajo War-Dance" (all in Indian
themes). "Cornell** overture, and
"Love Song**; for piano many pieces
of Indian theme and niunerous fine
songs.
Faur6, Qabriel U., add that 1905
he became Director of the Paris
Cons.; c. music to "PromUhie**
(B^ers, 1900), "Julius Ctesar**
(1905), "Pe//AM et Melisandey** iSgS;
arranged as an orch. suite, 1901 ; also
much chamber music, and religious
choruses, piano pieces and many
highly important songs.
Felix (f&-leks), Dr. Hugo, b. Vienna,
Nov. 19, 1866; c. optTettSLs" Husaren-
blut,** Vienna, 1894; "Rhodope/*
Berlin, 1900; " Mme. Sherry ** (Berlin,
1902, since with great success in
America, 1910).
Fel'ton, Rev. Wm., Cambridge, 1713
— Dec. 6, 1769 ; vicar, harpsi-
chordist and comp.
Feneir (or Ffinell), d. Dublin,
Sept. 20, 1709; Irish composer; organ-
ist at St. Patrick*s Cathedral, 1689-
1694, and buried there.
Ferling (ffir'-llnk), (i) Franz Wm.
Halberstadt, Sept. 20, 1796 — Braun-
chweig, Dec. 18, 1874; oboist; his sons
(2) Qustav, b. Braunschweig, July
8» 1835; oboist at Stuttgart, and
teacher at the Cons. ; (3) Robert,
Braunschweig, July 4, 1843 — St.
Petersburg, Mar. 24, 188 1 ; royal
chamber musician at St. Petersbiu^.
Ferra'ri, Qabrielle, b. Paris; pupil
of Ketten, Duprato, later of Gounod
and Lebome; at 12 d^but as pian-
ist, Naples; c. opera "Le Colzar**
given at Monte Carlo in one act, en-
larged to two (Paris OpSra, 191 2);
also orch. suites and many popular
songs.
Fet'terode, L. Adrian van, b.
Amsterdam, July 25, 1858; pupil of
Coenen and Heinze; teacher at
Amsterdam; c. piano suite, fantasie
for 2 pianos, etc.
Fiebach (fe'-bakh). Otto b. Ohlau,
Silesia, Feb. 9, 1851; director of an
institution at Konigsoerg; royal con-
ductor; c. operas, and an oratorio;
author of "Die Physiologie der
TonkunsV* (1891).
Fiedler, Max; in 1903, became direc-
870
THE MUSICAL GUIDE
tor of the Hamburg Cods.; 1904 cond.
the Philharmonic concerts; 1908-12,
cond. Boston Symphony Orchestra
with great success during the leave
of absence of Karl Muck (q. v.), c.
'cello sonata (Boston, 1909), cham-
ber music, etc.
Firby, Wm. Chas.,b. London, 1836;
organist; studied in Paris; since 1884
oiganist at St. Paul's; c. masses, etc.
Firke, Max, b. Staubendorf-Leob-
schtttz, Silesia, Oct. 5, 18^5; organist
and singing teacher; pupil of Brosig
and Leipzig Cons.; since 1891, cathe-
dral cond. at Breslau, teacher at the
Priest's Seminary, and since 1893 at
the Royal Inst, for Church music;
1899, Royal Music director; c. works
of great importance in modem Catho-
lic music, several masses with orch.;
Salve RegifM, op. 102; choruses, etc.
Fil'lunger, Marie» b. Vienna, Jan.
27, 1850; soprano; pupil at Vienna
Cons, and of Marchesi, and after
1874 at the Berlin Hochschule ;
sang in oratorio and concert with
great success in Europe, and from
1889 in London, where she afterward
settled; toured Australia, 1891 ; South
Africa, 1895; from 1904 teacher at
R. C. M., Manchester.
Filtz (Fieltz, Fils, Filsl or Filz),
Anton, b. probably in Bohemia,
ca. 1725 ; d. 1760 at Mannheim,
where he was court 'cellist ; c. many
important symphonies, 2 masses, etc.
Finch, Edward, 1664 — Feb. 14, 1738;
composer of church music; son of Earl
of Nottingham, and prebendary of
Yoric.
Fioc'co, (i) Domenico, early com-
poser of a mass ; dates imknown. (2)
Pietro, Antonio, d. Brussels, Nov.
3, 1704; composer of masses, etc.,
came from Vemce; court musician at
Brusseb, 1696; from 1706 cond.; his
two sons (3) Jean Josef, succeeded
Pietro as cond.^ in 1714, and was
succeeded by his brother Qioseffo
Hector, prominent as harpsichord-
ist and composer; died after 1737.
Fiore (fI-6'-rd) Stefano Andrea,
Milan, 1675 — Turin, 1739; crwiifwwrf
of operas.
Fisch'er, Johann Kaspar Ferdi-
nand, ca. 1650 — ca. 1738; impor-
tant composer for organ and davier;
cond. to Markgraf Ludwig in Bo-
hemia, 1688; his works were puUished
1695 — 1715; his "Ariadne MusicOy
Neokkgano^um par XX Fugas, rfc,"
1702, includes preludes and fugues in
all modem keys except five, resem-
bling and preceding Bach's **WeU'
tempered Clavichord,** which was not
begun till after 1723, and not pub-
lished till 1810.
Fitelberg (fe'-tfl-berkh), Qeorg,
b. DUnaburg, Oct. 18, 1879; impor-
tant Polish composer; pupil Warsaw
Cons., taking Paderewski prize with
a violin sonata, 1896, and 1901 the
Zamoyski prize with a piano tno;
concertmaster, and 1908 conductor
Warsaw Philharmonic; 191 2, cn^ged
for 6 years to cond. Vienna Royal
Opera; c. 2 symphonies, including E
Minor (1905); symph. poems "Tfc
Song of Falken** (1006), and "Protes-
Has and Leodamia, etc.
Flecha (fle'-ch&), Juan, music
teacher; Catalonia, 1483-1J53; Car-
melite monk and teacher; his nephew
(2) Fray Matheo,, 1520 — Fd).
20, 1604, was an abbot and cond.
to Charles V at Prague; both were
composers.
Flescn, Karl, b. Moson, Hungary,
Oct. 9, 1873; violinist; pupSl of GrOno
at Vienna, and Marsick at Paris Cods.;
com. 1897-1902 prof, at Bucharest
Cons.; and chamber musician to the
Roumanian Queen; 1^03-^, teadier at
Amsterdam Cons.: smce at Beriin.
Flin'tof, Rev. Luke, Worcester,
(?) — London, Nov. 3, 1727; 1715
Gentleman of the Chapel Royal:
buried in Westminster /^bev; said
to have invented the double diant d
which his is the first known example.
Flo'derer, Wilhelm, b. BrOnn, May
10, 1843; composer of opens.
DICTIONARY OF MUSICIANS 871
Flon'dor« Theodor Joh. Von., d.
Boiin, June 24, 1908; Roumanian
composer of operas.
Florence, Evangeline, b. Cam-
bridge, Mass., Dec 13, 1873; stage
name of Miss Houghton, soprano of
remarlLable compass, g-c ""; married
Mez. Creiar, 1894-
Floridla, Pietro, add that his real
name is Baron Napolino di San
Silesto. He came to America in 1904,
was for a year piano-prof, at Cin-
dnnati Cons., and was commissioned
to write the opera "PaoUUaj** for the
Exposition of 1910; the opera had
great success. His symphony, con-
sidered the representative symphony
of Italy, has been much played by
the Cincinnati Symph. Orch., 1910,
etc.; c also opera " The Scoria Letter*'
a ^endid ^* Madrigal** for barytone
and orch., songs, etc.; lives in New
York; his opera **Maruaa" has had
3,000 performances in Italy.
Flow'er, Eliza, Harlow, Essex, April
10,1803 — Dec. I a, 1846; composer
of hymns.
Fosliani (or Fogliano or Folia-
nus), (2) Qiacomo, Modena,
1473 — April 4, 1548; brother of
Ludovici P., organist and oomp.
Fohlstrttm (fol'-strfim), Alma, b.
Hdsingfors, Jan. 3, 1861; concert
soprano, pupil of Mme. Nissen-
Saloman in St. Petersburg.
Foote, Arthur, add that 'he gave
up the organ of the First Unitarian
Church in 1910 after 33 years; still
teaching piano in Boston; lectured
during summer of 191 1 at University
of Califomia. Later comps. include
orch. suite in D minor (played in
Boston, London, N. Y., etc.) Suite
for strings (do.); 4 character pieces
for orch. (Thomas Orch., Boston
Symph, 191 3, etc.) " Bedouin Song, "
male chorus stmg very widely; organ
suite in D (played by Guilmant on
American tour); two piano suites, 5
poems from Omar Khayy&m for
piano, songs, etc.
Fomia, Rita (P. Newman), b.
San Francisco, July 17, 1879; soprano;
pupn of Jean de Reszk6 ana Frau
Kempner; d^ut, 1901, Hambiurg
Stadttheater; sings at Covent Gar-
den and Met. Op., N. Y.
Fos'ter, Muriel, b. Sunderland, Nov.
33, 1877; contralto of remarkable
range, g to b " flat; pupil of Anna Wil-
liams at the R. A. M., winning a
scholarship, 18^7; d^but 1896 in
oratorio; sang with her sbter Hilda
in 1899; and at frequent festivals
since; has sung also in Germany,
Russia and America.
Fowles, Margaret F., Ryde, Isle
of Wight, 1846 — Detroit, Michigan,
August 6, 1907; pianist; organist;
cond.
Fragerolle (fr&-zh£-rtU), Qeorges
Au^^uste, b. Paris, March 11, 1855;
pupil of Guiraud; c. patriotic songs,
operettas, pantomimes, etc.
Franchetti, Alberto, his opera
^^Germania" (prod. Milan, 1902),
has been performed widely at Covent
Garden 1907 and 191 1 at the Metro-
politan Opera House, N. Y.
Frank'o, (i) Sam, b. New Orleans,
Jan. 20. 1857; violinist, pianist,
and cond.; pupU of Wilhelmj, Joachim
and Vieuxtemps; toured with Patti;
cond. concerts of ancient music in
New York, 191 3, Berlin; his brother,
(2) Nahan, b. New Orleans, July
23, 1861; violinist and cond.; at 8,
toured the world with Patti; later
studied with Rappoldi, De Ahna,
Wilhelmj, and Joachim; member of
Met. Op. orchestra, N. Y.; from 1883
concertmaster; 1905-7 conductor;
since has cond. his own orchestra.
Fraschini (fr8s-ke'-n€), Qaetano,
Pavia, 1815 — Naples, May 24, 1887;
tenor in Italy and England.
Fremstad (frCm'-shtftt), Olive (An-
na Olivia), b. Stockholm; dra-
matic soprano ; at 9, a pianist;
brought to America by her parents,
at 12; 1890, solobt at St. Patrick's
Cathedral, N. Y.; 1893-94, pupil of
872
THE MUSICAL GUIDE
Lilli Tiehmann at Berlin; 1895, d^ut;
1896 sang at Bayrcuth; 1897-1900
Vienna Royal Opera; later at Munich,
Covent Garden and since 1905 at
Met. Op. House, N. Y.; officer of the
French Academy, and 1907 of Public
Instruction.
Freudman,.lgnatz, vide frieoman.
Friderici (or Friederich) Daniel,
Eisleben (?) before 1600— after 1654;
cantor at Rostock ; c. madrigals, etc.
Fried (fr€t), Oskar, b. Berlin, Aug.
10, 187 1 ; pupil of Humperdinck; since
1904 director Stem Gesangverein and
• the Gesellschaft der Musikfreunde;
c. choral works with orch., double
fugue for strings; a work for 13 wind
instnunents and 2 harps, etc.
Friedenthal (fr€'-d&i-tSl), Albert,
b. Bromberg, Sept. 25, 1862 ; pi-
anist; pupil of Fr. and W. Stem-
brunn, andof Kullak; has toured the
world.
Friedheim, Arthur, add that he
spent many years in America as
teacher and pianist; later prof, at
R. C. M., Manchester, England, till
1904; c. opera **Die T^nzerin**
(Cologne, 1905); toured America,
1911-1912.
Friedman, (fret'-mto), Ignaz, b.
Podgorze, near Cracow, Feb. 14, 1882.
pianist; pupil of his father and of
Leschetizki; toured Europe with suc-
cess; c. piano pieces and songs.
FriedlMnder (fret'-len-dd*), Thekia,
soprano; pupil of Hiller and
Schneider; d^but, Leipzig, Dec. 11,
1873; popular in England, 1875-1886.
Frischen, (frfeh'-Cn), Josef, b.
Garzweiler, July 6, 1863; singing
teacher; pupfl Cologne Cons.; 1888,
dty musical director at Lucerne;
1892, dir. Musikakademie, Hanover;
teacher and Royal Director at
Braimschweig; c. choral works, etc.
Fris'kin, James, b. Glasgow, Mar.
3, 1886; pianist; pupil of London R.
C. M., winning scholarship in 1900
and composition scholarship 1905; c
successful piano quintet in C nnsar
(1907), 'ceUo sonata, etc
Fritz (or Friz), Qaspard, Geneva
1716-1782; violinist; c. 6 symphooies,
etc
Fuenilana (fwCn-U-fin'-^ift), Mig-
uel de, flourished 1554 in Spain;
lute-virtuoso and court compoGcr;
blind from birth.
Fugere (fa-zh&r), Luclen, b. Fuis,
March 3, 1848; barytone; pupil of
Raguenau; d€but, 1870.
Gabriel (g&'-brl-ti), Richard, b.
Zackenan, Pomerania, Sept. 3, 1874;
organist; pupil Royal Inst, for drardi
music and HumperdindL*s Master-
school; since 1902 org. at Sagaa; c
spring overture, choral wcA with
orch.. "Nack WalhaU," etc
Qabrilowitsch, Ossip, add that
in 191 2 he cond. the Konzertverem
orch., Munich.
Qailhard (gf-yXr), Pierre, b. Too-
loii»e, Aug. I, 1848; bass; piqifl
Paris Cons.; d^ut 18^7, Op. Com.,
Paris; later at the Opte, of wfaidi he
was director 1809-1907.
Qal'eotti, (i) Stefano (or Salva-
tore), c 'cdlo sonatas pub. in Lon-
don, Paris and Amsterdam, 1750-
-60; (2) Cesare, b. Pietrasanta,
June 5. 1872; c opera "Anton"
(La Scala, Milan, 1900).
Qai'kirf, Nikolai VladimiroYich,
St. Petersburg, Dec 18, 1856 —
May 21, 1906; vidinist and com-
poser for violin; pupQ of Kamin-
sky, Auer, Joaclum, Sauret and
Wieniawski; toured Europe and after
1877 was oond. in St. Peter^urg and
from 1880 teacher at the Cons.; from
1802, prof.
Qall, Jan, b. Warsaw, Aug. 18, 1856;
pupil of Krenn and Rheinberger
1886, teacher of song at Cracow Cons,
then pupil of Mme. Lamperti, later
director of the Lembeig **Eck$"
society; composer of some 400 vocal
numbers.
DICTIONARY OF MUSICIANS 873
Qallet'ti - Qianoli ( jSrnoMe), Isa-
l>ella» Bologna, Nov. ii, 1835 —
Milan, Aug. 31, 1901; operatic so-
prano; later contralto.
Qansbacher (gens-b&kh-£r), Josef,
1829 — Vienna, June 5, 191 1; famous
singing teacher:
Qanz (gilnts), Rudolph, b. Zurich,
1877; d^ut at 10 as 'cellist, at
12 as pianist; then pupil of his
uncle, Eschmann-Dumur, and later of
Busoni; d6but as pianist and composer
Berlin, 1899; 1901-5 succeeded
Friedheim in Giicago; has toured
^ddely; c. ^*Lake" cycle of songs
(1906), etc.
Qar'diner, H. Balfour, b. Lon-
don, Nov. 7, 1877; pupil of Knorr at
Frankfort; c. symph. (Queens Hall
1904 and 1908); ^^ Fantasy " (1908);
overtime, chamber music, etc.
Qates, Bernard, ca. 168^ — ^North
Acton, Nov. 15, 1773; English singer
and comp.
Qatti-Casazza (g&t'-tl kg-s&t'-s&),
Qiulio, b. Ferrara, Feb. 5, 1869; at
first a naval engineer; 1894-8 dir.
Munidpel Theatre at Ferrara; 1898-
1909, dir. La Scala, Milan, making it.
a hacat of modem (n)era; 1909 co-
director with A. Dippel of the Metro-
politan Oiptxz. House, N. Y.; since
1 910 in full charge; he has prod, three
native American operas, and given
tJic first prods, anywhere of Humper-
dinck's Kdnigskinder^ " and Puccini's
''GklofiheGoldmWest.''
Oat'ty, Nicholas Comyn, b. Brad-
field, Sept. 13, 1874; composer; critic,
organist and comp., pupil R. C. M.,
where he produced orch.-variations
on "OW King Cole "/ from 1907
critic on ''PaU Mall GazcUe'*; assist-
ant at Covent Garden; c. i-act operas
"GreysUd** (Shefl&eld, 1906), and
"Duke or Devil " (Manchester, 1909);
Milton's "Ode on Time,** for chorus
w. orch., (Sheffield Festival, 1905).
Qavron'ski, Woitech, b. Seimony
near Wilna, June 27, 1868; pupil War-
saw Mus. Inst.; toured Russia, taught
in Orel and Warsaw; c. svmph.; 2
operas and a string quartet, (Paderew-
ski prize, Leipzig, 1898).
Qayarr6 (gS-y&r-r&O) Julian, Roncal
(?), Jan. 9, 1844 — Madrid, Jan. 2,
1890; operatic tenor, son of a black-
smith.
Qebhard (g^'-hlrt), Heinrich,
b. Sobemheim, near Bingen, July 25,
1878; pianist; taken to America at
10; pupil of Clayton Tohns, d6but,
1896, Boston; playing nis violin and
piano sonata, then studied with
Leschetizky and Heubeiger; 1899
reappeared Boston with symph. orch.
1900-4, pianist of Longy Qub; ct
quartet, piano pieces, etc.
Qehrmann (g&r'-mto), Hermann,
b. Wemigerode, Dec. 22, 1861; his-
torian and theorist; pupil Stem Cons.,
Berlin; 1908, Royal Aof.; c. string-
quartet and songs.
Qep'pert, Liberatus, b. Jauering
(Austrian Silesia) Feb. 15, 181 5 —
Feb. 7, i83i; c. 40 masses, 10 re-
quiems, etc
Qer'hardt, Paul, b. Leipzig, Nov.
10, 1867; organ- virtuoso; pupil at the
Cons.; since 1898 org. at Zwickau;
c. organ works, etc.
Qerhftuser (g&'-hl-z€r), tenor; d6-
but Munich; sang there and at
Carlsruhe; ipo2. Met. Op., N. Y.;
gave up singing, became stage-direc-
tor, Stuttgart Royal Op.
Qiacobbi Cj^-k6b'-be), Qirolamo,
Bologna, ca. 1575 — Nov. 30, 1630;
churdi cond. and one of the first com-
posers of opera; " Andromedaf" (1610)
also church music
Qiarda (jar'-dft), Luigi Stefano,
b. Cassolnovo, Pavia, March 19, 1868;
'celUst; pupil Milan Cons.; teacher at
Padua, 1893-7; after, at Royal Cons.,
Naples; c opera "RejeUo " (Naples,
1808), 'cello-music and method.
Qib^son, Qeorge Alfred, b. Not-
tingham, Oct. 27, 1849; violinist;
pupil of his father and of Henry
Fanner; soloist at 12; from 187 1 at
Covent Garden; 1893, leader of the
874
THE MUSICAL GUIDE
Queen's private band; prof, at R. A.
M., and Guildhall.
QiKault (zhe-gd), Nicolas, b. Brie,
ca. 1645; onanist at Paris and
composer.
Gilbert (i) Alfred, Salisbury. Oct.
21, 1828 — London, Feb. 6, 1002;
organist and composer; his brother,
(2) Ernest Thos. Bennett, Salis-
bury, Oct. 22, 1833 — London, May
II, 1885: organist, teacher and com-
poser. G) Walter Bond, b. Exe-
ter, April 21, 1829; oigam'st; pupfl
of Wesley and Bishop; 1886, Mus.
Doc. Oxford; 1889, came to New York;
c. oratorios, etc. (4) Henry Frank-
lin Belknap, b. SomervUle, Mass.,
Sept. 26, 1868; violin pupil of Mollen-
hauer; studied harmony with G.
H. Howard and for 3 years with Mac-
Dowell; 1 892-1 901 in biisiness, then
took up con. position. His work is
full of originality, and character; c.
Comedy Overture on n^ro themes
(Boston Symph., 1911); American-
esque^ Two Episodes^ /, Legend; II,
Negro Episode, Boston (1896, and
often elsewhere); "Salammbo's Invo-
calion to Tanith** for soprano and
orch. (1906); "American Dances in
Rag-Time" for orch. ; fantastic symph.
poem, *'The Dance in Place Congo";
for piano ** Indian Scenes" *' Negro
Episode", etc., many beautiful songs,
including the well-known "Pirate
Song."
Qille (gnMe), Karl, b. Eldagsen, Han-
over,Sept. 30, 1861 ; pupil of J. Fischer,
Bott and Metadorf; theatre-cond. in
various cities; 1891-7 court cond.,
Schwerin; 1897 succeeded Mahler at
Hamburg Stadttheater; 1906, first
cond. Vienna Volksoper, and during
the summer of 1908-9, at the Gura-
OpeiSi, Berlin.
Qirman, Lawrence, b. Flushing, N.
y. July 5, 1878; critic for "Harper's
Weekly"; biographer of MacDowell
(1905), author of numerous books
showing an enthusiasm for modernity
which appears also in his own compo-
sitions, such as the musical back-
groimd to Yeats' poem " Tk$ Curicw."
Qtrson, Paul, correct Inrth date
Brussels, June 15, 1865; since 1904
teacher of harmony Antwerp Cons^
and critic of the "Soir"; has beoooae
one of the most impcMtant Bdgian
composers, with his operas, **G€ms
de mer" (based <hi Victor Hugo^s
novel, Bru^els, 1902; Antwerp, 1004)
and "Prinses ZonnensMjn," (An-
twerp, 1903); ballet, "La Capine,"
Brussek, 1902; symph. "La Mer,"
1892; orch. fantasy on Oinadian folk-
songs, symph. poems, etc
Qinera (he-n& -r&), Salvador,
Valencia, Jan. 17, 1832 — Nov. 3,
191 1 ; pupil of Gascons; dir. Vakncb
0>ns.; c. a syii4>h. "The Four Sea-
sons," operas, etc.
Giordano, Umberto, prod, opera
"FSdora" (Milan, 1898), Siheria,
(do, 1903, Leipzig, 1907), and Mar-
cella, (Milan, 1907).
Qiorgetti (j6r-jst-t6), Ferdinando,
Florence, 1 796-1 867; violinist, teacher
and comp.
Qlaz(o)unow, Alex. Constanti-
novich, add that from 1899 be
was prof, of instrumentation, St.
Petersburg Cons.; from 1909-12
director, also dir. the Imgperial Musi-
cal Society. He has c. 7 symphs.
4 overtures, a sympn. poem, "Slinka
Rasin," a symphonic fantasy,
" Through Night to Light, " and a great
number of other orch. works, chamber
music in large quantity and hi;^
quality, cantatas, the "Memorial,"
(Leeds, Fest., 1901), ballets, violin
concerto (1904), etc.
Qlickh (gllkh), Rudolf, b. Vienna,
Feb. 28, 1864; 'cellist; c. operas,
etc.
Qli^re (gle-&r), Rei n hold Mori tz-
ovich, composer; b. Kiev, Dec.
30, 1874 (O. S.), or Jan. 11, 1875.
(N. S.); pupil of Moscow Cons., win-
ning gold medal; c. 2 popular sym-
phonies, chamber music, etc. His
latest symphony "Ilia Mouromds"
DICTIONARY OF MUSICIANS 875
was prod, at Moscow, April 191 2,
with great success.
Q lover, J. Wm., Dublin June 19, 181 5
— Jan. 15, 1900; violinist and choir-
master at the Cathedral from i860;
c. opera "The Deserted Village'*
(Ixmdon, 1880), etc.
Qluck (glook), Alma (n6e Reba
Fierson), b. Bucharest, Rouma-
nia. May 11, 1866; taken to New
York at 6; pupil of Bouzzi-Peccia,
da>ut New Theatre, N. Y., 1909, the
same year at the Met. Op.; has sung
there since, and in concert.
Qluth (gk)ot), Victor, b. POsen,
May 6, 1852; pupil Royal Akademie
der Tonkunst, Munich; c. operas
" Zlalarog" and " Horand und Hilde. "
Qodowsky, Leopold, add that he
has achieved a place as one of the
world's most bnlliant pianists and
teachers; succeeded Busoni in 1910,
as head of the Master-School of the
Vienna Imperial Academy; 1904, he
married Fneda Saxe; gives frequent
redtals in Europe; c. symphonic
Dance-pictures from Strauss "Fled-
ermaus*'; sonata £ minor, for piano;
left-hand transcriptions of Chopin
Etudes, 50 Etudes on Chopin's Etudes,
and many brilliant piano works.
Q5hler (gft'-l&), Karl Qeorg, b.
Zwickau, June 29, 1874; author and
comp.; pupil of Vollhardt and Leip-
zig Cons.; 1896, Ph.D.; from 1898
director of the Riedelverein, also from
1903 court cond. at Altenburg; 1907-
9 at Carlsruhe; c. 2 symphs.; orch.
suite ** Indian Songs."
Qomiz (g5'-m€th) Jose Melchior,
Valencia, Jan. 6, 1791 — Paris, July
26, 1836; military bandmaster and
singing teacher at Paris; c. operas and
patriotic songs.
Qom6lka (gd-moor-k&), Nikolaus,
Cracow, (?) 1^39 — Jazlowiec, March
5, 1609. Polish composer and court
musician;
Qom^pertz, Richard, b. Cologne,
April 27, 1859; violinist; pupil at the
L\ ns., and of Joachim; toured, then
invited to teach at Cambridge Uni-
versity; from 1883, teacher at R. C.
M., 1895, prof.; from 1899 at Dres-
den; c. violin sonatas, etc.
Qood'son, Katharine, b. Watford,
England, June x8, 1872; pianist;
at 12 pupil at the R. A. M., till
1892, then four years with Leschet-
idty — d6but, 1896, London Pop.
Concerts; has toured widelv; 1903,
married Arthur Hinton (q.v.).
Qoossens (gds'-s€ns), Eugene, Bel-
gium, i84j(?) — , Liverpool, Dec. 31,
1906; choirmaster; cond.; studied at
Bruges; prize winner Brussels Cons.;
prof, music, Liveipool.
Qorczycki (g6r-ch€t'-skl), Qregor
Qabriel, before 1650 — Cracow, 1734;
mus. dir. at the Cathedral; c. church
music.
Qdrner (g€r'-n&), (i) Jno. Qott-
lieb, Penig, 1697 — Leipzig, 1778;
organist; his bromer, (2) J. N. Val-
entin, b. Penig, 1702, cond. at
Hamburg Cathedral; c. scmgs.
Qott'hard, (i) Jn. Peter, b.
Drahanovitz, Moravia, Jan. 19, 1839;
cond. at Vienna; c. operas; with his
brother (2) Franz P&zdirek, pub-
lished a musical hand book.
Qourron vide alvar£z(2).
Qrabov'sky (or QrabofTsky), (i)
Countess Clementine, Posen,
1 771 — Paris, 1831; anist; pianist
and comp. (2) Stanislaus, d.
Vienna, 1852; piano-prof. and. c.
popular polonaises, etc. (3) Adolph,
b. Hamburg, Oct. 14, 1867, violinist
and teacher at Sondershausen Cons.
Qraf (gr^, (i) Fr. Hart man,
Rudolf stadt, 1727 — Augsburg, 1795;
flutist and comp.
Qrahl (gr&l), Heinrich, b. Stralsund,
Nov. 30, i860; concert tenor in Ber-
lin^ pupil of Frl. Sdimidt.
Qramger (gran'-jfir), Percy, b.
Brighton, Australia, July 8, 1882;
pianist; pupil of Louis Pabst; at 11
gave recitals and earned money for
European study with Kwast and
Busoni, settling in London, 1900,
876
THE MUSICAL GUIDE
playing at in^rtant concerts; chosen
by Grieg to introduce his piano con-
certo; toured Australia and South
Africa; made piano arrangements of
folk-songs, etc
Qranados y Campina (gr&-n&'-
dhos e kftm-pS'-nft), Enrique, b.
Lerida, July 27, 1867; pianist; c.
operas and songs.
Qrandjean (grU^-zhUn), Axel, b.
Copenhagen, March 9, 1847; pupil of
the Cons, there; 1869, d6but in opera,
retired after one season; c. operas, etc.
Qrau(grow), Maurice, Brunn,
Austria, 1848 — Paris, March 13, 1907;
impresario of Met. Op. House, N. Y.
Qray, Alan, b. York, Dec. 23, 1855;
organist; studied law, then music
under Dr. £. G. Monk; 1883-92,
musical dir. Wellington College; then
org. Trinity Coll^;e, Cambridge, and
cond. of the University Musical
Society; c. cantatas "Areikusa"
(Leeds Festival, 1892), and"^ Song
of Redemption** (do., 1898), etc.
Qreatheed, Rev. Samuel Ste-
phenson, b. Weston-super-Mare,
Feb. 22, 1813; pupa of W. C. Ball;
1838 ordained; then spent some
months studying music with Schwarz
at Berlin; 1844 took up coimterpoint;
c. oratorio " Enoch* s Prophecy y " (1856)
organ fugue in the Dorianmode, etc.
Qrechanlnoff (gr&-chii'-ne-n6f),
Alex. Tikhonovich, b. Moscow.
Oct. 26, 1864; composer; pupil ot
Safonoff at the Cons.; later at St.
Petersburg Cons., imder Rachman-
inoff; c. prize string quartet (1894);
symph.; succ. opera **Dobringa Nik-
itich " (Moscow, 1903); incidental
music to Tolstoi's ^^Feodofy** and
"Ivany** and to Ostroski's ** Snow-
Maiden** songs, etc.
Greenwood, John, d. Preston, April
I, 1909; organist, pianist, composer,
member of the finn of John G. &. Son,
Preston.
Qreith (grit), Karl, Aarau, Feb. 21,
1828 — Munich, Nov. 17, 1887; org.
gan. and comp. of church music.
Qretschaninow, vide grechani-
NOPT.
Qrlesbacher (gres'-bakh-fr), Peter,
b. Egglham, March 25, 1864; pciest
and teacher at Regensburg; c 40
masses, and other church music,
also cantatas, etc
Qriffith, Frederick, b. Swansea.
Nov. 12, 1867; at 14 won prize at a
Welsh national Eisteddfod; puj^ at R.
A. M.; 1889-91 with Svends^, later
with Jaffanel, Paris; toured widdy;
flutist at Covent Garden, and prof.
at R. A. M.
Qrigny (grai'-y€), Nicolas de,
Reims, 1671-1703; organist and
comp.
Qriirparzer, Fz., Vienna, Jan.
15, 1791 — Jan. 21, 1871; friend of
Beethoven and Schubert. Comp.
Qrisart, J. B., b. 1848; d. Compidgne
France, Mar. 1904.
Qris'wold, Gertrude, d. London,
July 14, 191 2. American soprano,
pupil of A^ramonte, N. Y., ^k1 of
Paris Cons., where she was the first
American to win the first grand
opera prize; d6but as ''Ophelia,"
Paris O^ra, sang there a year, later
in oratorio and concert, and with
Patti at the Met. Op. N. Y. c; songs.
Qrodz'ki, Boleslas, b. Su Peters-
burg, Oct. 25, 1865; studied law at
first, then pupil of Sokotov; c. viohn
and piano works and songs.
Qrtoland (grOn'-land), Petersen.
Schleswig, 1760 — Altona, 1834; or-
ganist and comp.
Qrunewald (groo'-n£-valt), (i) Gott-
fried, d. Dannstadt, ca. 1739; singer
and comp. (2) Gottfried , b. Qoer-
stadt, near Eisleben, 1859; c operas.
GrUters (grr-t&s), (i) August,
d. Urdingen, Dec. 7, 1841; Mus. Di-
rector; pupil of his father, of Cologne
Cons., and of Ambroise Tbcmas;
1878, Royal director at Frankfort-
on-Main; 1908, retired. His brother
(2) Hugo, b. Urdingen, Oct. 8, 1851;
pupnl Cologne Cons.; conductor m
various dties.
DICTIONARY OF MUSICIANS 877
Quido d*Arezzo, born near Paris
and later joiDing the monastery; later
investigations identify him with a
Benedictine monk in the Monastery
of St. Maur des Fosses; his probable
birth date would be ca. 990. He thus
becmnes a Frenchman who went to
Italy, not an Italian.
Quillemain (ge'-yfi-m&n), Gab-
riel, Paris, Nov. 15, 1705 — (sui-
cide) Oct. I, 1770; c. violin pieces.
Qui'bins, Max, b. Kammetsdien.
July 18, 1863; organist and comp. 01
choral works.
Qulbranson, Ellen, correct Urth
date, Stockholm, March 3, 1863.
Qulli (goor-l€), Luigi, b. ScOla^
June 17, 1859; pianist; pupil Royal
College of Music, Naples, under Cesi:
teacher at Rome, where he founded
the Gulli Quintet Society, which has
toured with much success.
Qunke (goonk'-€), Joseph, Joseph-
stadt, Bohemia, 1801 — St. Peters-
burg, Dec. 17, 1883; violinist, theorist
and organist; c. oratorio, mass, etc.
Qutheil-Schoder ( goot'- hil - sho'-
der), Marie, b. Weimar, Feb. 10,
1874; mezzo-soprano; pupil of Vir-
ginia Gungl, and Weimar Music
School; 189 1 -1900 at Weimar court
opera; frequently at Vienna coiut
opera; her husband Gustav Gutheil
is conductor at Vienna Volksoper.
Guzman, (gooth'-mftn), Juan Bau-
tista, b. Alday, Valencia, Jan. 19,
1846; pupil of Ubeda; organist; joined
the Benedictine order; c. songs, etc.
Haack (hide), Karl, Potsdam^ Feb.
i8, 1751 — Sept. 28, 1819; violinist
and teacher; court cond. to Fr.
WUhelm II at Potsdam; c. violin
pieces.
Haas (h^). Alma HollMnder,
b. Ratibor, Silesia, Jan. 31, 1847;
Eianist; pupil of Wandelt and Kid-
ik; 1872, m. Ernest Haas, prof, of
Sanskrit (d. 1882); from 1886 teacher
at King's College.
Hack'!, N. Lajos b. Siegraben,
June II, 1868; pupil of Kflssler; teach-
er at Pest Cons.; c. songs, etc
Had'dock, (i) Thomas, Leeds,
181 2 — Liverpool, Sept. 22, 1893;
'cellist; his orother (2) ueorse,
KiUingsbeck, near Leeds, July 24,
1824 — ^Leeds, Srat. 12, 1907; violinist,
author of method; founded Leeds
College of Music with his sons (3)
Ed^ar A., b. Leeds, Nov. 23, 1850;
violinist; (4) Qeorf;e Percy, d.
Leeds, Oct. 10, i860; pianist, organist,
'cellist and comp.
Hadley, Henry X., add that he spent
some years abroad, as cona. in
various cities, including the Mayence
Opera, where his opera "5a/t^" was
prod, in 1909. In that year he be-
came cond. of Seattle symph. orch.;
191 1, San Francisco orch.; add to his
comps. two symphs. His 2nd symph.
took two prizes simultaneously in
1901, the Paderewski and the New
England Cons. His fourth symph.
*'North, East, South and West'* he
cond. himself with the London
Philh. Boston Symph., and other
orch.; c overtures " tiectar and Andro-
mache" (Boston, 1901) ; " In Bohemia'*
(i903)> "Herody** symph. fantasie
"Salome" (Boston Symph., 1907,
Monte Cario, 1907; Warsaw, 1908,
Cassd, 1908); lyric drama "Merlin
and Vioien,** piano quintet, (1907),
etc poetic rhapsody, "The Culprit
Fay " (N. Y., 1Q12); a music drama,
" The Atonement of Pan,'* (San Fran-
cisco, 1912), etc.
Haesche, vide hasche.
Hagel (hft'-gfl), KarT, b. Voigts-
tedt, Thuringia, Dec. 12, 1847; co>i-
ductor: 1874-77 militar>r cond. at
Munich; 1878-1905, municipal cond.
and director of the Music School
at Bamberg, then pensioned; c. 4
symph., etc. His son and pupil
(2) Richard, b. Erfurt, July 7,
1872; cond. and teacher in various
cities; 1902 cond. at Leipzig Stadt,-
theater,
878
THE MUSICAL GUIDE
HXgg (hftg), (i) Jacob Adolf,
b. Gotland, Sweden, 1850; Swedish
composer; pupfl of Van Booms, Gade.
and Kiel; c. Norse symphony, and
''Norse Songs Wiikoul Words " suites
in andent style; sonatas, etc (2)
Qustaf, b. 1868; studied abroad
with municipal stipend; later oigan-
prof, at Stockhdm Cons.; oiganist
and comp. of orch. and oigan works.
Hahn, (i) Reynaldo, add that his
opera **La Carmilite" was prod, at
the Opto Comique, Paris, 1902;
incidental music to C. Mendds'
''Sccrron," Racine's "Esth^," and
V. Hugo's ''Angelc," (aU in 1905);
2-act ballet *'La fHe chez Tkirise,
(Op^, 1910). (2) William, Ba-
varia 1837 ^ Philadelphia, 1903;
teacher.
HMhnel (hft'-n^), Amalie, Gross-
habd, Bohemia, 1807 — May 2,
1849; favourite contralto at Berlin
Royal Opera.
Hall, Marie (Mary Paulina), b.
Newcastle-on-TVne, April 8, 1884:
violinist; as a child played in Bristol
streets; pupil of her father and Hilde-
garde Werner; later of J. Kruse; at
15 won an exhibition at the R. A. M.:
from 1901, pupil of Sev^ik; toured
widely.
Hallwachs (hSl'-v&khs), Karl, b.
Darmstadt, Sept. 15, 1870; Mus. Di-
rector; pupil at Royal Music-School;
Mimich ; 1895 - 7 directed Acad-
emy Singing Society; 1899- 1900
cond. at Aachen Stadttbeater; 1900-
02 at Saarbruchen; after 1002 in
Kassel as director of Oratorio Sodetv
and liedertafd; c opera" Nainahiy
songs, etc.
Halm, August, obscure composer
of important symphony in D minor
for string orcL; performed Stutt-
gart, 1907; Boston Symph., 1910;
studied theology at Tubingen, then
music; a teacher at Hanbinda, later
at Wickersdorf, Thuringia; c. comedy
overture; piano-concerto in style of
Bach, chamber music, etc
Hambourg, Mark, correct birth
date is May 31, 1879. He has oob-
tinued to tour and has maintaiiied fab
high position as a virtuoso.
Hamilton, Sir Edward Walter,
d. Brighton, Sept. 2, 1908 ; cooi-
poser; Badiek)r of Music, Ox-
ford, 1867.
Ham'merich, Mark, b. Copen-
hagen, Nov. 25, 1848; 'cellist; pupil of
ROdinger and Neruda; 1896 prof. d.
musical science Copenhagen Uni-
versity; brother of Asger Hamerik
(q. v.).
Ham'merttein, Oscar, b.^ Bcffin,
1847; composer and impresario; came
to America at 16; made a fortune by
the invention of a dgar-making
machine; wrote a comic opera in 24
hours on a wager, and produced it at
his own theatre; built five theatres in
N. Y. and the Manhattan Open
House; where he gave oiq[>ositkxi to
the Metropolitan, 1906-8; built also
an opera house in Philadelphia; sold
out his interests to the Metrop^itan
Co., and built opera house in London;
opened, 191 2.
HanfT, J. Nicolaus, Wedunar.
1630 y- Schleswig, 1706; cathedru
organist at Schleswig and important
predecessor of Bach in choral-writing.
Han'sel, Peter, Leipa, Nov. 29, 1770
— Vienna, S^t. 18, 1881; violinist
and comp.
Harcourt (dftr4Loor), Eugene d',
b. Paris, ca. 185 <; composer; pqpil
Paris Cons., and of Schulse and
Bargiel, in Berlin; 1890 gave con-
certs in his own Salle Harcourt; 1900
gave oratorios at St. Eustache; c
mass (Brussels, 1876); op^a " Tasso^
(Monte Carlo, 1903): 3 symph., etc
Harding, Henry Alfred, b. Salis-
bury, July 25, 185s ; oiganist ; pupil
of Corfe: 1882 Mus. Doc, Ox-
ford; cond. and org. at Bedford; c
church music
Harris, Clement Hugh Oilbert,
Wimbledon, July 8, 1871 — in the
battle of Pentepigadia, Greece, April
DICTIONARY OF MUSICIANS 879
33 > 1^7; pianist pupil Frankfort
Omis., and of Mme. Schumann; being
in Greece at the outbreak of the
Turkish war he joined the Greek
army, and was killed in battle; c.
brilliant symph. poem ^'Paradise
Lost** (prod. Birmingham, 1905);
ooncert studies for piano; songs, etc.
Harrison, Samuel, Belper, Derby-
shire, Sept. 8, 1760 — L^don, June
35, 181 2; tenor.
Har'rold, Orville, tenor; discovered
singing in vaudeville, by Oscar Ham-
merstein, N. Y., taught by Oscar
Saenger, 1909-10; d6but Manhattan
Op., N. Y., 1910; sang with Mme.
Trentini in comic opera; 191 1 at
Hammerstein's London Opera.
Hart'inger, Martin, Ingobtadt,
Feb. 6, 1815 — Mimich, Sept. 6, 1896;
tenor and teacher at Royal Music-
School, Munich.
Hartmann, Arthur, b. Mat6
Szalka, Hungary, July 23, 1881;
taken to Philadelphia at the age of
two months; violinist; all his school-
ing in America; has toured Europe
and America with great success.
191 1, soloist with Golonne orch.,
Paris; c. orch. works, violin pieces, etc.
Harty, Hamilton, b. Hillsborough,
Co. Down, Ireland, Dec. 4, 1879;
organist; pupil of his father; at 12,
organist, later in Belfast and Dublin;
in London from 1900 as an accom-
panist; c. *^ Irish** symph., "Comedy
Overture,** ''Ode to a Nighlingale** for
soprano and orch. (Cardiff Festival,
1907), his wife, Mme. Agnes NichoUs,
anging the solo; c. also important
violin omcerto (1909), chamber music
and songs.
Har'wood, Basil, b. Woodhouse,
Gloucestershire, April 11, 1859; pian-
ist; pupn of Roeckel, Risley, Corfe, and
at Leipzig Cons.; 1880, Mus. Bac,
Ozf(n:d; 1896 Mus. Doc.; organist
various churches; from 1892 at Christ
Church, Oxford; 1896-1900 cond.
Oxford Orch. Association; 1900 chora-
gus; c. pealm "Inclina, Dorrnne**
voices and orch. (Gloucester Fest,
1898), church music, etc.
Httsche (h«sh'-€), William Ed-
win, b. New Haven, April 11, 1867:
pupil of listemann, Perabo, ana
Parker; dir. New Haven Symph.
Orch.; since 1903 teacher of instru-
mentation at Yale cond. N. H. Choral
Union (250 voices); c symph., symph.
poems, ''WaldidyUe,** ''Fridjof and
Ingebor^*; cantata '*The Haunted
Oak ** etc
Hilssler (hessMCr), (i) Jn. Wm.,
Erfurt, March 29, 1747 — Moscow,
March 29, 1882; organist and famous
teacher; toured widely; 1892-4 royal
cond. St. Petersburg; then teacher
at Moscow; c. important piano and
organ pieces; his wife, (2) Sophie,
was a singer who travelled with him.
Hath'erly, Stephen Qeorgeson,
b. Bristol, Feb. 14, 1827; Greek
priest; organist of various churches;
1857 at the Greek Church, liverpool;
187 1 at Constantinople; author of
works on Byzantine music.
Hausegser ( hows'-^-gdr ) , Sieg-
mund Von,, b. Graz, Aug. 16, 1872:
pupil of his ^ther, of Dq^ners ana
Pohlig; 1896 cond. at Graz; 1899 of
the Kaim concerts at Mimich; 1903-6
the Museum Concerts at Frankfort-
on-Main; c. mass, an opera ''Hel-
jrid** (Graz, 1893); '*Zinnober** (Mun-
ich, iSgS) ;'' Dtonysian Fantasie** for
orch., (Munich, 1899); symph. poems,
" Barbarossay*' (igoi), "Widand der
Schmiedj** 1904.
Hauss'man, Valentin, OTganist and
composer at Gerbstadt, Saxony,
1588 to 1611.
Haw'don, Matthias; d. Newcastle
1787, where he had been organist
from 1776; composer.
Hay, Walter C, 1828 — Claremont
Bank, Oct. i, 1905; pupil R. A.
M.; bandmaster Twelfth Lancers;
many years Prof. Music Shrewsbury;
organist, 1861-1883.
Hay'ter, Arthur Upjohn, Brook-
1)^1 1833 — June 19, 1909; organist.
88o
THE MUSICAL GUIDE
Hegyesi (hCg'-yft-zS), Louis, Arpad,
Hungary, 1853 — Cdogne, F<i>. 1894;
'cellist.
Hein (bin), Karl, b. Rendsburg,
1864; 'cellist; pupil Hamburg Cons.;
1885-90 'cellist Hamburg Philhar-
monic Orch. ; 1890 teacher in NewYcnrk
at German Cons.; 1903, joined with a
fellow-pupil from the Hamburg Cons.,
August Francke, in its direction.
Hein'rich, Max, b. Chemnitz, Sax-
ony, June 14, 1853; barytone, pupil
of Khtzsch and at Drnden c5Dns.;
1873, moved to Philadelphia; 1876-82
to Marion, Ala. became very pop-
ular on concert tours ; 1888-93 prof,
at London R. A. M.; then Chicago,
where he gave a ^u:ewell redtal,
1003; c soi^
HeTlfnck, Joannes Lupus (often
called Lupus or Lupi), d. 1541;
Flemish choir master at Cambrai,
and Bruges; c. many masses, influen-
cing Palestrina; important motets,
hynmsand scmgs.
Hersted, (i) Eduard,, Copen-
hagen, Dec. 8, 1816-1903; violmist
at the Royal Chapel; nom 1869,
teacher at the Cons.; c ballets, etc.;
his brother (2) Karl Adolf, b.
Copenhagen, Jan. 4, 1818; flutist,
teacher at the Cons. ; c 2 symph., etc. ;
his son (3) Qustav, b. Copenhagen,
Jan. 30, 1857; pupil of Cade, etc; c.
symph. orch. suite, etc.
Hemj>el, Frieda, b. Leipag, 1884
(daughter of a janitor); soprano;
studied the piano at Leipzig Cons.,
1903-5; then voice with Frau Lemp-
ner; d^but in Stettin; 1906, at Bay-
reuth; 1907 Covent Garden; has simg
in Paris Op^ra, Brussels, Vienna, etc.;
from 1908 Berlin Royal Opera; en-
gaged for Met. Op. N. Y. 191 2.
Hemp'son (or Hampson), Denis,
Craigmore, 1695 — MagiUigan, 1807
(at the age of 112); one of the great-
est and latest of the Lrish bards; a
harper, blind from his third year; wan-
dering afar; 1745 played for the Pre-
tend^ at Edinburgh.
Henrion (ftn-rl-^n), Paul, F^bs,
July 29, 1819 — Oct, 26, looi; c.
operettas and over a thousann popu-
lar songs.
Henriques (h«n-re'-k£s), Fini Bal-
demar, b. Copenhagen, Dec 20,
1867 ; violinist ; pupOf of Tofte,
Svendsen, and Joachim; irtfmhn of
court orch. at Copenhagen; c iDQ-
dsataliom.to^WielandderScktmied''
(1898), piano pieces, etc
Hen'sel. Heinrich, b. Neistadt,
1880 (?); tenor; pupal of Walter,
in Vienna, and Emerich in Milan;
d^ut Freiburg, 1897, sang there for
three years; from 1900 at Frankfoct-
on-Main; 1906, Royal Opera, Wies-
baden; sang *' Parsifal," etc,at Bay-
reuth, 1910; 1911 at Covent Gaiden,
Hep'worth, (i) Qeorge* b. Al-
mondbury, En^and, 1825; organist;
at 22 went to Germany; since 1864
cathedral organist and court-dir. at
Schwerin; c organ music, etc; his son
(2) William, b. Hambtng, 1&16;
orgamst and writer at (Senmitz;
1908, churth-dir.; c string quartet,
etc
VHerbert, Victor. Add that he
conducted the Pittsburg orch. till
1904, then founded and cond. the
Victor Herbert Ordi., with which he
toured widely. Later comic opens
included the following great suc-
cesses: ''Babes in Toyiamd" 1905,
''The Red MiU," 1005, "Narngky
Marietta," 1910. ''The Enchamiress,"
1911. He c also the grand opera
"NaUma," libretto by Jos. D. Red-
ding, which was prod, by the PhiU-
delphia Opera Co., 191 1 in Phila-
delphia and at the Met. Op., N. Y.,
the same year.
Herbst, Andreas, Nuremberg, 158S
— Frankfort, 1666; theodst and
comp.
Herites (h&-r6'-t€s), Marie, b.
Wodnian, South Bc^emia, 1884 (?);
violinist; pupil of Sevdk at Prague
Cons.; tomred Europe.
Herms, Adeline, b. Fkiesaci, Oct
DICTIONARY OF MUSICIANS 88i
14, 1862 ; mezzo-soprano; pupfl of Frau
BreidenhoS, and O. Eichberg; married
the cellist, Eugen Sandow, 1895.
Her'ner, Karl, Rendsburg, Jan. 23,
1836 — Hanover, July 16, 1906;
vic4inist and conrn.
Herzfeld (hSrts'-fat), Victor von,
b. Pressburg, Oct. 8, 1856; violin-
ist; pupn Vienna Cons., taking prizes
for comp. and violin ; pupil later
of GreU, Beriin; 1886, prof, at Pest; c.
chajnber music, etc.
Hess, (i) Willy, add that he was
made Royal Prof., 1900; 1903-4 he
was violin prof. R. A. M., London;
resigned and became concertmaster
Boston Symph. Orch., and leader of
the Quartet; 1908 co-foimded the
Hess-Schroeder Quartet. (2) Lud«
wig, b. Marburg, March 23, 1877;
pupfl Berlin Royal Hochsch. and
Vidal in Milan; toured as concert
singer; from 1907 succeeded Felix
Mottl as dir. Munich Konzertgesell-
schaft; c. symphony "Hans Mem-
ling," an epic "XnoJn*," and other
works for voices and orch. ; songs, etc. ;
191 2 enraiged to tour America.
Heuser (hoi'-zCr), Ernst, b. Elber-
feld, April 9, 1863; pianist; teacher at
Cologne Cons.; c. opera, etc.
Heyse (hl'-z€), Karl, b. St. Peters- .
burg, May 10, 1879; organist; pupil of
Homeyer and H. Seifert; 1907, org.
at Frankfort-on-Main, and teaicher
at the Hoch Cons.
Hin'ton, Arthur, b. Beckenham,
Nov. 20, 1869; violinist; pupU R. A.
M., later with Rheinberger at Mu-
nich Cons., where his first symph. was
played; hb second symph. was played
m London, 1903; c. also opera " Tarn-
ara"; operettas for children, and piano
pieces played by his wife, Katherine
Goodson, whom he married in 1903.
Hill, (i) Henry, London, July 2, 1808
— June II, 1856; viola player of
^reat abflity. (2) Edwin Burl-
mgame, b. Cambridge, Mass., Sept.
9, 1872; graduated at Harvard, 1894,
with highest honors in music, pupil
of B. J. Lang (piano), F. F. Bullard
(theory), Arthur Whiting (piano),
later with Widor (comp.), in Paris^and
G. W. Chadwick (instrumentation);
1887-1902 taught piano and harmony
in Boston, then took up writing for
magazines; 1908-12, musical instruc-
tor at Harvard ;c.fantastic pantomime
for orch. "Jack Frost in Midsummer"
(Chicago Orch. 1907, N. Y. Symph.
1908); women's chorus with orch.
"Nuns of the Perfetual Adoration"
(Musical Art Soaety, 1907, Birm-
ingham, England, Orch.. etc.); dra-
matic lyric for tenor and orch., 3
piano sonatas, songs, etc.
Hilton, (i) John, d. before 1612;
organist at Cambridge, 1594; per-
haps the father of (2) John, 1599 —
1656-7; organist at Westminster; c.
anthems, madrieals, etc.
Hirsch'mann, Henri, b. St.Maud^.
1872; composer, imder pen-name of
V. H. Herblay, of operas, "V
Amour d la Basttlle,** (Paris, [1897),
"Lovelace" (do., 1898), "Hemani"
(do., ipop); operettas "Das Sckwal-
benrest (Berlin, 1904, in Paris, 1907,
as Les kirondelles); "La petite Bo-
hhn^^ (Paris, 1905; in Berlin 1905,
Bs" Musette"), etc,
Hit'zelberger, (i) Sabina, Rander-
sacker, Nov. 12, 1755 — after 1807;
soprano of 3-octaves range; wife
of the 'cellist H., her maiden name
unknown. Her daughters (2) Ku-
nigunde, soprano ; (3) Johanna,
alto ; wife of violinist Bamberger ;
(4) Regina, 1789 — Munich, May
10, 1827; married Lane, and bore a
daughter, Josephine Lang-Kost-
lin, who composed songs.
HIawatsch, (hir-vich), Woizech
Ivanovitch, b. Leditsch, Bo-
hemia, 1849; organist; pupU Paris
Organists' School; cond. in various
Bohemian dties; from 1871 in St.
Petersburg, as cond. of students or-
ganizations; 1900, organist of the
court orch.;c. comic opera "06/apa,**
Roumanian rhapsody for orch., etc
882
THE MUSICAL GUIDE
Horbrooke, Josef (or Joseph) «
b. Croyden, July 6, 1878; English
composer; pupil of the R. A. M.,
till 1898 ; c. symph. poems " The
Raven" (Crystal Palace, 1900); "Ode
to Victory y " " The Skeleton in Armor, "
"Ulalume" (London Symph., 1904),
"Queen Mob" (Leeds Fest, 1904),
" The Masque of the Red Death, " over-
ture, "The New Renaissance," etc
His opera "The Children of Don"
(libretto by Lord Howard de Walden) ,
was prod, at the London Op., Jime
15 191 2 with Nikisch conducting
without success.
Hollander (h6r-l£n-d«r), Benno,
b. Amsterdam, June 8, 1853; vio-
linist; played as child, then studied
with Massart and Saint-SaSns at
Paris Cons., winning first violin prize,
1873; after 1876 toured, then settled
in London as viola player; 1882,
cond. German Opera season; 1887
violm prof, at the Guildhall; cond.
London Symph. Concerts; 1903, or-
ganized the Benno H. Orchestral Soci-
ety; c. symph. "Roland"; violin con-
certos, pastoral fantasia played by
Ysaye, ipoo, etc.
Horiingsnead, Frederick Edward,
d. July 5, 1907; orgamst at Bath;
Fellow Royal College of Org.
HoFlins, Alfred, b. Hull, Sq)t. 11,
1865; pianist, and org.; blind from
birth; pupil of Hartvigson; played
Beethoven concerto as a boy; at 16
played for the Queen; pupil of
BUlow, later at Raff Cons.; played
for crowned heads, and toured Amer-
ica; 1884, org. at Redhill; 1888 at
People's Palace; 1897 at Edinburgh,
Free St. George's Church; c. 2
overtures, organ music, etc.
Hoist, Qustav Von, b. Chelten-
ham, Sept. 21, 1874; dir. Morley Col-
lege; pupil R. C. M.; c. operas "Sita"
and "5aw7n"; scene w. orch. "The
Mystic Trumpeter," "Ave Maria" for
women's voices, etc.
Ho'mer, (i) Sidney, b. Boston,
Mass., Dec. 9, 1864; prominent
American scmg-composer; piq»l d
G. W. Chadwick, then of Rhdn-
berger, O. Hieter and Abd in Ger-
many; 1888-96 teacher of theofy is
Boston; c. many important songs.
Li 1895 he married (2) Louise
(Dilworth Beatty), b. Pitts-
burgh, Pa.; famous operatic Gootralto
pupil of Miss Whinnery and Miss
Goff, W. L. Whitney, and of her hns-
band in theory; then studied in Buis
with Fid^e Koenig; d£but, 1898 at
Vichy; from 1899 at Covent Garden,
and regulariy at the Metropolitan
Opera House as leading oontiaho
with especial success in Wagnerian
rAles, also as "Orfeo," etc; 1912 cre-
ated title-rdle in "Mona,"
Hop'kinson, Francis, composer;
1737-^1; one of the earliest American
composers; inventor of the "Bdlar-
montca."
Horv&th (hdr'-vSt), Q&ea, b. Kom-
^Lron, Hungary, May 27, 1868; pupfl
of L. Schytte, etc; teacher in Vienna;
c. popular piano-pieces.
HOsel (h&'-za), Kurt, b. Dresden,
Jan. 20, 1862; Mus. Director and
composer; pupil of the Cons.; oond.
Wagner Concerts there from 1895 *^
founded the Philh. chorus; c. noale
and mixed choruses, etc
Hoy'a, Amadeo Von Der, b. New
York, Ma>ch 13, 1874; violiiiist; pupQ
of Joachim, Halir, etc, in Beriin; coo-
certmaster, N. Y. Symph. Ordi.;
1894-6 cond. court opera at Bay-
reuth; from 1901 concertmaster at
Linz; author of a method.
HuS, Georges Adolphe, add that
his opera," Le roide Paris" was pnxL
r90i, "Titama" 1903.
Huhn, Bruno (Siegfried), b. Lon-
don, 187 1 ; org. and (uanist; pupQ ol
Sophie Taunton, later in New York
of S. B. Mills and L. Alberti; has
toured Europe as pianist; prominent
accompanist in New York; c "Te
Deum" with orch., and many songs.
Hull, Alexander, b. Columbus, O.,
Sept. 15, 1887; pupil of his mother.
DICTIONARY OF MUSICIANS 883
and (by correspondence, later in
person) of Dr. Hugh A. Clarke;
studied 'cello with Michael Brandt,
Cincinnati, voice with H. A. Preston
and H. B. Turpin, Columbus; took
music bachelor degree Univ. of
Penna; teacher in Pacific College,
Oregon; c. orch. suites, *cello pieces,
songs, etc.
Hulsteyn (hfll'-shln), Joai'n C.
Van, b. Amsterdam, 1869; violinist
pupfl at Li^ Cons, of C^ar Thorn-
scm; won first prize; played in La-
moureuz orch., Paris; prof, at Pea-
body Inst., Baltimore.
Humbert (dfi-bfir), Qeorges, b.
St. Croix, Switzerland, Aug. 10, 1870;
organist; pupil Leipzig and Brussels
Cons., and of Bargiel; teacher of mus.
history at Geneva Cons, and org. at
N6tre Dame; from 1893 at Lausanne.
Humperdinck, Engelbert, add
that in 1900 he became dir. of
Master-School of the Berlin Royal
Acad, of Arts. His " K&nieskinder"
(written in 1896 and played in
excerpt at concerts), was prod, at
Met. Op., N. Y., 1910 with greatest
success, later in Europe. **Dorn-
fUschen" was prod. Frankfort-on-
Main (1902), com. op. "Die Heiral
wider Willen" (Berlin, 1905), indd.
music to Aristophanes' *^ Lysistrala,"
(do., 1908); Shakespeare's "Winter*s
Tale," and '"Tempest" (do. 1906).
Hur'ka, Friedrich Franz, Merk-
lin, Bohemia, Feb. 23, 1762 — Ber-
lin, Oct. 10, 1805; tenor and comp.
of songs.
Hur'lebusch, (i) Harris Lorenzo,
b. Hanover, July 8, 1666; organist;
his son (2) konrad Fr., Braun-
schweig, 1696 — Amsterdam, Dec.
16, 1765; organist; and cond.; c.
72 odes, etc.
Hurrstone, Wm. Yeates, Lon-
don, Jan. 7, 1876 — May 30, 1906;
composer; at 9 pub. 5 waltzes; at
18 held scholarship at R. A. M.; later
Prof, there of harmony and counter-
point; c piano concerto, etc.
Huss, Henr^ Holden, add that he
and his wife, the soprano, Hilde-
gard Hoffman, have given joint
recitals throughout America, and 191P
in London. His piano concerto in
B major has been played with the
composer as soloist by the N. Y.
Philh., Boston Symph., Pittsburgh
and Cincinnati Symph, orch's. and
by the Monte Carlo Symph., with
Pugno as soloist; his violm sonata
has been played by Kneisel, Spiering.
etc.; his " The Recessional" for mix^
chorus, organ, and orch. (Worcester,
Mass. Festival, 191 1); string quartet
in E minor (Kneisel Quartet); 'cello
sonata much played; songs, etc.
Huszia (hoosh'-la), Victor, St.
Petersburg, Oct. 16, 1857 — Lisbon,
Nov. 14, 1899; violinist; pupil of
Schradieck and C6sar lliomson;
1887 cond. Royal Academy of Music
Lovers, Lisbon; c. 3 Portuguese
rhapsodies, Portuguese suite, etc.
Hutch'eson, (i) Francis, b. Glas-
gow, 1720; physician and comp. of
glees, etc., imder pen-name Francis
Ireland. (2) E r n e s t , b. Mel-
bourne, Australia, July 20, 1871;
pupil of Leipzig Cons., i88i6-i892,
winning Mozart prize with a trio;
toured Australia; studied with Staven-
hagen; 1898 married Baroness von
Pikach; from 1900 teacher Peabody
Cons., Baltimore; c. symph. poem
**]ifyrlin and Vivien" (Berlin, 1899);
orch. suite (do.), piano concerto
(1899).
Huygens (hf'-g&is), Constant in, The
Hague, Sept. 4, 1596 — March 28,
1687; poet and military secretary to
William II and William III; also
skilful performer; c. over 700 airs for
lute, theorbo, etc.; his son (2) Chris-
tian, The Hague, April 14, 1629 —
June 8, 1695; mathematician and
musician.
Hy'att, Nathaniel Irving, b. Lan-
singburgh, N. Y., April 23, 1865;
pupil of White and Jefferey at Troy;
from 1887 at Leipzig Cons.; 1892
884
THE MUSICAL GUIDE
settled in Troy as teacher; 1895-9
prof, of piano and theory, Synicuse
University; then head teacher at St.
Agnes School, Albany,N. Y. ; c. symph.
overture ^* Enoch Arderif** chamber
music, songs, etc.
If'fert, August, b. Bratmschweig,
Ma^ 31 y 1859; singer and teacher in
vanous cities; author of a vocal
method.
Igumnoff (S- goom'- noff ) , Kon-
stantin Nikolajavich, b. Leb-
edjana, Tambouv, May i, 1873;
Russian pianist; pupil of Svereff,
Siloti and Pabst; 1898, teacher in
Tiflis; 1900 Prof, at Moscow Cons.
Iljinski (al-ySn'-shkO, Alexander
Alexandrovich, b. Tsarkoe Selo,
Jan. 24, 1859; composer; pupil of
Kullak and Bargiel; 1885 Prof,
of theory at the Philharmonic
Music School in Moscow; c. opera
**The Fountain of BastckiSarai";
symph.; symphonic scherzo; inciden-
tal music to Sophokles' "Oedipos " and
'' PkilokUUs;'' overture to Tolstoi's
^^Czar Feodor^^^ etc
Imbart de la Tour (&fi-b&r da Vk
toor), Georges, b. Paris, May 20,
1865; operatic tenor; pupil of the
Cons.; a6but 1891, Geneva; sang at
the Op^ra Comique, Paris, and Th.
de la Monnaie, Brussels; 1901 sang
in the U. S.
India, Sigismondo d', flourished
1608^1621; bom of a noble family in
Palermo; court mus. director in
various Italian cities; c. madrigals,
etc.
Indy, Vincent d', add that while
185 1 is the birth year in the Paris
Cons, records, the composer gave
Philip HaJe the year 1852 as correct;
1896 he became prof, of Composition
at Paris Cons.; 1896 with Bordes and
Guilmant founded the Schola Can-
torum, and became director; c. "£«
chant de la clochey'^ dramatic legend
in seven pictures, with his own tyft,
for soli, double chorus and occh.
Festival cantata **Pour Vinaugm^
tion d*une Statue" for barytone,
chorus and OTch.,**Ode d VaUnce, " do.
symph. in B flat 1902; Jour d^iU i
la montagfUf 1905; Souvenirs for orch.
1006; songs, piano pieces and
choruses, author of a Cours de Cmm-
position MusicalCf 1902, and a life of
C^sar Franck, 1906.
I ppolitov-I vanov(^pd'46-t^-€'-vi-
n6f), Mikhail Mikhailovitch, b.
Gatchina, Nov. 19, 1859; added his
mother's name to Ivanoff, to dis-
tinguish him from Ivanoff (2); pupil
of Rimsky-Korsakov; at St. Phcis-
burg Cons.: 1882 du-. of the Music
School ana cond. in Tiflis; 1884
cond. at the Imperial Theatre; from
1893 prof . of theory at Moscow Coos,
from 1899 cond. the Private Opera; c
operas "£ulA," (Tiflis, i887),"^5>»,"
(Moscow, 1900); and ** Sabam
Putjatischna,** (St Petersburg, 1901);
overtures ''Jar Ckmel," **Sprimg,''
and "Medea"; orch. suite, "Caucasiam
Sketches "; violin-sonata (rearranged
as a Sinfonietta); character-pictores
for chorus and orch.; cantatas "/»
Memory of Pushkin" of Cogol and
Shukovski, and "Legend of the White
Swan of Novgorod," etc; author of
a book on C^rgian folk-songs.
Trons, H. S., Canterbury, 1838 —
Nottingham, June 29, 1905. O^an-
hi and prolific comp. of diurdi music
Tvanov, (1) Nicholas Kusmich,
Polta\'a, Oct. 22, 1810 — Bologna,
July 7, 1880; tenor; popular in Lon-
don, 1834-37; accimiulated a fortune
in Italy and Paris and retired in 1845;
(2) Michael Mikhailovich, b.
Moscow, Sept. 23, 1849; pupfl of
Tchaikovsky and Dubuque at the
Cons.; critic and comp.; 1870-76 at
Rome; then critic for the None
Vremya; c. symph. "A Night in May*;
symi^. prologue "Savonarola"; four
operas indudmg "Potemkin's Feast''
(1888), and "Sabava PutjaHsdma''
DICTIONARY OF MUSICIANS 885
(Moscow, 1899); incidental music to
'* Medea,'* etc. His opera ''Treach-
cry'* (Moscow. Feb. 191 1), made great
success.
Jachimecki* (ySkh-I-mft'-skl), Lad-
islay, b. Lembag, July 7, 1882;
pupil of Schonberg and Grfidener;
author and composer in Cracow.
Jaco'bi, Georges, Berlin, Feb. 13,
1840 — London, Sept. 16, 1906;
violinist; pupil of De B6iot, Massart,
etc., at Paris Cons.; 1861, violinist
at the Opera when ^^annhauser" was
first performed; cond. light op^ and
ballets, first in Paris, and for 26 years
('72-'95) at the Alhambra, London; c.
(^)eras and a himdred ballets and
divertissements, many of them per-
formed in America, Brussels, Berlin,
Mimich, Rome, Paris.
Jacques (ja'-qu€z), Edgar F., Lon-
don, March 27, 1850 — Brighton,
Dec. 30. 1906; organist and critic.
Jam (yaf^-f&), Sophia,b. Odessa, Feb.
26, 1872; violinist; pupO of Auer; later
at Paris Cons, where she won first
grize; toured Germany with success
ut inheriting a fortune, left the
concert stage.
J&ger (ya'-§€r), Fd., Hanan, Dec. 25,
1838 — Vienna, Jime 15, 1902; tenor
at Vienna and Bayreuth; notable as
Siegfried and Parsifal.
Jlrnefelt (yam'-d-fdt), Armas, b.
Wborg, Finland, 1869; pupil of
Helsin^ors Cons., later of Becker in
Berlin, and Massenet in Paris; cond.
of court opera in Stockholm; 1906 dir.
of Helsingfors Cons.; c. symph. poem
*'Korsholm"; fantasie "Heimat
Klang" for orch.; important piano
pieces, etc.
Jarno (yftr'-nO), Qeorg, b. Pesth,
Time 3, 1868; composer; cond. at Bres-
lau city theatre, c. operas **Die
Sckwarze Kaschka" (Br^au, 1895),
"Der Richter von Zalamea,** (do.,
1899), "Der Zerhrochene Krug,"
(Hamburg, 1900), "D<jr Coldfisch,''
(Breslau, 1907), and "Die FlfrsUr-
Christel'* (Vienna. 1907).
Jaspar (a^Ss-p&r), Maurice, b.
lA^y June 20, 1870; pianist; pupil
and later teacher at the Cons.; c
piano pieces and songs.
Jenner (y£n'-n&), Qustav, b. Kdt-
lun. Island of Sylt, Dec 3, 1865;
pupil of Stange and Gftnge in Kiel,
of Brahms and Mandyczewski in
Vienna; from 1895 director in Mar-
burg; c. songs and quartets for
women's voices.
Jentsch (y€ntsh), Max, b. Ziesar.
Saxony, Aug. 5, 1855; pianist and
teacher; pupil of Stem Cons.; toured
the Orient; 1884-89 in Constanti-
nople; later in Berlin; from 1894 in
Vienna; c. symphony, ** Elysium" for
chorus and orcn., 2 operas, etc.
JirAnek (y^-rft-n^), (i) Anton
ca. 171 2 — Dresden, Jan. 16, 1761;
studied at Prague; later ioined the
royal chapel at Warsaw. (2) Josef »
b. Ledec, Bohemia, March 24, 1855;
pianist; pupil of Smetana, and of the
organ scnool at Pnq^e; studied the
harp with Stanek, the violin with
Hrunaly, and was a harpist at first;
1877-91 piano teacher at Charkov;
thereafter prof, at Prague Cons.;
c. "Ballade^* and *' Scherzo faniasti-
que" for orch., piano pieces; author of
methods. His brother (3) Aloys*
b. Ledec, Sept. 3, 1858; pupil of
Prague Organ School, and in compo-
sition of Fibich; from 1881, piano
teacher at Charkov; c. opera "Dag-
mar " etc.
Johnson, (i) John,d. 1504-5; musi-
cian to Queen Elizabeth; c lute-
music; (2) William Lyman, b.
Boston; studied there, graduated
from Harvard, 1897; c. Persian sere-
nade for tenor, chorus and orch.; 5
preludes for orch., etc. (3) Wil-
liam Spencer, b. Athol, Mass..
Dec. 7, 1883; pupil of Perabo, ana
Goetschius, Boston; 1901-7 of Rein-
ecke and H. Riemann, Leipzig; from
1910, teacher at Quincy, 111.; c. songs.
886
THE MUSICAL GUIDE
Jomelli (y&-mflMS), Jeanne, b. Am-
sterdam, May i8, 1879; soprano;
pu^ of Meschaerti Stockhausen
and Massenet; d6but Amsterdam
Opera, 1897; toured in concert;
1905 (?), Met. Ch)., N. Y,; 1907-8
Manhattan Op., N. Y.
Josephson (y6-z£f-z0n), Jacob Axel,
Stockholm, March 27, 181 8 — ^Upsala,
March 29, 1880; Swedish cond. and
composer.
Juon (zhw6fi), Paul, b. Moscow,
March 8, 1872; violinist; pupfl of
Hrimaly, Taneiev and Arensky, later
of Bargiel in Berlin, where he won
the Mendelssohn Scholarship; 1896
tau^t theory at Baku; 1897 settled
in Berlin; from 1906 teadier of compo-
sition at the Royal High School for
music; c. 2 symph., the second prod,
with much interest at Meiningen,
1903, and in London, 1004 and 1905;
fantasie fororch., "WUchtmveise," on
Danish foUc-themes, orch. suite,
"Aus meinem Tagebuch"; chamber
music, "Satyrs and Nymphs t" and
other piano pieces.
Juul (yool), Asger, b. Copenhagen,
May 9, 1874; pupil of Hansen,
Rosenhoff and Rieooann in Leipzig;
from 1906 teacher and critic at Co-
penhagen; c. piano pieces and songs.
K
Kadletz, Andreas, b. Dobrisch,
Bohemia, Feb. 18, 1859; violinist;
concertmaster at Impenal Russian
Opera, St. Petersburg, and teacher;
pupil Prague and St. Petersburg
Cons.; c opera, ballets, and violin
pieces.
Kahl (kal), Oscar W., Thurmgia,
1862 — Baltimore, Dec. 29, 1910;
teacher in Peabody Cons., Baltimore.
Kajanus (kfi-j&'-noos), Robert, b.
Hekingfors, Dec. 2, 1856; Finnish
composer; pupil Leipzig Cons.:
returned to Helsingfors, founded
an orchestra school, and developed
the Phil, orch.; 1897 mus. director
of the University; c. 2 Finrndi rhap-
sodies, syn^h. poems 'Mtno" and
"KiiUervo"; orc£. suite *' Summer
Memories y** cantata, etc.
Kalafati (k&-Ul'-f&-t€), B., b. Eo-
patoria, Crimea, 1869; Russian caof
poser of songs and piano sonatas, etc
Kam'mel, Anton, Hanna, Bobemia,
1740 — London, before 1788; violinEt
and composer; pupil of Tartiiii; c
masses, violin duets, etc
Kaempfert (k&np'-fm). Max, b.
Berlin, Jan. 3, 1871; studied b
Paris and Munich; 1899 cond. at
Palm Garden, Frankfort-on-Main; c
opera, J rhapsodies for orch., etc
Kalin'nikov, Vassili Serseievicb,
Voina, Jan. 13, 1866 — Jalta, Crimea,
Jan. II, 1901; pupil of Ilpnski and
Blarambeig at Moscow; 1893 as-
sistant cond. at the Italian Ctoen
there; compelled to retire nora
pulmonary trouble and go south; c
2 symph., the first in G. minor, much
played; 2 symph. poems, 'TAc
Nymphs" and "Cedar and Palm'*;
music to Tolstoi's "Czar Boris,**
(Little Theatre, Moscow, 1899);
"RussalkOf" ballade with orch., can-
tata, "St. John of Damascus," etc
Kap'pey, Jacob Adam, Biogen,
1826 — Chatham (?) Dec. 6, 1907;
went to England 1848; 1857 buid-
master Ro^ Marines; c opera and
cantata. Author of a hstory at
wind instrumental bands, (1894).
Karg-Elert (kftrkh-a'-l€rt), Sisfrid,
b. Obemdorf, Nov. 21, 1879; p^ipfl
Leipzig Cons.; teacher and composer,
especially for the harmonium.
Karlovicz .(kari'-y6-vlch), Mieczy-
slav, Wisznievo, Lithuania, D«^ 11,
1876 y- (in an avalanche), Zakopane,
Gailicia, Feb. 10, 1909; cQmi)0ser;
studied in Warsaw and Beriin; c
symph., symphonic-trilogy " Three
Ancient Songs" (1907), "Lithuamian
Rhapsody" (1908), also published
Chopin letters and documents (War-
saw and Paris, 1005).
Kasachen'ko, Nicolai Ivanovich,
DICTIONARY OF MUSICIANS 887
b. Russia, May 3, 1858; cond.; pupil
St. Petersbuig Cons.; 1883 chorus
master at the Imperial Opera; cond.
*' Russian Concerts" in Paris, 1898,
c symph., 2 oriental suites, 3
operas, ** Prince Serebrianni*' (St.
Petersburg, 1892), and **Pan Soikiny'*
(do., 1902).
Kasanli, Nicolai IvanoWch, b.
Tiraspol, Dec. 17, 1869; Russian
composer; pupQ Odessa Music sdiool
and St. Petersburg Cons.; has cond.
Russian symph. concerts in Germany,
Bohemia, etc.; c symph., sinfonietta,
cantata ^^Russalka" (Munich, 1897),
and ^Leonare" (do.).
Kaach'in, Daniel NikiUch, Mos-
oo^y i773~i844; composer of Pdish
f<^ and patriotic songs; also three
Kaschinski (ki-shln'-sid), Viktor,
Wllna, Dec 30, 181 2-1870; pupH of
Eisner in Warsaw; cond. at St.
Petersburg; c operas.
Kash'perov, Vladiinir Nikitich,
Simbirsk, 1827 — Romanzevo, July
8, 1894; Russian composer; pupil
ci Voigt and Henselt; and comp.
an opera in 1850, then went to Berlin
to study with Dehn; thence with
Glinka to Italy, where he produced
various operas. "Mmia Tudor"
(MBan, 1859), **Rienzi" (Fk>rence,
1863), "Consudo," (Venice); 1866-72
be was singing teaidier at Moscow
Cons., and organized pubHc chorus-
classes; c also operas *'The Weather"
(St. Petersburg, 1867), and **Taras
Bulba" (Moscow, 1893).
Kat'zer, Karl August, Berge, near
Bautzoi, Dec 3, 1822 — May 19,
composer; 1904; composer of Wendina
801^ and dances.
Kaulich (kow'-Ukh), Josef, Fbris-
docf, near Vienna, Nov. 27, 1827-
19G0; composer of 7 masses, also
military music
Kaufi (kown), Hugo, b. Beriin,
March 21, 1863; pupu at Royal High
school under Grabau and Fr. Schulz;
alK> with K. and O. Raif, and Fr.
Kid; 1887 took up residence in MH-
waukee, Wis., as teacher and cond.:
1900 returned to Berlin; 191 2, elected
to Berlin Royal Academy; c symph.
**An Mein Vaierland," symph. prolog
"Marie Magdalene"; sympn. poems;
festival inarch '*The Star Spangled
Banner," chamber music with orch.,
"NormannenAbschied"; i-act opera
'*Der Pietist" or ''Oliver Brown," and
important songs and piano jneces.
Kelly, Thomas Alex., bixth Earl
of Erskine, Sq>t. i, 17^2 — Brus-
sels, Oct. 9, 1 781; pupil of Stamitz;
c. popidar overture '*The Maid of
the Mill" minuets, etc
Keussler (kobM£r), Qerhard von,
b. Schwanenburg, Livonia, July 6,
1874; pupa Leipzig Cons.; cond. 2
singing societies in Prague; c symph.
poems, etc.
Kiall'mark (i) Qeorge, Kings,
Lynn, Feb. 1781 — Islington, March
1835; violinist; and comp. His son
(2) Qeorge Frdk., Ishngton, 1804
— London, 1887, was a pianist.
Klefer (ke'-fCr), Heinrich, b. Nur-
embeig, Feb. 16, 1867; 'celtist; pupil
of Royal Cons., 1883 at Munich,
i884i Stuttgart, 1887-90, Frankfort-
on-Main with Cossmann; 1896;
soloist of Leipzig, Phil.; 18^ do. of
Berlin Phil.; 190P, teadier at Stem
Cons.; from 1902, co-founder of the
Munidi string quartet; tours widely.
Kienzl, Wm., his opera, " Kukrei-
gen" (Vienna Volksoper, Nov. 25,
191 1) has been a great sue. in Europe.
Kin'der, Ralph, b. Stalybridge, Lan-
cashire, Jan. 27, 1876; organist in
Bristol R. I.; 1888-1897 studied in
London with Dr. Pearce, Dr. Turpin,
and E. H. Lemare; from 1899 in Phil-
adelphia, Holy Trinity; toured U. S.;
c church music, etc
Kirbye (k«r'-bl), Qeorge, d. Bury St.
Edmunds, Oct. 1634; popular English
composer of madngals 1 592-1634.
Kit'ziger, Frederick E., Saxony.
1850 — New Orieans, Feb. 3, 1903;
teacher.
888
THE MUSICAL GUIDE
Kleefeld (kl&'-fa), Dr. Wilhelm,
b. Mayence, April 2, 1868; author and
comp.; pupil of Radecke, HSrtd and
Spitta; 1891 cond. in Mayence, etc.;
1897 Ph. D., iSqS-'oi teacher at the
Klmdworth-Scharwenka Cons.; c.
opera "Anarella" (Kdnigsberg, 1896)
string suite, etc.
Klenov'ski, Nicholas Semeno-
vich, b. Odessa, 1857; pupil Mos-
cow Cons.; leader of private concerts
there 1883-93; when he became cond.
at the Imperial Theatre, then a
teacher at Tiflis till 1902, then as-
sistant cond. of the Imperial Chapel
at St. Petersburg; c. ballets, "Has-
heesh" Moscow, 1885; "Salanga"
(St. Petersburg, 1900); orch. suite
"Faia Morgana^" cantatas, etc
Kli^ka (klltch'-k&), Josef, b. Klat-
tau, Bohemia, Dec.15, 1855; organist;
pupil Prague Cons, and later Prof,
there; c. an opera, organ music, etc.
Klose (klO'-z€), Friedrich, b. Karls-
ruhe, Nov. 29, 1862 ; composer ;
pupil of Lachner, Ruthardt and
Bruckner; 1907 teacher of comp. at
the Akademie der Tonkunst, Munich;
c. dramatic symph. "IlsebiU,'' or "The
Fisher and his Wife" (Karlsruhe,
1903); mass with orch.; symph. poem
in three parts " Das Leben ein Traum "
with organ and women's chorus,
(Karlsruhe, 1899*), etc.
Knap'ton, Philip, York, 1788-1833;
assistant cond. of York Festivsds
and comp.
Kntipfer (k'nlp'-f&r), Sebastian,
Asdi, Saxony, 1633 -r- Leipzig, 1676;
editor and comp.
Kochetov (ko^-diM6f), Nicholas
Razoumnilcovich, b. Oranien-
baum, July 8, 1864; mainly self-
taught; critic and comp. of a symph.
(1895) an opera and piano pieces.
K»ckert (k&'-£rt), Adolph, b.
Magdeburg, Oct. 27, 1828; violinist;
duihI Prague Cons.; 1857-1881 in
business, then returned to composi-
tion; c. oratorios, etc.
Koenen, (koo'-n£n), Tilly, b. Java,
of Dutch parents, her father a cavaby
general and Covemor of the Province;
pupil of the Amsterdam Coots, and
with Comelie van Zanten; 1899,
sang in London, Berlin, etc; 1909 in
the U. S.
Koess!er,(kesM&-) Hans,b. Waldeck,
Jan. 1, 1853; organist; pupil Munich
Cons. 1877 teacher at Dresden Coos^,
and. cond. of the Liedertafd; 1882
teacher at Bud2^)est;.c Psahn for 16
voices, winning a prize at Vienna; a
symph., an opera "Der Munsenjran^
(Strasburg, 1902), etc.
Kolachev'ski, Michail Nicolaiev-
ich, b. Oct 2, 185 1 ; pupil Leip-
zig Cons. ; c. " Uhranian symixL
and church music.
Kolakov'sid, Alexei Antonovich,
b. Podolia, 1856; violinist; piqnl St.
Petersburg Cons., winning gold
medal ; ajod government funds for
foreign study ; teacher at Moscow
Cons., and solo violinist at the Im-
perial Theatre: 1897 teacher in Kiev.
Kolb (k6lp) Karl man n, Kostlam,
Bavaria, 1703 — ^Munich, 1765; Bene-
dictine monk; organist at the Al^ey
of Aschbach, later tutor in Munich;
c. church music.
KOler (k&'l£r), David, Zwickau,
Saxony (2) — July, 1565; composer;
1563 cond. at Gustrov in Mecklen-
burg; then cantor at Zwickau till las
early death; c. important work ^'Tem
Psalms" (Leipzig, 1554).
Komorovski (kdm-d-r6f'-ski), Ignaz
Marzel, Warsaw, 1824 — Oct, 14,
1858; composer; Polish song composor.
KOnigsperger (k&'-nlkhs-p&lLh-er),
Marian us, Roding, Bavana, Dec. 4,
1708 — Ratisbon, Oct. 9, 1769. Bene-
dictine monk who devoted the proceeds
of his very successful works to the
Abbey; c. church music, also operas.
Konius, vide conus.
K^qnemann (kSn'-n^mSn), At*
thur, b. Baden-Baden, Mardi 12,
185 1 ; composer; pupil of his father (a
cond. of the Kur-orchestra), Kras-
selts and Deeckes; theatrenxiiid. in
DICTIONARY OF MUSICIANS 889
vaiious cities; fioin 1887 in MShrisch-
Ostiau as director of a oonservatory
and cond. c. the Luitpold-prize opera
^^DertoUe Eberstdn" (Munich, 1898);
symph. suite *^Indien" etc.
Koptjajev (kdpt'-y^yeQ. Alexan-
der Petrovlcliv, b. St. Petersburg,
Oct. 12, 1868 ; author and com-
poser 0^ "OnerUal Dances" and
^EUgie," for orch., etc
Korestchenko (k6r-€sht-ch&i'-kd),
Arseni Nicholalevich, b. Moscow,
Dec. 18, 1870; pupil of the Cons.,
winning a gold medal in 1891; later
teacher there and in the School of
the Synod ; c. i-act opera " Bel-
shazzar's Feast** (Moscow, 1892), 2-act
"The Angel of Death*' '^The Ice
Palaa^* (Moscow 1892); two "5ym-
fhonic Pictures " **Symphonie Lyr^
tque** (op. 23), chamber music, etc.
Kor'ganov, Qennarl Ossipovich*
Kwarelia, May la, 1858 — Ros-
tov, April 12, 1890; pianist and
composer; pupU of Leipzig and St.
Fetersbui^g Cons.; c piano pieces, etc
Korn'gold, Erich Wolfgang, b.
Vienna, May 29, 1897; remarkable
boy composer and pianist; at a con-
cert in Beriin, Mardi 191 1, his trio in
D Major, op. I., composed at the age
of 13, was played; also portions of two
piano sonatas, and a series of "Fairy
Fictures **; he c. a ballet given at the
Royal Opera and elsewhere; trio
(Ros6 (Quartet, Berlin); serenade and
pantomime, *^The Snaumum" (Lon-
don. 191 2).
Kotsnetov, vide kochetov.
Kovai^ovic (ko-v&r'-zhd-vlts)^ Karl,
b. Prague, Dec. 9, 1862; pupil of the
Cons., and of Fibich; from 1899
oond. at the Bohemian Landestheater
in Prague; where many of his operas
have been given from 1884 to Fro-
quiia" (1902); c ballet ''Hasheesh,*'
piano concerto, etc.
Kozlovski (k6s-ry6f-ski), Joseph
Antonovich, Warsaw, 1757 — St.
Petersburg, Feb. 11, 183 1; teacher
in the hcMuusehold of Prince Oginski;
went to the Turkish war, attracting
the notice of Prince Potemkin, who
took him to St. Petersburg, where he
became director of the court balls,
and c a war song which was for a
k)ng time the Ruasian national
anuem; c also requiem to the Poli^
King Stanislas, and the Czar Alex-
ander I, etc
Kramm, Qeorg* b. Kassd, Dec. 21,
1856; vidinist of court orch. at Kas-
sd, hom 1880 in Dtlsseldorf, where
his opera ''Leonore** was prod. 1903.
Kraus (krows), (i) Joseph Marti n*
Miltenbeig, 1756 — Stockholm^ 1792;
pupil of Abt Vo^er; 1778 director
and cond. at Stockholm opera;
c.(^>eras, synmhs., etc. (2) Ernst,
b. Erlangen, Bavaria, June 8. 1863;
tenor; pu^ of (jalliera ana Frau
Schimann-Regan; 1893 s^^ng at
Mannheim; from x8p6, Berlm Royal
Opera; (3) Felix von, (not
Krauss as given), b. Vienna, Oct.
t, 1)870; baas; puful oi Stockhausen
for two months, but largely self-
taught; sang Hag^ and Gumemanz
at Bayreuth; from 1908 teacher at
Royal Akad. der Tonkimst, Mtmich.
Hb wife (4) Adrienne* (Os-
borne) b. Buffalo, N. Y., 1837;
pupil of Marie G6tze.
Kreider (kn'-dSr), Noble Wick-
ham, b. (Goshen, Ind.; composer;
pupil from 15th year of Clarence
Forsyth, Indianapdis; visited Europe:
lives at Cxoshen; c orch. works, and
important piano pieces, ballads, con-
sert studies, etc.
Krem'berg, Jakob, Warsaw, ca. 1650
— London (?) after 1718; composer;
court poet and comp. at Halle, Stock-
holm, Hamburg, Warsaw and London;
c. songs of unusual melodiousness.
Kreuz (kroits), Emll, b. Elberfeld,
May 2$, 1867; viola player; pupil of
Japha at Cologne; 1883, won an open
scholarship at the R. A. M., London;
studied there till 1888, when he made
d6but as viola-soloist in Berlioz'
"Harold in Italy**; member of the
890
THE MUSICAL GUIDE
Queen's Band 1900-3, then assistant
at Covent Garden; c viola concerto,
prize quintet, etc
Kroe^ert E. R. add that his orch.
suite ''Lalia Rookk'' has been played
by the Thomas, Herbert, Damroech
and other orch's. His comps., in-
clude a piano sonata op. 3^, omcert
studies lor the piano, vidin and
piano sonata; and many other piano
I^eces. songs, etc
Krogulski (kr6-goor-skf), Joseph,
Tamov, 1815 — Warsaw, Jan. 9,
1842; composer; pupU of Eisner;
c. 10 masses, an oratorio, etc
Krohn (kr6n), Ilmari Henrik
Rheinhold, b. Helsingfors, Nov. 8.
1867; Finnish author and comp. of
sacred songs, piano sonatas, etc
Kro/er, Theodor* b. Munich,. Sq>t.
9, 1873; author, critic and comp*
studied theology, then music at the
Akadamie der Tonkunst; 1897, Ph. D.
Munich University; c 2 symphonies
wi^ chorus and soH, chamber music,
etc
Kruse (kcoo'-zlO) Oeorg Richard »
b. Gmffenbeig, Jan. 16, 1856;
studied in Leipzig; opera cond. in
Germany and America; 1801-4 critic
of the Herold, Milwaukee; then
conducted tour of '^HUnsel und Gret"
d** till 1896, when he was amd. in
Switzerland; 1901 settled in Berlin as
biograi^ier; c indd. mus. to **As
You Like It," etc. (2) Johann
Secundus, add that from 1897 he
cond. Sunday and Monday concerts
in London.
Kunwald (koon'-v&it), Ernst, b.
Vienna, April 14, 1868; studied law
there, thai music at Leipzig G»is.;
became correpetitor at the dty
theatre; 1895, cond. operetta at
Rostock, 1901-2 at Teatro Real,
Madrid,where he gave Wagner's Ring
cycle complete and was decorated by
the Queen of Spain; 1902, cond. at
opera Frankfort. 1906 cond. at Nur-
emberg dty theatre; conducting two
concerts of the New York Phil, as
guest, Feb.1906; 1907 director of the
Berlin Phil, orch.; 191 2 engaged to
conduct the Cincinnati Svn^i. OrcL
Kupsch (koopsh), Karl Qusta?,
Berlin (?) — Naumbeig, July 30,
1846; cond. and teacher in T<riprifc
Dresden: 1838-45 Rotterdam, <fir.
Singakademie; then director cl theatre
in Naumber]^. Robert Schumann
was his pupil m conqxxitioiL.
Labe^ 0&-beO> Marcel, b. DcpL
Besmet, France, 1875: studied law ia
Paris, then with dlmlv at the SckeU
Cantorum; c symph. (1903), fantaar
for orch., sonatas, etc.
Laborde (U'-bArd) (ri^Uy Bediez),
Rosine, Paris, May 30, 1824—
Ch^-sur-Marne, Sept. i, igoTi
soprano; sang as Rosalie ViOemme
till 1843 when she married the teoo.
Laborde (rightly Dur); papH Paris
Cons.; d^ut Op. Com., i&io; 1848-9.
she and her husband sang in Amoica;
1850-7, Paris Opera; from 1866
teacher.
Ladmirault» (Ud-mS-rO), Panl
j^mile, b. Nantes, Dec 8, 1877;
began to study at the Cons, piano,
violin, organ, and harmony at 7, and
to compose at 8; at 15 his 3-act open
Giiles ae Rett, was given at Nantes
(1893); the next ^rear he refused to
allow its rq)etition; he took first
harmony prize at the Nantes Coos,
and 1895 entered Paris Cons, under
Taudou, winning first harmony prin
1899. After a year of military ser-
vice, he entered the dasses of Fauii6
and G^dalge; failing three times to
win the Prix de Rome, he left the
Cons. His comps., indude Le Choetir
des dmes de la ForH (1903), Stdk
Bretonne for orch. (1904), a Tcmhtm
Ergo (1907) crowned by the Soci6t6
des Compositeurs de Musique; pre-
lude symphonique, BroUUomde aa
Matin (1909); this is a portion of a
dramatic wxMrk Myrdhin not yrt
DICTIONARY OF MUSICIANS 891
produced; a ^mphony in c. major,
1 910; songs, piano pieces, and pieces
for militaiy band.
Laduchin (l^'-oo-chen), Nikolai
Mikailovlch, b. St. Petersburg,
Oct. 3, i860; violinist and [oanist;
pupfl of Taneiev at Moscow Cons.;
c symphonic variations; 100 chil-
dren's song^, *^LUitrgy of Jokann
SlaSoust*' for chorus, etc
La Forge, Frank, d. Rockford, HI.,
Oct. 22, 1877; pimil of his sister-
in-law, Mrs. Ruth La Forge, then of
Harrison M. )^d of Chicago, 1900
-04, Leschetizky, Vienna, and Josef
Labor (theory); since accompanist to
Oadsiri and Sembrich on their tours;
c piano pieces and many successful
songs.
Lahele (or Helle) (dtt 1& 3), George
de, Antwerp after 1550 — Madrid,
1589; chorister in Royal Chapel,
Madrid; 1576 won a sQver lute
and a sOver harp in a compe-
tition in Normandy in which in 1575
Orlando di Lasso had won a prize;
1578 cathedral choirmasteratToumai;
from 1580 dir. Royal Chapel, Ma-
drid; c volume of 8 remarkable
masses {Odo Missae, Antwerp, 1578)
on themes by other composers.
LaUnde G&-UIM), D68ir6, Paris,
1867 — London, Nov. 8, 1904; solo-
ob^st of the Queen's Hall and
other orchestras.
Lalevicz (ln-la'-vkh), Qeorg von,
b. St. Petersburg, Aug. 21, 1876;
piano teacher; pupil o! the Cons.;
ipoo, won the Rubinstein competi-
txm in Vienna; 1902-5 i»of. in
Odessa (}ons., after that at Cracow.
Lambrino (Ubn-brfi'-na), T£16ma-
que, b. Odessa, Oct. 27, 1878
(of (jreek parents); pianist; studied
there at the Royal Akad. der Ton-
kunst, Munich, and with Teresa
Carrefk); from 1900 lived in Leipzig,
from 1908 teacher at the Cons.
Lamoureux, Chas., the correct date
of his death is Dec. 21, 1899.
Lamper'ti, Giovanni Battiste,
d. Berlin, March 18, 1910. Famous
singing master; lived in Dresden and
wrote *'The Teckmc of Bd CarOOy"
1905-
Lamping O^im'-plok), W., b. Lingen,
Hanover, 1861; pupil of Kullak's
Academy; from 1886, director of the
'Mfion" and org. at Beilefeld; edited
Bach wo]i;s; 1907 Royal Prof.
Lancia (iM'-cha), Florence, (Lad-
braice Clarke), 1840 — Tunbridge
Wells, May 24, 1905; operatic and
concert vooilist.
Lan'di, Camilla, b. Geneva 1866:
mezzo-soprano, daughter and pupil
of singers; d^ut 1884^ Florence;
1886-92 in Paris, then in London
where her mother taught; toured
widely and returned to Geneva.
Landormy (l&n - d^ - me), Paul
Charles Ren£, b. Issy^ near Paris,
Jan. ^, 1869; stiidied singing with
Sbrigha and Plan^on; published
philosophical works; 1992 took up
composition and musical biography.
Lange (lang'-€), (Langius,) (i)
Hieronymus Gregor, Havel-
berg, Brandenburg — Breslau, 1587;
in 1574 cantor at Frankfort-am-
Oder; paralysis sent him to the
Breslau Alms House, Isut did not
prevent his composition of Latin
motets and songs. (2) Hans, b.
Constantinople, Feb. 14, 1884; pupil
there of Brassin and Wondra; then of
Prague Cons.; d£but Berlin, 1003.
Lange-MUller O^ng' - € - mU - Ifr),
Peter Erasmus, b. Frederiksberg,
Dec. I, 1850; Danish composer;
puml ci CapeDhsLfsea Cons.; c. operas
^'Tove" (to his own libretto 1878);
"The Spanish Students^*' (1883);
"Frau Jemna'' (1891) and " Vikinge'
bloiP* (C>>penhagen and Stockholm,
1900); symph. "Autumn^*; indd.
music to "Fulvia** and "Es war ein-
mal^'; orch. suite "Alhambra** and
songs of decidedly national feeling.
Langey Gang'-l), Otto, b. Leich-
holz, Oct. 20, 1851; 'celUst; pupil of
Specht, Cabisius, etc.; 1877 went to
892
THE MUSICAL GUIDE
London, ikying in the orcfaestias of
HalU and Richter; 1889, went to New
York; published many methods.
LanzettI (Uln-tsa;'-te), Salvatore,
Naples, ca. 1710 — Turin, ca. 1780;
one of the earliest 'cello virtuosi;
c. 'cello sonatas and a method.
Laroche (Ul^dsh), Hermann, St.
Petersburg, May 25, 1845 — Oct. 18,
1904; critic and oomp.; pujHl of the
0)ns. and of Tduukovski, whose
Mend and biographer he was; prof,
at Moscow, later at St. Petersburg
Cons.;c overture, etc
LassOy Orlando di, Haberi's daim
that he was bom in 1532, seems
to be accepted as conclusive, in ^te of
Vinchant s conten^xxary statement
that 1520 was the date, and Quichd-
berg's contemporary statement that
1530 was the oate. His fBmSfy seems
to have used the name La^us for
some time before him; he signed his
own nam* variously.
Las'son, (i) Bredo, b. Feb. 24,
1838; Norwegian composer of piano
fieces, songs, etc. ^s brotho: (2)
>er, April 18, 1859 — June 6, 1883.
Lat'zelsberger» Josef, b. Allharts-
berg, Aiistria, Jan. 11, 1849; pupil
of Vienna *Cons. ; choirmaster and
comp. of church mu^c.
Lavignac O^-ven-ySk) (Alex. Jean),
Albert, b. Paris, Jan. 21, 1846;
pupil of the Cons., and from 1882
prof, there; author of many im-
portant works on Warner, etc.
Lazzarl G^-z&'-rS)> Silvio, Italian
composer of operas "£a Lipreuse^*
(Op. Com., Pans, 1012), **Mo€lems/'
etc.; c. lyric drama Armor" (prelude
at Lamoureux concerts, 1895 — prod,
at opera Lyons 1903, revived 191 2);
c. also symphonic pieces, trio, etc.
Lee, Cordelia, b. America of Nor-
wegian parents; pupil of Auer in St.
Petersburg; played m Germany 1910,
and with the Bliithner Orch., Berlin,
1012.
Len&r G^hftr'), Franz, b. Komom,
Hungary, April 30, 1870; composer of
the world sweeping operetta ^Dk
LusOge Wiiwe" ()^enna, 1905, Id
New York and London as '*Tkf
Merry Widow"); lives m Vieniia
as oond. of the TonkilnstAeis orch.;
c also operas '^KukuskOy" I^eipang,
1896, revised as "Taljana,^ BilkBn,
1005; operettas ^Wiener Pranem"
(Vienna, 1902; revised as **Der
SckHssd turn Paradiese," T^Tpajg,
1906); ""MUisUat" (Vienna. 1907);
^EdOweiss und Rosemslock" (1907);
*^Pder and Paul reism ins ScUat-
affeniand" (Vienna, 1906); ^Der
Mann mit den drei Prauen" (1908).
Lehmann-Osten, Q&'-mSn-dB-tte)
Paul, b. Dresden, April 16, 186$;
pupil of Spindler, Scholtz and Sdmlz-
Beuthen; from 1892 dir. Khriirfa
Cons, at Dresden; c. piano pieces, etc
Leichner (llkh'-n£r), Ludwi^* XS36
— Berlin, April 1912 ; singer in
Wagnerian r^les at Stuttgart, etc;
left the stage, became a manufac-
turer, and accumulated a great
fortune.
Leichtentritt (Ukh'-ten-trlt), Huso,
b. Pfleschen, Posen, Jan. i, 1874;
at 15 taken to Anienca, where be *
studied with J. K. Pairie, Boston,
then at the Royal Hochschule, Ber-
lin; 1901, Ph JD.; wrote theoretical and
histoncal worics and c rhamhrr
music and songs.
Le Jeune Qii-zQhn), George F.,
d. New York, April 11, 1904, age 62.
Organist and comp. of church music
Lekeu, Quillaume. The oonect
date of his birth is Jan. 20, 1870, and
of his death Jan. 21 , 1894. His death
at 24 left many unfinished works, but
enough were compete to assure his
fame, among them 3 itudes sym-
phomques (1889, 1890); adagio for
quatuor and orch. (1891), epiikalamc,
for string quintet, organ and 3 trom-
bones; introductiim and ads^io for
orch. with tuba solo; fantaisie sym-
pkonique stir deux airs papulairts
angivinSf 1892; 2 lyric comedies,
Barberine AndronUde (2nd Prix de
*■*
DICTIONARY OF MUSICIANS 893
Rome at Brussek, 1891); chamber
music, including sonata for piano
and 'cello, finished by V. d'Indy, 19 10,
and a quatuor finished by the same;
sonata for piano and violin (ded. to
and played by Ysaye), etc.
Lremaire Gtt-inSr)» Jean Eu^^ne
Qastoti, b. ChAteau d'Amblamvil-
liers (Seine-et-Oise) Sept. 9, 1854;
pupO Niedermeyer School; critic; c.
symph. poem ^Oeffick," orch. works,
ballets, songs, etc.
Lemare (le-m&rO, Edwin Henry,
b. Ventnor, Isle of Wight, Sq)t. 9,
1865; organist; pupil R. A. M. Lon-
don, with Goss Scholarship, then
made an associate, Ikter a fellow;
1884 fellow Royal College of Organ-
ists; occupied various church posi-
tions, and gave redtab; 1902-04,
organist at Qimegie Hall, Pittsburg,
Pa.; 1905, again in London; c. symph.,
a pastorale and much organ music.
Lern'mens-Shei^rington, Helen,
Preston, Oct. 4, 1834 — Brusseb,
May 9, 1906; operatic smger 1850-
1891: prof. Brusseb Cons., later
R. A. M., London and R. C. M.,
Manchester.
Leoncavallo, Ruggiero, add that
his opera **Zaza** was prod. Milan,
xpoo with some success and was
played in various European capi-
tab; the libretto of "Roland" was
by Leoncavallo, not by the Kaiser,
thotigh he commissioned the work
^hicn was not a success when prod,
at the Royal Opera Berlin, 1904.
L. wrote the libretto for "Mario
Wetter" by the Portuguese composer
Machado. Hb opera "Maja" (Ber-
lin Rojral Op., 191 1) was a failure.
"Regnetta delta Rosa" (Florence July
15,1912); "The Gypsies" (London,
Sept. 16, 191 2); "La Foresta Marmo-
ra" not prod.
Leonl'nus, Magister,, 12th Cen-
tury Mus. Director in Paris, at the
church of the B. M. Virginb; before
Notre Dame was built; one of the
earliest masters of the Paris school.
Leono'va, Daria Mlkhailovna, in
the Russian Govt, of Twer, 1825 —
St. Petersburg, Feb. 9, 1896; alto;
ddbut at 18 in Glinka's "Life for the
Czar"; sang for many years at the
National Opera, and toured around
the world.
Leopo'lita (or Lvovczyk) 0V6f'-
chek), Martin, Lemburg, 1540 —
Cracon, 1589; from 1560 Polish court
composer; c. masses, chorales, etc.
Ler'ner, Tina, b. Russia 1891 (?);
piamst; toured Europe; from 1908,
toured America; played with London
Phfl. orch. three successive seasons;
191 1, with Moscow Phil.
Leva (d€ U'-vtt), Enrico de, b.
Naples, Jan. 18, 1867; singing teacher
pupil of Puzone and Ariengo; c. opera
"La CamargOf" (Naples, 1898); sere-
nade "A Capomonte" and popular
Neapolitan canzonets.
Levad£ (ia-v&-d&0» Charles Qas-
ton, b. Paris, Jan. 3, 1869; pupil of
Massenet at the Cons.; c. opera
"Les Hiritiques" (B^ers, 1905),
operetta " U Amour d'Hiliodora "
(Paris, 1903), pantomime, suites, etc.
Lewalter (l^v&l'-t€r), Johann, b.
Cassel, Tan. 24, 1862; pupil Leipzig,
Cons.; from i8iiB6 music teacher and
essayist; c. fugues, son^s, etc.
Lewinger (la'-vlng-6r). Max, Sulkov,
near Cracow, March 17^ 1870 — Dres-
den, Aug. 31, 1908 ; violinist ; pupil
of Cracow and Lembeig Cons.; and
with Griins Scholarship, at the
Vienna Cons.; from 1892 toured;
teacher at Bucharest Cons.; thence
to Hebingfors as concertmaster;
1897, do. at the Gewandhaus Orch.,
Leipzig; 1898 Royal Court concert
master in Dresden.
L'H^ritier 0&-rIt-y&), (i) Jean,
iSourished 1519-1588; French pupil
of Deprds; c. masses and songs. (2)
Antoine, court musician to Charles
V. at Toledo, 15 20-1 531; (3) Isaac,
probably the same as Jean.
Lti^vinne (l&'-vSn), Joseph, b.
Moscow, Dec. 3, 1874; pianbt; pupil
894
THE MUSICAL GUIDE
ci fait ftther (first oomet aolotst in
Moscow Royal Orch.), and ol Chry-
•andcr; dflmt at 8; pupil of SafoDoff
at the Cods.; 1885, wmmiig highest
boooan; 1895 ^"^^ Rnhiitslrip prize:
1902-6 teadier at the Cons., and
toured Europe; 1905, the VS.; again,
1913.
UMdci! (or Ljadow), add that cor-
rect prommdatioa is Tyi'-dAf.**
Hk birtbdate is Mav 12th, new style,
as given cUd stjrle; add that in 1908 he
resigned on account of the expulsion
of Rimsky-Korsakov (a.v.) and was
later reinstated in the Cons.; c.
scherzo for orch. ** The Itm Mawrka "
scene for orch. polonaise in memory
of Pushkin; ''Baba^Yaga** tone-
picture (1905, Boston Syn^^, 1910),
8 folk-songs for orch.; suite ^*To
Matierlinck" for ofcIl, choruses with
orch.; '[The Music Box" and other
piano pieces and songs.
Libon Ge'-bdn), Felipe, Cadiz,
Aug. 17, 1775 — Paris, Feb. 5, 1838;
violinist and comp. for violin.
Lichey a^kh'-I), Rheinhold, b. Neu-
mark, near Breshiu, March 26, 1879:
organist; pupil of Baumert aiMj
Rudnickj later at the Royal ICgh
School m Beriin; from 1907 org.
Kdnigsberg; c. organ pieces, choruses,
etc.
LIck'l, (i) Johann Qeorg, Kom-
nenburg, April 11, 1769 — May 12,
1843; ^urcn dir.; c. Singspielen for
Schikaneder's theatre. I&s sons (2)
Karl Qeorg, b. Vienna, Oct. 28,
1801^ perfonner on the Physhar-
momca and composer for it; (3)
Agidius Fd. K., b. Vienna, Sept. i,
1803; guitarrist; c. oratorio.
Lidon (IS'-thdn), Jos^, Bejar, Salam-
anca, 1752 — Madrid, Feb. 11, 1827;
organist; 1808. royal chapel organist
and royal cona. at Madrid; c. operas,
church music, etc
Lie (Kyft), Sigurd, May 23, 1871 —
Sq>t. 30, 1904; important Norwegian
conductor and composer; pupil Le^ig
Cons.; 1894 cond. in B^gen, studied
again in Bcifin;cood. of vocal
S.^KS^^<ich. suae. -.
t^, cantatas, chocals and sc
Ueblinf, Leonard, add that he
was b. Feb. 7, 1874. He writes ''I
died in 1899; that is when I hrrame a
critic" Smoe that time he has writ-
ten the cohnnn of the N.Y. Mmacal
Cornier focmerly written by Junes
Huneker; c sonata, barcaxrAe, ro-
manza and valse p^te for piano,
trio for piano, viohn, 'ceUo, etc
Lier (vin l£r), Jacques Van, b. The
Hague, April 24,1875; pupQ of Hartog
Giese and Eberie; 1891 first 'ceOfet
Amsterdam Palaice Orch.; 1897
Berlin PhiL Ordi.; teacher at Kfind-
worth-Scharwenka Cons.; 'ceOist of
the Dutdi Trio and the Dutch String
Quartet; author of methods.
Liguori Qe-goo-d'-re), Alfonso di,
1696 — 1787; Neapolitan comp.
Lim'bert, Frank L., b. New York,
Nov. 15, 1866; at 8 taken to Ger-
many; pupH of Hodi Cons, and of
Rhembeiser; 1894 PhJ). Berlin;
1901 cond. of the DOsseldorf Singing
Society, and teacher at the Cons.
1906, at Hanau; c choral wodcs with
OTch., etc
Lind'egren, Johan, Ullared, Sweden,
Jan. 7, 1842 — Stockhc^m, June 8,
1908J teacher of theory and contra-
puntist; ixQssn. 1884 cantor at the
Stockholm Storit:yrka; c and edited
church music
Lln'demann, (i) Ole Andreas,
Surandalen, Norway, 1769 — Dron-
theim, 1859; organist; teadier and
oomp. Hu sons (2) Fr. Christian,
1804 — Drontheim 1867, oiganist, (3)
Jacob Andreas, 1806 — Sognepraest
1846, oiganist at Christiania; (4)
Matthias, 181 2— Christiania, May
23, 1887; collector of Norwegian folk-
music; c songs; (5) Just, b. 1822;
from i858cathdTal ocg. at Drontheim.
Lissenko (or Lysenko), Nikolai
ViUlievich, b. Grinjki, Mardi 22,
1843; popular Little Russian oomp.;
DICTIONARY OF MUSICIANS 895
framO of Panochiny, Dimitriev and
Vikzek;then of Leipzig Cons.; 1868,
teacher at Kiev; c. 6 operas; children's
opera, and popular songs.
LjAdow, vide uadoff.
Lo'der, Kate Fanny (Lady
Thompson) Bath, Aug. 21, 1886 —
LiondoD, Aug. 30, 1904; pianist, cousin
of E. J. Loder (q. v.); pujHl of the R.
A. M., London, winning the King's
scholarship, 1839 and 1841; from 1844
Prof, of harmony there; played with
great success at Phil, concerts and
elsewhere; 1851 married the siurgeon
Henry Thompson, afterward knight-
ed; c. an opera, overture, violin
sonata, etc.
LoefHer, C. M. T., add that he was
bom Jan. 30, 1861 ; resigned from the
Boston Symph. Orch., 1903, to give his
time entirely to composition; c also
fantastic concerto for 'cello and
orch. (1894); divertimento for violin
and orch. (1897); his symph. poem
for 2 viole d'amore La Mort des Tin-
tagiles was prod, by the Boston
Symph. 1897; he revised it for one
viola d'amore and it was prod. 1901,
with the composer as the soloist; his
Divertissement Espagnol lor saxo-
phone, and orch. was prod. 1901; his 2
symph. poems. "Avant que tu ne fen
cnUes^^ (after Verlaine's "La bonne
chanson,'') and " VUlaneUe du diabW'
(after Rollinat) were prod. 1902; his
"Pagan Poem" for orch. piano, 3
trumpets and Engl, horn 1907; c. also
choral works and important songs.
L5bmann, (lap'-m^), Hugo, b.
Schirgiswalde, Dec. 19, 1864; Catho-
Hc music teacher; organist at Trinity
Church, Leipzig; c. songs.
LShlein (la-lin), Qeorg Simon,
Neustadt, 1727 — Danzig, 1782.
pianist and teacher;
Lo'makin, Qabriel Joakimovich,
St. Petersburg April 6, 181 2 — Gats-
china, May 21, 1885; teacher in
St. Petersburg; where he founded the
Free School of Music, with Balak-
irev; c. 10 " Cherubinische" songs, etc.
Longy Q6n<zhe), Qustave Georges
Lipoid, b. Abbeville, Aug. 29,
1868, pupil Paris Cons, taking second
oboe prize 1885, first prize 1886;
obobt with Lamoureux and at
Op. Com.; from 1898 first oboist
Boston Symph., founding 1900 the
Longy CluD, (flute, oboe, clarinet,
horn, bassoon, piano), and giving im-
portant concerts.
Loquin (l6-k&fi), Anatole, b. Orleans,
Feb. 22, 1834; composer and theorist
at Bordeaux.
Loren'te, Andres, Anchuetos, April
15, 1624 — Alcala, Dec. 22, 1703;
Spanish organist and writer.
Lorraine, (16r-r£nO, Alys, American
soprano, gave recital in London;
coached by Massenet; d6but. The
Hague as " Marguerite," engaged for
Paris Op^ra; d^ut there 191 2; has
sung also at Monte Carlo and Marien-
bad, 1909.
Lossius, Lucas, Vacha, Hesse-
Cassel, Oct. 18, 1508; — Ltinebeig
1582; rector, theorist and com-
piler.
Louis (loo'-g), Rudolf, b. Schwet-
zingen, Jan. 30, 1870; pupil at Geneva
and Vienna, where he was made
Ph.D., studied conducting with
Mottl; theatrc-cond. at Landshut and
Liibeck; c. symph. fantasie "Proteus**
(Basel, 1903).
Loewengard (laV£n-gfirt), Max Ju-
lius, b. Frankfort-on-Main, Oct. 2,
i860; writer and composer; pupil of
Raff, then teacher at Wiesbaden
Cons.; 1904 critic in Hamburg and
1908 teacher at the Cons.; auUior of
text books in theory; c. comic opera
"Die !4 Nothelfer,"
L5wenstern (la -v&i-shtfim) (or Leu-
enstern or Leonastro), Mat-
thaeus Apelles von, Neustadt,
1594 — Bemstadt, 1648; poet and
composer; son of a saddler named
Ldwe; became a privy councillor
and was ennobled by Ferdinand H,
taking the name of von Loewcn-
stem; c words and music of "Friih-
896
THE MUSICAL GUIDE
lingS'Morgen" (30 sacred songs),
oratorio "Judith" (1646), etc.
Lowe (Id), Thomas, English, popu-
lar tenor; d^ut, 1740, at Drury
Lane; d. London, March i, 1783.
Lucchesi Qook-k&'-z€),Andrea, Mot-
ta, May 28, 1741 — Italy, ca. 1800;
organist and cond.; 1771 theatre dir.
of an Italian troupe in Bonn; 1774-^
royal cond. there; c. symphonies,
etc.
Lucia (d&>loo-che'4l), Fernando de,
b. Naples, about i860; dramatic
tenor; said to have been a trombone-
player, largely self-taught; d^ut
Li^n; 1887 London Opera at Drur^
Lane, with little success, but on his
reappearance, 1893, at Covent Gar-
den, as the first to sing "/ Pagliaui"
in London, he made a sensation with
his fervor; later became a favourite at
the Met. Op., New Yorit, rather as
an actor than a singer; 1905, in Lon-
don again.
Ludwig, (i) Aug^ust, b. Waldheim,
Saxony, Jan 15, 1865; critic and comp.
pupil of Cologne and Mimich Cons.;
attracted attention by risking the
completion of Schubert's Unfinished
symph., with a "Philosophic scherzo, "
and a "March of PaU"; c. also an
overture "i4di4j<ffl," etc. (2) Joseph
b. Bonn, April 6, 1844; violinist;
pupil Cologpue Cons., and of Joachim:
from 1870 in London as teacher ana
naturalized subject; plays in a quar-
tet; c. 2 symph., etc., IBs son (3)
Paul, b. Bonn, Aug. 11, 1872; 'cel-
list; pupil of R. A. M., London and of
Piatti; soloist and quartet player; (4)
Frederich, b. Potsdam, May 8,
1872; historian of music: docent at
Strassburg Universty; (5) William
(rightly Wm. Ledwidge,), b. Dub-
lin, ca. 1850; Irish barytone; from
1877, with Carl Rosa Co., especially
successful in " The Flying Dutchman ";
1896 sang Hans Sachs; a fine Elijah.
Luft Qooft), Heinrich, Magdeburg,
1813-1868; oboist and comp.
Lugert (loo'-gSrt), Josef, b. Frohnau,
Bohemia, Oct. 30, 1841; teacher;
pupil of Prague Organ School, and
violinist in German Landestbeater
there; later piano teadier at Prague
Cons.; 1905 Royal Music In^Kctor,
organized OTchestra sdioc^, and woo
fame as a teacher; c symph., seze-
nades for orth., "In Memoriam" for
full orch. with English horn solo;
also wrote technical bocdcs.
Luij^ini Gw&-zhe'-ne), Alexamdre
(Clement L. Jos.) Lyons, March
9, 1830 — Paris, July 29, 1906; pupa
and prize-winner at the Cons.; 1869
leader in Grand T1i64tre, Lyons, and
founder of the Cons, concerts and
Prof.; 1897 cond. at Op. Comiqoe,
Paris; c. comic operas, Les caprices
de Margot (Lyons, 1877), FaMas
(1881), ballets, etc.
Lunn, (i) Henry Charles, Lon-
don, 1817 — Jan. 23, 1894; editor
and author; pupil Royal Musik
Akademie, later teacher; 1863-87.
edited The Musical Times, Lcmdoo.
(2) John Robert, Ckcvc Prior,
1831 — Morton, Yorkshire, April,
1899; vicar there from 1867; c ora-
torio "SL Paulinius of York," etc
His brother (3) Jan, Birmin^iani,
1838-1906; singer, teadier and author
of books on the voice. (4) (Louisa)
Kirkby,b. Manchester, Nov. 8, 1873;
mezzo-soprano; pupil of J. H. Green-
wood, then of \^setti, R. A. M., Lon-
don, gainmg a schdarship in 1894.
Appealed in a student performance d
Schumann's Gencveva, 1893, with such
success that she was engaged by Sir
Augustus Harris; 1897-p contralto
of Carl Rosa Company; then married
W. J. K. Pearsen; sang in concert;
1901 began an uninterrupted engage-
ment at Covent Garden; sang much
at festivals; 1902 at Met. Op. House,
New York and with Boston Symph.
and other orchs., 1907 created Kmm-
dry in first English p^ormance ol
"Parsifal" by the Henry W. Savage
Company.
Lustig aoos'-tikh), Jacob Wm^
DICTIONARY OF MUSICIANS 897
Hamburg, Sq[)t. 21, 1706-1796;
organist aiid theorist.
Lu3i:hon (or Luiton) (ll-t6n), Carl,
Antwerp (?) —Prague, 1620; im-
portant conqx>ser of madrigals,
masses, fugues, etc.j 1576 court or-
ganist to Maximilian 11 and to
Rudolf n.
Luzzaschi Qood-zfis'-ke), Luzza-
sco» d. Ferrara^ 1607; court organ-
ist; pupil of Ciprian de Rore, and
teacher of Frescobaldi; c. Madrigals,
etc.
Lyne, Felice, b. Kansas City, Mo.;
1892 (?); soprano; 1906-11 pupil of
Marched, de ^es2±e and d'Aubigny,
Paris; 19 10 engaged by Hammerstein
to sing "Hans the Flute-Player";
191 1 appeared at the London Opera
in RigokUo and other operas.
Lyssenko, vide lisseneo.
M
Maccar'thy, Maud, b. Qonmel,
Ire., July 4, 1884; violinist; pupil of
Arbos, d6but London, 1894; toured
America.
M'Cor'mack, John, b. Athlone,
1884; tenor; pupil of Sabatini, Milan;
debut Covent Garden, 1907, m\h
great success; 1910 sang with Phila-
delphia Opera Co.; 191 1 Chicago
Opera Co., and at Met. Op. N. Y.;
toured Australia, 191 2, with the
Melba Opera Co. and sang in concert
with immense success.
Macdon'ald, (i) Peter, Sutherland,
Scotland, 1729 — Kilmore, 1824:
violinist and collector of Highland
melodies; minister. His brother (2)
Joseph, 1759 — India, 1762; was
also a musician.
MacDowell, E. A., add that in
Jan. 1904, he resigned his professor-
ship at Columbia University from
di»atisfaction with the faculty's
attitude toward mtisic as a high art.
He was succeeded by Cornelius
Riibner (a. v.). He had cond. the
Mendelssohn Glee Club for two
vears. In 1905 he fell a prey to cere-
bral trouble that ended his beautiful
career. Faithfully tended by his
wife, he lingered under increasing
clouds, till Im death, Jan. 23, 1908.
at New York. So great was lus hold
upon the American public that a
MacDowell Club with many branches
was formed to carry on his ideab of art
and to aid the struggling musician;
a choral branch under the leadership
of Kurt Schindler has attained a very
high standard; taking the title of
"Schola Cantorum" in 191 2; a biog-
raphy of MacDowell was written by
Lawrence GOman, 1905.
Marschal-Loepke, vide clough-
LEITER (2).
M'Ew'en, John Blackwood, b.
Hawick, April 13, 1868; Scots com-
poser and pupil R. A. M., Glasgow,
later Prof, there; c symph., 2 over-
tures, ** Hellas" for women*s voices
and orch. ''The Last ChanUy.y
chorus and orch. Milton's "Nativ-
Uy," do.; also Highland dances for
strings, violin, etc.
Macfar lane, W. Chas., b. London,
Oct. 2, 1870; organist; brought to
New York at 4; pupil of his father
and of S. P. Warren; c. anthems, etc.
M'Qib'bon, William, d. Edinburgh,
Oct. 3, 1756; studied violin under
Corbett, London; cond. *'GenUemen*s
Concerts" in Edinburgh; collected
Scots melodies and c. sonatas.
Macka5^, Ang^us, drowned near
Dumfries, March 21, 18^9; Ifighland
Piper to Queen A^ctona; collected
pipe tunes.
Mack'intosh, (i) John, London
1767 — Mardi 23, 1844; bassoonist.
(2) Robert, d. London, 1807;
Scots violinist and teacher; composer
of strathspeys, and cond. at Edin-
burgh. Hisson (2) Abraham, Edin-
biurgh, 1759 — Newcastle after 1807.
M'Leod (mfik-lowdO, Peter, West
Calder, 1797 — Bonnington, 1859;
Scots composer and violinist; col-
lected Scottish melodies.
898
THE MUSICAL GUIDE
Macmil'len, Francis, b. Mari-
etta, Ohio, Oct. 14, 1885; violinist;
pupU of Listemann, Chiceigo; at 10,
pupil of Markees, Berlin; at 15 of
C^ar Thomson at Brussels Cons.;
sharing first violin prize 1902 and
taking Van Hal pnze; played in
Brussels, etc.; 1903 London; 1906
toured U. S.
Macpher'son, (i) Charles Stew-
art, composer; b. Liveipool, March
29, 1865; pupil of R. A. M., Lon-
don, with a sdiolarship; gained also
the Balfe scholarship and medals;
1887 prof, there; 1892 a fellow; 1903
prof. Koyal Normal College for the
Blind; c. symph., 2 overtures, a fine
mass with orch. (1898); "Concerto
alia fanlasid*^ for vi(^, etc.; wrote
theoretical text books, (2) Charles,
b. Edinburgh, May 10, X870; 1890
pupil R. A. M., winning Lucas prize
1892; later teacher of ootmterpoint
^^3^> i^5> sub-organist at St.
Paul's, London; c overture "Cridhe
an Ghaidhil" (London, 1895); orch.
suites, *' Highland'* and ''HaUow-
e'en**; Psalm 187 for dioir and orch.,
etc.
McWhood, Leonard B., b. New
York, Dec. 5, 1870^ graduated trom
Columbia University 1893; after
various posts, 1904 prof, of music
there; conductor, lecturer; c unpub-
lished works.
Macque (m^), Jean de, Flemish
choumaster in Rome 1576-82; 16 10
at Royal Chapel Naples; c madrigals
and motets.
Mad in (m^-d&n) (rightly Madden),
Henri, Verdun, 1698 — Versailles,
1748; clergyman of Irish parentage;
cond. at the cathedral of Tours; from
1737 in the Chapel of the King; c
motets.
Magnard (mXn-y&r), Lucien D.
Q. A., b. Paris, June 9, 1865; com-
poser; pupil of the Cons, (winning
first harmony prize 1888), then of
d'Indy; c. 3 symph., overture, suite in
ancient style; hymns to "Juslice**
and to ** Venus,** i-act opera "Y^
lande** (Brussels, 1892); 3-act "Guer-
cesur**; important chamber nnsic,
etc.
Mahler, Qustav, add that he was
dir. of the Court Opera Vienna tili
1907, when he resigned; and cood. ,
Met. Op., N. Y., tor two seasons;
1009 was elected to cond. Philh. Orch^
N. Y., with the highest salary ever
paid a cond. ($3o/xx> a year); a
nervous breakdown in 191 1 ended his
work, and he sailed forEurc^ in April,
dying in Vi^ma May 18, 191 1. BGa
comps. include 8 symph., thie last five
written, 1901, 1904, 1906, 1908, 1910.
His eighth was prod, in Munich, 1911,
and Leipzig, 191 2, requiring a choras
and orcn. of 1,000 members. A ninth
S3rmph. is said to have been fini^hf.^
Wv&" Das Lied vonder Erdey**2i,synxp\L
in six parts, for tenor and alto and
orch. (text from Hans Bathge's
Chinese flute) was given at Munidi,
Nov. 20, 191 1.
Maichelbeck, (m]kh'-fl-b&), Franz
Anton , Reichomu, 1802 — Fretliuig,
1750; c. important sonatas, etc, for
clavier.
Mai Hard (n^ySr), Jean, i6th cen-
tury French composer; pupil of
Depr^; c important motets and
masses, from one of which Palestiina
took themes for a mass of his own.
Maikapar (m&'-kfi-^^&r), Samuel,
b. Chersson, Russia, Dec. 18, 1867;
pianist; pupil of the Cons., and of
Lescheti^y; settled in Moscow; c
piano pieces.
Mair, Franz, Weikersdorf Marshfeld,
1821 — Vienna, 1893; composer and
foimder of the Schubertbund.
Major (m&'-y6r), Julius J., b.
Kaschau, Hungary, Dec 13, 1S59;
pupil of the Lande&-MusLk Akad. at
P^t; founded a music school and
singing societies there; c a. symph^
operas, ''Lisheth** and "JErywto"
(Pest, 1901), Szecki Maria (Klausen-
burg, 1906). etc
Maksylevlch (mlk-5r46-vlch), Vi-
DICTIONARY OF MUSICIANS 899
cent, 1685 — Cracow, 1745; church
cond. at Cracow; c church music.
Malash'kin, Leonid Dimitiie-
vitch, i&ia — Moscow, Feb. 11,
1902; Russian composer of an opera,
a s>m[iph., songs, etc.
Marling, (i) JOrgen, O^ienhagen,
1836 — Jiily 14, 1907; miportant
Danish composer and teacher; from
1875 u^ Vienna. His brother (2)
Otto (Vlademar), b. Copenhagen.
June I, 1848; pupil of Cade ana
Hartmann at the Cons., later teacher
there; organist and founder of concert
association; c sjrmph.; violin fantasie
with orch., overture, chamber music,
and valuable organ pieces.
Malm'qvist (milm'-kwlst), Julius,
b. Copenhagen, Jime 16, 1819 —
Hirscholm, Aug. 4, 1859; Danish
composer of male quartets, operettas,
etc.
Malvezzi (mSl-v&i'-z€), Christo-
fano, Lucca, 1547 — Florence, 1597;
canon in Florence; and chapel
master to the Grand Dukes of Tus-
cany; collected and composed dra-
matic intermezzi. 1591, etc.
Mancinelli, Luigi, add that his
cantata "SairU Agnes** was prod, at
Norwich Festi^nal 1005; his opera
** Paolo e Francesca** (Bologna, 1907).
Manci'nus, Thomas, Schwerin,
1550 — Wolfenbttttel ca. 1620; Dutch
composer of Passions according to
St. Matthew and St, John; cond. to
Duke of Brunswick.
Mandl (mSnt'-l), Richard, b. Ross-
itz, Moravia, 1862; pianist; pupil
Vienna Cons., later of Delibes, Pans,
where he settled 1886; c. i-act. <^)era
^* Rencontre Imprivue" (Rouen, 1889);
Chanson Provencal for voice and
orch., orch. scherzo (Lamoureux con-
certs, 1894); important symph. poem,
with organ, mezzo-sopr. and Jema\e
chorus ; ' * Griselidis * * (Vienna, 1 906?) ;
overture *To a Gascon Knight drama**
(Wiesbaden, 1910), piano pieces, etc.
Mandyczevski (mlUi-de-ch^'-skT),
Eusebius, b. Czemovitz, Aug. 18,
1857; pupfl of Fuchs and Notte-
bohm; from 1897 teacher Vieima
Cons.; writer and editor of Schubert's
works, for which he was made Fh. D.,
Leipzig.
Man^n (m&'-nfin) Joan De, b.
Barcelona, March 14, 188^; Spanish
composer; travelledas prodigy pianist,
then took up violin; pupil of Alard;
c. operas " Giovanni di Napoli** (Bar-
celona, 1903), ''AkU** (do.); *'Der
Packeltanz** (Frankfort -on -Main
1909); symph. poem "Nuova Catalo-
nia" violin concert, etc.
Manfredini (mftn-frC-de'ne), (i)
Francesco, b. Pbtoja, 1688; violin-
ist; 1 71 1 cond. at Monaco; c ora-
torios, concertos, etc. His son (2)
Vincenzo, Pistoja, 1737 — St. Pe-
tersburg, 1799, as court cond., c.
sonatas, etc.
Mangin (mftn-zh&A), Edouard, Paris,
1837 — May 24, 1907; founded
Cons, at Lyons, 1870; also the
Popular Concerts; from 1893 cond.
the Op^, Paris.
Mann, Frederick A., Norwich,
March 23, 1844 — April 11, 1903;
violinist; cathedral organist and dir.;
brother of Arthur Henry M. (q. v.).
Man'ners, (i) Charles (rightly
Southcote Mansergh),b. London,
Dec. 27, 1857; bass; pupil Dublin
Academy and R. A. M., London,
and of Shakespeare; d^but 1882;
1890 Covent Garden; 1893 toured
America; 1896 South Africa; 1897,
organized Moody-Manners CH)era Co.
touring the provinces mtn three
companies, two seasons at Covent
Garaen. In 1890 he married (2)
Fanny Moody, b. Redruth, Nov.
23, 1866; soprano; pupil of Mme.
Sainton Dolby; d6but 1887 with Cart
Rosa Co., since 1890 has simg with
her husband.
Maquarre (m&-kSr), Andr^, b.
Molenbeck, St. Jean, Belgium, Jan.
i3> 1875; pupil Paris Cons., took
&rst flute prize 1893; played in Co-
lonne and Lamoureux orchs.; from
900
THE MUSICAL GUIDE
1898 first flute Boetcm Symph.; c.
opera "Dolores," two cx>mic operas,
"Indian suite for orch., overture
"On the Sea Giffs " (Boston Symph.,
1909), etc
Marches!, Mathilde, add that
in 1912, at the age of 90, she sold her
school and moved to London, to join
her daughter Blanche.
Marchisio (m&r-ke'sT-O), Barbara,
b. Turin, 1834 ; opera singer in
Paris and London; sang usually
with her sister. (2) Carlotta,
Turin, 1836 — Turin, 1872.
Marks, Dr. Jas. Chr., Armagh,
May 4, 1835 — Grand Spa, Clifton,
July 17, 1903; oiganist ana conductor.
Marscnalk, Max, b. Berlin, April
7, 1863; composer of a-act opera
"InFlammen*' (Gotha, 1896); musi-
cal piece "Aucassin und NicokUe"
(Stuttgart, 1907); indd. music to
"Und Pippa tanst'* (Berlin, 1906),
and to Maeterlinck's "Sister Bea-
trice^* (Berlin, 1904).
Marsh, (i) Alphonso, West-
minster, 1627-1681; gentleman of
Chapel Royal and composer. His
son (2) Alphonso, d. Westminster.
1692; gentleman of the Chapel Royal
from 1676; c. songs. (3) William,
Fochabers, 1748 — Dandaleith, 1833;
Scots violinist; c strathspeys, etc.
Marshall, John Patton, b. Rock-
fort, Mass., Jan. 9, 1877 ; pupil
of B. J. Lang, MacDowell, Chadwick,
and Norris; 1903 Prof, of Music,
Boston University, also org. at St.
John's; c. songs and piano pieces.
Marteau, Henri, add that he was
bom at Rheims, March 31, 1874;
from 1900 teacher at Geneva Cons.;
1908 successor to Joachim at the
Royal Hochschule fiir Musik, Berlin.
Martinelii, Giovanni, tenor; at
first an instrumentalist in Milan;
d^ut 191 2, Covent Garden in "La
Tosca*' with great success.
Masca^i, Pietro, add that he
was dur. of Pesaro Cons. 1895-1903,
when he toured the U. S. with an
opera co., and was supplanted at
the Cons.; 1909, cond. at TeatiD
Costanzi, Rome; c. abo "Anuca'*
(Monte Cario, 1905, Cdogne, 1907);
X910 he c. opera "Isabeau" for the
U. S. but not c(»npleting it on time
became involved in a lawsuit. The
opera was prod, at Venice and Milan
sunultaneously, 191 2, with much suc-
cess and has been widely sung since.
His next work is announced as
"Parisina*' with Ubrctto by d'An-
nunzoo.
MascheronI (mSs-k6-rd'-ne), Edo-
ardo, b. Milan, Sept. 4, 1857 ;
cond. and composer; pupQ of Booch-
eron; 1883 theatre cond. at Leghorn,
later at Teatro Apollo, Rome; 1893
chosen to cond. Verdi's "Palstaff" at
La Scala; c. important Reguiem for
King Victor Emanuel, also by Royal
command another Requiem for the
royal chapel; c. operas "Loremaa"
(Rome,x9oi) , very successf ulthroo^i-
" "La
out Europe and South
Perugina," etc
Mason, Daniel Gregory, b. Biook-
line, Mass., Nov. ao, 1873; P^QmI
of Clayton Johns, £. Nevxn, A.
Whiting, J. K. Paine, G. W. Chad>
wick and Percy Goetschtus: grad-
uated Harvani, 1895; author of
articles and books on musical topics;
c violin and piano sonata (191 1),
piano variations on ''Yankee
Doodle"; quartet in A major; pas-
torale for violin, daiinet and piano;
elegy for piano (played by Gabcflo-
witsch in Berim, London and
America), songs, etc
Massart, (m&s-s&r) Nestor, H. J.
tenor opera singer; Ciney, Belgium,
1849 — Ostcnde, 1899 ; operatic
favourite in Eurcpe and Amenca.
Massenet, add that his "Jot^fcur
de Notre Dame, " (Monte Carlo, 1902 J
has oeen sung widely; Covent Gar-
den, 1906, New York Manhattan
Opera, 1910; "Cherubin" (Op. 0>m.
Paris, 1905); "Ariame" (1906);
"Tkirise** (Monte Cario, 1907);
DICTIONARY OF MUSICIANS 901
«
'Don QuickoUe" (Paris, 191 1); ** Ro-
ma" (Paris, 0p6ra, 191 2); oratorios
^La Terre Promise" (Paris, 1900);
piano concerto (1903): ballets, "La
cigaU" (Paris, 1903), **Espada"
(Monte Carlo, 1908), etc., after suf-
fering for years from cancer, he died
suddenly at his home, Paris, Aug.
13, 1912.
Maszynski (mft-shln'-shkl), Peter,
b. Warsaw, 1855; pianist and com-
poser; pupil of Mikhalovski, Roguski
and Noskovski; his **Chor zniviarzy"
won a prize at Cracow; teacher at the
Musical Institute; cond.; c. violin
sonata, incid. music, a cantata in
honor of the jubilee of Sienkiewicz,
etc
Matthay', Tobias Augustus, b.
London, Feb. 19, 1858; pianist;
pupil R. A. M., teacher there; c.
**Hero and Leanaer," for chorus and
orch., etc.
Mauduit (m&dwe), Jacques, Paris,
Sept. 16, I5S7 — Aug. 21, 1627;
lute player and composer of chan-
sons and a requiem. for the poet
Ronsard.
Mauke (mow'-k^), Wilhelm, b.
Hamburg, Feb. 25, 1867; pupil of
Ldw and Huber; then at Munich
Akad. der Tonkunst, acted as critic;
c. symph, poem **Einsamkeit" (after
Stuck and Nietzsche), opera, etc.
Mauricio ( mft-oo-re'-sT-d ), Jos^,
Coimbra, 1752 — Figueira, 181 5; Por-
tuguese composer of church music.
Mazzolani (mftd-zO-l&'-nS), An-
tonio, Ruina, Ferrara, Dec. 26,
1819 — Ferrara, Jan. 25, 1900:
composer of succ^sful operas ana
choruses.
Meisel (mt'-s^), I Carl, Germany,
1829 — Boston, Dec. 27, 1908; came to
America in 1852; violinist in Boston
Symph. Orch. at its foundation.
Melar'tin, Erik, b. 1875 ; Finnish-
composer of excellent songs; pupil
of Wegelius.
Melchiss^dec ( mSl - shIs - sft - dSk ),
L^n, b. May 7, 1843 > barytone ;
pupU Paris Cons, and from 1894
teacher there; 1866-1891 sang at
Op€nL Comioue, Paris.
Melion, Alfred, London, April
17, 182 1 — March 27, 1867; cond. at
Covent Garden, and Liverpool Phil.;
c. operas.
Meltz'er, Charles Henry, b.
London, June 7, 1853 of Russian
parentage; critic; pupU of the Sor-
bonne, Paris, Later journalist on
various New York papers; author and
translator of plays and librettos; press
representative Met. Op. House, 191 1,
cntic New York American.
M^nil (da-m&-n€l), F^llclen de,
b. Boulogne-sur-Mer, July 16, i860;
historian and comp.j after much
foreign travel, settled m Paris, 1899,
as teacher of musical history at the
Niedermeyer Church Music School;
c. opera **La JaneUire" {Pp. Com.,
Pans, 1 894); operetta **Go5ses" (1901)
and ballets.
Merg^ner (merkh'-n&>). Adam Fr.
Chr., Regensburg, Oct. 19, 1818
— near Ansbach, Jan. 7, 1891; priest
and church composer.
Merikant'o, Oscar, b. Finland, 1868;
organist and composer of opera, etc.
Meschaert (m&'-shSlrt), Johannes,
b. Hoom, Holland, Aug. 22, 1857;
barytone; pupil of Schneider, Stock-
hausen and WiUlner; teacher and
cond. in Amsterdam; tours widely.
Messager, Andr^, add that he re-
mained as cond. of the Op. Com.
till 1^3, and as director of Covent
Garden from 1901 to 1907, in which
year he became director of the Opera
at Paris, and from 1908 cond. of the
concerts of the Cons. Add to his
operettas; "MireUe" (Savoy, Lon-
don, 1894); Les PHiUs Michu (Paris,
1894) enormous success; Vironique
(1899); Portunio (Op. Com. 1907);
also ballets and songs.
Mess'ner, Qeorg, b. Berlin, Sept.
22, 1871; pupil of H. van Eijken;
artillery officer at Breslau; c. songs
and male choruses.
902
THE MUSICAL GUIDE
Mest'dagh (m&t'-d&kh), Karel, b.
Bruges, Oct. 23, 1850: pupil of
Waelput, Gheluwe and Gcvacrt;
c. overture *^Les noces d^AttUa"
choruses with orch., etc.
Michael (me'-kh&-a), (i) Simon,
musician to Emperor Ferdinand I.
His soa (2) Rogier, d. Dresden,
ca. 16 19; tenor and cond. to the
Elector; c motets. His son (3)
Tobias, b. Dresden, 1592; church
cx>nd. Leipzig; c. church music, etc.
Middelschulte (mid'-d^-shbol-t£),
Wilhelm, b. Werwe, Westphalia,
April 3, 1863 ; organist ; pupil of
the B^n Inst, for church music;
from 1888 organist there; in 1891
settled in Chicago; from 1894 org. of
the Thomas ordL and of St. James;
c. canons and fugue on **Our Father
in Heaven"; organ concerts on a
theme of Bach's; canonic fantasie on
Bach, etc.
Mielck (melk), Ernst, Wiborg,
Oct. 24, 1877 — Locarno, Oct. 22,
1899; Finnish composer, who, in spite
of his pitifully brief life of 22 years,
gained a place of national importance;
pupil of Tietae, Radecke and Bruch;
c. Finnish symph.; overtiure ^^ Mac-
beth **; Finnish fantasie for chorus and
orch.; Finnish orch. suite, etc.
Miersch (mSrsh), (i) Carl Alex.
Johannes, b. Dresden, 1865 ;
violinist; pupil of the Cons, and of
Massatt; 1888-90 teacher in Aber-
deen, then for a year with the Boston
Symph. Orch.; 1894-8 artistic dir. of
the Athens Cons, and court violinist;
1902, returned to the U. S.; from
1 910 at Cincinnati Coll. of Music. His
brother (2) Paul Fr., b. Dresden,
Jan. 18, 1868; 'cellist, pupil of Royal
Akad., Munich; from 1892 in New
York, for five years soloist N. Y.
Symph. Orch., 1898, soloist Met.
C^ra; c. Indian rhapsody, for orch.,
'cello and violin concertos, etc
Mienard (m6n-y&r), Alexander
Konstantinovich (rightly
Scheltobrjuchov), b. Warsaw
Aug. 13, 1852; pupil of the Cons, and
of Sain t SaCns at the Paris Cons. ; law-
yer and statesman at Warsaw; c.
operas, overtures, 2 symi^, etc
Mil'denberg, Albert, b. Brook-
lyn, Jan. 13, 1873; pupil of Toseffy,
Bruno Oskar Klein and C. C. MoUcr;
c. orch. suites, etc
Millet (mel'-y€t), Ltiis, b. Baice-
kma, April 18, 1867; pupil of VididU
and Pedrell; founded and cood. the
Orf6o Catali society; c. choruses and
orch. fantasies on folk-themes.
Miliifen, Simon Van, b. Rotter-
dam, Dec 14, 1849; organist; pupfl oi
Nicolai, Bargid, etc.; for many years
municipal dir. of Gouda, later in
Amsterdam as critic and teacher; c.
.operas "Brinio'* and **DarUmla^
(The Hague, 1898), etc
Minc'us, Ludwig, b. Vienna, 1827;
violinist and cond. in St. Petersburg;
1872, ballet composer at the Inq>erial
Opera; then retired to Vienna; o
ballets, including ''Aa Source*' in
collaboration with Delibes.
Mirecki (m^rrets'-ke), Franz, Cra-
cow, April I, 1791 — May 29,
1862; pupil of Hummel and Chero-
bini; after 1838 director of school of
opera singing in Cracow; c operas,
ballets, etc.
Mit'terer, ignaz Martin, b. St. Jus-
tina, Tyrol, Feb. 2, 1850; composer
and director; pupil of his unde
Anton M., (a choirmaster), and ol
Father Huber; 1874 became a priest;
studied at Regensburg under Jakob,
Haberi and Haller; 1880 rhaiJbim in
Rome; 1882-5, cathedral cond. at
Regensburg, later at Brizen as dir. in
the cathedral; his compositions show
the influence of Palestrina; c "^^pt^r^
with orch., offertories and a great
amount of church music.
Mlynarski (m'le-n&r'-shkl), Emil,
b. Kibarty, Suvalki, July 30, 1870;
pupil St. Petersburg Cons. ; 1893 cond.
and teacher at Warsaw; 1894 at
Odessa; from 1899 cond. at Opera
House, Warsaw; also cond. Phil.
DICTIONARY OF MUSICIANS 903
ofch.; 1904-7 director of the Cons.;
then in London; c. violin concerto
(Paderewski prize at Leipzig, 1898),
operas, etc.
Mocquereau (m6k-r0), Andr6,
b. La Tessouale, France, June 6, 1849;
writer; 'cello pupil of Dancla; from
1875 Benedictine monk, teacher of
<±oral singing at the Abbey of Soles-
mes, later prior; founder and editor of
the ** PaUopraphiemusicaU "; in 1903
00 the exile of the order, moved to the
Isle of Wight, continuing the publi-
cation of his great work; authority on
Gregorian chant, on which he wrote
"Rytkmque Grigorienne" (vol. I,
1908), etc.
Mojsisovics (md-sS'-sd-vIch), Rod-
erich von, b. Graz, May 10, 1877;
pupil of Degner, and of the Cologne
Cons., and Munich Akad.; 1903 cond.
in various cities; c. S3n3iph. **In the
Alps,** symph. poem"5/«rfa," "Chorus
Myslicus** from Faust for soli, double
chorus, organ and orch., etc.
Molck, Heinrich, Grosz-Himstedt,
1825 — Hanover, 1889; composer
and organist.
Mol'ter, Johann Melchior, mus.
director in Durlach, 1733; amazingly
prolific writer; c. 169 symph., 14
overtures, etc.
Mofi'day, Joseph, 1851 — January
19, 1909; English organist and con-
ductor.
Monhaupt (m6n'-howpt), Franz, b.
Jfickelsthal, near Friedland, Aug.
25, 1854; director of the Prague
Almshouse for some years,then school
director in Bohemian Leipa; c. opera,
orch. suite, piano auintet, etc.
Monn, Qeorg Matthias, Lower
. Austria, 1717 — Vienna, Oct. 3, 1750;
organist and comp. of highly impor-
tant instrumental works, symphom'es,
etc., marking a transition to the
modem style.
Monnet (mtin-nft), Jean, b. Con-
drieux, 1700 — Paris, 1785; 1743 and
1752-8 cond. Op^ra Comique, Paris.
Monod (mtt-n5), Edmond, b.
Lyons, Feb. 4, 1871; author and
teacher; pupil of Roth, Stepanov and
Leschetizky; 1899-1906 teacher in
Berlin; 1907 Prof, at Geneva Cons.;
c. songs.
Montanari (m6n-tft-n&'-r6), Fran-
cesco, Padua (?) — Rome, 1730;
violinist at St. Peter's, Rome; c. 12
violin sonatas.
Montefiore (m6n-t«-ft-0'-r5), Tom-
maso Mos^, composer; b. Livomo,
1855; pupil of Mabellini; critic under
the pen-name of "Puck,** editor;
c. operas "Un bacio a porUUore**
^Florence, 1884), and "Cecilia**
(Ravenna, 1905).
Moody, Fanny, vide icanners
(2).
Moor (m5r), (i) Karl, Bohemian
comp. of i-act opera " Viy* (Prague,
1903), and "UjQrdis** (do., 1905).
(2) Emanuel, c. symph. concertos
and operas "Die Pompadour** (Co-
logne, 1902), and "Andreas Hofer^*
(do. 1902); " Hochzeitsglocken** (Cas-
sel, 1908).
Mora^ (m5-rSiis), JoXo da Silva,
Lisbon, Dec. 27, 1689 — ca. 1747;
important Portuguese composer of
church music; cond. at the Cathedral.
Morena(m5-ra'-na), Berta,b. Wtlrz-
burg, Jan. 27, 1878; pupil of Frau
R5hr-Brajnin and Mme. de Sales;
d6but at Munich Court Theatre; has
sung there since, and from 1908 with
Met. Op., N. Y.; also in concert with
Boston Symph., 1909, etc.
MOricke (ma'-rXk-5), Oscar, b. Co-
burg, Aug. 10, 1839; bassoon player
there in the Opera orch., 1856-66;
1878-82 teacher in Mimich, then in
Berlin; c. 2 symphs.. etc.
Morigi (m5-re'-je), An^elo, Rimini,
1752 — Parma. 1788; violinist; pupil
of Tartini and Valotti; court cond.;
c. violin sonatas, etc.
Mor'nington, Earl of (Qarrett C.
Wesley or Wellesley,) Dangan,
Ireland, July ip, 1735 — May 22,
1 781; founded Academy of Music,
1 757 J 1764 Mus. Doc. (Dublin) and
904
THE MUSICAL GUIDE
Prof.; 1760; created M. Viscount
Wellesley and Earl of M.; c well-
known chant in £ flat, and prize
glees and madrigals; one of his sons
was the Duke of Wellington.
Mor'telmans, Lodevijk»b.Antwerp,
1868; puiHl of the Cons, and Brusseb
Cons.; csymph. '^GermatUa," symph,
poem "PTtWe/fl^rf," etc
Mo'sel Qiovanni Felice, b. Florence.
1754; violinist; pupil of Nardini ana
his successor as court cond., 1793; c
violin music, etc.
Mo'ser, Marie, 184S — Vienna, May
1 7, 191 1 ; singer in Wagner r61es; wife
of General von Steinitz.
Motta, Jos6 Da, vide Da Motta«
MottI, Felix, add that he resigned
at Carlsruhe, 1905, and cond. in
New York at the Met. Op., direct-
ins; the first performances of '*Parsi'
fcJ^* outside Bayreuth; 1904 he be-
came co-director of the Royal
Academy of Music, Munich; he was
cond. the United Royal Operas there,
when he fell ill of arteriosclerosis and
died in July, 191 1. Shortly before
his death he was divorced ^m his
first wife and married Sdenka Fass-
bender, of the Mimich Opera.
Muck, Karl, add that in 1899 he
cond. German Opera in London;
1903-5 alternated with Mottl as cond.
of the Vienna Phil.; 1906-8 on leave
of absence he cond. Boston Symph.
during the winters; appearing also at
Paris, Madrid, etc.; 1901, 2, 4, 6, and
8 cond. ''Parsifal " at Bayreuth. By
arrangement with the Boston Symph.
he continued his contract, sendmg
Max Fiedler to conduct in his place
1909-12; and returning 19 12.
MufTat, (i) Qeorg, Schlettstadt,
correct birthplace, ca. 1645; d.
Passau. Feb. 23, 1704. (2) Aug.
Gottlieb, Passau, April, 1690 —
Vienna, Dec. 10, 1770.
Mugellini (moo-gfil-le'-nS), Bruno,
b. Potenza, Dec. 24, 1871; pianist;
pupil of Tofano, Busi and Martucci;
1898 teacher at the Bologna Lyceum;
c prize symph. poem *'AiUfimU iei
ClUumno"; cello sonata, etc; edited
Bach, Czemy and CkmentL
Mulert (mooMfrt); Fr. too, b.
Mitau. 1859; 'cellist; piqiQ of St.
Petersburg Cons.; prof, at Kiev; c
orch. suites, and piano pieces.
Mun'dy, (i) William, d. iS9i(?);
gentleman of the Chapel Royal. 1563;
c anthems, etc His son (2) Johii*
d. Windsor, 1630; wfaore he had been
organist frcnn 1^85; c. madrigals and
a fantasia describing the weiUher.
MOnnich (mln'-nlkh), (i) Rudolf,
b. Friedenau, Berlin, June 18, 1836;
song-composer. His son and piqiil
(2) Richard, pianist; author and
singing teacher in Berlin.
Munzinger, (moon'-tsXng-fr) Karl,
Balsthal, Sept. 23, 1842 — Bcnie,
Switzerland, Aug .17, 1911; pa|Hl m
Leipzig cons.; dir. music saKx>l at
Berne tiU retirement in 1909; c. prize
cantata *' Murtensckhckl."
Mustafli, (moo6-t&'-f&), Domenica,
Montefalco (?) — 191 2; singer at the
Vatican and composer of chuicfa
music; succeeded by Perosi, 1808.
Milthel (mC'-ta), Johann Uott-
fried, M^ln, 1720 — Riga, after
1790; organist; c sonatas and songs.
N
NavrHtil (n&-vr&'-tti), Carl,b. Prague,
April 24, 1867; violinist; Bohemian
composer; pupil of Adler and Qiid-
ricek; c synmh.; symph. poems,
"/flu Hus," ^'Zako," etc; opera
''Salatnmbd," lyric drama, "^Ter-
mann*'; violin concerto, etc; wrote
biog. of Smetana.
Nay'Tor, Edward Woodall, b.
Scarborou^, Feb. 9, 1867: oompoeer;
pupil of his father, Dr. John N. (q.
v.); and at the R« C. M., London;
organist at various churches; 1897
made Mus. Doc. by Cambridge Uni-
versity, where he had taken the
degrees of B. A., M. A., andMus. B.;
organist &om 1897 at rm^hrS^gff
DICTIONARY OF MUSICIANS 905
(Emannd CoHege); lecturer there
from 1903; c. Ricordi prize opera
''The AngeUis" (Covent Garden,
1909); cantata **Artkur the King"
(Harrogate, 1002). church music, etc.
Nebelofic (n&'-b&-16ng), Johan
HendiTk, b. C<^)enha^en, Nov. 9,
1847; pupU of Holm, Thielemann and
Barth; from 1881 organist at Copen-
hagen, founder of oiganist penision
fond; c. patriotic songs, etc.
Ned'bal, Oscar, add that he was
dir. Bohemian Phil., Prague 1896-
1906; thereafter cond. Vienna Volk-
soper, also the Tonkdnstler orch.;
c ballet "Z>cf f aide Hans" (Vienna,
1^3), scherzo caprice for orch.,
violm sonata, etc.
Nerie, Wilhelm, b. Schwdbber, near
Hameln, May ^, 1849; preacher,
organfet and historian of church
music; pupQ of Robert Franz.
Nel'son, Sydney, London, Jan. i.
1800 — April 7, 1862; publisher and
composer of ballads, etc.
Neru'da, Franz, b. Brttnn, Dec. 3,
1843; 'cellist, son of Josef N.,
and brother of Nermann N., (q- v.)
pupfl of Royal Chapel at Copen-
hagen; from 1892 successor of Gade
as dir. of the Copenhagen Music
Society; also dir. of Stockholm
Music Society; 1894, Prof., c. "Slo-
vak" march, orch. suite "Prom the
Bohemian Forest," 'cello pieces, etc.
Nestier, August Julius, b. Grum-
bach, Dec 3, 185 1; teacher, founder
of a musical institute in Leipzig,
1878 (assisted by his son Amadeus) ;
1880 teacher at the Royal Gymna-
sium; 1892 Royal Musical director; c.
hymn with orch., etc.
Neupert (noi'-p&t), Edmund, Chris-
tiania, April i, 1842 — New York,
June 22, 1888; pianist; pupil of
Kullak's Academy and teacher at
Stem Cons.; 1861 at Copenhagen
cons.; 1888 at Moscow Cons.; from
1883 at New York; c. piano studies,
etc.
Neuville (nfi-v€'-y«), Valentin, b.
Rexpoede, French Flanders, 1863;
organist; pupil of Brussels Cons.;
org. at L3rons; c 2 symph., an ora-
torio "N6tre Dame de FourvOres,"
6 operas, including "Les Avegules"
(1901). and "Les Willis" (1902).
Neve (d« n&'-v£), Paul de, b.
Steglitz, Berlin, Jan. 24, 1881 ; pupil
of Ph. Scharwenka, Berger and Gold-
schmidt; from 1893 cond. at Wies-
baden Court Theatre, then in Aschers-
leben; c. opera, chamber music, etc.
Nevin, Arthur. Add that his cor-
rect birthplace is Vine Acre, Edge-
worth, Pa., April 17, 187 1. Add
to the list of his teachers. Humper-
dinck in Berlin, and Goetschius,
Boston. He spent the summers of
1903 and 1904 among the Blackfeet
Indians in Montana, collecting ma-
terial for his Indian opera "Poia"
libretto by Randolph Hartley (prod,
in concert form by the Pittsburg
Orch. and as an opera at the Royal
Opera, Berlin); c also i-act opera
"Twilight" (accepted by Met. Op.
N. Y. but not produced); orch,
suites "Loma Doone" (prod, by
Karl Muck in Berlin), and "Love
Dreams" (Pittsbiirg Orch.); c also
soniBs.
NibeUe (ne-b«l), Adolphe Andr6,
Gien, 1825 — Paris, 1895; pupQ Paris
Cons.; lawyer and composer of
operettas, etc.
Nich'olls, Agnes, b. Cheltenham,
July 14, 1877; soprano; pupil of
Visetti at the R. C. M., London, with
a scholarship; d6but 1895 in a revival
of Purcell's "Dido and Aeneas";
studied also with John Acton; 1901,
and 1904-6 sang at Covent Garden;
has sung much in concert and ora-
torios, and at the Cincinnati Festival,
1904; in which year she married
Hamilton Harty (q. v.).
Nich'ols, Marie, b. Chicago, Oct. 16,
1879; violinist: pupil of £. MoUen-
hauer (Boston), Halir and Debroux;
d6but 1899; has toured Europe and
America.
9o6
THE MUSICAL GUIDE
Nich'olson, Henry, 1825 — ^Leicester.
Sept. 14, 1907; age 83; celebrated
flutist; from 1877 with Birmingham
Festival Orch.
Nicolau (ne'-ko-lft-oo), AntoniOt b.
Barcelona, June 8, 1858; pupil of
Pujol and Balart; cond of Cata-
Ionian Concert Society in Paris, then
dir. municipal music school at Bar-
celona^; c. opera, choral works, etc.
Nicolini (ne-kMC'-nC), Nicolino
Qrimaldi detto, Naples, ca. 1673
— Venice, (?) after 1726; .tenor,
whom Addison called ''perfai^ the
greatest performer in dramatic music
that ever appeared upon a stage'';
he was a contralto in Italy as early as
1694 and was decorated with the
Order of St. Mark; from 1 708-1 716
in England rousing a furore; created
"Rinaldo" in Handel's opera, 1711;
returned to sing in Italy.
Nidecki (ne-d£t'-skl), Thomas,
Warsaw, 1800-185 2; pupQ of the
Cons., and on government funds at
Vienna; 1841 director Warsaw Opera;
c. 3 masses, burlesques, etc.
Nielsen (nel'-sdi), (i) Carl, b. Ndrre-
Ljrndelse, Fttnen Island, June 9,
186 J ; important Danish conoposer;
pupil of Gade, member of the Copen-
nagen court orch., and from 1904
assistant cond. succeeding Svendsen;
c. 2 symph.. No. 2 "The Four
SeasonSy** overture, ** Helios /' opera
"Saul and Damd" (Copenhagen,
1902); chorus with orch., "Hymnus
amoris"; chamber music, etc. (2)
Ludolf, b. N5rre-Tolde, Zealand.
Jan. 29, 1876; pupil Copenhagen ana
Leipzig Cons.; viola player in
Andersen's orch.; c. opera "Masco-
rode" (Copenhagen 1906).
Nieviadomski (n'yftv-ya-d6m'shkp,
Stanislav, b. Soposzyn, Galicia,
Nov. 4, 1859; pupil of Mikuli,
Krenns, and Jadassohn; teacher at
Lembei^ Cons.; critic; c. songs, etc.
Nikisch, Arthur, add that he was
dir. Leipzig Cons, till 1907; 1905-6
dir. the Stadttheater, has toured
widely with the Beriin PUL, and
acted as guest cond. in manyfafwtah;
April, 191 2, he toured the U. S. as
cond. of the London Phfl. with
immense success. He c. a symph^ a
canuta " CkristnadU," orch. fan-
tasie"DerTrompeter";etc His wile
Am^lie (n6e Heuser), b. in Bruasds;
was a soubrette in Cai^ and I^rfpgig
operas, and has composed music.
No^ack, Sylvain, b. Rotterdam, Av^
21, 1881; at first a pianist, then violin
pupil of Andr6 Spoor, Amsterdam;
at 17 entered the Cons., as a pupfl oC
Elderling, winning first prize, 1903,
and becoming a teacher there; 1905
settled in Rottodam, and toured
widely; 1906 concertm. at Aix-la-
Chapelle; from 1908 second conceit-
master Boston Symph.
No'ble, Thomas Tertius, b. Bath,
May 5, 1867; composer; pupil of
the R. C. M., London, winning a
scholarship, and later trarhing there;
org. at Cambridge, Ely Cathedral, and
from 1898 at York Minster, founding
the Yo^ Symphony Orch.; c. church
music with orch., cantata "Gloria
Domini," music to Aristophanes'
"Wasps,'* etc.
No'dermann, Freshen, b. Hjorring,
Denmark, Jan. 11, 1867; teacher*
studied at Helsingborg; organist and
1894 Ph.D., University of Lund.
Sweden, in which dty he has been
since 1903, cathedral org.; c opera
"K9nig Magnus" (Hamburg, 1899);
operetta ''Prtftf Inkogmio" (Copesk-
hagen, 1900), etc.
Noiopp, Werner, Stendal, June 5,
1835— Magdeburg, Aug. 12, 1003;
teadier and composer of male chor-
uses.
Nolthenius (ndl-t&'-nl-oos), Hu^o,
b. Amsterdam, Dec 20, 1848; pupil
of Viotta and Aueriuunp; cond. musi-
cal societies; 1888-91 at Utrecht;
editor and author.
Nordqvist (ndrt'-kwist), Johan
Conrad, b. Venersborg, April n,
. 1840; Swedish composer; pupu Stock-
DICTIONARY OF MUSICIANS 907
holm Musikakademie; 1864 militanr
bandmaster, then with state tunas
studied in Dresden and Paris; from
1875 organist and teacher at Stock-
holm; 1881 teacher of harmony at the
Musikakad.; 1885 court cond.; c.
orch. works, etc.
Nordraak (n6r'-dr^), Rikard,
Christiania, June 12, 1843 — Berlin,
March 20, 1876; composer whose early
death enckd a promising career; pupU
of Kiel and Kullak; c. incid. music
to BjOmson's ** Maria Stuart" and
** Sigurd Slembty" piano pieces, etc.
No'ren, Heinrich QottlieD, b.
Graz, Jan. 6, 1861; violimst; pupil of
Massart; concertmaster in various
countries; from 1896-1902 in Crefeld,
where he founded a Cons.; teacher at
Stem Cons., in Berlin; later in Dres-
den; c. orch variations ^^Kaleido-
skop" (Dresden, 1907), serenade for
orch., etc. •
Noronha (n5-rdn'-y&), Francisco
De SA, Vianna do Castello, Feb.
24, 1820 — Rio de Janeiro, Jan. 23,
x88i; Portuguese violinist, and self-
taught composer of operettas and
violin pieces.
Notz* Franz, b. Cannstadt, 1867;
pupil of. Stuttgart Cons.; from 1901
teacher in Insterberg; c. choral
'* LiedUgende,'' tic,
Nougu^ (noo-g£s), Jean, b. 1874;
composer of operas "Yannha (Bar-
cdona, 1897); "Thamyris'* (Bor-
deaux, 1904); **Qtw Vadis*' (Paris
Gait6, 1910, Berlin Royal Op., 191 2);
''CkiquUo," "VEclaircie,*' "La
Danseuse de Pompeii" (Rouen).
NovA^k (n5'-v&-chSk), Ottokar,
Feh6rtemplom, Hungary, May 13,
1866 — New York, Feb. 3, 1900;
violinist; pupil of his father, of Dont,
and at Leipzig Cons., where he won
the Mendelssohn prize, 1889; 189 1
member Boston S3rmph. Orch.; 1892
-3 Damrosch Orch., N. Y.; heart-
trouble forced his retirement; c.
chamber music, Bulgarian dances
and other violin pieces.
No'vAk, Vft^zslav, b. Kamenitz,
Bohemia, Dec. 5, 1870; important
Bohemian composer^ pupil of Pra^e
Cons, under Dvorak, later teadber
at Prague; from 1909 teacher of
composition at the Cons.; c overture
"Maryscha," S3m[iph. poems "0»
the High Tatra," and ''Eternal Long-
ing"; **Slevak** suite, four Moravian
ballads with orch., chamber music,
piano sonata "Er(nca," etc.
Novot'ny, Wenzel, b. Pocaterl, Bohe-
mia, Sept. 17, 1849; inusic editor,
translator of Wagner; pupil Prague
Organ School; c. songs, violin pieces,
etc.
Nowowiejski, Felix, add that he
was b. Wartenburg, 1875; pupil of
Stem Cons., and Regensburg Cnurdi
Mus. Sch.. etc.; c. 2 symph.; opera
''Quo Vadis" (1907); oratorio "Die
Auffindung des Kreuzes" (Lemberg,
i9o(S). "Quo Vadis" was given as
an oratorio New York, 191 2.
Nunn, J. H., Bury St. Edmunds,Nov.
10, 1827 — Penzance, Oct. 17, 1005;
pupil R. A. M., London, later Fellow;
org. and cond.
Nu'no, Jaime, Spain (?) — Bayside,
L. I., July 19, 1908; composer of
Mexican National Anthem; educated
in Spain, went to Cuba as military
bandmaster, invited to Mexico, 185 1,
by President Santa Anna; fled from
revolution and settled in Buffalo,
N. Y., as teacher for 52 years; 1901
invited to Mexico and received with
great honours, gold crown, and a
purse; retumea to Buffalo, where he
is biuied.
Nunczy (noon'-che), Louis, d. Buda-
pest, April 18, 1 9 10. Hungarian
violinist.
o
CberhofTer, (i) Heinrich, Pfalzeb,
Dec. 9, 1824 — Luxembourg, May
30, 1885; organist at Luxembourg,
c. church music. (2) Emil, b.
Munich, Aug. 10, 1867; pupil of
Kistler, and I. Philipp; settled in
9o8
THE MUSICAL GUIDE
Minneapolis, Minn.; cond. Phil.
Club, and from 1903 Minn. Symph.
Orch., with which he toured the U.
S.J 191 2; c. church music, songs, etc.
Obermeyer (6'-bft:-ml-€r), Joseph,
Nezabudicz, Bohemia, 1 749 — Prague
after 1816; violinist to Count Wald-
stein; pupU of Kamel and Tartini.
Obrecht, vide Hobrecht.
O'brist, Aloys, b. San Remo, March
30, 1867; pupil of Mailer Hartung at
Weimar; cond. in various cities; from
1900 at Weimar; mus. director and
coll. of mus. instruments.
Old berg, Ame. b. Yoimgstown, Ohio,
July 12, 1874; began piano studies
with his father at 5; at 6 was playing
Haydn symphonies in duet form;
pupil of Aug. Hyllested, Chicago;
1893-5 of L^chetizky, Vienna; from
1895 in Chicago with Middelschulte
(counterpoint); Ad. Koelling (in-
strumentation) and F. G. Gleason;
1898 with J. Rheinberger, Munich;
from 1899 teacher at Northwestern
Univ., lU.; c. 2 symphs. (F minor,
winning National Federation prize
191 1); overture **Paola and Fran-
cesca^^ (played 3 times by Thomas
Orch.); Festival Overture, 12 orch.
variations, horn concerto, chamber
music, piano sonata, etc.
Ollone (d6MQn), Max d% b. Bes-
angon, June 13, 1875; pupil Paris
Cons., taking the Prix de Rome,
1897; c. cantata "FrAf^gowJtf," lyric
scene ** Jeanne d*Arc d Domrhnyj " etc.
6lschlegel (ti'-shl^-gSl), Alfred,
b. Anscha, Bohemia, Feb. 25, 1847;
pupil Prague Orcan School; cond.
various theatres, finally at Franzens-
bad; c. operettas, and opera "iiTy-
nast" (Altenburg, 1898).
Olth'off, Statius, Osnabruch, 1555
— Rostock, 1629; composer; cantor
and con-rector; set Buchanan's Latin
version of the Psalms (1585).
0*Mara, Joseph, b. Limerick, July
16, 1866; tenor; pupil of Perini and
Moretti, and Holland; d6but 1891
Royal English Opera House; 1894 at
Drury Lane and Covent Garden;
1896 created the r61e of *^Mik€
Murphy" in "Skamus O'Brien" in
England and America; toured widi
Moody-Manners Co.
O'Neill, (i) Norman, b. Kensing-
ton, March 14, 1875; cond., pupfl of
Somervell and Hoch Cons, at Frank-
fort; c. incid. music to '^HamlH"
(1904), **Kini Lear" (1908), "Tke
Blue Bird" (1909); overture "/«
Autumn," '*In Springtime"; fantasy
for voices and orch. "Woldemar";
Scotch rhapsody; ballade with ordi.
**La belle dame sans merci" (Lcmdon,
1910), etc.; 1899, he married (3)
Adine RQckert, pianist; I^nul ol
Clara Schimoann and Mme. Ctioae-
Szavardv
Opienski (^ySn'-shkl), Heinrich,
b. Cracow^ Jimc 13, 1870; pupfl
of Zel^iski there, of dlndy and
Urban; critic in Warsaw, then popfl
of Riemann in history, and of N&-
isch in conducting; ^m 1907 teacJier
of history at uie Warsaw Music
School, and from 1908 rond. of the
Opera; c. prize cantata in honour ol
Mickiewicz; opera "if aria," sya^.
poem ''Lilla Weneda" (1908), etc.
Orlan'di, Fernando, Parma, 1777
— Jan. 5, 1848; 1809-28 sitigiTig
teacher at Milan Cons.; then at
Munich Music School; c. 26 operas.
Orlandini (dr-lSn-de'-ne), Giuseppe
Maria, Bologna, 1685 — Florence,
ca. 1750; opera composer, c. 44 ope-
ras, 3 oratorios, etc.
Orologio (dr-6-l6'-jI-a), (i) and (a)^
Alessandro, two contemporaiy.
madrigal composers of the same name, ^
one of them in 1603 became vice-
chapelmaster to Emperor Rudoiph
at Prague; the other vice-cbapel'
master to the Electoral Court at
Dresden the same year.
Orth (6rt), (i) John, b. near Au-
weiler, Bavaria; teacher; brougfat to
America at the age of one; pupil ol his
father; at 16 taudit and earned funds
for study abroad; from 1875 teacher
DICTIONARY OF MUSICIANS 909
in Boston; c piano pieces, etc. In
1883 he married (2) Lizette E.
Bloody composer of children's op-
oettas, songs, etc., under name
"L.E.Orth.^
Ortiz (Ar-t£th), Diego, b. Toledo,
ca. 1530; from 1558 chapelmaster to
Duke of Alva; c. important book of
saoed music (pub. Venice, 1565).
Osbom-Hannah, Jane, soprano,
after concert career, became pupil of
Rosa Sucher in 1903; 1904 engaged
for Ldpzig Opera by Nikisch; sang
for 3 years there, appearing also as
soloist at the Gewandhaus concerts;
has sung in other German cities, at
Covent Garden, London; 1909, Met.
Op. N. Y.; from 19 10 with Clucago-
Pidladelphia Opera Co. in Wag-
nerian r61es.
O'Suliivan, Denis, San Francisco,
April 25, 1868 — Columbus, Ohio,
Feb. I, 1908; barytone of Irish de-
scent; pupil of Talbo and Formes;
later of Vannucini, Santley and
Shakespeare; d6but 1895 in concert;
also in opera with Carl Rosa Co. ; 1 806
created the title r61e in Stanford's
**Shamus O'Brien" and sang it in
England and America; created other
r61es in light and serious opera; in
1907 sang in America in **Peggy
Machree'* of which his wife wrote the
libretto; suffering with appendicitis
he persisted in struggling through
performances and died on tour in a
hotel.
Os'wald, James, d. Knebworth
Jan. 1769; Scots composer of
popular tunes, to whom Kidson
credits the composition of "God
Save the King"; dandng-master at
Dumferline, 1 734; later in Edinburgh;
from 1 741 in London; c. songs.
Othegraven (o'-t^gr&-v&i), August
von, b. Cologne, June 2, 1864; music
professor; pupil of the Cons, and
from 1889 teacher there; c. fairy
play '*The Sleeping Beauty" (Co-
logne, 1907), songs, etc.
Ot'ter, Franz Joseph, Nadlstadt,
Bavaria, 1760(1764?) — ^Vienna, Sept.
I, 1836; violinst; pupil of Nardini;
violinist with his brother Ludwig at
Salzburg Cathedral; 1803-7, then
pensioned; taught and conducted in
Vienna.
Otterstroem (5t'-t€r-8trtlm), Thor-
vald, b. Copenhagen, July 17, 1868;
composer; piano pupil of Sophie
Menter, St. Petersbiurg; from 1892 in
Chicago; c. 24 preludes and fugues
for piano, chamber music, etc.
Ot'to, (i) Qeorg, b. Torgau, ca. 1544;
from 1588-1619 at Cassel as cond.
to the Landgrave; c. sacred music;
(2) Valentin, cantor at Leipzig,
1564-94. (3) Valerius, organist at
Frague, 1607; c. church music. (4)
Stephan, b. Freiburg, Saxony, ca.
1594; cantor there and at Scluuidau;
c. church music.
Pacchloni (p&k-kl-d'-ne), Antonio
Maria, Modena, 1654-1738, priest,
court chaplain; c. oratorios, etc.
Pacelli (p&-chglMe), Asprilio, Varci-
ano, ca. 1570 — Warsaw, May 3,
1623; Italian choirmaster; 1604.
called to Warsaw as chapehnaster to
the King; c. motets, etc.
Pache (p^h'-e), (i) Johannes, b.
Bischofswerda, Dec. 9, 1857 — Lim-
bach, Dec. i, 1897; organist and com-
poser of male choruses, etc. (2)
Joseph, b. Friedland, Silesia, June
I, 1861; pupil Royal Akad., Munich,
and of Scharwenka Cons., and Max
Bruch; settled in New York and
founded 1903 an oratorio society;
from 1904 cur. oratorio society in
Baltimore.
Pachler-Koschak (p&khM&-kd'-
shilk), Marie Leopoidine, Graz,
Oct. 2, 1792 — April 10, 1855; pianist
and composer; friend of Beethoven,
Paderewski, I. J., add that he
settled at Morges, Switzerland, con-
tinuing to tour the world; 191 2, in
South Africa; 1909 director Warsaw
9IO
THE MUSICAL GUIDE
Cons.; c. opera **Sakuntala" (text
by C. M^d^), a symphony in
memory of the revolution of 1864,
(1908; Boston Symph., 1009; Richter,
London, 1909); a second sy^ph., an
hour and twenty minutes long
(191 2); piano sonata, variations, and
fu£ue for piano (1907), etc.
Paglti (p&-zh&A), Andr6 Noel, Paris,
1 721-1770; composer and violinist.
Palmer (p&m'-^), Bessie (Eliz-
abeth Annie), b. London, Aug. 9,
183 1 ; contralto; pupil R. A. M., and
of Garda; d^but, 1854; sang in ora-
torio and concert; from 1870 in opera;
from 1 87 7-1 886 teacher.
Panor'mo, (i) Vincenzo Trusaino,
Monreale, 1734 — ^London, 181 3; violin
maker, as were his two sons, (2)
Joseph, London, 1773 — ca. 1825,
and (3) Qeorge Lewis, London,
1774 — ca. 1842.
Pancera (p&n-ch&'-r&), Ella, b.
Vienna, Aug. 15, 1875 ^^^ Italian
parents); pianist; pupd of Epstein
and Vockner; d6but at 13; toured
widelv
Panizza (p&-nld'-zft), Ettore, b.
Buenos Ayres, Aug. 12, 1875; c- opera
"// fidanzelo dd mare** (Buenos
Ayres, 1897); the trilogy ** Mtdioevo
latino** (Grcneva, 1900) "Aurora"
(Buenos Ayres, 1908).
Paolucci (p&-d-loo'-che), Giuseppe,
Siena, May 25, 1726 — Assisi,
April 26, 1776; Franciscan monk; c.
church music.
Paravicini (pH-r^vd-che'-ne), Sig-
nora, Turin, 1769 — after 1830; vio-
linist ; pupil of Viotti ; 1 797 , befriended
by Empress Josephine, and made
great success in Paris and other cities.
Pardew', John, 1855 — Plymouth,
April 13, 19 10, organist, conductor
and teacher.
Par'ker, Horatio W., add that
in May, 191 1, his opera "Mona,**
libretto by Brian Hooker (b. N. Y.
Nov. 2, 1880, a graduate of Yale,
1902, and instructor there 1905-10),
won the $10,000 prize offered by the
Met. Op. Co. for the best grand opera
in English by an American. It wss
prod, with success.
Pariow, Kathleen, b. Calgary,
Canada, 1890; viclmist; taken to
California at 5, and studied there with
Conrad and Holmes; d^but there at
6; at 15 gave a recital in London and
appeared with the London Symph.
Orch.; then studied with Auer; 1907
began to tour.
Parry, Sir C. Hubert H., add
that in 1908 his health forced his
resignation of the Oxford Professor-
ship; c. also Processional Music for
the coronation of Edward VII (1903) ;
a simfonia sacra for soli, chorus and
orch. (Gloucester Festival, 1904);
music to Aristophanes* " Clouds *'
(Oxford, 1905); Browning's "Pitd
Piper** with oirch. (Norwich Fest,
1905); symph. poem "The Vision of
Life** (Cardiff Fest., 1Q07); cantata
(Worcester Fest., 1908); revisioD of
4th symph., (Philharmonic, 19x0);
wrote important work on Bach;
'*Tke Music of the lytk Cemitiry,**
for the Oxfoid History of Music
(1002), etc.
ParT^, Joseph Haydn, Pennsyl.
vama, 1864 — London, March 29,
1894; composer; son and pupil of Dr.
Jos. Parry; 1890 prof. GuEdhan
School; c. operas, ** Cigarette^** 1893,
"Miami** (London, 1803), etc.
PashAlov (p2i-sh&'-lA0, Victor Nlk-
androvich, Saratov, 1847 — Kasan,
188^; Russian; composer of songs.
Pashkevich (pish'-k&-vldi), Vaasili,
violinist; chamber musician; court
cond. to Catherine II; 1 789, dir. court
baUs; c. operas, etc, aoit of tbcm
*Vlet* to Catherine II's text.
Pasterwitz (p&s'-t€r-vlu), Qeor^v
Passau, 1730 — KremsmOnster^ 1S23;
priest, and cond.; c. fugues, etc
Pa'tey, John QeorTO, Stonehouse,
Devonshire, 1835 — Falmouth, Dec
4, 1 901 ; bass at Covent Garden; bus-
band of Janet Monach P. (q. v.)
Pauer, Max, add that he became
DICTIONARY OF MUSICIANS 911
dir. ol Stuttgart Cons. 1908: gives
annual redtals in European capitals.
Paul, William, England, 1868 (?) --
St. Louis, Feb. 5, 1003, teacher.
Paulli (pow'-le), Simon Holger,
Copenhagen, Feb. 22, 1810 — Dec.
21, 1891; violinist and court cond.;
c overture, operettas, etc.
Paur, Emit, add that he returned to
Europe, 1903; cond. concerts in
Madrid; 1904, returned to the U. S.
as cond. Pittsbiurgh Symph. Orch.
His symph. was published m 1909.
Pechatschek (p&h'.&-chek), (i)
Francois, conductor in Vienna; c.
popular dance music, ballets and
operas. His son (2) Francois,
Vienna, July 4, 1793 — Carlsruhe,
Sept. 15, 1840; violin-virtuoso, court
dir. at Boden; c. violin concerto, etc.
Pedrell, Felipe, add that he was
bom in Tortosa, Spain, Feb. 19, 1841,
and c. operas, including "Quasimodo**
(Barcelona, 1875), a trilogv "Los
Pinneos** (Barcelona, 1902), "La
Celestina*' (1904), "La Matinada**
(1905), a Gloria mass with orch.;
also wrote and edited important
historical works.
PeAalosa (pfo-y&-l5'-sii}, Francisco,
Spanish composer, 1470-1535; cond.
to Ferdinand the Catholic, then singer
in Papal Chapel.
P6navaire (pSrn&-v&r), Jean Qr^
goire, Leaparre, Sept. 15, 1840 —
Paris, Sept. 1906; composer; theatre-
cond. at Nantes; covertures " Tasso, **
"CervatUes**; symph. poem with
chorus, "La vision des Crotsies,**
comic opera and ballets.
Perez (p&'Sth), Juan Qinez, Orihu-
ela, Murcia, Oct. 17, 1543 — Valencia
after 1601; royal chaplain and comp.
of church music.
Perosi, Don Lorenzo, add the
later compositions; oratorios "T.^
the Great** (1902), "// Giudizio
Universale** (The Last Judgment),
Rome, 1904; and "In Patris Memo-
riam** (1910); orch. variations (1904),
cantatas "Anima** (1908), and "Dies
Iste**; a series of 10 symphonies each
devoted to an Italian city; requiem
for Leo XIU (1909), etc.
Per'singer, Louis, b. Rochester, HI.,
1887; violinist; at 12 taken to Leipzig
and studied with Hans Bedcer; later
pupil of Ysaye, Thibaud and at Leip-
zig Cons. ; concertm. Bltttimer Orch . ,
Berlin; played in concerts abroad,
engaged for American tour, 191 2.
Peterson-Berger (p&'-t&-son-b£rkh-
5r), Wilhelm, b. Ingermanland,
1867; composer; studied in Dres-
den and in Stockholm where he has
been since i89^critic and regisseur at
the opera; c. dramatic works "Ran**
(Stockholm, 1903), etc
Petrie, Qeorge, Dublin, 1789 — Jan.
17, 1866; collector of Irish airs.
Petrov (p&'-tr6f), Ossip Afanass-
jevich, b. Elisavetgrad, Nov. 15,
1807 — St. Petersburg, Mar. 14, 1878;
famous Russian barytone-bass, with
remarkable compass of nearly four
octaves (B-g"); discovered on the
stage of a country fair, by Lebedev;
created Sussanin in "Life for the
Czar**; Glinka wrote" Ruslan** for
him, and he created r61es in many of
the chief Russian operas, singing up
to foiu- days before his death in his
seventy-first year.
Petsch'nikov, Alexander, b. Teletz,
Feb. 8, 1873; violinist; pupil of
Moscow Cons.; lives in Berlm.
Petz'et, Walter, b. Breslau, Oct. 10,
1866; pupil of Kleffel, Rheinber-
ger and von BUlow; 1887-96 piano
teacher in America, then at Helsing-
fors Cons., and 1898 at Karbruhe
Cons.; c. an opera, piano pieces, etc.
Peurl CBttwerl, Btturl, or Beurlin),
Paul, organist at Steyer; important
composer of suites, etc., (i6n-2o).
Pfannstiehl (pf&n'-shtel), Bern-
hard, b. Schmalkalden, Thuringia,
Dec. 18, 1 861; blind organist; pupil
Leipzig Cons., winning the Men-
delssohn prize three times; from 1903
org. at Chemnitz.
Phip'son, Thomas Lamb, b. Bir-
912
THE MUSICAL GUIDE
mingfaam, May 5, 1833; vioUnist and
author.
Piern^, Qabriel, add that from 1910
he cood. the Colonne conceits
Paris; he c. very successful choral
work, **Croisade aes EnfatUs** (1905),
"La coupe enckanUe" (Paris, 1895;
Stuttgart, 1907); opera **LafiUe de
Tabarin" (Cfp. Com., 1901); oratorio
**Les enfarUs de Bethlehem** (1907);
*'Les Pioretti de St. Francis d* Assise"
(Paris, 191 2), etc.
Pilati (p«-m'-te), Auniste (ri^Uy
Pilate), Bouchain, Sept. 29, 1810
— Paris, Aug. i, fSjy; c. operettas
under name of A. P. Juliano.
Pinel'lo de Qherardi (gSrrSr'-de),
Qiov. Bat., Genoa, ca. 1540 —
Prague, 1587; court cond. and com-
poser.
Plr'ro, Andr^, b. St. Dizier, Feb. 12,
1859; organist and historian; from
1896, teacher at the Schola cantorum,
Ppris.
Pique (pek), Louis Francis,
Roret, 1758 — Charenton-St. Mau-
rice, 1822; violin maker at Paris.
PiSna (plsh'-n&), Johann, Bohemia,
June 15, 1826 — Prague, 1896; teach-
er at Moscow and Prague; c. piano
exercises.
Pitsch (pitsh), Karl Franz, b.
Senftenbergj Bohemia, 1789 — ^Prague,
1858; organist; c. organ pieces.
Pitt, Percy, b. London, Jan, 4, 1870;
organist and prominent English com-
poser; pupil of Reinecke, Jadassohn
and Rheinberger; 1896 organist
Queen's Hall; 1902 adviser and cond.
Covent Garden; c. sinfonietta, (Bir-
mingham Fest., 1906); s3rmphonic
prelude "Le sang des cripusculeSy"
(1900); ballade for violin and orch.;
orch. suites, etc.
Plangon (plan-sAii), Pol Henri, b.
Fumay, Ardennes, June 12, 1854;
famous barytone; pupil of Duprez
and Sbriglia; d^but, 1877, at Lyons;
1883-93, at the Paris O^i^ra; 1891-
1904, Covent Garden annually, and
1893-1906, at Met. Op. House, N. Y.
Platzliecker, ffeinrich Atisust,
b. Merzenliausen, Sept, 13, i860;
editor at Dresden; c operettaiSy etc.
Pochhammer (pdUi'-hlm-mCr),
Theodor, b. Rheine, Nov. 16, 1846;
pupil of Hamburg Cons., teacher at
Wiesbaden Cons.; studied smgiiig
from 1902 ; teacher in Aachen; csongs.
Podbert'sky, Theodor, b. Mu-
nich, Nov. 16, 1846; cond. Munidi
MSnnergesangverein; from 1887, m
FOrstenfeldbriick; c opera "Der
Liedes Ende, " and male choruses.
PoglietU (pdl-y€t'-te), Aiessandro,
from 1661 court organist; muzxlered
by the Turks in the siege of Vienna,
1683; c. clavier pieces.
Pohlig (pd'-likh). Karl, b. Tcpfitz,
Feb. 10, 1864; pupfl of lisst; cond.
Graz Hamburg, Covent Garden, etc;
1907 — 191 2, Philadelnliia Sympb.
Orch; c. orch. pieces and scmgs.
Poir^ (pw&'-ra), Elie Emile Oi^
briel, b. Villeneuve, St. Georges, Oct.
9, 1850; librarian, author; c string
quartet, etc.
Polac'co Giorgio, b. Venice, 1878;
pupil Milan Cons.; cond. in London,
Italy, Spain, South America; 1907,
Royal 0^., Weisbaden; 1908, Berlin
Royal Op.; 1911-12, cond. H. W.
Savage's prod, of "GiH cf the Goidem
West"; 191 2, engaged for Met. Op.,
N. Y.; c. 2 operas, "Rahab" (Buda-
pest), and " Fortunaius,"
Polaro'li (or Pollarolo, (i) Carlo
Francesco, Brescia, ca. 1653 —
Vienna, 1722; composer; organbt and
assistant-cond. at St. Marie's; €^ 3
oratorios. 68 c^ieras, etc His son and
pupU (2) Antonio, Venice, 1689
— Venice, 1746; 1723, cond. at St
Mark's; c. operas.
Poldini (p61-d6'-ne), Eduard, b. Pest,
June 13, 1869; composer of opera
"Vagabond and Princess/' (Best,
1903), and children's operas.
Poiieri (p61-lft'.r«), Qiov. Bat.,
b. Genoa, 1855; organist; from 1887
teacher in the U. S.; 1894, in Genoa:
DICTIONARY OF MUSICIANS 913
from 1898 dir. of the Cons.; c. organ
|tteces,etc.
Pomasan'ski, Ivan Alexandre-
vichy b. near Kiev, April 11, 1848;
harpist and composer; pupil St.
Petersburg Cons.; from 1868 harpist
and chorus — master at the Imperial
Opera; c. canUta *'The Death of
Samson** ; Russian overture and songs.
Poole, vide bacon.
Pop'ov, Ivan Qegorovich, b. Eka-
terinodar, 1859; pupil Moscow Phil.
School, from 1900, director of sodety
in Stavropol, Caucasus; c. symph.,
Armenian rhapsody; symph. poem
"Freedom,** overture, '*Ivan Ike Ter-
rible,** etc
Por'ro, Pierre, Bfziers, 1750 —
Montmorency, 1831; guitar- virtuoso
and teacher at Paris; c. pieces for the
instrument, etc.
Porsile (p6r-se'-ie)^ Qitiseppe, b.
Naples, 1672 — Vienna, 1750; court
cond.; c. 6 operas, etc.
Pottg;iesfer (p6t'-ges-s«r), Karl, b.
Dortmund, Aug. 8, 1861 ; pupil of H.
Riemann: c. opera ** Heimkekr,**
(Cologne, 1903), a Festspiel, choruses,
etc.; diapter i of 5/. PauVs First Epis-
tle, for voices, organ and orch.; orato-
rio **Gott ist der Liebe**; choruses, etc.
Poueigh, (poo- &) (Marie Octave
Q^raud) Jean, b. Toulouse, Feb. 24,
1876; studied with the Jesuit fathers
at Toulouse; at 19 took up harmonv
with Hugounenc of the Cons., which
he entered in 1897, receiving the
second harmony prize 1898; he then
studied in Paris with Caussade,
Lenepveu and Faur6, receiving
criticisms from d'Indy. His comps.
include sonata for piano and violin
(pcsiormed by Enesco and Aubert
1906); orch. suite FUnn (1906 and
1908 at Lamoureux concerts), poem
with orch. *'SenteUi^e de Rhe**
(1907) ; dramatic poem for solos, choir
and orch. Les Lointains (1903); 5-
act lyric drama, Le Meneur de Loisves,
not prod. Le Soir rdde (song with
orch. 19 10), etc
Poznan'ski, Barrett Isaac, Charies-
ton, Va., Dec 11, 1840 — London,
June 24, 1896; violinist and composer;
pupil of Vieuzten^is; c violin
pieces, etc.
Powell, Maud, add that her birth
place was Peru, 111.; played piano
and violin in public at 9; d^but
Beriin Phil., 1885; the same year in
America with Theo. Thomas^ orch.
married H. Godfrey Turner.
Pren'dergast, A. H., Dalrymple,
June 28, 1833 — Kensington, July 13,
1910; choral cond. and composer.
Pres'cott, Oliveria Luisa, b. Lon-
don, Sept. 3, 1842; pupil of Macfarren;
singing teacher; c stnng quartets, etc.
Pressen'da, Johannes Francisous,
Laquio-Berria Jan. 6, 1777 — Turin,
Sept. XI, 1854; violin maker.
Pribik (prS'-blk), Joseph, b. Bo-
hemia, 1853; pupil Prague Cons.;
director of opera in various cities;
from 1894 of Odessa Symph. Orch.
c. orch. suites, etc.
Primavera (pre'-m&-v&'-r&), Oio-
vanni Leonardo, b. Barletta;
from 1573 concertmaster at Milan; c
madri^ds, etc
Pri'oris, Johannes, organist at St.
Peter's, Rome, 1490; 1507, cond. to
Louis XII of France: c motets, etc.
ProchAzka (pr6-kh&z'-k&), (i) Lud-
wig, correct birth date, Klattau,
Aug. 14, 1837; (2) Rudolf, Freiherr
von, Prague, Feb. 23, 1864; com-
poser; pupU of Fibich and Grttnber^r ;
magistrate in Prague; author of biog-
raphies; c dramatic tone story.
''DasGlUck** (Vienna, 1898); sacred
melody "Ckristus,** et^.
Pro'fe, (or Prof i us) Ambrosius,
Breslau, Feb. 12, 1859 — Breslau,
Dec. 27, 1661; organist; c church
music.
Puccini, Oiacomo, add that his
correct birth date is Lucca, June 22,
1858; " Madame Butterfly, ** (La Scala.
Milan, 1904), was a dire failure ana
withdrawn after one performance;
revised and brought out at Brescia
914
THE MUSICAL GUIDE
the same year with a success that has
roiead all over the worid, being sung
throughout America in Kngli^h by
the Henry W. Savage Company. It
was based on a play by John Luther
Long and David Belasco. His next
opera was also based on a play of
Belasco's, ''The Gid of ike Golden
West,'' CLa FanciuUa del WesH,
and first prod. New York Met.
Op., 1910, with much success and
lat^ in Italy, England, etc. He is
said to be working on an opera with
Franz Hals as hero^ and an Anda-
lusian story by Qumteros, "Anima
AUegra."
Puchalski (poo-chal'-shkl), Vladi-
mir v., b. Mmsk, April 2, 1848;
pupil at St. Petersburg Cons. ; pianist ;
from 1876 director Impnial Music
School in Kiev; c. Little-Russian
fantasie for orch., an opera, etc., etc.
Puget (pU-zh&), Loisa, b. Paris, ca.
1810; composer; pupil of A. Adam;
c popular songs and operetta "Le
ptauvais oeil** (Paris Op. Com., 18^6),
and **LaVeiUeuse" ;majned Lemome.
Pujol (poo'-h61), Juan Bautista,
Barcelona, 1836 — Dec., 1898; pianist,
author of a method; c. piano pieces.
Pur'day, Charles Henrv, Folk-
stone, Jan. II, 1799 — London, April
23, 1885; composer, lecturer and
writer; c. **Lead, Kindly Light** etc.
Pychovski (pf-khdv'-skl^.Jan Nepo«
mucene, Grazen, Bohemia, April
8, 1818— Hoboken. N. J., March 18,
1900; pianist and teacher; pupil
Prague Cons, and of Tomaschek;
1850 moved to New York; from 1855
in Hoboken; c. violin sonata, etc.
Quadflieg (kvat'-fl^di), Gerhard
Jakob, b. Breberen, Aug. 27, 1854;
pupil Church Music School, Regens-
Durg; from 1881, teacher; from 1898.
rector at Elberfdd; also cond. ana
organist; c 7 masses, many motets,
etc.
Quirter, Roger, b. Brighton, Nov.
I, 1877; composer; pu|Hl of
Frankfort; c serenade for orch.
(London, 1907), part scmgs, etc
R
Raabe (rft'-bd), Peter, b. FrankfOTt-
am-Oder, Nov. 27, 1872; pnipfl ol
Bargid; cond. at various theatres;
1899 at the Opera, Amsterdam; 1903,
dir. Kaim orch., Munich; horn 1907
court cond. Weimar; c. song and
piano pieces.
Rachmaninoff, S. V., add correct
birth date, Aprfl 2 (N. S.), 1873;
in 1899 appeared in London as
conductor and pianist; frcMn 1903
Siano prof. Marymski Inst, for Girls,
foscow; 191 2, appointed ddef cood.
of the Opera St. Petersburg; c symph.
(1895); cantaU "Spring," fantasia
for orch., ''The Rock," Gipsy ca-
pricdo; 2 piano concertos; duunber
music, incL Elegiac trio in memory of
Tchaikovsky; '^lo sonata, etc.
Radeglia (rft-dil'-y&), Vittorio, b.
Constantinople, 1863; composer; c.
operas "Colombo" (Milan, 1887),
"Amare occuUo" (C<mstantinople,
1904), etc
Radicati (ri-dtk&'-te), Felice da
Maurizio di, Turin, 1778-— VIenxia,
April 14, 1823; violinist, court com-
poser and 1815 cond. at Bologna;
c. operas and important chamber
music.
Raida (rf-dft), Karl Alex., b. Paris.
Oct. 4, 1852; pupn Stuttgart and
Dresden Cons.; theatre-cond. in vari-
ous dties; 1878-92, in Berlin; from
1895, Munich; c. operettas, ballets,
etc
Randies, Elizabeth, Wrexham, Aug.
I, 1800 — Liverpool, 1829; pianist;
prodigy, ikying in public before the
age oltwo; daughter of a blind harp-
ist; pupil of John Pany; later a
teacher in Liverpoc^
Randolph, Harold, b. Richmond,
Va., Oct. 31, 1861; pupfl of Mrs.
Auerbach and Cari Faelten, at Pea-
body Cons., Baltimore; from 1898 its
DICTIONARY OF MUSICIANS 915
director; pianist, has played with
Bo6ton Symph.. etc.
Rap'pold, Marie (n£e Winteroth),
b. Brooklyn, N. Y.; sang in London
at 10; m. Dr. Julius Rappold of Brook*
13m; studied with Oscar Saenger and
sang in concert; from 1905 Met. Op.
Rase'liuSv Andreas, Hahnbach,
upper Palatinadte, 1 562HS4 — Heidd-
be^, Jan. 6, 1602; court cond. and
cooip.
Raver, Maurice, b. Ciboure, March
7, 1875; pupil of Faur6, Pessard and
De B6riot at Paris Cons.; important
French composer; he won the 3nd
Friz de Rome 1901 with cantata
"J/yrrte* V c overture "ShihSrazade,**
(1898), Spanish Rhapsodie for orch.,
etc.; operetta ^^Uheure espagnole"
(Op. ConL 191 1); opera **La cloche
enghulie " (after Hauptmann's
** Sunken Bell**), string quartet,
strikingly individual songs such as
'*Histoires mUurdles** (1906), and
piano pieces including the 5 pieces
called "Af^'wr*" (1905).
Raway (r&'-vl), Erasme, b. Li^.
June 2, 1850; priest, teacher and
cathedra] cond. at Li^e; c. church
works, Hindu scenes, a dramatic
dialog. **Freyaf** 1908, etc.
Rebikov (reb'-r-k6f), Vladimir
Ivanovich, b. Krasnojarsk, Siberia,
June I (N. S.), 1866; pupil Moscow
Cons., and in Berlin; 1897-1902 cond.
in Kishinev; later in Berlin and
Vienna; theorist and composer of
daring originality, as in his famous
piece **S(Uan*s Diversions y " his " Melo-
mimik** lyric scenes in pantomime,
i-act fairy opera, " Der CkristhauMy*
etc.
Reger, Max, add that he has come
to be recognized as one of the most
important of living composers, es-
pecially in chamber music and sacred
music; 1891-96 he was teacher at
Wiesbaden Cons., then took his year
of military service. After a severe
illness he settled in Munich, 1901,
and married there; ^905 he taught
counterpoint at the Royal Academy;
1907-8 taught composition at Munich
Cons., and was Umversity music dir.;
1908 was named Royal Prof, and Dr.
Phil, by Jena; 1910 Mus. D. Berlin U.
in 191 1 , he became General Music Dir.
at Meiningen, cond. Meiningen orch.,
continuing to teach one day a week at
Leipzig Cons. He toured with the
orch., 191 2. His compositions are
exceedingly numerous, and include a
sinfonietta, op. 90, symph. prologue to
a tragedy, op. 108, **Lustpid** over-
ture (1911); violin concerto; a vast
amount of chamber music, sonatas for
piano, organ, violin, clarinet, 'cello,
variations, fugues, canons in all keys,
left hand studies, and transcriptions
for piano; much organ music; "Gesang
der VerkUbien** for choir and orch..
**An die Hofnung* for omtralto ana
orch. (191 2); three orch. pieces "iV(w:-
lume,** " Elfenspuk,*' and "Helios**
(191 2); organ fantasie and fugue,
B-A-C-H; violin suite op. 103, sonata
op. 42, for violin alone; tone-forms
for pianos, **Aus meinem Tatdmch**;
cantatas, male and mixed dioruses,
and many beautiful sacred and
secular songs.
Reggio (r6?-j6), Pietro, Genoa —
London, July 23, 1685; private luten-
ist to Christina of Sweden; from
1677 at Oxford; c. son^, etc.
Reichwein (rlkh'-vin), Leopold,
director and composer; b. Breslau,
May 16, 1878; cond. 1909 of the
Court Opera at Carlsruhe; c. operas
** Vasaniasenaj** (Breslau, 1903),
**Die Liebenden von Kanddtar**
(1907), and music for "Faust**
(Mannheim, 1909).
Rein'hardt, Heiiirich,b.Pressburg,
April 13, 1865; c operettas for Vienna
"Das sUsse Mddei** (1901); "FAn
Mddchenfiir Alles** (Munich, 1908).
Reiter (rl-td:), Josef, b. Braunau,
Jan. 19, 1862; composer; Viennese
composer of operas, including "Der
Totenlant** (Dessau, 1908), symph.,
cantatas, male choruses, etc.
9i6
THE MUSICAL GUIDE
Rembt, (r&npt), Johann Ernst,
Suhl, 1749-1810; organist and com-
RtuHneck (rf'-nek), Christoph.
Memmingen, Nov. i, 1748 — July
29, 1797: c. operas.
Rice, Elihu S., Genesee Co., N.
Y., 1827 — Logansport, Ind., May
191 2; merchant; bved Logan^rt
from 1838; c. pop. hymns, **Shau we
Med Beyond the River, " etc
Richafort (resh-li-f6r), Jean,
important Flemish composer of
masses, motets and songs; pupil of
Deprte: 1543, choirmaster in Bruges.
Rid'dell, (i) John, Ayr, 1718-
1795; blind Scots, composer of dance
music, (2) Robert, d. Friar's Carse,
1794; captain, friend of Bums; c.
dances and songs.
Rider-Kelsey, Corinne, b. Le Roy,
N. Y., Feb. 24, 1880; soprano; studied
with L. A. Torrens, Chicago, Mr. and
Mrs.Toedt, N. Y. ; sang widely in con-
cert and oratorio; 1908, d6but in
opera at Covent Garden; returned to
concert work.
Rietsch (rStsh), Heinrich, b. Falk-
enau, Sept. 22. i860; professor and
composer; pupil of Krenn, Mandycze-
vski, and Fuchs; from 1892 teadier
in Vienna; from 1900 prof, at the
Gennan Univ., Prague; author, and
historian; c. opera, chamber music,
etc.
Rimsky-Koraskov, N. A., add that
he died at St. Petersburg. June 21,
1908; in 1901 he ceased to cond.
Russian symph.; 1905 he wrote a
letter protesting against the use of
armed force in the Cons, to repress
students' political expression, and he
was dismissed; Glazounofif, Liadov,
and others at once resigned, public
feeling was aroused, and his opera
''Kolschei" was prod, at the Theatre
du Passage, 1905. with great acclaim;
later he was reinstate and Glaz-
ounoff chosen director. His opera
*'KUesch" was prod, the same year,
and **Zolot<H Piekmchok" (1909); his
s)anphonic suite, "SchikSrawade^ '*
(Boston Symph., 1897), was used k^
the Russian ballets in Paris, 191 1,
with immense success.
Rinal'do di Capua, ca. 1700 (?) —
Rome, after 1771; important Italian
composer of 30 or more light operas,
popular in Italy, France,aiid England.
Rip^el, Karl, Mannheim. X799 —
Frankfort-on-Main, March S, 1876;
'cellist and composer.
Rip'pon, John, Tiverton, 1751 —
London, 1836; clergyman; c
*' The Crucifixion,"
Riseley (rlzMl), Qeor^^ b.
Aug. 28, 1845; organist; pupil of
Corfe, later his successor at the
Cathedral; cond. orch. societies;
pensioned, 1898, then cond. London;
c. Jubilee Ode, 1887, etc.
Rivarde (re-vftr'-d£), Serge Achille,
b. New York, Oct. 31, 1865 (of
Spanish father, American mother);
violinist; at 11 taken to EUirope,
pupil of Danda, Paris Cons.; dividing
first prize, 1879, ^th Ondri^ek; 1885-
90, solo violinist Laoaoureux orch.,
from 1899, prof. R. C. M., London.
Rob'erts, John, Wales, 1822 —
Aberdare, 1877; composer of <iiurch
music; founder of festivals.
ROckel, Jane Jackson, d. Clifton,
August 27, 1907, age 73; wife Jos.
Leopold R. (a. v.); piqnl Pauer,
Halfe, Mme. Schumann; {Manist and
teacher; c. piano pieces with pen-
name "Jules de Sivref Inventor of
** Pamphonia, " appliance for kaming
staves and defe.
Rod'well, Qeorge Herbert Bona*
parte, London, (?), 1800-1852; pupiJ
of Novello and Bishop; from 1828
prof, of harmony R. C. M.; c.
numerous operettas, farces, etc
Roguski (r(V^oo'-skI), Qustav, b.
Warsaw, 1839; pupfl there and of
Marx, Kiel, and Berlioz; hom 1865
prof, of composition at the Warsaw
Cons.; c. symph., 2 masses, chamber
music, etc.
ROhr, (r&r), Hugo, b. Dresden, Feb.
DICTIONARY OF MUSICIANS 917
13, 1866; pupfl of the Cons.; cond. in
various cities; from 1896 royal court
cond. at Munich Court Opera; c.
oratorio '' Ekkehard,** opera ''Voter
unser** (Munich, 1904), etc.
Rolland (rOl-l&n), Romain, b.
Oamecy, Jan. 29, 1868; teacher of
history at the Ecole normale sup6:-
ieure, at Paris; 1900 organized an
international congress of music; his-
torian at Paris; author of many his-
torical and critical works, dramatic
poems, and the musical romance
"JeanCkristophe" (1905-1908).
R6inan, Johann Helmich, Stock-
holm, 1694 — near Calmar, 1710,
called the father of Swedish music;
pupil of Handel in London with a
municipal stipend; 1727, court cond.
at Stockholm; c. funeral march for
King Fredrik (1751), coronation
march for King Adolph Fredrik;
2 symphonies, etc.
Roo^tham,(i) Daniel Wilberforce,
b. Cambridge, Aug. 15, 1837; pupil
of Walme^y and Schira; 1865-
77, cathedral org., Bristol; cond.
Bristol madrigal society. His son
(2) Cyril Bradley, b. Bristol, Oct.
5, 1875; Mus. B. at Cambridge,
Z900; firom 1901, organist there, St.
John's College; pupil also at R. C. M.,
London; c. overture ''The Spirit oj
Comedy f" (1009), and vocal works
with orch. "i4/6«f/ Graeme* s Song**
(1904); "Andromeda" (Bristol Festi-
val, 1908), " Coronach f" etc.
Ropartz (rO-pftrs), J. Quy, b.
Quingamp, France, June 15, 1864;
pupil of Dubois, Massenet, and C6sar
Franck; from 1894, dir. Nancy Cons.,
and cond. sjrmph. concerts; c. symph.
on a Breton chorale, 1895; incid.
music to Loti*s "PUheur d*Islande**
(Paris, 1893); suite "Dimanche bre-
ton" (1898); Psalm !$6 for organ
and orch. (Nancy, 1898). etc.
Rdsch (rSsh), Friedrich, b. Mem-
mingen, Dec. 12, 1862; author and
conductor of male choruses, etc.; pu-
pil of Wohlmuth and Rheinberger;
Uved in various cities; from 1898 in
Berlin.
Ros6 (r5-z&), Marie, singer and
teacher in Paris; from 191 2 also in
London. Her son (2) Raymond,
191 1, cond. London Op. House; cond.
Ifis Majestv's Theatre, and c. indd.
music for Beerbohm Tree's prods, of
Shakespeare "Macbeth," etc., c text
and music of operas "Joan of Arc"
(in concert form Queen's Hall, 191 1);
"Antony and Cleopatra"; a symph.
poem on the same subject (Queen's
Hall, 191 1); songs, etc.
Ro'seingrave, (i) Daniel, d. Dublin,
1727; English composer of anthems;
pupil of Blow and Purcell; 1679-98
org. at various cathedrals; 1698 at
St. Patrick's, Dublin; father of (2}
Tliomas (q. v.), and of U) Ralpfi,
Salisbury, ca. 1695 — Dublin, 1746;
pupil of his father and his successor
as organist at St. Patrick's, Dublin;
c. anthems.
Ro'senfeld, Leopold, Copenhagen.
July 21, 1850 — July 19, i909;studiea
m Germany; critic and teacher in
Copenhagen; c. vocal works with
orch., "Henrik og Else," "Liden Hel-
ga," "Naar Solen daler," songs, etc.
Ro'senfiofT, Orla, b. Copenhagen,
Oct. 1, 1845; pupil of Lund and Gade;
from 1880 teadier of theory at the
Cons.; c. chamber music, etc
Rosen2wei|^, (r6'-z&its-vlkh) Max,
b.^Roumama, 1900; violinist; brought
to America at 7; son of a barber; he
studied at the Music Settlement
imder David Mannes, then with
Sinsheimer; d^but at MacDowell
Club banquet March 10, 191 2, with
such success that subscription was
taken up to send him abroad to study.
Ro'ser, (von Reiter) Franz de
Paula, Naam, 1779 — Pest, 1830;
cond. in theatres; c. 100 operettas,
ballets, etc
Ros'si (i) Carlo, b. Lemberg, April 4,
1839; pupil of Menzel; from 1 851 in
Venice; c. symph., etc. (2) Cesare, b.
Mantua, 1864; c. operas " I fugitivi"
9i8
THE MUSICAL GUIDE
rrrient, 1896), and ''Nadeya''
(Praeue, 1903); (3) Arcaneelo,
suidoe, San Francisco 1905 (?); Duffo
barytone; pupil Milan Cons.; sang
at Covent Garden and Met. Op.
House, N. Y.; toured with the latter
troupe and was injured at San Fran-
cisco in the earthquake; lost his voice
and his mind.
ROssl (r&M), Damian von, b. Belts,
Russia, July 13, 185 2 ; pianist ; pupil of
Liszt; from 1882 teacher in Odessa.
ROthig (r&'-tikh), Bruno, b. Ebers-
bach, Oct. 7, 1859; pupfl of Riedel
Papperitz and G. Weiss; 1889, can-
tor in Leipzig; 1908 royal cond.;
founder and cond. *^Solo Quartet
for Church Songs," with which he
has toured widely; c. songs.
Roth'well, Walter Henrv, b. Lon-
don, Sept 22, 1872; conducted the
first English performance of "Par-
sifal** in Amenca; pupil Vienna Royal
Acad.; cond. in various cities, and
at Amsterdam Royal Opera; 1903,
America to conduct English pro-
ductions of " Parsifal f " and " Madame
Butterfly"; 1908 cond. Minneapolis
symph. orch.
Roussel, (roos'-sfil) Albert, b.
Tourcoing, April 5, 1869; composer;
at first attracted to the navy and a
naval student, he made a voyage to
China as an ensign; but resigned in
1894 and took up music, studying
harmony with Gigout; 1898 entered
the Schola Cantorum and studied
under d'Indy till 1907; since 1900
he has been prof, of counterpoint at
the Schola Cantorum. His comps.
include symph. prelude. Resurrection
(after Tolstoi's novel); symph,
sketch, Vendanges; symphony, Le
po^me de la ForH (1004-6); symph.
sketches Evocations (1910-11), poem
for orch. La Menace (1907), etc.
R6zycki (roo-zhet'-ski), (i) Jacet,
Polish court cond. and composer to
John Sobieski at Warsaw, 17th cen-
tury. (2) Ludomir von, b. Warsaw.
1883; pupil of the Cons, and of
Humperdinck; from 1908 teacher at
the Cons, in Lembeig and cood. at
the Opera; c. opera **Bolcslas der
Kilhne" (Lemberg, 1909); symph.
poem " Stancsyk,** etc.
Ru'bensohn, Albert, Stockholm,
Dec. 20, 1826-1^1; violinist; pupO of
David; 1872 dir. of the Stoddhofan
Cons.; c. symph., indd. music to
BiOmson's "Halte Hulda," etc
Rubert (roo'-b€rt), Johann Mar*
tin, Nuremberg, 1614 — Strabund,
1680; organist and comp.
RubinelTi, Giovanni Battista,
Brescia, ca. 1753-1820; ItaUan open
singer; d6but at 18, Stuttgart.
Rubinstein* Anton, the correct
birth date is Nov. (16) 28, 1829.
Rubinstein having bec^ in enor
himself until 1889.
Rdbner* (i) Cornelius, add that
he succeeded MacDowdl as prof, of
music Columbia University ^ N. Y.,
1905; c. 3-act dance legend ^Prim
Ador" (Carkruhe, 1903), etc; has
given inano redtals, often with his
daughter (2) Dagmar, pianist,
ddbut Carlsruhe, playing the Schu-
mann concerto under Motd; toured
theU. S.:c songs.
RQckauf (rik'-owf), Anton, Schloss
Alt-Erler, Prague, Mardi 13, 1855 —
Sept. 19, 1903; composer of im-
portant songs; pi^Nl of Prokscfa,
and teacher at his institute, then
pupil of Nottebohm and Navratil,
at Vienna: c. opera "Die Rosem-
thalerin" (Dresden, 1897), etc
Rudnick (root<-nIk), Wilhelm, b.
Dammerkow, Pomerania, Dec. yy,
1850; pupil of KuUak's acad., and of
Dienel; org. at Ljegnitz; c open
"OUo der Schittz" (1887); oratorio
''Judas Ischaria" "Der Verhrtme
Sohn, '* etc.
Ru'dolph, Fd., d. Wiesbaden, May
23, 1911; barytone at the opera,
187 2-1904; famous as ''Beckmesser."
Rufro, (roof'-fo) Titta, b. Tuscany;
eminent barytone ; pupil of St. Cedlia
Cons., Rome; after two years dis-
DICTIONARY OF MUSICIANS 919
missed and advised to give up sing-
ing; then Cassini of Milan taught him
gratis; he won his first success at Rio
Janeiro and throughout South Amer-
ica, then triumphed in Italy, later in
^enna; 191 2 a sensation in Paris and
engaged for Chi.-PhiL Opera Co.,
appearing Philaddphia Nov. 4, 191 2.
Runge, (rooag'-£) Paul b. Hdnrichs-
felo, Posen, Jan. 2, 1848; pupU of
church music Institute, Berlin, and J.
Sdmdder; from 1873 ^ Colmar as
historian and comp.
RQnger, (rlng'-fr), Julius, b. Holies,
Hungary, July 26, 1874; barytone;
first studied oigan and conducting
at Prague, then voice with Giannini
and Vogl; sang in various cities;
touted the worid; c. songs, etc.
RQter (re'-tfr), Hugo, b. Hamburg,
Sept. 7, 1859; pi4>il of the Cons. ; from
1897 singing teacher and cond. at
Wandsbeck; c. symph.; 2 operas, etc.
Rutini (roo-te'-ne), uiovanni
Marco, Florence, ca. 1730 — ca.
1797} ^* operas and clavier sonatas.
Rybakov (re'-b&-k6f), Sergei Qav-
rilovich, b. 1867; pupil of St.
Petersburg Cons.; author; c. songs.
Ryder, Arthur H. b. Plymouth,
Mass., April 30, 1875; pupil of his
mother, F. H. Rowse, Loraine Hol-
loway, and at Harvard, of J. K.
Paine and W. R. Spalding; from
1894, org. and dir. at various
churches in Boston and Providence,
R. I.; ^tor of musical texts; c. organ
and piano pieces, etc
Ryelandt (rSM&nt), Joseph, b.
Bruges, April 7, 1870; composer; pupil
of Tinel; c. chcMral works with orch..
"5/. C&tfe," and " PurgaUfriumy''
chamber music, etc.
Saar, Louis Victor, add that he
has been principal of the dept. of
theory at Cincinnati College of
Music from 1906; 1903 he won Kaiser
priie for composition, Baltimore; c.
piano quintet (Chicago 191 2), "Hymn
ta Venus** (Cincinnati 191 2), etc
Sachsenhauser (zftkh'-zSn-how-zer),
Theodor,July 27, 1866 — Munich,
Feb. 25, 1904; comp.
Sack (z&k), J.|Ph., Harzerode, Anhalt,
1722 — Berlin, 1763; organist at Bw-
Un Cathedral; important composer of
songs and clavier pieces.
Sacks, (i) Woldemar, b. Riga, 1868;
teacher and critic in Leipzig; c songs.
His wife and pupil (2) ElTy ScheU
lenberg-S., b. Nannhof, near
Leiprig, 1879; concert soprano; pupil
Leipzig Cons.
Sacrati (s&-krft-te), Francesco, d.
Modena, May 20, 1650; court cond.
and important early composer of
opera. *
SafonofT, Wassily Ilich, add that
in 1906 he visited London and cond.
the Phil. orch. once; 1906-^ he
cond. the Philh. orch., New York
City, with great success, then re-
turned to Russia. He conducts
without a b&ton.
Sahlender (sftl'-dn-dfir), Emil, b.
Ibenhain, Thuringia, March 12, 1864;
cond. at Heidelberg; pupil Leipzig
Cons.; c. operas, choruses, etc.
Saint-Leon (s&&-l&-6fi), Ch. V. A.,
Paris, 1821-1870; baUet dancer and
violinist; c concertos.
Salazar (s&l-H-thftr), Don Juan
Qarcia, d. 17 10 at Zamora, where
he was cond. at the Catheoral; c.
motets.
Saint-SaSns, Chas. Camille, add
that he c operas "I^te," (1901),
"Les Barbares" (1901), "Andro-
maque** (1903), "HiUne** (Monte
Carlo, 1904), "VAnUtre** (do., 1906),
"Dejantre** (loii); cantata '*La feu
UksU** (1900); fantaisie for violin
and harp (1907); "La Muse et le
PoHe** for violin and orch. 1909;
"Overture de FUe** op. 133, 1909;
songs, piano pieces, etc.
Salter, (i) Sumner, add that since
1905 he has been mus. dir. at
Williams College. (2) Mrs. Maiy
920
THE MUSICAL GUIDE
n€e Turner, b. Peoria, III., March
i5» 1S56; studied singing with Alfred
Arthur, Burlington, la., where she
sang in church; then pupil of Max
SdulUng, John O'Neill, and Mme.
Rudersdorf, Boston; 1877 succeeded
Emma Thursby as soprano of Broad-
way Tabernacle, N. Y.; 1879, soprano
Trinity Church. New Haven, teach-
ing also at Wellesley College. 1881,
married Sunmer Salter, who was her
teacher in composition; 1893 retired
from church and concert work, de-
voting her time to teaching and
composition of songs.
Samar'off (n^ Hickenlooper),
Olga, b. San Antonio, Texas, Aug. 8,
1880 (of German-Russian parents);
pianist; at 9 pupil of Von Sternberg,
later of Marmontel, Widor, and the
Paris Cons.; studied i^^ain with
Ernest Hutcheson and with Jedlicka;
d£but, N. Y., 1905; 1906, London;
has toured widely; 191 1 married
L. Stokovski.
Samazeuilh (s&m-ft-za'-e), Qustave,
b. Bordeaux, Tunc 2, 1877; Paris-
ian critic and composer; pupil of
Chausson and dlndy; c. **Poime**
for violin and orch., "La barque** for
voice and orch., songs, etc.
Sammar'co, Mario, b. Palermo,
1873; barytone; pupil of Cantelli;
d^but Milan; from 1904 at Covent
Garden; from 1907 also at New
York Manhattan C^ra House, and
later at Metropolitan; has sung also
in Russia, South America, etc.
Sances (sftn'-ch£s),Qiovanni Felice,
Rome, 1600— Vienna, Nov. 24, 1679;
tenor and court cond. at Vienna; one
of the first to write "cantatas"; c.
operas, oratorios, etc.
San'den, Aline, dramatic soprano,
member of the Leipzig Opera since
1909; has sung as guest at Berlin,
191 2, Dresden and Braunschweig
court operas with sensational success
as ''Salome,** ''EUktra,** under
Strauss' direction, *'Canw««," etc.
San'ford, Samuel Simons, Bridge-
port, Conn., March 15, 1849 — ^
Haven, Conn., Jan. 6, 1910. Piofesaor
of applied music YaJe University.
Sanlc^ey, Ira David, Edinbuxg, P^
1840 — Brooklyn, Aug. 14, 1909;
worid-famous singer of gospfA hymns
as the singing colleague of the late
D. L. Moody at their mission servioes,
ed. a coll. of mission hymns ''Sacrwi
Songs and Solos,** wtddi bad an en-
ormous circulation.
Sauer, Emil, add that he resiKDcd
his professorship at the Master School
of Vienna Cons., 1907, and moved to
Dresden.
Savage, (i) William, 1720 — Lon-
don, 1789; singer in Chapel Royal;
c. church music. (2) Henry W.,
b. Boston, Mass.; impresario; gradu-
ate of Harvard; as a buflder and
real estate owner in 1895 took over
the Castle Square Theatre. Boston,
and organized a stock co. mich gave
li^t and serious cfpenA for many
years in Boston, New York, etc;
produced many new American ope-
rettas as well as plays; made the
immensely successful productions of
''Parsifal** and "Madame BuUerfiy.'
Savard (s&-v&r), M. A., b. Paris,
May 15, 1861; pupil of the Cons.,
taking the Prix ae Rome, 1886; from
1902 dir. Lyons Cons.
Saw'yer, F. H., Brii^ton, Jmie 19,
1857 — April 29, 1908. Bachelor of
music, Oxford, 1877; Mus. Doc, 1S&4,
Fellow R. C. of organists; organist for
over 30 years; prof, of singing; c ora-
torio, "Mary, the Virgin'* (1884),
recast as "Star of the East** (1889);
cantatas, etc.
Sbriglia (sbrd'-yft), Qiovanni, b.
Naples, 1840; tenor and famous
teacher; pupil of De Roxas; d6but
Naples, 1851: sang throughout Italy
and toured, America with Patti and
others; became a very successful
teacher in Paris, numbering the De
Reszkes, Plangon, Nordica, Sand-
erson, etc., among his pupik.
SchMfer (shft'-f«r)^ Alex. NikoUje-
DICTIONARY OF MUSICIANS 921
vich, b. St. Petersbiug, Sept. 11.
1866; pupQ of the Cons., teacher ana
cond., c. <^)eras, 2 symph., etc.
Schaffrath (sh&r>rilt), Christoph.,
Hohenstein, 1709 — Berlin, 1763; court
composer.
Schall (shftl), Klaus, Copenhagen,
April 28, 1757 — Aug. 10, 183s;
violinist; c. 30 ballets, etc.
Schaub (showp), Hans F., b. Frank-
fort, Sept. 22, 1880; pupil of Rnorr,
Humperdinck, and A. Mendelssohn;
teacher and editor; c. symph. pro-
logue "Monna Vanna" etc.
Scheinpflug (shln'-pfiookh), Paul,
b. Loschwitz, Dresden, Sept. 10, 1875;
pupil of the Cons.; from 1909 cond.
at Kdnigsberg; c. " Friihlings symph, "
(1907), chamber music, etc.; overture
to a comedy of Shakespeare (based on
En^ish melody of i6th century),
Boston Symph. Orch., i909;tone-poem
for orch. (Bremen, 1908), songs, etc.
Schel'ling, Ernest (Henry), b.
Belvedere, N. J., July 26, 1876;
I»anist; played in pubhc before he
was five; pupil of Mathias, Mosz-
kowski, Leschetizky, and for four
years of Paderewski; toured widely;
c symphonic legend, orch. suite,
violin sonata, etc.
Schenk (shSnk), Peter Petrovich,
b. St Petersburg, Feb. 23, 1870;
Eupil of the Cons., and of Saloviev;
brarian and critic; c. operas, 3
83rmph., etc.
Scnenng (sh&'-rlnk), Arnold, b.
Breslau, April 7, 1870; vioUnist and
historian, pupil of Joachim and Succo.
SchieffTerdecker ( shef '-f €r-dek-er ) ,
Jn. Chrn., d. Lilbeck, 1732; organ-
ist; c. operas, etc.
Schiever (she'-vfir), Ernst, b. Han-
over, March 23, 1844; violinist; pupil
of Joachim, later member of his
quartet; from^ 1878 in Liverpool as
cond. of the Richter orch. and the
Sdiiever quartet.
Schjelderup (sh«lt'-^-oop), Ger-
hard, b. Christiansand, Norway,
Nov. 17, 1859; 'cellist; pupil of
Franchomme, Savard and Massenet;
c. operas ** Norwegische Hockseit"
(Prague, 1900), and **FriiMings
NaciUf " a symph. and orch. worics,
"Eine Sommemacht auf iem Fjordf*'
etc.
Schlemailer (shl&'-mfl-lCr), (i)
Qustav, K6nigsbeig, Nov. 7, 1841
— ^Leipzig, May22, 1900; teacher and
critic. His son (2) Hugo, b. Kdnigs-
berg, Oct.2, 1872; 'cellist and teacher
in Leipzig; pupil of Schrdder, Klen-
gd and Bedcer; teacher ; c. 'cello music.
SchlOgel (shl&'.gd), Xavier, b.
Brillonville, Belgiiun, 1854 — Ciney,
1889; pupil Li^ Cons.; c. mass with
orch., chamber music, etc.
Schmeidler (schmltM&r), Karl, b.
Kattowitz, Silesia, Aug. 21, 1859;
teacher in Berlin; c. piano pieces, etc.
Schmitt, (shmet) Florent. b. BIA-
mont, France, Sept. 28, 1870; studied
at Nancy; 1889, entered Paris
Cons, winning second Prix de Rome
1897; first 1900, with cantata Simi-
ramis. He sent from Rome a symph.
poem Combat des Raksasas el DHiv-
ranee de SiUif a svn^>h. ^tude based
on Poe*s '*Le Palais hanii" and the
46th Psalm, which was later played
with success, 1906, increasing to
furore (1910 and Colonne Concerts,
191 2); his piano quintet (1909) has
won great fame; his Tragidie de
Salami was danced by Loie Fuller
1907; his symph. poem SSlamlik
(1904), much chamber music, piano
pieces, and songs have given him a
high place in France.
Schmittbauer (schmIt'-bow-«r),
Joseph Alois, Bamberg, 1718
— Carlsruhe, 1809; cond. and com-
poser.
Schneider, Edward Faber. b. Oma-
ha, Neb., Oct. 3, 1872; pupil of
X. Scharwenka in N. Y., and O.
B. Boise, Beriin; from 1900 in San
Francisco. Dean of mus. dept. of
Mills College; c. music-drama *' Tri-
umph of Bohemia" text by Geor^
Sterling, (Bohemian Club, 1907);
922
THE MUSICAL GUIDE
symph. "The Autumn Time" (San
Francisco Orch. 191 2). songs, etc
Schtoberg (sh&n'-b^rkh), Arnold,
b. Vienna, Sept. 13, 1874; composer
of startling originality; pupil of
Zemlinsky; c symph. poem ^PeUeas
und Melisandtf*' etc His music is
written without bars and has aroused
great hostility and great enthusiasm.
His string ouartet in D minor, op.
7, i^ved in Berlin, 191 2, was actually
hissed as well as a{^lauded; in Lon-
don, 191 2, 5 orch. pieces provoked a
storm; also wrote treatise on har-
mony.
Scholtz (sh61ts), (i) Adolf, 1823
— Brralau, 1834; trumpet \Trtuo80.
(2) Hermann, b. Bredau, June 9,
1845; pianist; pupil of Brosig, Liszt,
von BQlow and Rheinberger; teacher
in Dresden, 1880 chamber virtuoso;
c concerto; edited Chopin's text.
SchOn, Ed., vide engelsbe&g.
Schop (sh6p), Johann, d. Hamburg,
ca. 1665; court violinist in Den-
mark, 1615-19; from 1621 cond. at
Hambun; c instrumental works.
SchOpf (sh^f), Franz, b. Girlau,
1836; organist at Bozen; c an opera
and church music
Schor (sh6r), David, b. Simfen^wl.
1867; pianist; pupil of Amenda ana
Safonofif; at St. Petersburg; member
of the Moscow Trio at Moscow.
Schos'takovski,PeterAdamovich,
b. 1853; pianist; pupil St. Petersbuig
Cons., and of Kullak and Liszt; prof,
at Moscow Cons.; 1894-98 dir. Italian
opera at Moscow.
Schroeder, Alwin, add that in
1903 he resigned from the Boston
Symph. Orch., and joined the Kneisel
Quartet; 1905-7, teacher at New
York Institute of Musical Art; 1907,
first 'cello teacher at Hoch Cons.,
Frankfort-on-Main; 1908, returned
to Boston as co-founder of Hess-
Schroeder Quartet; 1910, first 'cellist
of Boston Symph; resigned 191 2 for
concert tours.
Schu 1 tz- Ada jevski ( shoolts - & - da -
vCf'-ski), Ella von, b. St. Peters-
burg, Feb. 10, 1846; pixpll of Hensdt
and the St. Petersburg, Coos, j pianist;
toured and from 1882 lived at
Venice; c opera "Die MorgemrdUitr
PfdheU" (1881); ''Senate grecqm'
for darinet and piano, etc
Schumann -Heink, Ernestine,
add that 1899-1904 she sang at Ber-
lin Royal Opera as wdl as at Met
Op., N. Y.; X904 she starred in a oooDC
opera, ''Loie^s Lottery"; 1909 die
created "Clyiemneslra** in Strauss^
''Ekktra" at Dresden; Paul S^n-
mann, d. 1904; she m. William Rapp,
Jr., 1905; divorced him, 1912; shehas
simg in concert with enormous soc-
cess in America and in opera abroad;
became naturalized American, 1908.
Schuppan (shoop'-pin), Adolf, b.
Berhn, June 5, 1863; pupil of B.
H&rtel; c chamber music
Schwindel (shvIntM), Fr., d. Carls-
ruhe, 1786; violinist; c operettas,
symphonies, etc
Scott, (i) Lady John Douflas
(n£e Alicia Ann Spottiswoode); Spot-
tiswoode, 1810 — Mardi 12, xgoo;
composer of ''Annie Laurie," and
other songs, (2) Cyril Meir, b.
Oxton, Sept. 27, 1879; pupil of Bodi
Cons.; c a syn4>h., 3 overtures,
vocal works wiUi orch., songs, etc
Scot'ti, Antonio, b. Naples, i86j^;
barytone; d6but Malta, 1889; saAg m
various cities; from 1899 at Covcnt
Garden and Met. Op. House, N. Y^
regularly ; famous as " Z)ofi Gtmiiin. '^
Scriabine (or Skrjabin ), Alex.,
add that according to Rosa Nev-
march he was bom Jan. xo» not 6;
he was piano prof, at Moscow Coos.
i898r-i903, then devoted himself to
onnposition; played in New Yock,
1906, his own concerto; 3 symi^., the
first with choral finale "Rivene" and
"Po^me de VExtase" for orch., 3 piano
sonatas, etc He gave recitals of his
own works, Berlin, 191 1. His wife
Vera, is also a pianist.
Sebald (z&'-bftlt), Alex.,b. Pest, April
DICTIONARY OF MUSICIANS 923
ap, 1869; violinist; pupil of Saphir and
C. Thomson; monber of Gewand-
haus orch., Leipzig, and toured with
Gewandhaus Quartet; toured widely
fran 1903 ; was concertm. Berlin Royal
Qrcfa.; 1906 taught in Chicago; 1907
opened a school in Berlin; wrote a
metibod and c. violin pieces, etc.
Seck'endorff, Karl Siegmund,
Freiherr von, Erlangen, Nov. 26,
1744 — Ansbach, May 6, 1809; c. a
moiuxlrama and songs to Goethe's
texts.
Soeg(e)r (sft'-g«r) (or Segert or
Zeckert), Joseph Norbert,
Rzepin, Bohemia, March 21, 1716 —
Prague, April 22, 1872: composer;
famous organist and teacher; c. tocca-
tas masses etc.
Secni (sftn'-ye), Qiulio, (called Giulio
da Modena), Modena, 1498 — Rome,
i56i;oiganist.
Seinert (kf-fCrt^, Max, b. Beeskow,
Feb. 9, 1868; historian and com-
poser; pupil of Spitta; from 1891 at
Bedin as author and 1907 Royal
Prof.
Seixas (sft'-shAs), Jos^ Ant. Carlos
de, organist and composer; Coimbra,
June II, 1704 — Aug. 25, 1742,
organist and church composer.
Sekles (zek'-lSs), Bernhard, b.
Frankfort-on-Main, June 20, 1872;
pupil of Hoch Cons., later theory
teacher there; c. symph. poem "Die
Garten der Semiramis,** songs, etc.
Sel(e)neccer (s&MS-n^-ker), Niko-
laus, Hersbruch, n. Nuremberg,
1528 — after 1587; organist and com-
poser of hymns.
Serigmann, Julius, Hamburg, 1817
— Glasgow, May 4, 1903; teacher and
conductor; founder of Glasgow Soc.
of Musicians, and for 14 years its
president.
Sel'mer, Johann, Christiania, Jan.
20, 1844 — Venice, July 21, 1910:
Norwegian composer; cond. and
author; pupil of A. Thomas, Paris,
Richter and Paul, Leipzig; 1883-6
cond. Phil, orch., Christiania; driven
south by pulmonary trouble; c. Nor-
wegian Festival March, "Seine funi-
bre/* Finnish Festival Bells, "In the
Mountains^ ** " CanUval in Flanders ^ "
etc., for orch., choral works with
orch., songs, etc.
Senaill^ (sfin-I-yft), Jean Baptiste,
Paris, Nov. 23, 1687 — April 29,
1730; famous violinist; at court of
Louis XV; c. violin sonatas, etc.
Senger-Bettaque(z€ng'-ker-bet-tfik-
vC), Katharina, b. Berlin, Aug. 2,
1862; soprano; a ballet dancer at
the Imperial Opera, Berlin, then
studied with Dom, and 1870 ap-
peared on the same stage in aoubrette
r61es; sang in various dries, 1888 in
Bayreuth as "Eva**; 1895 married
the actor Alex. Senger.
Serato (s&-r&'-t6), Amigo, b. Bo-
logna, Feb. 7, 1877; violinist, son and
pupil of a violinist and prof, at the
cons.; later pujHl of Sarti; has played
with success in Germany and else-
where.
Serran'o (or Serrao), Emilio, b.
Vitoria, 1850; court pianist at Mad-
rid; prof, at the Cons., and dir. of
RoyaJ Opera; c. operas.
Servais (s€r-v6')i Franz or Fransois,
(Matthieu), 1844 — Asnitos, Jan.
14, 1901; cond. at Brussels; c. <M>era
"VAppolonide** or "Ion** (Carlsruhe
1899). Son of Adrien Fr. (g. v.)
Sevcik (sh«f'-chlk). Otokar, b.
Horazdowitz, Bohemia, March 22,
1852; famous violin teacher; pupil of
Prague Cons.; from 1870 concert-
master various cities; 1875 prof. at
Kiev; 1892 at Prague Cons.; teacher
of Kubehk, Kodan, etc.; author of
methods; c. Bohemian dances, varia-
tions, etc.
S6v6rac (s&-v&-r&k), Ddodat de, b.
Saint Felix, July 20, 1874; writer
and composer; pupil Toulouse Cons.,
and the Schola cantorum, Paris; a
concert of his works was given in
1905 with success; c. 2-act Ivric
drama "Le Coeur de Moulin** (Op.
Com. Paris, 1909); lyric tragedy
924
THE MUSICAL GUIDE
"HiliogabaW* (Artees dc Beziers,
1910); **MugueUo" (1911); ''HiUne
de Sparte" (Paris 19 12); symph.
poems, **Nymphes au CripuscuU" and
**Did(m et EnSe**; a piano sonata, etc.
Sevdel, Irma. b. Boston (?) 1896
(?); violinist; pupil of her fatho-,
Theodore S. (contrabass of Boston
Symph.) Strube, C. M. Loeffler, and
Maquarre; d6but at Cologne 19 10;
played with Boston Symph. 191 2.
Seyfert (zl'-ffirt), Johann, b. Ftague,
1837; 'cellist; pupil Prague Cons.;
from 1859, teadier at St. Petersburg
Cons.
Shaliapin, vide chaliapine.
Sharpe, Ethel, b. Dublin, Nov. 28,
1872; pianist; pupil R. Irish Acad.,
and of R. C. M., London; d6but Lon-
don 189 1 ; 1895 married Alfred Hob-
day, viola-virtuoso.
Shepherd, Arthur, b. Paris, Idaho,
Feb. 19, 1880; 11892, pupil at N.
E. Cons. Boston, of Dennee and
Faelten (piano), Benj. Cutter (har-
mony): Goetschius and Chadwick
(comp.); graduated 1897, and settled
in Ssdt Lake City as t^icher; cond.
Salt Lake Symph. Orch.; from 1909,
teacher of piano, harmony and cpt.
at N. £. Cons.; 1902, won Paderewski
prize with **Oteverture Joyeuse";
i^ won two Nat. Fed. prizes with
piano sonata, and song, "The Lost
Child**; c also barytone solo with
chor. and orch., songs and piano
pieces.
Shir'refT, Jane, 181 1 — Kensington,
Dec. 23, 1883; singer at Covent
Garden; 1838 toured America.
Sibelius, Jean, add that he became
the principal of the Helsingfors Cons,
and has increased his fame as a com-
poser of remarkable national-
ism, though he denies that he uses
folk -music. Add to his composi-
tions 2 symphs., overture and suites,
"Karelia" tone-poems for orch.
"En Saga." and "Finlandia"; erch.
suite, "Pelleas and Melisande"
symphonic fantasias, "Pohgolas*
Daughter," "Bdshaaar^s Feast,"
indd. music to "Kuolema,** etc
Sichra (s!kh'-r&), Andreas Ossipo-
vich, Wilna, 1772— St. Petecdbuig,
1861 ; guitarist and composer.
Sick (sOl), Theodor Bemhard, b.
Copenhagen, Nov. 7, 1827; artillGj
officer and composer of f^iamlw
music.
Siefert (zS'-fM), Paul, Danag,
1586-1666; organist and oonmoGer.
Simon (se-m6J0> Anton Yuiierich,
b. France, 1851; composer; popS
of Paris Cons.; 1871 theatre cond. is
Moscow; 1891 prof, at PhO. Sockty
School; c. 6 opms, syn^>h. poems, etc
Simonet'ti, Achille, b. l^mn, Jose
12, 1859; violinist; pujnl of Sivori.
Danda, and Massenet; menubcr of
the "London Trio"; c. violin sonatas,
etc.
Sinciair (slnkMSr), Qeorse Robert-
son, b. Croyden, Oct. 28, 1863;
organist; piq>il Ouseley, Stewart, ani
Lloyd; at 17 was organist <rf Tmro
Cathedral; from 1889 at Hereford
Cath., cond. the H. Festivals, 1891-
i^; 1809 Mus. Doc from Aicb-
bishop of Canterbury; 1904 fellow
of R. Coll. of Oiiganists.
Sinding, Christian, add that he c
2 symph.; the first was played bj
the Boston Symph., 1899 aiid 1906,
"Episodes chewtleresques" for mtu
(based on a poem by Holgar Dradi-
mann), "Rondo infinito^ for orch.
(1898, Theo. Thomas, Chicago, 1900);
piano concerto, 2 violin concertos;
chamber music, piano pieces, a soog-
cycle, " Heimfakrt" etc
Sin'ico, (i) Francesco, Trieste,
18 10-1865; conductor and composer.
His son (2) Qiuseppe, Trieste, Fcb.
10, 1836 — Dec. 31. 1907, c operas.
Sinigaglla (s6-nl-^ -y&), Leone, b.
Turin, Aug. 14, 1868; pupil of the
Cons, and of Mandyczewski; c. vk^in
concerto, rhapsody " PitmonUse,*"
for violin and orch., string quartet,
concert 6tude for quartet, overtoit
"Le haniffe chiozzoUe" etc
DICTIONARY OF MUSICIANS 925
SIAdek (sUL'-dSk), Wendelin, d.
Prague, July i, 1901; contrabassist;
cxnnposer and teacher at Prague Cons.
Smieton, (i) John More, Dun-
dec, 1857 — Broughty Ferry, July
13, 1904. Before the age of 10, c.
songs, piano pieces and produced
cantata " Feact, " Pupil of Sir Her-
bert Oakeley. In collaboration with
his brother, (2) James, prod, several
choral works.
Smith, David Stanley, b. Toledo,
Ohio, July 6, 1877; pupil of Hora-
tio W. Parker, at Yale, where he
graduated 1900 with a '^ Commence-
ment Ode*' for barytone (Herbert
Witherspoon), chorus and orch.;
studied then with Thuille and Widor
abroad; 1903 Mus. Bac. Yale; from
Z904 teadier, later asst. prof, at
Yale; c. symph., symph. poem
** Darkness and Dawn," overture
**Joyeuse*' (Boston Symph. Orch.,
1904): 1909, won Paderewski Prize
with '^The FaUen Star," for chorus
and orch.
Smolen'ski, Stephan V., Kasan,
1848 — St. Petersburg, Aug. 6, 1909;
prof, of history of Russian church
music at Moscow Cons.; 1901 cond.
court chapel at St. Petersbiurg; author
of important historical works.
Smul'ders, Karl Anton, b. Maest-
richt, May 8, 1863; pupil of Li^
Cons.; c. piano pieces, etc.
Smyth, Ethel Mary, add that she
was bom London, April 23, 1858;
dau^ter of Artillery general; pupil
of Leipzig Cons, and of Herzogenberg.
Her string quintet was played there
1884; her violin sonata 1887; c.orch.
serenade (London, 1890), overture
** Antony and Cleopatra** (do.); Mass
in D (London, 1893 under Bamby),
and operas, "Fantasio" (her own lib-
retto, Weimar 1898, Carlsruhe, 1901);
i-act "Dcr Wold" (her own German
libretto, Dresden, 1901, Covent Gar-
den, 1902 and 1903, Met. Op., N. Y..
1903); 3 -act ^*Les Naufrageurs**
(book by Leforestier), given at Leip-
zig, 1906, as " Strandrecht** (Prague,
do.) ; c. also songs with orch.
Snoer (snoor), Johannes, b. Amster-
dam, June 28, 1868; harpist at Leipzig
and Bayreuth; pupil of Schuficker;
c. harp pieces.
Sokarski, (i) Peter Petrovich,
Charkov, Sept. 26, 1832 t- Odessa,
April II, 1887; author and composer
of operas and piano pieces. His
nephew and pupil (2) Vladimir
ivanovich, b. Heidelberg, April 6,
1863; lawyer and composer of a
s^ph. (1894). a children's opera.
The Turnip f a dramatic fantasie
for orch., etc.
Sokolov, Nikolai Alexandrovich,
add correct birth date, St. Petersburg,
March 26, 1858; from 1896 teacher at
the Cons.; c. indd. music to Shake-
speare's "Winter's Tale," ballet,
" The Wild Swans, " 3 string quartets,
songs, etc.
SoI'dene, Emily, Islington, 1844 —
London, April 8, 191 2; at first a
music hall singer; 187 1 appeared in
"Geneviive de Brabant," 1873 "J^
FiUe de Mme. Angot, " touring Amer-
ica and Australia; she wtote a novel
and contributed to journals.
Sol'nitz, Anton Wilhelm, 1722 —
Amsterdam, 1758; c. symphonies, etc.
Soltys (s6r-tSs), Mieczyslaw, b.
Lemberg, Feb. 7, 1863; pupil of Krenn
and Gigout; director and teacher
Lemberg Cons.; c. operas, symph.,
oratorio, etc.
Som'born, Theodor Karl, b. Bar-
men, Nov. 16, 185 1 ; pupil of Rhein-
berger and Wuflner; from 1882
teadier, Strassburg Cons.; c. operas
"Fhilenor" (Strassburg, 1903), "Die
Flamme" (1908), etc.
Son'neck, Oskar Qeo. Th., b.
Jersey City, N. J., Oct. 6, 1873;
author; at 20 stumed at Heidelberg,
Munich and Italy; 1899 returned to
America as music librarian at the
Library of Congress.
Spagnoletti (sp^n-yO-lSt'-te), Paolo
(rightly P. Diana), Cremona,
926
THE MUSICAL GUIDE
1768 — London, 1834; violinist and
cond.; pupil Na|4es Cons.; from 1802
in LcfDOon in the King's theatre orch.;
181 2 cond. Italian Opera, 181 7 cond.
King's theatre orch.; gained immense
popularity in London.
Spanuth (sp&n'-oot), August^ b.
Brinkuipy Ilanover, March 15, 1857;
pianist and critic; pupil of Hodi
Cons., Frankfort-on-Main; 1886-1893
Chicago as pianist and teacher; then
in New York as critic; 1906 returned
to Berlin as editor.
Speer, (i) Charlton T., b. Chelten-
ham. Nov. 21, 1859; pupil R. A. M.
. London, winning a scnolkrship; from
1885 prof, of piano there, also orgamst
at various churches; c. 2 operas,
"The BatOe of Lake RegiUus,'' for
chorus and orch.; symph. poem,
*^Kini Arthur f** etc. His coudn
(2) William Henry, b. London.
18^3; organist; pupil of Lloyd ana
the R. C. M.; 1906 Mus. Doc. Cam-
bridge; c. symph., overture, orch.,
rhaf^odv, ballad, "The Jackdaw of
RheitnSf etc.
Spielter (shpel'-tSr), Hermann, b.
Bremen, April 26, i860; pupil Leip-
zig Cons.; urom 1804 in New York as
composer and teacner.
Sporck, Georges, b. Paris, April
9, 1870; pupil of the Cons, and of d'
Indy; c. S3anph. poems, symphonie
"KMWOMe," "Esquisses symphonic
queSj" etc,
Spring'er, Max, b. Schwendi, Dec.
19, 1877; pupil of Schachleiter and
Klicka; joined the Benedictine abbey
of Saint Emaus at Prague; organist
and composer there.
Sq uarciatupi ( skwftr-ch&-loo'-p€ ),
Antonio, famous 15th century
organist and composer of th^
Florentine School.
Squire, William Barclay, b.
London, Oct. 16, 1855; historian and
author, educated at Cambridge, 1879,
B. A.; 1902, M. A.; critic, librettist
and antiquarian.
Stamm, (sht&m), Thomas Oswald,
b. Uthleben, April 17, 1868; pupfl of
Jadassohn and Radecke; teacher
and cond. at Weissenfds; c sym-
phony, etc.
Stanford, Sir Chas. Villiers, add
that he was knighted, 1901, and
made cond. of the Leeds Festhral,
resigning the Bach Chair, 1904; com-
posed motet with orch., " Tke Lord
of Might** (1903); sympiiony Na 6,
*Vn Memoriam G, F. WaUs," 7th
sjonphony (London PhiL, Feb.,
1912), "Stabat Mater,'* with ordu
(Leeds Fest, 1907); ^'Wdimgf^m,"
for voices and orch., indd. mus. to
"AUila" (1907), overture "Avi
atque Vale*' (Haydn Centcnaiy,
1000) etc.
SuVi/orth, T. W., Sheffield, Jme
7, 1845 — March 25, 1909; pianist,
organist and composer.
Starczewski (st&r-cfaSF-skl), Fdijc
b. Warsaw, 1868; critic and auth«]
pupil of the Music Institute and of
Humperdinck, Fleischer, and d*Indy;
c. ordiestral pieces, etc
Starzer (sht&r'-tser), Josef, Vien-
na, 1726 — April 22, 1787; from 1760
court conductor at St. Petersburg; c
ballets, oratorio, etc.
Statkov'ski, Roman von, b. near
Kalisch, Dec. 24, 1859; pupfl of Zekn-
ski, and of St. Petersburg Coos.;
teacher of instrumentation and his-
tory at Warsaw Cons. His open
"PhUaenis** took an intematiooal
prize in London and was prod., War-
saw, 1904; c. also opera "Maria
(Warsaw, 1906); fantasie and polon-
aise for orch., piano pieces, etc.
Stefani (st&'-f&-nf), (i) Jan. Pngne,
1746 — Warsaw, Feb. 24, 1829;
Mus. Director; director at War-
saw Cathedral; c. opera **Die Krako-
wiier und die BergvSlkeTf** 1794, and
others, also masses and poloiudses.
Jffis son (2) Josef, Warsaw, April
16. 1800 — (?); pupQ of Elaier; c.
ballets, operettas, also 10 masfies, etc.
Stef'fan, Joseph Anton, Cdpi-
dino, Bohemia, March 14, 1726 —
DICTIONARY OF MUSICIANS 927
Vienna, 1800; court i^ano teacher at
Vienna, numbering among his pupils
Marie Antoinette and Queen Caroline
of Naples; c piano pieces and songs.
Steigleder (stIkh-lSrder), Johann
iJlrich, Lindau, 1580 — Stuttgart.
1635; from 1605 court organist and
composer at Stuttgart.
Stein (shtin), Fritz, b. Heidelberg,
Dec. 17, 1879; theologian at first, then
studied music; organist and cond. at
Heidelberg, 1906; musical dir. of Jena
University, cond. academic concerts.
Steinhauer (shtIn'-how-£r} Karl,
b. Dtisseldorf, May 29, 1852; pupil of
Leipzig Cons.; singing teacher and
cond. at Diisseldorf; from 1901 at
Oberhatiser; c. male choruses with
orch., etc.
Stendhal (st&A-d&l), pen-name of
Marie Henri Beyle (b^), Grenoble,
Jan- 23, 1783 — Paris, March 23,
1842 ; French consul at Civitavecchia,
1831-42, and author of numerous
books in music.
Sten'iiammar, (i)Predrika, Wisby,
1836 — Stockholm, 1880; operatic so-
prano; bom Andr6e. (2) Ulrilc, Stock-
holm, 182(^1875; composer of oratorio
"Saul,'' etc. IDs son (3) Wilhelm,
b. Stockholm, Feb. 7, 1871; pianist;
pupil of the Cons., and of H. Barth;
mnn 1898 cond. PhU. Society in
Stockholm; from 1900 assistant cond.
at the Royal Theatre; c. symph.,
*'Prinsessan och Svennen** for voices
and orch., music, dramas "Tirfing"
(Stockhohn, 1898), and "Das Fest auf
SUhaug" (Stuttgart, 1899), overture
"Excelsior,'* and many important
songs.
Stepnani (st&'-f&-ne}, Hermann,
b. Grimma, June 23, 1877; from 1906
director and organist at Eisleben;
pupU Leipzig Cons.; c. Fest. overture,
etc.
Stierlin (shtsr'-lln), Joli. Qottfr.
Adolf., b. Adenau, Oct. 14, 1859;
bass; pupil of F. Schmidt; 1897
founded a Cons, in MQnster; c. operas
ballets, etc
Stock, Fr. Wm. Aug., b. Dolich.
Nov. II, i872;composer;son andpupil
of a military bandmaster; then studied
with Humperdinck, ZdUner, Jensen
and WUllner, at the Cologne Cons.;
1891-S violinist in the City Orch.;
then joined the Thomas Orch. in
Chicago; 1899 became assistant cond.
to Theodore Thomas, on whose death
in 1905 he was chosen as conductor;
c. symphonic poems, symph., varia-
tions, chamber music, songs, etc.
Stojowski, Sigismund, add that
he has lived in New York since 1906
as piano prof. Musical Art Inst.,
giving frequent redtab. Add to his
comps. symph. (Leipsiz, 1898); ro-
mance for violin and orch.; chor.
with orch. "Spring"; Polish Rhap-
sodie for piano and orch.; violm
concerto (1908); violin and piano
sonata op. 37 (New York, 191 2).
Stokowskl, (st&-k6f'-skl) Leopold.
b. London, of Polish parentage;
graduated at Oxford; studied at
Paris Cons., acted as cond. there
1905-8 mus. dir. St. Bartholomew's,
N. Y.; 1908, cond. in London; 1909-
12, cond. Cincinnati Symph. Otai\
191 2, cond. Philadelphia Chrdi., vice
Carl Pohlig; 191 1, mairied the pianist
Olga Samaroff.
Stolze (sht6l'-ts€), (i) Q. Chr.,
Erfurt, 1 762-1830; organist. His son
(2) H. Wm., Erfurt, 1801— Celle,
1868; organist; c. oratorio, canta-
tas etc
Stradar (str&'-dfil), August, b.
Teplitz, i860; pupil of Door, Bruck-
ner, and Liszt; pianist and composer.
Stran'sky Josef, b. Bohemia, 1873,
of German parents; studied medicine
at first; and then music while at the
Universities of Vienna, Leipzig and
Prague; d6but as cond. at Prague
Opera, succeeding Muck, later suc-
ceedea Mahler at Hamburg; cond.
BlUthner orch., Berlin; 191 1, suc-
ceeded Mahler as cond. N. Y. Phil.
Straus (shtrows), Oskar, b. Vienna,
April 6, 1870; pupil of Gr&dener and
928
THE MUSICAL GUIDE
Max Bnich; cond. theatres in various
cities; c. overture ^^Der Traum ein
Lebcfi," chamber music and many
operas, some of them extremely suc-
cessful, espedaily "Ein Walzer-
iraum" (Vienna, 1906; London and
America as ''The Walts Dream");
'*Dertapfere Soldal*' (Vienna, 1908),
''LiUle May'' (Paris, 1909), etc.
Strauss, Richard, Add that a
Strauss Festival was given in London,
1903, with S. conducting the Amster-
dam Orch. ; 1904 he was made general
musical director of the Berlin Royal
Opera; c. 2 symphonies, F moll. op.
12 and Sinfonia Domestica (1904);
operas ''SahnU" (i act after Oscar
Wilde, Dresden, 1905, and through-
out Europe; prod, at Met. Op., N. Y.;
it was withdrawn by the subscribers'
request after one performance);
**Elektra'* (Dresden, 1909, and in
many other capitals); "Der Rosen-
kavalier'' (Dresden, June 26, 191 1,
and throughout Europe); '*Circey**
** Ariadne auf Naxos." (Stuttgart,
Oct. 25, 1912).
Strube, Qustave, add that the
Boston S>anph. Orch. of which he is
still a member, has played composi-
tions of his as follows; symphony in
C minor (1896), in B minor (1009
and 191 2); overtures "The Maia of
Orleans*' (1895); "Fantastic" (1904);
"Puck" (1910); symph. poems
"Longing" (1905 and 1908); "Fan-
tastic Dance" (1908); concertos, vio-
lin (1897, 1905, 1006); 'cello (1909),
etc.; 1909 he became a cond. of the
Worcester Festivals.
Strungk, Delphin, 1611 — Bruns-
wick, 1694; organist and composer;
father of Nikolaus S. (q. v.).
St(s)cherbatschev ( sht - ch€r' - bftt-
sh€f), (i) Nikolai Vladimirovich,
b. Aug. 24, 1853; Russian composer of
songs & piano pieces; c. also Serenade-
op. 33 and 2 Idyllsffor orch., (2) An-
drew, v., b. Pultava, Jan. 29, 1869;
pupil St. Petersburg Cons.; c. orch.
march, piano sonata, songs, etc
Such, Henry, b. London, Mardb 31,
1872; violinist in public at ei^t;
pupil of the Hodischule, Beiiin,
1885-92; then toured, studied furtfaa
with Wilhehnj; 1898 prof, at Goild-
hall School.
Suter (zoo'-t£r), HernianOt b.
Kaiserstuhl, Switzerland, April 2$,
1870; pupil of his father, an orgBnist,
and of the Stuttgart and Lexfuig
Cons.; from 1892, organist and oood.
in Ztlrich, from 1902 in Basel as cond.;
c. quartets and choruses.
Sutor (zoo'-t6r), Wilhelm, Edel-
stetten, 1774 — Linden, Sept. 7, 1828;
court cond. at Hanover; c. operas, etc.
Swoboda (sv5'-b5-d&), (i) August,
Bohemia, 1787 — Prague, 'May 17.
1856; teacher of theoiy, at Vienna.
His son (2) Adalbert Viktor,
Prague, Jan. 26, 1828 — Munidi,
May 19, 1902; historian and editor.
Szamotulski, vide wenzei..
Tanejew (or Taneiev), (i) Sert^i
Ivanovich, add that he composed
a cantata "John of Danmscus," 1884;
four symphonies. No. i pub. 1902,
a Russian overture, seven string
quartets. His uncle (2) Alexander
Sergei vich,b. St. Peter^uig, Jan. 5,
1850; statesman and high chancd]<x^;
was a pupil of Reichel and later of
Rimsky-Korsakov and Petrov; c two
symphs.; symph. poem "Alecha Popo-
vich"; i-act opera, etc.
Taubmann (towp'-m&n), Otto,
b. Hamburg, Maich 8, 1859; mus.
director; pupil Dresden Cons.; 1886-9
dir. Wiesbaden Cons. 1891 theatre
cond. in St. Petersburg; from 1895 ^
Berlin as critic; c. mass with oich.
(1898), choral drama " S&ngerweike''
(Elberfeld, 1904), "Psalm 13" with
orch., etc.
Taund (sh^-townt), Eugen iron
Schyll, b. Pre^uig, July 17, 1856;
opera ccHnposer; c. operettas prod,
at Vienna.
Tchaikovsky, The correct birth
DICTIONARY OF MUSICIANS 929
date is May 7 (new style), April 25
(old style). 1840.
TetMddini (Ul-bal-de'-ne),Qiovanni,
b. Bresda, Sept. 1864; historian;
eupQ Milan Cons., and in musical
btory of Amelli, Haberl and Haller;
1889 cond. at St. Marie's, Venice; 1894
at San Antonio, Padua; from 1897,
dir. Parma Cons., wrote historical
woriss, and c. Arabian fantasie for
ordi., also church music.
TeichmOller (tlkh'-mll-l€r), Robert,
b. Braunschweig, May 4, 1863; piano
teacher; pupil of his father and of
Leipzig Cons.; later teacher there;
1908 Royal Prof.
Tempia (t&n'-p^&)i Stefano» Rac-
conizi, Dec. 5, 1832 — Turin, Nov.
25, 1878; violin teacher at Turin
Cons, and composer of masses, etc.
Terrabugio (t^r-r^-boo'-jd), Giu-
seppe, b. Pnmiera, May 13, 1842;
writer ; pupU of Rheinberger, etc. ; from
1883 editor of *'Musica Sacra" at
Milan, and active in the reform
of church music; author of organ
methods; c. overtures, 12 masses, and
much church music.
Ter'ry, Richard Runciman, b.
Ellington 1865; organist; 1890 — 2 at
Elston School, then in Antigua,
West Indies, at St. John's Cathedral;
1 896-1901 Downside Abbey; from
1901 atWestminsterCathedml; active
in reviving early English Catholic
music.
Tetrazzini (t€t-rft-ts€'-ne), Luisa,
b. Florence; pupil of Ceccherini, and
her sister Eva, wife of Cleofonte
Campanini; d6but 1895 as Inez
in " VAfricaine," Teatro Pagliano,
Florence; later at Rome and else-
where, touring widely in Russia
and South America; a favourite in
San Francisco, her fame had not
reached eastward till after a season of
great success at Covent Garden. 1007,
she made a sensation at the Manhat-
tan Opera, N. Y. She has since held
a foremost position among the world's
sopranos in opera and concert. Her
voice is one of extraordinary grace
and flexibility in coloratura r61es.
Theindl (tint'-l), J. N., d. Pest,
Dec. 30, 1902; pianist.
Thiard-Laforest (te-&r-l&-f6r-ft),
Josef, Pttsp5ki, March x6, 1841 —
Pressburg, March 2, 1897; from 1881
cond. at Pressburg Cathedral.
Thibaud (te-bd), Jacques, b. Bor-
deaux, Sept. 27, 1880; violinist; pufHl
of Marsick at Paris Cons., winning
first prize at 16; played at the Cafl
Rouge and was engaged for Colonne*s
orch., became soloist 1898; has toured
widely in Europe and America.
Thi^baut (t'yft'-b6), Henri, b.
Schaerbeck, near Brussels, Feb. 4,
1865; teacher and critic in Brussels;
founded, 1896, a music-school devel-
oped 1907 into the "Institut des
hautes Etudes musicales et dramati-
ques"; c. orch. works, songs, etc.
Thiele, (i) K. L., should be Jo-
hann Fr. Ludwig. His son (2)
Eugen Felix Richard, Berlin, Oct.
29, 1847 — April 2$, 1903; organist
at English church; competed panto-
mimes, etc. (3) Edvard, d. Dessau,
Jan. 10, 1895.
Thirion (te-n-6&), Louis, b. Bac-
carat, 1879; piano teacher at Nancy
Cons. ; c. symph. ; played by Colonne's
orch., under Piem6, 191 1, with success.
Thomelin (tdm-l&n), Jacques,
famous organist in Paris; ca. 1667
chapel organist to Louis XIV; c,
organ works, etc.
Thompson, Lady, vide loder.
Thoost (tost), Willem Frans,
Amsterdam, July 10, 1829 — Rotter-
dam, Aug. 27, 1900; pupil of Dupont.
Hauptmann and Richter; founded
the German opera at Rotterdam,
i860; c. choral prize symphony,
'*Karl 7" (1861); 3 other symphs.,
an opera, etc.
Thoriey Handel, d. Manchester,
Jan. 20, 1910, age 87; bass singer,
chorister; double bass in Halle orch.
over 40 years.
Thorne, John of Yorlc, d. York,
930
THE MUSICAL GUIDE
I^- 7i 1573; important English
musician: c. motet, etc.
Thouret (too-rft), Qeorg» b. Berlin,
Aug. 2$, 1855; historian, especially
of German nulitary music.
Thrane (tr&-nS), Waldemar, Chris-
tiania, 1790-1828; violinist; c. over-
tures, etc
Tierie (te'-r€), Anton H., .b.
Wagenin^en, April 4, 1870; organist,
teacher m Amsterdam Cons.; cond.
oratorio society.
Till'metz, Rudolf, b. Mum'ch, April
1, 1847; flutist; pupil of Bohm; 1864
soloist in court orch.; 1883 teacher
in Royal Musichsch., and cond. to
Prince Ludwig Fd.; c. flute works.
Tim'mermans, Armand, b. Ant-
werp, i860; pupil of the Cons., and
teacher in Antwerp; c. prize winning
choral works
Tischer (tlsh'-Cr), Johann Niko-
laus, 1731-^66 oiganist at Schmal-
kalden; pupil of J. S. Bach; c.
clavier-pieces, orch. works, etc. (2)
Gerhard, b. Labnitz, Nov. 10,
1877; historian, Ph.D., Berlin, 1903;
from 1904 teacner of musical history
in Cologne.
Titelouze (tet-looz), Jean, St.
Omer, 1563 — Rouen, Oct. 25, 1633;
organist; called the *' founder of
French organ music"; 1585 org. at
St. Jean Rouen, from 1588 at the
cathedral there; c. mass, and organ
works
Titov or Titoff (t€'-tAf), (i) Vassili,
17th century church composer. (2)
Alexei Nikolaievich; 1769 — St.
Petersburg, Nov. 20, 1827; Russian
cavalry general; c. 13 operas. His
brother (3) Sergei N.. b. 1770; c.
operas and ballets. (4) Nikolai
Alexei vich, St. Petersbiurg, May
10, i8oo — Dec. 22, 1875; son of (2)
called the "grandfather of Russian
song"; a lieutenant-general, whose
songs were the first to obtain foreign
vogue; c. also popular dances and
marches.
Tiv'endell, Frederick, b. Eng-
land, 1825; oiganist at
1843 puptt of Spohr and Lcapdg
Cons.; popular as accompanist to
Spohr, Jenny Lind, etc
Tod (tot), Eduard Adolf, Neo-
hausen, 1839 — Stuttgart, 1873; or-
ganist and conmoser.
Todt (tdt), Job. Aug. Wilhelni,
b. DOsterort, July 29, 1833 — Stettin.
Oct. 26, 1900; oiganisty cantor ana
composer.
Tofano (to-f^'-no), QusUnro,
Naples, Dec 22, 1844 — June 30,
18^; pufHl at the Bologna Cons, and
prof, there; pianist and composer.
Tofft, Alfred, b. Copenhagen, Jan.
2, 1865; pupfl of Nebdong and BoU-
mann; c opera " Vifatidaka" (Copen-
hagen, 1898), songs, etc.
Tofte (tOf'-t€), Lars Waldemar,
Copenhagen, Oct. 21, 1832 — Jane,
1907; court violinist and tcaditr at
the Cons.
Tol'lius, Jan. b. AmersfOTt, 1550—
Copenhagen, 1603 (?); churchHoood.
in Italian dti»; 1601 court-cond. at
Copenhagen; c. motets, madrigals, etc
Tolstoi (tdr-std-€), Count Theo-
phil Matveievich, 1809 — St. Pe-
tersburg, March 4, 1881; critic under
pen-name " Rostislav " and composer;
studied singing with Rubini, camp,
with Fuchs, Miller, Raimmidi and
Hebd; 1832 prod, opera.
«
di Parigi," Naples; 18^5 at St.
Petersburg, its failure led ^^diolas
I to forbid the Italian singers to ap-
pear in Russian works. He c also
songs.
Tolstov (tdl'-stAf), Victor Paulo-
vich, b. St; Petersburg, Dec 5, 1843;
pianist; pupil of Leschetizky; from
1878 teacher at St. Petersburg Cons.;
1889 prof, there.
Tonassi (to-n&s'-s6), Pietro, Venkt,
Sept. 1801 — Nov. 4, 1877; composer
of church music, etc
Toneiii, Antonio, Carpi, Italy,
Aug. 19, 1686 — Dec. 25, 1765;
important early 'cellist; pupfl of Ins
mother and of Pace; after a wander-
DICTIONARY OF MUSICIANS 931
iDg life indudbig (perhaps) three
3^ear5 in Denmark, he was made cond.
at the Cathedral in Carpi; c. opera
**Lucio Veto" (Alassio, 1740). After
some years the Wanderiust carried
him on to and from Carpi, where he
died; c. oratorio, cantatas, etc.
T5pler (t^pMSr), Michael, Ul-
lersdorf, Jan. i<, 1804 — Brilhl, Nov.
13, 1874; teacher and composer of
church music.
Torrance, Canon Qeo. Wm., add
that he returned to Ireland, 1897,
and 1900 became canon at Kilkenny,
where he died Aug. 20, 1907. iSs
mskAn^l **Dry be that tear,** won
MoWneuz prize and London Madri-
gal Society medal, 1903.
Toscanini (tAs-ka-nC'-nf), Arturo,
b. Italy; pupil Milan Cons.; won
eminence as conductor at La Scala,
and since 1908 has cond. with greatest
success at the Met. Op. House, N. Y.,
not only Italian operas, but Wag-
nerian and French.
Toschi (t€sh'-€), Carlo Giuseppe,
Romagna, 1724 — Munich, April 12,
1788; court dir. and composer. His
ton and successor (2) Johann Bap«
tisty Mannheim, ca. 1745 — Mim-
ich May i, 1800; c. 18 synmhs., etc.
Tournemlre (toom-m€r), Charles
Arnould, b. Bordeaux, Jan. 22,
1870; organist and successor of C6sar
Franck at Ste. Clothilde; pupil of
the Paris Cons, (winning first organ
prize 1891); then of d'Indy. The City of
Paris prize was awarded to his "Le
Sang tfe la Sirine,* * for voices and orch.
1004, and it has been given in various
cities; c symph., lyric tragedy "iV»/-
UUsj** chamber music, etc
To'vey, Donald Francis, b. Eton,
July 17, 187J; pianist; pupil of
Sophie Weisse ^iano), Parratt, Hi^s
and Parry (comp.); graduated at Ox-
ford, 1898; began to compose at 8; at
19 gave a concert at Windsor with
Joachim; from 1900 played in Lon-
don and on the continent; 1903 and
1906 performed his own piano con-
certo under Wood and Richter; c.
military band music, chamber music,
sonata for clarinet and piano, etc.
Trautner (trowt'-nfir), Fr. Wm.
Lorenz, b. Buch-am-Forst, May 19,
1855; cantor and organist at NOrdlin«
gen; c. Reformation cantata, *'if(ir-
tin LiOher,'* ''Sdngers Gthei*' for
voices and orch., etc.
Traver^sa, Qioachimo, prominent
1 8th century violinist to Prince Car-
ignan; pupil of Pugnanl.
Trem'bath, Henry Qough, d.
Heme Bay, July 31 1908, age 65;
pupU R. A. M., organist and com-
poser.
Tricklir (trCk-ler), Jean Balthasar,
Dijon, 1745 — Dresden, 1813; 'cellist;
from 1783 in Dresden court chapel;
c 'cello works.
Trnecek (td-rtt-ne'-ch^), Hans,
b. Prague, May 16, 1848; harpist;
pupil of the Cons.; from 1882-8
nan>ist at Schwerin Court Theatre,
then prof, of piano and harp at
Prague Cons.; vutuoso on the Jankd
Keyboard; c. piano and harp mu^c
and operas " Der Geiger von Cremona "
(Schwerin, 1896), ''Amaranth**
(Prague 1890), and ''Andrea CrinV*
(Prague, 1900).
Trunk, (troonk) Richard, b. Baden-
Baden, 1879; composer and con-
ductor; studied at the gymnasium
there; 1896-1901, at Royal Music
Academy, Munich, imder Jos. Rhein-
berger, winning gold medal; founded
the Gemischter Volkscor Union; dir.
also of the Munich Burgers Saenger-
Zunft; 191 2 elected director Arion
Singing &xiety of New York.
Tscherepnin ^ch£r-€p'-nen),Nikolai
Nikolaievich, b. 1873; composer;
studied law at first, then at St.
Petersburg Cons, \mder Rimsky-
Korsakov; c. valuable male and
mixed choruses, overtiire "La Prin-
cesse lointaine,** " Sappho* s Song** for
soprano and orch., lyric poem for
violin and orch., choruses with orch.,
etc.
932
THE MUSICAL GUIDE
Tscheschichin ( ch6sh • e' - chSn ),
Vsevolod levgrafovich, b. Riga,
Feb. i8, 1865; critic and author at
Riga.
Tura (too'-ra), Qennaro de, tenor,
sang at Milan and in Europe; d6but
May, 191 2, with great success at
Hammerstein's London Op.
Tur'ban, Charles Paul, b.Strasburg,
Oct 3, 1845 — Paris, May 11, 1905;
clarinet soloist at the Op^ra; pupil
and frequent prize winner at tne
Cons.; trom 1000 prof, there.
Tutkov'skI, Nikolai Apollono-
vich, b. Lipovetz, Feb. 17, 1857;
pianist; pupil of Puchalski; from
1881-90 teacher of history at St.
Petersburg Cons.; from 1893 dir. of
Cons, in Kiev; c. symph. **Pensie
SUgiaaue" and '*Bachanak bohSm-
ienne for orch., etc.
U
(Jberlte (a'-b€r.I&), Adelbert, Beriin,
June 27, 1837 — Charlottenberg,
March 15, 1897; organist and royal
director; c. opera, oratorio, etc.
Udbye (oot'-be), Martin Andreas,
b. Drontheim, 1820; pupil of Haupt-
mann and Becker; organist at Dron-
theim; c. operas, cantatas, songs,
etc.
Uj] (oo'-yl), Bela von, b. Vienna.
1875; Hungarian composer, blind
from his 7th vear; c. opera *^Der
Bauemfeind" (Baden, near Vienna,
1897); operettas "Der Hen Profes-
sor" (Vienna, 1903), ** Kaisermand-
ver" (do.. 1907), and "Der MiiUer
und sein Kind" (Graz, 1907).
Urbach (oor'-b&kh), Otto, b.
Eisenach, Feb. 6, 187 1; composer;
pupil of Mtiller-Harting, Staven-
hagen, Scholz, Knorr and Humper-
dinck; won the Liszt stipend, 1890,
and the Mozart stipend 1896, and
studied with Draeseke and Klind-
wor th ; from 1 898 piano teacher at the
Dresden Cons.; c. opera "Der MiiUer
von Sanssouci" (Frankfort, 1896);
overture ** Bergfakrt," string quartet
"Haliba," etc.
Urbanek (oor'-bft'-n^k), Jan, b.
Slanin, Bohemia, Jan. 31, 1809; vio-
linist; pupil Prague cons.; concert-
master in Beriin.
Urlus (oor'-loos), Jacques, tenor;
sang many years at Leipzig Stadt-
theater; 191 2 Boston Op.; engaged to
sing at Met. Op., 191 2-13.
Usiglio (oo-sel'-yd), Emilio, Parma,
Jan. 8, 1841 — Milan, 1910; operatic
composer.
V
Note: For names not foimd under V,
consult W.
Vaccari (v&k-k&'-re), Pransois,
Modena, 1775 — Portugal, after 1823;
violin-virtuoso of astonishing powers;
pupil of Nardini; toured Europe with
great success; acted as court musician
in Spain: c. miodlejrs, etc
Vacher (or Levacher) Ot^'-vi-shl),
Pierre Jean, Paris, 1 772-1819;
violinist at Paris Opera; c tiios, eic
Vachon (v&-sh6&), Pierre, Aries,
1 731 — Berlin, 1802; violinist and
composer of sonatas, chamber music,
etc.; toured widely; 1784-98 court
oond. to the Emperor in Gennany.
Vacqueras (v&-k&'-rfts), Beltrame,
1481 singer at St. Peter's, Rome;
1483-7 papal chapel singer; c motets,
etc.
Val or Duval (dQ-vftl), Francois
Du, d. Paris, 1738; violinist to Louis
XTV; the first Frenchman to write
violin sonatas in the Italian style,
with basso canUnuo.
Valente (vft-lfin'-t^), Antonio
il cieco)t blind organist and compoBa
at Naples, 1580. (2) Vincenzo, b.
Corighano, near Cosenza, 1855; c*
operas and songs.
Van Den Eeden (vin d&i t'-d&i),
Jean Baptiste, b. Ghent, Dec.
26, 1842; pupil of the Ccms., and
of Brusseb Cons., ^diere he won a
prize with a cantata, "Fatisis Icask
NacfU"-, from 1878 dir. music school
mtm
DICTIONARY OF MUSICIANS 933
at Mons.; c. symph. poem "La luUe
au XVI sUcle" cantatas, a 3-part
work "JudUh" or "Le siige de
BMulie," etc.
Van der Stucken, Frank, add
that he was dean of the Cmdnnati
Coll^ of Music 1897-1901; cond.
Cincinnati Symph. 1895-1907, when
he returned to Germany, retaining
the conductorship of the Cincinnati
May Festivals.
Van'nius, vide wannenmacher.
Var'lamov (or Warlamoff), Alex-
ander Igorovich, Moscow, Nov.
IS (27), 1801 — St. Petersburg, Oct.
1848; singer in the court chapel as
youth, later director of it; then
teacher in Moscow; c. the famous
melody "The Red Sarafan," and
many other songs.
Vasquez y Qomez (v&s'-kCth € g6'-
mSth), Marino, Granada, Feb.
3, 183 1 — Madrid, June 1894; con-
certmaster at Madrid Royal Theatre;
c. zarzuelas, etc.
Vassilen'ko, Sergei Nikiforovich,
b. Moscow, 1872; writer; pupil of the
Cons., winning gold medal, 1901; c.
cantata "The Legend of the Sunken
CUy of Kitesch" (given as an opera,
Moscow, 1903); "Epic Poem** for
orch., choral works ^* Nebuchadnezzar"
Kad"Daphnis," etc.
Vatielli (vft-U-61'-l6), Francesco,
b. Pesaro, Jan. i, 1877; pupil of
Liceo Rossini; 190J librarian at
Bologna, teacher ana writer on his-
tory; c. intermezzi, etc.
Vau'tor, Thomas, English song com-
poser of early 17th century; probably
a musician to Sir George Villiers;
1616 Mus. Bac. Oxford; published
songs in 1610.
Vecsey (vetxJi«-€), Franz von, b.
Budapest, March 23, 1893; violinist;
at 8, pupU of Hubay; at 10 accepted
by Joachim as a great musician, and
toured Germany, England and Amer-
ica with immense success; toured
South America, 191 1; reappeared in
London, 191 2.
Venth (vfint), Karl, b. Cologne, Feb.
10, i860; pupil of the Cons, and of
Wieniawski; from i88o in New York
as concertmaster at Met. Op. House;
founded 1888 a cons, in Brooklyn; c.
Schiller's "Bells'* for chorus and
orch., etc.
Venturini ( vgn-too-r6'-ne ), Fran-
cesco, d. Dresden (?) April 18,
1745; from 1698 in the Hanoverian
court chapel as cond.; c. concertos,
etc.
Venzl (fCnts'-'l), Josef, b. Munich,
March 26, 1842; pupil of the Royal
Music Sch.; c. violin pieces and
method.
Ver'rinder, C. Q., d. Ealing, June
27, 1904; organist; Bachelor of Music
Oxford; 1873 Doctor of Music by
Archbishop of Canterbury; c. cantata
"Israel,** Hebrew services and
Psalter; Anglican church music, etc.
Verstovsky (or Werstowski), Ale-
xei Nikolaievich, Tambov, Feb.
18 (March i), 1799 — Moscow, Nov.
5 (17), 1862; composer; while
studying civil engineering at the
Institute in St. Petersburg, he was
also a pupil of John Field and Stei-
belt (piano), Bdhm (violin), Tar-
quini (voice), Brandt and Tseiner
(theory); c. a vaudeville at 19, and
soon acquired a vogue; at 25 was
inspector of the Imp. Opera, Moscow;
at 29, c a succ. opera, "Pan Tvardov-
ski,** followed by five others, indud-
ing "Askold*s Tomb** (1835), which
had enormous success and was revived
in 1897; was accepted as a beginning
of national opera and had undoubted
influence on its development. He c.
also cantatas and 29 popular songs.
Vetter (fet-tCr), (i) Nikolaus, Kdnig-
see, 1666 — Rudolfstadt, 1710; court
organist and important choral com-
poser; (2) Hermann b. Gross-
drebnitz. Saxony, July 9, 1859; pupil
Dresden Cons.; from 1883 teacher
there; 1907 Royal Prof.; c. technical
studies, etc.
Verhey (v€r'-hi), F. H. H., b.
934
THE MUSICAL GUIDE
Rotterdam, 1848; pupil of the
Royal Music Sch., at The Hague and
of Bargiel; teacher at Rotterdam; c.
operas, a mass, chamber music, etc.
Vieuxtemps, Jean Joseph Lu-
cien, Verviers, July 5, 1828 — Brus-
sels, Jan. iQoi; pianist and composer;
pianist, teacher, and c. of piano
pieces, brother of Henri and Jules
V. (q. v.).
Vigna (vCn'-ya), Arturo cond. Met.
Op. House, N. Y., 1903-7; pupil
Milan Cons.
Vilain (vS-I&n), L^ndre, b. Tra-
zegnies, Belgium, 1866; pupil of
Lc^Dunens, and von Mailly ; from 1890
organist at Ostend; from 1902
teacher at the Ghent Cons.
Vilano'va, Ramon, Barcelona, Jan.
21, 1801 — May, 1870; cathedral
cond.; c. church music.
Vilar (ve'-lar), Joseph Teodor,
Barcelona, Aug. lo, 1836 — Oct. 21,
1905; pupil of Vilanova and in Paris
of Herz, Bazin and Hal6vy; later
cond. at Teatro Principal; c. zarzue-
las, etc.
Vilda, vide wilt.
VillafioriU (vU-la-fe-6-re'-ta), Giu-
seppe Burgio di, Palermo, March
22, 1845 — Milan, Nov. 1902; com-
poser of operas.
Vi'ner^Winiam Letton (or Litton),
Bath, 1790 — Westfield, Mass., 1867;
organist; from 1859 in America; c.
popular hymn tunes.
Vizentini (ve-zCn-te'-ne), Louis Al-
bert, Paris, [Nov. 9, 1841 — Oct.
1906; violinist; pupu of the Paris
and Brussels Cons.; critic on the
Figaro; cond. in theatres in various
cities; c. o|>erettas, ballets, etc.
Vock'ner, Josef, Ebensee, March
i8, 1842 — Vienna, Sept. 11, 1906;
organ teacher at the Cons.; c ora-
torio, organ fugues, etc.
Volbach (f61'-bakh), Fritz, b.
WipperfUrth, Dec. 17, 1861; organ-
virtuoso; pupil of Cologne Cons, for
a year; studied philosophy, then took
up music again at the Royal Inst, for
church mus., Berlin; from 1887 teach-
er there; 1892 cond. at Mainz; 1907
at Tubingen; has written biogs. and
edited musical texts; c. symph^
symph. poems, "Oslem*^ (Easter),
for organ and orch. (Sheffield FesL,
1 902) ;"Es waren mvei Kdftigskinder, "
''AU Heidelberg, du Peine, " a series of
vocal works with orch. wfakfa he
cond. in London, 1904, etc.
Volkov, vide wolkow.
Vos (v&s), (i) Eduard de, b. Ghent,
Jan. 19, 1833; director and teadier
at the Cons.; c. songs. (2) Isidore,
Ghent, 1851 — Mardi 31, 1876; dying
just after he won the Prix de Rame
with his cantata **De Meermm'^^c
also piano pieces, etc. His brother
(3) Franz, is teacher at the Cons.
Vreuls (vrfils), Victor, b. Verviers,
Feb. 4, 1876; pupil Li^e Cchis.
and of dindy, at whose Schda can-
torum he became teacher of harmony;
1903 won the Picard prize <rf the
Belgian Free Academy; c. symphonic
poems, **Tripiyque" for voice and
orch., chamber music and songs.
W
Note: For names not found under W.
consult V.
Waack (v&k), Karl, b. LQbeck,
March 6, 1861; pupil of Grand-ducal
School, Weimar,; cond. in Finland
and at Riga; 1890 studied with H.
Riemann. return^ to Riga as editor,
cond. ana author.
Wad'dington, Sidney Peine, b.
Lincoln, July 23, 1869; composer;
pupil R. C. M., London; later teacher
there and pianist to Covent Garden;
c. "John Gilpin*^ for chorus and
orch. (1894); ''Ode to Music,*' da;
violin and 'cello sonatas, etc
Waefelgheni, ( v&' - f €1 - kh&n or
va-fei-gSln), Louis Van, Bruges.
Jan. 13, 1840 — Paris, June 19, 1908;
violinist and virtuoso on the vkUt d*
amour; pupil Brussels Cons.; sc^oist
at Budapest Opera; 1888 violaist at
DICTIONARY OF MUSICIANS 935
P^iris Op£ra, and in Lamoureux's
orch.; after 189^ soldst on the viole
d'amour, for which he composes.
Wagenaer (v&kh'-^n&r), Johann,
b. Utrecht, Nov. i, 1862; organist at
the Cathedral; c. ''Priljofs Meer-
fakrt" and ''Said and David" for
orch., overture " Cyrano de Bergerac, "
etc.
Wagner, Siegfried, add that from
1898 he was teacher in Vienna; 1901
cond. Acad. Singing Society, and
TcmkUnstler Orch.; 191 2, cond.
medal concert of the London Sym-
pnorch. c. 8 operas **Der Kobold"
(Hamburg, 1904), *'Bruder Lustig"
{do, , 1905) , * ' Das Stemengebot ' ' (do. ,
1908), '' BanadUtfich" (Elberfeld,
1910) and *'Schwarzsckwanenreich"
(Black-swan Coimtry), c. also male
and female choruses, etc.
Wakefield, Augusta Mary, b.
Sedgwick, Aug. 19, 1853; contralto:
pu^ of Randegger, Alari and
Sgambati; 1885 organized the so-
odled Wakefield Competition Festi-
vab, said to be '^the most vital
movement in the musical life of
En^nd to-day;" from 1890 she
lectured; c. songs, etc.
Waldauer (vHr-dow-Sr), August,
1825 — St. Louis, Dec. 26, 1900;
founder and dir. Beethoven Cons.
Waldmann (v<'-mSln), Madame,
b. Vienna; contralto; made sensation
in London, 1875.
Waldteufel (v^lt'-toi-fel), Emil, b.
Strasbui^, Dec. 9, 1837; pupil Paris
Cons.; pianist to Empress Eug^e;
c. immensely succ. waltzes.
Walk'er, Ernest, b. Bombay, July 15,
1870; composer; Mus. Bac. Ox-
ford, 1893; Mus. Doc. 1898; from
1900, dir. at Balliol College; mainly
self-taught as composer of "Stabat
Maiety" "Hymn to Dionysus," and
"Ode to Nightingale" for voices and
orch.; overture, chamber music, songs
etc.
Wairace, William, b. Greenock, July
3, i860; at first a surgeon; in 1889
took up music and studied at
the R. A. M., London, till 1800;
c. symph. "The Creation" (New
Brighton. 1892); choral symph.
"Koheletk"; 6 symph. poems, "The
Passing of Beatrice" (Crystal Palace,
1892), "Amboss Oder Hammer" (do.,
1806), "Sister Helen" (do. 1899),
"Greeting to the New Century" (Lon-
don Phil., 1891), "Sir iWiUiam Wal-
lace" (Queen's Hall, 1905), "Francois
Villon (New Symph., 1909; also bv
New York Phil., 1910, 1912},
overtures, suites, song cycles, i-act
lyric tragedy "BrassUis" etc He
is author of poetry and a critical
work. " The Threshold of Music, "
Wairworth,Thos. Adlington,i834
— Brixton, Jan. 7, 1904, age 70;
pupil, later singing prof. R. A. M.,
London; pupil of Crevelli; sang with
Pyne & Harrison Opera Co.
Walpurgis (vftl-poor'-gfe), Antonia,
1 724-1 780; Saxon Crown Princess;
c. an overture " Talestria Regina dell'
Amazone," revived at a concert of
women's compositions by the German
Lyceum Club, Berlin, 191 2, cond by
Elizabeth Knyper.
Warthew, Richard H., b. London,
Nov. 4, 1872; pupil of the Guild-
hall and with scholarship at R. C. M.
under Parry; 1907 prof, at Queen's
College, and cond. opera dass at the
Guildhall; 1909 cond. at Finsbury.
c. "Pied Piper" for chorus and orch;
(1893); piano concerto (1894), two
operettas, etc.
Wannenmacher (vftn'-nSn-mEkh-^)
(or Vannius), Johannes, d. Inter-
laken, ca. 1551; important Swiss
church composer; and canon, re-
nounced Catholicism, was tortured,
and banished.
Ware, Harriet, b. Waupun, Wis.;
graduated at Pillsbury Cons. Owa-
tonna, Minn., 1895; pupQ of Wm.
Mason, N. Y. for 2 years, then of
Stojowski (piano and comp.) and
Juliana, Paris, later of Hugo Kaun,
Berlin; c. "The Fay Song," 1905;
936
THE MUSICAL GUIDE
cantaU "Sir Olcf" (New York
Symph. 19 lo), piano pieces and many
successful songs.
Warnke (v&m'-k«), Heinrich, b.
Wesselbttren, Aug. ^o, 187 1; 'cellist;
son and pupU of his father, a
violinist; later at Hamburg Cons.:
d6but there, then studied with Klengel
at Leipzig; member of various orchs.,
finally with the Kaim orch., Munich,
for 10 years; from 1905 with Boston
Symph. Orch.
Warot (v&-rO), (i) Charles, Dunkirk,
Nov. 14, 1804 — Brussels, July 29,
1836; violinist and theatre-cond,:
pupil of Fridzcri; c. operas, 3 grand
masses, etc. His brother (2) Victor,
Ghent, 1808 — Bois Colombes, 1877;
cond. and teacher; c. operettas, a
mass, etc. (3) Constant N6S1
Adolphe, Antwerp, 181 2 — Brusseb,
1875; 'cello-teacher, Brussels Cons.;
c. *ceIlo-pieces, etc. (4) Victor Alex.
Jos., Venders, 1834 — Paris, 1906;
son of Victor (2); opera tenor, later
teacher at Paris Cons.
War'rum Helen, b. Washington,
D. C. (?); soprano; pupil of Oscar
Saenger; engaged for Chicago Opera,
1912.
Warwick (w&r'-Xk), (i) (orWarrock),
Thomas, organist Hereford Ca^
thedral, 1586-9; 1625 org. at Chapel
Royal; c. anthems, etc. (2) Qiula,
d. June 13, 1904; pianist and opera
singer, then prof, of singing Guildhall
School of Music, later founded vocal
academy.
Web'ber, Amherst, b. Cannes, Oct.
25, 1867; studied music at Oxford,
then at Dresden with Nicod6 ana
at Paris Cons.; pianist to Covent
Garden and Met. Op., N. Y.; c.
symph. (Warsaw Phil., 1904, Bos-
ton Symph., 1905); i-act opera "Ftor-
«//a" (London, 1905), songs, etc.
Web'er, Frederick, WOrtemberg,
Nov. 5, 1819 — London, Feb. 16,
1909; organist and author of works on
the pianoforte.
Wecker (v&'-£r), Qeorg Kaspar,
Nuremberg, 163 2-1695; otganist,
teacher and composer.
Weckmann (vSk'-m&n), Matthias,
Oppershausen,i62i — ^Hamburg, 1674;
or^m-virtuoso and oxnp.
Wedekind (v&'-de-klnt), Erika, b.
Hanover, Nov. 13, 1869; aJora-
tura soprano; pupil of Oi^geoi at
Dresden Cons.; 1 894-1909 at court
opera Dresden, then at Berlin Conok
Opera.
Weeber (v&'-bSr), Johann Chr.,
b. Warmbronn, 1808 — Ntlrtingen,
1877; court mus. director and com-
poser.
Weed, Marion, b. Rochester, N.
Y., soprano; 1903-4 Met. Oj>., N. Y.
Wehrle (vftr'-le), Hugo, b. Doo-
aueschingen, July 19, 1847; vic^inist;
pupfl of Leipzig Cons, and Paris Coos.;
toured and played in Singer's Quar-
tet till nervous trouble lamed Ids
hand; 1898 retired to Freiburg; c.
violin pieces.
Weidig (vT-dlkh), Adolf, b. Ham-
burg, Nov. 28,1867; pupil of the Coos.
and winning Mozart stipend, pupfl of
Rheinberger; from 1892, teaidier in
Chicago and co-director of the
American Cons.; c orch. and dum-
ber music.
Weingartner, Felix, add that 1908
he succeeded Mahler as dir. Vienna
Royal Opera; Jan. 4, 191 1, he signed
contract for 3 years with Berlin Phil
Orch., resigm'ng directorship of Royal
Opera; he married Marie Juillerat;
in 1903 he married Baroness Feodoni
von Dreifus; author of "Uber dcs
Dirigieren (1895, 3rd edition 1905),
"Die Symphonie nack BeOktmn''
(1897, also in English), a dimui
'Golgotha'* (1908), etc.; c. 3 symph,
Prahlinismarchenspid" (Weimar,
1908), music to "Faust" (do., 1908);
his 3rd symph. was played by New
York Phil., Dec. 28, 191 1.
Weismann (vls'-m&n), Julius, b.
Freiburg, Dec. 26, 1879; pupfl of
Royal Musicschool, Munidi, thai
with Herzogenberg and Thuille; ton
«/
«
DICTIONARY OF MUSICIANS 937
1905 in Freiburg as composer of
choral works, a symph., etc.
Weissheimer (vls'-hl-m€r), Wen-
delin, b. Osthofen, Feb. 26, 1838;
mus. director and composer; pupil
Leipzig Cons., teacher and theatre-
cond. in various cities ; c. 2 operas,
"Theodor K9mer" (Munich, 1872),
and **Meister Martin und seine
GtseUen" (Carlsruhe, 1897), bass
solo with orch., *^Das Grab in
Busenk>t*^ etc.
Weirings, (Joseph) Milton, b.
Handsworth, n. Birmingham, Eng..
Dec. 4, 1850; c. popular songs ana
**The Dancing Master" (London,
1894). ^
Wendel (vCn'-d^l)^ Ernst, b. Bres-
lau, 1876; violinist and director:
Supil of Wirth, Joachim, Lucco ana
iargiel; 1896 joined Thomas Orch.,
Chicago; 1898 cond. Kdnigsberg
Musikverein; 1909 cond. Bremen
Phn.; c. choruses with orch., etc.
Wenzel von Qamter (or Szamo-
tulski) (sh&-mQ-toor-skl), Gamter,
1525 — Cracow, 1572; Polish com-
poser of church music,
Werschbilovich (v«rsh-beM5-vIch),
Alex. Valerianovich, b. Tan. 8.
1850; 'cellist; pupil of Davidov ana
his successor at the Italian Opera in
St. Petersburg; from 1885 prof, at the
Cons.
Wessely (v&'-sft-le), Hans, b. Vienna,
Dec. 23, 1862; violinist; pupil of the
Cons.; toured with success; from 1889
prof. R. A. M., London, leader of
the W. Quartet.
Wetzel (vet'-ts€l), Hermann, b.
Kyritz, Pomerania, March 11, 1879;
teacher at Riemann Cons. 1905-7;
then in Potsdam as teacher and a
author; c. songs, etc.
Weweler (vft'-ve-l€r), August, b.
Recke, Westphalia, Oct. 20, 1868;
composer; pupil Leipzig Cons. ; c. fairy
opersLS^^Domrdschen** (Kassel, 1903).
comic opera *^Der grobe Marker
(Detmold, 1908), etc.
Weymarn (vi'-mam,) Paul Pla-
tonovich, b. St. Petersburg, 1857;
son of a lieut.-general and himself an
officer; gave up the army for music;
writes biographies, criticisms, 'cello-
pieces, etc.
White, (i) John, York, 1779 —
Leeds, 183 1; organist and assist.-
cond. of Leeds Festivab. (2). Caro-
lina, b. Dorchester, Mass., Dec.
23> 1883; pupil of Weldon Hunt;
concert d^but, 1905; 1907 studied
with Sebastian at Naples; d^but
at San Carlo Theatre, 1908; sang
in Italy, and from 1910 with
Chicago Op. Co.; 1911 with Boston
0^.; married, 1910, Paul Longone,
dir. San Carlo Theatre.
Whitehouse, William Edward, b.
London, May 20, 1859; 'cellist; pupil
of Pettit and R. A. M., winning prize,
1878; and from 1882 teacher there;
later prof., memberof Ludwig Quartet
and London Trio.
Whit'ney, (i) Myron William,
Ashby, Mass., Sept. 5, 1835 — iQ^o*
bass; pupil of Frost, Randfegger, and
Vannudni; d6but Boston, 1858; sang
with greatest success in concert and
oratorio and for a time in opera with
the Boston Ideab, and the American
Opera Co.; retired 1900; his son (2)
Mvron, Jr., is a popular bass.
Wicnern (v€kh'-€m), Karoline,
Horn, near Hamburg, Sept. 13, 1836
— March 19, 1906; soprano; led
choruses at the houses of correction
for 20 years, then for 15 years taught
in Manchester, returning 1896 to her
Previous task; ipoo cond. at Ham-
urg a concert of her own orchestral
works; c vocal works of many sorts,
etc.
Wickenhausser ( vJk'-^n-hows'-sfir ),
Richard, b. Brttnn, Feb. 7, 1867;
pupil of Leipzig Cons.; 1894 was
given a stipend on the advice of
Brahms and Hanslicj; 1895 leader of
a singing society in Brttnn; 1902 in
Graz; 1907 dir. Vienna Singakademie,
c choral works in great numbers, also
2 piano sonatas, a violin sonata, etc.
938
THE MUSICAL GUIDE
Wiedermann (ve'-dSr-mftn), K. Pr.,
b. Gdrisseiffen, Dec. 25, 1856; organ-
ist and Royal Dir., in Berlin; c. over-
ture, songs, etc.
Wiehma^er (ve'-ml-€r), Theodor,
b. Manenfeld, Westphalia, Jan. 7,
1870; pianist; pupil Leipag Cons,
and of Krause; d^but Leipzig, 1890;
teacher there; 1903-6 at the Cons.;
from 1908 at Stuttgart Cons., 1909
prof.; c. piano pieces and songs.
Wiemann (ve'-mftn), Robert, b.
Frankenhausen, Nov. 4, 1870; pupil
Leipzig Cons.; cond. various theatre
orchs. and singing societies; from
' 1899 ^ Osnabrack; c. orch. works,
'' Erden waUen," '* Kassandra,** etc;
choral works with orch., etc.
Wietrowetz (ve'-tr6-v«u), Ga-
briel le, b. Laibach, Carmola, Jan.
13, 1866; violinist; pupil of Joachim,
winning Mendelssohn prize at Berlin
Hochsch.; d^but 1885 at Mttnster;
toured and from 1904, teacher at the
Berlin Hochsch., the first woman
so employed.
WIg'sins, Thomas ("Blind Tom"),
Columbus, Ga., May 24, 1849 -—
Hoboken, N. J.j June 13, 1008;
phenomenal pianist; a negro slave
unbecile in all except music; son
of slaves and exploited by the for-
mer owners of his parents; played in
public for forty years, with enormous
financial success, and revealed extra-
ordinary gifts for musical mimicry
and repetition of pieces performed in
his hearing, though of course his
W powers were greatly exaggerated.
ilhelmj, Adolf (not Anton), cor-
rect birth date is March 31, 1872.
Williams, (i) Charles Lee, b.
Winchester, May i, 1853; organist;
pupil of Arnold; 1882-^ org. at
Gloucester Cathedral; cond. of five
festivab; c. cantatas, church music,
etc. (2) Charles Francis Abdy,
b. Dawlish, July 16, 1855; took music
degrees at both Cambridge and Ox-
ford; later pupil Leipzig Cons.; organ-
ist at various posts; authority on
«
W?l
Greek music and Plain song; c. churdi
music, choruses for **Alcestis*' "Anii-
eonet'^ and ^* Agamemnon.'* (3) Ralph
Vaughan,b. Down Amprey, Oct. 12,
1872; studied music at CaLmbridge
and the R. C. M.; later at Berlin with
Max Bruch and with Ravel in Paris;
organist at South Lambeth, 1896-9;
c. "i4 Sea Symphony" (Walt Whit-
man) for voices and ordi.; symphonic
impression **In the Fen Country"
(London. 1909), three Norf(^ JUu^
sodies (1906-7), cantata
Wood*^ (I^verpool, 1909),
the Unknown Region" (Walt Whit-
man), chorus and orch. (Leeds Fest.,
1907), etc
Wifle (vll'-l€), Qeorc, b. Gieiz,
Sept. 20, 1869; 'cellist; from 1899
court-concertmaster at Rojral Chapel
in Dr^den and teacher in the Coi^;
mpil of Leipzig Cons.
irson, Qrenville Dean, Plymouth,
Conn., Jan. 26, 1833 — ^Nyack, N. Y.,
Sept. 20, 1897; teacher and song
composer.
Wilt (vUt), Marie (n£e Lieben-
thaler), Vienna, Jan. 30, 1883 —
(suicide) Sept. 24, 1891; famous
operatic soprano; d6but 1865 ^
Graz; sang throughout Europe, also
popular in concerts. In 1866-7 ^
sang at Covent Garden under the
name " Vilda," again in 1874-75.
Wiltberger (vnt'-b&kh-€r), (i)
Heinrich, b. Sobemheim, Aug. 17,
1841; son of an organist; 1872-1906
teacher in Alsace; co-founder of
the Cecilia sodetv and composer of
church music, ana favourite Alsatian
composer of male-choruses. His
brother (2) Auj^ist, b. Sobemheim,
April 17, 1850; teacher in various
towns; 1884 at BrOhl; author of an
organ method, a theory, and c ora-
torios ''CecUia" and Bomfadus,"
cantatas, etc.
Winkelmann (i) Hermann, tenor,
correct birth date is Braunschweis,
March 8, 1849; (2) Hermann d.
Frankfort - on - Main, March 11,
DICTIONARY OF MUSICIANS 939
1899; organist and teacher at Raff
Cons.
Winkler (vlnk'.l«r), (i) Theodor, d.
Weimar, Dec. 21, 1905; flutist at the
court chapd: c. concerto, etc. (2)
Alex. Adolfovich, b. Charkov,
March 3, 1865; pianist; studied at
Charkov and at Vienna under
Leschetizky and NavriUl; teacher
at Charkov; from 1896 at St.
Petersburg Cons.; c. prize- winning
string quartet, op. 7, piano pieces,
etc.
Winneberger (vln'-n€-b«rkh-6r),
Paul, d. Hamburg, Feb. 8, 1821;
'cellist and composer.
Winter-Hjelm (vln'-t«r-hy«hn),
Otto, b. Christiania, Oct. 8, 1837;
organist at Christiania; pupil Leip-
zig Cons, and of KuUak and WQerst;
dir. PhiL concerts; c. 2 symph., 50
Psalms, 46 Norwegian "Pjela mdo-
dUr" or mountain songs, etc.
Wirtz (verts), Charles Louis, b.
The Hague, Sept. i, 1841; pupil of
the Cons.; later piano teacher there;,
c. church music.
Wis'ke, Mortimer, b. Troy, N. Y..
Jan. 12, 1853; from 1872 organist and
dir. Brooklyn; c. church and organ
music. -
Witek (ve'-tek), Anton, b. Saaz,
Bohemia, 1872; violinist; pupil of
Bennewitz; concertmaster of Berlin
Phil.; also toured; later became
cohcertm. Boston Symph.; married
(2) Witek, ViU {nee Qer-
tiardt), b. Copenhagen; at first a
violinist; pupil of Gade and Joachim;
decided to be a pianist, studied with
Leschetizky and Carrefio.
Witherspoon, Herbert, add that
his correct birthplace is Buffalo,
N. Y., July 21, 1873; in 1908
he coached with Lamperti in Berlin;
in 1908 he joined the Met. Op.,
N. Y., and has sung there with in-
creasing success, making especially
deep impression in the r6les of
Gumemans, King Mark, etc. Gave
recitals in London with great success,
1910, and has continued his concert
and oratorio appearances.
WItkowsky (vlt-kAF-skl), Q. M.,
lieutenant in French Army; pupil of
d*Lidy; c. S3rmph., (Piuis 1901)
quintet, etc
Wrttkowska (vlt-k6f-skil), Marta,
b. Poland; contralto; brought to
America as a child; studied at Syra-
cuse, N.Y., University with a scholar-
ship; pupil of Emma Thursby, then of
Colonogi; d6but at Perugia; sang
in various Italian cities, then at
Covent Garden; 191 1 Chicago Opera
Co.
Witting (vlt'-tink), Karl, JOUch,
Sept. 8, 1823 — Dresden. June 28,
1907; tenor singer; pupil ot Reichel in
Paris; teacher in various cities; c.
'cello sonata, etc.
Wolkowski-Biedau (voi.k6f'-skI-be'-
dow), Victor Von, b. Nieder-Ams-
dorf, Sept. 2, 1866; pupil of B. Wolff
and W. Berger; c. operas "Helga**
(Wiesbaden, 1904), and *^Der lange
Kerr (Berlin, 1905).
Wolf, Hugo, correct birthplace is
Windischgr&z, Styria, March 13,
i860; correct deathdate is Vienna, Feb.
22, 1903; add that he was es^lled
from the Vienna Cons, as incorrigible,
and suffered constantly from poverty
and hunger, giving occasional piano
and violin lessons; 1886-90 he was
critic to the Sal^mblaU; 1888-89 he
c. 200 songs, then wrote no more for
3 years; his opera *'Der Corregidor'*
though praised was never repeated;
he was at work on another "Manuel
Venegas" when his mind failed; after
some months in an asylum, he was
released only to be taken back as a
violent maniac in 1898; paral3rsis
followed, but he lived for five years.
His songs continue to deepen their
in^ression and he seems to be safely
established among the greatest com-
posers of lyrics.
Wolf-Ferrari (v6lf'-f«r-ra'-re), Er-
manno, b. Venice, Jan. 12, 1876;
important and versatile composer;
940
THE MUSICAL GUIDE
son of a painter; largely self-taught;
later pupil of Rheinberger, Munich;
1902 dir. Liceo Benedetta Mar-
cello, Venice; resigned 1909 and
settled in Germany; c operas **La
Sulamita'* (Venice, 1889), "Ceneren-
tola'* (Venice, 1900 aa'*AschenbrlkU,'*
Bremen, 1902), comic opera based
on Goldoni, **Le Donne Curiose**
given at Munich as **Die neugierigen
Frauen," Munich, 1903, also with
great success Chicago and Met. Op.,
N. Y., 191 2 and throughout Europe;
"Die vier Grobiane" (Munich, 1906),
the very successful ' / Giojelli della
Madonna" or **Der Sckmuck der
Madonna" (Berlin Rojral Op., 191 1,
Chicago and Met. Op., N. Y., 191 2),
"The Secret of Susanne" (do., 191 2),
c. also the important oratorio "La
Vita Nuova" (text from Dante), 1903
a symphony da camera, violin sonata,
W piano quartet, etc.
olkenstein, (v6r-kfo-shtln), Os-
wald von, Tyrol, ca. 1377 — Aug.
2, 1445; a knight, ambassador, and
wanderer, *'the last of the Minne-
singer, " c. poems and melodies.
Wolkow (v61'-k6v), Feodor Qri-
gorievich, Kostroma, 1729 — St.
Petersburg, 1763; "founder of the
Russian theatre, 1756, and the first
Russian opera composer", according
to Riemann; he wrote the first
original Russian libretto " The Charit-
able Titus" for Araja, 1751; and c.
an opera "Tanjuscha" (St. Peters-
burg, Dec. 9, 1756).
Wolle ( v6r - \€ ) John Frederick,
b. Bethlehem, Pa., April 4, 1863;
foimder of a choir of Moravians
among the Bethlehem steel-workers
with which from 1900 he gave re-
markable productions of the works of
Bach; in 1901 at a three-day festival
the Christmas oratorio. Passion Ac-
cording to St, MattheWy and Mass in
C. minor were given entire; 1904, a
nine-day festival of Bach's works was
given; from 1905 prof. University of
California and cond. symph. con-
certs at the Open Air Greek Theatre
at Berkeley, Cal.
Worstenholme, William, b. Black-
bum, Feb. 24, 1865; organist, blind
from birth; pupil of Dr. Done,
Mus. B. Oxford, 1887, from 1888
organist in London; toured the U. S.
i^jo8; c. organ music of all kinds,
piano sonata, choral ballad^ "Sir
Humphrey Gilbert," etc.
Wood, (i) Charies b. Arma^, June
15, 1866; pupQ of T. O. Mt^ks, and
at R. C. M., London, winning the
Morley scholarship, later teacher
there, and cond. Cambridge U. Musi-
cal Society; Mus. Doc. Cambridge,
1894; L L. D. Leeds, 1904; c "Ode to
the West Wind," voices and ordL,
(1890); indd. music to Greek pla3rs;
"Dirge for Two Veterans" (Leeds
Fest., 1901), "Ballad of Dundee,"
(do., 1904); symphonic variations on
"Patrick Sarsfitk" (London, 1907),
songs, etc. (2) Henry J., correct
birth date is London, March 3, 1870;
he was appointed cond. of the Shef-
field Festivals in 1902 and of the
Norwich Festivals in 1908.
Woodward, Richard, Dublin, 1744
— Nov. 22, 1777; composer of church
music; org. at St. Patrick's Cath.,
1765; vicar-choral from 1772.
Wool'ridge, H. Ellis, b. Windiester,
March 28, 1845; writer; historian; at
first a painter and 1895 Slade Prof,
of Fine Arts at Oxford; took up
musical history and has written ex-
tensively on mediaeval music
Worobkiewicz (v6r-6p-k*-ya'-vlch),
Isidor, Czemowitz, 1836 — Sept.
18, 1903; priest in the Greek cfaurdi,
and pupil on stipend at Vienna Cons.;
later teacher of church music at
Czemowitz and author; c 8 Rou-
manian songs, etc.
Wot'quenne, Alfred, b. Lobbes,
Hennegau, Jan. 25, 1867; pupil
Brussels Cons.; from 1894 libranan.
Wright (m), Thomas, Stockton-
on-Tees, 1 763-1829; organist, com-
poser and inventor.
DICTIONARY OF MUSICIANS 941
Wydow (or Wedow, Widow, Wy-
dewe) (wid'-o), Robert, called
"Gnunmaticus"; Thaxted, Essex (?)
— Buckland Newton, Oct. 4, 1505;
music master to Edward IV of
England; first Mus. Bac. of Oxford;
rector and vicar.
Wyssotzki (v€s-s6t'-ske), Michael
Th,, 1790 — Moscow, Dec. 28, 1837;
guitar-virtuoso, teacher and com-
poser.
F
Yaw, Ellen Beach, b. Boston, Sept.
18. 1868, concert soprano of remark-
able range (to c'^"); has toured
Europe and America; pupil of delle
Sedie, Paris concert d^but St Paul,
1894; operatic d^but Rome 1897.
Zabel, (ts&'-b^) Albert, Berlin, 1835
— St. Petersburg, 19 10; harpist; pupil
Berlin Royal Inst, for church mus.;
soloist Berlin Opera from 185 1 at
Royal Ballet orch. St. Petersburg;
from 1862 prof, at the Cons.; c. harp
concertos, etc.
Zach (ts&kh), Johann Czelakowicz,
1699 — Irrenhause, 1773; director at
Mayence and composer of churdi
music
Zacherevich ( tsa - ch€ - r5' - vlch ),
Michael, b. Ostroff, Russia, Aug. 26,
1879; violinist; d^but Odessa at 15,
under auspices of Tchaikovski, who
secured funds for his study with
Sevcik at Prague, ^so with Ysaye;
has toured widely.
Zahn (ts£n), Johannes, Espenbach,
Franconia, Aug. i, 181 7 — Neudet-
telsau, Feb. 17, 1895; historian of
church music, and compiler of hymn
books etc.
Zajicek (z^'-I-tsSk), Julius, b. Vien-
na, Nov. 2, 1877; composer of opera
*'Helmbrecht'' (Graz, 1906).
Zamara (tsa-ma'-ra), (i) Antonio,
Milan, June 13, 1829 — Hietzing,
near Vienna, Nov. 11, 1901; harp-
virtuoso, pupil of Sechters; teacher at
Vienna Cons.: c. for harp, flute, etc.
(2) Alfred Maria, b. Vienna, April
28, 1863; c. operettas.
Zandonai (tslln-d6-n&'-€), Riccardo,
b. Sacco (Trentino) 1883; pupil of
Gianferrai at Trento; from 1899 at
Rossini Cons., Pesaro, in 1902 win-
ning comp. prize with svmph. poem
for voices and orch. ; c. also " Serenata
MeduBvale" for cello, 2 harps, and
strings; "Ave Maria" for female
voices, harp, and strings; *^ 0 Padre
Nostra " (from Dante's Purgatorio),
for chorus, orch., and organ; operas,
'*GriUo del Focolare" (Cricket on the
Hearth) (Turin, 1908), and with
great success elsewhere, and the
highly succ "Conchita" (based on
Pierre Lovy*s " Femme et le ParUin "
(Milaji. 191 1, Covent Garden, 191 2,
etc.): ^^Mekenis** (Milan, 191 2;.
Zanella (ts&-nti'-l&), Amilcare, b.
Monticelli d'Ongina, Sept. 26, 1873;
pupil of Parma Cons, and from
1903 director, after years as operatic
cond. in South America, etc.; c. a
symph. fantasie and fugue for piano
and orch., 2 operas, etc.
Zan'ten, Cornelie Van, b. Dor-
drecht, Aug, 2, 1855 ;operatic soprano,
pupil of GeiU, Schneider, and Fr;
Lamperti; d6but in Turin, sang
throu^out Europe, and with the
"National Opera" in America; then
sang at Amsterdam and taught in
the Cons. ; from 1903 teacher in Berlin.
Zelier (ts6'-l€r). Dr. Karl, St.Peter-
in-der-Au, Lower Austria, July 19,
1842 — Baden, near Vienna, Aug. 17,
1898; c. operettas.
Zenatello (ts^n-^-tSlMo), Giovanni,
b. Verona; very popular operatic
tenor, appearing first at Covent Gar-
den 1905, and singing there annually;
from 1907 in America each year, 1909
at Manhattan Op., N. Y.
Zepler (tsSp'-Ur), Bogumil, b. Bres-
lau, May 6, 1858; composer; a
physician at first then pupil of
Urban, in Berlin; c. parody oi\
942
THE MUSICAL GUIDE
"Cavallerin Rustkana'* as '*C<n,
Berolina" i89i;c. various operettas
and ballets.
Ziehn, (ts&i), Bern hard, Erfurt,
Jan. 20, 1845 — Chicago J Sept. 8,
1912; theorist; came to Chicago 1868;
teacher and organist; author of im-
portant works: " HarmonU und Mod-
ukuions lekre " (Berlin, 1888), *** Five
and Six Part Harmonies*' {Milwau-
K£ft lOIII etc
Ziehrer (tse'-r<ir), Carl Michael,
b. Vienna, May 2, 1843; military
bandmaster; toured; c. 600 dances
and an operetU '* Ein toUes MSdel"
(Nurembeix, 1008).
Zilcher (tsnJkh-er), Hermann, b.
Frankfort-on-Main, Aug. 18^ 1881;
pupil of the Hoch Cons.; hves in
Berlin; c. concerto for 2 violins with
orch., violin concerto, etc.
Zimbalist (tstoi'-ba-Ust), Efrem,
b. Rostov, Russia, May 7, 1889; vio-
linist; pupil of his father, a conduc-
tor: 1901-7 at St. Petersburg Cons,
under Auer, winning gold medal and
scholarship; toured Europe and 191 1
America; c. 3 Slavish dances, **Old
Folks at Home. " etc., for violin.
Zinck (tsfnk), Harnack Otto Kon-
rad, Husum, 1746 — Copenhagen,
1832; singer, teacher and composer.
Zingel (tslng'-ti), Rudolf Ewald,
b. Liegnitz, Sept. 5, 1876; ptqiil
Berlin Royal Hochsch.; from 1899
dir. Singakad. at Frankfort-on-Odcr;
from 1907 at Greifswald; c operas
"ifar^0/"(Frankfort-on-Maiii, 1902),
" Liebeszauber" (Stralsund, 1908),
"Persepolis" (Rostock. 1909).
Zoboli (ts5-boM€), Giovanni, b.
Naples, July 22, 1821; pupil of the
Cons.; teacher; c operas and diurcfa
music
Zocca (ts6k'-ka), Qaetano, Fcr-
rara, 1784 — Sept. 14, 1834; violinist
and cond.
Zois-Edelstein (tsd'-^s'-ft'-dti-ahtm),
Hans Freiherr von, b. Graz, Nov.
14, 186 1 ; c. popular songs and ope-
rettas.
Zuschneid (tsoo-shnltO, Karl, b.
Oberglogau, Silesia, May 29, 1856;
pupil Stuttgart Cons.; director of
societies in various towns; from 1907
dir. Mannheim Hochschule; c. niale
ciioruses with orch., etc.
Zwyssis (tsves'-sikh), P. Alberich,
(rightly Jo8e|>h), b. Bauoi, Nov. 17,
1808; Cistercian abbey Mehrerau;
entered the Cistercian order 1826; c
the famous ** Swiss Psalm" (1841),
etc
^(roloflp
(Note. This list contains the names
of those who are included in the Bi-
ographical Dictionary and have died
since the original publication.)
Allitsen, Franc^, d. London, Oct. i,
1912.
Alt^, E. E., d. St. Dye, July 8, 1899.
Anderton, Thomas, d. Edgbaston, Sept.
18, 1903.
Appel, K., d. Dessau, Dec. 9, 1895.
Arditi, Luigi, d. Brighton, Eng., May i,
1903.
Armingaud, J., d. Paris, Feb., 1900.
Artot, Desir^, d. Vienna, Apr. 3, 1907.
Attnip, Karl, d. C(^)enhagen, Aug. 5,
1892.
Bach, L. E., d. London, Feb. 15, 1902.
Bacon, Mrs. Elizabeth (n6e Poole), d.
Jan. IS, 1906.
Bidakirew, M. A., d. St. Petersburg,
May 30, 1910. (Bom Dec. 21, 1836.)
Baptie, David, d. Mar. 26, 1906.
Bargheer, Adolf, d. Basel, Mar. 10, 1901.
Bargheer, K. Louis, d. Hamburg, May
19, 1902.
Bartay, Ede, d. Pest, Aug. 31, 1901.
Bassford, W. K., d. New York, Dec.
22, 1902.
Batta, d. Versailles, Oct. 8, 1902.
Bechstein, Fr. W. K., d. Berlin, Mar.
6, 1900.
BedLer, Jeanne, d. Mannheim, Apr. 6,
1893.
Beer, Max J., d. Vienna, Nov. 25, 1908.
Behr, Franz, d. Dresden, Feb. 15, 1898.
Bellermann, J. G., d. Potsdam, Apr.
10, 1903.
Berger, Wilhelm, d. Meiningen, Jan.
16, 1911.
Bergson, M., d. London, Mar. 9, 1898.
Bernard, Emile, d. Paris, Sept. 11, 1902.
Bemsdorf, E., d. Leipzig, Time 27, 1901.
Bemuth, J. von, d. Hamburg, Dec. 24,
1903.
Berwin, Adolf, d. Rome, Aug. 29, 1900.
Betz, Franz, d. Berlin, Aug. 11, 1900.
Bevignani, Enrico, d. Naples, Aug. 29,
1903.
Biese, W., d. Berlin, Nov. 14, 1902.
Bibl, Rudolf, d. Vienna, Aug 2, 1902.
Bilse, B., d. Berlin, July 13, 1902.
Blanc, Adolphe, d. Paris, May, 1885.
Blockx, Jan, d. Antwerp, May 22, 191 2.
Boott, Francis, d. Cambridge, Mass.,
Mar., 1904.
Boulanger, H. A. A. E., d. Paris, Apr.
14, 1900.
Bourgault-Ducoudray, L. A., d. Ver-
nouiUet (Seine-et-Ouse), June 4, 1910.
Braga, Gaetano, d. Milan, Nov. 21,
1907.
Brambach, Joseph, d. Bonn, June 19,
1902.
Brinsmead, Edgar, d. Nov. 28, 1907.
Brooks, Walter M., d. Mar. 14, 1907.
Bruch, Max, d. Vienna, Sept. 17, 1907.
Brull, Ignaz, d. Vienna, Sept. 17, 1907.
Bruyck, Karl Debrois van, d. Waid-
hofen, Aug. i, 1902.
BUchner, Emil, d. Erfurt, June 9, 1908.
Buck, Dudley, d. Brooklyn, N. Y., Oct.
6, 1909.
Bullard, F. F., d. Boston, June 24, 1904.
Biirgel, Konstantin, d. Breslau, July i,
1909.
Busoni, Anna Weiss, d. Trieste, Oct. 3,
1909.
Cahen, Albert, d. Cap d* Ail, Mar. 1903.
Callaerts, J., d. Antweip, Mar. 3, 1901.
Calkin, J. B., d. London, May 15, 1905.
Chaumet, William, d. Gajac, Gironde,
Oct. 1903.
Choudens, A., d. Paris, 1902.
Chrysander, Fr., d. Bergedorf, Sept. 3,
1901.
Clauss-Szarvady, Wilhelmine, d. Paris,
Sept. 2, 1907.
Cobb, G. F., d. Cambridge, Mar. 31,
1904.
943
•944
THE MUSICAL GUIDE
Coccon, Nicolo, d. Venice, Aug. 4, 1903,
Coenen, (i) J. M. d. Amsterdam, Jan. 9,
1899. (2) Franz, d. Leyden, Jan. 24,
1904.
Cohen, Jules, d. Paris, Jan. 14, 1901.
Coleridge-Taylor, S., d. London, Sept.
I, 1912.
Colonne, Ed., d. Paris, Mar. 28, 1910.
Coquard, Arthur, d. 1910.
Courvoisier, Carl, d. 1908.
Cossmann, B., d. Frankfurt, May 7,
1910.
Czartoryska, Marcelline, d. Cracow,
June 8, 1894.
Danda, J. B. C, d. Timis, Nov. 8, or 9,
1907.
Danks, H. P., d. Philadelphia, Nov. 20,
1903.
Dannreuther, Edward George, d. Pim-
lico, Feb. 12, 1905.
Deff^, L. P., d. Toulouse, June 10,
1900.
Deiters, D. H., d. Coblenz, May 11,
1007.
Delle Sedie, Enrico, d. Paris, Nov. 28,
1907.
Dick, Charles G. C, d. 1895.
Dienel, Otto, d. Berlin, Mar. 10, 1905.
Dietrich, A. H., d. Berlin, Nov. 20, 1908
Doppler, Karl, d. Stuttgart, Mar. 10,
1900.
Ddi^ell, A., d. Leipzig, Jan. 22, 1905.
Dom, Alexander, Julius Paul, d. Berlin,
Nov. 27, 1901.
Drobisch, M. W., d. Leipzig, Sept. 30,
1896.
Dupont, Joseph, d. Brusseb, Dec. 31,
1899.
Durand, Auguste, d. Paris, May 31,
1909. ,
Durand, Emile, d. Neuilly, May 6, 1903.
Duvemoy, V. A., d. Paris, March 7,
1907.
Dvor&k, Antonin, d. Prague, May i,
1904.
Edwards, Julian, d. 1910.
Ehrlich, A. H., d. Berlin, Dec. 30, 1899.
Eitner, Robert, d. Templln, Jan. 22,
190?.
Erdmannsddrfer, Max von, d. Munkli,
Feb. 14, 1905.
Erkel, Gyula (or Julius), d. Pest, Mar.
22,1909.
Fernandez, Caballero. Manud (fSr-
n&n-deth kfiv'-il-la^-rd), d. Madrid.
Feb. 20, 1906. See Caballero.
F6tis E., d. Brussels, Jan. 31, 1909.
Fleischer, Reinhold, d. Gdrlitz, Feb. i,
1904.
Fomari, V., d. Naples, Aug. 1900c
Fritzsch, £. W., d. Leipzig, Aug. 14,
1902.
Fuchs, Albert, d. 19 10.
Fumagalli, P., d. Milan, June 21, 1900.
Gadsby, Henry R., d. Putney, Nov. 11,
1907.
Garcia, Manuel, d. Cricklewood, Lon-
don, July I, 1906.
Geistinger, Marie, d. Rastenfeld, Sept.
29, 1903.
Gevaert, Fr. A., d. Brussels, Fd>. 24,
1908.
Gleason, F. G., d. Chicago, Dec. 6, 1903.
Godfrey, Daniel, d. Beeston, June 30,
1903.
Goldschmidt, Otto, d. South Kensing-
ton. Feb. 24, 1907.
Gcildschmidt, Adalbert von, d. Vienna.
Dec. 21, 1906.
Gdtze, Emll, d. Chariottenburg, Sept.
28, 1901.
Grieg, Edvard, d. Bergen, Norway,
d. Sept. 4, 1907.
Grimm, J. O., d. Mttnster, Westphalia.
Dec. 7, 1903.
Grossi, Carlotta, d. May 28, 1900.
Griitzmacher, Fr., d. Dresden, Feb. 23,
1003.
Gudehus, H., d. Dresden, Oct. 9, 1909.
Guercia, Alfonso, d. 1890.
Gumprecht, Otto, d. Meran, Feb. 7,
1900.
Gura, Eugen, d. Aufkirchen, Bavaiia,
Aug. 26, 1906.
Gurlitt, C, d. Altona, June 17, 1901.
Haberl, F. X., d. Regensburg, Sept. 7.
IQIO.
NECROLOGY
945
Halir, Karl, d. Berlin, Dec. 3i, 1909.
Hanslick, Eduard, d. Baden near
Vienna, August 6, 1904.
Hftrtel, Benno, d. Berlin, Aug. 4, 1909.
Hartmann, Ludwig, d. 19 10.
H&ser, Charlotte H., d. Rome, May,
1871.
Hasse, Gustav, d. Berlin, Dec. 31, 1889.
Hatton, Jno. d. Leptrot, Sept. 30,
1886.
Hausegger, Fr. von., d. Graz, Feb. 23,
1899.
Hausmann, Robert, d. Vienna, Jan.
19, 1909.
Hegner, Otto, d. Hamburg, Feb. 27,
1907.
Heilf , Amo, d. Bad Elster, Aug. 2, 1909.
Heinze, G. Ad., d. Muiderberg, near
Amsterdam, Feb. 20. 1904.
Heinze, Sarah, d. Dresaen, Oct. 7, 1901.
Held, Leo, d. Vienna, May 16, 1903.
Henkel, H., d. Frankfort-am-Main,
Apr. 10, 1899.
Hey, Julius, d. Munich, Apr. 23, 1909.
Hill, Wilhelm, d. Homburg, May 6,
1902.
Hillemacher, Luden, d. Paris, June 2,
1909.
Hipkins, A. J., d. London, June 3, 1903.
Hoi, Richard, d. Utrecht, May 14, 1904.
Holmes, Augusta, d. Paris, Jan. 28,
.1903.
Holm^, Henry, d. San Francisco, Dec.
9, 1905-
Homeyer, Paul, d. Leipzig, 1908.
Horwitz, Benno, d. Berlin, June 3, 1904.
Ivry, Marquis Richard, d', d. Hyires,
Dec. 18, 1903.
Jackson, John P., d. Paris, Dec. i, 1897.
acobsohn, Simon E., d. Chicago, Oct.
3, 1902.
Jacques-Dalcroze, vide Dalcroze, 1865.
adassohn, Salomon, d. Leipzig, Feb.
I, 1902 (not 1901).
Jansen, Gustav F., d. Hanover, May
3, 1910.
Japha, Louise, d. Wiesbaden, Oct. 13,
1910.
Jedliczka, Dr. Ernst, d. Berlin, Aug.
^, 1904.
Joachim, Joseph, d. Berlin, Aug. 15,
1907.
Jond&res, Felix-Ludger, d. Paris, Oct.
2S» 1903.
Jttrgensen, P., d. Moscow, Jan. 6, 1904.
Kauffmann, Emil, d. Lubingen, June
18, 1909.
Kirchner, Fritz, d. Potsdam, May 14,
1904.
Kirchner, The., d. Hamburg, Sept 18,
1903.
Kistler,Cyrill, d. Kessinder, Jan. i, 1907
Klein, Bruno Oscar, d. New York, June
22, i^ii.
Kleinmichel, Richard, d. Chariotten-
burg, Aug. 18, 1901.
Klingenberg, Fr. W., d. Sirlan, Silesia,
Apr. 2. 1888.
Klughardt, A. F. M., d. Dessau, Aug.
3» i?o2-
Kontski, A, de., d. Ivanitshi, near Aku-
lovka, Dec. 2, 1890.
Kretschmer, Edmuna, d. Dresden, Sept.
13, 1908.
Krauss, Gabrielle, d. Paris, Jan. 6, 1906.
Krug, Arnold, d. Hamburg, Aug. 4,
1904,
Kuczinski, Paul^ Berlin, Oct. 21, 1897.
Kuhe, Wm., d. Kensington, Oct., 191 2.
Labitzky, August, d. Reichenhall, Aug.
29, 1903-
Lamoureux, Charles, d. Pans, Sept.
21, 1899.
Lang, B. J., d. Boston, Apr. 4, 1909.
Langer, Victor, d. Pest, Mar. 19, 1902.
Lassalle, Jean, d. Paris, Sept. 7, 1909.
Lassen, Eduard, d. Weimar, Jan. 15,
1904.
Lasserre, Jules, d. Tarbcs, Feb. 19,
1906.
Lavigne, A. J., d. (in the almshouse),
Manchester, Eng., Aug. i, 1886.
Lenepven, Chas. Fd. d. 1910.
Levasseur, J. H., d. Paris, 1823.
Levi, Hermann, d. Munich, May 13,
1900.
Lie, Erica, d. Christiania, Oct, 27, 1903.
Longhurst, H., d. Harbledown, Canter-
bury, June 17, 1904.
946
THE MUSICAL GUIDE
Ldschhom, Albert, d. Berltn, June 4,
1905.
Lttbeck Louis, d. Berlin, Mar. 8, 1904.
Lucas, Stanley, d. So. Hampstead, July
24, 1903, aged 60.
Lucca, Pauline, d. Vienna, Feb. 28,
1908.
Lussy, Mathias. d. 1910.
Lutz, W. M., a. W. Kensington, Jan.
31, 1903.
Macbeth, AUan, d. Glasgow, 1910.
MacDowell, Edward, d. New York,
Jan. 24, 1908.
Macfarren, Walter Ocfl, d. London,
Sept. 2, 1905.
Mahler, Gustav, d. Vienna, May 18,
1911.
Mann, J. 0. H., d. Amsterdam, Feb.
1904.
Manns, Sir August, d. Norwood, Mar.
I, 1907.
Martucd, 0., d. Naples, June 3, 1909.
Marty, 0. E., d. Paris, Nov. ii, 1908.
Mason, William, d. New York, July
Massenet, Jules, d. Paris, Aug. 13^ 191 2.
14, 1908.
Maszkowsky, Raphael, d. Breslau, Mar.
14, 1901.
Mathias, Georges, d. Pontoise, 1910.
Mathews, W. S. B., d. Denver, Col.,
Apr. 8, 191 2.
Maylath, H.,d.NewYoA,Dec. 31,1883.
Mehrkens, Fr. Ad., d. Hamburg, May
31, 1899.
Merklin, Jos., d. Nancy, July 10, 1905.
Meyer-Lutz, William, d. London, Jan.
?ii 1903.
MilanoUoyTeresa, d. Paris,Oct. 25, 1904.
Milde, Hans F. von, d. Weimar, Dec
10, 1899.
Mill5cker, Karl, d. Baden, Dec. 31,
1899.
Moir, Frank Lewis, d. Deal, England,
July i4j 1904.
Monasteno, Gesii,d. Santander, Sept..
28, 1903.
MoUoy, J. L., d. Wooleys, Budcs, Feb.
4, 1909-
Monk, E. G., d. Radley, England, Jan.
3» 1900-
MottI, Feliz, d. Mmuch, July (?) loxz.
Mounsey, Elizabeth, d. London, Oct.
3, 1905.
Mtthlfeld, Richard, d. Meiningen, June
I, 1907,
MQller, Richard, d. Leipzig, Oct., 1904.
Musiol, R. P. J., d. Fraustadt, Poeen,
Oct. 18, 1903.
Neumann, Angelo, d. Prague, Dec 20,
1910.
Nixon, H. €., d. Bromley, Dec 25,
1907.
Norman-Neruda, (Lady Hall6), d.
Berlin (?) Apr. 15, 191 1.
Noszkowski, Sigismuno, d. Warsaw,
July 24, 1909.
Novello, Clara, d. Rome, Mar. 12,
1908.
Novello, Mary Sabilla, d. Genoa, Jan.
8,1904,
Oakeley, Sh: Herbert Stanley, d. East-
bourne, Oct. 26, 1003.
Odenwald, R. T., a. Hamburg, Apr.
~ 22, 1899.
O'Leary, Mrs. Arthur, d. June 17, 1909.
Paine, J. K., Cambridge, Bfass., Apr.
25, i^.
Paj^ritz, Robert, d. Leipzig, Sept
29, 1903.
Parratt, H. L., d. Huddersfidd, Feb. as,
1904.
Parry, Joseph, d. Penarth, Feb. 17,
1903.
Pauer, Ernst, d. Jugehhdm, Darmstadt,
May 9, 1905.
PetersHea, Carlyle, d. Tropico, near Los
Angeles, Cal., June 11, 1903.
Pfeiffer, Jean Georges, d. Paris, Fd>. 14,
1908.
Pfeil, Heinrich, d. Leipzig, Apr. 17,
1899.
Piccolomini, Maria, d. near Florence,
Dec. 1899.
Planquette, Robert Jean, d. Paris, Jan.
28, 1903.
Plant6, Francois, d. Prigueux, July,
1898.
Poisot, CHiaries (Emile), d. Dijon, Mar.,
1904.
NECROLOGY
947
Pole, WflUam, d. London, Dec. ^o, 1900.
Polidoro, Federigo, d. S. Giorgia a
Ciemano, near N24>les, Aug. 14, 1903.
PolUtzer, Adolf, d. London, Nov. 14,
1900.
Porges, H., d. Munich, Nov. 17, 1900.
Preyer, G. von, d. Vienna, May 9, 1901.
Prout, Ebenezer, d. Hadmey, Dec. 5,
1909.
Pyne, Louisa F., d. London, Mar. 30|
1904.
Randegger, Alberto, d. London, Dec.
191 1.
Rappoldi, Eduard, d. Dresden, May
16, 1903.
Rauscher, Max, d. Pfarring, Mar. 14,
1895.
Rea, William, d. Newcastle-on-Tyne,
Mar. 8, 1903.
Reay, Samud, d. Newark-on-Trenk,
July 21, 1905.
Rebioek, jpsef. d. Berlin, Mar. 34, 1904.
Rebling, Friedrich, d. Leipzig, Oct. 15,
1900.
Rebling, Gustav, d. Madgeburg, Jan.
9, 1902.
Rdchel, A. H. J., d. Berne, Mar. 4,
1806.
Reicnmann, Theodor, d.- Marbach,
Switzeriand, May 22, 1903.
Reinecke, Carl, d. Leipzig, Mar. 10,
1 9 10.
Reisenauer, Alfred, d. libau, Silesia,
Oct. 3, 1907.
Reissmann, August, d. Berlin, Dec. i,
1903.
Reuss, Edward, d. Dresden, 191 1.
Reyer, Ernst, d. Le Lavandon, near
Toulon, Jan. 15, 1909.
Rheinberger, Joseph, d. Munich, Nov.
25, 1901.
Ricordiy Giulio, T., d. Milan, June 6,
1912.
Rimsky-Korsakov, Nicholas Andneie-
vitch, d. St. Petersburg, June, 21,
1908.
Ritter, Josef, d. Salzburg, Austria,
June 21, 191 1.
Rdckel, Edw., d. Bath, Nov. 2, 1899.
Roger, Victor, d. Paris, Dec. 2, 1903.
Rotoli, A., d. Boston, Nov. 26, 1904.
Rosseau, Sunud, d. Paris, Ott. i,
1904.
Ryan, Thomas, d. New Bedford, Mass.,
Mar. 25, 1903.
Salaman, C. K., d. London, June 23,
1901.
Sanderson, Sibyl, d. Paris, May 16,
1903.
Sarasate, Pablo, d. Biarritz, Sept. 20,
1908.
Sauzay, Eugtoe, d. Paris, Jan. 27, 1901.
Schftffer, Julius, d.Breslau,Feb. 10, 1902.
Schitkr, Madeline, d. New York, July
3i 19"-
Schimon-Regaxi, Anna, d. Munich,
Apr. 18, 1902.
Schnecker, P. A., d. New York, Oct.
3, 1903.
Schneider, Theodor, d. Zittau, June 15,
1909.
Schneider, Theodor, d. Zettan, June 15,
1909.
Schnorr von Karolsfeld, Malwina, d.
ILarlsruhe, Feb. 8, 1904. (aged 72).
Schytte, Liulwig, d. Berlin, Nov. 10,
1909.
Seibert, Louis, d. Eisenberg, near Wetz-
lar, July 29, 1003.
Seiss, Isidor, d. Cologne, Sept. 25,
1905.
Serpette, Gaston, d. Paris, Nov. 3, 1004.
Sherwood, William H., d. Chicago, Jan.
7, 1911.
Silas, Eduard, d. West Kensington,
Feb. 8, 1909.
Singer, Edmund, d. Stuttgart, Jan. 23,
1912.
Sittard, Josef, d. Hamburg, Nov. 23,
1903.
Slaughter, W., d. London, Mar. 2, 1908.
Smith; Gerrit, d. Greenwich, Conn.,
July 21, 191 2.
Smolian, Arthur, d. Leipzig, Nov. 5,
1911.
Sontheim, Heinrich, d. Stuttgart, Aug.
2, 1912, aged 92.
Spicker, M., d. New York, Oct. 16, 191 2.
Spindler, Fritz, d. LOssnitz, near Dres-
den, Dec. 26, 1905.
948
THE MUSICAL GUIDE
Spindll, Nicok), (L Rome, 1909.
Stade, F. W., d. Altenbuig, Mar. 25,
1903.
Stainer, Sir John, d. Verona, Kfar. 31,
1901.
Ste^all, Charles, d. London, June 7,
1905.
Steingrftber, Theodor, d. Lepzig, Apr.
5. 1904.
Stehle, G. Ed., d. St. Gallen, Apr. 11,
1896.
Sterhng, Antomette, d. Hampttead,
Jan. 10, 1904.
Stem, Leo, d. London, Sept. 3, 1004.
Stem, Maigarethe, d. Dresden, Oct. ^
1899.
Stiehle, L. M. A., d. MulhaOsen,
Alsatia, July 6, 1896.
Stoltz, Rosine, d. Paris, July tt, 1903.
Stockhausen, Julius, d. Frankfort-on-
Main, Sept. 22, 1906.
Sucher, Josef, d. Berlin, Apr. 4, 1908.
Sundeiiand, Mrs. Susan Sykes, d.
Brighthouse, May 7, 1906.
Svendsen, J. S., d. Copenhagen, June
13, 1911.
Sz^kely, Imre, d. Pest, Apr., 1887.
Taffanel, Paul, d. Paris, Nov. 22, 1908.
Tamagno, Francesco, d. Varese, Aug.
31, 1905.
Tappert, Wilhelm, d. Berlin, Oct. 27,
1907.
Taubert, Otto, d. Torgau, Aug. i, 1903.
Thallon, Robert, d. 1910.
Thiele, Eduard, d. Dessau, Jan. 10,
1895.
Thomas, Theodore, d. Chicago, Jan. 4,
1905.
Thom6, Francois, d. Paris, Nov. 16,
1909.
ThuiDe, Ludwig, d. Mtmidi, Fd>. $$
1907.
Tlotdre, Henry, d. London, April 10,
1912.
Tinel, Edgar, d. Brussels, Oct 28,
191 2.
Tui^, Dr. £. H., d. London, Oct, 25,
1907.
Ugalde, Mme. D., d. Paris, July 18,
1910.
Verdi, Giuseippina, d. Buaetto, Nov.
14, 1897.
Vianesi, Auguste, d. New Yoric, Nov.
II, 1908.
Viard-Louis, J. Jenny, d Auteuil, Paris,
Jan. 27, 1904.
Viardot-Garda, Mme. Michdk, d.
Paris, May 18, 1910.
Vidal, L. A., d. Paris, Jan. 7, ipoi.
Vincent, H. Jos. d. Vienna, May 20,
1901.
Walter, Gustav, d Vienna, Feb., 191a
Weber, Miroslaw, d Munich, Jan. 2,
1906.
Weckerlin, J. B., d Trottbeig (Alsace),
May 20. 1910.
Willing, Chris. Edwin, d St Albans,
Dec. 1, 1904.
Willis, Henry, d London, Fd>. 11, 1901.
Winkelmann, Hermann, d. Vienna,
Jan. 19, 191 2.
Wood, Mrs. Henry J. (n6e Olga Narisb-
kin), d. London, Dec. 20, 1909.
Wurm, Wilhelm, d St PetCEsbuig,
June 20, 1904*
Zerrahn, Karl, d. Milton, Mass., Dec
Zumpe, mrmann, d Munich, Sq>t 4,
1903.
Table of Pronunciations
Giving the Code of Symbols used in this
Book; and also a Guide to the Pronun-
ciations of sixteen Languages, arranged
in a novel Tabular Form by Letters
•^ *i* '* '
*\
s top
teaninar of
ob i& USBD
4)0K.
gxvts the phonetic
the letters and sym-
19 THIS
4BIAH : very difficult even
tr sojourners among the peo-
le.
IBmAH : See Note 4. In
iphthongs the voweb are pro-
MUiced separately, as in Ital-
n.
nSH : doubled vowels are
mply prolonged.
rCH : ^ in be and ge; /be-
iTc >fr, ^ and nr; and jr in the
tffix lijk are suent.
{JOSH : dead as a literary
nguage, but of great historic
iportance.
SHCH : a silent final conso-
uit is usually sounded with
te following word when that
Sins with a vowel. This b
cd liaison. French sylla*
es have duration rather than
xent ; the tendency is, to give
slight stress to the final syU
ble. In thb book accent is
irelv marked.
UtfAn : long words usually
x:erit the fir*t syllable most
rongly, and give a lesser ac-
nt to one or more of the
thers.
R6ARIAN : long and short
>wcls are so rather in dura-
oa than in sound. There are
[> silent letters and no accents.
iLIAN : doubled consonants
t distinctly pronounced, as
ed-do. Doubled vowels are
bo separately pronounced.
KWB6IAN :
LISH : consonants strongly
>nnded are accented &us : S,
7 T 7 T / y /
CTUGU^^: a very difficult
nguage : placed usually just
»ck of the teeth. The nasal
3wcls are also unique. Note 5.
3SIAN : has ^6 letters, in-
Uding 12 vowels. It is usu-
lly written phonetically in
erman pronunciation as fol-
ws :
LNISH : a languaee of ideal
tgularity and precision; all
awels are separately pro-
Emnoed.
BDISH:
CLSH : all vowel combina-
Kwis are " separately pro-
ounced ; the letter w = 00
a moon.
as used in this book : A as
in father; 2 as in fate; d
as in fat; Uk and dHy see
Note I.
as in fat; before r as in
far.
as » in fun ; <i as in father.
as in father; oa as a in faJL
when short as in half: also
before ch ; when open as
in father : an, nai (see ai),
prolonged as in father.
a or ^, as in father or mica :
aa or or, the same pro-
longed.
as in nit; it as in father;
see aif am, and Note i.
aainbob.
as in father : H, see Note 2 ;
S is sometimes spelled iar ;
at = / in bite ; for du and
aeu^ see au.
as in what ; d is prolonged,
as in father.
as in father and mica ; d as
in far.
a as in father*, aa as o in
no ; au Vi%0 in no.
as in father ; ^ as in ball.
as in father; when two as
occur in a word the first
is more like a in fat ; <},
see Note 5.
when accented, as in father;
unaccented, as in bat; at
the beginning, as ya in
yacht; if unaccented, as
m yank. ^
as in father or in hat ; a as
in father.
as in father or in mica ; a as
0 in go, when long ; when
short, as li in what ; ii as
in hare.
as in fat ; <3 as in dare.
as in bob.
as in bob.
as in bob.
beginning a syllable, fis in
bet; ending, as;^ in trap.
as in bob.
as in bob.
teeM, at end of the alphabet
as in English; ch like Ger-
man ch, iee Note 3.
€ like /x, or German z; 4
like ch in child.
like Swedish c.
only in foreign words; like
s before, <r, i zsxA y ; like
k, otherwise.
like k ; ch like German ch.
as s before e, t and y : as A
otherwise, except that ^ is
always x. See ch.
beginning a syllr.ble, as in
bet ; ending a syllable, as
/ in trap.
as in bob.
as in bob.
as in bob.
as in bob.
nearly as in bob ; but softer.
this letter resembling our /
is pronounced Z', as in
vane, ory^ as in foe; the
equivalent of our b sounds
as ^ or/ in bet or trap,
like V in very.
as in bob.
as in bob..
like ts in hats before e, 1
and d ; like k before a, c
and H ; ch. See Note 3.
cs = ch in church ; cz = /j,
as in hats.
before 4 and / as c A ir
chime; cc before e and \
= tch, as wretched ; ch
= k.
only in foreign words ; as j
before r, i and \>' / as k
otherwise.
c = ts, as in hats ; ch —
f J erman ch ; cz = c7t ir
church.
like -f before <•, / and y : Hk<
X- otherwise; <" ulwavs like
s ; in r< the first c \<^ Hke Ar
the second is detcrmincc
by the following letter.
as m rent or jrone ; r// =
(icrman r^t at the en^l ; a
the beginning, as in thest.
before r or /, as /// in think
otherwise as h : ch as Ii
church ; cu as qu in quart.
before r, i or ^, as in cent
otHenvisc as in cash: c>
• = k, except in foreigi
words.
always like k-; ch -
• man ch, Setf N6te 3.
Gei
o
s in deed: dk ua tA
theM; <^' as in adjoin.
m
oft Uke Italian d.
s in deed. For if, tS and
4i^ tee Note 4.
«ginning a syllable as in
date : ending at M in
bathe; after ^ n^ and r,
tUent ; <& = xr in hitt.
t the beginning of syllablet
at in date ; at the end as
/ in hot.
ke German d and dt.
t the beginning or in the
middle as ^ in deadlock ;
usually tilent at the end
of the word; in liaiaon it
becomes t.
eginning a syllable as in
date ; ending a syllable as
/ in hat ; dis^ tin hat
s in deed ; 4lf same as *gy;
i^s =y in judge.
s in deed, but softer and
morepolataL
t in deed.
s in deed; dn 9% m adxe;
d^ as dgt in judge,
sin deed.
J in deed.
7 as in bean; las in pet— at
the end of words alniost like
as in prey ; # as in pet.
as in pet ; / as in ere ; i =
as m beatitude. See
Note 4.
also
as in prey and there ; cf'Kke /
in bite.
when short as in met; when
optn as in prey ; ee simply
prolongs the sound; see
alsoru.
# or ^ as in pet ; eu like French
eu ; e after a vowel usually
simply prolongs it ; ee^a'm
fate or as in seen ; see eu.
as # in father or » in cut ; as a
final syllable generally silent;
^ as m prey when it has
stress, otherwise as in pet;
i as «i in fair; # as in pet;
see eit d, t, /, m, r.
when long as in prey; when
short as in pet; /f = f in
right; seen*.
before m or a sharp consonant
as in fat ; otherwise as # in
ten ; / as in jMrey.
as in prey when long; when
short as in pet ; i as in pet.
as in prer ; but when final as
t in fatner.
#asinmet;^s French in, see
Note z ; tf s a as in pate.
g and / usually as in prey ; 9
has a curious closed sound.
at the beginning of words = yo
in yolk if accented ; if unac-
cented as ye in yesterday ;
otherwise as « in pet.
as
in prey when long; when
short as in pet ; / as in prey
or pet.
ouch like ih in those
(marked in this book by
dh) ', when two ds occur in
a word, only the second
has this sound, the first as
in date.
IS in deed, but silent in ndn as in film when long ; when
and ndt and beforey or /. short as in pet ; rr as «r in
IS in date; dV as M in these.
as in pet; fas in bean.
F
as in fife.
as in fife.
as in fife.
sis in fife.
as in fife ; >f as in flow ;>9'
as in fnesh.
as in fife.
as in fife, not nient at the
ends of words, except in
clef ; in liaison it becomes V.
as in fife.
as in fife,
as in fife.
as in fife,
as in fife.
as in fife.
usually represented by the
Geraum vor w.
as in fife.
as in fit at the beginning of
syllables or after a short
vowel ; ^ at end of syllable
like V in slave; before v
silent.
Uke V in revive; ^likeyin
off.
G
in
as 10 gig.
asmgig.
asm gig:
3roke;
mute.
r or 9 fike 7^
like German g; n£ ^axd. loot
ing.
as Germany,
guuuiaL
as in gate excsept befofe t,
and y, then as x in pleasm
(marked here as sA); siknl
when final, becommg j^ ii
Baison; gn itt j«r in mmian.
at the beginning of a sylUbfa
as in gate, but softer; at fbc
end, see Notep; ng wba
final vanishes in a Cstnt k
sound as sang = sanfl^
as in gig \ gy ■= d \n doe (eel
<ioo); ay = £y£T<x^" ''•
before i and > as in gem; g
as ^' in adioin; /&*=f
like U in miUion, gn b ■<
or m* in pinion: j«=/v
gmi^vii.
as in ^, but before J nad)
aay in yake.
asmgig.
as in gate; but befoce a /ia<
^ as in goat.
at the beginning usualfy ss i*
go ; lometimes at the befs-
ning, alwajrs at the end ti
Gennan cA ; see Note *•
as in gate ; but before ^ aod i^
as a very harsh k in hae;
gut = ^ as in gate, p^f
^ as m gMr ; ^« as m V-
nite : ^/ as in glow.
as in gate : before ^ e, t\ h]
and after / and r, ISkt j ■
yoke: silent befofe>,' /«==
m;^ insng.
as in gate; a^astnwnof*
of the letters
and symbols
AS in^ nr
THIS BOOK.
[»ABI8H
KHJXCH:
HUHGARIAH:
ITALIAB:
HORWBGIAir :
POLISH:
PORTUGUBSB :
RUSSIAIT:
8PAHI8H
8WBDISH:
WBL8H:
H
as in hate.
stronc^7 asiarated
at end or begin-
.ning of a word.
at in hate.
as in hate but
silent before J
and V.
as in hate.
as in hate.
always silent.
as in hate.
as in hate.
silent; after c or
^ it has simply
a hardening ef-
fect.
as in hate.
as in hate ; see c,
I and H,
ulent.
used only in afew
native words,
and in foreign
derivations.
usually silent or
very slight; see
c.
as in hate ; silent
beforey or v.
as in hate.
I
iaa in fight; la&inpin.
as in pin ; f as in bird.
asinpin; < as in machine.
as in machine ; after a^ e^ o, 21,
and u like y in yoke.
when short as in pin; when
open as e in rely ; t'e prolongs
the open sound only before
r, otherwise as « in rely ; y
same as et.
I or i as in pin ; A or rV the
same prolonged ; uu sounds
likeMi.
as in pin, see ei, oi; 2 as f in
machine, but see or.
aa in machine ; m as in believe.
as the quick e in rely ; i as in
machme.
as in machine, but when short
as in pin ; at the beginning
of words like^* in yoke.
as in machine ; at the begin-
ning as ^ in yoke.
1 as in machine; after aeon-
sonant it has the effect of
the imaginary^ y in due (not
doo) ; fiw = » in gun.
as in machine.
as b maclune, but well back
in the throat; after labials
(^, /t fKt p and v) as / in
pin.
as in machine when lon^;
when short as in pin ; i as m
machine.
as in machine.
as in machine.
J
in jug.
as m jug.
like y in yes ; after vowels
It prolongs their sounds
somewhat as ^ in day,
whey, etc.
even with vowels t^\ ^\
like J' in yoke.
as J' in yoke.
as^* in jroke.
as « in measure (marked
in this bocJc as <A).
as^ in yoke.
9a y \n yoke; jf aa y \a
paying.
same u f / at the begin-
ning of words like y in
yoke ; as a vowel like
I in machine.
as in yoke.
as^ in yoke.
as m jug.
as^inyet.
as a very harsh A in hate ;
almost like German cA,
as > in yoke.
as in kick; kA s Gemuu
cA or /•/ see Note 3.
strongly guttund.
as in kick.
as in kick.
as in kick : ^ = jr u
fix; ibv = ^» in quart
as in kick ; As^xin&x
as in kick.
as in kick.
as in kick.
as in kick ; before / anc
y like A; Av s: ^u ii
quarter.
as in kick.
only in foreign words, a
in kick.
as in kick; before A,
and cA softly as ii
German cA.
as in kick but before d, ^
I, 0 and y in the sami
syllable like cA,
as in kick.
L
MtnloU.
ss ID num.
sin loIL
sin ItiE.
s in Inll.
ns m nmiii*
as in mooL.
ftsin miUB.
s in lull, bat when M- as in mom.
lowed fyy another con*
lonant a short « is in-
terpolated, as if elk
were tpelt eldc.
s in UalL 1 as in nom.
s in lihr, / fometimes / at the beginning, as
(called "Imouill^") is ' inmate. See note
liquid, as ^ in yoke or s.
paying.
s in lull.
I
asinmnnL
s in late ; //or(^ = >in;asin mum.
paying.
sin lull; see/v
s in lull.
s in lull ; / is sounded
by closing the teeth on
the tip of the tongue
as / is pronounced.
s in lull; M like ///' in
million.
5 in lull ; before a or c,
as // in collar.
asm mom.
asm mum.
asm mum.
as in meet, but at
end of syllables
or after e, like
French naul n.
See Note i.
as in mum.
as m nnn-
asin nun ; M as in caflon.
as in nun.
as in mm.
at the
begmmngi
s. SeeN<
as m
ocei.
asm nun.
as m nun ; nysin asm
new (not noe); nny
= nyny, or n* «'.
as in nun; see/^
as m nna«
asm nan.
s in look : // like /// in . as in mom.
billiards.
s in lull, but usually
silent before/.
as in mum.
s in look ; // has a curi- as in mum.
ous mingling of M and/ 1
as in note; but at end
of syllables ta after
/, like French nasal
M,^ see Note x\ nk=.
m in minion.
as in nun.
as in nun: A di^ndes
into ny 9M ni m min-
ion, thus caflon =
canyon.
as In nun; gH:sMg\n
sing.
as m nun.
3 as in note; «/ as in
«» as in moon or foot; i as
inwroog: ^svasin cow; Ami,
see Note i.
as in note ; 9 ■
Notes.
Gcnnaa9,
as in note; ^ as in wrong.
tHienopeaasin bodter; when
oloaed as in more; 4 ~
French em closed as in >m /
9 = the same open as in
Note 3.
as m pop.
as in popb
asm pop.
as in bother when short, when
long as in orer ; 0c = ^ in
over: act = « in over fol-
lowed by > in pin ; see «r.
« as in note or not; «» or «r
osoalty the same prolonged,
sometimes Uke SMt in was,
ca or pey as 9^.
as in not ; often almost as J in
nnt : A as in note ; see m.
as in wrong ; 9 see Note a ; 9
is sometimes ^lelled «r.
« as in note ; d isprolonged a|
in slow ; 9 = French em ; c
or 9 = German longi».
as in note; 3 as in wrong.
as V in full, but often as « in
note or not ', m ^ ava sale ;
alike Frenciwtf long or short.
tf as in note; ^ is between not*
and move.
as in note <Mr in not ; PiaeNote
5-
asm not
when long as in note ; when
short « as in not; if as in
note.
as in move or not, according
to complex rules ; 9 = Ger-
man 9.
as in gone : A as in bone : the
sound oo is represented by w.
as in pop: /ft
J*
as in pop.
at the _
and middlr, li
in paper: fmi
when iaaL
as in pop.
asm pop.
asm pop.
as in pop.
as in pop.
as in pop; M
asm pop.
as in pop; sfleot
before x, a anil
U
asmpop.
as in pop: fk
J*
Phonetic meaning
of the letters
and symbols
AS U8BD nr
THIS BOOK.
IRABIAIf ;
BO
DAmSH
DUTCH:
HUVGARIAIf:
ITALIAN:
HOSWBGIAN :
POLISH:
P0RTUGUB8B :
RnSSLAH:
SPAHISH :
SWEDISH:
WELSH:
as ^ in quart.
qv^guia quart.
^ as in quart.
^« as in quart.
qu alwajrs as A in
kick ; cqBsk.
qn as kv: thus
quart sk'rilrt
^« as in quart.
^asin quart.
qua as in quart;
before * or i^ qu
is like k.
qu9Ak\Xi kick.
qv -s^ kxxi kin.
asm roar.
as mroar.
as in roar ; ^ = rzh
or rsk as in " f^r
sure," thus Dvor-
ak is dvdr-zhilk.
as mroar.
as in hurry.
as mroar.
commonly rolled on
the back of the
tongue : in Paris
almost like w in
bower ; as a final
letter it is sounded
except after t;tr
= amsale.
usually rolled and
always strongly
sounded.
alwajrs trilled.
usually trilled,
as in hurry.
as m roar; m s
French / or * in
measure.
as in roar and
huny.
with a burr as rr in
worry.
asm roar.
as in htury.
asm roar.
8
asmseose.
as in ns ; M strongly hissed ;
M as in show.
jasinus; TasxAin show.
as in sense; tki or tky as in
skim.
sharply as in sense; y'^th
in snow ; see sck.
as m suppose.
as in suppose; when final it
is silent except in proper
names; in liaison it becomes
Mm
beginning a syllable before a
vowel usuallv as x in zone ;
as the end of a syllable as in
this ; sp and st= shp and
xht ; sck = sh,
as sk in show ; sz = sk.
as in suppose: see = skA; set
= ski; sck z=:sk.
as in sis ; ski sssk in show.
as in sense ; ss=: skin show.
as in suppose; having the z
soimd between vowels.
as in sense ; M as in show ;
ski = skk/ sz s sk.
asm sense.
as in sense ; sM^ ^^ and sfy all
= sk in show.
asmsense.
•sin tot; Masfaithliii,
strongly palatal. <
as in tot; see alio Hflle 4.
as in tot.
after a hard vowd it b aokt afl
in note, otherwise ashk hot.
as in tot; 1// as/in faoL
as / in tub; fike s \n such suf-
fixes as -tion : almost always
silent when final: *i=iava
sale.
as in tot; Ms /In hat.
as in tot ; iy strongly as ^ in
tube; tty^ty jfy^or f f;
is = ck,
as in tot ; H usually s tti
as in tot.
asm tot.
as in tot.
as in tot ; ts b^^nning or mA
ing as in hats; Uck as skicA
in wtakt-cknm.
asm tot.
as in tot: (;'=€k in duui^j
but if followed by a or / ee ^
inhau; tk = tin tot,
as in tot ; M as ta tUidb
A ihmfB with th« sound of
joa ; U, see Note a.
Bsin fulL
■sin full; JS or aS, ns in rule.
ss in rule or fulL
irfaen shorty as in cut ; when
long« as u rule ; mk as <w
in moon.
like a short German fi, see
Note a : uu or tu, the same
{Molonged; wee lu.
Me Note a.
ts «# in^ moon or foot; 42
(sometimes spelled i$e), see
Note a.
K as in pull ; fl2 as in rule : A
= French »/ £ or it( the
same prolon^^ed.
u in rule ; w as in fiili
ssin rule.
IS in rule ; preceded by i it
b the French u.
IS in rule ; K, see Note 5.
IS in due, or as o^ in moon ;
except m words of French
or German origin, then as
French u,
IS in rule, when long ; when
short, as in full; fl2 as in
rule or full; me s wa in
wait
IS in mle; or in fulL
i
little broader than /in this;
4 a «r in seen.
as ui revive.
as m renve.
as m revive.
as in revive; silent
after / and r.
at the beginning, as
in vote at the
end, asyin off.
as in revive.
asm revive.
likey in fife.
as m revive.
asm revive.
as in revive ; kv
qu in quart.
as m revive.
as/* in far or off.
as m revive.
as m revive.
w
asin wOL
as in wiU.
as in will; w is
silent before *
and another con-
sonant, as wMd,
only in foreign
words.
asin win.
asm wiU.
in foreign words
only, and sounded
like V in vote;
nuk sounded as w
in was.
like V in revive, but
with a soft trace
also of the w in
was.
as f m revive.
as/* in far (^ off.
like V in revive.
sounded like 00 in
moon.
X
as in fix.
asin fix.
asin xebec.
as in fix.
as in fix.
as in fix or exile;
nlent when final ;
becoming s in lia^
ison.
as in fix, even at
the beginning of
a syllable.
u in fix.
as in fix
after /, as in vex:
otherwise as x>l in
show.
s in fix; even at
the beginning;
in some proper
names as A in
hate.
in
as in why.
as i in pin; ^ as I m a
chine.
like u in fur.
as in why.
like i in machine;
times nasal Gke FreacI
in, see Note 1 ; nee m.
when alone or when a ca«
sonant precedes co- folk^
it, as ^ m bean. When I
lies between two vowds 1
may be said to be (fivide
into tw<o sounds. After «
a or « it is scooded J^ j
in pet followed by j a
yc^e (thus rayon beccsBei
r^ydA) ; with mn c 'i
sounds Uke «id( in was foi
lowed by ^, as in ycfci
(thus joyeox bec^aa
zhwi-jrA); with a it be
comes ? — y* (^us appoyi
ant becomes 2p-pw€-]^)|
as^in bean,
A/ see Note a.
see^, /, n and iL
ai
like French a^
J7' = ^ in bean.
as >*in machine,
same as Russian £
as /in machine.
like French u / see Notes.
as a in turn; at the end oil
syllable as in pretty.
Pbooetie meaning
of the letters
AS vEoiD a
XmS BOOK.
z
ts in sone and buzs.
m.
1
AI
1
SUA
IBint AW •
esinsone.
as in sone: 1 as in
axure.
AAA* >*** AsaaaaaaAa
BOHBHUV:
• ■*•■• ■•••
DAHESH:
onhr in f ormgn words,
then like s in sis.
like ai both in sail
and in said.
like > in bite.
as^w in cow.
DUTCB:
as in sone.
aai combines a in
father with a
quick e in meet,
almost like ^^ in
why.
combines a in fat
with 00 in moon:
sharper than ^w
meow.
nJEMUH:
as in sone: often used
interchangeable with
X.
same as <m s a pro-
longed ; aei or tuy
— Of prolonged.
ai and of as a/ in
said; oiifxaey
the same pro>
longed.
••••••••■•••••• •
PBSIf CH ■
asinsona.
a/, ol, ay as X in
pet.
as tf in zone.
astf Inioat.
•<•
«
rJSt'MAMi
Uke tx in hats^ eren at
the beginmng of a
syllable.
only another spelling
of A, See Note a.
like /in bite.
as <mf in cow ; itu
almost Uke i in
bite (actually
oA— 1),
...••••••••V«**M*
nnrOARLAV:
as in zone; sx, seeil
s as ^ in hats; MSMdi
in Windsor.
TAUAW '.
in vowel combinations
the vowels are al-
w a y s separatelv
pronounced in Ital-
ian.
rORWBOIAir :
like ts in hats.
as in zone ; s = x in
measure ; *g^ i
preceded by a buzz.
like o in note.
•0LI8H:
•
ORTUGUBSB :
u in sone : but at the
end of syllables Uke
xm this.
lUSSIAN:
as German »^ts: ot
as French s = /- in
menagerie.
sam«
as
German
diphthongs.
PA1II8B:
asMmthink.
Hkexinsis.
WKDW:
■
fBLSH:
II
BU
IE
OE
01
as in noise.
ou
• • •■••■ •
same as Gennan short a,
see Note 3 : eeu =
a in fate, with a
whiq>ered v after it.
same as French eu;e€u
the same prolonged.
like / in father when
short ; when long,
the same sound pro-
longed: it lies be-
tween t in pet and u
in cut, and resembles
German d. See Note
a.
abnost like i in bite
with a hint of oi in
noise.
see // irw « « in
fate, with a soft
tv after it.
same as «9 in moon ;
oeisi to followed
by a short 2.
as «9 in moon:
sometimes a
simple prolonged
9 ; or like wa in
was ; oei or oty s
wr.
ATS ma in was:
0ra likeMf.
onlj anodier spelling
of 9. See Note 3.
with f in pin ; in
the suffix heid
s «in£ate.
with « in mk
softer than, bi
often confas<
with, A.
as fin pet.
flk« /in Uto.
ci as cy ■Si wa in
was : MM s ttf
f oUowed br the
nasal in. See
Notes.
09$ CS 00 In DOOl
asbbeHeve.
• •
M and Note x.
likeainsale.
almrMkfrsc^iB nnif
same
as
the
German
diph-
thongs.
Phonetic meaning
of the letters
and ^mbols
AS USBD ni
THIS BOOK.
ARABUS:
BOHBMIAir :
DABI8H
DUTCH:
TLBMiaE
FSSVCH
OBRMAN
HUVOARIAH
ITALIAN
HORWBGIAN :
P0U8H:
P0RTU6UB8B :
SUSSIAll:
8PAHI8H
8WBDI8H :
WBL8H
UE
same as a pro-
longed it.
maWuett,
only another spell*
ing of fi. See
Note a.
Ul
almost j^ in why :
but verging on
the French tu.
9d and uy like
German tttm
CH
as in church ; German ch
is represented by kk^ see
Note 3.
like German cJL
as k, except in foreign
words.
like German ck^ but more
palatal at the beginning
of foreign words ; as ik
in show.
like German ck. See Note
3'
as sk before a TOwel; be-
fore a consonant as k»
8CH
8P
b^;inning a svl-
iable, as stck;
at the end, as
simple s in this.
asmspan.
see Note 3.
as >(in kin.
like German ck, see Note 3.
as in church.
like tk in show.
like skp in dish
pan*
as xA in skip.
asm span.
like German M, see Note
ST
asinttoiM.
like ski in
wasbtub.
as in stone.
TH
as in tkittr; the
tk in thou is
itentedby
rrarei
like /in tot.
like / in tot.
NOTB8
No. t.— The French nasal sounds are easQy obtained :
(z) Though spelled with an m or m (and indicated in this book hfvcxn) they have
really no m sound in them, much less the ng sound that some foreignen give them.
Thou^ varioushr q>eUed they are reducible to four vowel sounds pronounced as we
say, ''through the nose," though actually with dosed nasal passages. If one ^rifl
pronounce or rather snort the word " wrong " without producing the final / at aB,
one will have exactlv the French on (i); the word " thank " similarly sooiMfed with-
out the k will give the French in (a) ; the word " trunk *' without the k gives the
French un (3) ; the word " donkey *' (not pronounced like muonkey) contains th«
French en (4). These four are indicated in this book by (i) M / (3) Jie / (3) A« .
(4) *».
The French nasals may be grouped as follows : Those prononnced Uke {i) are cm^
ff/ty and ton after /*/ like (3), iiw, M, aim, aim, tin and abo /» as an ending : like (3} Hm,
UH and €rm ; like (4) am, an, gan, aen, acn and tn at the beginning of words.
These letters m and n, however, lose their nasal quality when doubled or when
preceding a vowel : onrng is pronounced as &>u in done, ome or emtm* as in coom, tmt
as in ^M u them, etc
No. 3. — French u (which is the same as the German ft when long) is easily ptxMiounced
if (me will pucker his lips to say 00, as in moon ; and keeping them strongly pocketed,
say # as in bean.< Those who have eaten ^een perammona, or had their Kps dift>
tended with peach fuxz, have the correct position for this # sound, lliere is reaDy no
00 sound in the French u at all, and if one cannot say the m correctly he will come
much nearer the truth if he uses a plain Elnglish long #, as in bean, rather than the
sound of «, as the spelling might suggest.
The (German U when short is formed by keeping the lips pudcered and sayiag t as
in fit, instead ole'vn serene.
The other (merman modified (or umlauted) vowels are fa) A, pronounced, when long,
almost like a in sale, but verging on a in care (it is mariced here simp4y as J) ; when
short much' like e in pet ; (1) '6 when long can be secured by puckering the lips <or a
roiud, full o. as in note and then saying a as in sale (it b mariced in this book sim^
as 4 to avoid the danger of saying a plain o) \ when it is short the lips should be pock-
ered for the round o, and a short « as in pet then pronounced. The cautrao nunc be
emphasised that in the experiments the lips must he firmly kept in the first, or puck-
ered position, in spite of the temptad(m to alter it.
No. ^ — German ck is not difficult, once caught Our sound /A as in think wtB be
found if prolonged to be produced by the simple device of holding the dp of tbr
tongue lightly between the teeth and then breathing. The (German ck resolts from
pressing the two sides of the ton^e firmly against the bicuspid teeth (the two upper
teeth on each side back of the canine or eye teeth) and leaving the tip of the toogac
free, then breathing the necessary vowel as in^ ack, ick, etc Gennan g is DLOch the
same but even softer. Both are mdicated in this book \fj kk.
No. 4. — (Certain Bohemian letters and combinations insert die sound y doaely aOied
a consonant, as in the French diablt and tien, ox the English *' How tTy* <u>? " ot
" I've caugl}/^'." Bohemian d, n and / are given this d'^y and t'y sound when
followed by r or /' or by an apostrophe as d*, A or f.
Man^ Bohemian combinations of consonants seem unspeakable because they are
spelt with no vowels between. They are no harder to say, however, than such words
of ours as " twelfths." Among such consonant chains are dm, kh, kd^ kri, prtt,
tkrz, sr^ wl and sr. They must be run together as smoothly as possible.
No. 5. — Portuguese diphthongs are of three sorts : the first two cannot be distin-
guished here, they are simply comUnations of vowels (sometimes of three vowds or
triphthongs) in which each vowel is sounded independendy ; in the fint das?
the first vowd takes the accent, in the second class the second vowd is acceased.
The third class contains a nasd vowd marked a. Box m, and pronounced with a Strang
nasal twang.
No. 6. — In vowd combinations other than those specially mentioned here, tbe
vowels are pronounced separatdy, each in its own way.
No. 7.— Combinations of consonants other than those mentioned h«« will be found
under their first letter.
No. 8. — As Greek and Latin pronunciations are matters of controversy and jpersMul
taste, no sjrstem is attempted here. Chinese, Japanese, Hebrew, Hindu, and varioas
other languages are usually spelled phonettcaUy, but on such diflfiereut natlonsi or
personal standards that they can hardly be generalised.
to